The best little preserve you’ve never heard of…

Tucked deep within the southwest corner of Elgin Illinois is a hidden gem of the Cook County Forest Preserve system. Indeed, this gem is so hidden that aside from one sign (on an adjacent road nowhere near the preserve entrance), there is no way to tell from the ground that the park even exists.  That entrance, although unmarked, is also the main entrance to the adjacent Bluff City Cemetery.  Once you enter the cemetery grounds, you’ll have a meandering ⅓ mile drive to its southern edge before coming across the Bluff Spring Fen Nature Preserve – an area more commonly referred to simply as “The Fen.”

The Fen itself comprises the middle 100 acres of a much larger 225 acre “green space” consisting of woodlands, wetlands,  savanna, prairie, small ponds, rivulets and creeks that is jointly owned by the forest preserve districts of Kane and Cook counties as well as the city of Elgin.  Its main defining characteristic is its springs that discharge water at a constant 50 degrees for twelve months of the year.  It’s this relatively warm water that keeps the aquatic plant life verdant even in the bitter cold of January.  Adding to this already interesting landscape are numerous glacial hills which add topographical variety to this already dynamic preserve.  With these different environments and habitats in mind, photographers of all different stripes will be satisfied after their time at the fen is done.

Landscape shooters will enjoy the combinations of sweeping open air vistas of flat prairie and hills but with scattered trees and woods to provide photographic context to frame and anchor their shots. I find it a great place to capture interesting weather and cloud formations.

Towards the Western edge runs Poplar Creek on its final leg to the Fox River.  The confluence of the spring’s flow and Poplar creek coupled with the its meandering path provides some interesting photographic opportunities as well, especially during those dramatic-cloud days.  In this particular stretch, Poplar creek is slow-moving and fairly placid so it acts as a great skyward mirror.  During Autumn and Winter, when the sun is low to the horizon, some dramatic images can be captured in the creek area, especially if you sport a wide or super-wide lens and you’re not afraid of shooting into the sun.

During the colder seasons of the year, the relatively warm spring water can create low-lying fog which when hit by the sun becomes quite dazzling. If you’re lucky enough to find yourself there on one of these mornings, I’d suggest setting up on one of the small hills that litter the preserve.   When the sun hits the fog, you’ll have a great birds-eye location from which to capture the magic. In addition, on very cold calm wind days, the fog’s moisture frequently collects on creek side flora creating spectacular crystalline ice structures which will have you reaching for your macro lens.

The spring and summer months bring fields of wildflowers such as sunflower and echinacea among many others.  During May and June, particularly in the wooded eastern area of the Fen, you’ll find dense patches of purple, pink and white upright phlox which serve as a nice contrast to the dark forest.  If you can get there during the right light, (which seems to be in the morning vs the afternoon), you should have yourself quite a shot.

The phlox as well as the other flowers attract many “bee varieties” like wasps, bumblebee, yellow jackets, and common honeybees.  You’ll also find numerous varieties of butterfly and dragonfly if bees aren’t your thing.

During the Autumn,  the prairie grasses and patches of sumac add pleasant color to The Fen.  While it can’t hold a candle to the color of the U.P. or the Northeast, the color at the fen is still appealing.

For those of you  interested in wildlife, I’ve seen bird varieties such as, Nuthatch, Red-bellied woodpecker, Red-tailed Hawk, Egret, Great Blue Heron and (although not the most photogenic bird) Turkey Vulture.

Over the last few years i’ve also encountered Coyote, Fox, Muskrat, Skunk, Opossum,  a very dazed and confused Raccoon, one Beaver (although that is somewhat unconfirmed as I didn’t see the guys tail),  as well as a few snake varieties.

If you’re interested in deer, once you leave the parking lot, stick to the Northernmost trail that runs East from the parking lot (adjacent to the creek that borders the cemetery) . In my experience the small herd that calls the Fen home, tend to congregate along this small stream.  Also, if you’re looking to get as close as possible to these deer (or any wildlife for that matter), don’t try to sneak up on them…they know you’re there.  Also, I’d suggest against walking directly toward them.  They may take this action as being threatening and bolt.  Take a meandering route – walk in a “zig-zag” pattern toward them.  This way, they may not see you as a direct threat, but rather someone who has other reasons and interests in being there.

