A small portion of a colorful graffiti covered wall, Brooklyn
I used to have a firm policy of virtually never photographing graffiti, and when I couldn’t avoid it I would remove or modify it in post so as to not be part of the sharing that might encourage the sort of graffiti that is really simple vandalism. I still avoid photographing simple “tags” in most cases, especially when they offer little more than the evidence that some anonymous person wrote on a wall. I also have this nagging feeling that photographing graffiti-ridden cityscapes can too easily become a street photography cliché.
However, I’ve become more open to the idea of finding and photographing the accumulative juxtapositions of layers of drawing, painting, posters, and weathering that show up on some urban walls. That’s my way of explaining why I stopped to photograph this Brooklyn wall, moving in close to find compositions among the colors, lines, and shapes that have built up over time and which have been revealed as time has weathered away later layers.
It was great fun to be in Yosemite Valley this past weekend for the opening of the 30th annual Yosemite Renaissance exhibition. This is the third time that I’ve had photographs in the show. (If you are in the Valley, drop by. It is in the Visitor Center Museum through May 10, after which it moves on to a couple of Central Valley locations.) The show features a wide variety of two and three-dimensional art by artists who focus on the Sierra and the park. The entry of mine that was selected this year was atypical for me — it includes people and it is humorous! I share it again here at some point, but for now I’ll just note that it features backcountry photographers engaged in an unusual activity. The show brings lots of other fun things: a chance to photograph in the Valley, opportunities to hang out with lots of photographer and artist friends.
I made this photograph on our final morning in the park. We headed out around sunrise, thinking we might find some shallow fog in meadows. There was a bit of the fog but it was dissipating quickly and we eventually ended up in this sunny meadow. I was immediately attracted to this large elm tree, covered in frost and backlit in the morning light. I made several photographs of it — and at least one other may appear here before long — and before long the air warmed and the frost melted.
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
Sunset light on a tree-covered peninsula as a steep talus slope falls into evening shadows
This photograph from the first evening of a week-long 2010 southern Sierra backpacking trip reminds me of many things, but at the moment I’m recalling a particular feeling that often comes on the first night on the trail, and which is one of these moments that marks the transition away from the other world to the magical world of the backcountry. Arriving at the start of a long backcountry trip requires a fair amount of planning that begins well before the trip. Often months before (those sometimes on the previous weekend!) a plan is hatched and a group of people assembled. Soon dates are set and an itinerary comes together. As the date approaches, we collect gear together and begin to pack and make the plans for our absence. The process accelerates as the day approaches and soon we are on our way to the mountains, often arriving at a trailhead came the night before, where the familiar sensations and rhythms begin to return.
The next morning we are up early, packing away the things we brought for that first campground night and paring down our possessions to only those things we’ll carry on the trail. We tear down camp, check and double-check gear, fill up water bottles, lock cars, head to the trailhead for the inevitable photo by the sign… and we are off. The first point of breaking away (once again!) is at this moment when we start up the trail, but in some ways this is often the beginning of a mental transition that will last all day as we again become accustomed to life on the trail. We climb, we stop to filter water, we eat our first of many trail lunches, the climb becomes harder as we watch for the pass up above. Eventually we reach that pass, where we stop and sit for a while, looking into the world where we’ll spend the next few days or week(s), then we head down the other side of the pass, an act that always seals the feeling of commitment to the trip. We arrive and set up our first trail camp, once again putting specialized equipment to use, remembering just how we set up that tent and operate that stove. Then, once all these tasks are complete, we find what we came for — there is nothing left to do. So we do nothing. We walk slowly around the lake, make some photographs, sit on a rock, and quietly watch the last light on a tree-filled peninsula beneath shadowed talus slopes.
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
Winter evening clouds swirl around the snow-covered ridge of Clouds Rest, Yosemite
This will be the final photograph in this recent series of winter Yosemite Valley photographs from our late-winter 2014 visit to the park. As I hope for when I go there at this time of year, there was interesting and variable light, clouds that ranged from scattered to socked-in, the usual assortment of meadows and trees and rocks. We had the better part of three days to explore.
On this evening we ended up at that most iconic of iconic landscapes in Yosemite, the Tunnel View overlook. I often either pass by Tunnel View, or perhaps stop and get out to look around a bit before heading on. Being lucky enough to live a reasonable drive from the park and to visit the Sierra often, I’ve become a bit more selective about when I’ll stop there and take out the camera. On this visit, as clouds came in, many of the other potential subjects in the Valley were under rather poor light, so I guessed that there was a chance that we might “get something” (or maybe not) from this higher overlook. The clouds were challenging. At times they obscured many interesting things, and most of the time the interesting light was blocked. However, for a few moments they cleared partially at the far end of the Valley and it was briefly possible to see the sunlit and snow-covered slopes of Clouds Rest and a few other points in the distance.
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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