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Full Size ViewClick here to resize the wallpaper to your preferred dimensions and apply special effects. The Waldorf-Astoria Hotel has historically epitomized New York City glamour with much ease, but beneath the surface of this Art-Deco luxury hotel lies…an abandoned train track?! Though not exactly a train station of its own, the Waldorf-Astoria was built atop one of Grand Central Terminal’s many early platform lots through a lease of air rights. The most famous story about the Waldorf-Astoria platform features Franklin Delano Roosevelt. One use that we hope is true is that the platform also served as an underground party space for Andy Warhol in 1965, according to William D.
Brennan also traces the construction of the freight elevator that runs from platform level to 49th Street to the construction of the Waldorf-Astoria itself, not prior. Somehow the plans changed, and the elevator never went directly to the hotel itself, just the street. Today, the platform serves little purpose and is restricted to any passenger service and blocked from visitation.
Photography Stack Exchange is a question and answer site for professional, enthusiast and amateur photographers. I would like to be able to capture a photo which shows light shafts coming through the window.
I'm guessing this involves a tripod, a long exposure and strong sunlight, but presumably also some particulate in the air to catch the light?
You should be able to see it with your own eyes before even photographing it; after that, just pp it to your licking. You've pretty much answered your own question there (except that you don't absolutely need a long exposure, it depends on the situation).
To do this is a church you might need to ask them to turn the interior lights off to maximize the difference and then wait for the sun to shine directly through a window.
To reliably replicate it, assuming you're already cut the power, most churches are quite dusty so you could run around, beat the carpets and pew cusions a bit.
I have an example of this in church, but if there's strong interest I can try to replicate this with a flash and pot of boiling water. In the top photo it looks like long exposure was used, as you can see many 'ghosts' of people. Slow shutter speeds mildly allow the moving particles to appear a more solid mass (like shooting a waterfall at a long exposure v's quick where it freezes all the drops), but I'd suggest the fundamentals are the three above. Not the answer you're looking for?Browse other questions tagged lighting technique sunlight composition or ask your own question.


These photos were taken to show the different effects of light, but what's actually different? How to photograph flat plastic in an “interesting” way to show off its properties? Can using a reflector or external flash soften harsh natural light, or just fill in shadows? To maximize the chance of correctly guessing the result of a coin flip, should I always choose the most probable outcome? Is it not cruel to let our city die by degrees, stripped of all her proud monuments, until there will be nothing left of all her history and beauty to inspire our children?
There is not an endeavor, ambition or activity in the built world that cannot be enhanced by a warm, embracing ambience. There are abundant examples in every category of modern life, but observe just one (itself, perhaps, the least obvious) - transportation. Designed by Charles Luckman in 1968, the current Penn Station famously arose from the wreckage of the greatest train shed in America and, arguably, the world.
Early in the 20th century, the railroad provided the principle means of overland travel, the terrestrial complement to the golden age of ocean liners. And, just as commercial airline travel would supplant ocean liners by mid-century, so too would the airways combine with automobiles and buses to render the railroad an antiquated means of long-distance transportation. By the 1960s, Penn Station had become a cathedral to a dead religion, its soaring, cavernous space an empty expanse of un-capitalized real estate.
No longer the pink marble-columned gateway between the great Metropolis and the scale-less continent beyond, overseen by giant eagles of Vinalhaven granite sparkling in sunshine - Penn Station now moves only people, not their hearts and minds. What then can we learn from its surviving neighbor and contemporary just across town, now entering its centennial year and itself the survivor of 2 considerable demolition threats in the 1950's and 60's? Completed between 1903 and 1913 in a collaboration between Warren and Wetmore and the lesser-known Reed and Stern, Grand Central may lack some of the spatial complexity of the early Penn Station, but celebrates in elegant Beaux Arts formality the transformative possibilities of journey by rail.
And yet, for all its monumental vastness, its finery and craftsmanship and sheer luxuriant gorgeousness - all of it welcome and beguiling - a single element above all gives the totality of Grand Central its legible grace. At the very center of this elegiac spaciousness is an information kiosk that would fit within even the most modest studio apartment; a simple, graceful little rotunda of marble and glass supporting a four-faced brass and opal clock. It is a familiar face in a surging crowd, an eye-level exchange beneath a heavenly vault, and its presence asserts, so very gently, that the travelers who throng through this hall in their millions are really just so many individuals passing through time and space. This fun fact is fairly well-known in urban exploration circles and was included in our Top 10 Secrets of Grand Central, but we thought it was worth its own shout out. The now barren subterranean space once served as a means to transport the hotel’s more famous guests discreetly, like General Pershing who first allegedly used the platform in 1938.


In some accounts, he used this platform to transfer himself into an employed custom-made train cart.
The platform was of course never used or intended to be used in regular passenger service, and it was not even built for the hotel; it just happens to be in the right place.
However, you can catch a glimpse of the site and its noted security train cart when onboard the Metro-North, looking to the right, leaving Grand Central Station. The key ingredient is obviously the particulates in the air to reflect the light, but in the shot you've posted also the extreme exposure difference between the incoming sun and ambient light.
The photo you posted has always bothered me as it looks a little fake, I wouldn't be surprised if a little dodging went on in the darkroom to increase the brightness of the light shafts. If they are not inspired by the past of our city, where will they find the strength to fight for her future?
Ironically, both Pennsylvania Station and Henry Ford's Highland Park Model-T factory were completed within a year of one another - one, the world's single greatest expression of the pre-eminance of train travel and the other the author of its demise.
And so, the wrecking crews were summoned and one of America 's most iconic building gave way to the benumbing banality of Penn Plaza and a relocated Madison Square Garden.
The sheer contrast between the enormity of the main concourse and this humble little structure lends a human scale to the million cubic feet of space and light and, in so doing, renders the room intimate, personal. The vehicle would commute him straight to a hotel and was armored for the traveler’s protection. The greater the difference, the fewer particulates you need in the air as each one will be shining brighter, and the better they will show up against a dark background. Americans care about their past, but for short term gain they ignore it and tear down everything that matters. Grand Central, New York City's two primary train stations separated by roughly 16 city blocks and 6 decades, the answer is as simple as it is elusive. The basic functions of the station remained, of course, but had been relegated to a basement, as far removed from daylight and the romance of travel as is possible to imagine - a low-ceilinged, fluorescence-muted rat race of fast food vendors, plastic tourist memorabilia and anonymous travelers. In another version, his armored train on Metro-North would disconnect and drive onto the platform and into the freight elevator.



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