Duane Street Summer - a new Tribeca Summer Impression...

...from a photographer's notebook

It’s been quite some time since I’ve engaged in one of those late night visual fugues and turned one of my photographs into something more impressionistic…or, as I like to call it, “messing around with a few thousand innocent little pixels.”

Fact is, I’ve been rather busy with the “literal,” especially since purchasing my first full-frame digital SLR, the exquisitely capable Canon EOS 5D Mark IV, prior to my recent week in New York.

Nonetheless, as Canon celebrated earlier this year the 30^th Anniversary of its highly successful line of EOS auto-focus cameras, causing me to realize I had been an EOS shooter almost from the git-go, jumping aboard in 1988 with one of the first two EOS film SLRs, this became a rather special month, what with jumping, no...plunging!... into full-frame D-SLR shooting with one of Canon’s high end statements (and so glad I waited to do it for what the 5D-IV brings to the party!).

But neither this little ramble nor the product of my “messing around” has to do with my new 5D. Rather, it relates to that first EOS film SLR that competed with my trusty Nikon manual focus SLRs for this photographer’s affection back in 1988, the EOS-620.

After serving me quite well for a couple of years, the trusty little 620 stepped aside in 1990, for no fault of its own, to make way for the industrial strength professional iteration of EOS technology, the EOS-1, which I had to spring for once it was clear EOS cameras would be part of my shooting tools, and which I happily still use.

However, in shall we call it a wave of sentimentality (and if you know me, you know those waves crash often upon this shore), I purchased a “new” EOS-620 a few years ago, remembering in this era of menu-driven camera controls just how straightforward was its operation by comparison – sort of a part-time return to a more “comfort-food-y” experience with a camera that had the basic essentials for getting it done without a lot of unnecessary fuss.

The 620 also reminded me of my first exciting visits to both Paris and the Swiss Alps. And, if another excuse was needed, well, the price was right – a minty 620 for twenty-eight bucks, shipping included! Yes, by this point, in 2012, digital photography had pretty much knocked the bottom out of most of the film camera market. And besides, the EOS-620 had been superseded several times by newer EOS film camera models with more features, so in EOS terms, it was a very “old” model. But it was those solid “essentials” I was looking to have in my film camera arsenal once again. So, a happy “new” addition to the ol’ tool kit…

Becoming aware of the 30^th anniversary of Canon’s EOS system, I wrote a story about my (almost) thirty years of snuggling my eye up against various EOS cameras’ viewfinders, including both the one that got it started for me, the EOS-620 and that “new” 620 I got hold of in 2012. To illustrate the piece, I started selecting images from my original and “new” EOS-620s – an interesting voyage of re-discovery for me, as it combined shooting from the periods 1988-1990 and 2012-present.

In seeking out some from the latter period, the search led me to the original image from which the impression you see (a portion of) up top was created.

That “new” EOS-620 had come along with me to NYC in 2013 and served me well alongside the D-SLR and another EOS film camera. Indeed, the 620 was in my pack on the delightful first day of summer late afternoon that I discovered the inviting motifs of Duane Street in Tribeca. And while I was doing most of my shooting with the digital camera, I did make sure to use the 620, loaded with Kodak Ektar-100 film, to capture some of those moments in the golden light of a New York afternoon. Some of that shooting was capturing the human activities aspect of Duane Street, richly back-lighted from my point of view looking west along Duane to Greenwich Street.

The shots were fine, but, if you’ve read my blog story or listened to the accompanying “PhotoMoments” podcast about discovering the delights of this short street in Tribeca, you know how magical I found the experience. I could not have discovered this venue at a better time of the day with that special kind of afternoon sunlight that New York provides. And, somehow, the Ektar shots were almost too “literal,” not quite catching, I felt, the special sensual experience of my visit.

And so, my exercise late last night, using one of the original Ektar images, which I think did better capture that special Duane Street ambiance and the warm glow I felt in experiencing it.

This “Duane Street Summer” impression (see it in full scope here) will be available in archival prints on fine art 100% cotton fiber paper in a variety of sizes. If you’d like to own this little golden sunlit slice of Tribeca in summer, please be in touch.

©2017 Steve Ember

When it’s Christmas Morning on the Night Before Summer...

...from a photographer's notebook

Empire State Building from Madison Avenue

No matter how many years are on the odometer, I am delighted to say that I never run out of “Kid on Christmas Morning” moments when I’m in New York with a camera or three.

