Images

Shipyard Crane Structure, Night

Shipyard Crane Structure, Night
The base of a gigantic rolling crane structure, Mare Island Naval Ship Yard

Shipyard Crane Structure, Night. © Copyright 2018 G Dan Mitchell – all rights reserved.

The base of a gigantic rolling crane structure, Mare Island Naval Ship Yard.

I did my first real night photography at this location, the historic Mare Island Naval Ship Yard, fifteen years ago. I more or less randomly saw an announcement for a free introduction to night photography at the Flyway Festival at Mare Island, and without giving it much thought I signed up. The session was organized by Tim Baskerville, a guiding-light (guiding dark?) of the San Francisco Bay Area night photography scene and the leader of a group called “The Nocturnes.” (Studio Nocturne SF, the night photography collective I work with today, is a direct descendent.) I had almost no idea what I was doing on that first night photography adventure, but I was taken by the genre (and by this location) and I’ve been photographing at night ever since.

This week a group of us met for a “Nocturnes Alumni Event” at Mare Island, and after sharing and pizza we headed out into the dark to make photographs. It is a bit of a strange experience for me by now. I am very familiar with many of the features of the place, but there have been many changes, too. Back in 2003 the site was almost entirely abandoned, and it was not clear what would become of it. Today portions are being redeveloped, for better or worse — mostly better, I think. So some of the old subjects are gone, others that were off-limits back then are now accessible, and new things have appeared. On this evening I was able to get up close to some of these remarkable and gigantic old shipyard cranes. In a Silicon Valley world of virtual industries, it is quite striking to stand beneath these very solid and very real machines — gigantic things that were used to move the components for building ships.


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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” is available from Heyday Books and Amazon.
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The Crossing

The Crossing
A Sierra Nevada backcountry trail crosses the outlet stream of a subalpine lake.

The Crossing. © Copyright 2018 G Dan Mitchell – all rights reserved.

A Sierra Nevada backcountry trail crosses the outlet stream of a subalpine lake.

I pondered whether or not this photograph should make it from raw file stage to finished work, but finally decided to go ahead and share it. It is a bit of a hard scene to make sense of, at least if you aren’t somewhat familiar with such places already — more on that in a moment. In the end, something about it “works” for me, so I’ve decided to go ahead and share.

The spot is perhaps no more special that thousands of similar places in the Sierra. But, in a way, that is what makes it special — such little intimate landscapes are everywhere and they form the identity of the range, more, I think, than impressive and iconic peaks. Once you get into the Sierra it is, fundamentally, an intimate landscape. You walk along narrow trails, though forests or meadows or rock fields, and cross streams, step around boulders, listen to the sound of your own footsteps and perhaps your trekking poles clattering on rock. Here the scene is from the season when everything slows down near the end of summer. This little spot was brilliantly green, with higher water and wildflowers only weeks earlier, but by this point in late September it has gone yellow and brown and winter snows are just around the corner.


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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” is available from Heyday Books and Amazon.
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Coots, Pond, Autumn Sky

Coots, Pond, Autumn Sky
A flock of coots and autumn morning sky reflected in a wetland pond.

Coots, Pond, Autumn Sky. © Copyright 2018 G Dan Mitchell – all rights reserved.

A flock of coots and autumn morning sky reflected in a wetland pond.

Autumn and winter are my favorite seasons, especially but not exclusively for photography. In my part of the world these are the seasons for the most compelling light, the most interesting skies, and transitions of all sorts — the color transition of autumn, the shortening (and subsequent lengthening) of daylight hours, the quicker transitions between rain and sun and fog and wind.  Rather than waiting for those occasional special days, as one often does in the summer, I can just head out and be almost certain of finding something.

This morning was full of surprises. I was up and on the road hours before dawn, expecting to end up in a place full of thick tule fog, where I would photograph a sunrise obscured by this fog and then continue to photograph as it lightened and then cleared. But none of that happened. The weather forecasts were off, and instead it was almost completely clear of fog, opening expansive views to the morning sky. This sky was filled with the early clouds of an incoming Pacific weather front, with only a thin band of clear sky in the distance beyond the edge of the clouds. Shortly after the moment of sunrise, the still-low sun sent its light across the bottom of the cloud deck and the light caught the curving textures of the clouds, here reflected in the water of a pond.


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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Patterned Cliff Face, Detail

Patterned Cliff Face, Detail
A small section of shaded Sierra Nevada cliff reveals remarkable details of dikes, fractures, color, and stains

Patterned Cliff Face, Detail. © Copyright 2018 G Dan Mitchell – all rights reserved.

A small section of shaded Sierra Nevada cliff reveals remarkable details of dikes, fractures, color, and stains

Most often when I think of large rocky faces in the Sierra Nevada, the clean, smooth, and almost uniform faces of Yosemite granite come to mind — large expanses of nearly unbroken rock shaped by glaciers. However, when I get into the high country and the other areas of the range I am reminded that things aren’t quite so simple. In places you can find mountains cut through by giant dikes of non-granite rock, or you might encounter the remnants of more ancient layers that lay above the granite intrusions and today give us red, black and other colors of material.

Since I’m no geologist, I can’t explain the details of the face in this photograph, but I can share a few observations. It is the headwall of a high bowl that contains a subalpine lake, and the area does show signs of glaciation. The fact is gigantic, and this is just a small section. It is far from uniform, with mostly gray rock cut through by thick intrusions of lighter material, and the whole thing cracked and fractured. In many places the surface has been deeply stained as water has flowed or seeped across it.


See top of this page for Articles, Sales and Licensing, my Sierra Nevada Fall Color book, Contact Information and 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.
Blog | About | Flickr | FacebookEmail


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