Afternoon light reflects on the surface of the Pacific Ocean beyond the Point Reyes lighthouse.
Although our trip to Point Reyes was not primarily to do photography, somehow I ended up bringing back quite a few photographs! This photograph was made from the iconic overlook at “the point” and right above the long stairway down to the historic lighthouse. On this afternoon high clouds were streaming in from the Pacific and casting a mottled pattern of light and shadows on the surface of the Pacific Ocean.
This spot is often completely socked in by clouds and/or extremely windy and cold. However, this was perhaps the most benign afternoon I’ve experienced there. The temperatures were very comfortable – we were a bit too warm on the walk to the point. The sun was out, and the wind was nearly still at times.
I wasn’t certain when I made the exposure of whether it would end up being a black and white or a color photograph. I’m still not sure! I’m sharing the color version first, but a black and white rendition will follow in tomorrow’s post.
Night photograph of abandoned industrial buildings from the historic Mare Island Naval Ship Yard.
The building on the left is sometimes known as the “UFO Building” – not because of anything that might be stored inside, but because of a shadow in the shape of a “flying saucer” that forms on one of its walls. I thought it was the only one until I took this photo in which you might spot another saucer-shaped shadow on the wall of the building at the right.
This scene is not a particularly unusual one at the historic Mare Island Naval Ship Yard, a place that is full of old industrial buildings left over from the long ship-building history on this island. Many of the old buildings are now in a state of somewhat arrested development, but they certainly show the signs of age and lack of care – lots of boarded up buildings, peeling paint, warnings about hazards of various kinds, and so forth.
Most of the light in this photograph comes from a bank of strong security lights on the exterior of a more modern nearby building, and the yellow color is a result of the type of lighting that is used. There is also a bit of full moon light in the shadows and on the bit of cloud at the upper right, and this also explains the lighter coloration of the sky. When making night photographs in a place like this, I feel comfortable about not really trying to “capture” an objective reality of the place. To be blunt, that is pretty much impossible. First of all, it is actually so dark in many of these places that it takes a while for your eyes to get used to it. Secondly, there are so many varied light sources with so many different colorations that it is essentially impossible to “color correct” the scene – though I’m not even quite certain what it would mean to do that in a scene that we really can’t “see” with our own eyes.
The idea in my night photography is not often to capture the scene as it “is,” but instead to reflect the way “the camera sees,” a way of seeing that is quite different from our native modes of seeing. Things that occur over long periods of time (exposures measured in minutes) appear in a single frame, sometimes objects lose their definition as shadows move and wind blows, stars create streaks in the sky and passing clouds blur, and the colors are far from “natural.”
The light of the full moon illuminates the facade of a wooden building, and outside stairway, and passing overhead fog clouds at Mare Island Naval Ship Yard.
Since I was out doing night photography this weekend, I’m going to use this as an excuse to insert a night image into the recent stream of Death Valley photographs. (There are more of those, but a bit of variety can’t hurt.) I got an email from Tim Baskerville, the guiding light (guiding dark?) of The Nocturnes, the San Francisco Bay Area night photography group. Tim has introduced and guided many new night photographers over the past few decades, and The Nocturnes group is a sort of loose collective linking together lots of night photographers and providing instruction, online resources, and shows of night photography work. As this is the 20th year for the group, lots of special activities are taking place and this little spontaneous get-together at Mare Island was one of them.
A small story from this weekend’s shoot may illustrate the widespread effect of Tim’s work with night photography in general and with the Mare Island location specifically. Those of us who were to meet Tim at Mare Island arrived to find other photographers already assembled at the indicated meeting place – but we didn’t really recognize most of the group. It turns out that another night photography group (loosely organized, as I understand it, by Thomas Hawk and Ivan Makarov) was going to be there as well. We spoke with them a bit and then they departed for the far end of the island. (They returned later and we worked side by side.) But then, a few minutes later, more vehicles began to show up and we thought that they might be the rest of our group, especially when someone asked “Are you the Nocturnes?” But no, this was a third night photography group, this one out of Sacramento!
In any case, as the light diminished and night came on we started shooting. We had a nearly full moon, which can be a wonderful asset, not so much as a subject (it is very difficult to include the full moon in night shots) but for the beautiful light is sheds on other subjects that might otherwise be very dark. On top of that, we had a combination of some high clouds (which are relatively stationary) and low fog (which creates a nice luminous glow as it quickly passes). I decided to begin the evening’s work by photographing this wooden-sided building and its outside staircase, illuminated by the moonlight, and with a bit of the cloudy sky and faint star trails.
Morning light strikes buildings above the curving urban canyon of Maiden Lane in Lower Manhattan.
We were in this area of lower Manhattan for several reasons on the morning of the last full day of our New York City visit. We made a stop at the nearby World Trade Center site – it is difficult to explain all of the reactions that I had to this. The last time I visited (close to New Years Day 2000) we stood on top of one of the buildings to see the nighttime view – and now there is a void in that place.
We were also there to visit our oldest son who was working that day in an office on Maiden Lane – and, later on, to join the throngs walking out onto the Brooklyn Bridge. (This was our first day of clear, blue sky weather.) I made this photograph as we approached that street a bit early, giving us some time to look around a bit. Oddly, when I visit the very narrow and twisty “canyons” of this part of Manhattan, with the very tall buildings towering immediately above and following the curves of the old streets, I always think of different sorts of canyons, for example the sort that I frequently visit in the Sierra. It occurred to me that the same light falls on both types of canyons. You can bet that I would have my camera out if light like that shining on the front of these curved buildings appeared in “my” Sierra!
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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