The Fen, due to its compact size and great variety has quickly become one of my favorite places for “Run and Gun” nature and landscape photography.

You can learn more about The Fen at The Friends of the Bluff Spring Fen website http://www.bluffspringfen.org/

or at the Forest Preserve District of Cook County page here
http://fpdcc.com/bluff-spring-fen/

Don’t forget to check out more of Kevin’s work at http://www.flickr.com/photos/kevrod2011/

When Chris first asked me to write a post about entering photo competitions and submitting to juried shows I was a bit hesitant. Not because I don’t want to share what I know but because it’s complicated, personal and I still feel like I have much to learn. But here goes an attempt.

First I think you need to know what you want to get out of entering competitions or juried shows. There are different versions; individuals in the photo industry jury some, whether they’re photographers themselves, professors of photography, gallery owners, curators or photo editors. Others are mere popularity contests in my opinion, voted on by whomever views the images and chooses their favorites. Both get you more visibility but you have to decide which type of audience you’d like to reach.

If you do submit to the juried shows I would recommend researching the jurors, become familiar with their work and be sure to follow the submission guidelines.

Second, I think you need to have a cohesive body of work and style that’s specific to you. Most of these submissions require an artist statement, which I find to be the most painful things to write, but it seems to be a necessary evil.

Many times the call for entry allows you to submit up to 3-5 images from one body of work. I’ve made the mistake in the past of submitting what I think is my best work from various projects and I’ve learned it’s best to submit as many images as they allow from one series. This allows the jurors to have a better understanding of what your photography says and shows you have a specific style–that there’s more of thought process involved with your work.

Submitting to most shows or calls for entry involves a fee, generally anywhere from $25-$50. So you have to decide which calls/shows will get you the most exposure, prestige or whatever it is you’d like to get out of being a part of them.

You also need to take into consideration what is involved once you are accepted. Is it an online show where your image will be showcased in an online gallery, do you have to print, mat and frame your images for a local gallery show, maybe you also have to pay for shipping, there and back, if it’s an out-of-state or international show or maybe the gallery helps to cover the cost by allowing you to print according to their guidelines and they cover the cost of matting and framing for the show? These are all things to take into consideration because it gets very expensive.  And in all honesty, more often than not, the work doesn’t sell in these shows. What you may be hoping for is exposure, building up your resume or eventually gaining gallery representation–all valid goals.

Being chosen to present in a show is always exciting and certainly gives an ego boost. But you must have a very thick skin if you have any interest in submitting. Much more often those rejection notifications fill the inbox and quickly drains any feelings of validation you may have received from a previous acceptance.

All art is so subjective. What one juror finds compelling and fitting for their show, another will not. I have submitted the same image to different shows and been accepted to some, rejected by others. I don’t know that there’s any magic to the process. You just have to believe what you have to say through your images is important and keep trying to get them seen.

Here’s a list of a few places where there are calls for entry, both online gallery shows and physical gallery shows…some free, some with submission fees. Good luck!

http://www.exhibitionswithoutwalls.com/
http://www.theartlist.com/
http://www.artshow.com/juriedshows/index.html
http://flakphoto.com/about
http://www.featureshoot.com/
http://www.redbirdeditions.com/
http://pcnw.org/gallery/call-for-entries/
http://www.photoawards.com/en/
http://www.chicagoartistsresource.org/
http://www.windowonphotography.com/cfe/cfe.html
http://fractionmagazine.com/

Look into your local galleries and get on their mailing/newsletter list, FB and Twitter pages to stay updated about their calls for entry. It’s also very helpful to connect with other photographers and artists who have similar goals with their work–always an invaluable resource.

When you exit the Visitor Center and cross the bridge you will enter the Crescent Garden, one of my favorite gardens in the spring.  The 26,000 tulips in the Crescent Garden have just opened and their many shades of purple and cream make them a wonderful subject for a landscape shot with the lake and willow trees in the background.

If you continue along the path through the Esplanade, you will see Regenstein Center on your left.  Stop in and see the Garden Photographic Society’s “Nature in View” photography exhibit in the Joutras Gallery. The exhibit will be up until May 19th.

A stop in the Bulb Garden this time of year is a must.  Tulips of many colors and varieties blanket the beds at the entrance of the garden and along the pathway through the garden.

