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Le Suquet is the old quarter of Cannes, probably best known to tourists as the climbing, winding cobbled lane lined with local restaurants, Rue St Antoine. Le Suquet contains a clock tower and church that sit high facing east overlooking the Bay of Cannes and Cannes itself. At the bottom of Le Suquet on Rue Dr. P. Gazagnaire is the Marché Forville, where the market is held in the mornings and early afternoon.
This area is the original fishermans' residential area of Cannes. The houses are all very old. The streets were laid out at least 400 years ago. It is a 5-minute walk from the beach and is full of restaurants around the Rue Saint Antoine and the Rue du Suquet. A lot of the area is pedestrianised and is a major tourist attraction for visitors to Cannes.
The rue du Suquet is the original main road into Cannes. It came in below the walls of the castle (for defence reasons). It is a pedestrian street again and has plenty of restaurants [Wikipedia.org]
It all starts with contributes uploading or creating a new document for collaboration. A collaborator is a group or people responsible for selecting the appropriate document from “uploads” folder, store them in them in “working-document” folder and work on them. Once the document is ready to be published document is sent to the “request for approval” folder where an approving authority is notified.
Approving authority can approve or disapprove the document. It may go back to the “working document” if disapproved with a notification to the collaborator(s). If approved the document moves to the “Approved version” folder and can be published in a desired format (pdf/doc/html) and location (published folder/intranet site/social networking site) as per the predefined rule set.
All these roles and workflow can be re-fined and redefined based on the business process. This is an example workflow and was created for basic understanding of a document workflow.
Find the full blog at
Part 1 of 3
This presentation briefly goes through the steps of how I processed a high dynamic range image of a cloudscape during stormy season in Hong Kong.
High dynamic range images or HDR, is the process of combining multiple low dynamic range captures into a single image, when a single capture does not afford the necessary range for what is intended.
Three captures were made for the making of the final image. All three images share the same ISO, the same aperture value, and the same focal length. They differ in shutter speed, and the result is shown here, with one normal exposure (0EV), one 3 stops down (-3EV) and one 3 stops up (+3EV).
The image on the left was exposed for the overall intent: the clouds and the reflection on the sea. The image in center was exposed for the highlights, which provides some tonal details in the sunlight in this case. And the image on the right is exposed for the shadow areas, where the buildings on the horizon are now correctly exposed, and you can see the patterns on the water surface.
After importing my RAW captures into Lightroom, I have exported them to merge to HDR via Photoshop. I used to use Photomatix for this but lately I have been using Photoshop because it was easier for my workflow.
The important bits to note here is that you should be focusing on extracting details from the captures, and not trying to create the final image.
# Full video
+ youtube.com/watch?v=0N9RWxVO5gw
# Presentation PDF
+ www.slideshare.net/seeminglee/hdr-process002
# Final photo
www.flickr.com/photos/seeminglee/9370400032/
# Notes
Hope this is useful for some…
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
HDR Photography Workflow: Part 1 of 3 / SML Tutorials
/ #SMLPhotography #SMLTutorials #SMLEDU #SMLUniverse
/ #HDR #photography #workflow #tutorials #video #edu
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2023. Lucrezia Ungaro & Valeria Di Cola,"SCULTURE DAL FORO DI TRAIANO: NUOVI APPROCCI METODOLOGICI"; in: Archeologia e Calcolatori, 33.2 (2022): 255-278 (in PDF); S.v., L. Ungaro, e le recenti statue di guerrieri Daci rinvenute nel F. di Traiano sotto la via Alessandrino (01/12/2021) & La Repubblica (19/07/2019). Anche: Dr. Arch. Barbara Baldrati (1999-2001 [2009]). wp.me/pbMWvy-3ZB
Foto: RARA 2023 / ROMA – Nuova sorpresa dagli scavi: riemerge busto di guerriero in via Alessandrina; in: Lucrezia Ungaro & Fabrizio Paolucci, Il Foro di Traiano e il trionfo di marmo: i “barbari” tra Roma e Firenze. Ciclo di conferenze “Dialoghi d’Arte e Cultura”, Gallerie degli Uffizi. Facebook (01/12/2021) Video [52:48].
