1/400th at F5.6, ISO 1600 (28mm).
New York, the city where the people that go through the trash have better fashion sense than everyone else.
If you haven't seen the movie Zoolander, the title of this post is from this classic scene.
You can't visit Charleston without visiting a plantation. Charleston was the port of which over 40% of African slaves that were brought to America passed through. It is why the city was at one time one of the richest in the Americas and why the landowners and well off residents in the city were said to have lived like kings. It is also why the Charleston elite were at the forefront of the Southern resistance during the civil war.
More on the city itself in another post, but the plantation was home to the Drayton Family and the original house dates back to 1738 and included 630 acres of land. It primarily produced indigo and rice and was entirely self sufficient.
If you're interested, you can do a full tour and read more about the plantation here. Unlike many of the others, which have been restored, this plantation is special because they chose to preserve it in its current state and the seven generations of Draytons that lived here family preserved it. The rooms are all empty, but you can see the original details with all of the wear that time has taken.
The details were by far the most interesting aspects photographically.
1/125th at F6.3, ISO 200 (28mm).
Just got back from a week vacation in Charleston, which was the reason for the slow posting the last few weeks.
Here's a quick shot in front of one of the oldest buildings in the city, dating back to 1743. No matter where I travel I always manage to capture a dumb shot like this. One day I'll have a books worth of shots of ridiculous tourist shirts in front of grand architecture and monuments around the world.
But more on the city, the history, and the architecture, with some (sans tourist) travel shots over the next few days as I get more time to write some posts. It was one of the most stunning cities that I've ever been too, both in history, in the preserved, grand architecture, and in the food. The food was incredible.
1/400th at F13, ISO 1600 (28mm).
It's often on purpose, but even when I'm not trying I can't seem to take a photo without that damn New York Dolls taxicab advertisement. It's on half the cabs.
Here's the last one. If you notice, it pops up in a lot of my street work.
1/80th at F2.8, ISO 1600 (24mm - cropped) - slight bounced fill flash.
Read the full interview here.
"I’m from Tulsa, Oklahoma. I always wanted to live in New York and so I ended up making the big move to the East Coast while everyone else was making the move to the West Coast. This is the only place I’ve ever lived in New York and I’ve been here for 43 years. This is it.
I am so proud of Tompkins Square Park, which I consider my front yard. Important things happen here. When I first arrived here, I thought it was heaven, paradise on earth, because in the Park on May Day you had all the young people with big red flags celebrating May Day, Communism, Collectivism, and then you had a group of Ukranians with great big signs saying, “Free the Captive Nations,” free all the people in communist countries.
I’ve also seen it go through terrible times. In 1988, I was so stunned to find the entire place surrounded by helmeted police with nightsticks during the riots. I couldn’t believe what was going on. I remember the screaming when they were throwing out all of the homeless people from the Park. I know there were a lot of dangerous things going on, but it killed me to hear that. I was yelling, “Why are you doing this to those people?”
I’ve had a very checkered career. When I moved to LA after college, one of my first oddball jobs was creating a hand-puppet show for the County Parks Department out of a converted park washroom. We eventually took it on the road and showed it to zillions of children and then had big puppet workshops all over the place.
When I moved here, I worked for an arts funding organization. It was the perfect job for me. Having no money, I was able to give away money that was provided by the New York State Council in the Arts and the National Endowment for the Arts. It was quite a wonderful organization. I was a traveling consultant and I went out to meet with all sorts of groups around the state having to do with issues of arts, saving interesting architecture, poetry groups, dance groups. I advised groups on how to stimulate the community to support them. My role was to instigate them to instigate excitement within the community and bring in more people. I also worked on prison projects and with migrant worker programs.
I also created a jewelry business with my sister for 10 years. We named it Krasne Two. We were designing imaginative accessories and jewelry. We made quite a splash but it is very hard to keep that kind of world going when you are limited financially and don’t have enough backing. It was fun while it lasted. Now I design floor cloths and murals and all kinds of accessories
And then I went into the Argentine Tango business. I fell in love with the Argentine Tango as so many other have. I first fell in love with the music and then I fell in love with the dance. If it grips you it grips you and you’re really caught. I helped start the first New York City tango festival, which was about the wonders of New York and the wonders of Tango. I took the Milanga (Argentine Tango Party) outdoors to Central Park about 15 years ago. I called it the hit and run tango because if the police came you ran. You find a beautiful place, free or pretty free, open to the public, attractive, and everybody dances like crazy and you expand this community, which was teensy weensy. I don’t run it anymore but it’s still going on every Saturday afternoon."
1/400th at F9, ISO 400 (51mm).
For those of you that don't know him, Chico is an incredible East Village street graffiti artist. His murals are everywhere and they have this uncanny ability to express the culture, community, and beauty of the neighborhood. It makes me happy to see how one person's art can add so much to the fabric of a neighborhood.
Anyway, I wanted to create a Chico within a Chico, so to speak. For those of you that care, this is a composite of a couple shots occurring within about a minute. The people were all in a scene together and the birds in the middle and top right were in another shot.