Continuing along the main path, you will come to the Circle Garden, another spring favorite.  This garden features a dancing fountain with four identical beds of spring tulips in pink and yellow, as well as beautiful combinations of annuals, scrubs and flowering trees.  There are two “secret” gardens off to each side, as well.  This is a beautiful garden for a landscape or HDR shot, so bring your wide angle lens.

Probably my favorite area within the Garden this time of the year is the Enabling Garden and the upper walkway that features the Sensory Garden.  The raised beds make it easy to get close to the flowers and plants, and you can set up your tripod right on or against the bed ledges.  Both these gardens are a delight to the senses, and the color combinations, smells and textures of the mix of perennials and annuals are stunning. Some of the most unusual and beautiful tulips are in these gardens.

The Sensory Garden woodland path is lined with whitespire birch trees and many wildflowers and ferns.  The bleeding hearts are just beginning to bloom in the woods.

Another treat this time of year are the flowering crabapples, redbud and cherry trees at the Garden.  They are all over the Garden but one of the most stunning paths is along the lakeside between the Japanese Garden and the English Oak Meadow.  The crabapples form a canopy of flowers that is magical and lovely to photograph. They are very close to blooming now.  The cherry trees in the Japanese Garden are in bloom but won’t last long.

The Iceland poppies in the English Oak Meadow are fun to photograph. They took a beating during our recent rains and flooding, but are beginning to bounce back.  The English Walled Garden is right next door, so take some time to explore its blooms and lovely architecture.

Lastly, stop in the Heritage Garden, a circular garden divided into 4 quadrants and dedicated to Carolus Linnaeus. Seven of the beds display plants according to their geographic origin; 14 other beds display the major plant families grouped according to their scientific classification.  I am particularly fond of the bed of Persian Buttercups, one of which is pictured below.

The Garden is open every day from 8:00 a.m. until sunset, but the gates are open and you can get in if you want to photograph as early as sunrise. Admission to the Garden is free but if you are not a member, parking is $25 per car. You can avoid the hefty parking fee by taking the Metra, Pace bus or bike into the Garden.  Visit the CBG website for more information about public transportation options: http://www.chicagobotanic.org/visit/directions

Visit my website and follow my blog about what’s blooming at CBG:  http://annebelmont.zenfolio.com/

Images by Angie McMonigal

Even though the Art Institute of Chicago (Michigan & Adams) is a familiar place to many of us, I would suggest that, for photographers, there are fresh challenges to be found. Perhaps you’ve already photographed the facades, or the famous lions, objects in the collection, or maybe people viewing objects in the collection. Today, we’ll concentrate on the interior spaces of the Art Institute.

Recently, Angie McMonigal spent some time exploring with her camera. Her beautiful photographs demonstrate the variety of spaces and the photographic potential to be found within the Art Institute’s walls.

Actually, the Art Institute is a complex of many buildings made up of at least a dozen additions, renovations, and restorations over the course of a century. This will give you the idea.

It all began with the 1893 World’s Columbian Exposition – the Chicago World’s Fair. The original Art Institute building is one of only two structures left from the Fair (the other is the Museum of Science and Industry) and the only one remotely located from the fairgrounds in Jackson Park.

The original building was actually the fruit of cooperative efforts between the Institute’s trustees and civic leaders. The building would be used for scholarly meetings and cultural gatherings during the course of the Fair (May-October) and afterward become the permanent home of the Art Institute’s growing collection. And its location was crucial: in Chicago’s efforts to shake off its dirty, industrial, culture-less image, this palace of fine art would be intentionally sited directly adjacent to the city’s sooty commercial core.

Evoking the look of temples of ancient Greece and Rome, the classical revival design of the building – a 19th-century style known as Beaux-Arts – was by the Boston firm of Shepley, Rutan and Coolidge – the same architects who created another palace of culture a couple blocks north: the Chicago Cultural Center (which we explored in our first article for Out Of Chicago).  The Art Institute officially opened to the public on December 8, 1893. Here’s an early photograph of the original building; look at the train lines and how close the lake was.

Thus began the many improvements made to accommodate the Art Institute’s exhibition and administrative needs. The grand staircase was completed in 1910, connecting many galleries in a spacious sky-lit space. After you come in the main entrance, simply proceed straight ahead. At the top level are highly photogenic architectural fragments (from Frank Lloyd Wright, Louis Sullivan, et al).

