Venice Noir

I’ve been very excited to complete the edit of two specific series of images from Venice and Palermo. One is about the tourists, and although I’ve not quite settled on a name, it is definitely about the tourists. In fact, I have images from Japan and Los Angeles that will also fit in the series, so I think this will be a longer project. I’ll be revealing that series in a few weeks.

The other is a series of images of Venice after dark, or Venice Noir. The first few images started as a lark. Amusing myself while walking home from a cultural-appropriate late dinner, I was feeling lighthearted and frisky from the good food, good company, and ample drink. During the week, the weather was mostly overcast with episodes of rain. Nothing dramatic, but certainly enough to bring out the umbrellas and turn the cobble-stone streets into shinny surfaces of light and color.

The patchy light and dark scenes made perfect photographic backdrops. Perfect, that is, if you are not bothered by extreme contrast, slow shutter speeds, and high-ISOs. Is it the fool-photographer who tries to make these images handheld? My shutter speeds hovered around 1/15th of a second and I often underexposed the image in order avoid loosing all detail in the highlights. With a fixed 35mm lens the walls tilted in and out, and the horizon was not always level. But I was not so concerned about perfect images, I was willing to accept all kinds of aberrations in order to capture the mysterious mood of these night-time Venice streets and canals that was in such stark contrast to the hustle-bustle commercial day-time vibe.

There is no “secret” to how I took these images with such low light and high dynamic range. I just went out and made the images. I looked for light and color and waited for some unsuspecting human presence to add some spice.  In post processing I applied, what is for me, a liberal amount of noise reduction and my standard sharpening.

The series is currently featured on my website at I’ll be posting and explaining more of this series on this blog and on my instagram (nancy_lehrer) and facebook (Nancy Lehrer) streams. This, I think, is how Venice should be experienced.

A Street Photography Manifesto Cover JPGLearn more about making compelling street photographs in my book Life Happens in Color – A Street Photography Manifesto, or you can hear me talk about my photographic process in a couple of recent interviews – one on Martin Bailey’s podcast number 616, and the other with Ibarionex Perello on The Candid Frame.

Footnote about Lightroom and graphics acceleration: For a while now (a long while now – perhaps over a year) I have been struggling with my images in Lightroom not looking like the images after being exported from Lightroom. If the images looked right in Lightroom, the exported image had with too much contrast. Before you get on your “calibrated monitor” soap-box – yes, my monitor is calibrated and I assure you the problem is related to something else, as I was finally able to fix it. I had resigned myself to recalibrate my eyes and to make the images look a little washed out in Lightroom in order to print and export correctly. Needless to say, this was never really a satisfactory solution as it was sort of a crap-shoot to determine if I had gotten the adjustment just right. Last week, however, feed up, I took one more dive into a Google search and the Adobe support pages and finally found the answer. The problem was being caused by having graphics acceleration turned ON. Go figure? I turned it off and I am a happy, happy camper. It is in the Preferences menu in Lightroom. If this is happening to you, go take a check. You might want to also check your preferences in Photoshop.


Take The Best Available Picture

Air by I Nancy, on Flickr

During my workshop with Sam Abell, he used this phrase often: “Take the best available picture”. I think there were two messages here. His first message was not to miss the shot. Even with all your concentration and preparation at 110%, you can only control so much. If you get 90% of the image working, “take the best available picture”. Perhaps a better picture will emerge in a few minutes, but perhaps not.

His deeper message was not to be discouraged. This street-documentary work is hard. I think Sam’s standards are super-human high and it is exactly these standards that brought him his success and brilliance as a photographer.  Somewhere along the way, however, he realized that if a photographer allow themselves be overwhelmed by these standards, they may never produce another photograph, ever. So he reminds his students, and perhaps himself, “take the best available picture”.

This picture is not perfect. I wish there was separation between the bottom of the skateboard and the people below. This could have been achieved if the people were not there. I wish the two people on the left looking on at the trick didn’t have palm trees behind them and were wearing more colorful clothing. I wish there were some more amazing light or color to the sky. But these things were not there. This was the best available picture and I’m glad to have taken it and learned from it.