Archive for the ‘Blogfinger photo news’ Category

Moe Demby, Blogfinger reporter/photographer, visits the OG beach with Chico on a quiet late afternoon in April. 2015

Moe Demby, Blogfinger reporter/photographer, visits the OG beach with Chico on a quiet late afternoon in April. 2015.  BF photo.


BUENA VISTA SOCIAL CLUB  “Veinte Anos”  (Twenty Years)


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Victorian dusting. By Bob Bowné

Victorian dusting. By Bob Bowné. Ocean Grove. Feb 3, 2015. ©  Special to Blogfinger.


Tuesday, February 3, 2015.   Re-post.


Paul, Good morning.

I shoot the same things, over and over, but they always look a little different.

Snow on the beach….we got another dusting yesterday afternoon/evening.

Made for a pretty dawn this morning… Eleven degrees. Froze the locks and windows on my car!

Catch some sun for me ….put it in a bottle and throw it in the Ocean…maybe it will come my way.

Bob, reporting from Ocean Grove beachfront and Ocean Pathway.


By Bob Bowné

By Bob Bowné. Ocean Grove.  Feb 3, 2015.  Special to Blogfinger ©



THE BAND PERRY.   2015 Grammy nominee.


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BerkeleyArtMuseum_SojournerTruth_exh11 (1)

By Paul Goldfinger, Photographic Editor at Blogfinger.net   2016

Sojourner Truth was a runaway slave, an abolitionist, a feminist and an orator.  She used photography to finance her activities.  In the 1850’s, carte de visites were popular–a form of calling card.   A photograph  (albumin print) would be mounted on a  4 1/2 x 2 1/2 cardboard card.  Ms. Truth’s cards had her picture on it which included her motto: “I sell the shadow to support the substance.”   She sold them by mail and at her lectures.

A new exhibit will be shown at the Berkeley Art Museum  and the Pacific Film Archive   (California) called “Sojourner Truth : Photography and the fight against slavery.”  It will run from July 27 to October 3.

This is from the exhibit brochure:   Truth could not read or write, but she had her statements repeatedly published in the press, enthusiastically embraced new technologies such as photography, and went to court three times to claim her legal rights. Uniquely among portrait sitters, she had her photographic carte de visites copyrighted in her own name and added the caption “I Sell the Shadow to Support the Substance. Sojourner Truth, foregrounding her self-selected proper name, her agency, and her possession of self.

COUNTERPOINT    “Ezekiel Saw the Wheel.”  from  Let Me Fly: Music of Struggle, Solace, and Survival in Black America.

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Bradford pears in bloom. Early evening, March, 2012. Downtown Ocean Grove, Main Avenue. NJ. Paul Goldfinger photo. Blogfinger.net. © 

RONALD NALDI   “Torna!”  (Valente-Vento. )  From his album O Sole Mio, Neapolitan. and Italian Songs.



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Norman Rockwell Painting used for poster to support the war effort. Internet collection

Norman Rockwell painting used for poster to support the war effort. Internet collection.


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Rev. Dr. Tony Campolo about to step onto the stage of the Great Auditorium. By Paul Goldfinger © 8/16/15. Blogfinger.net photo.

Rev. Dr. Tony Campolo about to step onto the stage of the Great Auditorium. He called the GA  “A spiritual, renewal place” and he said that “having love is most important….”     Photo by Paul Goldfinger, Blogfinger.net ©. 8/16/15. Ocean Grove, NJ



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Days in Ocean Grove. Historic ice cream parlor. Paul Goldfinger photo. Tri-X film and a silver gelatin darkroom print made by me.



Portrait of Eileen. Film (Tri-X) darkroom print by Paul Golfinger. ©



Camelia River in Ft. Myers, Fla. Digital photograph. December, 2019. There are many variables which go into the appearance of this image. It is seen here only as a digital file made with my Leica Monochrome 246, although a paper print is possible if a negative is made (purists do this) or a digital printer is used. Paul Goldfinger photograph. ©


By Paul Goldfinger,  Photo editor @Blogfinger.net

Years ago I did only color photography. I did well making pretty pictures, some of which wound up winning contests and being displayed internationally by Pfizer Labs.   But I got bored with it and decided to do black and white photos. Eileen got the job of documenting our family’s history in color.

