This is another street photograph from central Aberdeen, Scotland, a bit west the Victoria Dock. There are many old and narrow streets here that twist and turn in interesting ways. Some of the streets feature a lot of street art and, unlike in some places I’ve visited and photographed, much of it stands apart for better viewing and is rarely defaced by graffiti.
Continue reading Red Boxes
On trips like our recent one to the British Isles, I operate in at least two distinctly different photographic modes: landscape photographer (s my recent Scotland work) and street photographer. During our visit to Dublin I was almost exclusively in the latter mode. Dublin is a rich location for street photography. There are crowds of people, and the city has a vibrant, alive feeling. There are also lots of fascinating old and sometimes nicely weathered building.
Continue reading Sharpsville
As I photographed the landscape another photographer worked her way out onto the shallow water at the edge of Manly Lake. At first I managed to photograph around her, but before long she moved directly into m frame. At this point it occurred to me that she could become the subject of a photograph herself.
Her presence illustrates something that may not be obvious about this desert lake — it is extremely shallow! This makes sense once you think about the nature of the terrain here This is Badwater Basin, a broad playa containing the lowest elevation in Death Valley. It is nearly flat, and differences in elevation on the playa are measured in centimeters. She was able to find places to step that were perhaps only a centimeter or two higher than the water. (From the Department of Awful Puns, it occurred to me that a fun alternative title for this photo could be “Photograph Her, Manly Lake.”)
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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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Most of my landscape photographs include little or no evidence of human presence. But sometimes including a human figure can transform a photograph. (I suggest obscuring the figure with the tip of your finger to see how much it changes things.) The person obviously provides a focal point, but also invites viewers to imagine themselves in the scene.
I did not set out to include people in my photographs of Lake Manly. In fact, I positioned myself at the very edge to the lake so that I could include uninterrupted reflections. But this person walked out on a small peninsula that was barely above the water level. At first I was mildly irritated… but I soon realized that this simply gave me a different sort of photographic opportunity.
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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
All media © Copyright G Dan Mitchell and others.