View allAll Photos Tagged loadingdock
Modeling sustainable fashion at the Loading Dock in Raleigh by Triangle clothing designers Rock Kershaw and Debbie Davis, as featured in Cary Magazine photo spread highlighting Redress Raleigh's 2017 fashion show.
A corrugated metal warehouse stands illuminated during blue hour at Pier 70, San Francisco's historic waterfront district. The building's gambrel roof and white metal siding exemplify the industrial vernacular architecture that characterizes this transformed maritime neighborhood in the Dogpatch area. The structure features a large roll-up loading door and minimal windows, indicating warehouse or light industrial use. Modern exterior lighting highlights the building's clean lines against the deepening twilight sky. The prominent "American Industrial Center" signage identifies this as part of Pier 70's mixed-use development, which combines industrial buildings with contemporary residential and commercial spaces. Behind the warehouse, a modern blue and white residential building represents the new construction bringing housing density to this San Francisco waterfront location. Young street trees line the sidewalk, part of recent streetscape improvements transforming the former shipyard into a walkable urban neighborhood. The architectural contrast between utilitarian industrial forms and contemporary apartments illustrates Pier 70's evolution from working shipyard to mixed-use district. The blue hour lighting creates dramatic atmosphere, with warm artificial lights glowing against the rich twilight sky. Empty streets at this evening hour allow clear views of the building's functional design—corrugated metal construction, simple geometric forms, and flexible interior spaces suitable for warehousing, creative studios, maker spaces, or tech offices. This scene captures Pier 70's character as San Francisco's premier adaptive reuse project, where industrial heritage meets contemporary urban development in the Bay Area's Dogpatch neighborhood. The waterfront district combines historic maritime architecture with new residential buildings, public parks, and commercial spaces, creating a dynamic mixed-use neighborhood on San Francisco Bay.
Santa Clara 2020
tech info:
Fujinon GS645S Wide 60 Professional
Washi-120 film
ISO 4, f/4, 1/30
Scanned with
Hasselblad 907x + Macro-Elmarit-R 60mm f/2.8
I had some time to kill last week while in the neighbouring town of Beamsville, Ontario (technically the regional town of Lincoln to local politicians, but locals just call it Beamsville anyway) . I was walking North on Central Ave and passed the loading dock serving the West wing of the Beamsville Town Centre shopping plaza. Clearly this is not the building face shoppers would normally see. But I was attracted by the various colours of doors, siding, the large blue container along the right side of the frame, as well as one of my frequent themes: rectangles. - JW
Date Taken: 2023-02-09
(c) Copyright 2023 JW Vraets
Tech Details:
Taken using a hand-held Nikon D800 fitted with an AF-S Nikkor 24-120mm VR 1:4.0 lense set to 58mm, ISO100, Auto WB, Matrix metering, Shutter Priority Mode, f/4.5, 1/250 with an EV_0.33 exposure bias. PP in free Open Source RAWTherapee from Nikon RAW/NEF source file: set final image size to be 9000px wide, apply Tone Mapping at default levels, use Shadows/Highlights tool to bring up highlight detail in the white sign on the container along the right, then very slightly boost Contrast very slightly and Chromaticity as well as Lightness in L-A-B mode, use the Graduated Neutral Density/GND tool rotated to cover the parking lot pavement and slightly darken it to make it less distracting, boost Vibrance a little, sharpen (edges only), save. PP in free Open Source GIMP: use the Curves tool to darken the ‘blacks’ and then also darken the very lightest areas while still preserve enough tonality in the ‘whites to be able to differentiate the mortar lines in the cinder block wall, use the Hue-Saturation-Brightness tool on the yellow channel only to boost the saturation a bit to clean up the colour of the protective plastic cable protectors, sharpen slightly, save, scale image to 6000px wide, sharpen slightly, save, add fine black-and-white frame, add bar and text on left, save, scale image to 3000 px wide for posting online, sharpen, save.
Building 36 stands silent in the evening light, its corrugated metal siding and steel-framed windows glowing against the deep blue twilight sky. This photograph captures the raw, utilitarian beauty of Pier 70's mid-century industrial architecture—structures built for function rather than aesthetics, yet possessing an undeniable visual power.
The building's facade tells the story of decades of hard use. The corrugated metal cladding shows signs of weathering and repair, with patches of different materials visible where maintenance work has been done over the years. That distinctive "36" painted on the corner in blue and yellow serves as an identifier in what was once a sprawling complex of numbered buildings, each serving specific functions in the shipyard's operations. The worn appearance and practical materials reflect an era when waterfront industrial buildings were designed for durability and efficiency above all else.
The architectural language here is straightforward industrial vernacular. Large multi-paned steel windows on both levels provided natural light and ventilation for workers inside. The generous window-to-wall ratio was essential in an era before modern HVAC systems, allowing cross-ventilation in what were likely hot, physically demanding work environments. Those windows now glow with warm interior light, suggesting the building has found new life—perhaps as creative studio space, offices, or light industrial uses that characterize much of Pier 70's contemporary occupancy.
