Category Archives: photographic

pre-spring haiku

 

 

 

all over the place

water running faster than you can walk:

snowmelt

 

 
— Ella Rutledge (posted on her Facebook page, February 2019)

 

 

I wish to thank my friend Ella Rutledge for giving me permission to post her haiku on this site.

 

 

— posted by Roger W. Smith

   February 24, 2019

 

 
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photographs of Central Park taken February 21, 2019 by Roger W. Smith

 

 

 

 

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a surge of positive energy

 

 

 

 

 

Being in New York City — or, more specifically, Manhattan.

Always a surge of positive energy. A sense of exhilaration A lifting of the sprits. It’s hard to be depressed.

How does one account for it?

 

 
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I would say that it’s the following.

The concentration of people. It’s why I love cities.

The concentration of business establishments; of restaurants serving every cuisine imaginable, at a wide range of prices; of coffeehouses everywhere where you can sit musing or chatting for what seems like forever; of places of interest such as libraries, theaters, cinemas, concert halls, museums.

The parks and public gathering spots, such as public sitting areas everywhere on even the most congested avenues.

The wide sidewalks, thronged with people.

The wonderful infusion of people of all races and nationalities. The immigrants. The tourists. What they contribute and share in terms of enthusiasm and amiability.

The incredible variety of languages spoken. Heard all the time, on the street and on the subway. Music to the ears.

The access to water, to the ocean and the Hudson and East Rivers, every which way one turns.

A sense of being impervious to weather. It’s fun to walk the streets on a hot summer day when everyone is without a coat. On a winter’s day when somehow an icy chill doesn’t seem to matter. When it makes your blood tingle, and when walking the streets makes you feel warmer. And when it’s raining, the rain-slicked sidewalks often have a feeling of romantic beauty.

The City. Manhattan. The energy! The fun. The sheer excitement!

 

 

— Roger W. Smith

    February 2019; updated March 2019

 

 

 

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photographs by Roger W. Smith

 

 

 

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Fifth Avenue, New York Public Library steps; August 16, 2018

 

 

 

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Fifth Avenue, August 31, 2018

 

 

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Fifth Avenue, December 20, 2016

 

 

 

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Fifth Avenue, March 18, 2019

 

 

 

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Fifth Avenue, February 15, 2019

 

 

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Fifth Avenue, March 2, 2019

 

 

 

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Fifth Avenue, February 6, 2019

 

 

 

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Fifth Avenue, February 17, 2017

 

 

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Fifth Avenue, April 27, 2017

 

 

 

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Fifth Avenue, June 14, 2018

 

 

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Fifth Avenue, September 22, 2018

 

 

 

 

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Sixth Avenue, November 30, 2018

 

 

 

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Rockefeller Center, September 26, 2017

 

 

 

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Central Park, May 1, 2018

 

 

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Central Park, August 20, 2017

 

 

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Union Square Park, June 12, 2017

 

 

 

 

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COMMENT

 

email from Mara Williams Oakes

February 20, 2019

Your observations on Manhattan are spot on.

Your phrasing creates a dynamic rhythm structure, complementing the pulse of the City.

the music of the spheres (linguistically speaking)

 

 
I live in the borough of Queens in New York City.

In a metropolitan area with the most ethnically diverse zip codes in the nation, and in a City where far more languages are spoken than in any other city in the world — in public; on the streets and in parks; in stores and restaurants; on buses and the subway; and so on.

To hear the variety of languages spoken in NYC is exhilarating.

I love to hear foreign languages.

Their musicality.

To hear the wonderful sonorities of Spanish being spoken. To hear Russian, and to be able to recognize it. To be able to recognize Polish, which I hear spoken very often in my neighborhood.

To guess at other languages that I hear being spoken during my peregrinations.

To me, it’s just another reason to WELCOME IMMIGRANTS. If only others — some do, but I fear, and in fact know, it’s far too few — could see this.