www.flickr.com/photos/imperial_fora_of_rome/52801102354
1). ROMA / Foro di Traiano - Lucrezia Ungaro & Valeria Di Cola,"SCULTURE DAL FORO DI TRAIANO: NUOVI APPROCCI METODOLOGICI"; in: Archeologia e Calcolatori, 33.2 (2022): 255-278 (in PDF).
Foto: ROMA - Lucrezia Ungaro & Valeria Di Cola, Archeologia e Calcolatori, 33.2 (2022): 255-278 (in PDF).
www.flickr.com/photos/imperial_fora_of_rome/52801102344
ABSTRACT - The Forum built in Rome by Trajan is a match of his political and military virtues: the defeated populations materialize with statues and high-reliefs in precious marble and are therefore an integral part of the marble triumph of the emperor and the Roman army. The statues of the Dacians are distributed on the most visible architectural parts of the complex, and they have different size, as well as different back surface treatment, depending on their location. In order to reconstruct the architectural composition together with the sculptural apparatus, a complete metrological analysis of the sculptures has been undertaken, alongside the examination of the material features of Daci statues (clothing, surface treatment) and of data yielded by archives and excavations that took place in the past centuries and recently in the 21st century.
***
Nota: La Dott.ssa Ungaro cita il seguente lavoro in riferimento alle sue illustrazioni nel suo articolo = 'Archivio Grafico Museo dei Fori Imperiali). Elaborazione Studio “Il Laboratorio”…', vedi sotto:
Note: Dr. Ungaro cites the following work in reference to her illustations in her article = 'Archivio Grafico Museo dei Fori Imperiali). Elaborazione Studio “Il Laboratorio”…', see here below:
***
Foto: ROME - the recomposition of the marble architectural elements of the Forum of Trajan by Dr. Arch. Barbara Baldrati; in: "il Laboratorio srl" (1999-2001) (source: Dr. Arch. B. Baldrati / personal communication [2009]) &
Foto: ROMA - la ricomposizione degli elementi architettonici marmorei del Foro di Traiano a cura del Dott. Arch. Barbara Baldrati; in: "il Laboratorio srl" (1999-2001) (fonte: Dr. Arch. B. Baldrati / comunicazione personale [2009]).
www.flickr.com/photos/imperial_fora_of_rome/52801102364
***
The work has been based on a method measuring bi-dimensional photographic shaped-set of all the Daci dispersed in several art collections, starting from the idea of working with a low-cost method without specific expensive software. The workflow combines bi-dimensional images, scaled to 1:1 reference, imported in AutoCAD in order to produce a single .dwg file, with good resolution but easy-to-manage during the data processing. Some interesting, albeit preliminary, goals have been achieved. In the first place, a measured catalogue of all the Dacian statues dispersed in the world has been quickly built. It was therefore possible to start the reconstruction, at least virtual, of the sculptural context of Trajan’s forum. Regarding the size and archaeological aspect of the sculptures, three dimensional series of Dacians have been grouped, which contributed, on the one hand, to confirm the results of previous studies, and on the other to advance the knowledge with new data.
Fonte / source:
--- Lucrezia Ungaro & Valeria Di Cola, Archeologia e Calcolatori, 33.2 (2022): 255-278 (in PDF).
www.archcalc.cnr.it/journal/id.php?id=1211
Fonte / source, foto:
--- Lucrezia Ungaro / Fb (01/12/2021); in:
RARA 2023 (17/03/2022).
