A window at the end of a dark hallway looks out on rain and fog at the Getty Center, Los Angeles, California.
Escaping the rain and fog briefly, I wandered down a side hallway in the main rotunda at the Getty and saw this window at the end, with diffused light on the outside walkway, columns, fence, and other structures and blank fog and rain beyond. I like the contrast between the symmetry of the windows and the asymmetrical shapes outside, the converging perspective lines, the way the relatively brighter light on the outside structures goes almost completely white, and the reflected light in the interior walls.
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.
Visitors walk through the garden on a rainy and foggy afternoon day at the Getty Center, Los Angeles, California.
I’m probably just about the only person who goes to the Getty Center hoping for rain… and who is regards himself as lucky when he gets rain… and fog! :-)
We were in LA during the past week to visit my daughter and our son-in-law, and we decided to stop at the Getty on the start of our return drive to the SF Bay Area. I’m always fascinated by the grounds of the Getty and by the opportunities to photograph people on those grounds, and interesting weather makes this even more appealing. On top of that my daughter had told us about the wonderful Rembrandt exhibit and I was looking forward to the Irving Penn “Small Trades” photographs on display. (It is a great exhibit – see it if you are in the area.)
I often confess that as much as I enjoy the art at the Getty, I enjoy the Getty as architecture and urban landscape just as much. Although few of my Getty photographs appear here, I very much enjoy photographing the forms and lighting of the buildings and the gardens. It was raining lightly when we arrived, and by the time we made it up the hill fog had settled on the ridge. I actually made well over 100 exposures throughout the day. Many were shot quickly as momentary conjunctions of people and light and atmosphere appeared and just as quickly disappeared. I happened to find myself on a walkway overlooking the fogged-in garden just as a couple groups of umbrella-bearing visitors encountered one another near the sharp point of this path.
This photograph is not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
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.
Black and white photograph of the interior of a donut shop late in the afternoon on Christmas Eve.
As in many photographs like this, I hope that there may be more to it than meets the eye. I won’t tell the whole story, but here is a bit of background. I had been involved in an online discussion of the merits of shooting “old school” street photography using primes, and specifically limiting oneself to a 50mm prime on a 35mm film camera. Though it isn’t the point of my post here, I’ll just say that I’m skeptical about the value of that sort of limitation given a whole bunch of boring photographic philosophy. In any case, as an outgrowth of that discussion I thought it would be fun to head out on foot armed only with my full-frame camera (sorry, no film camera at all these days!) and a 50mm prime and just see what I could come up with. So, I walked out my front door and did some photography.
It was late in the afternoon on Christmas Eve, so few businesses were still open, and it was late enough in the day that the last-minute shopping traffic was diminishing and things were becoming rather quiet. Few people were even out walking. I mostly walked but I also photographed some shop windows and buildings and so forth, and when I passed this tiny donut shop I first did an exterior shot of the closed business that included a weathered wooden and brick wall and some sad-looking holiday lights. Then as I passed the front of the shop I decided to put my nose against the window and peer inside. The low light from the late-afternoon sun was directly behind me and casting some very harsh and flat light into the interior, but I was intrigued by the arrangement and shapes of the tables and chairs, the shadow cast by the Christmas ornaments hanging in the window, and by the odd juxtaposition of a poster of the work of a certain photographer that is barely visible on the wall.
This photograph is not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
