Lake Manly, Mountains, and Haze

Lake Manly, Mountains, and Haze
“Lake Manly, Mountains, and Haze” — Blue morning haze softens the contours of desert mountains beyond Lake Manly, Death Valley.

Haze is a factor to be reckoned with when photographing in a vast landscape like Death Valley National Park. It is there even on “clear” days, and over long distances its effects can be substantial. Details are muted (especially in shadows), the colors shift toward blue, and atmospheric instability can make subjects literally shimmer. (That makes it virtually impossible to get sharp focus in some situations.) It used to leave me nonplused, but eventually I thought about how to use these characteristics — after all, they are part of the scene.

When I made this photograph it wasn’t just a matter of distance — the atmosphere actually was hazier than usual. In this interpretation of the subject I decided to embrace that haze and its softening effect on the distant mountains. This contrasts with the rather more stark contrasts between the foreground waters of Lake Manley and bits of darker land. But overall, the image retains that blue coloration that I mentioned above.


G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.

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Evening Clouds, Desert Mountains

Evening Clouds, Desert Mountains
“Evening Clouds, Desert Mountains” — Three clouds in evening light above desert mountains, Death Valley.

On most of my visits to Death Valley there are many days of perfectly clear skies. That might sound great, especially if you are in a rainy or cloudy place. But for most photographers it is far preferable to have something interesting going on in the sky. Give me some thin overcast, cloud streaks before a storm , a snow squall among mountain peaks, or a dramatic thunderhead any time. On this trip I was lucky, getting most of the things in that list, including this sunset cloud formation.

When photographing in Death Valley I often make location decision as much by looking at the weather conditions as by considering subjects. If I have a choice between two subjects and one will likely be in good light, the decision is easy. And sometimes the light itself becomes the subject. That is almost the case here, as the end-of-day light is very muted on the desert mountains, yet just bright and colorful enough to enhance the clouds.


G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.

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Imaginary Landscape — Rocks

Imaginary Landscape — Rocks
“Imaginary Landscape — Rocks” — An abstraction from a photograph of colorful shoreline rocks.

I decided to experiment a bit with this image. What is a photograph, anyway? No photograph is “real” and every photograph offers only a limited and incomplete view of its subject. This image begins as a photograph of some rocks. (The original image appeared at this website previously.) A very close look might reveal the underlying subject, though it is not easy to see. But I had an urge to use it as a starting point for experimentation.

From time to time I have played with altering photographic images more than usual, partly as a way to develop my “chops” and partly because, well, this fascinates me. The immediate inspiration for this one was an online conversation a few days ago that considered how far a photograph can be “pushed.” Years ago I decided to refer to these experiments as “imaginary landscapes,” in part to acknowledge that they forego photographic realism.


G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.

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Playa and Shadowed Ridge

Playa and Shadowed Ridge
“Playa and Shadowed Ridge” — Morning sunlight on the playa of Death Valley beyond a nearby shadowed ridge.

On one hand, this is an interesting record of something you can see in high places above Death Valley following a very wet season. On the other hand, there are several stories behind this photograph. It was morning, and I had arrived at this high overlook before dawn. Eventually the shadows of the mountains upon which I stood retreated across the valley towards me, leaving the playa in sun. At the moment that I made this exposure, there was just a small stub of the mountain shadow still in the valley, yet the jagged ridge just below me was still in dark shade.

Far below, there was a lot of water on the desert playa, much more than usual. Heavy rains during recent months had flooded a large section of the valley, and here a large pond is visible among the deposits that spread across the playa. A twisting, meandering stream leads to it. Farther out on the playa there are more channels — this landscape that we think of as being arid and hot was, on this day, full of water.


G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.

Blog | About | Instagram | Flickr | Facebook | Threads | PostEmail

Links: Articles, Sales and Licensing, my Sierra Nevada Fall Color book, Contact Info.

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Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.