New York is always a film set

In New York, sunlight comes from strange directions. New York is always a film set, reflectors bouncing natural light at contrary angles. Except here the angles are random, not designed (unless, of course, there is a greater design than human agency); the sunlight bouncing off the mirrored surfaces of skyscrapers and the chrome of cars onto buses and people moving and the grime and the smoke of grilling kababs; all caught in the crossfire of ricocheting light.

When the sun sets behind the buildings of Central Park West, casting the trees in shadow, an October ray turns a window to flame (irrespective of the darkness of the life behind), and then finds its way onto one solitary branch amidst the deep green gloom, and in the gold light I can see the leaves, gold green, beginning to turn gold.

New York is always a film set and at moments like these, I wish to be with all my being a 70mm Panavision camera loaded with endless Ektachrome stock; running, running, running...