Tag Archives: view

Photographs: Architecture, Photographs: Northern California, Photographs: San Francisco, Photographs: Structures and Objects, Photographs: Textures, Photographs: Urban/Street

Through the Scrim

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Through the Scrim
Benches and a balcony, San Francisco Museum of Modern Art

Through the Scrim. San Francisco, California. May 6, 2016. © Copyright 2016 G Dan Mitchell – all rights reserved.

Benches and a balcony, San Francisco Museum of Modern Art

There is a small thread in my photograph of the interior spaces of buildings that looks through gauzy, diffused curtains, blinds, and scrims toward the world outside. For example, I have several in his line that I made at the Getty Museum in Southern California, and some things photographed in museums in New York that go in a similar direction. I made this photograph at the new SFMOMA museum in San Francisco during a members’ preview before the official opening last week.

I love the newly expanded and remodeled museum. One writer commented on the way that the new facility opens to the City. (The former building, as good as it was, was mostly closed off from San Francisco, with few places where the interior space opened to views of the surrounding area.) Now the new “back side” of the museum opens straight out over and into the urban environment, and there is quite a bit to see there — and the design creates a stronger link to this city. In this photograph, which was initially “about” the lines of the buildings in the upper part of the frame, the shapes and tones of the two foreground benches are beginning to interest me more.

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.
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Photographs: Death Valley, Photographs: Desert, Photographs: Nature

Basin and Range

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Basin and Range
A long distance view across Death Valley and to distant mountains beyond

Basin and Range. Death Valley National Park, California. March 28, 2016. © Copyright 2016 G Dan Mitchell – all rights reserved.

A long distance view across Death Valley and to distant mountains beyond

The landscape of Death Valley National Park is immense. The fact that it is the largest national park in the lower 48 states begins to penetrate my awareness the more time I spend there. A number of years ago I spent some time on a very long cycling trip in Alaska and the Yukon, and this desert landscape comes closer than any other I have experienced to evoking the same sense of huge distances and deep stillness and quiet. This landscape extends even further beyond the boundaries of the park, from the Sierra Nevada to the west to distant peaks of the basin and range country to the east.

This high elevation location opens to such a huge swath of terrain that it is difficult to get your mind around the scale of what you are seeing. For example, there is a road out there in the large valley. To get there from the place where my tripod was set up would take me hours of driving — and that would take me perhaps less than half way toward the most distant peaks. Enhancing the other-worldly quality of this morning was the unusual atmosphere. The clouds of a weather front were breaking up over the mountains and valleys, and their shadows were moving across the landscape. Meanwhile, in another valley far behind me, dust storm conditions (which would envelope this entire scene by the end of the day) were beginning to pick up, and already the atmosphere was getting that milky, hazy quality that precedes such weather. At the bottom of the scene is an immense gravel fan that has carried material down from these mountains, filling the valley in places to thousands of feet of depth.

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.
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All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Photographs: Architecture, Photographs: New York City, Photographs: Urban/Street

Black Star, Tiles and People

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Black Star, Tiles and People
People standing on tile near Frank Stella’s “Black Star” at the Whitney Museum

Black Star, Tiles and People. New York City. December 27, 2015. © Copyright 2015 G Dan Mitchell – all rights reserved.

People standing on tile near Frank Stella’s “Black Star” at the Whitney Museum

On our December 2015 visit to New York City we had a chance to visit the new Whitney Museum for the first time. We see the early construction phases on several earlier visits when we went to Chelsea and were pleased to find that it is now open. We went there one morning, began on the top floor, and started to work our way down. (I’m a bit notorious for being able to spend what some regard as far too many hours wandering slowly through museums. Eventually the others in my party left. I stayed and finally joined up with them again hours later.)

The museum’s collection is, of course, fascinating. But the building itself also fascinated me — as a structure it its own right, its placement in its Manhattan surroundings, how it is used to display art, its outdoor areas, and the opportunities it gave me to include people in photographs. I did virtually no photography inside the building, but on the outdoor terraces and walkways it was an entirely different situation. These areas were perhaps the most attractive parts of the architecture for me, with upper levels thrusting out over the Chelsea landscape, and lower levels spreading out horizontally. From below it created a sort of industrial landscape of metal angles, and from above the views downwards were quite something. This photograph looks over one of the upper balconies and straight down onto a tile-covered terrace where Frank Stella’s “Black Star” resides and was being photographed and contemplated by visitors.

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.
Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email

All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Technique

Camera Stability and Long Lenses

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I responded to a question somewhere else and thought that it might be useful to share the response here, too. A photographer asked some questions about using long focal length telephoto lenses for landscape photography and how to deal with the issue of camera/lens stability, bringing up related questions about things like live view modes, mirror lockup, image-stabilization, and so forth. Here is what I wrote in response…

Rocky Creek Bridge, Surf and Fog
Black and white photograph of Rocky Creek Bridge with winter storm surf and fog. Big Sur coastline, California.

If you are shooting landscapes from the tripod…

  • Do use live view – it is the mode that introduces the least amount of shutter vibration.
  • Either mode 1 or 2 will perform essentially equally well when it comes to shutter vibration. (In both cases, there really isn’t any shutter motion vibration before the exposure since it is initiated electronically.
  • If you use a remote release (and you do, right?!) then there is no reason to use any delay setting on the camera to avoid vibration. (Many cameras have settings for 2 second or 10 second delays – mostly there so you can run and get in the photo, too!)
  • Mirror lockup is irrelevant in live view. The mirror is up by default in live view.  To be even more explicit, live view and MLU are mutually exclusive modes – they cannot be used at the same time.
  • After touching the camera, moving the tripod, etc., wait a few seconds for vibrations to dissipate before making your exposure. I  think that 2-3 seconds is sufficient, though some folks will claim that even longer might help.
  • Speaking of this, I would tend to avoid using either auto-focus (AF) mode when making landscape photographs with such a long lens. Either can introduce some amount of vibration to the system, but especially the mode that momentarily flips the mirror down, auto-focuses in the usual manner, then flips the mirror up to make the shot in live view. I prefer to manually focus at 10x magnification. If you must autofocus, do so before switching to live view mode, and then turn AF off before making the exposure.
  • Realize that the large area of these big lenses, combined with their very long focal lengths and great magnification, make the system far more susceptible to vibration from air movement. Even relatively weak breezes can create enough vibration to create a bit of blur and soften the image. Continue reading Camera Stability and Long Lenses →