Foto: Fori Imperiali, nuova sorpresa dagli scavi: riemerge busto di guerriero in via Alessandrina. La Repubblica (19/07/2019).
www.flickr.com/photos/imperial_fora_of_rome/48441994422
2). RARA 2023 / ROMA - Nuova sorpresa dagli scavi: riemerge busto di guerriero in via Alessandrina; in: Lucrezia Ungaro & Fabrizio Paolucci, Il Foro di Traiano e il trionfo di marmo: i “barbari” tra Roma e Firenze. Ciclo di conferenze “Dialoghi d’Arte e Cultura”, Gallerie degli Uffizi. Facebook (01/12/2021) Video [52:48]. S.v., Foro di Traiano – Riemerge busto di guerriero in via Alessandrina. La Repubblica (19/07/2019).
3). RARA 2023 / ROMA - 1.2. The Markets of Trajan / Museum of the Imperial Fora: Dr. Arch. Barbara Baldrati "il Laboratorio srl": The Studies, Drawings, and Recomposition of the Marble Architectural Sculptural Elements of the Imperial Fora (1999-2002); in: M. G. Conde / FLICKR (19 March 2009).
www.flickr.com/photos/imperial_fora_of_rome/albums/721576...
Part 3 of 3
Then I do the same for the water area. Note that at this point this image is very similar to by 0EV capture—no surprises there. This was what I saw when I photographed this photo. I do HDR not for effect, but just so that I can have some details on the shadow area.
At this point you see that really there is not much color to this scene. In fact, they stand to distract the overall image, so I removed it. Here since I have been working in Lab mode I just quickly removed the color channels or just removed the color saturation. If I work with images filled with color I usually would use the channel mixer in RGB mode or use the black and white tweaking modules inside Lightroom. But as you can see there is not much color in this image to start with so I can simply just remove the color saturation.
After importing back into Lightroom, I tweak things further as I feel that I can still get some more details in the shadow area. If I were inside Photoshop I would do a image-wide shadows/highlights tweak but since Lightroom version 4 there is this new Clarity parameter which works very well in manipulating local contrast so I used it.
And that’s it. But remember, every single image is different. This is not a recipes. There are no rules. Now go have some fun!
Cheers.
# Full video
+ youtube.com/watch?v=0N9RWxVO5gw
# Presentation PDF
+ www.slideshare.net/seeminglee/hdr-process002
# Final photo
www.flickr.com/photos/seeminglee/9370400032/
# Notes
Hope this is useful for some…
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
HDR Photography Workflow: Part 3 of 3 / SML Tutorials
/ #SMLPhotography #SMLTutorials #SMLEDU #SMLUniverse
/ #HDR #photography #workflow #tutorials #video #edu
This may initially look complicated but this is the photography workflow that I currently use including the route from initial captured image, through ingestion and processing, distribution and eventually to archiving.
INGESTION: Through Adobe Photoshop Lightroom, images are copied to a working internal hard drive on my PC. During this "ingesting" stage, I set keywords, add copyright, apply any preset editing and add these images to a subfolder named, "originals". I also automatically copy the images to an external drive purely as a backup. I call this drive the redundant drive.
SORTING: Next I quickly go through and determine which images are rejects and I mark them for deletion. I don't delete them yet because I might always change my mind later after I see what can be done with the editing.
NON-DESTRUCTIVE EDITING: I adjust the camera calibration. This is a very quick and flexible way to change the major balance of the photo and effect all of the colors at once. I do additional white balance tweaking, black clipping, whatever is needed. If specific changes to the content of the photos are needed such as removing an exit sign or cloning over a name tag, I export to Photoshop from Lightroom and make those changes on a copied layer. Then I save a PSD, go back to Lightroom and make any final changes there. Finally, I add individualized keywords (people in the photos, specific details about the photos).
RENAMING: The first step before exporting is to look at the files marked for deletion. If they really are no good, I delete them. Next, I rename all of the files so that they are easier for people to read. Usually I follow the pattern of "name of event - 001.extension". Some photographers and editors don't do this step preferring instead to use whatever file name is generated by the camera. But to me, with the power of modern search engines in Lightroom and Portfolio, I think it's best to rename the files so non-technical people aren't intimidated by all of the numbers and strange letters.