 

 

—  Roger W. Smith

    August 2018

 

 

 

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photos taken in Manhattan by Roger W. Smith

 

 

 

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New York sunlight (and New York joys)

 

 

 

“The grass that grows by absorbing the life-giving energy of the sun becomes [in Walt Whitman’s Leaves of Grass] a metaphor of ‘the ceaseless springing forth of life from death.’” — David S. Reynolds, Walt Whitman: A Cultural Biography (New York: Alfred A. Knopf, 1995), pg. 240

 

 

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My longtime friend Bill Dalzell, who for many years lived in New York City, introduced me to so many things when I first came to New York in the late 1960’s.

Among other things, Bill introduced me to cinema and art. We made several trips together to the Metropolitan Museum of Art.

Bill, a New York transplant from a suburb of Pittsburgh, where he grew up, was — like many having adopted New York City as their home, including myself — an enthusiast of all New York had to offer. He knew all the inexpensive, interesting things to see and do in the City.

Bill used to say: “Would you care to hear me sing the praises of New York?” He used to marvel at the fact that so many people of all races and nationalities lived cheek by jowl in harmony. At the richness of culture. At the convenience of things such as getting around. At how much the City had to offer at what were then modest prices.

Admission to the Metropolitan Museum of Art was free. The main branch of the New York Public Library was open 365 days a year. The subway and bus fares were 20 cents. So was the Staten Island ferry, one of the fun, vivifying, and inexpensive things he enjoyed doing. (We would get off on the Staten Island side, walk around a bit, have a cup of coffee, and take the ferry back to Manhattan.) A meal of wholesome, plain food at the Automat (where Bill used to love to sit and drink coffee while lost in thought) could be had for less than a dollar. A glass of beer in a bar was 20 cents, and usually every third beer was on the house. Films cost less than two dollars. Rents were cheap. Bill paid twenty-nine dollars a month for a one-bedroom apartment on East 5th Street.

 

 

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Bill introduced me to the paintings of Edward Hopper, one of his favorite painters. (Hopper’s paintings are, for the most part, exhibited in New York museums.) Bill and I, at his suggestion, made a one-day excursion to Nyack, NY to view Hopper’s birthplace.

During our museum trips, he pointed out how Hopper made use of light.

“The light is different in America,” Bill would say. (He had traveled practically everywhere in the world on a limited budget.) By “different,” Bill meant brighter. More brilliant. Yes. Brilliant light. An observation which I do believe to be true. I have observed and thought about this often.

I have come over the years to be myself fascinated by light. Early morning light, daylight, late afternoon light. The light hitting the grass. Different shades of light and degrees of brightness. Summer light. Autumn light. Winter light.

While I would and could never aspire to be an artist — I have no innate talent and only a limited appreciation of the visual arts — I have been taking photographs in the City in parks, on the shorelines, and of houses and streets on my walks, I have posted below some photographs of mine in which an appreciation of sunlight as viewed from ground level is expressed in the photo. I am fascinated by the quality of sunlight in different seasons and at different times of the day.

 

 

— Roger W. Smith

   July 2018

 

 

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Addendum:

 

Some relevant information about Edward Hopper.

Most of Hopper’s figure paintings focus on the subtle interaction of human beings with their environment-–carried out with solo figures, couples, or groups. His primary emotional themes are solitude, loneliness, regret, boredom, and resignation. He expresses the emotions in various environments, including the office, in public places, in apartments, on the road, or on vacation. … In many Hopper paintings, the interaction is minimal.

The effective use of light and shadow to create mood is central to Hopper’s methods. Bright sunlight (as an emblem of insight or revelation), and the shadows it casts, also play symbolically powerful roles in Hopper paintings such as Early Sunday Morning (1930), Summertime (1943), Seven A.M. (1948), and Sun in an Empty Room (1963).

Hopper always said that his favorite thing was “painting sunlight on the side of a house.”

