Photography

You are currently browsing the archive for the Photography category.

Clicking on the picture above will take you on a slideshow tour of the Grand Canyon, shot from the right side of an LAX-bound 757 that departed from Boston. I have no idea what movie was showing at the time; though I do know I refused, as I usually do, to close my windowshade to reduce ambient light on the ancient crappy ceiling-mounted TV screens. The scene outside upstaged the movie in any case, as it has been doing for the last several million years, as the Kaibab Plateau has pushed its dome upward and the Colorado has stayed roughly where it had been since the many millions of years before that, when it wandered lazily across a flat plain.

As ranking canyons go, the Grand Canyon is almost too grand. It’s freaking huge. From the air I find it far more dramatic to peer down into its narrower regions, such as the one above, which is early in the Colorado’s course through the canyon. The series follows the canyon from east to west, from not far below Glen Canyon dam and the Vermillion Cliffs area to Vulcan’s Throne and Lava Falls, where relatively recent flows have slopped their blackness down across the canyon’s iconic layer-cake strata.

What is most amazing to me about this corner of The West is that it was obviously placid through so many time stretches across the last almost two billion years. The West is painted with the colors of long periods of relative quiet, as sands and silts and gravel and cobbles were deposited by braided rivers and transgressing seas.

All of the Grand Canyon’s strata were laid down before the age of dinosaurs. Younger layers such as those comprising the Vermillion Cliffs to the East, the Grand Staircase upstream in the Glenn Canyon area, in Canyonlands, Arches, and most of Utah’s most colorful layer-cake displays — Bryce, Zion, Capitol Reef, Cedar Breaks, San Rafael Reef and Swell — are comprised of younger rock eroded off the top of the Kaibab Plateau.

Some of the shots were taken with my Canon 30d, and others with my tiny PowerShot 850. which does a better job of shooting straight down through the window. Its smaller lens distorts less through the plane’s multiple layers of bad glass and plastic windows. And the display on the back lets me shoot without looking through an eyepiece. It’s not perfect, but not bad, either.

I still miss my Nikon Coolpix 5700, which took lots of great pictures out plane windows, and was frankly much better at that job than the Canon, mostly because the Coolpix’ objective lens was smaller (again, better for looking at angles through the terrible optics of plane windows), and partly because the camera’s flip-out viewer allowed me to hold the camera to the window at angles I could not put my face, but where I could still see and frame the view.

When I couldn’t sleep last night, I uploaded another pile of pix shot out the window during a flight last month from Boston to Los Angeles. This segment runs from the Mineral Hill Mine in Arizona to Slide Peak in the San Bernardino Mountains east of Los Angeles.

The picture above is of the the mine at , Arizona. Once home to a settlement of 700 people, it’s now a ghost town.

What intrigued me, even from 30 miles away, was the “happy face” look of the mine, produced by the small ponds in the mine’s depths.

Here’s a slide show compiled from shots from a left side window (6A) of a United 737 flying from Dulles to Logan. Featured are Baltimore, Philadelphia, New Jersey’s refinery districts, New York and BostonProvidence. Even from half a dozen miles up and more than that away, you can see the bright lights of Yankee Stadium and Camden Yards, where the Yankees and Orioles were playing that evening. Also the Verazano-Narrows and George Washington bridges, along with many others draped across the black waters below.

Got some nice pictures of the Cornwall Coast, while still ascending out of Heathrow en route to Washington and Boston.

The shot above is of Padstow Bay, with Trebetherick and the Polzeaths on the right, above Padstow and Daymer Bays. (The latter is the lower, or southern, one.)

Interesting to see how the surf hits the Polzeaths at full force. Some pretty big waves there. You can also see the corduroy surface of the ocean, as the waves advance from a swell coming in from the west.



Often as I fly over eastern Canada, I’ve somehow always missed Newfoundland. It has always been nighttime, or clouded under, or too far from the plane’s route. Well, not this last time. When I flew from London to Boston via Washington (LHR-IAD-BOS) on the first day of March, I could see on the plane’s map that we were headed straight over the southeastern corner Newfoundland — the Avalon Peninsula, where St. John’s lies next to the easternmost point on mainland North America. Then, as we approached, the plane veered slightly left, toward the south, and we missed St. John’s by fifty miles or more. But it was a clear day, so I got a few shots of St. John’s anyway, and then much better shots as we flew just south of the southern capes.

I got some nice shots of Trepassy Bay, Biscay Bay and St. Mary’s bay, all on the “Irish Loop” of Highway 10. The towns along and near the loop — Portugal Cove South, Trepassy, St. Shotts — are fishing villages more akin to settlements. So far I’ve found surprisingly little about them on the Web, most of which I’ve put into links in captions under some of the pictures. Maybe some of ya’ll can fill me in.

Yesterday we went to visit the De Cordova Museum in Concord Lincoln, where we were looking forward to seeing the museum’s iconic pink pig sculpture along with other exhibits in the museum and its Sculpture Park.

Rounding a curve on the road through the park heading into the museum, we were shocked and saddened to see that a tree from the center of a nearby grove had fallen squarely across the pig, smashing it right in the middle. No expert could have dropped the tree more squarely. It was amazing that, given 360 possible compass degrees that the tree might have fallen, it picked exactly this one.

