Quadcopter drones give photographers access to all kinds of new angles for shots, but also introduce challenges that did not have to previously be considered. I should have thought in more detail about the orientation of the impressive Lampson Falls—and considered that I wouldn’t be able to get the steep face of the falls and the setting sun in the same shot. I guess I’ll have to get up at dawn for the “proper” version of this picture.
I often show what I think of as the front of Johnson Hall of Science, but inspection of this image (particularly the top of the brick wing on the left) shows that the building’s name, and thus its front, are on this side. The dramatic glass structures extending between and out from the wings lend credence to the idea.
At the northern end of Trinity College’s Long Walk is the Dean’s Office. On a warm summer evening ‘neath the elms, however, it’s less an intimidation and more a charmer alongside the rest of the red stone structure.
Time has transformed a random sunset shot out the window of my sabbatical apartment in Berkeley’s Normandy Village into a nostalgia-inducing pixel arrangement. Even the wood patterns in the window frames now stand out to me.
The year 2020 is here! “Cautious optimism” remains my default lens for the future, but a look back over the photography of the past decade (like this shot from the Molecular Foundry overlooking San Francisco during my sabbatical), I’m feeling a bit excited. The first major upgrade in my shooting platform is planned for 2020 (the Nikon D7000 is getting a well-deserved retirement) and I can’t imagine the improvement I’ll see when I jump an entire decade forwards in camera technology.
My favorite view of the Bay Area (and the view that first let me define the idea of the civilization gradient as an element of my photography) is layered up with loads of detail. Down in Berkeley Lab is the building where I worked on sabbatical, and across the Bay Bridge is the completed Salesforce Tower hiding in the marine layer. The differences, particularly from the last time I showed a very similar shot from the spring, are in nature: the high-altitude clouds have been replaced with empty skies and that rolling marine layer, while the green hills have shifted to a dry, highly flammable tan.
I sometimes reprocess older pictures when I find some new approach or something special in an image that wasn’t there before. This picture is a bit different—though I captured it at this time seven years ago, I found that I felt no urge to reprocess any part of it. I was happy with it then—though apparently not enough to post it until now—and I’m impressed with it today.