Although critics and viewers interpret meaning and mood in his cityscapes, Hopper insisted “I was more interested in the sunlight on the buildings and on the figures than any symbolism.” As if to prove the point, his late painting Sun in an Empty Room (1963) is a pure study of sunlight.

 

“Edward Hopper,” Wikipedia

https://en.wikipedia.org/wiki/Edward_Hopper

 

It should be noted that the American landscape painter Winslow Homer did similar things with sunlight in his remarkable paintings.

 

 

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photographs by Roger W. Smith

 

 

1 - Woodside, Queens

Woodside, Queens

 

 

2 - Murray Hill

Murray Hill

 

 

3- Madison Square Park

Madison Square Park

 

 

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Madison Square Park

 

 

4 - Central Park

Central Park

 

 

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Central Park

 

 

5 - Riverside Park

Riverside Park

 

6 - Inwood Hill Park

Inwood Hill Park

 

7 - Inwood Hill Park

Inwood Hill Park

 

 

 

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Isham Park

 

 

All of these photos were taken in New York City.

 

 

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Posted here below are some famous paintings of Edward Hopper that show his preoccupation with light and his mastery of representing it visually.

 

 

1-hopper-early-sunday2 - Cape Cod3 - stoop, summertime4- Cape Cod evening5- seven am6 - house by sea

 

 

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Edward Hopper’s birthplace

 

 

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Edward Hopper birthplace, Nyack, NY

“What is the grass?”

 

 

 

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photograph by Elisabeth van der Meer

 

 

A child said, What is the grass? fetching it to me with full
hands;
How could I answer the child?. . . .I do not know what it
is any more than he.

 

I guess it must be the flag of my disposition, out of hopeful
green stuff woven.

 

Or I guess it is the handkerchief of the Lord,
A scented gift and remembrancer designedly dropped,
Bearing the owner’s name someway in the corners, that we
may see and remark, and say Whose?

 

Or I guess the grass is itself a child. . . .the produced babe
of the vegetation.

 

Or I guess it is a uniform hieroglyphic,
And it means, Sprouting alike in broad zones and narrow
zones,
Growing among black folks as among white,
Kanuck, Tuckahoe, Congressman, Cuff, I give them the
same, I receive them the same.

 

And now it seems to me the beautiful uncut hair of graves.

 

Tenderly will I use you curling grass,
It may be you transpire from the breasts of young men,
It may be if I had known them I would have loved them;
It may be you are from old people and from women, and
from offspring taken soon out of their mother’s laps,
And here you are the mother’s laps.

 

This grass is very dark to be from the white heads of old
mothers,
Darker than the colorless beards of old men,
Dark to come from under the faint red roofs of mouths.

 

O I perceive after all so many uttering tongues!
And I perceive they do not come from the roofs of mouths
for nothing.

 

I wish I could translate the hints about the dead young men
and women,
And the hints about old men and mothers, and the offspring
taken soon out of their laps.

 

What do you think has become of the young and old men?
What do you think has become of the women and
children?

 

They are alive and well somewhere;
The smallest sprouts show there is really no death,
And if ever there was it led forward life, and does not wait
at the end to arrest it,
And ceased the moment life appeared.

All goes onward and outward. . . . and nothing collapses,
And to die is different from what any one supposed, and
luckier.

 

— Walt Whitman, Leaves of Grass

 

 

 

 

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I wish to thank Elisabeth van der Meer for sharing the above photograph with me, and for giving me permission to post it.

 

 

— Roger W. Smith

   July 6, 2018

 

the ferry

 

 

 

 

 

 

 

 
photographs by Roger W. Smith

 

 

 

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The glories strung like beads on my smallest sights and hearings—on the walk in the street, and the passage over the river;
The current rushing so swiftly, and swimming with me far away;

Just as you are refresh’d by the gladness of the river and the bright flow, I was refresh’d;
Just as you stand and lean on the rail, yet hurry with the swift current, I stood, yet was hurried;
Just as you look on the numberless masts of ships, and the thick-stem’d pipes of steamboats, I look’d.