Later we learned that the tree had fallen just that morning, no doubt because its rooting had been weakened by gound saturated with rain over the past few days.

Then this morning I was surprised to find no mention of the news in blog or the Boston Globe. So I just started uploading a bunch of pictures taken with my pocket camera. The lighting wasn’t good, but there are plenty of shots for anybody to use, should they like, up here at Flickr. If you’re a journalist of any kind, feel free to take and use them.

More about the pig. It is a work of Gail Simpson and Aristotle Georgiades of Actual Size Artworks. Its title is Trojan Piggybank, and it is on loan from the artists. From the writeup two links back:

Originally exhibited in the 2004 Navy Pier Walk: The Chicago International Sculpture Exhibition, Trojan Piggybank comes to DeCordova Museum’s Sculpture Park with a playful warning from its collaborative team of artists, Gail Simpson and Aristotle Georgiades, who caution, “Sometimes things are not what they appear to be.”

From a distance, the large pink wood piggybank appears friendly. A closer look reveals military camouflage colors painted around the snout, suggesting a recent wallow in filth, while imparting an additional and foreboding meaning. The artists intend this familiar military pattern to represent the greed associated with our ever-expanding military industrial complex. This visual stratagem is furthered by grates protecting Trojan Piggybank‘s eyes, and a hatch door on the underbelly hinting at hidden invaders inside. A large silver coin waits at the ready in the piggybank’s slot. As Simpson and Georgiades observe, “The pleasures of consumer culture are accompanied by less desirable social consequences. When we impose one way of life onto another, the bad goes along with the good. The playful piggybank has a hidden agenda.”

No wonder our first thought was that the tree across the pig was itself a sculpture, or an improvisation on the original.

Well, in a way it was, no?

I just discovered that is also useful for astronomy. You go under View and click on Switch to Sky. Suddenly your screen is a planetarium. It’s not quite the equal yet of KStars, Starry Night or Carinasoft’s Voyager (the three programs I know best), but it’s not bad for a start, and with call-outs that integrate well with the Web.

Meanwhile, back on Earth, I’m wondering if there’s an easy one-click way to copy lat/lon from an x/y location on the Earth. Or to copy the geotag.

Another question… Is there an easy way to make Google Earth display the names of mountains and rivers? Seems the only way is by angling down with the tilt slider (the horizontal one above the compass tool), to an elevation barely above that of the mountain — and then using your mouse, keyboard, or that joysticky whatever-that-is in the middle of the compass, to fly like a plane toward the mountain’s crest, hoping that at some point the name of the mountain will appear in blue above it. Any of you geo-hackers know a better way? Hope there is one.

And one more… Is there a way to use normal, non-3D fonts?

Oh, and these questions don’t just apply to Google Earth.

My main purpose is to geotag pictures I put up here. No way to label them all, since there are around 18,000 of them. But I’d like to label a few, at least. Easily.

That’s a shot of the Lava Falls section of the Grand Canyon. It’s one of my favorite scenes: of lava from the Uinkaret Lava Field slopping down into the canyon over the north rim. Atop Lava Falls itself is Vulcan’s Throne, a volcanic vent about 73,000 years old.

This may seem old, but the lava is among the newest features of the Grand Canyon. The Kaibab Limestone over which the lava flowed was laid down in early Permian time, around 290 million years ago. All the rocks below are older, on down to the Vishnu group at the bottom of the canyon, around 1.7 billion years ancient.

That set is one of many that came out of my most recent trip out west by plane. I’m in London now, and still getting them up.

Shootings


Getting this one up quickly from my seat in a London-bound 777 before taking off. It’s a set of shots heading westbound from Comb Ridge to Monument Valley in southern Utah during the trip west I’m ending now. The shot above is of Red Lake, a dry lake in the midst of an only slightly less rutilant desert south of Comb Ridge, the town of Bluff, and the San Juan River. The colorful parts of Utah are among my favorite places on Earth. Even though I haven’t been to most of them.

Someday I’d love to take a rafting trip down the San Juan River, through Goosenecks, which are also featured in this series.

The whole trip is here — a long series of shots running from Boston to Los Angeles. I don’t have all of them up yet. All my connections have been too slow. Maybe I’ll finish them in London. We’ll see. In any case, it was the clearest view I’ve had coast-to-coast in many trips.

The Grand Canyon series is pretty good too.

The interesting thing to me about the footprints above, aside from their nature as photography fodder, is that they resemble the layout of the two intersecting paths at Winthrop Park, where I took the shot.

You can see the paths on Google Maps if you look for the intersection of JFK and Mt. Auburn in downtown Cambridge — one block south of Harvard Square (which isn’t), or you can hope that clicking on the “Link to this page” link for the park itself will work; but for some reason Google Maps (on this laptop, at least, in two different browsers) shows you the park while it’s loading, then jumps to another part of Cambridge. It’s 2:33am, however, and I’m not going to try to debug whatever I might be doing to cause that.

In any case, the pidgeon prints drew a map of the park paths.

The park is also Wintrop Square. Unlike most squares in Boston, it actually has corners that are right angles. It was the city’s original marketplace, and therefore dates, as does the city, from 1630. It was called Newtowne then. It became Cambridge eight years later.

« Older entries § Newer entries »