“Circus Women” (1931), an Elie Nadelman sculpture carved from a single block of Carrera marble, at the David H. Koch Theater in Lincoln Center. This theater was designed by architects Philip Johnson and John Burgee, opened on April 23, 1964 and was formerly known as the New York State Theater. New York City.
I previously posted a similar scene taken with a digital camera. Here is a version taken with my Olympus Trip 35 on Fuji Superia 400 film.
The American Merchant Mariners’ Memorial, a sculpture by Marisol Escobar, dedicated in 1991. The bronze sculpture was inspired by an actual photograph taken by the German attackers as the American marines clung to their sinking vessel.
It seemed that the clouds set a dramatic mood for this moving memorial, while Lady Liberty looked on in the distance.
Olympus Stylus Epic, 35mm f.28; Fuji Superia 400, converted to BW.
This was one of those chance moments when all the elements came together in an instant to make for an interesting photograph; a woman passing through a shaft of sunlight in front of the Metropolitan Museum of Art. All I had with me was my Olympus Stylus Epic point and shoot film camera, loaded with Fuji Superia 800 (later converted to BW). With film I had one chance – I had to be fast – these moments disappear in a flash.
Ernesto Neto. Navedenga (installation view at The Museum of Modern Art, 2010). 1998. Polyamide stretch fabric, sand, Styrofoam, cloves, cord, and ribbon, 144 x 180 x 252″ (365.8 x 457.2 x 640.1 cm). The Museum of Modern Art, New York.
Heading down at the 53rd Street and Lexington Avenue subway station, New York City.
Taking a break from my snow in Central Park shots until maybe the next storm, which might hit the city tonight. In the mean time I’m continuing to explore the possibilities of low-light photography with the Olympus Trip 35 set on manual at f2.8, which causes it to fire at 1/40 sec – perfect for low light using 400 ISO film.
This was shot while riding down the escalator at the 53rd S. & Lexington Avenue subway station in New York City.
Olympus Trip 35, Zuiko 40mm f2.8 @1/40 sec., Fuji Superia 400
This bronze sculpture by Paul Manship depicts a group of three bears on a circular stepped pedestal. Located at the Pat Hoffman Friedman Playground at Fifth Avenue and 79th Street, the piece was a gift from Samuel N. Friedman in memory of his wife, Pat. The piece was cast in 1960 and unveiled on October 11, 1990 at the playground dedication.
Olympus Trip 35 with the sharp Zuiko 40mm f2.8 lens, on Fuji Superia 400 film and converted to BW with a Photoshop plug-in.
A lonely biker on the 72nd street drive in Central Park, New York City.
I have not been shooting with my old Olympus rangefinder for a while because of a problem with it, but recently I bought a second one and I’ve just finished a roll of film. Here is one of the results. The camera, with it’s sharp 42mm f1.7 lens is a joy to hold and use.
Olympus 35SP rangefinder, Zuiko 42mm f1.7, Fuji Superia 200.
Continuing my series of pictures with the legendary Olympus Trip 35 in the Ramble in Central Park, New York City. Not only does the Trip work well in low light, but it does very nicely with back-lit scenes as well. The automatic exposure is right on target, and the Zuiko 40mm lens creates a beautiful sharp image without any noticable flair.
Olympus Trip 35, Zuiko 40mm f2.8, Fuji Superia 400 Xtra
Glen Span Arch, (contructed in 1865 and designed by Calvert Vaux and Jacob Wrey Mould), gateway to the Ravine in northern Central Park, New York City.
Continuing my set Autumn in Central Park on film. This is a view I’ve shot many times in digital, but I’m much more pleased with the results on film. Taken with a digital camera the view through the arch tends to be washed out if you want to keep some details in front of the arch. Negative film with it’s much higher dynamic range works much better under these circumstances.
Olympus Trip 35, Zuiko 40mm f2.8, Fuji Superia 400.
Another example of my set on Autumn in Central Park, New York City taken with the Olympus Trip 35, Zuiko 40mm f2.8, Fuji Superia 400. The negative was scanned on a Nikon Coolscan V ED. The color was not altered or adjusted.