G Dan Mitchell, photographer and visual opportunist focusing on the Pacific coast, the Sierra Nevada, redwood forests, California oak/grasslands, California deserts, urban landscapes, night photography and more. Posting daily photographs since 2005, along with articles, reviews, news, and ideas.
“Fractured Granite, Reflection” — The base of a rugged granite wall reflected in the still surface of a sub-alpine Sierra Nevada lake
Many of us tell stories related to our photographs — I relate a short one with almost every photograph that I share on this website. These stories fall into several categories. They may relate the circumstances surrounding the making of the photograph. Some attempt to describe technical issues related to the image. A few will try to extrapolate meaning from the photograph and relate it to non-photographic subjects including the photographer’s personal life. Some photographers seek to impress with stories of the tremendous lengths they went to in order to make the photograph.
I often wonder how much these stories affect how they photographs are interpreted. Does a great story increase our interest in a mundane photograph? Do beautiful photographs get overlooked because the photographer doesn’t elaborate on them? How important is (or isn’t) it to know the lengths the photographer went through to make the photograph?
I have included two of my photographs with this post — photographs that many people like and remember and occasionally collect.
Photographer David Hoffman works the late afternoon canyon light at Capitol Reef National Park
Capitol Reef National Park is, of course, a spectacular place to make photographs, with a wide variety of potential subjects ranging from the obvious icons to things that are possibly not as immediately obvious. I’ve had the good fortune to photograph there on perhaps four occasions now. Each time I visit I discover new aspects of the park that I had not previously known. My first visit was largely to the popular and accessible tourist areas near the Fruita district. A second visit took me to another side of the park over gravel roads. A third visit went beyond those roads to investigate some less known areas that required some advance knowledge and hiking.
The fourth visit was a bit different from each of the others. After photographing alone elsewhere in Utah, and before meeting some other photographers to “work” a more remote area, Dave and I met up for a few days in Capitol Reef. Since it was his first visit to the place, we combined photography of some accessible areas with visits to a few of the areas that are a bit more off the beaten track, and we visited some of the familiar areas at odd times when few others were there. Here, Dave is photographing the rocks and walls of one of the many canyons in the park.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Continuing with this week’s experiment in releasing multiple photographs in a single post, this set includes four photographs from Utah’s Capitol Reef National Park.
Hills and sandstone cliffs above the Fruita District in evening light, Capitol Reef National Park
On our first evening in Capitol Reef, where we stated at the campground at Fruita, we had this beautiful though momentary spectacular light late in the day, as the lowering sun managed to shine through openings in clouds to the west.
A gully begins to cut into the red rock surface of desert terrain
This was a tricky morning for photography. At dawn there was some beautiful light making its way through breaks in a developing cloud cover. However, shortly after dawn those clouds increased and began to turn the morning gray. Shooting can be a challenge in such light, though it works better for some subjects than others — it can help when the soft, filtered light fills in the shadows, and sometimes the subdued light can enhance the saturation of some colors. This small canyon is west of the main areas of Capitol Reef, where it cuts deeply into the tilting plateau areas.
We spent an evening exploring some of the washes and canyons along the west side of Capitol Reef National Park, and by the time we got deep into this canyon the light was coming from low in the sky, creating conditions of very soft light in the bottom of the canyon. Here a small tree stands in front of rocks with interesting shapes and hollows.
Brilliant yellow autumn cottonwood tree foliage against a red earth hill and gully
This photograph was also made on the cloudy morning mentioned above. When we first realized that we had lost the sun, we started out by heading straight to a nearby grove of cottonwood trees, whose colors can stand out nicely in such light. (In some ways, the colors can look better in this light, as the still glow but they don’t pick up the white highlights of direct sun.) The color palette here is quite varied, though not unexpected for this area — with the dark shape of the tree trunks, the bright yellow leaves, a few green leaves at the bottom of the trees, the dusty greens of the smaller plants, and the red/pink coloration of the gully.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
A box elder with autumn foliage grows along the stream at the bend in a red rock canyon
There are many patterns familiar to those who enter these canyons. In many cases, the creeks and rivers meander back and forth, and over time they may have cut paths deep into the sandstone layers that also meander in the same way. Walking along such a small creek, looking up, and realizing that a winding canyon hundreds of feet deep was cut but the little creek gives you a sense of deep time… and also a clear indication that such creeks are not always so gentle. The winding patterns also lead you on as you descend the creeks. Each time you round a bend like this one you get a view further along in the canyon… to the next bend, where the creek turns out of sight again. And you say/think to yourself, “just one more bend and then I’ll turn around.” So you keep going and round that next bend, where you can see a bit further into the canyon… to the next bend. And you say/think to yourself, “just one more bend and then I’ll turn around…”
This creek doesn’t follow the perfect pattern of consecutive meanders that are found in some canyons, but it did in this section where I found a single box elder tree growing at the edge of a rock that butted up against the wetter, sandy section of the water course. And far above, the gigantic walls of this canyon mirrored, as expected, the curves of the bottom of the canyon, and warm light bouncing among the canyon walls filtered down here to gently illuminate the depths of this red canyon.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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