One Front Street in black and white, San Francisco.
At this point it is probably no secret that I like photographing urban subjects — not just nature — and that the urban landscape is near the top of my list. I’m fascinated by city subjects, from the bustle of people-filled scenes to the almost abstract possibilities found in modern buildings.
This is an often-photographed San Francisco building that towers above pedestrians in the central downtown area. The parallel curved structures extending skyward capture and reflect light in all sorts of interesting ways. Here the reflections of surrounding structures merge with the forms of the building itself.
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.
Rising waves of sand in soft light, Death Valley National Park.
This photograph comes from a memorable visit to a remote location in Death Valley National Park about eight years ago. I was in the park during the first few days of January. I saw far fewer other visitors than I usually encounter there these days, and I experienced some very cold temperatures! A few days earlier the thermometer in my vehicle registered at freezing as I drove below sea level very early one morning. On the morning after I made this photograph I finally got around to checking the temperature at around 9:00AM after the sun had come up, only to discover that it was still in the low twenties!
When I arrived at this location in the late afternoon there was only one other small group of visitors. (They were gone when I came back from photographing, and I had the place completely to myself that night.) I figured out where I would camp that night, and then I grabbed my photography gear and headed out into the nearby landscape of sand with distant vistas of playa and mountains. It was late enough the I soon found myself photographing the dunes in soft, post-sunset light.
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.
A California winter landscape photograph reduced to its compositional fundamentals.
This photograph fits into a category I describe as “imaginary landscapes,” a type defined loosely by where it sits along the continuum between supposed representational reality and abstraction of landscape-derived materials. That might seem an overly-wordy way to describe it, but I’m always cognizant of the fact that no landscape photograph is truly objective or fully “real” — all photographs and certainly all landscape photographs necessarily are subjective. This could be due to something as basic (and obvious!) as the fact that the photographer chose to point the camera at some specific thing (and not at other things). It includes equipment choices( length of lens, aperture, etc.), basic interpretive choices (color or black and white, and how to handle either of those), and much, much more. In my “imaginary landscape” photographs I think I’m simply making this stuff more plainly obvious.
This one also illustrates, I think, something that figures into the landscape (but not just landscape!) photographs of virtually every photographer that I know of — the photograph is not just about the ostensible subject of the image. For most photographers other things also appeal — the shapes of things, their colors (a huge topic, by the way), how the components fit together, how things may be suggested rather than declared, and more. Allow me to make a musical analogy here. There’s a famous (or infamous) piece by composer/philosopher John Cage called 4’33”. In it a performer, takes the stage in the manner of any classical performer, then sits in front of a (usually) piano silently for 4′ 33″. One way to look at this is to recognize that Cage gave us every element of a musical performance but the one we think is central, thus forcing us to think about all of those “other details” and their central role in our perception of music. A photograph with no details (“the horror!”) may work in a somewhat similar (though not quite identical) way. Or maybe you just like the colors? ;-)
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.
Abstract forms and colors of a weathered and stained Sierra Nevada cliff
As I do almost every summer, I headed into the Sierra Nevada backcountry with a group of friends and photographers over the past week and a half of so. The group has been doing this since about 2001, and I began to work with them nearly a decade ago, eventually moving from showing up as a solo backpacker for a few days to participating fully in the visits. Typically we get packed in to a location with lots of photographic possibilities — a pack string brings in a lot of the gear, while we typically carry in our camera equipment. Once set up we can “work” the surroundings intensively, looking more deeply into the landscape and viewing it in various conditions and light. This provides us with special opportunities to learn the nearby landscape more intimately than if we were just passing through or hiking in and out each day. Equally important, as we live and work together for a week we form a very special little photographic community.
This year we were (again) in the John Muir Wilderness of the Eastern Sierra Nevada. Every place has its own visual personality. In this location high mountains surrounded us and produced several hours of soft, shaded light in the morning and evening, with fill light reflected from surrounding peaks rising into the sunlight…
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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