ERB

What drew me to this composition was the straight line from the tall structure in the background, to the covered walkway in the middle, to the car in the foreground. I waited specifically for a white car for added contrast.

This image shows a clever visual distortion created by a large reflective surface, likely a sheet of plexiglass or mirror that is bent and weathered. Through this reflection, a multi-story house with brown siding, white trim, and several windows appears tilted and warped, as if the building itself were slanting unnaturally. Power lines and utility poles cut across the view, further bending with the reflection. The reflective sheet is held up by a rough wooden and metal frame, surrounded by torn white fabric or tarp, giving the scene a temporary, makeshift look. Above the mirror, part of a sign advertising plexiglass sneeze guards is visible, hinting that this display is outside a supply shop. The overall effect is surreal: a familiar street view made strange and unstable by the warped mirror, turning an ordinary house into something dreamlike and disorienting. The photograph feels like a study in perception, reflection, and the transformation of the everyday.

Flushing, Queens, New York - 09/20/25

This photograph presents a deliberate visual illusion through careful control of perspective. In the foreground, the familiar Mobil gas station awning with its bright blue and red corporate logo anchors the image horizontally across the bottom. Rising directly above it, a gray, tiered building of distinctly Brutalist or Modernist design appears to rest upon the canopy, as if the structure were supported by the gas station itself. The composition flattens depth, compressing foreground and background into a single vertical plane. The severe geometric repetition of the building’s concrete panels contrasts with the smooth, minimal branding below, creating tension between corporate utility and architectural austerity. The muted sky and lack of visible ground further isolate the two forms, reinforcing the illusion that they belong to one continuous object. Artistically, the image reads as a study in visual architecture and perception, an in-camera collage where the industrial and the monumental are joined by perspective alone. The result is quietly surreal, balancing precision and abstraction while evoking the layered visual language of urban modernity.

Queens, New York

A Brutalist building with a Modernist twist, wrapped in a visual pun. I like to amuse myself.

The image shows a layered urban scene dominated by scaffolding and a large, Brutalist-style concrete structure in the background. The building in the distance features geometric forms and exposed concrete typical of mid-to-late twentieth-century institutional architecture. In front of it are reddish-brown brick buildings partially covered in metal scaffolding with tangled wires and safety netting, suggesting renovation or maintenance work. In the lower part of the frame, a red brick wall with faded paint and graffiti runs alongside a chain-link fence and a green construction canopy. A white van is parked near the bottom right, partly obscured by the dark iron fence in the foreground, whose pointed tops create a rhythmic pattern. The overall atmosphere feels industrial and somewhat gritty, with muted lighting that softens the harsh lines of the architecture. The photograph conveys a sense of layered urban texture and quiet observation, capturing the intersection of structure, decay, and renewal.

The intent here is to flatten this scene, composed of two blocks of structures, into a single vertical mass of lines and forms. I’ve always loved collage, and this is my attempt at creating one with my camera.

Brooklyn, New York

This black and white photograph shows the Brutalist concrete and glass structure of Woodhull Hospital in Brooklyn, New York. The composition captures the hospital’s angular geometric forms and deep shadows against a pale sky. In the foreground, a McDonald’s drive-through canopy introduces a jarring commercial element, while Hebrew signage on nearby buildings adds cultural texture. The lighting is soft, possibly early morning or late afternoon, accentuating the tonal gradation and architectural rhythm. The overall atmosphere evokes a pictorialist sensibility — the image emphasizes form, tone, and emotional impact over documentary precision. The interplay between institutional Brutalism and urban clutter gives the photograph a contemplative, almost surreal quality.

Woodhull Hospital in Brooklyn. I often photograph it while heading to McDonald’s or Popeyes nearby. The hospital’s Brutalist design, its setting in a rough area, and its poor Google reviews all seem to fit together perfectly.