EXPORTING: Next I export for print and web size, each to a separate subfolder. For print, it's a full resolution jpg export at 300 ppi with the same name as the original filename. I also retain the Adobe RGB color space that I shoot in as it's best for printing (though I personally prefer the look of ProPhoto color space). For web, 72ppi jpg, sRGB color space (for browser compatibility) and 1024 x 768. Other photographers prefer TIFF but I think a full resolution jpg looks just as good as a full resolution uncompressed TIFF. Maybe I'm wrong, but my photos have been printed rather large on two page spreads and they look good to me. Plus, an uncompressed TIFF is rather huge in terms of file size. And when sending dozens of files for a magazine, JPGs are much easier for people to handle and transfer.
I also have export presets for facebook, LinkedIn and any other social media sites I distribute to. However, for Flickr, I just publish straight to the site from within Lightroom. No need to export anything separately.
DISTRIBUTION: Depending on the needs and capabilities of the client, I'll use our or their FTP sites to distribute print or web size jpgs. If they don't have FTP capabilities, I'll send photos via YouSendIt.com. If that isn't a possibility (if I am sending huge amounts of data for event photography for example), I'll burn a DVD and mail it to them. For internal distribution within the company, I'll place the print and web files onto the shared drive along with a PDF preview I make in Bridge (step not pictured). Some people have had the picture preview function removed from their computers by the IT department, so the PDF preview is unfortunately a necessary step.
ARCHIVING: The first step before archiving is to convert all of the raw files to DNG. This reduces the file size by about 20-40% and is a lossless compression. It also combines the raw file and associated sidecar file into one file which makes the folders cleaner. Over the course of many thousands of images, this makes a huge difference and makes the IT department slightly happier about storing ten versions of a headshot when to them they all look the same.
Next step is to transfer the whole working folder which contains the originals, print files, web files, PDF preview and PDF scanned copies of consent forms to the shared drive. This network drive is on a standalone server and is backed up every night to tape which is stored at a separate location. The shared drive is also in a separate building, so if my building ever had a disaster and was destroyed, the photos would be backed up in two separate buildings.
DATABASE MANAGEMENT: I currently am using Extensis Portfolio to look at the photos stored on the shared drive. When Portfolio runs, it searches for new photos, changed photos, removed photos, etc. and while it's updating its catalog (database), it extracts keywords from the files and creates keywords depending on the folder name, file name and location on the server. This catalog can then be searched by anyone with Portfolio Browser as it's stored on the network (the program and the catalog). Extensis Portfolio is very buggy and crashes all of the time, so I'm currently looking for another solution that is more reliable and user friendly to non-professionals.
FINAL STEP: Once the photos are edited, distributed and archived, this is usually when I delete the photos from the CF cards (if I haven't done so already to make room for another shoot).
If you are interested in photography life is getting complicated because the range of decisions to be made is increasing at an amazing rate.
This month has been amazing because so many new cameras have been launched and I am interested in many of them. I suspect that I will get the Fuji X-T3 but I would like to get the Fuji GFX-50R or the GFX-100S but I cannot really justify paying between Euro 6000 and Euro 13,000 to switch to medium format. The 50R body will cost about Euro 4,500 and the 100S will retail at about Euro 10,000 so it is definite that i will not be getting the 50R. The 50R with a suitable lens would cost about Euro 6,000 so the possibility of me getting one is not good.