And when one of those cameras happens to be my first full-frame D-SLR, the exquisite Canon EOS 5D MkIV – and so glad I waited – purchased especially for this trip and its planned twilight open helicopter flight (let’s call it an early Christmas present I’d no intention of waiting for Christmas Morning to open!)…

I suppose this image, taken on the night before summer, might serve as Exhibit-A. For at the end of my first day exploring new territory in the city, enjoying for the first time Madison Square Park, a few blocks south of my hotel on Madison Avenue, and a nice dinner at a sidewalk café along the north edge of the park, I’m walking back uptown and look up to see the iconic spire of the Empire State Building, lighted in some of my favorite colors against a crystal clear night sky.

Yes, Santa Claus is coming to town – Heck, he’s already landed that sleigh with a great big bundle of megapixels inside.

The ESB was captured here through my trusty quarter-century-young 28-80mm f/2.8-4 L-Series lens at its 80mm setting on the new 5D. The photograph (see it larger here) is available in archival gallery-quality prints in several sizes, and can be ordered on several stocks including metallic media. Please be in touch for specifics.

It was actually a fine afternoon and evening for viewing and shooting iconic spires in Manhattan, notably also the gold-domed roofs of both the New York Life Building and Met Life Tower along the east side of Madison Square Park, both against afternoon- and twilight-blue skies on this photo-perfect day... Let me share these with you soon.

©2017 Steve Ember

P.S: That 28-80L lens, incidentally, was purchased back when my EOS-1 film camera and its “junior partner,” the lovely little RT were new and has since meshed its shiny little gold electrical contacts with those on my EOS-3 and 1N RS (big brother to the RT). It was nice (but not surprising) to see it got along splendidly in NYC with the full-frame digital EOS.

A New Year Brings New Pricing for my Photos

Woodland Serenity, Patapsco Valley ©2016 Steve Ember
See it larger here

Stay tuned - Details to follow!

California Dreaming...

...from a photographer's notebook

The title hasn’t much to do with the lyrics of the Mamas and Papas song…just the fact she was wearing California plates and – of course – had me dreaming…or at least dreamy.

On the way home from mounting my 'Scapes exhibit and later exploring some beachy stretches along the Severn on a great summer late afternoon, I realized I was running on fumes – not the car, the tummy. Easy to forget eating when otherwise so occupied…so stopped at an AppleRubyFriday’s type restaurant to fill my long empty tummy-tank…great big salad, a rack of ribs, some high octane iced tea of the Long Island variety, and a fudge brownie and ice cream concoction for dessert. Sweeet…no longer hungry.

But what was quintessentially “Shweeeeeet” as I stepped outside was this iconic example of mid-‘60s Detroit Iron that yanked at my eyeballs like a high powered electromagnet turned full up.

We should all look as good at 50! See her without the Blogger clutter here

There, next to the restaurant’s parking lot – with a nice dark glass building as a backdrop! – was this 1965 Chevrolet Impala SS (Super Sport) convertible, obviously lovingly maintained. Naturally, I had to shoot her from every angle (if the owner had been present, I’d have asked for a look under the hood!), and I’ll share some more images with you down the road…

Ahh, yes...she left me dreamy! See her in higher definition here

Call me sentimental, but as I edited this image, I could hear a heady audio mix, comprised of the gutsy rumble of her 396 cubic inch V8 engine through dual exhausts at idle and wafting from her radio into the air of this lovely summer evening, Bert Kaempfert’s “Strangers in the Night.”

Ahhhh…

©2015 Steve Ember

 

"Focal Point" Photography Exhibit Opens at MFA

   ...from a photographer's notebook

Detail from "Stadelhofen Impression No. 1"

I was honored to have three of my favorite photographs from across the Pond selected for the Maryland Federation of Art’s “Focal Point - Fine Art and Creative Photography” exhibit, which opened this week at the MFA’s Circle Gallery in Annapolis.

The three, two from London and one from Switzerland, are making their first gallery appearances in this exhibit.

The strong, sweeping forms of Spanish architect Santiago Calatrava and the near constant activity of handsome SBB (Swiss Federal Railways) S-Bahn double-deck trains at Stadelhofen, a commuter train nexus not far from Zürich's Hauptbahnhof, combined to inspire this digital impression, created from an original Ektachrome transparency.

