Thin clouds in bright summer sky above the Eiffel Tower
It was Paris, so I had to photograph the Eiffel Tower. It is expected of me. It is an iconic site and it is impressive in person. But I found it to be a difficult photographic subject. It is easy to photograph it, but I found it tricky to find a way to not just make a picture of the Eiffel Tower. (On the other hand, I did almost exactly that on one evening late in our visit when we had a view from an upper story towards to tower as it got dark and the lights on the tower were illuminated.)
In any case, I decided to try some relatively tightly cropped photographs of the structure, some of which were much tighter than this one. But I got lucky, and some thin, fluffy clouds floated over in the midday light, producing a soft and glowing quality in the sky, and this seemed to contrast nicely with the start, strong, and dark form of the tower.
Two downtown San Francisco landmarks juxtaposed, the Columbus Tower and the Transamerica Pyramid.
Who says I can’t photograph icons! The one on the left is probably a bit better known than the one on the right. The taller and more modern building is, probably obviously, the Transamerica pyramid. It has now become a definitive part of the San Francisco skyline, although I understand that it was quite controversial when it was constructed, with lots of people regarding it as an eyesore.
The other building is the Columbus Tower, located on Columbus Street sort of between North Beach and the Financial District, though certainly having more in common with the former than the latter. The finely detailed sections of the exterior are copper and have that well-known copper green color. According to Wikipedia and other sources, the building is also known as the Sentinel Building and dates to the 1906 earthquake era, having been started before the quake and finished shortly after.
G Dan Mitchell is a California photographer 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 green exterior of Columbus Tower, San Francisco.
This striking “flatiron” style building stands on a thin corner along Columbus Avenue which angles across San Francisco between the financial district, through North Beach, and eventually toward the waterfront. I had seen the building for many years, but hadn’t stopped to wonder about its story at all until I made this photograph. It was apparently constructed right after the 1906 earthquake, making it now over a century old. Much later in its interesting history it apparently begin to fall into disrepair. Eventually it was purchased by Francis Ford Coppola, who used it for his businesses.
On one of my “personal photo walks” though sections of San Francisco, I passed by after stopping for coffee in North Beach and heading back toward Market Street. The building is striking in many ways. The flatiron design always stands out, as the building is very narrow and very tall and stands at the end of a very narrow block of buildings. The intricate exterior would be worthy of attention even without its striking copper green color. I photographed the building from very close – an approach that I’ve been working with recently – placing a street lamp in front of the building and allowing the perspective distortion to remain in the shot.
G Dan Mitchell is a California photographer 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 first morning light strikes Manly Beacon at Zabriskie Point, Death Valley National Park.
Icon alert!
I had more or less promised myself that I would not photograph at Zabriskie Point on this trip – been there, done that – unless the conditions were really special. But I miscalculated my morning start on this day and discovered that I wasn’t going to make it to my intended destination in time. As I passed Zabriskie on my way to the “other place,” telling myself that I still had a half hour before I needed to be in place for the early light… I noticed that clouds above this area were already starting to pick up the pink color of dawn light. I hesitated for a moment – I really wanted to photograph that other subject – but quickly realized that it would make a lot more sense to the shoot the subject that was here in the light that was developing than to drive further and miss out entirely on the first light.
So I turned into that familiar parking lot with its familiar fleet of photographers’ cars and quickly loaded up my gear. I was a bit surprised that I saw so few people up above at the official overlook, but it was quite windy and I figured that perhaps they had just dropped down on the other side of the wall below this spot. In any case, I had a different spot in mind, one further to the right, so I headed over that way and quickly discovered that the wind was blowing almost too strongly to make photographs. I made a couple of shots from a small gap there and then headed up toward the overlook. At the top of the little trail from the parking lot I dropped onto the small use trail to the side of the wall and was again surprised to see almost no other photographers. I walked a few feet farther and discovered that the “usual crowd” was huddled in a small area in the lee of the wall, trying desperately to find protection from the wind.
These days, my main project when I stop at Zabriskie is to find and photograph small, isolated elements of the landscape with a long lens. For the most part – unless truly magical conditions are present, and they weren’t on this morning – I don’t really spend much time on the classic views of Gower Gulch, the Valley, and the Panamint Range. However, since I’m there and know the progression of the light fairly well at this point, I’m not about to pass up the opportunity to get a better image of one of these iconic subjects. So as the first light was about to hit the summit of Manly Beacon I turned my rig that direction and spent a couple of minutes photographing it as the line between shadow and morning light traveled down its face.
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.