A large wing was added in 1962 to the south of the original building. To find and enter this wing: walking past the grand staircase on the main level, take a right at the Asian art. Today the wing houses Asian, Native American, and African art – as well as the swooping spiral staircase – an incredible example of mid-century modern design – that may not be as familiar to some of us.

Finally in 2009, the museum’s largest addition, Renzo Piano’s widely-acclaimed Modern Wing, opened, making the Art Institute the second largest museum in the United States. You may enter off of Monroe Street, or if you come in the main entrance, head east and then turn left when you see Greek and Roman nudes. Clean, airy, geometric, huge, and light-filled, there are many vantage points to explore.

Here are a few ideas for photographing the interior spaces of the Art Institute:

I think one of the challenges is composition: finding good vantage points and framing your shots in interesting, eye-pleasing ways. Think in terms of line and shapes.

Light is your friend at the Art Institute. Natural light pours in all over the museum and casts beautiful shadows.

Include people or not? This can be a fun challenge in the Art Institute. Should you wait for that random person to perfectly grace your composition – or wait until not a soul fills your viewfinder?

Include the collection? I like how Angie shows this gallery as if the space itself is the work of art (and includes a random person, to boot!):

Photography is, of course, allowed at the Art Institute – except for temporary exhibits or items on loan. Tripods and flash are not permitted and photographs must be for personal, non-commercial, use only. The museum is open daily, 10:30 am – 5:00 pm, Thursdays until 8:00 pm (free for Illinois residents from 5-8pm).  Visit the museum website at www.artic.edu.

Even if you’ve been to the Art Institute of Chicago many times, I hope you are able to visit with fresh eyes in order to explore the possibilities with your camera. I can’t wait to see what you come up with!

View the rest of Angie McMonigal’s images from the Art Institute here.

By viewing the image on the back of your camera in black and white, you can make better decisions regarding exposure and composition when your eye is not distracted by color.

So the next time you get in a situation where you think you will be creating a black and white image, switch your Picture Style to monochrome but keep shooting in RAW. This way you can have your cake and eat it too! Enjoy.

Today’s image is from my trip to Chinatown last weekend. This was my first time out with the tilt shift lens and my goal was to try using it in as many different ways as possible. Here I tilted it against the grain so that it threw the foreground and background out of focus.

For more help with post-processing your images, check out the post-processing section of the site.

I’ve been using Lightroom since version 2 and it keeps getting better each time. You can read about all of the new improvements at the Lightroom 5 download site.

This morning, I tried out two of the major features that I am excited about. For both of these images, I used the automatic alignment tool that Adobe calls Upright. I have heard some complaints that it doesn’t work every time with landscape photos if there is not a clear horizon. But with these types of shots with tall buildings in them, it worked great. One click of the button and every building was vertical and the horizon was straight. This is probably how I will correct my images 99% of the time from now on.

The second major feature I used was the Radial Gradient tool. This tool is basically a super awesome vignette tool. You draw a circle or oval at the point where you want to apply the tool. Lightroom will then apply whatever setting you have assigned, just like the brush, to the area outside of the circle. The effect is gradually less as it gets to the circle. In the case of the image below, I placed an oval around the train in the foreground and chose to darken the effect, which darkens everything around the train, focusing attention on the train. So it acts like a vignette tool, but it’s much more. You can move it wherever you want, for one thing. But what really makes it powerful is that you can apply any other adjustments in a gradient as well. Besides exposure, I see me using this to change saturation, clarity, highlights, shadows, and more. It opens up a new world of editing in Lightroom. Yes, you could do these things in Photoshop, but this is less time. And, more importantly, these adjustments are still non-destructive. If you want to go back in a few months and make that oval a little bigger to affect a larger area, you easily can.

Typically, when you first set up your camera and tripod, you are just a little too far away from your subject or you end up with the lens too close to focus. This means a lot of little tripod movements which can be difficult to do. If you have ever tried to move your tripod just 1/16” closer to your subject you know what I mean.

Macro rails solve this problem but I don’t need another bulky piece of equipment to haul around.

If you’re using one of the 180mm macro lenses, chances are you already have a macro rail of sorts. It’s the lens plate attached to the foot of your lens. This doesn’t help with lateral adjustments but it can be a great asset when you just need to nudge a little closer or pull back just a tad.

To that end, I eventually bought a 6” lens plate so that I have plenty of travel to adjust my position without fooling around with the tripod position.

