Saturday, December 31, 2011

Saying Goodbye to Last year

Saying goodbye to last year (C)2011 Glenn Primm Photography
Children at play, Pershing Square

For reasons almost too numerous to detail, the past year wasn't very pleasant for any number of people just about any place on the globe you care to name. Still, for some righteous souls with grit and determination, it was a new beginning with dazzling opportunity. Here's hoping that the future will bring good fortune for you and yours and fulfill your hopes, dreams and aspirations.

Nikon D1x / Nikkor 20mm f2.8D AF

Friday, December 23, 2011

Happy Holidays

Seasons greetings from the crew at Glenn Primm Photography

On Old Route 66, West of San Bernardino

This circa '50 - '52 Buick Roadmaster was seen by the side of Old Route 66 last week, the pilot having bailed and trudged off toward civilization and, one presumes, mechanical assistance.

Not being particularly up to speed on '50's Buicks, I figured the least I could do after capturing this image was give it an appropriate vintage era treatment in Lightroom, so I applied one of my own custom presets. I also feathered the edges for a carelessly-used and water damaged, tossed-in-the-bottom-of-the-drawer look. For the record, back in the day, my Dad owned a '55 Roadmaster. What a tank.

Nikon D70s / Nikon 18-55mm f3.5

Friday, December 16, 2011

The Pope of Broadway

The Pope of Broadway, a mural by Eloy Torrez/Photo: (C)2011 Glenn Primm Photography

The Victor Clothing Building in downtown Los Angeles features several outstanding murals on both its north and south walls. This mural of actor and East Los Angeles native Anthony Quinn (born Quinones) was painted by noted muralist Eloy Torrez in 1984. It depicts Quinn in one of his most famous rolls, that of Zorba in the motion picture Zorba the the Greek, from the book of the same name by Nikos Kazantzakis.

The title of the mural, the Pope of Broadway, is a reference to Mr Quinn's stature as a successful native son of Los Angeles, as well as a reference to the physical space in which the mural is viewed. Apparently Torrez felt that the adjacent buildings define the mural's viewing space as an urban sacred grotto, and he depicts Quinn as a figure of almost religious adoration by his fellow East Los Angelenos.

Exposure data: Nikon D70s / Nikon 20mm f2.8D AF, 1/250 sec @ f8