the photoshooter's journey from taking to making


Grand Central Terminal, New York City. 2:11PM, June  21, 2013.

Grand Central Terminal, New York City. 2:11PM, June 21, 2013.


AMERICA’S ROMANCE WITH RAIL TRAVEL MAY NOW JUST BE A SORT OF CASUAL ACQUAINTANCE  (hey, we can still be friends), but the temple which sparked much of the old love between man and train still throbs with life. At 100, Grand Central Terminal (don’t, they beg, call it a station) still delights the eye of even a jaded New Yorker with the sheer scale of its vision. Over 750,000 people per day file through its platforms, shops and restaurants, and, of course, its commuter connections.

As to the era when the terminal truly connected the entire nation, the inevitability of the building as a final destination was never better captured than in the opening for the old network radio series named for it:

As a bullet seeks its target, shining rails in every part of our great country are aimed at GRAND CENTRAL STATION, heart of the nation’s greatest city.

Drawn by the magnetic forces of the fantastic metropolis, day and night, great trains rush toward the Hudson River…..sweep down its eastern bank for one hundred and forty-three miles…..flash briefly by the long, red row of tenement houses south of 125th street…..dive with a roar in to the two and one-half mile tunnel that burrows beneath the glittering swank of Park Avenue…and then…..GRAND CENTRAL STATION!!!!

Details, details.

Details, details.

Shooting the terminal is a bit of an alluring trap, since we all want the wider-than-wide, one-shot glama-panorama that takes in every window, skylight, side stall, commuter, ceiling detail and kiosk. The trap is in becoming so wedded to that shot that we forget about all the smaller dramas and details that would be lost within those gigantic, where’s-waldo mega-frames. On my latest trip there, I had been avoiding the usual wide-angle mania that is all too easy to surrender to, in shooting New York, traveling with only a 35mm prime lens and forcing myself to shoot smaller, more intimate subjects. Primes have normal, human-eye proportions, rather than the distorted stretch of a wide-angle, and cannot zoom. Therefore, shooting inside Grand Central meant:

I couldn’t even dream of getting everything in a single shot, meaning a select part of the story had to be chosen over a “master shot”.

I would have a lens that’s incredibly fast and sharp, so I could take advantage of the terminal’s vast interior (275 ft. long, 120 ft. wide, 125 ft. high) a space that is still largely illuminated by east-west natural light.

When I arrived, the golden glow of mid-afternoon was gently warming its way through the 75-ft-high arched windows on the terminal’s west side. I avoided shooting toward the east, since it currently features large “1-0-0” anniversary numerals in the three windows, plus the new Apple store, both of which I regard as barriers to visual enjoyment of the building. Go time: I settled on 1/200 second, ISO 160, wide open at f/1.8 (sharp to infinity since I was shooting from the diagonal opposite of my subject…we’re talking looong distance) and I kept one of about twenty frames.

Lenses, no less than subjects, are about decisions. You choose one thing and un-choose all other options.

And let the sun shine through.

For more history on the terminal, check out this article, courtesy of Gotham magazine:

2 responses

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