“Max Headroom 14 Feet” — A roll-up garage door in an alcove, Aberdeen.
Our May visit to Aberdeen, Scotland marked a transition on our trip. We had just completed a week-plus driving tour of Northwest Scotland, where we spent a lot of time in rural and wild areas. After returning our rental car in Inverness, we went straight to the station and boarded a train to Aberdeen, where we planned a quiet stop before heading on to Ireland. Why Aberdeen? Patty had visited the city decades ago when she went to the UK for an international orchestra festival. She wanted to return and see what she might remember of Aberdeen.
Garage, doors, windows, and wall along a narrow Paris street.
I am hopeful that you’ll indulge my recent and continuing thread of photographs from one small area of Paris, photographs made on a single walk about a half-dozen years ago. A return to one photograph from this day led me to reconsider a bunch of photographs that I had almost forgotten, and I’ve been enjoying this “virtual trip” back to that day in Paris.
I understand that a traditional notion of street photography is that it focuses on catching people doing what they do “in the streets” of an urban area. My idea of street photography is a bit broader, encompassing not just human activity, but also architecture and the overall urban landscape. I’m fascinated by doors and windows and walls, and there are always little unexpected details to see. In this photograph, one of them is the small sign that provided the title. Another is the contrast between the simple, square forms on the main building and the elaborate decoration on the visible bit of the building to the left.
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, Amazon, and directly from G Dan Mitchell.
With some photographs I find it hard to explain what provoked me to stop and make and exposure, or even why I like it. Since not everything can be explained — though I may try! — I’ll share them anyway on many occasions. This is one of those images. We were walking quickly through a section of Amsterdam with very narrow streets when we passed this closed garage. At that moment I had the camera out and was photographing quite a bit… and this became one of the subjects.
There is something about the clean and simple patterns of the door, the stark contrast between very dark and very light tones, and the very simple sign above the door. In a world where such a business would more often have signage including a more lengthy and complex business name, plus descriptive text and probably things like phone numbers… this one simply states, “GARAGE.”
A street scene in San Francisco with a crouching man wearing orange
Today we take a little break from nature photography and head to San Francisco, one of my favorite places to do street photography. I suppose one reason it is a favorite is that it is so close — typically I hop on a train very early in the morning to arrive there around dawn (or a bit later this time of year) and then set out on foot to explore. It is also a favorite because, well, it is San Francisco. What a place — even with recent changes and overcrowding. The City borders to San Francisco Bay, it is full of diverse and interesting neighborhoods, and the people range from locals to out-of-town visitors.
This photograph is bound to seem a bit strange to those of you have stuck with me through a few weeks of redwood forest photography — what happened and what’s going on here?! I don’t want to explain too much — partly because a photograph can often reveal whatever it has to say on its own, partly because I don’t want to clutter it up with too many words, and partly because you can discover some stuff about it on your own if you choose to. Color is one clue…
