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Shoot RAW + JPEG. The unsurpassed monochrome conversions are landed up at by editing raw files which have the full colour information, but if you shoot raw and JPEG files simultaneously and set the camera to its monochrome photograph Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. As numerous photographers struggle to visualise a scene in black and white, these monochrome modes are an invaluable tool that will help with composition and scene assessment. numerous cameras are also capable of producing decent in-camera monochrome images these days and it’s worth experimenting with image parameters (usually contrast, sharpness, filter effects and toning) to find a look that you like. Because compact habit cameras and compact cameras show the scene seen by the sensor with camera settings applied, users of these cameras are able to preview the monochrome image in the electronic viewfinder or on rear screen before taking the shot. DSLR users may also do this if they kick in his camera’s live hunch lane , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

Take Control. Although coloured filters may still be used to manipulate contrast when shooting digital black and white images, it’s more common to save this work until the processing stage. Until a some years ago Photoshop’s Channel Mixer was the preferred means of turning colour images monochrome, but now Adobe Camera Raw has more forceful tools (in the HSL/Grayscale tab) that allow you to adjust the brightness of eight individual colours that make up the image. It’s possible to adjust one of these colours to make it anything from white to black with the sliding control. However, it’s important to keep an eye on the whole image when adjusting a particular colour as crafty gradations could become unnatural looking. And adjusting the brightness of a red or pink shirt with the red sliding control, for instance , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls could also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create discrimination between objects of the same brightness but with varied colours.

Try Long Exposure. Long exposure shots could work really well in monochrome photography, especially where there’s moving water or clouds. During the exposure the highlights of the water, for example, are recorded across a wider area than they would with a short exposure and this could help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If required , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to decrease exposure and extend shutter speed (by 10 and 4 stops respectively). characteristically , when exposures extend farther than as to 1/60 sec a tripod is wanted to keep the camera still and avoid blurring. It’s also advisable to use a remote release and mirror lock-up to minimise vibration and produce super-sharp images.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more advantageous . An ND grad is cooperative when you require to retain detail in a bright sky while a polarizing filter could be used to decrease reflections and boost contrast. Alternatively, deem taking two or more shots with different exposures to create a high dynamic range (HDR) composite. Don’t be anxious to use a ND grad with a standard neural density filter if the sky is brighter than the foreground in a long exposure shot. Coloured filters, which are an essential tool for monochrome film photographers, could also be advantageous for manipulating contrast in digital images. They work by darkening objects of her opposite colour while lightening objects of his own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all decreased to black and white or shades of grey in a monochrome image and you have to look for tonal contrast to make a shot stand out. In colour photography, for example, your eye would immediately be drawn to a red object on a green background, but in monochrome photography these two areas are likely to have the same brightness, so the image looks flat and lackluster straight from the camera. luckily , it’s possible to work adjust the brightness of these two colours separately to introduce some contrast. However, a great starting point is to look for scenes with tonal contrast. There are always exceptions, but as a general rule look for scenes that contain some forceful blacks and whites. This can be achieved by the light or by the brightness (or tone) of the objects in the scene as well as the exposure settings that you use. The brightness of the bark of a silver birch tree for example, should inject some contrast (and interest) in to a woodland scene. Setting the exposure for these brighter areas also makes the shadows darker, so the highlights stand out even more. Look for shapes, patterns and textures in a scene and move around to find the greatest composition.

Dodge and Burn. Dodging and burning is a strategy that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows. Photoshop’s Dodge and Burn tools allow a level of control that film photographers can only ambition of because you should target the highlights, shadows or mid-tones with both. This means that you should use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten up them to grow local contrast. It’s a good trait of giving a sense of superior sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you could build up his effect gradually so the impact is subtle and there are no hard edges.

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Castles in the Sky. This might be the most romantic picture of New York, ever. As much as I hate to admit it, Downtown was more breathtaking and iconic before the Modernist boxes started filling in the gaps; it was only partly ameliorated by the arrival of the Twin Towers.

It must’ve been quite a sight to see AIG, 40 Wall, and 20 Exchange soar above everyone else so majestically (and from another perspective, Woolworth). Also, I think we should be thankful that, despite the many Beaux-Arts and other gems that we lost, New York still has more than its fair share of historic beauties, owing to the sheer scale of construction at the beginning of last century.

