“Marsh Grasses and Fog, Dawn” — Golden dawn light illuminates autumn fog drifting above marshland grasses in California’s Central Valley.
I went to this place to photograph birds – at least that was my excuse. In the past few years I have become passionate about photographing migratory birds in the Great Central Valley of California between late fall and early spring – geese, cranes, herons, ibises, and more. Once you hear the cries of these birds as thousands of them flock together on the ground or in water or, better yet, as they fly overhead, you can become obsessed. In the fall I anticipate their return and watch for early signs. A few weeks ago we managed to find cranes further up the valley, and I knew that the geese wouldn’t be far behind – so this trip was, literally, a “wild goose chase.”
But the truth is a bit more involved. As much as I love the birds, I think that I’m at least as attracted to landscapes where they are found, and to the weather conditions of this season. You might think that a bird photographer would want clear skies and bright light, but I look forward more to fog, clouds, and mist and other kinds of interesting atmosphere. It occurs to me that the birds may partially be my excuse for visiting this landscape. I was expected that it might be clear on this morning, so I was happy (strange photographer!) when I drove into thick fog a few miles from my destination. I arrived just before dawn as the sky was somewhere in that color range between blue and purple and pink, but just barely visible though the murk. I made a few true sunrise photographs that included a barely visible sun behind fog and clouds, then moved on along a gravel road to try to locate the cranes that I could hear. As I came to a right angle turn, the fog stretched beyond the nearby grasses and straight toward the low sun in front of me, thick enough that all details in the distance disappeared (with the exception of a few barely visible birds) into a luminous glow that was almost painfully intense
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During the past few years I have become a big fan of photographing migratory birds in California’s Central Valley, and now that summer is over I’m anxious to get back out there and get to work on this year’s bird photographs. Actually, we made our first bird photography trip out there about a week ago, on the first weekend in November. Our main goal was to find sandhill cranes, since we knew they were here already, but we were also interested in seeing what else might have showed up.
In keeping with my new policy of posting multiple photographs in a single message when I have too many photographs waiting in the queue, this post includes five bird photographs. Enjoy!
Late in the morning, long after the morning fly out, we were poking around on some rural backroads when we found a lot of sandhill cranes in dormant fields in thinning morning fog. This group thoughtfully posed for me with a distant pair of trees on the horizon.
Three sandhill cranes stand in a dormant Central Valley, California field
I photographed this group in much the same location as those in the previous photograph. While the cranes seem to collect in large groups near water in the evening and early morning, during the day they are often found more spread out in agricultural areas like this one.
Sandhill cranes land on a Central Valley pond during the evening fly-in
In the evening the cranes do a “fly-in” – where large numbers of them land together in areas around water. When we arrived at this small observation area an hour or so before sunset, there were many birds but no cranes. However, I’ve learned that the sandhill cranes often arrive late, frequently after sunset and sometime when it is becoming rather dark. (One of our most memorable migratory bird encounters occurred at another refuge further south in the valley. We had a great day of photographing birds, beginning very early in the morning and continuing through sunset. As the sun set the bird action began to diminish and it became quite dark. It had been a long, successful day, and we were happy to be finished with this shoot. We were just putting gear away when we began to hear a huge chorus of the easily recognized sound of sandhill cranes coming from out of sight to the southeast. A moment later the sky was filled with the birds – I’ve never seen so many cranes together since then.)
Here the birds began to arrive just a bit earlier. The first groups landed a good distance off, but soon a single large crane settled in on this dry area in front of us and began to produce very large calls, as if to say, “come on down and stop here!” Before long other birds did just that. Here the slow shutter speed allows the winds of the landing birds to blur a bit.
A small group of cackling geese in flight against blue sky over California Central Valley agricultural lands
I have a confession to make, and it is a little embarrassing for a person who is as enthusiastic about photographing birds as I am. Basically, I’m not very good at identifying birds, or at least not good at naming them! (This is an “issue” I’ve always had, and not just with birds. I’m so familiar with certain wild plants that I can tell you exactly what they look like in the wet and dry seasons, when the flowers will appear, and when to find them… but I often cannot name them.) I’m always happy when I can photograph with someone who is better than I at this.
I’m pretty certain these are geese! (Good so far?) I used to think that geese that looked like this were Canadian geese, but when I tried to find photos of these birds online to determine what they were, I kept coming up with “cackling geese.” To make things more confusing – at least for me – I understand that the differences between some Canadian geese and some cackling geese can confuse even the experts. Judging by the size and shape of the bill, the size of the birds, and the pattern and color of feathers, I’m going with this identification until someone shows me differently!
Sandhill cranes settle in to a Central Valley pond during the evening fly-in
This is the same group seen in a photograph earlier in this post, with this photograph being made a bit earlier – clearly the case as there are fewer birds on the ground in this shot, and the color of the sky is less intense. If you look closely about a third of the way in from the left edge of the frame, you may be able to see the larger bird that landed first and was then followed by other later arrivals.
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” (Heyday Books) is available directly from him.
Dry summer grasses in Dana Meadow near Tioga Pass, forest leading to Kuna Crest
I think of this photograph as being, in some ways, very unremarkable. In a few other ways there are some things that are at least a bit unusual about it, though this probably isn’t obvious. The scene is one that is familiar to anyone who has driven over Tioga Pass between the eastern Sierra and Yosemite National Park and west side destinations. The Yosemite Sierra along this route is a very diverse place, but the large sub-alpine meadows surrounded by forest and higher peaks is very common and characteristic of the area. Sierra visitors are also probably familiar with the annual seasonal transition from lush, green meadows to drier, brown meadows.
So what is a bit unusual about this scene? For one thing, I shot it during more or less the midday hours. This is not typically when I photograph scenes like this one, but this daytime view is probably the sort of thing that we see most often when we are actually there in the range. The color of the meadow grass is also a bit unusual – not that this coloration occurs, but that it happened so early in the season this year. The almost complete absence of green in the meadow is more characteristic of a time several weeks later than this early August date, when typically we might see a combination of dry and lush. But this year has been anything but a typical one in the Sierra and in much of California. Last winter was extremely dry, and there was barely any precipitation after the new year started – and this was the second drought year in a row. The conditions in the Sierra, as seen here, are not unprecedented, but they are very unusual.
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
Pastel colors in evening clouds above Paoha Island reflect on the surface of Mono Lake
On this evening I ended up at Mono Lake on more or less a hunch about the clouds – thunder clouds had built to the east out over the basin and range country and even a bit over the Sierra, and I had heard a report of thunder and lightning a bit north of here, so I decided to chance an evening visit to the south shore of the lake. Mono Lake evening light can be very special, but it can also be a bit tricky. Because the tall peaks of the Sierra Nevada crest lie directly to the west, the light leaves the lake itself well before actual sunset, so you often might end up relying on the clouds themselves to provide most of the interest. Smoke from a wildfire to the south near Mammoth Lakes had also been affecting the atmosphere, creating a lot of haze and some unusual colors.
In any case, I drove out to a point along the south shore of the lake – not the well-known South Tufa site, though visible from there – and watched the mostly uninspiring light of this very hazy evening. But there I was, and there wasn’t time before the end of the light to get from Mono Lake to other places that might be interesting, so I stayed and photographed and thought about how I might be able to work with the light and conditions that were available to me. There were beautifully shaped clouds, and they rose high enough above the lower atmosphere to gain some clarity. The haze muted the shapes and colors of the far hills and the darker shape of the island. So I composed the scene to just barely hold the island and a bit of the lake at the bottom, and used that to anchor a scene that was mostly sky.
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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