New York
Street shots & city light from Manhattan, Brooklyn & the outer boroughs.
A stranger wrapped in a white quilt with a cigarette between his teeth, American flags blurring out above. The kind of gaze street photography lives for.
The Chrysler Building's crown set against a flat grey sky, the MetLife sign grounding the frame. Midtown in its Tuesday-morning mood.
The twin towers of The San Remo rising out of Central Park at the turn of the leaves. Shot from the reservoir side that everyone walks past.
The Stars and Stripes in the foreground, the Empire State Building climbing into hard blue behind it. Patriotism and geometry, stacked in one frame.
Red beanie, blue puffer, bike between his knees — a cyclist pausing in Central Park in the thin autumn sun. A portrait that feels almost painted.
The Chrysler's art-deco crown compressed against the glass slab of its neighbour. Two ages of Manhattan, rivetted together.
Two friends on the steps above the fountain, winter clothes on, a puddle throwing the conversation back at them. Greenwich Village doing what it does best.
A giant LED American flag towers over Times Square; a silhouetted figure raises a hand against it. Night, voltage, and a car in stripes.
The department motto stencilled on a patrol car, picked out in monochrome under neon. The city's own copy block.
One World Trade Center framed by the red metalwork and chain-link of the Staten Island Ferry. Bent iron, bent light.
The Brooklyn Bridge's gothic arch from the walkway, cable drums catching the light, a lamp hanging like a held breath. The view a hundred people a day try to make.
Rain has turned Times Square into a mirror — orange sports cars, Disney, 'BRIDGET', all doubled in the puddle. A photograph that's half sidewalk.
Nintendo's plumber strapped into a Slingshot at the NYC Super Mario pop-up, theatre-red all the way down. Times Square as toy box.
Celsius, Sparkling, Zero Sugar — the corner-store fridge shot through rain-streaked glass. A New York still life in chemical colour.
A woman in a white puffer looks out at the Empire State through a rain-streaked window from Top of the Rock. Silhouette, umbrella, city in fog.
A chef at work behind a case of roast ducks, the old guy in the orange cap visible through the glass. Cantonese-Wong, serving off Mott.
A single yellow cab paused at a crosswalk, the rest of the frame shadow and gloss. Shot from a window looking down on East 46th.
Wooden houses, autumn trees, a red 'Live Poultry' storefront, a single pedestrian on the crossing. The New York that isn't on the postcards.
A K-pop fan-event in Times Square — the subject's eyes above a Ulanzi stabiliser, hands framing a heart above. The internet made physical.
Midtown after the rain: an American flag, people under umbrellas, the pavement doing most of the work. Reflection as composition.
A modern façade catches a reflection of a skyscraper next door — the building photographing itself. A grid of blues and silvers.
One World Trade Center rising through the white ribs of the Oculus — Calatrava's bones and Manhattan's spire, stacked and mirrored.
A lone figure in a white coat crossing the Oculus's dim interior, the roof ribs cathedraling above. Architecture made into a frame.
The Brooklyn Bridge from the deck — cables like harp-strings, downtown Manhattan laid out beyond. Shot into the sun on a clear morning.
Sonic 3, 'Times Square', a W hotel tower. The Crossroads of the World with the billboards turned down and the buildings showing.
Downtown Manhattan seen through the diamond safety cage of the Empire State's observation deck. Freedom Tower in the middle distance, a crane in between.
A construction crane's lattice framing the Statue of Liberty, the New Jersey docks steaming in the distance. A working-harbour postcard.
Lower Manhattan from One World's observation deck — the Brooklyn and Manhattan Bridges threaded across the East River. The city as circuit board.
Manhattan's tip, the East River, Roosevelt Island, and the bridges all laid out from the plane window. A map made of streets.
The Statue of Liberty framed between the bright-orange posts of the Staten Island Ferry's open deck. The cheapest way to see her.
A parked NYPD cruiser behind a 'Police Line — Do Not Cross' barrier, neon burning red overhead. Night-shift colour.
