Since the photograph is minimalist I will make the commentary minimal as well. I made the photograph outside the San Francisco Museum of Modern Art (SFMOMA) at the end of a recent visit. This was a photograph of opportunity, made handheld as I left the museum and saw this simple conjunction of planes and varied light and textures.
The sensory experience of arriving at a place like this is remarkable. To understand you need to consider how it begins — a wake-up call at 3:00 or 3:30, a very quick cup of coffee, gear tossed into my vehicle, and departure for a two-hour drive in darkness out into California’s Great Central Valley. Most of the drive is on high-speed roads, at least until I get close to my destination, where I frequently encounter very thick winter tule fog — treacherous driving conditions that may force me to drop my speed to 20 mph or slower as I stare into the foggy darkness. Finally I arrive, pass through an entrance gate, and drive to a parking area and turn off the engine.
I open the door. The air is cold and damp. It is still and it would be silent… but for the wild calls of thousands of geese and cranes and other birds, often concealed behind the fog. In an instant I switch from my high-speed world cocooned in my heated vehicle to an entirely different world of fog, cold air, and the birds. Often I can’t help by smile when I hear the wild calls of those birds, and sometimes I almost laugh out loud. On this morning the fog thinned just a bit when I arrived, and it was possible to make out flocks of geese rising from ponds not far away as the first color came to the morning sky.
Painted brick wall of an old building, San Francisco
I seem to be in a bit of a black and white frame of mind today! A few weeks ago I had a chance to head up to San Francisco for a day, mainly to visit the San Francisco Museum of Modern Art (SFMOMA), but also to potentially do a bit of photography. As it turned out, virtually all of that day’s photograph was done in and around the museum, though the site does provide many interesting photographic opportunities, ranging from its architecture to the people inside and including the surrounding downtown neighborhood.
I have photographed this building before. In fact, it is hard to not photograph it. It stands right “behind” the museum and is visible from almost every vantage point on the east side of the building. It is an older brick building but it gives every appearance of having been upgraded and well maintained. While the inside appears to be pretty modern, from what I can see through the windows, the outside retains an aged patina and still includes the remains of some very old exterior painted sign.
Seen from foggy Central Valley wetlands, dawn comes to the sky above the Sierra Nevada
Driving toward this spot in the pre-dawn hours I encountered the usual winter tule fog as soon as I left the main highway for the narrow back roads that criss-cross the agricultural lands. I figured that it would be a foggy morning out in the wetland with the birds once I got to my destination, but instead the fog thinned as I arrived and, to my surprise, I could see the pre-dawn sky. I stopped, quickly set up my camera for bird photography… and immediately began photographing landscapes!
A bit of thin fogged hugged the ground a ways off in the distance. (And later it would glide back in and cover this area to the point that visibility was near zero.) Above the fog, the ponds, and the scattered trees the silhouette of the Sierra crest stretched from north to south. When I looked closely, I could pick out familiar peaks along the distant skyline. A few birds — geese and cranes — began to fly over, and I made this photograph as the sky lit up just before sunrise.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.
