The photographs of N.P. Thompson

black and white photography

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having lunch

having lunch


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invention of a lover’s dream

invention of a lover's dream


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table

table


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in the greenhouse

in the greenhouse


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red ornaments in black-and-white

red ornaments in black-and-white


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white swans/black pool

white swans black pool


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Hill Country showroom

Hill Country showroom


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george washington bridge

george washington bridge


in the Paradise Room

in the Paradise Room

No pictures on this website may be republished or displayed elsewhere without my written permission. See the “about” page for contact information.


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arriving Seattle

arriving Seattle


desolate


abject fear and terror on lower Broadway


Mary Glover Thurman

Sculpture by James Novelli


Mary Glover Thurman

Sculpture by James Novelli


Midtown in black and white


ulterior motives


the ferris wheel


midnight in the Pearl District

No images on this website, including “midnight in the Pearl District,” may be republished or used elsewhere without the written permission of the photographer. See the “about” page for contact information. Among the thieves who have stolen this image, sans credit to me, are a Balkan Forum blogger so aptly named Leech and a Spanish-language blogger at Rock Rodriland who mistakenly believes my picture has something to do with Bob Dylan lyrics.


discover me


masque


negatives


Midtown dark

“Institutions are a complicated market-place, feelings a boudoir rich in ever-changing interests.”

—Martin Buber, from I and Thou.


the church


enter

From the perspective of emerging out of the glass elevator that connects the fifteenth floor of the Lamar Building with the penthouse that rests three storeys above it.

The structure, made of marble and glass, was designed by architect I.M. Pei in 1975—a commission from Senator R. Eugene Holley. Until the Senator’s arrest and subsequent imprisonment on charges of bank fraud, the penthouse served as his office in the sky.

The space is currently a studio for the painter Randy Lambeth, to whom I owe a debt of gratitude for permission to invade and shoot.

Color shots of the interior are first here and then there.


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