A member of the NYPD mounted unit, helmet on, reins in hand. Name tape 'BOND'. A portrait made in seconds.
The 'Rainbow Room / Observation Deck / NBC Studios' neon under the Rockefeller canopy, a kid leaning on the wall. The best sign in midtown.
The Empire State Building turned teal and soft behind a rain-beaded window. The building is everywhere in this city; the weather decides how.
A bearded man in sunglasses and a black cap strides past Washington Square, a jacket slung over his shoulder, a wooden stick in his other hand. A two-second portrait.
The Brooklyn Bridge and One World Trade Center at night, treated in sepia mono, traffic stacked below. A city postcard in oil.
Lower Manhattan across the harbour, a passenger in a brown beanie in the right third. Shot through the Staten Island Ferry's window.
The Empire State in warm haze, Manhattan's midtown softened to pink and terracotta behind it. One of those golden-hour evenings.
The Manhattan Bridge's centre tower caught in pink dusk, the cables of the Brooklyn Bridge framing it in foreground. A great evening to be on that walkway.
A Staten Island Ferry-boat and the Statue of Liberty seen through the double window of another boat. Black-and-white, grain on the glass.
A stranger on a park bench — red curly hair, white sunglasses, a green parachute-pant leg visible below. Street style in two seconds.
A line of orange cabs pulled up under the 'Dave & Buster's' and 'Eat, Drink, Play, Watch' signs. The glamour of traffic.
The R train pulled up at 8th Street, warm lamps through the grime, a single passenger visible through a window. The subway in its old-movie key.
The ferry, its orange heavy in the frame, crossing in front of the Manhattan skyline — seen through a chain-link diamond. A photograph about framing.
The Empire State Building framed through a pre-war stone arch — a tenement fire escape off to the side. Midtown seen from the West Village.
The gothic stone arches of the Brooklyn Bridge framed by copper leaves. Victorian engineering in October.
One World Trade Center climbing out of the frame, a red traffic light small at its foot. Architecture photographed like architecture.
Radio City Music Hall's neon in falling snow, the giant white Christmas tree cone out front. The most theatrical building in midtown, at its most theatrical time.
A woman with curly hair, back to the camera, standing at the 9/11 Memorial — the bronze edge of the pool with the engraved names visible below. A quiet frame.
General Ulysses S. Grant National Memorial, autumn trees bare around it, a small tour group visible on the path. The Upper West Side's cathedral.
An NYPD officer mid-conversation, a Bank United van rushing past behind — shot stopped to freeze him, van left blurred. Street portraiture done right.
An American flag hanging between two stone buildings, sunlit, blue sky above. Just the flag and the masonry — no other subject needed.
An FDNY engine holding at a corner, One World Trade Center lit behind in green-lit night. The city's other first responders, on watch.
The Chrysler Building's lit crown at dusk, the Golden Arches of a McDonald's shoved into the bottom-right corner. Classic, kitsch, New York.
A passenger in a brown beanie looks across the water to the Statue of Liberty, an orange post dividing the frame. A photograph about attention.
Robert John Burck in boots, hat and guitar in the middle of Times Square, black-and-white pushing the theatre of it. A New York institution.
The Oculus interior from the balcony — white ribs sloping up, a pink Barbie-style pop-up installation small on the floor. Calatrava's bird-in-flight, housing a marketing moment.
The Brooklyn Bridge at dusk, its lamp globes lit, cables radiating, cotton-candy sky behind. The evening everyone tries to photograph.
A man in a white suit and bow-tie leans on a 'The best of New York' newspaper dispenser, a brown leather bag perched on top. Film-grain overlay, Liberty in the corner.
The Empire State and One World Trade in a cold grey morning, cast as near-silhouettes. The whole skyline reduced to two shapes.
Commuters silhouetted inside the Oculus, white ribs overhead like a whale's skeleton. Black-and-white — the building earns it.
