The ancient lake bed that became the Bonneville Salt Flats refloods with water each winter—but just a few inches. As a result, raising these tracks even slightly above the bed is all that’s needed to protect them.
There are many ways to define the seasons, with varying degrees of usefulness. (Solstices and equinoxes seem to have only the thinnest connection with the weather.) Perhaps the most valuable differentiation between times of the year is when one can reasonably be out on the water: “Spring” is that first moment when an afternoon in a canoe doesn’t sound miserable.
Mid-March shift from my most photographically productive time on the West Coast (amazing sunsets, end of the rainy season, etc.) to my least in the East (dirty snow, still-bare trees, sandy roads). I’ve been trying to find more beauty in the pre- and post-winter “stick seasons,” examining the shapes revealed when leaves and snow can’t hide branches. Though I’m not yet convinced to do anything more than grudgingly accept its necessity, but it led to some pretty dramatic reflections at Mohonk Mountain House.
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.