So I took courses and learned how to create high quality black and white prints in the darkroom.  That was much more challenging and rewarding than merely sending the film to a lab. Half the battle with black and white negatives becoming fine prints is in the darkroom.

Some of you who have been interested in fine-art photography know that most of the greats of the past worked only in black and white.

I became a Leica B&W photographer, one of a specialized group that used those fabulous German cameras with their remarkable lenses.  Many of those professional artists were photojournalists, becoming expert at street photography using those small and unobtrusive 35 mm cameras. They bridged the gap between news and fine art.

Remember Robert Capa?   He was on assignment for Life Magazine.  He took his Leica along when he landed with the first wave at D-Day.  There is a remarkable story about that.  Here is a Blogfinger link:

Robert Capa lands on D-Day


One of Capa’s D-Day images. He won a Pulitzer for this courageous work.


Cartier Bresson carried his Leica under his raincoat while sitting at cafés in Paris. All of a sudden he would stand up with his camera and take a picture.  Then sit down and get back to his espresso.   He called it the “decisive moment.”

So for years I only did B&W, although there were some exceptions.  Basically I preconceived my photos by looking at the world in black and white.

A great debate eventually developed over which was better:  film or digital, but that became academic since high quality digital color and black and white images could now be obtained.

In my case, before Blogfinger,  I continued to do only film work and I built a darkroom in my 1880 OG house. It was historic because photography was invented before OG was founded. Remember Matthew Brady during the Civil War?

But when Blogfinger began, I saw that digital images could look spectacular on the Internet.  That’s when I closed my darkroom.  No more hours breathing in chemicals, on my feet, and no more matting, mounting and framing prints.  And I entered a color phase once again, along with B&W.

I like to display my images on BF or by having digital black and white prints made by a fine-art lab, usually in small sizes and then I dry mount them on photo mats.  This way they can be placed on a shelf without any glass or plastic….just the basic  image which can be picked up, changed,  and moved about easily–very retro and satisfying.

But now, as Blogfinger becomes more artsy, I am going back to the days when I shot mostly black and white.  It takes some getting used to by the photographer and by those looking at those pictures.

I think black and white images generally  contain more richness, soul, subtext, subtlety, and spirituality.  And it takes me back to when black and white was all we had, kept aloft by all those S’s.

And now I have to figure out how to get the most out of a new digital camera that only takes black and white images. I sold my film cameras—there is still a market out there for them, and the pendulum is swinging back somewhat.  Art students are learning how to do darkroom printing, sometimes pursuing historic materials such as light sensitive gold or platinum.

Below is the latest M series Leica digital camera–the “Monochrom.”  It is purposely designed to look like its ancestors from the 1930’s, but it is incredibly complicated with software menus out the wazoo.

I have one, but it will take time to excel with it.  You will be seeing more black and white on Blogfinger, but feel free to submit color images if yours are very good.  I will too.  I still have a fine color camera for the 4th of July parade and other “color-essential” events.


Leica M “Monochrom” digital camera. 2019.  High speed Leica 35 mm. lens “the Summilux-M.”



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Walker Evans. Self portrait at a photo booth. 1927.  ©   Featured at Photograph magazine, Jan. 2018.


By Paul Goldfinger, Photography Editor @Blogfinger.net

The exhibit of Walker Evans’ work currently taking place at the SFMOMA is huge, with over 300 prints of Evans’ work, but this 1927 self portrait is misleading, because it does not represent the style of photography for which he became famous. And certainly,”artfully blurred” was not his shtick.   Nevertheless, it is fun to see Evans as he saw himself.

This comment is from Photograph magazine’s review of the exhibit:

“At the start of SFMOMA’s deep-dive Walker Evans retrospective, on view through February 4, there’s an artfully blurred photo booth self-portrait. The 1927 picture has an ebullient energy that’s pure selfie – telegraphing that this formidable historical show has surprisingly contemporary relevance.

“Evans was clearly interested in the vernacular, and his work resonates in the age of Instagram, when delightful and mundane images of ordinary moments flood our lives. The exhibition is chock full of photographs and ephemera – Evans was a collector of postcards and signage – that bring to mind countless examples of artistic strategies employed by subsequent photographers (street photography, typologies, pop art, New Topographics, conceptual strategies, and questioning the veracity of the documentary image).”