Calatrava's redesign of the station in 1990 was to accommodate a third track for this busy mainline, under the promenade to the left, part of his design in reconstituting the embankment excavated to make way for the new track - and provide the track and its platform with natural lighting from above. I know, very dry to describe, but exciting to take in first-hand, whether a railfan, architecture aficionado, or photographer. All the more exciting if one happens to be all three…

“Stadelhofen Impression No. 1” is making its first gallery appearance, in an archival pigment print on fine art paper. It is part of a limited edition of ten prints.

"Convergence" 

“Convergence” is another large impression, depicting the Milennium Bridge over the Thames. The original photograph was one of several taken in 2013 from the South Bank, with the span’s sloping walkways leading the eye across to Sir Christopher Wren’s iconic dome atop Saint Paul’s Cathedral against a moody November late afternoon sky. The archival pigment print is from a limited edition of ten.

"Bicycle, Bayswater Road"

The following November, I enjoyed several evenings shooting some “Nightscapes” in several parts of London, of which “Bicycle, Bayswater Road” is one of my favorites. Come along with me on the shoot.

I hope you can join us at the “Focal Point” reception Sunday, March 8, from 3 to 5 PM. The exhibit will be on view through March 28.

The Circle Gallery is located at 18 State Circle, just across from the Maryland State House.  The Gallery is open Monday – Sunday 11 AM to 5 PM.

 

"Rainy Night in Glasgow, No. 1"

And speaking of Nightscapes in the U.K., another image from my nocturnal prowling with camera, “Rainy Night in Glasgow No.1,” is on view in the MFA’s concurrent “Stormy Weather” exhibit at the Annapolis Maritime Museum, across Spa Creek in Eastport, through March 15.

©2015 Steve Ember

On Christmas Eve, it twinkled; on New Year's Eve, it glowed...

    ...from a photographer's notebook

Earlier this month, I had occasion to visit the Eastport section of Annapolis.

Eastport sits across Spa Creek from the Annapolis City Dock. It was once a town unto itself, before becoming a part of the Maryland state capital in 1951. It still maintains an identity of its own, quite apart from the big town across the creek.

With the exception of the upscale restaurants facing the sailboat marina and downtown Annapolis, the vibe is different in Eastport. Modest clapboard or shingled dwellings lining the narrow streets give Eastport the image of a working class Chesapeake Bay region oystering or fishing town.

Mosaics flanking the doors were created by local art students

In fact, the reason for my visit to Easport on that sunny, but decidedly chilly, Friday afternoon was to deliver my photograph “A RainyNight in Glasgow, No.1” to the Annapolis Maritime Museum, the venue for the Maryland Federation of Art’s “Stormy Weather” show, in which the photograph was selected for inclusion.

And that gets me back to the oystering reference above, as the Maritime Museum is housed in the old McNasby Oyster Company building, which fronts on the Annapolis Roads waters of the Chesapeake Bay. Its large windows and boardwalk look directly out on the bay, as well as neighboring marinas, also affording views toward the Bay Bridge.

About the picture up top…

After dropping off my Glasgow photograph for the exhibit, I thought I’d take advantage of the remaining late afternoon winter sunlight to explore some of Eastport with the cameras.

This shingled house caught my eye – well actually it and the magnificent tree out front! As I moved closer, though, my eye was drawn to the very large Christmas tree, looking perhaps even too large to have fit in the living room of such a diminutive dwelling, lying on its side in the house’s front yard.

It is January 9, so discarded “former” Christmas trees are a fairly common sight, usually sitting by the curb awaiting pick-up the next morning. But there is a sort of “Velveteen Rabbit” poignancy about this particular evergreen “Spirit of Christmas (just) Past,” lying forlornly on its side – still adorned by ornamental balls and decorations.

One hoped the happy looking ornaments would live to adorn and enchant during a future Holiday Season, that they were not also due for the metallic jaws of the tree grinder.

Indeed, as I looked at that image later that evening, the idea for a new card design emerged. Perhaps a new category, like a “post-Holiday Season” card…

"On Christmas Eve, it twinkled; on New Year's Eve, it glowed"  Inside: “Let’s not throw away the Christmas Spirit with the tree.” ©2015 Steve Ember

The working title is “On Christmas Eve, it twinkled; on New Year’s Eve, it glowed.” And, on the inside: “Let’s not throw away the Christmas Spirit with the tree.” You think?