That being said, which loss was greater – Singer, or Savoy-Plaza?

Wow! Fantastic! I just spent over half an hour examining those. Thanks, I’m sure that was quite a labor-intensive post.

^^….. and architects had a little more dignity in their products.

Greeted by the craggy, majestic Andes. Now it’s Table Mountain.No wonder they go to Bayonne.

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READY IN: 40mins SERVES: 6 UNITS: US Ingredients Nutrition For Cookies1 1⁄4 cups all-purpose flour 1⁄2 teaspoon baking soda 1⁄2 teaspoon salt 1⁄3 cup buttermilk 1⁄2 teaspoon vanilla 1⁄3 cup unsalted butter, softened 1⁄2 cup sugar 1 large egg For Black or White icing1 1⁄2 cups icing sugar or 1 1⁄2 cups confectioners’ sugar 1 tablespoon clear corn syrup 2 teaspoons lemon juice 1⁄4 teaspoon vanilla 1 tablespoon water (approx) 1⁄4 cup cocoa powder

Thanks for the fantastic presentation. Quite a few striking and sublime images.

Forum Veteran Join Date Apr 2006 Location Brooklyn, NY Posts 2,199

By Den Haag AvW in forum New York Skyscrapers and Architecture

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Great assembly ablarc. Thanks for reminding us this was here as some of these shots are just classic old New York. Very cool to see Gothic, Beaux-Art, Art Deco dominate the Skyline as opposed to Modernism boxes.

I must say that looking at the Singer building was kind hard to get through. It boils me up that those mo’f-ers actually had the gall to knock down such a beauty. Scumbags! How come they couldn’t built that POS liberty plaza a block away I’m sure the space was available.

Why was that spot so important to these vultures that they had to go out of their way to knock the Singer Building down?!?! Sorry, I had to get that out of my system… Once again great job ablarc. Thanks.

My favorite shot:

NEW YORK IN BLACK AND WHITE Woolworth West St., 1885 Herald Sq., 1888. 6th Ave. El. Terminal, 1892. Alfred Stieglitz. Winter, 1893. Stieglitz. Broadway, 1894 Herald Sq., 1895 Lower Broadway, 1899. Lots of hats.

Police Parade, 1899. Bowler hats, hardly any women. Tiffany’s, Union Sq., 1899. Early car and some figures added by artist. Getting a ticket, 1900 Easter, Fifth Avenue, 1900.One car visible, coming towards foreground.

Hester St., Lower East Side, 1901. Flatiron, 1903. Burnham. Broad St., 1904. Stock Exchange and Federal Hall. Municipal Building under construction, 1904. McKim. No cars. The Belmont Coach, 1905, four horses.

Dogs run free. Easter, Fifth Ave., 1906. No cars. City Hall subway, 1907. Turkish headhouses. Lower East Side, 1908. Herald Square, 1909. Skyscraper beyond is NY Times Building in Times Sq. Cars have replaced horses.

Automatic Vaudeville, Union Sq., 1910. Downtown skyline with Singer Building., 1910. World’s tallest. Downtown skyline with Woolworth Building., 1913. World’s tallest. Birdseye, 1913, with artist’s enhancement.

Hand colored. Federal Crowd Control, 1918. Machine guns in front, modified phalanx. Soldiers on sides assigned to upstairs windows. Wilson feared antiwar riots, losing mind to small strokes. Times Square from New York Times Building.

, 1922. HMS Leviathan and Singer Building., 1923. Fifth Ave., 1924. Buses and taxis on parade. Coney Island, 1928. Walker Evans. Lower Broadway Tickertape, 1928. For Bremen crew, first east-west transatlantic flight.

1928. Three biggest spires not yet built. Fairchild Aerial Surveys. 1935 Philadelphia, just for fun. Skyscraper density nearly matched New York’s. Fairchild. Chrysler Gargoyle, 1929. 42nd Street, 1929.

Walker Evans. Building the Empire State, 1930. Lewis Hine. Icarus, 1930. Hine. Liberty, 1930. With symbols. 1931. Fairchild. Midtown, 1931. The tracks lead to Penn Station. Post Office spans tracks, may some day be Penn Station.

Fairchild. Sikorsky Clipper, 1931. New spires gleam. River traffic, piers, ocean liner in slip. Midtown’s lineup of spires with sky in between, 1931. Six engines! 1931. The valley between, 1931. Brooklyn foreground, 1931.