If you read the comment above, and try and wade through the vocabulary, the artsy crowd tries to see him as an innovator, responsible for many photo art ideas  which came after him.  True, he was an innovator,  perhaps one of the first to take a selfie, but you can’t connect those dots and credit him as the inventor of selfies.

Selfies are not new—only the word is.  Photographers have often taken self-portraits simply by sticking their cameras on tripods and using a shutter timer or a hand held release.  Photo booth machines are old news and millions of people took their own portraits that way–even today, often at weddings.

Evans was in fact a photographer of the American vernacular, enjoying shots of Americans at work and play or even photographing junky cars or store window signs. That work was stylish then and copied later by Robert Frank in his 1950’s book The Americans and also by many street photographers in the US such as Gary Winogrand and so many others.

But Evans was a classic image-maker using 8×10 large format cameras as did Ansel Adams, unlike photojournalists such as Cartier Bresson and Robert Capa who liked to prowl the streets with small Leicas. Evans is best known for his depression era images taken as part of the FSA team of brilliant photographers, some of which we have already shown on Blogfinger.net, including Dorothea Lange.

Here is a typical  Walker Evans photograph:

Walker Evans: Roadside Stand Near Birmingham, Alabama. 1936 ©

Below is a link to another post of ours on Walker Evans published in 2016 on Blogfinger.net:


Walker Evans in Manhattan



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A DEA clandestine lab group prepares to close a fentanyl lab in New Jersey.  Special to Blogfinger.

Fentanyl is a synthetic opioid which is 100 times as potent as morphine and 50x more potent than heroin.  It originally was developed for medical purposes such as pain control, but in recent years it has been illegally mixed with heroin causing horrible side effects for unwary users, including death.  It can be taken in pill form,  as a nasal spray, or intravenously.

This is from the Asbury Park Press last December, “Heroin’s deadly cousin, the synthetic opioid fentanyl, figured in 417 fatal drug overdoses in New Jersey in 2015, nearly three times the number of  fentanyl-related deaths in the year before, according to new state figures.”  And the numbers continue to rise in this state.  Prince died of this drug.

Law enforcement groups as shown above are currently being utilized on a regular basis to conduct search warrants on fentanyl labs and heroin mill locations.

Multi-agency teams go after those illicit labs where fentanyl is manufactured, often in dangerous facilities where even the tiniest exposure can cause harm.  The equipment they wear is protective when used properly, and it is all disposable.  Take-downs of such labs are done with specialized chemists along to evaluate the environment,and the drugs are handled with great care .  The DEA has special equipment to incinerate the drugs after they are processed as evidence.

Because these labs produce drugs that can cause deaths, the drug dealers who manufacture and/or sell  fentanyl could be charged with murder.  Federal charges for such drug dealing carry very long sentences.

In Monmouth and Ocean Counties,  law enforcement is working  to break the backs of these fentanyl drug rings which are causing deaths  in the towns around us.

Report by Blogfinger.net.



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Diane Arbus 1956. this photo is in the current exhibit. ©

Diane Arbus 1956.     This photo is in the current exhibit. ©


Twins.  Roselle, NJ. By Diane Arbus.

Twins. Roselle, NJ. By Diane Arbus.


By Paul Goldfinger, Photography editor @Blogfinger.

Diane Arbus (1923-1971) is considered to be one of the most important and controversial female photographers in the last century. This exhibit at the Metropolitan Museum of Art will be shown in the new Met Breuer building where modern art will be exhibited.  It will be shown from July 12- November 27.  There will be more than 100 photographs from her early work (1956-1962)  Arbus was known for her “idiosyncratic style and approach for which she has been recognized, praised, criticized and copied the world over.”  Most of her images were obtained in New York City.

Giant and his parents.  Bronx, NY 1970. ©

Giant and his parents. Bronx, NY 1970. ©

She liked to photograph people on the margins of society such as circus performers, dwarfs, transgenders and nudists.  She had been married to Alan Arbus who played the psychiatrist on the TV comedy MASH.  Diane Arbus committed suicide at age 48.

TONY BENNETT   (Tony B. just turned 90 years old)



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