Anyhow, before I pitch it to the card companies, I’ll do a small run here in the Card-Cave. If you happen to share that sentiment and would like to order some custom printed samples, please be in touch via my web site.

"Stormy Weather" exhibit runs through March 1 at the Maritime Museum

Oh, almost forgot…the reception for “Stormy Weather” (which may prove truly à propos, if the meteorologists are correct!) is this Sunday (January 25), 4 to 6 PM. Please accept this “conditional” invitation to stop by. The Annapolis Maritime Museum is located at 723 Second Street in Eastport, Annapolis.

Here are the websites for both MFA and the Museum. You may wish to check for postponement, just in case the storm shows signs of arriving earlier than expected as of this writing. Say, it may be fun, looking at my “Rainy Night in Glasgow” (exhibited as a 20 x 14 archival pigment print) and all the other art relating to stormy weather, selected by co-jurors Barry Shauck (Boston University College of Fine Art) and TV Meteorologist Emily Gracey…and drink some grog while looking out at storm clouds over the Bay.

Think I’ll bring along a camera.

©2015 Steve Ember

Duane Street, you delight!

from a photographer's notebook...

Duane Street, in the special sunshine of a Tribeca afternoon...

I wrote earlier about some of the delights of discovering Tribeca in June of 2013.

This section of Lower Manhattan proved rich in all manner of photographic motifs, both color and black and white.

Whether in architectural detail, the human element, or some wonderful patterns of light, Tribeca was a feast for the senses – and most certainly the cameras, including the two film SLRs in my pack.

When discovering new areas, especially when they are as motif-rich as Tribeca, I often prefer to concentrate on small slices. It gives me the chance to relax, visualize, and drink in the ambiance. 

Even the pigeons cast long shadows in the Tribeca late afternoon sunshine

One such “small slice” was the two block stretch of Duane Street that runs from Greenwich Street on the west to Hudson Street on the east. Just two blocks, but lots of visual inspiration. 

The Duane Park Patisserie occupies the ground floor of this Duane Street loft building  ©Steve Ember

Loft buildings, five and six stories tall with lots of ornate details, festooned with fire escapes and adorned by ironwork fronts, calling forth a history of Lower Manhattan commerce, a trattoria, a patisserie, a sushi bar, and a variety of shops and neighborhood joints, all creating this inviting mélange of textures, shapes, patterns, and long shadows in the late afternoon sun.

But, also, as New York seems to do so well in unexpected settings, a delightful little triangle of green where the street bifurcates, called Duane Park.

Oh, yes, and pigeons. Lots of pigeons. 

Laurie is a composer of modern music living in one of the loft buildings. She loves pigeons…and they love her right back.

Other residents smile at the photographer balancing three cameras and a tripod in the middle of the street. Some stop to chat on their way home with groceries, or a baguette tucked under an arm. Residents meet…chat…walk their dogs...ride their bikes.

Along Duane Street, Roberta Roller Rabbit brings a smile to a visiting photographer, while Mondo Cane evokes a favorite movie theme

A boutique called Roberta Roller Rabbit brings a smile as I can’t help but conjure up bunnies on roller skates traversing this mini canyon of old brick and cobblestones. And a neighboring shop, called Mondo Cane, predictably sets the needle in the ol’ Gray Matter Gramophone down on Riz Ortolani’s sensuous “More” theme from that 1963 film, as I luxuriate in the sun of this glorious June afternoon, fifty years later.

"Staple Street, Tribeca" ©2014 Steve Ember

There's a narrow canyon formed by Staple Street, which intersects with Duane, and it provides a bounty of interlocking forms and textures, including a little detail I’d not even been aware of until a year later, when I had some large exhibit prints made of my “Staple Street, Tribeca.” If you look carefully, up in the scaffolding, there’s a solitary construction worker in a hard hat at work behind a plastic sheet. (*) Guess his mates had already called it a day…

I love the quality of the late afternoon sunlight that New York provides photographers, and anyone else with eyes and sensibilities to take it in and celebrate it…the long shadows, the strong shafts of sunlight filtering through the architectural canyons that alternately delineate forms or bathe them in a luminescent glow.

It created some lovely motifs, especially for the roll of “old look” Adox CHS 50 ART I’d loaded in one of the film cameras. It’s a great afternoon for walking in the low humidity sunshine of this last day of spring. Even the little guy in the illuminated “Walk” sign along Greenwich Street seems to have a “spring” in his step.

