Tag Archives: Equipment

Photographs: Night, Photographs: Northern California, Photographs: Structures and Objects, Photographs: Urban/Street

Towers, Mare Island Naval Ship Yard

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Towers, Mare Island Naval Ship Yard

Towers, Mare Island Naval Ship Yard. Vallejo, California. August 30, 2009. © Copyright G Dan Mitchell – all rights reserved.

Shipyard towers and other structures against a background of fog illuminated by artifical light along Nimitz Street, Mare Island Naval Ship Yard, Vallejo, California.

Another “ship building towers at Mare Island in the dark” photograph. Indeed. This was one of the last photographs I made during my recent late August visit to this historic site to do night photography. By this time the fog was really moving in and covering much of the sky – and with long exposures the overcast picks up the light from all around and diffuses it in some pretty interesting ways.

The location of this shot is near the museum in the core of the old ship-building area along Nimitz Street next to the waterfront. The large structure was, from what I understand, used to move very large components to the ships in dry dock or at the waterfront. The railroad tracks in the foreground run along much of Nimitz Street and you can see some of the towering cranes along the waterfront beyond.

This photograph is not in the public domain. It may not be used on websites, blogs, or in any other media without explicit advance permission from G Dan Mitchell.

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Photographs: Night, Photographs: Northern California, Photographs: Structures and Objects, Photographs: Urban/Street

Shipbuilding Yard Towers, Night

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Shipbuilding Yard Towers, Night

Shipbuilding Yard Towers, Night. Mare Island Naval Shipyard, Vallejo, California. August 31, 2009. © Copyright G Dan Mitchell – all rights reserved.

High fog across the night sky above towers at the Mare Island Naval Shipyard, Vallejo, California.

I’ve had the good fortune to be able to do night photography at the historic Mare Island Naval Shipyard in Vallejo, California on a number of occasions over the past few years – largely because I discovered The Nocturnes, the SF Bay Area night photography group run by Tim Baskerville. (If you are looking for night photography events, workshops, and general information – you would do well to visit their web site.) The Nocturnes photograph regularly at Mare Island (also known as “MINSY”) and I got my first, ahem, exposure to night photography via one of their events.

This visit, on the final night of August, was the first time I’ve shot there when it wasn’t an event sponsored by The Nocturnes, and it seemed a bit odd to be the person most experienced at shooting here. This event was more or less organized by SF Bay Area photographer Ivan Makarov who contacted me ahead of time for some information about shooting at MINSY and invited me to join his group if I could. I could, so I did.

After shooting there a half dozen times or so, it starts to seem a bit too easy to keep shooting the same Mare Island icons in the same way, so this time I decided to try to shoot a few things that I had not shot before and to shoot some of the familiar subjects in somewhat different ways. One decision I made was to – for the most part – avoid the usual super-wide-angle shots that seem so obvious in this environment. I started out using a 70-200mm zoom instead and later moved to shooting with normal to slightly long primes. (I did fall back on the UWA approach for a few shots – heck, if it works I’m going to do it!) Another factor was that we did not have the totally clear full-moon skies that I’m more familiar with from previous MINSY shoots. We had a softer but earlier 3/4 moon, and at times there was quite dense high fog. The fog obviously obscures the sky and reduces/eliminates the star trail photographs, but it also picks up and then spreads a wonderful diffuse light from the many natural and artificial light sources found at MINSY.

The photograph shown here was made with the long zoom and includes nearly complete fog coverage of the sky. The lighting is a crazy combination of light from nearby Vallejo reflected in the clouds, garish sodium vapor lighting coming from beyond the scaffolding, and some “natural” light from the moon on the front of the metal building. (One of the things I enjoy about night photography in a location like this is that with so many wildly different light sources there is no correct color balance – so I get to pick!

This photograph is not in the public domain. It may not be used on websites, blogs, or in any other media without explicit advance permission from G Dan Mitchell.

Web: G Dan Mitchell Photography
Twitter: http://twitter.com/gdanmitchell
Friendfeed: http://friendfeed.com/gdanmitchell
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Commentary

Backpacking Photography Equipment – My Approach

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Since the summer backpacking season is upon us – though it will be at least a few more weeks before I’m out and about in the back-country – it seems like a good time to post a pointer to a post I wrote earlier (and update every year) about my backpacking photography equipment.

I have backpacked in the Sierra Nevada – and occasionally elsewhere – for more than four decades, believe it or not. My total time on the trail can be measured in years if you add it all up. Over the years I’ve gone through a diverse range of approaches to integrating my photography with my time on the trail: early on I used to carry film SLRs, I gradually moved to smaller and lighter and less capable cameras, for a while I decided to not let photography interfere with the backpacking experience at all, and these days the photography has again become a primary reason for the backpacking.

I’ve evolved an approach to doing serious photography on the trail that works really well for me. It has to do partly with the selection of equipment that I’ve come to use, but it also has to do with my philosophy about what, when, where, and how to shoot. If you are serious about doing photography on the trail, I hope that the article has something to offer to you, whether your approach turns out to be similar to or quite different than mine.

Equipment, Technique

Canon EOS 5D Mark II: Live View and Night Photography

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I have shot a few thousand frames with my Canon EOS 5D Mark II now. I’ve photographed a variety of subjects including a few days of rainy professional bicycle stage racing, several landscape subjects, and a productive evening of night photography with The Nocturnes at Mare Island Naval Shipyard. I plan to eventually write up something resembling a comprehensive report on my experience, but so far there hasn’t been time. With that in mind, here is a short piece on one new feature in this camera and my experience with it.

Among the photographic subjects that interest me is night photography, often of urban and industrial subjects, but occasionally of wild landscapes also. There are a number challenges to shooting in very dark conditions, but one of the more interesting is getting good focus in conditions where auto-focus often can’t find a target to work with and where it is too dark to manually focus. (I wrote a bit about this in a recent piece: “Hints for Night Photography.”)

During my last Mare Island shoot I discovered that Live View provides a very useful option for focusing at night. On the 5D II, the Live View mode raises the mirror and lets you look at a “live view” of your scene on the rear LCD. In very dim light the trick is to find something that might provide a manual focus target, center the rectangular LCD indicator over that “something,” zoom in to 10x magnification on this object, and then focus manually on the LCD image. I was amazed at the low light levels at which this works quite well. A vertical line in a wall, the edge of a window, a bit of cyclone fence, or a small light – any of these become decent manual focus targets using Live View.

When I started my Mare Island evening shoot, using this camera for the first time at night, I mostly did things the old fashioned way. By the end of the evening, in any very dim situation I was successfully and much more quickly getting good focus using Live View. I’m confident that night photographers are going to find that this is a very powerful and useful feature.