Small scale dense area between bridges on Manhattan side now a Ville Radieuse. Fairchild. Spires of Gotham, 1932 Tropical Drinks Five Cents, 1932 Subway execs inspect new subway car, 1933. Breakthrough blowers ventilate with windows closed! Cane seats.

Columbus Circle, 1933. No Time-Warner, no Trump International, no Venetian palazzetto. Just $24 in1626? More than that in 1933. Three-point perspective, 1934.Berenice Abbott photos, 1935 Chambers at Oak.

Horse-drawn wagon. Bowery. Henry St. Beyond, Towers of Zenith loom in the mist. Mad King Ludwig in Greenwich Village: Jeferson Market, then Jefferson Courthouse, now Jefferson Library, 6th Avenue. Murray Hill Hotel with fancy fire escape.

Cities Service Tower. Horse-drawn wagons lingered into the mid-sixties. Prickly skyline with famous bridge, 1935. Times Square, 1935. Betty Boop on the marquee. The Astor came down mid-sixties, along with Penn Station and Singer Building: a bad time for beaux-arts.

Streetcars in the square, no overhead wires. Times Square looking South to Times Building. Mid-sixties this was stripped to steel skeleton and re-clothed in kitsch marble by mod illustrator Peter Max.

More bad times for beaux-arts.Berenice Abbott photos, 1936 The El featured potbellied stoves. Fifth Avenue bus in Washington Square. Dapper in front of Dock Department. Billie’s Bar, First Ave. at 56th.

Bowery and Doyer. 3rd Ave. El. Christopher and Bleecker. A wood-clad survivor. Church of God, E. 132nd St. Ferry, Chambers St. Greyhound and Penn Station. Herald Sq. Chain-drive trucks also survived into the sixties.

Manhattan Bridge. Milk Truck, Greenwich Village. Newspaper (Park) Row. Center building once tallest. Berenice Abbott. Park Ave. and 39th. At Hudson River terminus of Cortlandt St., motorized and horse-drawn vans transferred goods to and from barge-borne railcars.

Pike and Henry, Lower East Side, with Manhattan Bridge and a horse. S. Klein On-The-Square, Union Sq. Contraposto. Union Square with Turkish subway kiosk. Is that man using a cellphone?? Magnificent Manhattan spires from Willow and Poplar, Brooklyn.

Cathedrals of Commerce.Berenice Abbott photos, 1937 Avenue D and 10th St. Chain-drive truck. Hester Street. Riverside Drive Viaduct. . Oyster House, South Street, under Manhattan Bridge, with pile of oyster shells.

Father Duffy, Times Square. Andre Kertesz, 1937. Manhattan Bridge from Brooklyn (now DUMBO), Kertesz, 1937. Henry Hudson Parkway at 72nd St.: fancy interchange. Fairchild Aerial Surveys, 1937. Rockefeller Ctr.

, 1937. St. Thomas’ Church at left, site of Jackie O’s funeral. Fairchild. Simply Add Boiling Water, 1937. Photo by Weegee. The old Met(ropolitan Opera), Garment District, 1937. Weegee. Still clean and gleaming, the Towers of Zenith, 1937.

Berenice Abbott, 1938 Duke Mansion, a tobacco tycoon’s, 1 E. 78th St. at Fifth Ave. 40th between 6th and 7th. Zoning generates the form. Flam & Flam, Lawyers, 165 E. 121st St. Wall Street from 60 Wall.

From 60 Wall Street. Cathedral Parkway (110th Street). Columbus Circle. Building with Coke sign another of Hearst’s skyscraper bases. Unlike the one Foster is currently completing, this one was torn down for the Gulf and Western Building, now re-imagined by Phillip Johnson as the Trump International Hotel.

Jefferson Market with the hulking, deco Women’s House of Detention behind (now demolished for a park). From the barred, open windows, the ladies would hurl obscenities at passersby. 504-506 Broome St.

Ancient. Union Square West. A hilarious jumble gets A+ for accidental design. These lots once held town houses. Their dainty footprints have been preserved, so the buildings have a delicate scale regardless of their height.

One is a miniature skyscraper. Scale-obsessed NIMBYs take note: you need to object to a building’s footprint, not its height. From Jersey, the classic skyline view. Subway Portrait. Walker Evans, 1938.