Detail from "Duane Street Afternoon" (Adox CHS-50 ART film)

It's a great time for enjoying the warm sun, while sitting, as well, as the diners in the outdoor café at Restaurant ROC would attest. That same spot would find my appetite-stoked self just a bit later for an aperitif and some tasty pasta, before heading downtown to take the PATH train from World Trade Center over to Jersey City to savor the Lower Manhattan skyline at twilight from the promenade at Exchange Place.

(*) OK, if you couldn’t find him…look above the bridge between the two buildings .

More of my photos of Tribeca, as well as other NYC motifs, can be viewed here.

©2014 Steve Ember 

Move over, Moose Tracks - an infrared interlude and a new summertime note card

      ...from a photographer's notebook

Detail from "A Stroller in the Park" Infrared Black and White ©2014 Steve Ember

OK, I know when I refer to film sharing space with microwave mostaccioli in my freezer, it’s usually the Haagen Dazs that has to "move over," as I root around for those baggies of  film alongside the frozen  dinners.  

Ah, but this time it was the Turkey Hill Moose Tracks I’d been enjoying the night before my recent New York trip.

Good stuff!

Like, umm, infra-red black and white film. Love ‘em both, as they do great things for the senses. But, unlike the ice cream, I’d sure been guilty of neglecting the IR in my shooting over the past bunch of years.

Read more »

Smile!

    ...from a photographer's notebook

Just a little smile-maker for anyone who may be in need of one today.

Last June, on a perfect, sunny, low-humidity afternoon, I came upon this smiling menagerie on West Broadway, in the Tribeca section of Lower Manhattan. 

In that great afternoon light, these "floaties" outside the Balloon Saloon presented a festive mix of color and whimsicality that had me smiling and looking for all sorts of angles and settings in which to capture them. Particularly liked that happy looking dolphin! But, of course, having a fondness for toothsome *Crocolators, his pal nearby was also a favorite. And doesn't that "killer whale" turn up the corners of your mouth?

I spent several hours on successive days exploring Tribeca and taking in the vibrant street ambiance, and plan to do more during future visits. If you follow my work, you may have seen some of my "Tribeca Moments." If not, this link will take you to my New York City images on Foto-Community.

Any of my Tribeca (or other NYC) scenes are available in archival gallery prints and as custom printed Photo Note Cards. For more information, contact me at the e-mail address in right column.

Oh, and don't forget to smile - you just might make someone's day...mine included.

* Oh, yes, "Crocolator?" Keeps me from having to guess if it's a crocodile or an alligator!

©2014 Steve Ember

Wildromantisch! (or what's in a word?)

   ...from a photographer's notebook

"Wildromantisch" - Zügenschlucht from Bärentritt, Canton Graubünden  ©Steve Ember

As someone who enjoys photographing wild, craggy, Alpine settings, there is a German word I really like – Wildromantisch.

 Wildromantisch!

Nothing more really than the German combination of “wild + romantic.” But, it’s so much more…evocative…than just one of those big, long German words made up of more than one component.

Read more »

Carrying Coals to...Curtis Bay

...from a photographer's notebook

Coal Terminal, Curtis Bay

From coal mines in Ohio, West Virginia, and Pennsylvania come long 100+ car CSX trains of hopper cars into the Port of Baltimore. There, at the huge Curtis Bay coal terminal, the coal is unloaded, sorted according to its industrial use, and loaded into ocean-going freighters heading to many destinations. A fascinating process to watch...and, of course, to photograph.

I was honored to have "Coal Terminal, Curtis Bay" selected by the National Gallery of Art's Eric Denker for inclusion in the Art on Paper show at the Maryland Federation of Art Circle Gallery in Annapolis.

The exhibit runs through April 19. The Artists Reception is this Sunday, March 31, from 3 to 5 PM.

The Gallery is located at 18 State Circle, just across from the State Capitol, and I hope you can stop by and say hello! I have it on good authority Annapolis is due for some genuinely Spring-like weather by then ;-)

A special thank you to Paul Nee and his wonderful staff at Capital Art and Framing in Fairfax for accommodating me at short notice to frame the photograph.

The photograph is available framed or as a matted print. The framed version is available for purchase (at the end of the exhibit) and can be reserved by visiting the MFA web site, where you may see all of the work in this multi-media show.

