San Remo and Bow Bridge

sanremoandbowbridge

Manhattan, A Photographer’s Journey by Henry Barnard

My Story

 

Digital download of the JPEG file for this photograph.

If you buy this photograph, I will be sending you an email in a day or two with a link to its JPG file. You will then download the file into your computer in its Download or Picture folder or whichever folder you choose. You can use it on your PC as you will, just to look at now and then or as a screen saver after you configure your computer to use it as such. Up to you.

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A Sail Away Adventure

Catboat Reflection

I was only 15 years old but adventurous — what 15-year old isn’t?  We were all sailors.  Twice a week, on Tuesdays and Thursdays, the yacht club would hold races for a fleet of Beetlecats to go round buoys on Waquoit Bay on Cape Cod — a large, 3-by-1 mile bay that lets out through a rocky jetty to Vineyard Sound.  I say “we” because my buddy, Jimmy Johnson, used to crew for me in those races.  We were a team.

That bay, though large, was extremely safe, as there were few locations on the bay that were deep, and all locations were very visible to the surrounding houses, but mostly because it wasn’t the real ocean — which lay just beyond the rocky jetty.  The ocean was where unpredictable and potentially dangerous things happened, but the bay was “safe” or so it seemed.

I got the idea one day that it would be fun to sail across the sound and go to Martha’s Vineyard, where I had never been.  Jim liked the idea, too.  So the next stop were the parents.  Would they say yes?

Now there must be few decisions more daunting than to ask parents to put their children in harm’s way.  The easy answer is simply to say no and be done with it — to keep them safe.  But is there not some harm in forever saying no because it leads to far less experience for the adolescent as well as stunted initiative, which, one would think, parents want to encourage?  So it is not necessarily an easy decision.  Perhaps because the two of us were such seasoned sailors — even at that young age we had years of experience sailing — the decision, a bit to our surprise, came down in the affirmative.

We didn’t go off half cocked.  First thing was to get two sleeping bags so that we could sleep on the boat comfortably.  Then we needed a compass — all sailors know to always bring a compass.  That’s second nature, an iron-clad rule.  Finally we needed a solid 3-day stretch of good weather — we did not want to sleep out in the open in the rain.  The very next weekend, everything fell into place, including the weather.

The morning we lit out, there was a steady but not overwhelming breeze, which was encouraging — the “chop” on the sound would not be that formidable.  But we had a challenge right off the bat.  The wind was blowing straight in on the narrow channel made by the jetty — a narrow channel in between two lines of rocks that extended pretty far out into the sound.   The two lines of rocks were necessary to protect the dredged channel from the shifting sands near the beaches.  Having to sail up wind in that narrow a channel meant that we had to make a series of quick tacks to make any headway, and it was perilous to come anywhere near the rocks on either side because you did not know how far out these jagged ship-wreckers extended under water.   But we finally made it through the narrow channel, and broke free of the jetty out into the open water.  At that point, we put on life preservers — one of the requirements that we had promised to live up to if we were allowed to make this voyage.

From where we were, I could make out approximately the locations of East Chop and West Chop on Martha’s Vineyard, and took a reading on the compass, so that I would know the compass direction to our destination.  But what I saw was a little unnerving.  A fog bank had come in on the island so that you could still see the land, the dark outline of the land, but you could no longer see any detail, and even the outline of the land was getting less and less distinct, as we sailed on in an easy reach, across the wind, toward the island.   Only about a third of the way across Vineyard Sound, the fog bank came in hard and enveloped our little Beetlecat.  You could barely see 50 feet in any direction.  I was confident, though, because I had the compass reading and so knew our direction despite the thick, pea-soup fog.  I knew we were still on course.

Perhaps overconfident is the right word, for that is when terror struck.  It was a truly gigantic blast of a fog horn that seemed to be right on top of us, even though we could not see anything.  We both knew instantly what it was — the big Nantucket Ferry, and we both knew it was extremely close, given the magnitude of the deafening blast.   It was a moment of abject fear, for had the ferry run into us, it would have crushed the little sailboat and, no doubt, pulled the two of us as well as the sailboat underneath its hull and toward the blades — in other words, almost certain death.  And even if we had been able to escape to the surface, they would have never found us in the fog.