Sony did not launch a new camera but they announced a 24mm GM lens but when I went to my local dealer for details I was asked if I was planning to trade-in my Zeiss Batis 25mm and then I realised I had nor used the Batis since I got the Sony A7RIII. Many were expecting Sony to announce the A7SIII but all indications are that it will not appear in the shops until sometime in 2019
As the Sony 24mm is expensive it does not make much sense for me to purchase one if I already have a prime 25mm Zeiss lens so I decided to take it out to Glasnevin Cemetery to see how good it is. I liked the results but chromatic aberration proved to be an issue but despite that I suspect that I will give the Sony 24mm GM a miss. At this stage I am considering three lenses for my Sony A7RIII and they are the 12-24mm G, the 16-35 GM and the Sigma 105mm. Note: Capture One corrected for chromatic aberration better than did Lightroom.
Ever since it was introduced I have used Adobe Lightroom and I am currently Using version 8 [yes 8 not 7] but recently someone mentioned to me that Capture One is better than Lightroom. I had a quick look today and the images imported by Capture One do appear to be better ... it will take me a few weeks to investigate this because switching would have a major impact on my workflow.
This is my current workflow, the last step may vary naturally. I don't always use the same filters, but Adjust and Detail from Topaz Labs quite often used
Test album done with a camera and a technology that inspired people over the past one or two years. The Fuji X100s is said to be the newest iteration of Fuji X technology (resolved AF, resolved operation speed, etc…), sporting the newest X-Trans sensor. Prior to shooting I have read Zach Arias’ article on the camera and my friend Charles Lanteigne’s article as well.
After thorough shooting, I have concluded that this camera and the fujifilm brand caters to people who love shooting with fujifilm film rolls and hate retouching their images.
The Fuji X100s does a few of things right. Experiencing such pleasures is quite motivating to keep using that camera. Makes me wish other cameras had them.
- Images out of camera: They are gorgeous, film-like and very pleasing as opposed to the standard AWB digital look of other cameras. The reason why I believe a lot of people shoot film is that the colors of film don’t require must retouching to be beautiful. So does the images from the X100s. As such, you spend less time in front of the computer and more time shooting.
- Style: The camera is gorgeously retro and operates “kinda” well.
- Provides film-style controls where shutter and aperture are assigned to dial and lens.
- Dat ND filter makes shooting in sunlight enjoyable
- Digital publishing: The images are gorgeous on any digital screen.
From there, it falls apart…
- Images are unusable in conventional ways of digital processing (Lightroom in particular handles badly the files). Files stand up horrible when seen up close. While many of my fujifilm owner friends are trying to convince me to play around with alternative ways of processing, I am not ready to give up my workflow for a more complicated and time consuming one. This just break the camera for me.
- AF is reliable 1/3 of the time, often missing its target
- Hybrid viewfinder mechanism gets stuck in the middle of switching
- The EVF is disgustingly slow and hard to use (coming from the OMD and the NEX-6), so I end up using just the optical which is nice
- Navigating the laggy Fujifilm UI is a frustrating mess
- The system needs to drop out of shooting mode to reboot into preview mode
- In preview mode, you need to enter a “burst” folder in order to view all the burst shots you’ve shot.
- It’s really hard to check to see if your image is in focus or is sharp
- The list goes on and on…
In the end, using the camera is an exercice in patience and frustration for a digital camera user providing files that aren’t optimal for post-processing and an unreliable operation that frustrates more than rewards. Yet with a film approach, the process could turn into a happy ending thx to controls that make the camera operate on a similar path as film. The fact that the camera produces gorgeous out of camera images saves a whole lot of computer time for the people who don’t know much about digital post-processing.
The 2nd app in my workflow I use is Photogene... More on how I use it at:
digitalchemicals.blogspot.com/2014/02/ipad-photography-wo...
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About. Me - about.me/edwardconde
The only trick here is that I've stopped using my laptop at shoots, and rely solely on the 64gb iPad 2 for downloading and reviewing. When I get home, I dump all of the photos to my 11" Macbook Air, catalog and rate them in Adobe Lightroom, then store them on one of two remote Drobo volumes, via a wirelessly shared Mac Mini. The mini is also running Backblaze, which backs up the contents of the Drobo.