The image shows a close-up detail of a car’s front section, focusing on the base of the windshield and the wiper. The composition highlights the meeting point between the glass, the dark plastic wiper mount, and the smooth painted surface of the car, which appears to be red. The shallow depth of field and soft lighting create a dreamy atmosphere, with an abstract, creamy blur in warm tones dominating the background. The shapes and gradients merge into a painterly study of form, texture, and reflection. The letters “ERB 2025” appear subtly in the top left corner.

In the garage

They're actually pretty friendly in this position

The photograph shows a large, bright yellow sunflower standing against a vivid blue background. The flower’s circular brown center is textured and detailed, and its yellow petals radiate outward in crisp sunlight. Several white electric candles with small pointed bulbs hang suspended in front of the background, evenly spaced and floating at different heights. The blue backdrop also reflects an outdoor scene: the silhouette of a peaked roof, utility poles, and crossing power lines. These reflections overlap with the sunflower and candles, creating an illusion of layers — part interior display, part exterior street view. The sunflower’s shadow falls clearly behind it, giving a sense of depth. In the upper right corner, the image is marked “ERB 2025,” indicating the artist and year. Overall, the scene feels both surreal and contemplative — a bright sunflower isolated in a calm blue space, intersected by ghostlike reflections of a city outside.

I was watching PBS’s Art 21 today and was struck by this quote by Mexican photographer Graciela Iturbide.

“Photography is a pretext to know the world, to know life, to know yourself.”

Peekskill, New York - December, 2022

The photograph shows the side of a large trailer or truck, cropped tightly to emphasize form and texture. Four black tires with silver rims line the bottom edge, evenly spaced and parallel, grounding the image. Above them stretches a tall, pale wall of the trailer — silver aluminum in color—covered with accumulated grime, streaks, and vertical stains. Some marks appear brown or rust-colored, while others are gray or black, suggesting long use and exposure to road dirt or weather. A thin red-and-white reflective stripe runs horizontally across the middle, providing a clean geometric contrast to the chaotic surface. The lighting is even and natural, casting minimal shadow, which enhances the flat, graphic quality of the composition. In the upper right corner, small text reads “ERB 2025,” identifying the artist and date. The overall impression is one of restrained industrial beauty, focusing on pattern, repetition, and the quiet dignity of wear.

Municipal waste - Brooklyn

The photograph depicts the rear side of a bus whose exterior is wrapped in a dramatic printed advertisement. The image on the bus shows a scene of explosions and smoke rising above the Brooklyn Bridge, with a figure dressed in dark tactical gear holding a weapon, silhouetted against the fiery background. The printed imagery gives the illusion that the chaos is occurring on the surface of the bus itself. To the right of the bus, there is a worn wooden wall covered with chipped turquoise paint and faded graffiti, revealing layers of color and decay beneath. Above the wall runs a strip decorated with floral patterns. A strong shadow cuts diagonally across the wall, contrasting the sunlit portions with darkened areas. The top left reveals a portion of a telephone pole and a metal railing, while the background sky is clear blue. The image as a whole juxtaposes cinematic violence with urban decay, merging illusion and reality. The text “ERB 2025” appears subtly in the upper right corner, indicating the artist and year.

Metropolitan Avenue - Brooklyn

This diptych is composed of two photographs taken from the Xinyiliantongkong pedestrian footbridge over Songgao Road in Taipei. The left image shows a bride in a voluminous light lavender gown and a groom in a light gray suit walking across a crosswalk. They are pausing to pose for wedding photos. The empty street and soft light give the moment a serene, cinematic feeling. The right image captures a different scene on the same street. An elderly woman has just tripped after getting out of a taxi. Two people are standing beside her, offering assistance. A large red steel beam and part of the footbridge structure frame the foreground. The street behind remains quiet and still. 這張雙聯照片是從台北松高路上的信義連通空行人天橋拍攝的。 左邊的照片：一位新娘穿著蓬鬆的淡紫色婚紗，與身穿淺灰色西裝的新郎走在斑馬線上，並停下來拍婚紗照。街道空無一人，柔和的光線讓畫面顯得寧靜而富有電影感。 右邊的照片：畫面中一位老婦人在下計程車後不慎跌倒，兩位路人站在她身旁提供協助。畫面前景是一根紅色鋼樑與天橋結構，背景的街道仍舊寧靜空曠。

From the Xinyiliantongkong footbridge over Songgao Road in Taipei, I saw a bride and groom posing for photos. Moments later, an elderly woman tripped after exiting a taxi, and strangers rushed to help her.

