Light from inside a darkened building escapes through a door, casing a pattern on a dark industrial street.
This photograph comes from a San Francisco Bay Area location where I’ve been doing night photography for over 15 years. It is a place with striking visual icons including huge ship yard cranes, old buildings, and (until its removal a few years ago) a gigantic “smoke stack” towering above a power plant. Over the years I became less interested in re-photographing those things, and I began to spend more time searching out subjects that I had overlooked, scenes that are quieter and more contemplative than those icons.
I “discovered” this photograph during my pandemic-era return to old photographs that I had not looked at for years. This one exemplifies several things I’ve observed about the process of reviewing photographs shortly after making them. I usually have a few images in mind that I know will be promising, and I begin with those. As I work on the archive I invariably discover that others are more worthy than I initially expected, and this process of uncovering unexpectedly interesting photographs continues… until I am distracted by the next project, at which point I often move on and leave some interesting work behind. In this case, the “moving on” process was hastened a bit because one of my favorite night photographs came from this same evening, and I think that made me feel like I was done with that night’s work. But I wasn’t.
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.
A man on a bicycle rides a down a narrow street at night, Florence, Italy.
The curve of this narrow street, with its backwards “HOTEL” sign, turned out to be a productive spot for photography during our 2016 visit to Florence. Florence is a popular and crowded place during the tourist season, but very early in the morning and late and night the crowds thin and it is possible to find empty and near-empty streets.
Imagine it is a very hot Italian evening. People are out walking in the narrow streets, stopping to get something to eat or drink, and sitting in the warm outdoor air. It is not deserted by any means, but things are slowing down and most streets, especially those away from the main points of tourist interest, are quiet. A cyclist emerges from around the curve and passes by, and it is quiet again.
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.
A San Francisco doorway with an interior stairway, night
For me street photography is not just about people — though I photograph that subject, too. It is also about what I might call “street landscape,” and I’m as intrigued by this landscape as I am by any other. Even when my subjects are the people in the urban world, I’m virtually always considering them at least partly in the context of where they are. I’m no less away of this landscape background in the urban world than I am when photographing birds in flight against the background of their landscape. And sometimes here, as in the natural world, I like to photograph that landscape without its “wildlife.”
The urban world especially fascinates me at night, and simple things can take on a new appearance. This was almost a “grab shot” as I walked back toward my car from where I had spent an hour photographing with friends along the San Francisco waterfront. If such things appeal to you, there might be a lot to find and consider in this image. Or not. You decide.
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