This tip for this article is that it’s simple to take this principle and apply to all your shots where you are flirting with the MFD of the lens. For example, the 100mm macro, 10-20mm or 24mm TS-E all focus incredibly close but don’t have a lens foot. When I use these near their MFD, I borrow the lens plate from the 180 and attach it parallel to the lens at the bottom of actual camera.

With the Wimberley camera plate there’s a threaded hole available so I don’t even need to remove it to attach the lens plate. This gives me 6” of additional distance adjustment. Obviously, adjustments are rough and not precise like a true macro rail. So, I’m not using it for focus stacking but it does prevents me from having to move the tripod around a dozen times to get the distance right.

Oh, by the way having this extra-long lens plate gives me 2 other advantages.
1. I have been able to use it to establish the “Nodal” point for panorama shots on a number of my lenses. Here is a 10 shot pano created using the 24-105 f/4 at 75MM sitting on my lens plate and aligned for the nodal point at that focal length.

2. Mounted parallel to the camera you can use it to widen your field of view a touch by shooting images from either end of the plate. The effect is more dramatic in macro work and it’s great when you want to create a mini-pano. In this example, without having to move the tripod or grab another lens, I was able to include the entire compass in my shot simply by sliding the camera along the 6″ lens plate that I mounted to the bottom of the camera.

The idea behind this tip was really more of an accident than a purposeful thought. A couple of years ago I was on my way to Sedona and realized I hadn’t packed any camera or lens plates. Went to a local camera store in Phoenix and was fortunate to find a replacement camera plate and this 6″ lens plate in a used parts bin. Paid about $50 for both and they’ve been in the bag ever since. New a 6″ lens plate is about $58 from Wimberley or $65 from RRS. By comparison a simple macro rail is about $100 and the cost goes up from there.

Thanks for looking.

A peek at the renovation-Wendy Bright

When I first moved to Chicago, I couldn’t wait to lay eyes on my favorite Chicago building. I came down on the Red Line and emerged on State Street, only to find the whole base of the Carson Pirie Scott building covered up for restoration. I was disappointed, but thankful at least that restoration was being done. Yet as the job was finished and the covering came off bit by bit, I was one of the first to try to take a peek.

(We have opted to use a few of my iPhone photos here simply to give you ideas, not to demonstrate superior technique!)

The base of the building is one of its glories – and one of its most photogenic aspects. But there’s a lot to love and to photograph here!

In the late 1890s, Louis H. Sullivan received a commission that would prove to be the culmination of all he had done, the last large commission of his life, and a building like none other he had created.

The Schlesinger & Mayer retail team was thinking big when in 1881 they secured prime real estate for their store: the busy corner of State and Madison – where all the major city streetcar lines intersected. Expecting to take their rank among the soon-to-be eight giant department stores along a six block stretch of State Street, they gave the commission to architect Louis Sullivan and clearly wanted something bold to set their store apart.

In the years following the 1893 World’s Fair and the sensation of the ‘White City’ architecture, all of America, it seemed, was crazy for neoclassical design. Yet, here was renegade Sullivan – fresh from his non-white, non-classical Transportation Building at the Fair – rejecting all things historicist – ready to design a large department store in a most significant spot in Chicago. They must have known that they were going to get a modern American design.

The Schlesinger & Mayer store opened in October of 1903. But the company was struggling under mounting debt and Carson Pirie Scott soon bought them out. Carson’s occupied Sullivan’s building for over a century, when they came to the realization that maintenance of their flagship store was cost-prohibitive. In 2007 they sold the historic building and vacated State Street.

For the next five years, new owners Freed & Associates continued work on the building – since renamed The Sullivan Center – converting upper floors to office space and preparing the lower two floors for a large retail tenant. It seemed to take a long time to find that tenant; even as Sullivan’s cast iron ornament was restored in 2009-2010, the retail space lay discouragingly empty.

The upper floors are occupied by the School of the Art Institute of Chicago architecture program and State of Illinois offices, but it wasn’t until July 2012 when CityTarget filled the two floors of retail space that the building seemed reinvigorated and reconnected to the city once more…what with that trademark Target red adding a new glow to State Street…

Bulls Eye-Wendy Bright

Louis Sullivan’s design for the Schlesinger & Mayer store was, in many ways, unlike anything he had ever created. As his last major commission, he seemed to go out on a note of unabashed virtuosity.

