Photographing NYC Cityscapes Without Sucking The Big Apple :: Part 3

Nikon D5 :: Top of the Rock :: Rockefeller Center
Granted there's more than one photo in a post, choosing that opener is very important to a photographer and/or blogger.

So while you scratch your heads, let's turn this mutha out (I'm such a dork) . . .

[I have no idea why that first sentence indented in an old school way and I couldn't undo it without redoing the post. I'M BRINGING THE INDENT BACK PEOPLE, TO AWESOMENESS!]

Why The Dude In Deep Thought?

I suppose, it flips the traditional idea of a cityscape or landscape on its head. Oh, with that, if you haven't read [Part 1] or [Part 2] yet, do that now and come back for this third nuke of knowledge I'm about to drop.

Kansas City Shuffle
"A Kansas City Shuffle is when everyone looks right, you go left."
Artists should tattoo that quote backwards, to their foreheads, like that dude in Memento. And not to confuse but the quote was from another film, Lucky Number Slevin. Good movie. Underrated in my book.

As a creative, practicing the Kansas City Shuffle is vital for success no matter what your passion; photography, filmmaking, writing, painting, etc.

Don't get me wrong, there are dope landscape/cityscape artists out there but I can't help but giggle and think of Bob Ross when I hear the term uttered.

Although it was a family trip to New York City that day, be it with my iPhone or new flagship Nikon, the Nikon D5, my goal was to come home with at least one awesome photograph. And so I did.

Now as for the dude in deep thought, the opener? Sure it's certainly a stretch to be called a landscape or cityscape but if you wanna nitpick, but if you Google the definition of Landscape, one of them states . . . the distinctive features of a particular situation. Yeah, I know. Some of you think I'm reaching there but let's look at the image. Without dissecting it to death, you immediately, due to his surrounding elements, not to mention the Manhattan skyline, giving context as to this particular situation. Bam. Landscape. Excuse me while I drop the mic.

Moving on. And I'm just being a dick. Relax. It's how we do here.

Nikon D5 :: View from Top of the Rock
 Now if this one doesn't epitomize the Kansas City Shuffle than you can slap me in the face and call me Sally.

The Empire State Building stood dumbfounded, like a day in the life of Angelina Jolie getting mobbed by the paparazzi, shutters clicked like Sammy Davis Jr. tap dancing while tweaking out on poor man's cocaine.

And yes, I too had these sheeplike instincts wanting to create a couple 'scapes from the more crowded north side of the observation deck. But in proper fashion, did my best trying to flip those fuckers on their heads too. Whammo ::

Nikon D5 :: Top of the Rock

Nikon D5 :: Empire State Building view from Top of the Rock at Rockefeller Center

 Ok, back to this one ::

Nikon D5 :: View from Top of the Rock

 What makes this one so unique? I mean we can all agree it looks pretty standard in terms of cityscapes.

Well, as it was getting no love from photogs or tourists or their mothers, I decided that this wonderful high-rise, that looks fairly new, and have no fucking clue what building it is, needed my love.

Sad story for this beautiful work of architecture really. Or not. What the hell do I know? Could be one of the newest and most iconic high rises of the decade. I haven't renewed my Builder's Digest Quarterly. What can I say? I'm not even sure that's a real publication. Kind of just snatched it from thin air, just now.

Without saying the same thing ten different ways to get my point across (wife says I often do this), let's just agree to agree that the uniquity of the lonely high rise shot is in fact unique because many of us never saw it; with our own two eyes, film, or still photographic work.

NERD FILE ::


Photographer staring intensely into the city like Ferris, Sloane and Cameron staring down from the top of the Sears Tower Building in Chicago (unofficial names for these photos my friends, nothing official) :: flipped this fucker by barely being able to call it a cityscape at all. Period. Done.




That lonely erection in the sky (you like that one right?) :: Hey. I like the underdogs people.





My family with Angelina the Empire State Building (just seeing if your were paying attention) :: I mean come on. Not stroking my own ego here folks but, and I saying it jokingly and often, can I drop the mic. Come on. Using the glass panes as elements? Gangsta.




Last but not least,  take on the Empire State Building :: If you read, was it [Part 1] or [Part 2] of this series then you know this one just like that family shot, er um, but different. f/2.8 here people! Yep. Call me crazy but I went there.

 Summarization

You look at these four photographs, like them or not, you cannot deny their oneness for their own individual reasons. Post production plays big roles here too, helping to separate them from the herd. And no filters people. Sure, on The Gram, I'll fuck with filters with my iPhoneography but when I'm working with the Nikon D5 (Suzy Greenberg), in that digital darkroom, I'm a purist.

Now, on the other hand, some of you may be, or not, thinking that the four photos are so entirely different from each other that it's hard to show a flow, look or style that is Michael Anthony Murphy :: Creator. My friends, it's all about the experiment, the play, the fun. That's how to keep that creative spirit alive and well. That's how you hone and dial in that style that becomes you, your soul, by pushing outwards at all times. Think of outer space. it's constantly growing and changing; becoming extremely different every single second while at the same time having the undenyabiltiy that she is the only one like her.

Wow. Went sooooo off the deep end there.

With that I bid you adieu. Oh, and there may be a [Part 4] on the way.

Peace.

[PART 1]

[PART 2]

[PART 3]

Until next time . . . 

This entry was posted on Sunday, December 18, 2016 and is filed under , , , . You can follow any responses to this entry through the RSS 2.0 . You can leave a response .

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