The shadow of a breakwater across a view of San Francisco Bay
I’ve had an obsession with the morning light coming across the San Francisco Bay ever since I started taking an early morning train up there and walking the waterfront, making photographs. The light varies, but it is almost always interesting — muted by fog, brilliantly bright when there is lighter haze, reflecting off the water when the skies are clearer. That latter was mostly the case on this morning, with only a few clouds left from a late-season rain storm that was clearing out.
I began photographing some pier not far from the South Beach Harbor, and as I walked out onto one of them I was intrigued by the overlapping patterns of breakwaters near the entrance to the harbor. As I looked to the right of that entrance the low breakwater cut the bright reflections of morning sun, placing an almost black line across the water parallel with the horizon line.
Summer sun penetrates clearing fog over Drake’s Estero, Point Reyes National Seashore
I took my camera for a hike this week. Or at least that’s how it felt. I have to confess that Point Reyes, a place I visit somewhat regularly, has always been a photographic challenge for me. I can’t quite put my finger on why that is. I certainly have good results with seascape photographs from other areas along the California coast. As I hiked today — an eight mile round trip to the entrance to Drake’s Estero* — I pondered this what might explain it. Because the point extends out into the ocean, it is often foggy. This fog is not the mysterious sort that hangs along the ground and partially obscures trees and hills. It tends to be the cold gray fog that hovers a few hundred feed up, simply blocking and flattening the light. Although I’m intrigued by this landscape, much of it can be quite barren. There are forests, but they often consist of slender trees growing closely together, often with dense undergrowth. It is difficult to find the things that attract me to the landscapes of the Sierra and the desert — rugged rocky forms, tall cliffs (there are some of these at Point Reyes), light-filled forests, bare and rocky ground. Oh, and did I mention the wind!?
But I keep going back, frequently returning with only a few photographs. This was one of those days. I very much like the place I hiked — a route that alternates between forest, tramping along the waterline, and traversing high bluffs above the estero. I walked four miles out past the end of the trail, to a place where I could walk along a narrow band at the base of cliffs that front the estero, and across the relatively still water were sandbars with birds. Beyond that the surf broke outside of the entrance to the estero. At this far end of the hike I was completely alone, and I found a rock to sit on and quietly take in this scene before turning around to retrace my steps. The photographic challenges on this walk were primarily the strong winds and the gray light. As I passed along the top of one of the bluffs, the sky cleared enough to produce beautiful, soft light on the water and the far peninsula, providing an opportunity to make my one good photograph of the day.
“Drake’s Estero” is, as you probably guessed, an estuary — but here I’m using the word that the park service uses for this feature.
Abandoned railroad tracks on a pier along the shore of San Francisco Bay
I made this photograph of a gray and foggy morning along the San Francisco waterfront, an hour or two before the sunlight began to break through the gloom. I ambled along this area of the waterfront, an area that is rapidly changing as this pressure for growth and upgrading increases here, and I poked my nose into any odd little alley or side-walk that I could find. This one turns out to not be all that obscure, and it even has a relationship to photography.
The old tracks lead out onto the edge of a dilapidated pier. The Bay lies beyond and far in the distance the Oakland shoreline is barely visible.
Brown Pelican in flight above Moss Landing, California
Here we have (yet) another in the continuing quest to get the exactly right pelican photograph. Actually, I’m joking — I don’t know what “the” right photograph would be, and I do know that there are almost infinite variations in these birds and the ways that they can be seen. Each individual looks at least a bit different, and they appear in all sorts of different surroundings: against the sky, against the water, close up or far away, overhead, at my level, below me when photographed from bluffs, midday or golden hour light, how the bird is orientated relative the light source, and on it goes.
This is another of the big group I photographed at Monterey Bay last summer, when the promise of whales surfacing near the shoreline took us there on short notice. Indeed, the whales were there and they were remarkably close to the shoreline. But nearly as remarkable was the absolutely huge number of birds that also showed up, including the pelicans.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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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.
