PHLAC

Late in the day I snagged a 61 bus down to Victory and Bay, Spectra in hand, then hopped over the Hannah Street Bridge to what’s known as Bay Street Landing—a remote enclave of overpriced condos on Staten Island’s northern most tip. Overpriced jumps out because the surrounding area has little to offer; the developers main selling point is that you’re on the Ferry into Manhattan in five minutes and you have a view of the ever-exciting lower New York Harbor.

The sun had already gone down and it was getting cold and windy. I was counting on a post-sunset aura. Down by the water I found a concrete pier. It’s been there forever but I don’t remember having access to it the last time I trekked down here several years ago while checking out photo opps. It’s at least thirty feet wide and ten times as long, jutting out way into the New York Harbor where the Staten Island Ferry boats dock just to the right.

A few remnants of bait were strewn at the far end of the otherwise desolate platform. Planes were taking off out of Newark Airport every five minutes and passing high above the harbor past a crescent moon, heading Northwest. The magic hour was in session but wasn’t particularly inviting to my eye. I shot around until I covered all of the ground backtracking from the pier and into the walkway that connects to the Ferry ramp. Bright flood lamps helped light up a few spots and cast long shadows. Since I haven’t yet read the Spectra’s manual (I usually leave that as a last chore), I’m still mainly using auto mode for now which only allows the shutter to remain open for about six seconds. In the shot of the tree below, the flash inadvertently fired but the shutter also stayed open for about three seconds (as I had hoped), creating a slow-synch exposure. The combination of using expired film and cold developing explains the bluish tints.

My hands began to freeze; the wind grew stronger. I walked back to Bay Street heading east over to the Cargo Cafe for dinner and a couple of dark microbrews.