Black and white photograph of a concrete driveway between tightly-spaced brick homes, New York City.
I’m actually not precisely sure where in Manhattan this scene is any more. We were walking somewhere towards Chelsea when we passed through a little neighborhood of brick homes, and I just happened to notice this little scene as we walked past. Aside from plastic trash receptacles with plastic liners and the air conditioners, I don’t think there is much in this scene to date it, which is one of the reasons that I chose to go with a black and white rendition.
(Basic EXIF data may be available by “mousing over” large images in posts when this page is viewed on the web. Leave a comment if you want to know more.)
A bridge crosses railroad tracks at the Olympic Sculpture Park, Washington.
Back in 2008 I travelled to Seattle on mostly family business. I arrived a bit early and ended up spending some time wandering around the Olympic Sculpture Park, a place I enjoy both for the art and for the architecture and other features of this public space.
The bridge across the railroad tracks had interested me previously, but I’ve found it a difficult subject to photograph – somewhat surprisingly, since it seems to me like such an obvious thing to photograph. So in this image I more or less obscured most of the bridge itself, leaving not much more than the white vertical supports along its exterior and its overall shape and mass. I thought that the relationships between the texture of the metal bridge and the concrete underneath was interesting, as were some of the relationships between various shapes and angles. As I have done in a few other recent photographs, I played around with “pure” color and black and white renditions of the image – in the end deciding to sort of split the difference, thinking that a somewhat de-saturated color image might be most in line with my memory of the place and the scene on that winter day.
(Basic EXIF data may be available by “mousing over” large images in posts when this page is viewed on the web. Leave a comment if you want to know more.)
On a warm New York City evening, a man sits on the landing of a metal stairway on the exterior of a brick building.
We decided that we would visit the High Line Park in Chelsea early in our recent visit to New York City. Recalling some wonderful evening and sunset light at the park during last year’s visit, we had something like that in mind again on this visit… but that is not quite how it turned out. Although it had been sunny earlier, when we arrived at this location late in the day we could see very dark clouds building over on the New Jersey shoreline and beyond. Even though it was at least an hour and a half before sunset the light was dimming quickly, and we began to see large flashes of lightning in the sky to the west.
While the anticipated warm evening light would have been nice – and was when we returned a few days later – the softer light of these overcast conditions provided some advantages, too. Shooting toward the setting sun, as I would have been doing in this shot, can be tough on the High Line – but this soft light allowed me to more easily handle what would have otherwise been a real exposure challenge at this time of day. Just as we approached this building, the man emerged from the curtained doorway and provided a focal point to the photograph of this wall.
He is looking back over his shoulder for a very good reason. A few minutes after making this exposure – or perhaps sooner! – the lightning began to flash and the thunder began to boom directly overhead. We decided that the elevated park was no place to be in an electrical storm, and we quickly found a way back down to street level as sprinkles started. By the time had headed a block to the east, looking for a place to eat, the wind began to howl and the skies let loose a tremendous downpour, forcing us to choose a restaurant on the basis of proximity rather than reputation!
A weathered tile and concrete wall at Yerba Buena Gardens in San Francisco.
I’ll throw things a bit off-kilter here and interrupt the stream of landscape images from the Sierra Nevada with a minimalist photograph of a tile wall that I made while walking around in San Francisco in July. This may not be quite as simple a photograph as it first appears, and in larger version or print it becomes more apparent that the tiles are varied and weathered in interesting ways that produce a range of textures and colors.
I do a certain number of “minimalist” photographs – some of the urban landscape and others of the natural landscape and seascapes. Sometimes when I’m photographing some of the urban subjects I get some very strange looks from passers-by! I guess it must be hard to imagine why some guy with a fancy camera is pointing it straight at a wall in downtown San Francisco when so many other seemingly more compelling subjects are all around. Or else they might wonder if there is something there that they just don’t see.
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.
Manage Consent
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.
