Crowds of people walking past shops along Grant Avenue on a summer evening, San Francisco
To me, this photograph has a feeling of San Francisco. Yes, it is in a tourist location, but the crowded sidewalk, the diverse group of people, the somewhat old and (lovingly) worn buildings and sidewalk, the narrow street, the clutter… all contribute to the charm of The City.
There are a lot of small things in this complex photograph that I like. The center, though it is subtle, may be the man facing the camera and looking into the light of the store. But there is also the family with two children, one clutching dad’s hand and the other, barely visible, looking into that light. There’s more, but I’ll leave it to viewers to look.
I think my landscape photographer instincts went to work on this photograph, despite its thoroughly urban subject. But imagine a valley floor, a vertical granite cliff, peaks beyond, and a cloud floating past and I think you might see the analogy. But this is a distinctly San Francisco street/architecture photograph.
I was on foot in The City, spending the better part of a day wandering around in an area bounded by the Embarcadero and the Bay, Market street more or less, and Fourth Street. I was headed south on a less crowded street, traveling more or less toward the newly remodeled SFMOMA (museum of modern art). I had been looking a the tall building on the right and the bit of the new portion of the museum poking out to its left when the solitary cloud appeared from behind the building and began to move from right to left. Having very little time to contemplate, I framed up this vertical composition and made the photograph “street” style, using the prime lens already on the camera and simply shooting handheld
I have always been intrigued by and occasionally obsessed with patterns and juxtapositions and form. When I go back and look at my earliest photography from when I was in middle school or high school I can now see that even then I wasn’t just looking at things for what they “are,” but for the other things that they might also be — the aspects of them that are not immediately visible. This is simple (or so it seems) study of some lines and curves and perspective lines, made quickly while walking along the Embarcadero on San Francisco’s waterfront one morning.
Recently the discussion about realism and honesty and manipulation in photographs has crescendoed a bit, as it does from time to time. On one side are those who think that anything goes — not exactly my point of view, though I might be more “permissive” that you would expect. On the other side are members the “no manipulation” faction, who want to apply the supposed standards of photojournalism to all photographs — their job is to show truth and be completely objective and no “manipulation” is permitted. The problem with the extremes of the first position are obvious. The problems with the extremes of the second deserve a lot more thoughtful scrutiny then they have generally been receiving. All photographs lie, even those that tell truths. Some might imagine that a photograph like this one represents an objective truth, a straightforward (and straight photography) look at the true nature of a thing. But if you saw this subject, you would not likely see anything like this, and my choices (to make it black and white, to use a particular lens, to render the image in black and white, to look at this particular subset of the whole, and much more) are entirely subjective. In the end, this is still truth — but it is my very subjective truth about this subject and it most certainly is not an objective “record” of a thing.
A quiet evening along fog shrouded the Big Sur coastline
I think my favorite times along the Big Sur coast are in the supposed off-season, the non-summer months when the ocean tends to be a bit wilder, the winds blow stronger, and the visitors are fewer in number. Summer is often busy and not as scenic, with thick coastal fog in the morning and evening a frequent occurrence. Especially during fall and winter the passing Pacific weather fronts periodically scour out the clouds and the bring spectacular surf conditions.
Yet this photograph comes from summer. We had started back up the coast late in the day, a process that always has me contemplating a plan for the brief evening light interval — where do I want to be and what do I want to photograph. My plans often don’t play out exactly as I expected: the fog might block the sun, I might get held up photographing some unexpected subject. I made this photograph before the time for the last photograph of the day — those came a very short time later. From this spot the view overlooked a big action of the coastal waters, unusually calm and quiet, as the late afternoon light fell on the coastal bluffs and the afternoon haze turning into fog.
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.