從信義連通空天橋往下看，一對新人拍照走過，不久一位老婦人下計程車時跌倒，路人立刻上前幫忙。

YouTube video by Alec Soth Rambling through Eggleston's Democratic Forest

You might like this video by Magnum photographer Alec Soth.
He calls the Democratic Forest "difficult" and "challenging".

www.youtube.com/watch?v=Kj6e...

"What's that for? I didn't do nuthin'!" "That's in case ya do and I'm not around!"

~ Larry and Moe

The photograph captures a large green highway sign directing traffic onto the Brooklyn-Queens Expressway (Interstate 278 East), with “Queens” and “Bronx” listed as destinations. Beneath it, a smaller red and white sign marks a Snow Emergency Route and notes that Road Service is by Permit Only. In the lower part of the frame, a side-view mirror reflects a blurry image of the photographer and surroundings. In the distance, the distinctive cable-stayed Kosciuszko Bridge rises against a pale blue sky, its cables forming sharp geometric lines. The composition is orderly but layered: signage, reflection, bridge, and sky coexist without hierarchy. This image relates closely to William Eggleston’s Democratic Forest theory. Eggleston argued that all subjects—no matter how mundane—are photographically equal and deserving of attention. There are no “unimportant” elements. The photograph here embodies that philosophy: a freeway sign, a utilitarian post, and a reflection become a composed visual study. The urban infrastructure and everyday signage, normally overlooked, are elevated to aesthetic importance through framing, light, and tone. The democratic aspect lies in treating the banal as worthy of contemplation, echoing Eggleston’s belief that beauty resides everywhere, not just in conventionally “photographic” subjects.

Here I’m continuing in the spirit of William Eggleston’s Democratic Forest, where each component of a photograph carries equal weight and value. The final work becomes the sum of its parts.

The image shows a classic urban rooftop water tower rising above an older industrial building. The cylindrical tank, made of weathered wood with a rust-colored metal roof, catches the late-day sunlight, giving it a warm tone against a pale blue sky. A narrow metal ladder and guard rails wrap around the structure, emphasizing its utilitarian design. Below, the building’s light gray brick façade is partly in shadow, with small windows and metal pipes visible. In the foreground, sheets of corrugated metal, streaked with rust and graffiti, form a rough barrier that partially obscures the view. The composition contrasts the functional elegance of the water tower with the decay and grit of the foreground, evoking a quiet sense of New York’s industrial past enduring within a modern skyline.

Somewhere else in Brooklyn where a guy can’t find even the smallest hole-in-the wall bodega to quench his thirst on a hot October day.

The photograph shows an urban street scene framed by layers of structures and vehicles. In the foreground, part of a car windshield reflects light and fragments of lettering, hinting at motion or signage. Behind it, a blue-painted truck edge with visible rivets creates a vertical block of color on the right side. In the middle distance, a tan metal fence with a decorative radial pattern—spokes radiating outward from circular centers—runs across the frame. Behind the fence, a covered structure with a black canopy and draped white curtains is partially visible. Graffiti marks the concrete base of the fence. Further back, a dark, weathered wall shows patches of black and gray texture, giving the scene a worn industrial feeling. Above it, the lighter facade of a modern apartment building with rectangular windows contrasts with the gritty lower levels. Power lines and cables add to the layered, urban density of the image. Overall, the composition balances geometric order with decay—clean architectural lines set against weathered surfaces and spontaneous marks of the street.

