As busy as the cities of the Bay Area become, there are the spaces in the fire trails (like the one in the foreground) to get some quiet and distance. There’s an odd orthogonality of the senses in being able to see all of the commotion below with none of the accompanying sound.
Cityscapes function best with depth: layers of structures and pathways for the eye. The Bay Area view from Grizzly Peak was one of the earliest cityscapes I experimented with photographing. In those early times, it was Berkeley and San Francisco in the distance that most interested me; after my sabbatical at Berkeley Lab, the winding roads where I rode the bus to work and the bright shapes of the Molecular Foundry and JCAP in the foreground hold my interest far more. I enjoy the way in which subsequent experiences can retroactively shift the meaning in an image.
Grizzly Peak’s high vantage point means that a plethora of Bay Area landmarks can be stacked together in one image: From the faintest shadow of the Farallon Islands beyond the bridge, to the Golden Gate, Alcatraz, the Berkeley Marina, the busy travelers on University Avenue, to the Joint Center of Artificial Photosynthesis atop a hill in Berkeley Lab.
No offense to Salesforce, but the rainbow sunset reflections off the curved surface of their tower seem to fit much better with a building named “Transbay Tower”—particularly when it sits on the skyline near the Transamerica Pyramid. The darkened and humble shape of Alcatraz in the foreground makes for an appropriate memento mori to San Francisco’s grand architecture.
Alcatraz remains an icon of twentieth-century America. With a 500 mm lens and a view from Berkeley Lab, I was able to arrange the island with Golden Gate Bridge behind it (but not overlapping).
This is also part of my ongoing experiments, of late, trying postprocessing techniques that produce dramatic (if a bit less photorealistic) results.