Street scene in winter light on the Upper East Side, Manhattan
Today’s photo takes us back to the urban world again, and away from the world of winter migratory birds that I have shared more recently. The photograph is from our weeklong visit to New York City between Christmas and (almost) New Year’s Day. It was a cold week! As we usually do, we went out and wandered Manhattan quite a bit — hard to do street photography without going into the street! Daytime highs made it (barely, and not always) into the low 20 degree range, but we fought back by layering up and by stopping frequently for refreshments in warm places. Not that the latter is a bad thing!
I made this photograph on one of those cold days. We had queued up to get into the Guggenheim, but the line wasn’t moving at all. Standing there in the bitter cold and strong wind, the thought of finding a place with warm soup suddenly occurred to us, and we left the line and found food. Feeling warmer now, we headed back out onto Lexington and walked south. When I first spotted this place, somewhat interesting in its own right though not quite unique as a structure, the words on the sign caught my attention: “Soda Candy Luncheonette.” Then I noticed the nice light coming up Lexington and the interesting arrangements of pedestrians as they walked past.
Evening light on the white rim landscape of the Stillwater Canyon area of the Green River, Canyonlands National Park, Utah.
This was an evening of very special light in the Canyonlands, or so it seemed to me. I love soft, hazy conditions and perhaps prefer them to super clear and sharp conditions in many cases. So I had not been at all disappointed earlier in the day to see that the rugged canyons below the “island in the sky” section of Canyonlands were obscured by dust that had been stirred up by very windy conditions. We visited this spot earlier in the day and I identified it as one of several places I thought I might want to photograph at the end of the day, even though the atmosphere looked almost “murky” during the earlier visit. I knew that the edges of the upper cliffs of canyons, for example along the White Rim, could well be nicely lit in the evening light. So as we wandered around other nearby areas, looking for other shooting prospects, I became more and more certain that this is where I wanted to end up.
When we came back here a bit before actual sunset, it was cold and rather windy. The wind had been an issue though out my photography here and at Arches, and I was getting used to timing my shots for the lulls between gusts. I put on warm clothes and wandered out to the edge of the cliffs, where I found a small number of other photographers as well. Earlier I had not only decided on shooting here, but I had also scoped out a couple of likely compositions. One (which I posted earlier) was a horizontal composition that included the bottom of the canyon that would be out of this picture and to the right – a deep canyon that was carved by the Green River and its tributaries. The other was this vertical composition, that angled across the tops of a row of flat areas along the White Rim where canyons alternated with the flat surfaces above with more distant mesas and more mountains beyond. The atmosphere did something that it can often do when the air is hazy – it gradually changed from having a low contrast and filmy appearance with lots of golden tones and began to become more transparent as the light lowered and came in at a lower and lower angle. Here, very close to when the sun dipped below the horizon, the very low angle light strikes the west-facing cliffs and skims across the tops of the low hills in the foreground and on top of the mesa-like formations beyond.
G Dan Mitchell is a California photographer 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
Soft evening light on the canyon of the Green River as it winds through the desert terrain of Canyonlands National Park, Utah.
I recently returned from a week in Utah which, perhaps surprisingly, was completely new to me as a photographic subject. More about that in a moment, but first a bit of description of the photograph. This photo was made in Canyonlands National Park in the “Island in the Sky” area, looking west from a high viewpoint above the canyon containing the winding Green River, not far above its confluence with the Colorado River. The “Island” is a high and relatively flat plateau at around 6000+’ of elevation, surrounding on many sides by deep canyons, cliffs, and then several levels of lower plateaus. There are “edges” everywhere, and all of them provide stunning vistas into the vast spaces below and beyond. We ended up at this spot largely due to a photograph I had seen an a park brochure that included a view of receding mesas and canyons in evening light. We scouted it in the middle of the afternoon as we visited several places in this area of the park, and it seemed inevitable that I would end up shooting here at sunset. I was initially imagining a scene with brighter colors from the sunset and the post-sunset sky, but instead I ended up with something that I think I like even more, namely softer light with some haze in the atmosphere and somewhat gentler colors.
As I mentioned above, I have not photographed in Utah before. I had been through the state several times many years ago, but I think we more or less sped through on interstate highways – which don’t tend to follow the most scenic routes – and I had a very limited view of the place. While it is too bad that I waited so long to go there, it gave me the opportunity to have an experience that I don’t have nearly as often in California where I do most of my shooting. Because I live within a short drive of redwood forests, the Pacific coast, and places like Yosemite Valley and the Sierra and visit all of them frequently, I have to admit that I sometimes forget how extraordinary they are. I can drive right past Yosemite’s Tunnel View if the view is just a typical Yosemite Valley view. But on this trip, I more or less intentionally avoided finding out a lot about some of our destinations before we left. Consequently, I had opportunities to be surprised and astonished – like any good tourist! – by things that I was seeing for the first time. For example, I really had no idea what I would see at Arches National Park when we drove into it at just about the “golden hour” – and I was completely stunned by impossible structures and juxtapositions of sandstone columns and arches and towers and cliffs. I just got a quick taste on this trip… but I’ll be back.
G Dan Mitchell is a California photographer 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
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.