Artists and Poets, Washington Sq., 1939 42nd Street Beauties, looking west, 1939. Clipper, 1939. Europe in 29 hours. DC-4 Over Midtown, 1939. Hood’s Daily News Building lower right. Fish market meets railroad under Roebling’s bridge, 1939.

Abandoned in the downpour, 1939. West Side. Forty-second Street. Sixth Avenue El, 1940. Downtown from Empire State. Andre Kertesz, 1940.1940 Photos by Andreas Feininger Ninth Avenue El, 8th at 127th, Harlem.

The Bowery. Bryant Park. Downtown Skyport with Cities Service Tower. The original twin towers. Tower trio. Slender flattop is Irving Trust, tower at right now belongs to Trump. New York’s greatest walk.

Brooklyn and Manhattan Bridges. Girlies. Downtown gunsmith. Three icons: Empire State; Horn and Hardart (The Automat), New York’s original restaurant chain, long gone; lamp standard, now being re-installed.

Elevated. Central Park looking southeast toward Grand Army Plaza. The baronial Savoy-Plaza Hotel dominates with its vast, vaguely French roof and twin chimneys: another major Beaux-Arts landmark demolished mid-sixties.

Replaced by Stone’s vapid GM Building, recently acquired by Trump. Elevated station, Downtown. Underwear and kosher chickens. What happens when you burn coal. A Greek temple burning coal. Flatiron with Fifth Avenue bus.

Garment District stacked factories steam hats. Arm wrestling in Harlem. Harlem night club. Lower East Side, tenement city, looking north. Streetwall: Park Avenue South. Raymond Hood, master of Deco. Seventh Avenue.

South Street, now a theme park and mall. At the foot of 42nd Street: Normandie with three fat stacks in the middle, Queen Mary with three skinnier stacks at bottom. Normandie burned here, Nazi sabotage claimed.

Normandie was that time’s biggest and fastest (Blue Ribbon).1941 Photos by Feininger Forty-second Street. Mid-size Beaux-Arts skyscraper on north side of street is Times Building, of New Year’s fame.

Building still exists but reclad in mid-sixties. Classic skyline view with America, junior edition United States. Downtown from Jersey. Midtown from Jersey. Horror vacui, Hebrew style. The hats match the canopies.

Macy’s, 34th St.Too much city? Here’s a brief Intermission from the 1870’s (we’ll be back in color)…* * * Tisayac by Eadweard Muybridge, best known for time-lapse photos of men and horses running before graph paper backgrounds.

He also famously murdered his wife’s lover in San Francisco. Tutokanula by Muybridge. Volcano. Cockatoo flying. .* * *Charles W. Cushman Photos, 1941 A color photographer with a black-and-white soul.

The classic pyramid, here with harbor traffic and puffs of pollution. Suits on the pier. What are these men doing? Fulton St. from South St. Broome St. and Baruch Pl., Lower East Side. Not a sidewalk café.

Lower East Side: street as living room. Lower East Side: street as conference room Municipal Building, Courthouse and Jail. Big arch seemed futile before El removed. Fairchild Aerial Surveys, 1941.Charles Cushman photos, 1942.

Lunch, 5 Cents: looking up Broadway to Singer Building. Collecting the Salvage on Lower East Side. Pearl Street, 1942. Central Park. Feininger, 1943. The Fashionable People [harassed by the homeless].

Weegee, 1943. Murder in Hell’s Kitchen. Weegee, 1944. Coney Island. Weegee, 1945. The photographer Weegee (Arthur Fellig). Hole where plane (B-25) hit Empire State Building, 1945.Andre Kertesz photos Brooklyn, 1947.

Andre Kertesz. Lower 5th Avenue. Kertesz, 1948. East River Esplanade. Kertesz, 1948. Metropolitan Life and Empire State. Kertes, 1950. City. Kertesz, 1952. Skyline with Rooster. Kertesz, 1952. Washington Square.

Kertesz, 1954. A city of spires. Just before the flattop invasion, late fifties. First view of Manhattan from the Queen Elizabeth, 1953. The module of the window. Liberty, 1954. Times Square with James Dean.

Dennis Stock, 1955. Balcony. Kertesz, 1957. Guggenheim under construction, 1958. Car and building share design philosophy. MacDougal Alley. Kertesz,1958. Sixth Avenue. Kertesz, 1959. Man Sleeping. Kertesz, 1960.

