Weathered windows below the eaves of a dilapidated yellow building at Mare Island Naval Ship Yard with star trails in the night sky.
This is another building that I have photographed a number of times when I’ve visited the Mare Island Naval Ship Yard to do night photography. Typically I have focused on the lower walls of the building, which are interesting due to the presence of garish yellow sodium vapor lighting, the interesting texture of corrugated metal walls with peeling paint, dilapidated and broken doors and windows, and the odd presence of a UFO-shaped shadow from a lamp hanging on the exterior. (A recent photo I posted featured that oddity.)
Here I wanted to shoot something a bit less complex and graphically simple – so I aimed the camera almost straight up from a position right in front of the building. Though they are difficult to see in this small jpg, the sky is filled with faint star trails from the two-minute exposure, and I like the way its inky blue-black color contrasts with the very warm colors of the yellow walls that are lit by sodium vapor light coming from multiple directions. The terribly weathered window frame, the bit of conduit attached to the wall, and the broken window panes break up the wall.
The light of the rising full moon illuminates the ruins of the old bank building against a star-filled sky in the ghost town of Rhyolite, Nevada.
I have photographed the ghost town of Rhyolite, Nevada on several occasions in the past, but always in the very early morning. (I have a habit of hitting Rhyolite before dawn, shooting as long as the light allows, visiting Beatty for cheap gas and breakfast, then heading back to Death Valley via Titus Canyon.) I have wanted to try photographing the location both at sunset and under a full moon, and the timing for both worked out on my late March visit to Death Valley National Park. Late on my second afternoon I headed east out of the Valley and over the pass and arrived at Rhyolite before sunset.
I spent some time wandering around the familiar locations in the unfamiliar late-day light. In the end, my suspicion that Rhyolite is more of an early morning location than an evening location seemed to be confirmed. At this time of year the sun sets a bit too far to the “right” as you look west, and the the light is blocked by a low hill at just the time it would otherwise become interesting. I did make some photographs of the ruins of the ghost town in the fading light… then I settled in to make a few night photographs of the tall bank building ruins.
I’m thinking of this as sort of a practice run for a return visit for more Rhyolite night photography. I think that the full moon timing has potential, but I want to try again and think more about the placement of the structures relative to the North Star. One more thing… when I arrived there was essentially no one else there. Soon a couple other photographers showed up, but the place was still relatively deserted. Then, after dark, I was surprised when a number of cars showed up. There was apparently some sort of night photography workshop visiting the place – perhaps I shouldn’t be surprised that they acted like they owned the place and that the rest of us didn’t matter. Most night photographers would know better than to drive into a shooting location with headlights blazing, and they might ask photographers who were already there if their light painting would interfere with shots underway. Just sayin’…
This photograph is not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
Star trails above the Manifold, Zabriskie Point, Death Valley National Park, California.
One of my goals on my late-March trip to Death Valley was to do some night photography, in particular to take advantage of the nearly full moon near the end of my visit. Some of my plans did not quite work out – for example, on the night when I intended to do night photography of the moving rocks at the Racetrack Playa it was cloudy all night! However, on the final night of my visit the weather gods cooperated and I was able to make a few exposures from Zabriskie Point as the moon rose. As if to partially make up for messing up the intended Racetrack shots, the “cloud gods” were kind enough to provide me with a few high thin clouds at Zabriskie. This was one of those wonderful occasions when things actually did go as planned!
Anticipating the full moon at Zabriskie, I made a point of camping in the vicinity of Furnace Creek at the Texas Springs campground. (I expect that my habits mystified a few nearby campers. I drove in at about 2:00 p.m., grabbed a site and “marked” it by leaving a chair and a tarp, and almost immediately left – not returning until nearly 10:00 p.m. Then I was up and gone well before sunrise.) In any case, I headed down to the Badwater area in the late afternoon to photograph sunset light on the salt flats and evening clouds – following an impromptu “dinner” at the back of my car at the Badwater parking lot. It was getting fairly dark by the time I finished up at Badwater, so I headed straight up to Zabriskie. By the time I arrived the moon was just coming up over the mountain range to the east, with its light at times filtering through high clouds. During the hour I was there I made three exposures. With exposure times in the 8 to 12 minute range and followed by “dark frame exposures” of equal length, this was a slow and quiet process.
This photograph is not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
Night panoramic photograph of the powerplant building and other structures along Railroad Avenue at the historic Mare Island Naval Shipyard, Vallejo, California.
This is a bit of a first for me – a night photography stitched panorama. This image is composed of two separate exposures which were aligned and “stitched” into a single image in post. (As such, it could be a very large print!) Shooting from an elevated position, I shot almost directly north (as you can tell from the star trails in the larger version). The view looks up Railroad Avenue past the iconic power plant building with its smokestack that is visible from all over Mare Island.
I’m usually a bit casual about exposure time with long exposure night photographs. It isn’t that I don’t care – it is just that one has a ton of leeway when it comes to the very long exposures I typically use. For example, on a 3 minute exposure you would have to be off by three minutes to overexpose by one stop! So rather than use a stopwatch or an automatic timer I just count to myself. I’m usually will within a 10% error, and that is good enough. However, when stitching “good enough” often isn’t. The separate component frames really need to be quite similar, so in this case I resorted to using my watch to get relatively accurate 90 second exposures.
Another interesting factor in night photography is illustrated in this photo, namely the wildly varied colors of the light sources we deal with. There are three dominant sources in this image. The overall illumination comes from the full moon, which is quite similar to day light in terms of white balance. On the near wall of the brick power plant there is very “hot” and saturated yellow/red tinted light, probably from sodium vapor lamps. Near the left end of the image is an old wooden building that is illuminated by very green light, which I believe comes from mercury vapor lamps. I often chuckle a bit when people speak of “white balancing” the color in a scene like this. If you pick one source for your white balance you’ll throw the others even more out of line. My philosophy is usually to just go with what looks right!
Finally, the idea of making the stitched panorama came from the recently started Panocturnists web site, begun by people connected with The Nocturnes, the San Francisco Bay Area night photography group. I was intrigued by the idea of creating panoramic night photography, and I’ve done a few images along these lines on my two most recent visits to Mare Island.
