HDR Photography
I may continue to bemoan the theme-park-like atmosphere of Muir Woods by midday on Saturday, but in the very early morning, with dawnlight scattering through the marine layer, it’s easy to forget about all that. There are no words to describe the place without resorting to cliché. Even so, the echoes of “Six Flags: Muir Woods” still exist, like these wood pathways designed to lessen the destruction that would be caused by enormous numbers of visitors on dirt paths.
On those special nights, when ice crystals align correctly in the atmosphere, atmospheric optics get a bit crazy and a sun pillar like the one here appears.
Though, to be honest, even the Rayleigh scattering that makes the sky blue is crazy to begin with. The strange behavior of light and matter (thanks, Richard Feynman!) never ceases to amaze me.
While the early-morning pony divisions begin, the marine layer swathing the San Francisco Peninsula is still burning. I took this image almost exactly two years ago, and didn’t think much of it, but I viewed it today and found it an interesting study. The casual pose of the rider, one arm back, feet in motion, conveys a kind of confident swagger and nonchalance that matches the gentle stepping of the pony. The impact of her garb, a 1/2-scale version of the careful, quasi-historical hunter uniform, only adds to the effect. In reality, though, competition is never that simple or easy—and I think her face conveys that.
I’ve always been fascinated by the American colloquialism of calling any feed store an elevator. (Though Canton does have a larger grain elevator of its own, as well.) When the sunset sky is at its most glorious, reality highlights the hyperutilitarian aesthetic of a working building: it has to be painted some color, so it might as well be post-war pastels.
I sometimes sift through the RAW files I took long in the past, searching for meaning in images I captured long ago. In the case of this particular photograph, there’s more to the image than just my favorite Bay Area gradient of differing environments (e.g. Oakland and San Francisco and Alcatraz and two different enormous bridges and so on): there’s also a feeling of place and moment. The dramatic clouds and the grasses and the hint of the Golden Gate’s span are all spectacular, but the optics of a raindrop spattered across the lens add just as much to the image. You can practically smell the petrichor in the air.
David Lynch brings an edge of dark menace to his films; I can still remember the first time I saw Blue Velvet and felt the crisp edge of real and unreal disintegrating. In particular, the director’s visions of Small Town America and the underbelly of that beast (in Blue Velvet and Twin Peaks, particularly) felt notable in “downtown” Canton last week. With the sky aflame and neon lights in every window, the scene was about 15 minutes away from some Lynch-level insanity.
A “random weekend shot:” from the strange little corners of UC Berkeley’s campus comes this shot of a basement window at night. The interplay between soft, smooth, diffuse colors from the frosted glass and the rough, inhomogeneous surfaces of concrete is so mysterious.
When a warm breeze blows across a college campus at twilight, the already gorgeous buildings only become more (pardon the extensive use of cliché) romantic and magical. They tell me that this particular building contains a ghost, but it seems too warm and welcoming (a sort of half-scale college building) to be threatening. Perhaps it contains a friendly ghost?
If I may digress from stark images of winter landscapes or warm seaside expanses for a moment to something more personal: I recently attended a birthday party for my one-year-old niece. The extended family was overjoyed, and she was a bit overwhelmed. In the landscape of warm woods and deep shadows and Persian rugs, the sense of “home” was overpowering. This was a place that could exist at almost any point in the past 150 years, somewhere in New England.
In spring, some pastel pinks and blues are quite appropriate. This photograph is from my visit to Brendan’s normal stomping grounds, the shores of Puget Sound. The gentle summer sunset and the clusters of homes on the shoreline (and in the hills) made for a sight unlike anything I’d ever seen on the east coast.
Portraits are less frequently my subject than landscapes, but I’d like to think that this image captures the best of both worlds. As we rolled across the savannah of Zulu Nyala in South Africa, I was able to capture both Piper’s windswept excitement and the broad expanse of green grasses and blue sky in her sunglasses. (And even a hint of our truck and our guide.)
Along the Mass Pike in central Massachusetts, early spring means massive walls of ice where the road cuts through hillsides. I really like the way this image is just a bit more cropped (largely because I was using a prime lens) than I might normally shoot the picture. Ice and rock FILLS the frame, with just a small amount of sky and trees on the left edge to provide a sense of scale.
On the shores of the Indian Ocean, muddy with silt washed down by seasonal thunderstorms, locals fish and tourists stroll. The mist and fog and spray make the scene extra-mysterious, but my favorite part was the enormous, shrub-encrusted sand dunes. Think of it as “Arrakis after the God Emperor,” to borrow from the imagery of Frank Herbert.
All of the other posts this week have been about surreal half-worlds of alienation and pensive detachment. I’d like Friday to be about something warmer, cheerier, and generally less dark: the concept of home. Without resorting to too much cliché, home can be in the shape of the windows or the parallel lines of painted floor boards, but it can also be seeing the same books in the bookcase that were there when you were a child. They were there then, and they’re still there now, and even if, “You can never go home,” you can always go back to the idea and the place and the books will be there.
At the dawn of the twentieth century, all was hopeful and “excellent.” When the Bay Bridge opened in 1936, human ingenuity could solve any problem, bridges replaced ferries, cars replaced horses, aircraft would soon replace trains. Now we’re orphans of the future, living in a world when “modernity” is in the past, and epic symbols of the era and its architecture are quickly becoming relics. Though I have no nostalgia for much of the social/cultural mores of the time period, I do find it fascinating to look upon the structures built “for the future” from the standpoint of that future. Perhaps it makes me wonder, just a bit, what we build for our own future now.
Decaseconds 