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Drone’s Eye View

An old friend recently wrote a piece on her blog about the place she goes when she wakes up in the middle of the night and can’t get back to sleep: childhood books. Whether it’s Anne of Green Gables, The Borrowers, Pippi, Harriet, Reepicheep, Lad a Dog, Lightfoot the Deer or Whitefoot the Woodmouse, this retreat into a long ago chapter is an engine of escape, the tool that can finally quiet a restless, adult mind.

I was thinking of Beka’s piece when I opened up the new book Dronescapes and found this image of the place where I go in those quiet hours when I can’t, for whatever reason, sleep:

Romeo Durscher. © 2017 The Photographers of Dronestagram

It’s Keyhole Arch at Pfeiffer Beach in Big Sur, shot using a drone by Romeo Durscher. It was taken during the Winter Solstice when the sun cuts a particular angle and shines through what looks like a carved doorway in the giant rock just off the shoreline. I’ve photographed this magical spot hundreds of times over the past 20 years, but never during the Solistice. Durscher’s photo has a shamanistic, almost mystical quality, since it captures the figures on the beach in the waning rays of sun as well as the shadows outside them. Is it possible to get such a photo without a drone? Yes, you can clamber up a steep, sandy hill and hope for the best. But there’s something about a drone…

These days, as Dronescapes shows, the size of cameras has shrunk while chip capacity has grown, and suddenly, in the past couple of years, a new form of aerial photography is emerging. But in a weird twist, increased government regulation of drones means that the possibilities are increasing and contracting at the same time. It’s both an exciting and frustrating moment, because the technology is there and prices have come down drastically, but those shots you want to get — of bridges, monuments, cityscapes — are increasingly off limits. Dronescapes is the first coffee table book to give us a look at the state of the art.

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Composting at 30′

The composting operation on the High Line

Five years ago I tagged along with a High Line gardener on what was then a weekly trip to Staten Island, where the fruits of our Cutback labor were dumped on a giant composting pile in the Fresh Kills landfill. Fresh Kills is a stunningly beautiful place, but the long, bumper-to-bumper, carbon-emitting drive in a panel truck packed with 35-cubic-yard compost bags was not exactly a sustainable operation.  The article I published in 2012 was called “The Choreography of the Cutback.”

Wow, have things changed. Today, Friends of the High Line’s horticultural staff remains on Manhattan island and has created an innovative, state-of-the art composting operation in a small but wonderfully efficient area just above the busy traffic of Tenth Avenue. It’s located on a Spur that once served the New York Central Railroad and the National Biscuit Company, also known as Nabisco. Back in the day, boxcars filled with eggs, milk and butter from the American heartland trundled across this Spur and all those raw ingredients made their way into giant ovens that later cranked out Mallomars, Fig Newtons and Animal Crackers. Today, the Spur is home to a fully sustainable composting operation that runs throughout the year, but just under half its output — between 180 – 220 cubic yards — is generated in March, during the annual Spring Cutback. It’s the horticultural circle of life in action, and I had the great pleasure of witnessing the new era of composting on the High Line just five days after participating in the first Cutback shift of 2017.

This is the story of how the High Line’s plants and grasses go from the volunteer’s trug to a beautiful, aromatic compost, ready to return to the garden and nurture the next generation of growth. [click to continue…]

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Chelsea Agonistes

The dance of construction around the High Line

Derailed by the death of my mother and a few work projects, I took my eye off this blog for awhile, and have only now begun the process of revising a few pieces that fell out of date. First: the “What’s That Building?” guide. I’ve updated this feature to include many new buildings that have popped up around the High Line in the past couple of years, and also re-formatted it so the photos are larger. In the process of updating I removed the “glimpses of architecture” we can see in the distance — towers, spires, domes — and created a separate page that identifies them; it too is (roughly) organized from south to north. “What’s That Building?” is the most trafficked piece on the site, so I’m happy to have it back in good shape. Thanks to the readers who wrote and gently nudged me.

Writing about new buildings in my neighborhood is tricky because the presence of so much heavy construction is extremely hard on the nerves. I find myself hitting the delete key more often than usual in an effort to maintain composure and objectivity. There are several large projects on my block alone, and we must endure the noise, dirt, blocked traffic and fumes from idling vehicles all day and also (incredibly) late into the night. Developers in this town have so much power and influence that they are able to routinely get permission to work long hours; in our case, work begins at 7am and continues until 11pm, six days a week. And we are lucky; the developer (Albanese in partnership with Vornado) has been extremely responsive to complaints and requests from residents, and the crews are polite and highly focused on worker and pedestrian safety. But there’s only so much they can do. Modern construction requires gigantic machines, sky-piercing cranes, massive flatbed trucks, endless parades of cement mixers, and brutally intrusive, never-extinguished LED klieg lights that cast a creepy, bone-white glow in bedrooms across the street and down the block.

It can feel sometimes that no one cares about the actual people who live on these blocks that are being re-made all over the city. My downstairs neighbor has a small child whose bedroom window looks out on the construction project. Who cares about the late-night disruption to a toddler? Does the Mayor? The Buildings Dept.? The developer? The truck driver? Probably not; their interests are to make the city (and their pocketbooks) hum, one way or another. And so the rest of us suffer through it, doing our best to be good citizens who somehow see, and celebrate, the benefits of all this “progress.” It would be so much easier to accept if at least half of all this new construction were devoted to affordable housing. We would still suffer the long, ugly barrage of construction, but at least, at the end of it, our neighborhoods would retain the diversity that drew most of us here in the first place. But that is a subject for another post. [click to continue…]

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Mammals of West Chelsea

 

Friends of the High Line gardeners demonstrate clipper technique

This morning during Spring Cutback training, longtime High Line volunteer Pat Jonas explained the reason for the annual ritual in the “park in the sky.” It’s because “in this prairie we don’t have wildfires to naturally manage the landscape.” We also, Pat mentioned, lack large herbivores – buffalo, for example – who would munch the tops of the grasses and other native plants. And so instead we have an army of smaller mammals: the volunteers of the High Line, who gather every year for this ritual of cleansing and renewal. [Click a photo to enlarge it.]

