Doorways in Time

Back in the 1930s and '40s, before air-conditioning was commonplace, most houses in Miami Beach had screen doors -- beautiful Art Deco screen doors.

Though South Beach's historic district is supposed to be protected from changes that destroy its unique character, quite a few of the elegant old doors have disappeared during the last 15 years.

I think many rusty or broken ones were simply junked by owners who didn't recognize their value.


Others, however, remain; and some have even been restored.

Illustrated here are three old ones that remain in or near Miami Beach's now booming South Pointe area

When I first saw this neighborhood at the southern tip of Miami Beach, back in 1992, it was a slum; and many old cottages, small apartment buildings and little hotels were in ramshackle disrepair alongside a few that hip entrepreneurs had fixed up. Now the neighborhood has been revived with ultra high-end, high-rise condos ringing the waterfront; and some of the older buildings have been lost. Many still remain, though, along with their remarkable doors.


I made these pictures yesterday afternoon with a little Canon G9 that when I'm not shooting professionally with my big cameras, I carry with me everywhere.

Sleepless in Miami

Saturday night Miami Beach was more interesting than usual with art installations and live performances all over town nearly until dawn -- part of what was billed as a $400,000 "Sleepless Night" of culture.

Hookers were still click-clacking in their heels on Collins Avenue; and clueless teenagers, hip-hoppers and twenty somethings were still lining up to get into overpriced clubs on Washington guarded by hulking bouncers in suits -- a far cry from the glorious times of yesteryear (some 15 years ago) when the clubs were still cool, the crowds hipper, and achingly beautiful women in drop-dead gowns or drag queens in wings -- door goddeses they were called -- guarded the doors, deciding who'd get in.

Anyhow, the lure of the neon got to me, so I took some fast lenses (a 50mm f1.4; a 28 f1.8; and a 135mm f2) plus a 17- megapixel Canon 1Ds Mk3, and walked about for couple hours.

I shot architecture more than people -- though there were some cute kissing couples in Plaza de España, where Dana Keith's great Miami Beach Cinematheque put on an outdoor showing of the 1929 Surrealist classic Un Chien Andalou accompanied by a live performance of a flamenco troupe.

Even so, it was the architecture, the approximately 70-year-old Art Deco architecture, that drew me the most; and I photographed it handheld, mostly with the 28mm wide-angle, and then made the perspective more rectalinear in Photoshop, adjusting away distortion and making the lines more true.

The Sigma lens, the 28, is big and heavy, and I didn't think it would be very sharp wide open -- but it was, and yet had a creamy quality, abetted by some High Dynamic Range post-processing I dd in Photoshop.

I hadn't shot with my fast lenses for a long time -- I've been using f2.8 and f4 zooms and tilt-shift lenses mostly. But this was a return to my roots: I used to do photojournalism with a fast 50, a 28, and a 135; I love those focal lenghts.