Blue and green waste receptacles next to a glass wall at Yerba Buena Gardens, San Francisco.
I’m tempted to not say much about this photograph, beyond the basics of where and when and what. The “where” is along the wall of the performing arts center at San Francisco’s Yerba Buena Center. The when is on a morning with high fog that produced some nice, diffused light. The “what” is, well, a couple of trash cans in front of a large window, behind which there are a couple of other trash cans in the same color scheme, a drinking fountain, and some yellow walls. Profound, no? :-)
An old pier along the San Francisco Bay waterfront, morning light.
When I take the train to San Francisco early on summer mornings, it is frequently the case that the sun is out as I walk along the Embarcadero waterfront, and the light greats a bright glowing atmosphere as the haze and light fog above the bay are backlit. It can be almost too bright to look at. Often the buildings of the east bay and the cranes of the Port of Oakland are faintly visible on the horizon, as they are in this photograph. There is actually a range of east bay mountains above these structures, but they are not quite visible through the glowing atmosphere in this photograph.
The Embarcadero, the road that runs along the waterfront of the bay on the east side of The City, is lined with many old piers. They range from those that have been restored and turned into tourist areas (think of Pier 39 with its souvenir shops), others that house businesses and even a museum or two, some that are primarily parking areas, and a few others that have been left to rot in the sun. In some ways, those in the latter group are the most interesting to photograph, though there are fewer of them now that the value of this waterfront real estate has once again been recognized. Originally, this was a working port with passenger and freight ships. Now most of that business has gone across the bay to Oakland. However, today the bay front properties are probably more valuable for other purposes anyway.
I have photographed this particular pier before, but this time I liked the very bright sky, barely visible structures across the bay, and the morning light that is just hitting the left side of the buildings on the pier.
Morning light shines through the forest on the rocky shoreline of Lower Young Lake, Yosemite National Park.
The three Young Lakes are among my favorite places in the Yosemite back-country, and I visit them pretty much every summer. As I did when I made this photograph, I most often to in the last season – I like to visit after Labor Day weekend, when the crowds begin to diminish, the weather is a bit cooler, fall colors begin, and everything in the Sierra seems to slow down in anticipation of the coming winter.
On this visit I camped for something like three nights at the lower lake, and thus had time to photograph throughout the basin at different times of day. On this morning I got up early as I usually do, and spent a good part of the morning photographing along the shoreline of this lake, starting in the area near where most people camp and where the trail passes along the shoreline. A bit later I crossed the outlet stream and followed the rocky shoreline around to the far shore where the forest opens into rocky meadows near the main inlet stream.
In the photograph, the early light is coming from behind the trees in the shoreline forest and glancing off the tops of the boulders on the shore and in the shallow water. There were two photographic challenges in making this photograph. First, the dynamic range between the brightest sunlit spots on the rocks and the darker areas in the forest is extreme. In some cases I might resort to blending multiple exposures as a way to deal with this issue, but here I was able to recover enough detail from a single frame. The second issue relates to the color of the light. Specifically, while the sunlit areas have a fairly warm quality, the light in the shadows on the rocks and in the shaded areas of the forest turns out to be distinctly blue in a photograph. In fact, these areas end up looking much more blue than you would think if you were there – this has to do with the way our minds process what we see to make it more like what we think it should be… if that makes any sense. In any case, the decisions here ended up being about how much blue would be the right amount.
Mist and spray from spring runoff fill the air in the boulder-strewn canyon of Cascade Creek, Yosemite National Park.
Making this photograph was an “interesting” experience! I visited Cascade Creek on June 18, probably near the peak flow of the spring runoff season, and the creek was a full-blown torrent. After photographing some familiar rock formations below the bridge that crosses the creek, I decided to try a photograph from the upstream side of the bridge. In this direction, the creek is more or less half waterfall and half cascade as it plunges down a very steep and narrow section of the hillside. The whole scene was in deep shade and mist and spray filled the air.
I made a guess that a 135mm lens might give me a tight enough framing of the scene, so I briefly stepped away from the creek and the spray-filled air to switch lenses. Leaving everything else behind, I took the camera, tripod, and this single prime lens and walked to the wet side of the bridge. There was enough spray that I and my gear began to get wet pretty fast, so I worked quickly. I got everything in what I figured would be about the right position before I uncovered the lens, then quickly uncovered and finalized the composition and manually focused. I knew that I couldn’t really stay in this spray all that long so I spent a couple minutes bracketing a series of exposures as the mist surrounded me, hoping that water on the lens and in the air in front of the camera would not interfere with the shot.
The main decision was about shutter speed and with other decisions regarding aperture and so forth to follow on that. The idea was to use a slow enough shutter speed to allow the water to blur a bit, but not so slow as to turn it to formless mist. I managed to get to a 1/5 second exposure by shooting at f/20, an aperture a bit smaller than I would typically want to use, as apertures smaller than about f/16 can begin to introduce a bit too much diffraction blur. But in a shot like this one where mist is obscuring a great deal of the detail anyway, that seemed like a reasonable compromise that let me lengthen the shutter speed just a bit.
