A section of brick wall above old roofs is painted bright orange, Chelsea, New York City.
This photograph was made from the High Line Elevated Park in morning light. If you like the textures and colors and machinery and forms of dense and old urban structures, there is a lot to see and photograph from the High Line. I made a photograph of the same under-construction area in the far right of this frame (not completely visible) a year ago, but that was at a very different time of the day. On this morning, the odd patch of bright orange paint on the brick wall (and the smaller bit around the door frame) got my attention, so I leaned as far as I could toward the edge of the walkway and made a photograph unobstructed by the guard rail.
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Dew from morning fog collects on meadow grasses and lupine flowers, Santa Cruz Mountains.
It is a wonder that I even consider this photograph worth posting. (Hope I’m not wrong about this!) I made this photograph six years ago when I was doing my very first investigation of digital SLR shooting after having been a film photographer (at least apart from some earlier more or less point and shoot stuff) for many years. To “test the waters” I had picked up a very inexpensive and modest Canon “Digital Rebel” XT DSLR and a single zoom lens. The camera actually wasn’t a bad performer at all. While these models were small and lightweight and lacked some features of their more expensive brethren, they had essentially the same sensors and for those who shoot the way I generally did the other features were mostly superfluous. The first DSLR-sourced print I ever sold came from this camera. The lens was another story. For my “test” I simply picked up a reasonably inexpensive wide range 17-85mm variable aperture lens. This lens has its pluses and minuses (read more here), but for me the minuses were eventually deal-breakers. However, this little handheld photograph was made with that very modest lens, and as long as I don’t try to make it too big I think it works fine.
The scene is a typical one in the oak and grassland areas of Central California that surround the area where I live. This particular scene was at Castle Rock State Park, in the Santa Cruz Mountains between Silicon Valley and the coast. At this time of year the weather can evolve in any of several directions, including rain, fog, brilliant sun and heat, and more – but on this day I was shooting in very damp coastal fog along the top of the ridges.
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A double-reflection of late light from an adjacent building appears in the upper story of this window-covered industrial building near the High Line Park in New York City.
This is another of my photographs from New York City’s High Line Park, made during my late August visit to the city earlier this year. For those who may not know, the High Line is a relatively new (and still under construction) urban park in Chelsea that is “elevated,” being built on the bed of the old elevated railway that passed through here. The park is tremendously popular, especially on summer evenings.
Aside from being a pleasant place to walk, the High Line affords some interesting views that are usually not quite this accessible. There are not to many places where you can walk through a busy urban environment such as Manhattan for a mile or so, out in the open, a couple of stories above street level, with largely unobstructed views of subjects near and far, and above and below. Here the park passes between some taller buildings that are closely spaced, creating an interesting lighting situation. (Oddly, it is a kind of lighting that I often look for when shooting landscape or nature subjects.) The sun is behind the building in the photograph, so the building is largely lit by light from the open sky plus light reflected from the building behind my camera position. You can see that other building in the windows here, the upper floors in direct sun light and the lower in shadow.
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Afternoon storm clouds clear from the sunset sky above Lower McCabe Lake, Shepherds Crest, and Virginia Canyon, Yosemite National Park.
With this photograph I get to tell another of the “serendipitous photograph” stories that seem to keep coming up in my work. In this case, we had been camped near the lake in the lower area of the photograph for several days, getting to know the place and having time to carefully photograph various areas nearby. On a previous evening we had climbed to a second lake a few hundred feet higher than the “main” lake, from which one of our group decided to traverse a nearby slope. He ended up at another alpine lake that looked interesting, and the next morning others went with him to visit it. I didn’t, because I had some other things that I wanted to photograph in morning light and because I had a hunch that the light might turn out to be more interesting in the evening, mainly because the area of the lake was open to the west and, therefore, the evening light.
So in the evening, after our typical very early dinner, I departed on a walk to the upper lake that my friends had visited that morning, wandering around “our” lake and through the surrounding forest to pick up a rocky ramp that ascended toward the lake. However, I apparently missed a turn somewhere. I finished the main part of the climb and apparently should have turned left immediately – but I continued on straight ahead and soon found myself in a little meadowy area with a rather steep bunch of rocks between me and my goal. I finally found a circuitous route up a series of ramps, but now it was getting too close to sunset and my turn-around time, so I had to retrace my steps without getting to the lake.
I returned to the small meadow and made a few photographs there, then headed back toward the route by which I had ascended. Despite not making the lake, one of my main goals had been to get up high to photograph the surrounding terrain at sunset, especially since earlier in the day large thunderclouds had been building to the east and creating the possibility of some very special evening light. As I descended the upper part of the “ramp,” the pre-sunset colors started to light up and I quickly found a spot with a good vantage point to view this in several directions. Among the last photographs I made as the light started to fade was the series including this image. (It is actually a composite of two exposures – one for the very bright and saturated clouds and another for the darker shadows down near that lake.) Beyond the lake is the left end of rocky Shepherds Crest and even further in the distance is Virginia Canyon and then the Sierra crest.
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Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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