The front of an old home in Neckarsteinach, Heidelberg, Germany area
I’ll keep the commentary brief on this one. We traveled by boat a short distance up the Neckar River from the Altstadt Heidelberg area last summer and stopped here to wander a bit and to eat. Our wandering took us up and down some narrow, twisty, hill streets and past some beautifully weathered homes.
A woman sits on the fire escape balcony of a brick apartment building
The first stop on our five-week “grand tour” was New York City — our oldest son and our daughter-in-law were getting married. This is the longest the two of us have ever been “on the road,” and before we were finished five weeks later we had been to New York City, London, Paris, Heidelberg, briefly in Munich and Bologna, then the Chianti region between Florence and Siena in Italy, and finally in Florence for a few days. Whew! One thing that came out of visiting all of these places, with between five or six days and up to eight days in each place, is that we got both a sense of the character of each place (though incomplete, of course) and we were able to see the contrasts between them. New York City certainly has its own character, somewhere on the spectrum closer to London than Florence perhaps.
The entire New York visit was not taken up by wedding events, so we did have a chance to get out and explore New York a bit, which we always enjoy. On this afternoon we ended up at the High Line Park, walking part of its length on a hot and humid day the eventually led to some light rain. (That seems to be a theme for us near the High Line.) Since I’ve been to this park before I have gotten to know some of the surroundings, and this particular brick wall of windows and fire escape stairways always attracts my attention. And this isn’t the first time I’ve found an interesting person on that very balcony — somewhere in my collections I’m pretty certain that I have another photograph of someone on this exact same balcony, sitting outside on a similar hot and humid day before the rain arrived.
People arrayed on terraces and stairways at the Whitney Museum
This is another of my December 2015 photographs from the New York Whitney Museum, and perhaps yet one example of my idiosyncratic approach to visiting museums. I love visiting museums, especially art museums, and I can easily spend many hours or even a full day wandering around and slowly taking things in. It is enough to drive other people who go there with me crazy! (On this visit, the rest of our group finally gave up, left without me, headed to a nearby tavern, had lunch and drinks, and waited for me to finally show up hours later.)
I love to look at the art, the people, and quite often the architectural spaces as well. This was my first visit to the new Whitney Museum, so there was a lot to see. I started on the top level and explored galleries, but soon was distracted by the outdoor terraces, which extent from each of the floors in delightful and interesting ways. On the top floor narrow terraces project out into space above the Chelsea district. On lower levels the terrace areas become larger, and afford urban landscape views of the surrounding city and back upwards toward the exterior of the museum. When I looked up at this mass of windows, terraces, stairways and more I knew there was a photograph (or several) here, and I spent some time with the subject.
Shadows from artificial light amplify the forms of a staircase at Mare Island.
I made this photograph in an area that was actually so dark that I could barely see the subject — a long exposure and a higher ISO made the photograph possible and allow the camera to see what I cannot. I could see well enough to know that there were some unusual and interesting shadow patterns, including the organic shaped shadows of nearby trees and the angular shadows duplicating the lines of the stairway railings.
With a dark subject like this the first challenge is to make a composition out of things I can barely see. The broad outlines are visible, but it was not easy to see details… and focusing can be a major issue. (I have a bag of tricks for this. One technique is to simply shine a brighter light into the scene and focus on the lit area. An alternative if the subject is further way is to place the light inside the frame, focus on it, and then remove it for the exposure.) This whole area was just a bit spooky. I got to it by ascending a dark stairway and then walking across what seemed like it may have been an abandoned parking terrace that was littered with construction (or destruction?) debris.
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.
