I think this photograph is more fun if I avoid saying too much about it. I will say that it actually is a photograph, and one with no more post processing work than I might apply in, say, a landscape photograph. I made the photograph while out on the street in San Francisco earlier this week, doing night photography with my friends and fellow photographers of Studio Nocturne SF.
Nighttime Segway riders gather around a glowing structure
I thought about calling this “Gathering Of Segway Creatures Before The Giant Glowing Orb,” but that seemed to be going too far. A bit too far, anyway. Last night I joined my fellow night photographers from Studio Nocturne SF for a bit of camaraderie and photography in the San Francisco night. We started at the iconic Alamo Park (the location of the oft-photographed “painted ladies”), and I’m either embarrassed or proud to say that it was the first time I have gone there with a camera. I can also report that I did not photograph the “ladies,” instead wandering around with a tripod-less camera in the dark and photographing other things.
We then adjourned to the waterfront, where we spent some time photographing in another (justifiably) popular location. This light sculpture and some other features cast interesting and varying kinds of colored light on the scene, and I spent quite a bit of time searching out and photographing subjects that were transformed by the colorful light. But when these folks suddenly showed up I quickly switched my attention them, and I managed to squeeze of one handheld photograph before they disappeared into the night once again. As is so often the case, night photography brings some unusual events and experiences. Shortly after this, as I walked along a deserted walkway on a pier, three police officers suddenly appeared, rushing towards me. Fortunately, they weren’t interested in me and they passed right by. Within minutes there were a half-dozen police cruisers and two fire trucks in the neighborhood. San Francisco — never a dull moment…
A sidewalk tableau in front of Ristorante Luna, Little Italy
This is another photograph from one of my night walks in the area around Little Italy in Manhattan last July during a weeklong visit to the city. It is a touristy area, but that does mean that there is a great variety of people around and that there is plenty of ambient light spilling onto sidewalks and even into the street at night — all of which is good news for night street photography.
Photographs like this one are not unrelated to my landscape photography. In fact, they often begin as urban landscapes. I find a location that interested me — it could be a storefront, a restaurant, a street vendor, a bit of architecture, or a place with interesting light — and then I wait for people to assemble themselves inside this landscape in ways that seem interesting. This is a matter of patience, luck, and perhaps interactions between people passing through the space. Eventually a tableau with a certain kind of balance may emerge, and you might be able to imagine stories about the people and their interactions.
A single nighttime diner in a Manhattan noodle shop on a dark street
I suppose it is because I plan to be there again soon, but I’ve been going back through some earlier photographs from New York City this week, and especially focusing on photographs I made at night there last July. While staying in a busy part of the city (yeah, I know, all the parts are busy…) where there are lots of small business and lots of people I managed to get out frequently and wander with my camera. Most of the neighborhood tended to be quite crowded and busy, with lots of light. However, a few of the side streets included quieter spots where there were no crowds, especially late at night, including this street where there was only one person still eating in this noodle shop.
With photographs like this, especially when rendered in black and white, there is a lot of creative latitude when it comes to deciding how to interpret the scene. I’m generally not a big fan — with some exceptions — of allowing highlights to completely blow out, so the brightly lit areas set a sort of limit on how light I can go. I want to see at least some detail in almost all areas of the photograph, even in the deep shadows, so I often have to do some careful work during the post processing stages to get what I want from these dark area. It is tricky — too dark and all detail is lost, but too light and the shadows end up gray and the mystery is gone. In this photograph I wanted most of the image to feel very dark, with only the three brightly lit areas standing out.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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