Desert Pool, Panamint Range, Morning. Death Valley National Park, California. February 21, 2011. © Copyright G Dan Mitchell – all rights reserved.
A salt spring pool on the salt flats in Death Valley reflects winter dawn light on the east face of the Panamint Range.
Sometimes I hear people describe how they think or imagine that landscape photography is done, and I wonder where they get their ideas. I will acknowledge that there are many ways to shoot landscape, ranging from working very slowly and carefully to produce a single image, to shooting like crazy and seeing what you end up with. But often people dismiss approaches closer to the latter and assume that the former is the “right way” to shoot landscape.
In my experience it isn’t quite that simple. Sometimes the experience is like certain others in which long stretches of time during which one seemingly accomplishes nothing or perhaps just looks and thinks are suddenly followed by quick and intense spurts of work that come almost as a surprise and may be over as quickly as they begin. This little morning shoot in Death Valley along the edge of a the salt/mud flats where the water from a small salt spring spreads across the flats and forms shallow pools was one of these. Very early in the morning, well before dawn, it was difficult to know what the best shooting option might be. There were clouds in the sky that promised to block the dawn light and everything seemed gray and flat. I wandered a bit, not sure where or what to shoot, and finally, more or less by chance, ended up at this spot that I had visited earlier on this trip. It occurred to me that even if the light wasn’t great I could possibly find a photograph that included this water. So I stopped and began to unpack in no particular hurry.
As I walked across the wash toward the area of the spring, much to my surprise it began to appear that there might be some interesting dawn light after all. I quickened my pace and headed toward the area of the shallow pools, and when I arrived there a moment later I could see some color on the top of the Panamint range. I quickly found a decent foreground pool and as the surprising light worked its way down the front of the range I began photographing. I first made several exposures at much shorter focal lengths, including a larger portion of the sky and the foreground. Then I quickly moved the tripod to place this pool in the center of the frame and hold the reflection of the range. I had little time to contemplate as the light was changing very quickly. I had just enough time to find my composition and make a few exposures, and within moments the light was gone.
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Joshua and Frank, thanks to both of you for your comments. It is interesting that you both commented on the composition. It is a bit unusual, and I had to go against my instincts a bit to come up with it. The beautiful light on the Panamints and the possibility of getting it reflected in the water were, of course, the first things I was thinking of. But I was also intrigued by the curving shapes of the edges of the pools and they were important when I composed this. But then I ended up with that “dry” area in the foreground. My typical photographs along these lines will often have the water filling the bottom of the frame, but here I sort of like the curve and the darker color of the foreground… that is pretty much just mud!
Dan
This is a very interesting photo. The light is exquisite of course, but it is the composition that is so compelling.
Seen too many boring photos with reflection where the lower half is exactly the mirror of upper half. This one you have is refreshingly original (to me, at least).
Very nice design, and I like the pastel color palette.