A row of downtown bars and restaurants, Seattle, Washington
This is another Seattle photograph, shot quickly in street style while walking around portions of the city and exploring. It is hard for me to put my finger on precisely what it is that appeals to me about subjects like this, but let me make an attempt. My first impression of such a location, especially in the daytime when everything is more clearly seen and fewer people are around, is that a lot of it is simply run down and even drab – weathered bricks, worn and peeling paint, construction that isn’t quite square. This patina of age and use is itself interesting, and somehow a photograph of it (or the act of making a photograph of it) helps me see it for what it is and for what else I might otherwise not see.
On the large scale, there are patterns that appeal to me – and, yes, patterns are part of my way of seeing. The scene is divided into successively smaller and smaller rectangular shapes for the most part, ranging from the largest one formed by the green facade to the very small ones formed by things like the spaces between the bars of a gate. Superimposed on this are things that don’t fit the geometric grid – the car (which also seems a bit out of context with the old buildings), the roughly triangular shapes of umbrellas, and many other odd little bits and pieces. In fact, if you like this sort of thing, seeing those “bits and pieces” might make the photo become a bit more than what it first seems to be: the figure of a red and white chef statue in the window at far right above some sort of bright green carts, the tree bright blue flower pots and a pink watering can on a ledge, the bright colors near the “Il Chiosco” sign, one door that has been varnished rather than painted the same drab colors as everything else, etc.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
The desert sky is reflected in the windows of an abandoned brick building in the ghost town of Bodie, California
I have been to Bodie quite a few times, but I rarely go there anymore unless I think something interesting might happen with the weather. The place is often sun-blasted, with cloudless blue skies, and during the part of the year when it is most often visited it tends to be quite hot and dry. Don’t get me wrong – Bodie is a fascinating place and its story is even more interesting. I’ve visited a number of ghost towns and isolated abandoned structures in the outback of California, and the sheer scope of this ghost town sets it apart, as does that fact that California has worked to sustain it in a state of suspended decay.
We were wandering around the eastern side of the Sierra Nevada and points further east of that on the final day of our five-day “aspen chasing” visit this October. Most often my plans are a bit general and/or flexible, and I like to adapt to changing conditions rather than stick to a preset shooting schedule. On this day we were surprised to find it snowing when we awoke in Mammoth Lakes, and as we left town to explore in an eastward direction we stopped to photograph dawn snow flurries over the Sierra crest. Eventually, after going a good distance out toward the Nevada border, we looped back to the north and ended up in Lee Vining, where we grabbed a (very late!) breakfast at Nicely’s. The possibility of going to Bodie was somewhere on the list of options, but when we continued to see snow falling about the town and clouds to the north and east, we decided to head out there to see what we could find. In the end, there was no snow falling in Bodie – though it had fallen there earlier that day – but it was very cold and very windy and broken clouds provided interesting and changeable light. One of my main subjects as I wandered around the town making photographs turned out to be the doors and windows on the old buildings. Perhaps ironically, given my usual lack of interest in sun-blasted Bodie, I shot this scene in nearly flat front light – but it seemed appropriate for this old and weathered building and the reflection i the old windows of the very blue cloud-filled sky.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Brick walls and windows along a London street, late afternoon
There is probably not a whole lot to write about this photograph. As we walked some London streets that were not quite as filled with tourists, I looked up this side street and saw the beautiful series of brick walls, with all sorts of interesting interruptions of the basic form: windows, an indented darker area housing windows, conduit and a lamp, etc. Between the darker bricks further along the wall and the shadow near the camera position, there was a brighter band of sunlit bricks.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
I have so many photographs in the queue right now that I have decided to do something a bit different and post some of them in collections. This first group features night photography from the historic Mare Island Naval Ship Yard, a location where I have been doing night photography for about a decade now. As is often the case, this visit was with my friends from The Nocturnes, the San Francisco Bay Area night photography group.
A street light illuminates tracks running down Railroad Avenue at historic Mare Island Naval Ship Yard
This is probably one of the iconic views of the nighttime environment at Mare Island, as it was made in a location where many night photographers start, whether it is their first visit or their fiftieth time there. The spot is near the Mare Island Museum, which holds many objects and photographs from the long history of the place as the first important west coast naval ship yard. The tracks – obviously! – given this street its name. The tower is the chimney of the old power plant, and off in the distance more of the old ship yard buildings are visible.
Red light behind the door of an industrial building at the historic Mare Island Naval Ship Yard
I was interested in the windows, doorway, and wall of this building for several reasons on this visit. First – and night photographers will understand – Mare Island has recently started to see an update of its lighting. As newer and presumably more energy-efficient types of lighting become available, the older lighting gets replaced. Some years ago the move was to the intensely yellow sodium vapor lights (which you can see in other images in this set), but today it is to what I understand are LED systems. Since the ambient light is tremendously important to night photographers, we notice that this produces a significant change in the mood of photographs made here since the LED light seems to have a much more subtle coloration that is closer to what we might regard as daylight. The new lighting has been installed by this building, so I wanted to see how I could use it to make a photograph that still captured the feeling of the night. In addition, I noticed some subtle red interior lights behind the doorway that seem to suggest something a bit mysterious in this scene.
A green tinted shadow falls across the front of a yellow building, Mare Island Naval Ship Yard
There are several things I like about this photograph of the side of a tall building and a lower section casting an odd green shadow. In much night photography we create photographs of things that we actually cannot see – essentially we are making photographs of what the camera sees. Standing in front of this scene it was very, very dark and the details of the building wall was barely visible at all. However, after shooting this stuff for some time I can recognize what might happen with an exposure long enough to make this scene visible. The old sodium vapor lamps are still installed along this street, and I knew that their yellow light would have a powerful effect on the colors of the scene. I also know that where there is a shadow that is not illuminated by sodium vapor light, the shadow will take on the colors of other kinds of ambient lighting – in this case a relatively green type of light coming from a nearby open area. In the end, without actually doing any light painting (the process of using colored lights and gels to illuminate the subject) I was able to make a photograph that is “naturally” just as wildly colorful.
Metal wall with white doors, window, and Reserved Parking sign
The plain and simple geometry of this building and its front wall has attracted me for several years, with its vertical lines, square forms of the door and the shadows, and the surprising orange highlights – and I have photographed it before. This building is now also lit by the newer lighting, so I had to see what I could do with this new coloration. I made two photographs of it. This one is a simple, straight-on view that is “about” the angular and square forms and the thin lines of orange paint and asphalt, with the only curves coming from the shadows in the window and a bit of broken-off pipe near the bottom center.
White door on a metal building with industrial structures of Mare Island Naval Ship Yard in the distance
This is a different take on the same wall, here composed off-center so that some of the darker ship yard machinery and structures can be seen.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
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 whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