I too many and many a time cross’d the river, the sun half an hour high;
I watched the Twelfth-month sea-gulls—I saw them high in the air, floating with motionless wings, oscillating their bodies,
I saw how the glistening yellow lit up parts of their bodies, and left the rest in strong shadow,
I saw the slow-wheeling circles, and the gradual edging toward the south.
I too saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams,
Look’d at the fine centrifugal spokes of light around the shape of my head in the sun-lit water,

Look’d on the haze on the hills southward and southwestward,
Look’d on the vapor as it flew in fleeces tinged with violet,

The scallop-edged waves in the twilight, the ladled cups, the frolicsome crests and glistening,

Now I am curious what sight can ever be more stately and admirable to me than my mast-hemm’d Manhattan,
My river and sun-set, and my scallop-edg’d waves of flood-tide,
The sea-gulls oscillating their bodies, the hay-boat in the twilight, and the belated lighter*;

Flow on, river! flow with the flood-tide, and ebb with the ebb-tide!
Frolic on, crested and scallop-edg’d waves!

Gorgeous clouds of the sun-set! drench with your splendor me, or the men and women generations after me;
Cross from shore to shore, countless crowds of passengers!
Be firm, rail over the river, to support those who lean idly, yet haste with the hasting current;
Fly on, sea-birds! fly sideways, or wheel in large circles high in the air;
Receive the summer sky, you water! and faithfully hold it, till all downcast eyes have time to take it from you;
Diverge, fine spokes of light, from the shape of my head, or any one’s head, in the sun-lit water;
Come on, ships from the lower bay! pass up or down, white-sail’d schooners, sloops, lighters!

 

— excerpted from Walt Whitman, “Crossing Brooklyn Ferry”

 

 

* A lighter is a flat-bottomed barge used to transfer cargo to and from ships in harbor.

 

 

— Roger W. Smith

   January 2018

the awfulness of Lincoln Center: photo essay

 

 

Yes, awful!

See my previous post

 

“Lincoln Center; the ruminations of a ‘genius’ ”

https://rogersgleanings.com/2017/12/13/lincoln-center-the-ruminations-of-a-genius/

 

 

The following photos of Lincoln Center and the immediate neighborhood/surrounding streets prove my point.

 

 

— Roger W. Smith

   December 2017; updated February 2018

 

 

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photographs by Roger W. Smith

 

 

 

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Ugliness and inaccessibility go hand and hand. The Broadway steps leading to the plaza, which is usually nearly empty of live people.

 

 

 

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A desolate block right behind Lincoln Center: the east side of Amsterdam Avenue between 66th and 67th Streets. There are two large retail stores on this block that are empty with for rent signs — an indicator that rents are too expensive and the neighborhood cannot support commercial establishments (hence, they are going out of business).

 

 

 

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An “inviting” “arts center”? Entrance to Lincoln Center at 65th Street between Amsterdam Avenue and Broadway.

 

 

 

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Welcome! The steps from Amsterdam Avenue.

 

 

 

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Warm and fuzzy. Entrance passageway, with 67th Street on left.

 

 

 

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Ramesses II would have been proud.

 

 

 

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A public friendly space? (“All are welcome.”)

 

 

 

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62nd St between Amsterdam and Columbus Avenues. (Lincoln Center on left.)  Note the vibrant street life.

 

 

 

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Happy clusters of people congregate like flocks in front of Lincoln Center.

 

 

 

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art befitting an “arts center”

 

 

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an enchanted forest

 

 

 

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Addendum: The construction of Lincoln Center for the Performing Arts, which was opened in 1959, destroyed a neighborhood on New York City’s West Side. The project encompassed 53 acres and involved demolishing 2,100 households as well of hundreds of businesses. Something very similar happened with the United Nations headquarters, which created another urban dead zone with no vitality or street life. Jane Jacobs put it best when she described Lincoln Center as “a piece of built-in rigor mortis.”