These food carts and lots of other similar versions are all over Manhattan. I know that isn’t news to New Yorkers, but it is a bit impressive to those of us who visit the place. I have yet to eat at one, but my sons tell me that the food isn’t bad.
I photographed this one (obviously!) at night as we wandered around a crowded portion of Fifth Avenue on Christmas Eve, not far from Rockefeller Center and lots of other stuff that drew huge crowds there on this evening. Against that dark background, the wildly lit cart, festooned with colorful signs describing the food and stacked with bottles of soda was surrounded in a cloud of smoke from food preparation.
In late December 2015 we spent a week in New York, staying in Brooklyn very close to the Bridge. For most of the week we mostly didn’t pay a lot of attention to this landmark, but near the end of our visit we had some time to kill one morning before meeting our sons in Manhattan, so we decided to take the famous walk out onto the bridge. It was a fairly cold morning, threatening rain, so the scene had a wintry appearance. That didn’t stop the crowds though, and we shared the bridge with lots of other walkers.
Photographing from the bridge I made a conscious decision to not make “that photograph” of the cables leading up to the towers. Instead I looked to subjects that included the cables and other elements of the bridge structure either as the primary subject or as part of the setting for other subjects. I decided to “play” a bit in post with this photograph. One way to stretch post-processing skills is to think about how to replicate effects that we see in the work of other photographers. This isn’t about imitating them — it is about trying to broaden one’s skills as a photographer. In this case, I went towards (but not all the way to) a kind of processing that I see in some currently popular urban and architectural photography… and I learned a few things by doing so.
During our December 2015 visit to New York I had my first opportunity to visit the new Whitney Museum in Chelsea, at the south end of the High Line Park. I hadn’t been to the old Whitney, so I was especially interested in the new museum — not only would I see work that I hadn’t looked at before, but I would have a chance to visit a brand new piece of architecture. In fact, I thought the building was fascinating, especially outdoor terraces on each of the floors that I visited. (I started at the top and got through the collections on the 6th, 7th, and 8th floors.) The highest levels thrust out into space, providing dizzying and spectacular New York views, and the visual appearance looking up from the lower terraces is quite something, too.
I like photographing at and around museums. Often the architecture itself is interesting, but even more, the people at museums are fascinating subjects. Perhaps it is just because there are often so many of them packed so tightly together. Maybe it is something about a change in appearance and demeanor among people who are looking at and thinking about art. I spent a lot of time out on those terraces making quick photographs, and when I saw this family lining up against the wall of the museum, asking a museum employee (who was quite cooperative) to take the camera and record their antics, I quickly clicked of a sequence of photographs.
Winter clouds and morning fog, Sacramento Valley, California
I’ve been driving through California’s Great Central Valley (composed of the northern Sacramento Valley and the southern San Joaquin Valley) for decades, on my way too and from the Sierra and on travels north toward the Pacific Northwest and south toward Southern California. I confess that for many years it was just a place to pass thought on the way to someplace else, though years ago I began to develop an affinity for the sensations that came from driving across on a hot summer evening on the return from the Sierra or from slowing down for the winter fogs on the way to/from ski trips. And then I became away of the winter migratory birds, almost by accident, and I started regarding the winter valley as a destination rather than a route, and I have gradually come to appreciate the place itself.
This has also been (yet another) opportunity for me to relearn an important photography lesson, namely that it isn’t so much about going to distant exotic places (though I’ll do that, too, when I can) as it is about slowing down and paying attention to what there is to see wherever your are. And once I did that, this place that was little more than “the place I drove through” has become the subject. This photograph came on a short trip that I made with the goal of pushing out the boundaries of my experience in the Valley a bit. This time I headed further north up the Sacramento Valley to visit some areas that, frankly, I didn’t know existed until I started researching a bit. This area shares a lot with the more familiar locations where I photograph birds and landscapes every winter — the birds, the immense sky, the flat landscape, water everywhere — but it turns out to have its own personality, too. The birds are similar but not identical. (I photographed bald eagles here for the first time in California.) I saw snow-covered hills to my west in the dawn light. A small and isolated group of mountains rose to the east. And there was water everywhere, far more than where I photograph further south, and a surprise to anyone who has ever visited this area during get hot, dry summer months.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
Manage Consent
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.
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.
