HDR Photography
Conserved spaces above the noisy East Bay grid make for this incredible reprieve. Though the street lights may shine up here, the sounds are damped over the distance. Lawrence Hall of Science is a popular spot to experience this; I like the contrast in this image between the humans and the city.
A post came on social media from more than 11 years ago reminded me of trips around the Bay Area; comparing my RAW files with the images I ultimately posted to Decaseconds originally left me asking, “How did I miss these?”
In past cases of reprocessing pictures, I took another approach to images I already knew were solid. This first image today, boat sailing near Point Bonita lighthouse north of San Francisco, is in a whole different category: I hadn’t remember that I’d taken the image at all.
The occasion was a trip to the Legion of Honor and Lincoln Park. Back then, not a single picture made it to Decaseconds. Many of the images from that day suffered from issues that I know how to correct now, but didn’t yet have the tools to conquer in early 2012.
These pictures from a trip to Treasure Island to shoot the San Francisco skyline are likewise mystifying. I posted only a single picture from that trip.
The old and new spans of the Bay Bridge, side-by-side, is a literally now-unseeable image.
Though a lot of posts came of our trip to the Marin Headlands to shoot the Golden Gate Bridge, this more natural shot of the rocky coastline (those little black dots are sea birds) has its own kind of large-scale glory.
Of course, a trip back through my photography in the Bay Area wouldn’t be complete without a shot of the Golden Gate Bridge that I previously ignored.
Trinity College Dublin’s campanile was the subject of my last post, but today I’ll bring it back to one I know a bit better. This photograph is another from my series of Berkeley pictures that I’m only now able to reveal with improvements in noise reduction technology. The effect of seeing this “lost” image recovered has me wondering what other moments—
See that little camper, beneath the streetlight, near the center of the image? Though I know it’s most likely the headquarters for a construction project, I like to imagine it’s the kind of “humble abode with dramatic view” that serves as the home of some loner protagonist (see TRON: Legacy and Once Upon a Time… in Hollywood.)
Why save RAW camera outputs from (in this case) six years ago? Digital photography is a rapidly advancing field, and the advent of machine-learning-based noise reduction techniques has completely changed what sorts of images are salvageable. This lovely shot of Berkeley’s fire trails and tall (but invasive) eucalyptus trees stayed in the “unusable” pile for half a decade because I took it freehand, just after sunset, before I deployed my tripod—resulting in an ISO 4500 image from my old D7000 that was just too noisy. Topaz’s latest filters solved that and now this photo can take me back to my California sabbatical.
Though it may lack the verticality of Blade Runner’s Los Angeles in 2019, the cloudy skies and slightly sinister oranges put me in mind of the film’s iconic imagery.
With so many tall, vertically oriented structures in a city, it’s probably no surprise that some of them should fall into pleasing alignment with one another. The modest glow of sunrise light through the gap between the clocktower and the adjacent building provides a friendly spark to guide the eye to the center of this image.
In this second case, it’s harsher Sun, rather than palm trees and clock towers, that has found its way into a special alignment through the streets of San Diego. Bright light falls into this canyon that should otherwise be dawn dim.
While the L.A. River might be better known as the site of chase scenes in action movies when dry, the wet winter in California has turned it into a reflective ribbon through the grid.
Dawn makes for this dynamic moment when parts of a scene are thrown into dramatic sunlight while others still benefit from delicate, scattered, indirect light.
I like these shots for how the Ford Mustang and Dodge Charger are bathed in relatively gentle, flattering light, but headlights and sunlight make the rest of the scene comparatively high-contrast.
High above the hills and mountains of Southern California, there is a moment, right around dawn, when the dark hues of earth and the reflected light from the lakes lets one image what the area looked like before human structures sprawled through the valleys.
I’ve played with that 90’s vaporwave aesthetic in the past with aggressive color grading; on this particular San Diego dawn, those steps were hardly necessary. Palm trees and magenta hues do most of the hard work for themselves. I can hear the synths already…
A dawn flight from Palm Springs to Los Angeles (long story) passed over land that looked like potting soil—so muddy and fertile.
This sequence of three images, captured over the course of a morning (dawn to rush hour), paints an oddly small-town-ish picture of citizens waiting for the San Diego Trolley.
An early-morning flight out of Palm Springs airport paints gentle hues onto the massive wall that is Mt. San Jacinto. The orderly, be-palm-tree’d grid of the valley floor runs so sharply into the mountainside that I was immediately reminded that a sea once occupied the valley.
I last traveled to San Diego to present at the National Meeting of the American Chemical Society—but while that meeting took place during the day, early morning was unaccounted-for time. I went exploring in the area around the San Diego Convention Center and found that most of my early-morning compatriots were runners.
In this quartet of images, I’ve captured a few of those runners in the dramatic early-morning California sunlight.