This workflow will be augmented (hopefully for the better) as soon as PhotoSmith comes out.
Takes a screenshot of the selected web page using Paparazzi! & uploads it to your Flickr page
Gets the current selected web page from Safari & sends it to Paparazzi!
Paparazzi! takes a screenshot of the web page & saves it on the Desktop
Uploads the image to Flickr
Opens your Flickr photos page for organising (add to sets, groups or collections)
Ask if you want trash the image once uploaded
Download from here
With kind permission from Paul Fisher, visualisation with GraphViz.
A version of this workflow is available at www.cs.man.ac.uk/~hulld/workflows/paul_fisher_complex.xml
This was a wonderful reception attended by over 100 adults and their children....
I was blown away by the reception and the camaraderie amongst us and our guests and feel very proud to be part of this beautiful event!!! Many thanks to everyone in the committees with a special thanks to Evelyn, Vern, Liz, Toon.....on and on ;~)> A big hug and good wishes to all.
FOR MORE PHOTOS OF THE RECEPTION SEE: www.flickr.com/groups/manhattanville/pool/
All rights reserved
125th Street IRT elevated subway stop on Broadway
Vague Terrain: Manhattanville Exhibit
NoMa PHOTO Group
5000 Broadway, Suite A
New York, NY 10034
June 2008
FOR IMMEDIATE RELEASE
NoMa Photo Group Presents Vague Terrain: Manhattanville
The NoMa Photo (Northern Manhattan Photographers) Group is pleased to announce a group exhibition Vague Terrain: Manhattanville at City College Art Gallery, curated by Maria Politarhos.
Vague Terrain: Manhattanville presents the discoveries of an eclectic clan of 23 photographers who spent a year chronicling the architecture, artifacts, and people of Manhattanville. The exhibit identifies this particular urban unit as a viable neighborhood. It is a photographic testimonial of an expedition during a period of
ongoing and dramatic changes for the community. The Harlem area’s boundaries are from 122nd Street to 135th Street between the Hudson River and St. Nicholas Park.
“Terrain vague” is the term coined by architect and critic Ignasi de Sola-Morales to describe urban environments full of ambiguous spaces—where there is beautiful tension between an area’s architecture and its environment, where the space is in some way strange, unresolved, or unsettling.
Photographers: Evi Abeler, Brother Anthony-Francis, Christopher Auger-Dominguez, Vern Ballard, Elizabeth Borda, Greg Brophy, Dawn Chase, Maggie Clarke, Matthew Evearitt, Peter Ferko, Evelyn Fernandez, Mike Fitelson, Lenny Garcia, Simeon Gilmer, Karen Green, Rebeca Lebkoff, Caren Litherland, Eliud Martinez, Michael Palma, Robert Polanco, Sirin Samman, Tom Stoelker, and Ivette Urbaez.
City College Art Gallery Hours: Monday - Thursday, 12 – 6pm
- more -
City College Art Gallery
Compton Goethals Hall
140th Street & Amsterdam Avenue
New York City
June 18 - July 17, 2008
Reception: Wednesday, June 25, 6 - 9PM
For further information contact:
Vern Ballard, (646) 302-1176
email: NoMaPhoto@gmail.com
Photo NoMa Group:
Brother Anthony-Francis
Christopher Auger-
Domínguez
Elizabeth Borda
Greg Brophy
Bob Cain
Dawn Chase
Marjorie J. Clarke Ph.D.
Steven Day
Evelyn Fernandez
Mike Fitelson
Lenny Garcia
Karen Greene
Richard Herrera
Michael Palma
Amir Parsa
Robert Polanco
Rojelio Reyes Rodriguez
Tom Stoelker
Ivette Urbaez
Mario Vivas
August 31, 2007
To Whom It May Concern:
NoMa Photo Group, comprised of photographers living and
working in Northern Manhattan, is undertaking a documentary
project on the neighborhood commonly known as Manhattanville,
an area roughly bounded by W. 125th and W. 135th Streets,
Broadway and 12th Avenue. It’s a neighborhood that is at the
center of much potential change in the near future.
