Vertical format black and white photograph of light streaming through the upper reaches of the turret skylight above the atrium at the San Francisco Museum of Modern Art
This is a second photograph made during a recent visit to the San Francisco Museum of Modern Art, or SFMOMA, on the weekend before the place closed for two years of renovation and expansion work. Only days before did I realize that it was about to close and the extraordinary length of the closure, and I quickly adjusted my plans to get up there one more time. I wanted to wander the facility itself, but I especially wanted to see the excellent exhibit of the work of photographer Garry Winogrand.
This skylight is a dominant feature when the museum exterior is viewed from the west, where its tilted and round shape stands out from almost anything else nearby. Inside the building it creates a wonderful space full of light that somehow seems intimate, even though it is the highest point in a very large lobby atrium. The small diameter of the space and the walkway that splits it in two probably contribute to this effect. This photograph is a highly interpreted or stylized view of the subject, and is the result of a great deal of work in post-production – which almost seems somewhat ironic since the photograph was made handheld with a very small rangefinder style mirrorless digital camera.
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
Midday light inside beneath the skylight in the atrium of the San Francisco Museum of Modern Art
For the time being I’m not going to write all that I could write about this photograph – that would be far too much to post here. Nonetheless, this might be a slightly longer “photo post” than usual.
The subject is the skylight in the turret at the top of the atrium at the San Francisco Museum of Modern Art. Just below the skylight there is a catwalk that crosses from one side of the cylindrical upper area of the atrium to the other, and this is a place of magical light in almost any conditions. I visited this past Friday since the museum closes after today (June 2, 2013) for two years for renovation and expansion, and I wanted to have one last chance to wander around in the museum and I wanted to see the wonderful Garry Winogrand exhibit.
During the “wandering” part of my visit I went to this catwalk and thought about how I could photograph it. It is almost embarrassing to photograph in this spot, since it is one of the most obvious iconic places to grab an iPhone shot, and many other visitors were doing just that. I first made a few symmetrical photographs looking up at the skylight in a more direct way and then thought that I’d try a few “off kilter” shots, perhaps with the Winogrand images – which often tilt and twist in surprising ways – still in my mind. Having also just spent time in the museum’s wonderful exhibit of classic black and white work by other photographers, I was in a bit of a black and white state of mind, and I was pretty certain that this would end up as a monochrome image.
(For those who wonder about such things, this photograph was made with the small Fujifilm X-E1 camera and the wonderful Fujifilm XF 14mm f/2.8 lens.)
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
I made this in the last moments of an early March visit to the California Central Valley to photograph migratory birds. (As I write this in late March, I’m pretty certain that this was the final “goose chase” of this winter season.) I had come across a very large flock of snow geese in a field alongside a road south of Sacramento near the end of the day – somewhat to my surprise – so I pulled over on the barely adequate shoulder of the road and photographed over a fence and some roadside weeds as the birds began to fly off in small groups.
This little episode illustrates, for me, some of the unpredictability and luck involved in photographing such birds. I don’t mean to diminish the importance of having appropriate equipment and knowing how to use it, nor of having some idea of where to find the birds. But there is a lot about this that is not in the photographer’s control. I had started the day many miles south of here before dawn at a very different wildlife site. My plans were a bit vague beyond starting there, and when the opportunities seemed a bit less than idea after the morning shoot, I decided that I would use the “blah light” midday hours to travel up the valley a good distance to another area where I had not photographed since last season. (This added bit of driving also allowed me to investigate a few highways and side roads that I had been wanting to check out.) After a long drive of nearly two hours I arrived at this location in the Sacramento area and found… not at all what I had hoped for. I was hoping for more large flocks of birds, preferably geese and/or cranes, but at the first place I stopped it seemed that formerly flooded fields had now been drained and tilled. I moved to another area, but still couldn’t see what I had in mind to shoot. I drove around a bit trying to get the lay of the land and discover if perhaps the birds were somewhere other than where I expected to find them, but aside from a few small groups I didn’t find much. I took a nap. I started the usual contemplation about how not every shoot is successful and reminded myself that it was a good day even if nothing turned up here. As sunset approached I decided to make one last loop around the area, stopping to briefly photograph a few Canadian geese. As I watched the, I caught a glimpse of the tell-tale white birds off to the north and since I wasn’t finding anything all the compelling where I was I drove off in that direction. I soon was surprised to find a field filled with many thousands of geese – and a bit more surprised to find that they (or at least many of them) were snow geese rather than the Ross’s geese I often photograph. I stood along the road, separated from them by a low fence and tall weeds and watched. Before long small groups began to take of and fly low angle paths across the field toward the setting sun. The light was beautiful but often they were in front of farmland buildings, trees, and wires. I kept shooting and occasionally a group would rise high enough and quickly enough to appear against early evening sky. One of the important factors, or at least it seems to me, is to capture the group when the birds are in a pleasing and interesting configuration. Too often they overlap, or may not have wings raised or lowered, or there distances may vary enough to create focus problems – so it is no surprise that a good percentage of the shots aren’t keepers. (I have a sense of when this is more likely to work, but only a sense.) But this group managed to cooperate nicely, not only flying against background of clear sky, heading into the golden hour sunset light, but also managing to maintain enough separation that none of them overlap at all.
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
A lone tree on pasture land of a foggy late-winter morning with pre-dawn clouds, San Joaquin Valley
Back near the beginning of March in this year that seems to have brought an early end to winter I headed out to the Central Valley to do what was likely my last migratory bird photography of the season. When I left the San Francisco Bay Area well before dawn for the trip out to the valley the skies were clear, and I was just a bit disappointed in that I prefer at least a bit of fog for this subject. The fog gods must have heard me, since as I neared my first location in a low-lying and often wet area of the valley, fog began to collect just before sunrise. It was that wonderful sort of fog that is almost opaque, but which moves around and changes enough that at least some of the time nearby subjects are visible and it is possible to see early morning clouds in the sky above.
Although my plan was to photograph birds, at first I didn’t see the birds I was most interested in (sandhill cranes and Ross’s geese), so I kept moving and eventually ended up in this flat pasture area where a few isolated trees stood along on newly green ground, with groves of trees beyond and the soft shapes of early morning clouds overhead. This soft light is a special feature of this area in the cool, damp season, and it characterizes my experience with this place. Before long the fog began to thin, the sun came out, and I found birds to photograph.
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
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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