Somewhere in Brooklyn

The photograph captures an industrial urban scene featuring the rear of a cement mixer truck parked beside an overflowing dumpster. On the right, the white concrete mixer dominates the frame, its surface caked with dried cement and marked with the manufacturer name “McNeilus.” Thick hoses hang loosely from the back, and the metal chute extends downward, scarred from heavy use. To the left sits a battered green dumpster, covered in graffiti painted in purple and black. The bin is filled with discarded cardboard boxes, trash bags, and construction debris spilling over the edge. Behind both, a tall wire fence layered with mesh and coils of barbed wire encloses a gritty industrial yard. The image is steeped in texture—rust, grime, peeling paint, and shadow—contrasting the utilitarian machinery with the improvisational chaos of street color and urban waste.

I’m trying to take my photography into areas that AI doesn’t dare go.

The photograph shows the rear portion of a dark-colored dump truck parked along a sunlit street. The truck’s surface is matte black and heavily worn, with streaks of white paint splattered and running down its side like accidental drips. A long metal arm extends diagonally across the truck’s side, adding a strong geometric line. The rear tire and undercarriage are visible, dusty and rusted from years of use. Behind the truck, a large beige wall divided into rectangular panels forms a calm, structured background that contrasts with the rough, chaotic paint on the vehicle. One panel near the top has a patch of mismatched paint, subtly disrupting the otherwise orderly grid. The composition emphasizes contrast—between light and dark, order and disorder, function and decay—capturing a quiet fragment of industrial urban life.

You don’t need to go to the museum to see a painting.

The photograph shows part of an urban building facade with layered textures and geometric contrasts. In the foreground, the wall is made of red brick with horizontal rows of pale decorative bricks near the top. A section of the wall is patched with a mix of tiles and panels in different colors and finishes—cream, beige, gray, and wood tones—forming a rectangle. Several of these panels are covered with stickers and graffiti tags. A small red alarm bell is mounted above this section. At the bottom left are warning signs indicating the building has sprinklers. Above this red brick facade rises a smaller rooftop structure with a tiled roof in two colors—faded red and tan—edged with green metal trim. The walls of this upper structure are worn gray concrete with a single small window. A tall black chimney pipe extends upward beside it, reaching into the clear blue sky. The image combines weathered materials, patched repairs, and visual order, creating a quiet study in color, shape, and urban decay.

It was a hot one in Brooklyn yesterday.
I liked how the chimney at the top and the signs near the bottom opposed each other.

Thanks!

English Description: The photo captures a dense urban scene in Keelung, Taiwan. Multiple mid-rise buildings are layered into a hillside, each topped with silver cylindrical water tanks. The rooftops are cluttered with improvised structures—some made of corrugated metal, others of concrete, each with different roofing materials and colors, such as red or gray. Electrical wires and utility poles cut across the frame. Many of the buildings have window cages or patched-on balconies, suggesting years of informal expansion. The image feels chaotic yet lived-in, with signs of adaptation and improvisation visible in every corner. Chinese Traditional Description (繁體中文描述)： 這張照片拍攝於台灣基隆，呈現一幅密集的城市景象。多棟中層樓房層層堆疊在山坡上，每棟建築屋頂上都裝有銀色的圓柱形水塔。屋頂上可見許多臨時搭建的結構，有些是波浪鐵皮，有些是水泥建材，屋頂顏色不一，例如紅色與灰色。電線與電線桿橫貫畫面，增添了城市的雜亂感。許多建築物裝有鐵窗或加蓋陽台，顯示出長期以來居民的擴建與改造。整體畫面雜亂卻充滿生活氣息，處處可見因地制宜的痕跡。

