Basalt, Shale and Grayscale By Shades of Gray Photographer, Artist, Author Erik Jay
Palos Verdes boasts a rich and colorful canvas for photographers to come and enjoy. The mustard, the greenery, blues of the waters mixed in with the palate of seasonal representations give this peninsula 365 days of opportunities to capture nature’s finest.
There is an aspect to Palos Verdes that provides a ‘read between the lines’ perspective. Monochrome photography has a unique and modest spot in Palos Verdes’ lineup of photography, but it has created its own ‘grey area,’ one that has experienced scoff to celebration.
Palos Verdes was always akin to a visual dynamic of scenery that leaves people in awe of its beauty. Angles accentuating cliff sides and open fields were the forefront of delivering the message of nature’s nod. The open landscapes were defined by the rolling hills leading all the way to the ocean. And with the lush environment that gracefully took over throughout time, the introduction to color photography was there to concentrate on the fruits of Frederick Olmsted’s labor.
Over time, the aspects of black and white have competed with the bold and rich colors that are stunning to any viewer’s eye. And with the colors, the skies and water, it blends in a harmony that leaves you no doubt you are looking at Palos Verdes. But the foundation, the layers, the chiseled rock and shades brought by the evolving landscape act as a distant foundation and not the original foreground.
Monochrome photography re-captures the natural sharpness, shades and visuals that are responsible for every layer of photography placed on top of it. Passive details and shadows of everyday objects reveal their true dynamic with monochrome. Palos Verdes stone displays intricacies of granular substance, telling its own story of how it relates to the rest of the peninsula.
Architectural ‘truth’ takes center stage, showing how the original designers of Palos Verdes took dramatic leaps and bounds to represent this small pocket of society as its own entity. The message of ‘We are not LA’ is loudly heard among the moods and vibes that the peninsula boasts under its colors.
Drama, sharp angles, and deco curves atop layers of rock, soil and lush vegetation give all 256 intensities of grey their own lane. And the definition of rich beauty splits, giving monochrome its own unique place in a world of color.
All photos were taken with a Leica Q2 Monochrome camera.
Bio for Erik Jay
Born and raised in Palos Verdes, Erik Jay has taken photography to a local level and captured the area’s finite detailed locations bringing aspects of Palos Verdes usually reserved for the local’s view.
Erik’s grandfather enjoyed a friendship and shooting partnership with Ansel Adams, whose influence helped shape the angular approaches to his style. Erik continued photography work at Chadwick School, using darkrooms and 35mm film cameras.
Always maintaining photography on a diligent level, Erik fulfilled other career objectives until eight years ago when he decided to take photography to a professional level. Since 2012, Palos Verdes and the South Bay have been relentlessly canvassed by Erik, bringing styles and scenes to the walls of local and previous residents. Erik also is a photographer for M Music Magazine and has contributed to several local publications and cities.
Erik’s work can be seen at his website, www.erikjay.com, where services and prints are available for view. Erik also provides portrait, real estate and event photography.