I had a small canister fog horn of my own, and let out my own wee blast, but did it almost simultaneously with a second blast by the ferry, but this second blast was already past us — so we had survived a potential collision.  But that’s when the huge wake from the ferry hit the Beetlecat broadside.

Sailboats are really designed for the type of water they are meant to sail on.  Out on the ocean, you really want a boat with a deep, built-in keel that can stand up to a severe wind and a deep “chop,”  and you want a boat with high topsides, that space from the waterline to the deck, so that water has a pretty decent climb before it can get inside the boat.  The Beetlecat has neither.  It has a skimpy little centerboard, not a keel, and very low topsides, so it sits very low in the water and can be easily swamped.  To make matters worse, the boat also has a wide beam for its length, so it is designed almost like a a bucket, ready to be filled with water.   This is not a problem when you are sailing on shallow bays, but, let’s just say, it is less than ideal on the ocean.

Swamping was the real risk with such a huge wake from the massive ferry.  With a wake like that hitting the boat broadside, the Beetlecat goes up, sideways, on one side of the wave, reaches the top, and then slides down hard, sideways, on the other side of the wave, and so now the tilted boat kind of spears down into the gully made by the wave.  When the side of the boat speared into the water, the water shot up over the low topsides, flooded onto the narrow desk, and spilled ever so slightly over the very top of a 4-inch railing that was the last barrier to flooding the boat.  So we were just a few inches away from disaster — of being swamped in a bucket of a boat in the middle of Vineyard Sound in the fog.  But a few inches were as good as a mile.

We never even considered turning around and going back — not for one second.  For one thing, we were as close to the island as we were to the mainland, and I still had a fix on the right compass direction, so we just kept going.  And just as suddenly as the fog bank had come upon us, it started to dissolve, and so in a short amount of time, we began to see that thin outline of land that was Martha’s Vineyard dead ahead.  We hit East Chop and West Chop straight on; sailed into the inner harbor; took out the small anchor we had stowed away for the trip; and made sure it had a snug grip on the bottom to hold the boat in place.  We had made it!

The island was ours for the taking.  We rented bikes.  Need I say more — two boys with complete license to explore an enchanted island with new discoveries at every bend in the road.  We left no rock unturned, no corner of that island unseen, no small community untapped — and no ice cream parlor unmolested.  We saw it all, top to bottom and inside out.  But what a huge surprise lay in wait for us that very first night, that was just as unexpected — but in a good way — as that menacing ferry had been in a bad way.

When the twilight came on that first evening, we found ourselves, by chance, walking around Oak Bluffs.  How should I describe the unique experience that surprised the bejesus out of us there?  About the only thing that comes anywhere near the magic we experienced that night is the scene in the Wizard of Oz when Dorothy, after surviving the tornado (like we survived the ferry), suddenly arrives in Munchkin Land, for we had walked into a true faeryland of our own, called by the natives of Martha’s Vineyard “Illumination Night.”

Just imagine these little gingerbread cottages, each with extraordinary whimsical designs, lined up close together on narrow lanes, and decorated with strings of the most extravagant and huge illuminated lanterns.  It was a true faeryland, but we were not dreaming — it was real, and we were there to see it.  It was literally like you didn’t really believe your own eyes — that level of incredulity.

The sail back to the mainland was a snap — downwind all the way on a steady breeze.  What could be easier?  And with a straight shot through the jetty, we were back into the  “safe” waters of Waquoit Bay lickety-split.  The parents were all happy — and relieved — to see us pull up to the mooring and come ashore.  They had taken a chance on us and let us go on our adventure.  Looking back on it, I would say, yes, there was risk, even fatal risk, in the offing, but there was also magic — such is life.

Waquoit Bay

Beetlecats

Martha’s Vineyard

Nantucket Ferry

Munchkin Land

Illumination Night on Martha’s Vineyard

My Story

What do you get for a one dollar contribution? My gratitude.

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Plaza Hotel Reflection

Plaza Hotel Reflection

Manhattan, A Photographer’s Journey

My Story

Digital download of the JPEG file for this photograph.