Architecture in Taiwan is definitely function over form. Keelung, Taiwan

台灣的建築確實是功能優先於形式。台灣基隆

This image shows a layered urban scene made up of geometric shapes, shadows, and textures. In the upper part of the frame, a modern billboard features a blue Hyundai SUV against a sandy background. Beneath it, the roofline of a building with green pagoda-style tiles peeks out, adding a contrasting architectural shape. The middle of the image is dominated by a weathered brick wall, where a faded painted advertisement with the word “Chevrolet” and a lightning-bolt motif can just be made out. Time and weather have softened it into a ghost sign, blending with the rough surface of the bricks. In front, a large dark shape — possibly the shadow of another sign — cuts diagonally into the right side of the frame. At the bottom, a red-painted wall provides a solid block of color, interrupted by the curved shadow of a streetlamp. The photograph flattens these elements into an abstract composition of rectangles, diagonals, and curves, where the subject matter is secondary to the play of lines, tones, and surfaces.

The subject matter is secondary to the play of lines, tones, and surfaces.

Queens, New York

This photograph shows an urban street scene with overlapping layers of detail. In the foreground, the rear side of a white van dominates the lower right portion of the frame. The van’s body is weathered, with a large, faded, and peeling rectangular patch of paint or an old decal. Rust marks and dirt are visible around the edges. On top of the van is a metal roof rack holding some bundled objects wrapped in plastic. Behind the van, a black metal fence with a “No Parking – Private Property” sign marks the boundary of a lot. Inside the lot, another white vehicle is faintly visible. To the left, a vertical yellow sign with red Chinese characters advertises “Ace Appliance & AC Inc.,” listing phone numbers and logos for brands like Frigidaire, LG, and Samsung. Midground buildings display a mix of colors and textures: a dusty rose-colored wall with two dark-framed windows, a section of blue wall with red trim, and a sloping white awning leading to the side. Graffiti in large block letters stretches across the roofline of one building. In the background, taller apartment or office buildings in muted tones of beige and reddish-brown rise against a clear blue sky, creating contrast with the smaller storefront structures below. The scene captures the visual layering of a working neighborhood—street-level commerce, utilitarian vehicles, aging walls with graffiti, and modern high-rises looming above.

I’m trying to reduce the photograph to just shapes and lines like a two dimensional abstract painting.

This photograph presents a dense urban composition where structure and repetition dominate the frame. • Foreground: A complex grid of metallic scaffolding fills most of the image. The horizontal, vertical, and diagonal bars intersect rhythmically, forming an intricate lattice that suggests both construction and confinement. • Background: Behind the scaffolding, a tall modern high-rise building is partially visible. Its surface of rectangular windows and vertical lines mirrors the order of the scaffolding but at a different scale, creating a layered interplay of geometry. • Color and tone: The palette is muted—metallic grays and neutral tones of the building—emphasizing texture and structure rather than color. The repetition of lines conveys a mechanical rhythm, while the shadows within the lattice add depth. • Overall impression: The photograph captures a dialogue between temporary structure (scaffolding) and permanent architecture (tower), where the rigid grid becomes both a visual barrier and a framing device for the city beyond.

Boston, Massachusetts

This photograph captures a minimal, architectural interior detail with a play of geometry, color, and shadow. • Foreground: A white metal radiator or vented panel dominates the lower portion of the frame, its vertical slats forming a precise rhythm. A black knob or cap punctuates the clean surface. • Background: To the left is a section of white beadboard wall, while the upper right is partly obscured by a bold red rectangular form that cuts diagonally across the image. Behind, a neutral-toned wall and doorframe with decorative molding are faintly visible. • Details: A vertical pipe runs upward, showing signs of use and dark smudging at a joint near the radiator. Light and shadow emphasize the textures—smooth metal, painted wood, and fabric-like red surface. • Overall impression: The image feels abstract and constructed, where the functional elements of heating, wall structure, and architectural trim are transformed into a study of contrast—red versus white, vertical versus horizontal, smooth versus textured.

