We walk a lot when we visit cities, and on this Lisbon day we had walked to and then through portions of Alfama. This neighborhood is full of very old streets and buildings. It is built on a hill rising above the water, so many of those lanes are quite steep. Overall it was a slow and mostly quiet walk… until we emerged on this busy street!
Continue reading Trolleys and Tuk Tuk
From my limited experience, this feels like a “typical” street of Lisbon’s Alfama district… except that the street is wider than many of the passageways. The lines suggest that it is two lanes wide — though I imagine that when a trolley goes up and down those tracks there isn’t a lot of room for anyone else!
There is a lot in this scene that attracted my attention. The street itself with its pairs of tracks and optimistic center dividing line is one. The stacked and tightly spaced buildings are another. And I love the saturated colors, from the nearly pure white to the many yellow buildings, and the bits of blue here and there.
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” (Heyday Books) is available directly from him. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email
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Entering the Dunes. © Copyright 2023 G Dan Mitchell.
Footprints lead into the sand dune landscape.
Most of our landscape photographs try to present the landscape without obvious human presence. I write “obvious” because it is hard to find any place where no human effects are present. Sometimes photographers are criticized for presenting the illusion that this isn’t so. While I think the point is important, the criticism is unwarranted and based on its own untenable notion of what wilderness is. In any case, the inclusion of a more overt human element in photographs can encourage us to think of these places in a different way.
We often strive to photograph dunes after sand storms, when footprints have been erased. But including such things can also engage us in the landscape in useful ways — if nothing else they urge viewers to imagine themselves in these places. The footprints here are somewhat subtle, but I think that we relate to the scene differently when we see a line of footprints leading into it.
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, Amazon, and directly from G Dan Mitchell.
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Sand Patterns. © Copyright 2022 G Dan Mitchell.
Varied sand patterns on a fold in dunes at Death Valley National Park.
One of the myths about sand dunes is that their features are in motion, being blown across the landscape by winds. The fact that so many features — ripples, waves — remind us of water reinforces the illusion. But here the fluidity is of a largely static sort, and these features tend to remain in much the same place over long periods of time.
The reasons that dunes come into existence begin to be obvious when ou get to know them. They tend to be in windy places where natural features obstruct, divert, and slow the winds, causing them to drop their load of airborne dust and sand. While these broad features are easy to understand, I remain mystified by the smaller scale features like those seen in this “intimate landscape” photograph — the waves, ridges, valleys, drop-offs that also tend to remain fixed.
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, Amazon, and directly from G Dan Mitchell.
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Links to Articles, Sales and Licensing, my Sierra Nevada Fall Color book, Contact Information.
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