Over the next few months, our photographers will document
the streetscapes, buildings, residents, and workers of this longstanding
community, preserving what it looks like at a moment in
time. This record will serve a similar role as photographs of the
original Penn Station and old financial district do now: reminding
future generations what forgotten New York once looked like.
We are approaching this project through the urban planning
concept of “terrain vague,” exploring the role that older buildings
play in the urban infrastructure as a counterpoint to homogenous,
planned development.
NoMa Photo Group is comprised of working photographers who
believe that the responsible uses of photography – as a form of
art or tool for communication – can help us better understand the
world we live in. The individual photographers undertook this
project as volunteers and have not received outside financial, or
other, support. We appreciate your assistance in helping us complete our
documentary project.
NoMa Photo Group
Page 2
NoMa Photo Group Presents
Vague Terrain: Manhattanville
Background Details:
“Each photographer, guided by their personal vision, explored Manhattanville to discover and to reveal its people and structures as anthropologists and archaeologists might,” explains group spokesman Vern Ballard. “For our group this is not merely intended to be a documentary or journalistic project, nor is it just a collection of artistic and political statements.” The group employs a gamut of cameras: Holga, 35mm, medium format, Polaroid, digital. They utilize darkroom and digital workflows, as well as special techniques. The results are as varied as the group itself. “Initially, there were a lot of desolate urban landscapes,” recalls Ballard, “but that changed midway through the project when Rebecca Lepkoff asked, ‘Where are the people?!’” Lepkoff is a founding member of the group. Beginning in the 1920s she established a reputation by chronicling the Lower East Side. As a result the exhibit evolved into a body of abstract, architectural, graphic, street, urban landscape, and environmental portraits, including people. In the late 19th and early 20th century, Manhattanville was the site of bustling industrial and commercial
activity. Commuters were levitated through Manhattanville via the Broadway elevated subway and the Riverside Drive Viaduct. One hundred and twenty-fifth Street had a port on the Hudson. Two auto assembly plants, the Nash and Studebaker Buildings, were at 133rd and Broadway. According to local lore, the Nash Building was retooled to accommodate the Manhattan Project. Each of these architectural relics is featured
in the foreground and background of the show. In recent years, Manhattanville’s nondescript gas stations, automotive repair shops, bus depots, store fronts,
and storage facilities have given way to epicurean delights, such as Fairway’s gourmet emporium and a handful of hip restaurants. The signs of evolution have been eclipsed by the struggle between Columbia University’s 30-year, multi billion-dollar expansion plan and storage magnate Nick Sprayragen’s refusal to dislodge his family business, in spite of the threat of eminent domain. Other epoch-shifting forces of
gentrification have left many residents, local business owners, neighborhood preservationists, and community activists apprehensive about their ability to maintain Manhattanville’s character and affordability. These forces provide the subtext of today’s Manhattanville. Few doubt they will jeopardize many aspects of the Manhattanville depicted in this exhibition. In 2008, Manhattanville is a prime example of a “Vague Terrain,” not only because the place itself is “unsettled,” but because its future is as well. Two opposing visions generally polarize the discussion of vague
spaces in areas such as Manhattanville. The first decries the disorder, decay, and blight they represent in the city. The second, by contrast, highlights their potential interest as livable spaces where artistic, religious, and cultural freedoms flourish. Manhattanville is our “vague terrain.”
For further information contact:
Vern Ballard, (646) 302-1176
email: NoMaPhoto@gmail.com
This is a shot list that I make of the images that I'd like to take when I do my walkthrough with the REALTOR® client (or on my own, if no client meets me at the property).
This idea came from the Interior Photo Workshop that I took in January 2009 in suburban Chicago from Photographers Scott Hargis and Thomas Grubba