Spokes of major boulevard traffic stretch out from the Tour Montparnasse, golden streaks across the city. The Eiffel Tower makes a perfect vertical accompaniment to the earthbound light channels.
From New Jersey’s Liberty State Park, the view of downtown Manhattan is unimpeded. The view extends all the way up to Midtown and landmarks like the Empire State and Chrysler Buildings. With nothing but the water’s reflections between me and the skyline, there’s an odd calmness to a multimillion-person city.
From the graffitied logs of Berkeley’s Grizzly Peak, the Bay Bridge and San Francisco make for an incredible view—when they’re visible. The dramatic high clouds of winter are replaced by an all-shrouding marine layer in the summer that often turns the peak into a cloud bank. On the lucky nights when the marine layer is delayed, the bridge and city lights have a moment to shine before the blanket falls.
A history of design and engineering is visible from the Marin Headlands in the Golden Gate Bridge and San Francisco beyond it. That’s visible at every hour of the day, so I must conclude that the people jamming the roads earlier on the evening of this image were mostly there for the combination effect with the sunset. As the crowds decamped for dinner elsewhere, the blue hour brought my favorite views of the city.
Given the extraordinary nature of the Normandy Village, “regular” cars seem oddly out of place. Perhaps that in part because the average car has grown so significantly in size since the little bays of the village were built.
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.