“Window And Shadows” — Afternoon light forms shadows behind a window at the Whitney Museum, New York City
This photograph was made near a window on one of the upper floors of the New Whitney Museum in Manhattan. At the west end of the upper floors, near the end of the main corridors outside the gallery, there are small windows that overlook the Hudson River and New Jersey in the distance. At some point on every visit to the Whitney I find myself standing next to one of these windows overlooking this view and trying to make photographs. (I have my rituals — I also go out onto the various terraces and platforms outside the east side of the building and photograph Manhattan and people.)
I don’t think it is a secret that I’m attracted to patterns and shapes, and the angles of shadows cast by light coming through windows often interests me. I only partly see a subject like this as what it objectively is — I’m more likely to think of it simply as light and shadow and texture and shape.
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“Trees, Meadow, Autumn Light” — Hazy autumn light and trees in a Yosemite Valley meadow
Every autumn the Sierra Nevada experiences days when the air is full of wildfire smoke. It was only recently that I came to recognize that a large component of what I’ve always identified as “autumn light” is the atmospheric haze from wildfires — not just those nearby in the Sierra, but including the diffused smoke from wildfires further away in California and even beyond California’s borders. Yes, the lower angle light is part of the effect, but it is the soft and hazy atmosphere that is perhaps the most major element. I’m amazed that it took me this long to fully make the connection, but also happy to find there are still new things to “discover” and understand!
The atmospheric light in this photograph is the result of this effect. It was a very smoky day in Yosemite Valley — the sort of day when you might consider wearing a breathing mask. A big fire was still smoldering just south of Yosemite Valley, its smoke collecting each evening and then flowing downwards into the Valley. I made the photograph just as the edge of the shadow from nearby cliffs was beginning to cross this meadow, and the sunlight caused the smokey atmosphere to glow behind the trees. It is easy to think of wildfire smoke as an impediment to photography, but if you turn your thinking around just a bit you soon realize that these conditions can provide some very special and even lovely possibilities, ranging from the muted and slightly sienna tones of the light to enhanced effects of atmospheric recession. The potentials for producing moody and evocative photographs may actually increase on days like this!
Morning smoke from the Empire fire settings among forest trees in morning light
In today’s post I’m likely to repeat some things that I have shared before, but I think they might provide some context for this photograph of a wildfire that was still burning through forest in the Yosemite National Park Sierra Nevada high country. I have gone through several phases regarding wildfires as a subject. Many years ago, having had my first backcountry experiences in less enlightened part of the Smokey The Bear era, I simply regarded all wildfires as unmitigated disasters. Later I came to understand the obvious: wildfires have always been a part of the natural ecology of forests, and they are necessary for forest health. But I still didn’t like them. After that I began to make an effort to see wildfires and their aftermath as possible subjects for photographs, and even as potential subjects for photographs of something beautiful. For a long time I failed at that, even though I tried. More recently, perhaps because I have been lucky to be in the right places at the right time, I think I have finally begun to understand how to photograph the subject and make it work. (A longer post on that broad subject may be coming before long!)
There have been quite a few wildfires in California this year. (And while I recognize their importance in the natural order of things, I am concerned that the number and extent of the fires is far enough out of the normal range to have some long-term negative effects.) I have had plenty of opportunities to photograph their effects. On this late October morning I was in Yosemite and heading out towards Glacier Point, thinking it might be my final opportunity to photograph there before winter snows close the road for the season. I was stopped in my tracks as I came around a large bend in the road and to a high, open overlook with views toward the Sierra crest. The smoke from the slow-burning late stages of this fire had settled into hollows and among the trees in the still air overnight, and it was just beginning to drift and rise in the early morning light, both softening the scene and emphasizing the varied contours of ridges and forest.
Last evening light on glaciated granite dusted by autumn snow.
The path to this photograph was a long and convoluted one, and it was certainly not what I was planning on when my day began. I had arrived in the Yosemite area the prior morning, planning to photograph autumn subjects in The Valley before heading over to Oakhurst for the opening reception for the final run of last year’s Yosemite Renaissance Exhibit. I arrived in Yosemite Valley to find it filled with smoke (and a surprising number of October visitors), but I found subjects that could work in this conditions and set about photographing. This is the time for fall color in The Valley, with lots of beautiful leaves on big leaf maple, dogwood, oak and other trees. In the evening I went over to Oakhurst in time to enjoy the reception, where I had an opportunity to see the 2017 version of the show one last time with friends and fellow artists.
I was up well before dawn the next morning with a general plan of heading to Glacier Point for sunrise. However, a beautiful, forested valley full of dogwood and other fall color intervened, and by the time I finished there it was clear that I wasn’t going to make my goal by dawn or even close to it. I did go on up to near Glacier Point, where I photographed wildfire smoke before deciding to go back to The Valley and photograph more trees. I did so, and I had some successes, but by mid-afternoon the crowds and smoke were becoming oppressive, to I decided to make what might be my final trip of the season up to Tioga Pass. Without stopping to photograph, I made it to the pass in the late afternoon. I soon started back down to begin my long drive back to the Bay Area. As I passed the closed-for-the-winter Tuolumne store I saw a familiar van and some tripods standing nearby, so I quickly stopped to see that a couple of friends were there. We talked for a long time — longer than I expected — but I finally tore myself away with little more than a half hour of daylight left. I started west, not sure if I would stop to photograph, but I soon saw that it was going to be a beautiful evening. The smoke was gone up here, the air was clear, and the warm colors of evening were on the peaks. I quickly stopped at a familiar place, but pointed my lens at a less-familiar subject — a series of retreating granite ridges marked by new snow and lit by the final light of the evening.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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