Whitehall street from Peter Minuit Plaza near Battery. Cushman, 1960.Four photos by Kertesz Rooftop, 1961. Harlem, 1963. Washington Square, 1969. Edge of Arch at left. Washington Square Arch, 1970. Woody Allen and Cleopatra Jones,1971.

Lying Men, Washington Sq. Kertesz, 1974. Kertesz, 1979. World Trade Center. Dennis Stock, 2001.* * *Three New York Buildings Chrysler. Chrysler.Two Greatest Beaux-Arts Buildings Demolished: The main waiting room.

Groined vaults in coffered stone. The Baths of Caracalla. The way to the trains. Groined vaults in steel and glass. Seventh Avenue. McKim, Meade and White, architects. 1903-63. The building made it to age 60.

613 feet!! In 1908! Ernest Flagg was the architect. This building also made it to age 60 [1908-68]. Another five years and they would have preserved it. French Beaux-Arts. Vacant and awaiting demolition.

From Broadway. Queen Elizabeth and skyline. Andre Kertesz, 1958.

Watch on your iPhone, iPad, Apple TV, Android, Roku, or Fire TV.

This thread didn’t get many replies when first posted, so I’m bumping it. Some folks might want to download some of these pics to their personal collections. The images are classics, so they won’t go obsolete.

Or you could say they’re already obsolete –like being pre-shrunk

As much as I hate to admit it, Downtown was more breathtaking and iconic before the Modernist boxes started filling in the gaps; it was only partly ameliorated by the arrival of the Twin Towers. It must’ve been quite a sight to see AIG, 40 Wall, and 20 Exchange soar above everyone else so majestically (and from another perspective, Woolworth).

Stumped for dinner? Get our life-saving Dinner Daily newsletter. You (and your stomach) can thank us later!

This Queen’s dead (along with the skyline that once greeted her), but tomorrow her successor, QE2, will be making a now-rare visit to the West Side Manhattan piers. She’s due in from Southampton sometime before 8:00 a.

m. and scheduled to sail for Newport and Canada at 5:00 p.m.

“Look to the cookie. These cake-style cookies are a staple in New York City. Growing up we used to buy these all the time and you can still get them in every bake-shop in the city. They were made famous to the rest of the world by an episode of Seinfeld entitled “The Dinner Party”. They are more like small cakes than crunchy or chewy cookies, and should be roughly the size of the palm of your hand, if not, bigger. These are great for taking to a potluck, or if you’ve got a wayward New Yorker around.”

Great images all in one place ! I recall seeing some of these in the mueseum of the city of new york.

Wow. Spin-inducing, eyes-as-big-as-saucers pix.I have a soft spot for the El’s, but New York replete with horse-drawn buggies, carts and the faint whiff of manure seems positively alien.

Directions Preheat oven to 350°F. Sift together flour, baking soda and salt in medium bowl. In small bowl or cup, mix together buttermilk and vanilla. Beat butter and white sugar together in a large mixing bowl with an electric mixer for about 3 minutes or until it’s evenly distributed.

Add egg to butter and sugar mixture, and beat until blended. Gradually beat in flour mixture one cup at a time, and add in buttermilk mixture between each cup of flour, and mix until smooth. It will be necessary to scrape down the sides of the bowl while mixing.

Spoon batter in 1/4 cup size servings onto a baking sheet lined with parchment paper. Bake on middle rack for about 15-17 minutes, or until the tops are golden brown and spring back when touched. Place on a cooling rack, and allow to cool completely before icing.

Stir together icing sugar, corn syrup, lemon juice, vanilla, and 1/2 Tbsp of water in bowl until smooth. Place half of mixture into separate bowl and add cocoa powder, and remaining water bit by bit until it is the same consistency as the white icing.

If the icing is too runny, add more icing sugar until it is smooth and spreadable. Turn cooled cookies flat side up, and spread icing with pastry spatula, or butter knife. White over one half, chocolate over the other.

The icing does not set solid on these cookies, and does not harden, but it dries enough to be wrapped as they are sold in the city. They can be wrapped individually in cellophane, or sealed in a plastic container.

Thanks for bringing this set of incredible photographs back to the top of the pile.

Disgruntled Optimist Join Date Jun 2005 Location NYC – Downtown Posts 32,654

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