Boston, Massachusetts

The photograph shows an urban street scene with layers of detail. In the foreground, there is the back portion of a plain white van. A circular black window on the van stands out against its smooth white surface. Next to the van, a leafy green plant grows upward along a dark green wall. On this wall, white stenciled letters read “POST NO BILLS.” Behind this, wooden utility poles lean slightly, carrying a tangle of overhead wires that crisscross the scene. In the background, a modern high-rise building with a grid of blue glass windows dominates the view, its reflective panels catching the light. The composition contrasts the rough textures of plants, poles, and wires with the sleek geometry of the glass building.

Shapes and lines - Flushing, Queens

The photograph shows a city street scene with a mix of older low-rise buildings and a modern high-rise tower in the background. In the foreground, there is a small commercial building with dark, tiled walls and large white Chinese characters mounted vertically on its exterior. A matching horizontal sign above the entrance also displays Chinese text along with English: DIAMOND PURPLE INC and a phone number. Stacked wooden pallets and cardboard boxes are placed against the building, and a propane-powered forklift sits nearby, suggesting warehouse or light industrial activity. To the left, part of a blue-painted building is visible, while to the right a billboard displays a photograph of an interior space with a telephone contact number beginning with 718. Above the storefronts, a pitched-roof structure with visible air conditioning units sits alongside the tall modern apartment or office building in the distance. The overall scene contrasts utilitarian street-level businesses with the stark white tower rising behind them, under a clear blue sky.

Again, I’m only interested in the lines. The details are irrelevant.

Flushing, Queens, New York

This image shows an outdoor storage area for building materials. In the foreground, a chain-link fence topped with green fabric runs across the bottom of the frame. Behind it, stacks of large, shrink-wrapped boxes labeled “WALL TILES” and “PORCELAIN TILES” are strapped with green bands and arranged on metal shelving. Above the shelving is a torn, weathered awning made of green tarp that hangs in ragged strips. To the left, a faded mural or painted sign covers part of the wall, its surface cracked and peeling away in sharp flakes that reveal older colors beneath. The mural is barely legible, with only faint traces of lettering and abstract shapes left. In the background, the scene contrasts with a tall, modern glass-fronted building, its repeating balconies and clean lines towering over the rough, decayed industrial setting in the foreground. The juxtaposition emphasizes age and neglect against sleek, contemporary urban life.

A photograph about nothing and everything.
Flushing, Queens, New York

This image shows the front entrance of a residential building with cream or beige horizontal siding. The main focal point is a white metal staircase with decorative wrought iron railings featuring curved scroll designs, leading up to the front door. The entrance area is beautifully landscaped with a vibrant garden bed along the front of the stairs. The garden contains tall spikes of purple flowers (likely liatris or gayfeather) standing prominently among bright orange marigolds and various green foliage plants. Above the main entrance, there’s a concrete balcony with white metal railings where you can see some outdoor furniture. The building has multiple levels visible, with windows featuring white trim. There are also some evergreen shrubs, including what appears to be a well-maintained rounded topiary bush to the left side of the entrance. Power or utility lines are visible crossing above the scene, and the overall setting appears to be in an urban or suburban neighborhood. The lighting suggests this photo was taken during daytime with natural sunlight illuminating the scene.​​​​​​​​​​​​​​​​

I liked the lines going every which way.
Flushing, Queens, New York

This image shows a clever visual distortion created by a large reflective surface, likely a sheet of plexiglass or mirror that is bent and weathered. Through this reflection, a multi-story house with brown siding, white trim, and several windows appears tilted and warped, as if the building itself were slanting unnaturally. Power lines and utility poles cut across the view, further bending with the reflection. The reflective sheet is held up by a rough wooden and metal frame, surrounded by torn white fabric or tarp, giving the scene a temporary, makeshift look. Above the mirror, part of a sign advertising plexiglass sneeze guards is visible, hinting that this display is outside a supply shop. The overall effect is surreal: a familiar street view made strange and unstable by the warped mirror, turning an ordinary house into something dreamlike and disorienting. The photograph feels like a study in perception, reflection, and the transformation of the everyday.

Flushing, Queens, New York - 09/20/25