The raised section or penthouse structure on the right side of the building adds visual interest to the roofline. This element, common in industrial buildings, often housed mechanical equipment, provided additional headroom for tall machinery below, or served as office or supervisory space overlooking the main work floor. The vertical window grid on this section creates a different rhythm from the horizontal emphasis of the main structure.
At ground level, a large loading bay or garage door opening reveals glimpses of the interior, illuminated and seemingly active. The black painted lower portion of the exterior—likely a protective wainscoting meant to hide inevitable scuffs and damage at truck height—shows the practical thinking that went into these structures. Every design decision served a purpose related to the building's working life.
The empty parking lot in the foreground emphasizes the building's scale and the current quietness of the area. White parking space lines are clearly visible on the dark asphalt, suggesting this area still sees regular use during business hours. The deserted quality at this twilight hour creates an almost cinematic atmosphere—these spaces that once buzzed with round-the-clock activity during wartime production now sit peaceful in the evening.
That bright light source on the right edge of the frame, creating a starburst effect and lens flare, adds drama to the composition. It's likely a modern security or area light, part of the infrastructure updates that allow these historic buildings to continue functioning safely. The power lines visible against the sky are reminders of the electrical systems that powered the heavy machinery once housed within these walls.
The deep blue of the twilight sky provides stunning contrast to the cream and white tones of the building's cladding. This is blue hour photography at its most effective—that brief window when the sky retains color and the artificial lights inside buildings register perfectly on camera, creating a balance of natural and artificial illumination that's impossible to achieve at any other time of day.
Looking at the structure's form, you can see how it was designed for flexibility. The long, rectangular footprint with generous floor-to-ceiling heights meant the interior could be configured for various manufacturing or assembly processes. The simple gable roof with clerestory windows along the ridge line (visible at the roofline) would have provided additional natural light to the center of the deep floor plate—a common and elegant solution in industrial design.
The Dogpatch and Pier 70 context is evident in the surrounding industrial structures visible at the edges of the frame. This isn't an isolated building but part of a larger historic industrial complex that's gradually being adapted for 21st-century uses while maintaining its essential character. The challenge and opportunity of places like Pier 70 is finding ways to preserve these utilitarian structures that were never intended to be beautiful but somehow are.
A relative time capsule of it's 90s construction date, this Toys R Us seemed to have lasted until the very end. After a short slumber, Spirit Halloween occupied about a 1/3 of the store, moving on from hhGregg last year.
Here we see the loading dock, full of assorted cardboard trash. There *might* have been something interesting here at some point, but several rain storms and the unrelenting sun have stained and faded them into garbage.
Most of the loading docks at Freightway do look the same, and there aren't that many signs, but it shouldn't be too hard to find B.A tires.
If you get lost on the way in or out, it's easy to remember: "Forklifts in the front, Big Ass Tires in the back."
Freightway
B.A.T Distribution
Olympus OM-D E-M5 Mark II
Olympus M.14-42mm F3.5-5.6 II R
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April 17, 2024 - The former location of the Spaghetti Warehouse located due west of the Toledo and Central Ohio Railroad Station. In the background is building B of the Gravity Project which is a 12 story residential and mixed-use building.. Columbus, Ohio
---------------------------------------------------------Settings etc.:--------------------------------------------------------
Canon 5D Mark II
Canon 17-40mm f/4L @ 17.5mm
F11 @ ISO 150, both images 90 second exposure for sky, to get movement of clouds
4 second exposure for everything else (without big stopper).
Lee Big Stopper. 10-stop very dark square glass filter for long exposures
Lee foundation kit filter holder
Lee adapter ring to fit 77mm lens
No polarizer
No other filters
Induro tripod with Manfrotto pistol grip ball head
2 Raw files processed with Camera Raw
2 TIFF files blended in Photoshop to make 1 JPEG file
The islands of Bora Bora, specifically St. Regis’ island, was our final destination of our honeymoon. Usually, boats are docked throughout the day, which would have made this pic cluttered. 'Lagoon' is one the restaurants at the St. Regis. Looking closer at the picture, I noticed the cloud movements do not match the movements with the water. This image is a blend of two exposures; one of the sky, one of everything else. I am trying to get away from blending images. Hopefully, with the recent purchase of a few Lee grad filters, I’ll be able to accomplish that. Can anyone share the pro’s and con’s of blending images to make one; opposed to using grad filters, waiting for right light, etc. and only process one file?
Just looking better and better each and every time.
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Taking a little weekend break back up to Niagara just to photograph the beauty of the falls. Absolutely stoked about that one as I've had a bit too much of car photography. Summer has been coming along beautifully these last two weeks and I can't wait to see what it has in store.