“Bicycles and Red Door” — Parked bicycles in front of a hotel with a red door and a flowering bush, Montpellier.
What is it about bicycles? They turn up as photographic subjects all the time, on their own and as characters in street photography. (One for my favorite photographs by Henri Cartier-Bresson features a bicycle.) It probably has something to do with things they represent or are associated with: a slower pace, the sensations of wind as you ride, closer contact with our surroundings. That is all preamble to this “bicycle photo” of mine, made on a street in Montpellier, France.
If I recall correctly, this may have been our last morning in this charming city before we left France and moved on to Zaragoza, Spain. While the title mentions the bicycles and they are prominent in the frame, I think that photograph is more about the lovely, soft light and the colors of the red door and the fascinating green plant growing next to it.
“Weathered Street Art” — The weathered and worn figure of a man, on a wall in Montpellier, France.
There is a fine line when photographing things like this between appropriation of someone else’s creative work and making the image because the placement and weathering themselves provide independent visual interest. In short, I’m not big on simply photographing what other people create, but I do seek out and photograph things like this bit of weathered street art found on a wall in Montpelllier, France.
I suspect that it has or had some meaning or message that isn’t apparent to me — either because I lack the cultural context to see it or because it has been weathered to the point where it is no longer apparent. For me, that weathering itself is part of the attraction. In this case, the bits that remain suggest something like a genie emerging from a bottle.
“Passing Cyclist, Le Marais” — A bicycle rider quickly passes at a cross street in Le Marais, Paris.
I often ponder the similarities and differences among the various genres of photography I pursue. (If you follow me you have seen everything from landscapes to night photography to street photography to travel and more.) The connection between landscape and street photography especially interests me, partly because many people think of them as being utterly different. I think that there are some similarities. For example, I often think about the street landscape first, and then wait and watch for someone to animate it.
That was the case here. I was interested in the wall at the end of this narrow street, and the way that its view is bounded by the darker walls on either side. I knew that I could photograph people as they passed by. One tricky part of this is that I had no idea who was about to enter the scene or from which direction. So I had to be ready to react quickly. (This necessarily results in some less than remarkable photographs, too. I won’t share those!) The time was even shorter as this woman sped past on her bicycle.
“Stone Wall and Pedestrians” — Parisiens walk and run past a tall stone wall.
The photograph is from somewhere in Paris. We were on a walk and I was photographing as we moved, not paying too much attention to identifying locations. (That’s a characteristic of how I work when photographing the urban environment — I am so focused on it as a visual experience that I often forget to record locations or the names of places and so on.)
If a photograph can be about something, this one might be in some ways about the relationships between people and the infrastructure of the the urban environment. . To my eye, the people here look very small and transitory by comparison to the scale of the building and the angular forms of most of the scene.
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.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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