G Dan Mitchell, photographer and visual opportunist focusing on the Pacific coast, the Sierra Nevada, redwood forests, California oak/grasslands, California deserts, urban landscapes, night photography and more. Posting daily photographs since 2005, along with articles, reviews, news, and ideas.
Shadows from artificial light amplify the forms of a staircase at Mare Island.
I made this photograph in an area that was actually so dark that I could barely see the subject — a long exposure and a higher ISO made the photograph possible and allow the camera to see what I cannot. I could see well enough to know that there were some unusual and interesting shadow patterns, including the organic shaped shadows of nearby trees and the angular shadows duplicating the lines of the stairway railings.
With a dark subject like this the first challenge is to make a composition out of things I can barely see. The broad outlines are visible, but it was not easy to see details… and focusing can be a major issue. (I have a bag of tricks for this. One technique is to simply shine a brighter light into the scene and focus on the lit area. An alternative if the subject is further way is to place the light inside the frame, focus on it, and then remove it for the exposure.) This whole area was just a bit spooky. I got to it by ascending a dark stairway and then walking across what seemed like it may have been an abandoned parking terrace that was littered with construction (or destruction?) debris.
A women waits alone at a crosswalk for the light to change, San Francisco.
One thing that might surprise some folks about my street photograph is that I do not think that it is unrelated to my nature and landscape photography. I think that it all connects together as “photography,” whether the subject is a mountain or a building, a bird or a person. I also believe that photographing more than one type of subject — which some might regard as a dilution of vision — actually makes me better at seeing all kinds of subjects as photographs. Shooting street, where things often happen quite quickly and in the midst of a lot of visual stimuli, forces me to be “on” all the time, to see potential subjects quickly, to recognize things that work instinctively, and to look for juxtapositions. And photographing natural landscape subjects informs the way I see the urban landscape.
One obvious potential thread in urban photograph is the juxtaposition of individual figures against a constructed and sometimes massive and impersonal urban landscape. I often look for these “stages” and then watch for people to appear and populate them. This location can actually be a fairly busy street corner, but here I first found the massive stone building, then waited for the scene to clear with the exception of the solitary woman waiting for the light.
Morning light and forested shoreline reflected on the surface of a subalpine Sierra Nevada lake
It is way past time to share this photograph — it has been sitting here since I made it back in July! The location is a familiar one to those who visit the Yosemite high country and drive across Tioga Pass Road, but sometimes I do stop at those iconic locations and make a photograph, especially in a quiet and uncrowded morning like this one.
Lakes like this one are among the places that often make me wonder if visitors have any idea what they are missing. So many people, for practical reasons or because they don’t know better, come to such places in the middle of the day or in the afternoon. While they are certainly beautiful at any time, these locations are almost (but not quite always!) at their most beautiful at the very beginning and very end of the day. Lakes like this one are often completely still at dawn, sometimes with a bit of fog rising from their surface, and the surroundings are usually quiet and uncrowded. Even in a spot like this one — where I can assure you there were crowds later in the day — I can have the place virtually to myself.