Glowing lights inside a shop building at Mare Island Naval Shipyard, reflected in a pool of rainwater
I have now been doing night photography at the historic Mare Island Naval Ship Yard near Vallejo, California for perhaps a decade. Back when I visited for the first time I would not have expected that night photography or this particular location would still occupy me today, but they do. In many ways, photographing this location at night is an almost meditative experience. I’m long past the initial surprise to find such a place exists—with its long history and old structures in varied states of decay—and I now regard it as a familiar place. The photography itself is part of the attraction. I continue to find new subjects and to see old subjects in new ways and to watch how the place changes over time. But it is also about the slow, quiet, and methodical work of photographing at night. In many places I can barely see my subjects, and I have to wander around slowly and carefully, taking time to look in places that might initially not seem to offer anything of interest. When I think of this photography, the damp air near the waterfront and the deep quiet form as great a part of the experience as anything else.
This visit followed a week when several rain storms had passed over the Bay Area. (I had missed the actual storms, as I was away photographing in Death Valley.) As soon as I arrived at Mare Island I noticed that there were puddles everywhere, so I was on the lookout for reflections. This building is absolutely huge, but in other ways not all that exciting in daylight—but at night, with interior lights glowing, it can become a bit mysterious.
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
I have so many photographs in the queue right now that I have decided to do something a bit different and post some of them in collections. This first group features night photography from the historic Mare Island Naval Ship Yard, a location where I have been doing night photography for about a decade now. As is often the case, this visit was with my friends from The Nocturnes, the San Francisco Bay Area night photography group.
A street light illuminates tracks running down Railroad Avenue at historic Mare Island Naval Ship Yard
This is probably one of the iconic views of the nighttime environment at Mare Island, as it was made in a location where many night photographers start, whether it is their first visit or their fiftieth time there. The spot is near the Mare Island Museum, which holds many objects and photographs from the long history of the place as the first important west coast naval ship yard. The tracks – obviously! – given this street its name. The tower is the chimney of the old power plant, and off in the distance more of the old ship yard buildings are visible.
Red light behind the door of an industrial building at the historic Mare Island Naval Ship Yard
I was interested in the windows, doorway, and wall of this building for several reasons on this visit. First – and night photographers will understand – Mare Island has recently started to see an update of its lighting. As newer and presumably more energy-efficient types of lighting become available, the older lighting gets replaced. Some years ago the move was to the intensely yellow sodium vapor lights (which you can see in other images in this set), but today it is to what I understand are LED systems. Since the ambient light is tremendously important to night photographers, we notice that this produces a significant change in the mood of photographs made here since the LED light seems to have a much more subtle coloration that is closer to what we might regard as daylight. The new lighting has been installed by this building, so I wanted to see how I could use it to make a photograph that still captured the feeling of the night. In addition, I noticed some subtle red interior lights behind the doorway that seem to suggest something a bit mysterious in this scene.
A green tinted shadow falls across the front of a yellow building, Mare Island Naval Ship Yard
There are several things I like about this photograph of the side of a tall building and a lower section casting an odd green shadow. In much night photography we create photographs of things that we actually cannot see – essentially we are making photographs of what the camera sees. Standing in front of this scene it was very, very dark and the details of the building wall was barely visible at all. However, after shooting this stuff for some time I can recognize what might happen with an exposure long enough to make this scene visible. The old sodium vapor lamps are still installed along this street, and I knew that their yellow light would have a powerful effect on the colors of the scene. I also know that where there is a shadow that is not illuminated by sodium vapor light, the shadow will take on the colors of other kinds of ambient lighting – in this case a relatively green type of light coming from a nearby open area. In the end, without actually doing any light painting (the process of using colored lights and gels to illuminate the subject) I was able to make a photograph that is “naturally” just as wildly colorful.
Metal wall with white doors, window, and Reserved Parking sign
The plain and simple geometry of this building and its front wall has attracted me for several years, with its vertical lines, square forms of the door and the shadows, and the surprising orange highlights – and I have photographed it before. This building is now also lit by the newer lighting, so I had to see what I could do with this new coloration. I made two photographs of it. This one is a simple, straight-on view that is “about” the angular and square forms and the thin lines of orange paint and asphalt, with the only curves coming from the shadows in the window and a bit of broken-off pipe near the bottom center.
White door on a metal building with industrial structures of Mare Island Naval Ship Yard in the distance
This is a different take on the same wall, here composed off-center so that some of the darker ship yard machinery and structures can be seen.
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
Ambient light, shadows, architecture and vegetation on a night photography shoot.
In November 2012 I joined my friends from The Nocturnes, the San Francisco Bay Area night photography group, for a get-together and shoot at the historic Mare Island Naval Ship Yard. Since this was an “alumni night” event, there was a certain ritual to be followed. Folks who were new to Mare Island arrived early to tour the site – the first west coast naval ship yard, with history going back well over 150 years. A bit later, the “veterans” arrived to join everyone else for events that began with sharing of photographs, continued with pizza, and then led to a night of, well, night photography nearby.
The weather was not promising. We knew that a weather front was on its way, and we hoped – though we probably knew better – that it might hold off long enough to complete some photography. (Those of us with smartphones, checking the weather radar updates, knew better.) The tell-tale south wind was rising as we headed out, and within moments of starting to photograph an old wooden building the rain began. At first I continued to shoot under my umbrella, but soon it was just plain too wet to stay out. Fortunately, we had arranged for access to one of the historic officer’s quarters buildings and photographing inside and around this building quickly became the fall-back plan. I ended up on the front porch with Mark Citret and Tim Baskerville where we intermittently talked photography and made a few shots of things that didn’t require us to stand in the rain. At one point I parked myself near an end of the old porch and made this photograph of the shadow of my rig falling the wall of the building.
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
A metal-walled blue shade beneath an abandoned industrial building in “blue hour” evening light, near Vallejo, California
This photograph belongs to a genre that might be called Almost-Night Photography. I was at this location to do night photography, in fact, but for once decided to also try shooting the area a bit before the daylight disappeared. So perhaps 45 minutes before sunset I stopped what I was doing (eating pizza, actually…) and drove around a bit looking for “golden hour” photograph opportunities in this abandoned industrial area. I started a good distance from the location of this shot and did my sunset shoot in a more open area full of run down and falling down ruined buildings. After that I headed back towards an area of less-dilapidated but also virtually abandoned buildings.
So I arrived here a bit after sunset as the so-called “blue hour” light was coming on. The structure was open to the west where the post-sunset sky was visible over San Francisco Bay. Some clouds near the horizon still had the bright and orange-yellow colors of sunset, but the larger part of the sky was transitioning toward deep blue. As a result, any place in this image that was in shadow was primarily illuminated by the very blue overhead sky, while the upper windows of the taller building still reflected some of those last bits of color, though they were distorted by the uneven arrangement of the windows to create interesting patterns that are perhaps better seen in a larger presentation of the photograph. There are three buildings in the shot. The foreground round-roofed shed seems to be some sort of storage or work space that might have been added later. Behind that and to the right is a lighter-colored building that seems like it might have held some offices or similar facilities. Beyond that are the mostly glass walls of a very large industrial building that seems to be at least a full block long. These giant old buildings intrigue me in many ways, but the number of windows seems remarkable. I assume that they were designed this way so that people could work inside with little or no supplemental electrical light, and the interior spaces of such buildings can contain beautiful light during the day.
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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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.
