Crowds of people walking past shops along Grant Avenue on a summer evening, San Francisco
To me, this photograph has a feeling of San Francisco. Yes, it is in a tourist location, but the crowded sidewalk, the diverse group of people, the somewhat old and (lovingly) worn buildings and sidewalk, the narrow street, the clutter… all contribute to the charm of The City.
There are a lot of small things in this complex photograph that I like. The center, though it is subtle, may be the man facing the camera and looking into the light of the store. But there is also the family with two children, one clutching dad’s hand and the other, barely visible, looking into that light. There’s more, but I’ll leave it to viewers to look.
Closed gate and shadows at South Beach Harbor, San Francisco
Up early and on the train to San Francisco on a sunny spring morning, I got off at the SF Caltrain Station and began walking along the waterfront. This is familiar territory to me, since “train walks” are a somewhat regular event for me, especially during spring and summer. I get off the train and slowly wander in one or another direction on foot, taking time to look. Sometimes it turns into and out-and-back walk, and sometimes something like a loop. (The latter is what happened on this morning.)
I decided to hear toward the bay, past AT&T Park and then along the waterfront. I angled over toward the South Beach Harbor, mainly because of the luminous and intense light coming across the bay as the fog began to clear — so bright that it was almost impossible to look directly into it. As I passed the harbor this shadow fell across the walkway, so I stepped back and shot straight into its shadow, with the harbor and the bay behind.
I have always been intrigued by and occasionally obsessed with patterns and juxtapositions and form. When I go back and look at my earliest photography from when I was in middle school or high school I can now see that even then I wasn’t just looking at things for what they “are,” but for the other things that they might also be — the aspects of them that are not immediately visible. This is simple (or so it seems) study of some lines and curves and perspective lines, made quickly while walking along the Embarcadero on San Francisco’s waterfront one morning.
Recently the discussion about realism and honesty and manipulation in photographs has crescendoed a bit, as it does from time to time. On one side are those who think that anything goes — not exactly my point of view, though I might be more “permissive” that you would expect. On the other side are members the “no manipulation” faction, who want to apply the supposed standards of photojournalism to all photographs — their job is to show truth and be completely objective and no “manipulation” is permitted. The problem with the extremes of the first position are obvious. The problems with the extremes of the second deserve a lot more thoughtful scrutiny then they have generally been receiving. All photographs lie, even those that tell truths. Some might imagine that a photograph like this one represents an objective truth, a straightforward (and straight photography) look at the true nature of a thing. But if you saw this subject, you would not likely see anything like this, and my choices (to make it black and white, to use a particular lens, to render the image in black and white, to look at this particular subset of the whole, and much more) are entirely subjective. In the end, this is still truth — but it is my very subjective truth about this subject and it most certainly is not an objective “record” of a thing.
This is another in my series of night street photographs. This photograph comes from an evening in more or less the Chinatown area of San Francisco. This work is a sort of counterpoint to my landscape and nature photography. Although the two seem quite different, I think that each type of photography makes me better at the other. This work happens very quickly, usually without a whole lot of time to contemplate — so it exercises the fast and intuitive part of my seeing.
The photographs tend to occur in two ways. In some cases I simply see something happening and I have to photograph it immediately without a lot of time for conscious thought — if I wait the opportunity will be gone. Another sort of work has a stronger connection to landscape, and I think of these photographs as being a sort of urban landscape. As was the case with this photograph, I find a particular subject or composition and then I watch for figures to occupy the space in interesting ways. The interest can come from their relative positions, their posture and the direction they look, how they fit into the available lighting, and the color of their attire. And, as I have pointed out previously, this nighttime handheld street photography is something that only became reasonably possible very recently, with the development of small cameras that will work at very high ISO settings.
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. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.
