This is another street photograph from central Aberdeen, Scotland, a bit west the Victoria Dock. There are many old and narrow streets here that twist and turn in interesting ways. Some of the streets feature a lot of street art and, unlike in some places I’ve visited and photographed, much of it stands apart for better viewing and is rarely defaced by graffiti.
Continue reading Red Boxes
This image was on, as best as I could tell, some kind of utility box near the entrance to a building in Arezzo, Italy. I recall first becoming aware of similar things in Florence a few years ago, where I saw (and also photographed) an image of composer Giuseppe Verdi. (Verdi wears goggles in that image, which is the signature of an artist known as “Blub.”) I like them quite a lot — for their combination of whimsy, references to great art in everyday circumstances, and how they disrupt what can be a somewhat plain visual environment.
This was not the only one we saw in the Arezzo. As we walked around the small central area o the town we saw others with a variety of different themes. (You can find many more images by the artist, Mauricio Rapiti, on social media and elsewhere.) In this case, it wasn’t just the image itself that caught my attention, but also the way it interacts with the lines of the wall on which it is placed.
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.
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We spent several very enjoyable days in Bologna, Italy last summer. There are many wonderful things about this city — its two famous towers, the activities in the central piazza, the food, and more. But the amount of graffiti in the central city is quite striking, to the point that it seems to be a real part of the city’s character. The street art is quite diverse, including the familiar large scrawls, bits of poetry, and more — in this area including a Madonna and Child image.
I remember this from our first visit years ago. We came into the city late in the day, dropped off the car in a garage staffed with questionable characters, had to hunt for our lodgings inside an unmarked building, and then found ourselves unable to enter. We got in, got settled, and went out to find dinner. In our area the streets were deserted, no streetlights were on, nothing was opened, the walls were covered with similar graffiti. The sensory effect was post-apocalyptic. (I can report that the Bologna experience is mostly much different than that!)
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.
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Continuing my current pattern of wild back-and-forth swings among subjects, today I retreat from the foggy California wetlands and head back to New York City for some wild color. There’s nothing in the photograph to let you know this, but it was a bitterly cold winter day when I made the photograph. Almost nothing stops me from walking with my camera when I visit New York, though the 20 degree (and colder!) temperatures and biting winds did their best on this day. We started walking in Lower Manhattan, near the Staten Island Ferry Terminal (a very windy place!) and headed uptown on a somewhat random path. The route took us through some places you might not bother to visit on a tourist trip to the city, but it did turn up subjects like this intense example of street art painted on the roll-up door of a small business. If memory serves, this was the day that we finally made it to Veselka, the Ukrainian restaurant. As we walked and got colder and colder, the thought of borscht and other goodies became more and more attractive. Veselka did not disappoint.
About this photograph and its dissonance with other work I post, such as wilderness landscapes, seascapes, and migratory birds. I know that some photographers prefer to focus on a particular range of subjects. (There are fine reasons for making that choice, in fact.) But I have at least a couple of reasons for photographing a wider range of subjects. First, I come from a background in music, where the idea of performing only one style of music (say, Baroque trio sonatas) all the time seems incredibly constraining — so seeking out a wider range seems nature to me. Second, I like to think that these different subjects are still united by whatever it is that constitutes my way of seeing… and that there might be a bit of the landscape photographer in the city and a bit of the street photographer in the landscape work.
TWO
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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” (Heyday Books) is available directly from him. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email
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