If you buy this photograph, I will be sending you an email in a day or two with a link to its JPG file. You will then download the file into your computer in its Download or Picture folder or whichever folder you choose. You can use it on your PC as you will, just to look at now and then or as a screen saver after you configure your computer to use it as such. Up to you.

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“Raindrops Keep Falling on My Head”

raindropscentralpark.jpg

“Raindrops Keep Falling on My Head”

My Story

The JPG file of this photograph that you will download into your home computer.

This is a photograph where you can get lost in all the circles, and the reflection of the branches of the leafless tree provides abstract patterns and dark contrast to the raindrops. If you buy the JPG file of the photograph, I will be sending you an email in a day or two with a link to the JPG file. You will then download the file into your computer in its Download or Picture folder or whichever folder you choose, and you can use it on your PC as you will, as a screen saver or just to look at. Up to you.

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Boathouse Restaurant, Central Park

boathouserestaurant

Manhattan, A Photographer’s Journey by Henry Barnard

My Story

What do you get for a one dollar contribution? My gratitude.

If you enjoyed the post, you can help me keeping blogging along with just a one dollar contribution. You can contribute more by increasing the quantity — each increase by 1 is an additional dollar. Thanks for your support in this blog-eat-blog world.

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Amsterdam Canal Reflection

amsterdamcanalreflection

My Story

 

Digital download of the JPG file for this photograph

If you buy this photograph, I will be sending you an email in a day or two with a link to its JPG file. You will then download the file into your computer in its Download or Picture folder or whichever folder you choose. You can use it on your PC as you will, just to look at now and then or as a screen saver after you configure your computer to use it as such. Up to you.

$2.00

My Story

empirestateandnewyorkersign

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“I Just Love Landscapes,” The Positive, The Camera Club of New York Official Members’ Newsletter, April, 1999

Henry Barnard always intrigued me.  I would watch him tirelessly printing and toning his many prints very early in the morning and very late in the evening, and I would wonder what he was doing with all those prints.  When I finally got up the courage to ask him, he told me the most remarkable story.  Henry is one of those hardworking New York street vendors.  Here is his story in his own words.   CL

It is one of those things you’ll never forget.  Not that it would be that important to anyone else.  But it made a big difference to me.  Let me start at the beginning.  The very first time I took my stuff out, I went to Madison to sell in front of a bank.  I had seen other photographers selling there, so I decided to give it a try.  But what happened was the banker came out and said, “You know, you’re doing something illegal.  I’ve called the police.  They should be here any minute.”  This made an impression on me.  I grabbed my stuff and was around the corner and out of site in a twinkle.  I remember running in the direction of 5th Avenue and sitting on one of those long benches they have on the park side.

I was just sitting there with my heart still pounding when I got the idea of going over to the Met.  I had seen artists there as well.  So I picked up my stuff and went to the museum and sure enough, there they were, a bunch of artists and vendors in the tree line in front of the Met, as well as extending beyond the parameter of the museum along the stone wall that runs to the street light on 79th Street.  I didn’t have a real display at the time, just propping the stuff up against a wall or whatever was available.  What was available here was that stone wall running to the street light.  There were many artists along the wall but there were a few open “spots.”  So I propped a dozen or so matted photographs, encased in a protective clear plastic sleeve, up against the wall.  Unfortunately, about every five minutes, a few of them would blow over haplessly, and I would jump off the ledge of the wall to put them back.

It soon became clear to me that just leaning such a flimsy object against the wall in such a windy environment was not working at all.  And what was worse, no one paid any attention to my stuff.  Anything right on the ground was ignored in favor of artwork on any sort of display – evidently no one wanted to buy from off the ground.  That was taboo.  After sitting there for the better part of three hours with my pictures getting blown all over the place and no one paying the slightest attention to my things, I decided to call it a day.