You may see other photographs of Curtis Bay, as well as other aspects of Baltimore by following this link to my Baltimore images on Foto-Community. While there, please feel free to peruse some other motifs at which I've aimed a camera, by navigating the folders in the left column.

©2014 Steve Ember

Tall Ship in MFA "Small Wonders" Show

...from a photographer's notebook

"Tall Ship, Chesapeake Bay" receives Honorable Mention in MFA "Small Wonders" Show

Over the summer, I renewed my affiliation with the Maryland Federation of Art, and have been honored to have two of my Chesapeake Bay images selected for recent MFA exhibits at the Circle Gallery in Annapolis, Maryland.

In August, one of my recent photographs of the Bay Bridge, "Chesapeake Bay Bridge No.4" was selected for inclusion in the MFA "American Landscapes" Show.

"Tall Ship, Chesapeake Bay" actually began life as an Ektachrome transparency, but I came to feel the motif was better realized in a toned black and white rendition.

Linda Simmons, curator Corcoran College of Art, selected 113 small works in several media, all of which are 11" or less on their longest dimension (mine measures 8x10 inch framed size), so lots of nice holiday gift ideas. The show is on view through December 29 at the Circle Gallery on State Circle, just across from the Maryland State House.

The MFA has created an attractive on-line gallery, which includes a convenient purchase-on-line feature. The accepted artists and their works are in alphabetical order. You can find "Tall Ship" at No.31. Click on the image to see it full screen.

"Tall Ship, Chesapeake Bay" can also be ordered in larger prints by contacting me directly.

"On the Chesapeake" ©Steve Ember

And speaking of tall ships on the Bay, a reminder that "On the Chesapeake," an impression from the same afternoon on the Bay is available in gallery prints and as a custom printed note card on Crane Museo art stock.

If you'd like to see it in higher definition, please follow this link to its page on Foto-Community. 

A small print will also be on display through December at the Art League Gallery in Alexandria.

For more information, please contact me at emberphoto (at) hotmail (dot) com.


©2013 Steve Ember

Happy Thanksgiving

They're now pumpkin pie!

Goodness, it seems like mere weeks ago that I posted a little Thanksgiving message on this wee bloggie with a photo I shot in Scotland last year of something that caught my eye in a shop window in Inveraray.

“Pussy’s Prayer” depicted two sweet looking kitties, a butterfly, and a ball of yarn, with a homespun verse about the simple gifts of love…the unquestioning kind our furry companions give of so generously.

It reminded me of the importance of taking note of, and being thankful for, all that warms and enriches our lives, whether with love, pride in accomplishment, travel, good health…all the good things that make this journey positive, and make up for the bumps and jolts along the way.

Read more »

A new exhibit

...from a photographer's notebook

‘scapes is the name I chose for my new photography show, which includes (naturally!) some of my favorite Alpine landscapes from Switzerland, France, and Western Canada, and non-Alpine landscapes, but also cityscapes, even some nightscapes.

The exhibit, at Piola in Arlington through March 29, makes stops high in the Bernina Alps of Canton Graubünden and the Valais Alps of Switzerland, the rough-hewn village of Nesso, along Italy’s Lago di Como, Paris by night…it rides the narrow gauge rails of the Rhätische Bahn’s rugged Albula Line…soars to 12,000 feet on L’Aiguille du Midi…relaxes on the shore of glacial-turquoise Moraine Lake…climbs to the autumn-gold Larch Valley…and recalls the Washington Monument in its jewel-like evening dress during the restoration, among other inviting and sometimes dramatic destinations.

As the banner and post card designs show, ‘scapes includes two recent photographs from the 10,300-ft aerie of the Gornergrat, looking across to the mighty Matterhorn rising out of the cloud deck into the Alpine high altitude sunshine, and looking down at the rugged expanse of the Gornergrat Glacier.The show also includes images from my visits to London and Scotland last November.

There are twenty-six photographs, in both color and classic black and white, with an about-even mix between images originating on film and digital captures.

The opening cocktail reception for ‘scapes is on Tuesday, February 5, from 6 to 8 PM, and I’d be delighted if you could join us.

Piola is located in Rosslyn in Arlington, Virginia at 1550 Wilson Boulevard. Phone: 703-528-1502.

P.S: The exhibit came about as a result of a delightful bit of serendipity. If you’d like to read about it, just scroll down to the previous post or click here.

©2013 Steve Ember