By the turn of the last century, modern steel-frame commercial office buildings were scraping the Chicago sky, but the Carson Pirie Scott store was one of the first large stores fully built with steel-frame construction. The wide open expanses that this construction made possible – and the greater illumination thanks to plate-glass – made the modern American department store a completely new and thrilling experience.

Carson Pirie Scott-Chris Smith

Sullivan’s design for the third through twelfth floors was truly avant garde. Revealing the grid of steel beneath the facade had been done for years by Chicago School architects, but Sullivan pulls it off with unadorned, clean, white glazed terra cotta and the uniform use of the Chicago window. These top floors are very modular, almost mechanical in feel. Sullivan powerfully emphasizes the horizontal dimension in his use of unbroken string courses, uniting the long grid of Chicago windows.

But Sullivan pulls out all the stops with his exuberant ornament surrounding the large display windows of the lower two floors. Sullivan’s foliate ornament is cast iron – a red undercoat, painted green, lightly burnished. This organic, floral, flowing extravaganza in iron was designed to attract customers, most of whom were women.

LHS Initials-Chris Smith

But Sullivan was up to more than enticing ladies to shop. He clearly wanted to display his virtuosity up-close for all to see; he proudly included his initials in the design at the corner entrance (LHS). Sullivan’s ornament was steeped in ideas of the forces of the universe, nature and man. Many have recognized a metaphor for the natural landscape here. Walking alongside the base of the building is akin to walking in a forest, the green of the flowing iron forms meant to evoke foliage dappled by sunlight. Entering the corner doorway, the shopper is met with large ‘trees’ of mahogany in the vestibule, leading to rows of columns within the store, all topped with foliate capitals.

Carson Pirie Scott Entrance-Chris Smith

Yet much has been made of the juxtaposition of the top and bottom of this building. The sharp contrast between base and superstructure, between ornamental and plain surface, was unprecedented in Sullivan’s work. It’s not known what he had in mind, but it nevertheless demonstrates his sophisticated ability to bring opposing dynamics into a coherent whole.

And that makes for a great segue in our discussion of shooting this building. I would suggest that one of the best ways to approach this building photographically is by looking for opposing dynamics. Sullivan’s design provides many. Plus, the juxtaposition of the shiny new Target store planted inside the historic structure makes for even more intriguing contrasts. Some ideas:

• horizontal vs. vertical – Sullivan played with these dimensions and so can you: stand directly beneath the corner tower and shoot up; or from down the street, emphasizing the building’s length; standing diagonally across from the main entrance, you can capture both these opposing dynamics at once.
• organic vs. man-made – the flowing, extravaganza-in-iron against the relentless modern grid of the upper floors. Isolate portions of the building for dramatic shots. Simply shooting the corner entrance, as Chris did so dramatically, presents nice challenges.
• the ‘forest’ of exterior ornament and corner entrance (mahogany trees) vs. the bright, modern merchandising: that dark, sensuous green against the crisp red and white.
• inside: Sullivan’s pure white tree-like columns vs. that omnipresent Target red

Images by Wendy Bright

Then, there are the store’s windows! Target fully succeeded in utilizing one of the building’s main assets: its large plate-glass windows. They eliminated closed block window displays and have, through both floors of large windows, allowed unobstructed views deep into the store.

• Shoot from all different vantage points on State and Madison Streets, looking through the glass at night or, in sunlight, playing with the reflections of other buildings.
• Shoot from the inside looking out to the street.
• Go up to the second floor, northwest corner of the store (menswear) to find the glowing red bulls-eye respectfully placed in the corner window, behind Sullivan’s still prominent cast iron ornament. This is a fun place to walk around and shoot!
• The back window! Also on the second floor is the grocery department and if you head east – back past frozen foods and detergent, you will come to a window overlooking the Wabash elevated track (where there used to be a direct entrance from the “L” to Carsons).

Different times of day, of course, and different seasons present new experiences of the building (from the red summer awnings to the holiday decor). And the afternoon light is beautiful on the building’s west facade. CityTarget is open Mon-Fri 7 am-10 pm, Sat 8am-10pm, Sun 8am-8pm.

I hope you find visual delight in Sullivan’s bold masterpiece and that you have fun exploring this great building with your camera!