But I was not defeated.  I had seen the experienced vendors had cardboard displays that they taped their pictures to.  The cardboard displays were in turn taped to the ground.  These displays were solid as a rock, whether the wind blew or not.  Even better, they were getting plenty of attention while my stuff was swirling in the wind.  This brought me to Pearl Paint the next day, where I found some reinforced cardboard that was about the right size.  I bought a bunch of these and made some pyramid-type displays fashioned after what I had seen.  I also bought a nice wooden print stand made in Italy.  So I was ready for the next weekend.  Ready, with high expectations.

Despite these expectations, it rained on Saturday.  But Sunday was a pearly blue day.  Everything you could ask for.  I had noticed that on Sundays, artists also set up on the north side of the Met – an area that was nicer than the wall where I had been – so that is where I went with my new cardboard displays, my Italian print stand, and my pictures.  There was one spot left when I got there around 1 o’clock – I subsequently learned that it was unheard of for a spot to be still available that late in the day.  I proudly set up my cardboard displays, taped them to the ground, and then taped a half dozen pictures to them.  I also set up the elegant wooden print stand with another dozen or so pictures and the silent invitation to come and see.  When it was all up, I stood back with obvious self-satisfaction.  It was solid – no more pictures blowing in the wind…an attractive and clean presentation in fact.

I can still remember the pleasure – no, not pleasure, the fascination – I experienced simply watching people look at my stuff.  When someone looked in a certain captivated way, as if they had seen something that had unexpected delight for them and held them, almost involuntarily, that was virtually a transcendental moment for me then, in the early days of selling photographs when I had a certain innocence or maybe purity.  I still do experience this wonderful kind of pleasure but sadly with nowhere near the same intensity as in the early days when showing my stuff was such a novelty.

But that afternoon, the number of people who even just stopped to look at my things were far and few between, and as the minutes grew into hours and the afternoon began to wane, my feeling of dejection was growing larger and larger even as  the light was growing dimmer and dimmer.  Others in front of the Met had sold, sold all afternoon in fact, to my envy, but I had sold absolutely nothing, not even close – and this was my best stuff, prints I had slaved over, prints I was proud of!  (I would later learn that this lacerating confrontation with the ego was a big part of being able to sell photographs, that it would never go away, that it would never get any easier, and that many who try selling their own artwork, perhaps many much more talented than I, succumb to it, this brutal attack on the ego.)  And now there was only perhaps a half hour of good light left.  Yes, there was only about a half hour of good light left – when it happened.

What I remember – and will never forget, ever – was that she was a very large jolly type of woman full of exuberance.  That type bursting with life in sync with her oversized proportions.  She had in toe a husband who was a thin reed of a man, way beyond inconspicuous, as well as a tiny waif of a daughter.  The husband and daughter were like two pebbles strung to a virtual maelstrom blowing past the Met in the form of this gigantic person, a force of nature.

Even from a somewhat dazed state of mind from dejection, I could not help but hear her emphatic declaration, “I just lllllluuuuuuvvvvvv landscapes,” as she rifled through the prints in the Italian print stand with obvious relish, while clutching one print in her free, meaty left hand – a good sign.  When she finished, she asked the daughter if there was one she liked, and the daughter went through the print stand once again, but timidly, carefully, and finally, after excruciating deliberation – and a great deal of silent agitation on my part, I can tell you – settled upon yet another landscape, a picture of a wooded stream in Vermont lit up by a shaft of light on white water.

They were Midwesterners, and forthright and honest as the day is long.  The mother asked the price of the two pictures and paid without dickering.  And so, in just a matter of minutes, no more, I had made my first sale of a hand-made, darkroom photograph – no, two photographs! – to these three unlikely strangers who changed my landscape forever.

Postscript to this article:  There would follow 13 years of selling my darkroom prints in five different states including New York, New Jersey, Pennsylvania, Connecticut, and Rhode Island, with many photography awards along the way, perhaps reaching a zenith winning “Best in Show” at an art show sponsored by the Newport Artists Guild in Newport, Rhode Island, a far stretch from the humble beginnings in front of the Metropolitan Museum of Art.   But none of the experiences over this 13 year span ever equaled the intensity – one might even proffer the word “miracle” – of that very first sale to three total strangers who happened to be visiting New York, a city where dreams do come true.

Manhattan, A Photographer’s Journey by Henry Barnard