During training this morning, a group of volunteers talked about the social bonds they’ve cultivated over the now eight years of Cutback. It’s my favorite time of year too, when people of all ages, backgrounds, and parts of New York City come together in usually cold, sometimes downright harrowing weather, and work side-by-side in the gardens with large, sharp tools. For a few hours we clip, trim, slice, clear, sweep. We also talk, share stories and information, answer questions from tourists, and learn about horticulture from the amazingly knowledgeable garden staff.
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When people in West Chelsea think about railroads these days they usually think about the High Line, that famous “park in the sky” built atop the New York Central Railroad’s old freight viaduct. But last summer an artifact of another railroad came to West 22nd Street, and it’s worth stepping off the High Line to see it in person.

Silas-Plaque

Historic bridge plaque from the London, Brighton & South Coast Railway

This plaque, which now graces the exterior wall of sculptor Silas Seandel’s studio at 551 W. 22nd Street, traveled across the ocean from England, where it once adorned the side of a railway bridge. According to the National Railway Museum in York, the London, Brighton & South Coast Railway (LB & SCR) existed from 1845 – 1922, operating services from London to the south coast of England. The Museum was unable to confirm which bridge Silas’ plaque came from, but since the main bridges of the LB & SCR spanned the River Thames in London, they speculate his may have come from one of those bridges. Railways in England only used plaques like these on important bridges, so they are rare. Particularly in America.

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Seventy-five years ago tomorrow, the world’s attention was focused on events overseas. The Nazis had just bombed an English port, and the Axis powers were gaining momentum. On the front page of the New York Times Sunday edition for March 29, 1941, President Franklin D. Roosevelt called on the American people to stand firm in support of its Allies who were blocking “dictators in their march toward domination of the world.” Readers today won’t recognize the political climate; looking back on the recent presidential election, FDR praised his opponent, saying “The leader of the Republican Party himself — Mr. Wendell Willkie — in word and action, is showing what patriotic Americans mean by rising above partisanship and rallying to the common cause.”

Meanwhile, back at home women were buying Easter hats – just $19.95 at B. Altman. The first Peabody Awards – dubbed “Pulitzer Prizes of air” – had just been announced; the Book-of-the-Month Club featured Ernest Hemingway’s For Whom the Bell Tolls; and a two-room studio at the Chelsea Hotel could be had for $19 a week. Budd Schulberg’s novel What Makes Sammy Run? was reviewed in the Book Review, and an article in the Magazine explored the question: “Are Movies Good or Bad” for children?

And then there was this photograph, which ran under the headline “Last ‘Cowboy’ Rides Over Tenth Ave. Route; Tracks Now Elevated, Horses Get New Job.”

George Hayde, the last West Side Cowboy, on March 29, 1941. Copyright Times Wide World/The New York Times/Redux. Used with permission

George Hayde, the last West Side Cowboy. March 29, 1941. Copyright Times Wide World/The New York Times/Redux. Used with permission

The picture captures George Hayde, age twenty-one, who became New York City’s last urban cowboy with this final ride up Tenth Avenue. He and “his faithful bay, Cyclone” were leading a line of fourteen rail cars loaded with oranges. They were performing, for the last time in history, a unique job created by an 185os city ordinance that permitted freight trains to share the busy streets with pedestrians, dog-carts, bicycles, cars and trucks, on condition they observe a speed limit of six miles per hour and that “a proper person… precede the trains on horseback to give necessary warning in a suitable manner on their approach.”
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Lehigh Valley No. 79: The Aerial Shot

Yesterday I posted two ideas for shooting the Lehigh Valley No. 79 as it sails north on the Hudson River later this week to a Coast Guard-mandated drydock inspection in Waterford, NY. [Follow @museumbarge on Twitter for schedule details.] Here’s […] Read the full article →

How to Photograph Some Living History on the Hudson River

Yesterday’s post about the upcoming Hudson River voyage of the Lehigh Valley No. 79 focused on the three former terminal warehouses in view of the High Line: the Baltimore & Ohio’s; the Starrett Lehigh building; and the Terminal and Central […] Read the full article →

History Sailing By the High Line

One of the great monuments in view of the High Line is the Starrett-Lehigh Building, a behemoth that straddles the superblock between 26th and 27th Streets on Eleventh Avenue. Look at it for more than a minute anytime, day or […] Read the full article →

High Line Architecture: The Whitney Museum

When architect Renzo Piano speaks about the Whitney Museum of American Art he uses his entire body to illustrate the artistic intent of his new building. During the museum’s official dedication ceremony he gestured first to the east, and a […] Read the full article →

Into the Wild

For Johnny. The genius of the High Line at the Rail Yards is that it’s two different places at once, yet each part perfectly captures the essence of this now mile-and-a-half long, exquisitely beautiful park. [As always, click an image […] Read the full article →

The Crossroads at the High Line

Tomorrow, when visitors enter the third and final section of the High Line at the Rail Yards, their first footsteps will take them to a unique spot in this now mile-and-a-half long park. Some day — not tomorrow, but in […] Read the full article →