Category Archives: Photographs: Southern California

Photographs: Death Valley, Photographs: Desert, Photographs: Nature, Photographs: Southern California

Funeral Range, Last Light

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Funeral Range, Last Light, Death Valley
“Funeral Range, Last Light” — The last direct light of the evening shines on the Funeral Range, Death Valley.

Am I the only person who has a set of odd little personal spots where they like to stop — places that others might pass by without noticing anything special? Over the years I’ve collected quite a few: a rock outcropping in Tuolumne Meadows, a bench at the high point on a local trail, a particular tree in the Central Valley, and this place in Death Valley National Park.

Years ago I turned off the road that passes through here and walked to the top of a small rise with my camera. There are no icons visible from the place, but it is in the middle of a portion of the immense, still, quiet space of this park. Something about it resonated with me, and I go there on every return trip. This time it was evening when I arrived, and I photographed the very last sunlight of the day on the Funeral Mountains.

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. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email

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Photographs: Death Valley, Photographs: Nature, Photographs: Southern California

Canyon Light

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Canyon Light, Death Valley National Park
“Canyon Light” — Direct light, reflected light, and deep shadows as a canyon winds through desert mountains, Death Valley.

We love fantastically narrow and twisty slot canyons, but those are more of the exception to the rule. You can find those in Death Valley, but more likely you’ll find a scene like this one, at least in canyons that run through steep, rocky mountain ranges, like this one on the east side of the valley. Through much of its length it is more than wide enough that a vehicle could pass, if they were allowed here. Note also the very rugged and broken rock formations — this is not your smooth-walled Utah red rock canyon!

At this spot the canyon takes a couple of very sharp bends around the tall face to the right. When the trend of the canyon lines up the right way, very little direct sunlight penetrates all the way down. Instead the canyon bottom is often in shade, but that shade is filled with soft, reflected light that has bounced between the canyon walls. When I hike these canyons I always look forward to passing through these spots.

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. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email

4 responses to “Canyon Light”

  1. Charlie Colladay Avatar
    Charlie Colladay

    Love this shot! The longer I look at it the more I like it. Forgive me for being such a pendant, but I am so moved by the intricacies of the light in this photo.

    Nice, tight composition of three separate layers: the far layer in direct sunlight; the middle, golden layer and the “giant’s foot” in the foreground. At first glance my eye was drawn to the well defined textural striations of the foreground in a seemingly softer, bluer, open shade type light. But no! It’s actually strongly directional (from the left, reflected by ?) which makes the vertical striations really pop. The far layer is being illuminated by the sun’s direct rays coming from the right, which is how we know the foreground light from the left is reflected (assuming no auxiliary lighting). The middle golden layer is the real mystery. The bright gold color and intensity of the light is greater at the left edge and gradually falls off into open shade light at the far right. The reflected light source must be something close by and behind the “giant’s foot” that is strongly reflecting the sun’s rays. It’s almost like the photographer laid out a large gold colored tarp to act as a reflector. But I doubt that. More likely it’s a warm colored rock formation that is serving as the reflector. Beautiful.

    Whatever the case…this is an amazing photo! I love it when a photo strikes you at first and then even more so as your eye roams around and you try to figure out why you like it so much. In the final analysis, it’s no surprise how often it comes down to the “Light” and we are then reminded that the Greek root of “photography” is “light drawing”.

    Nice work Dan!

    Charlie Colladay

    Reply
    1. G Dan Mitchell Avatar
      G Dan Mitchell

      Thanks Charlie,

      YOu certainly have an eye for light!

      The combination of layers and light is pretty much what this photograph is “about.” As you surmised, there are three kinds of ight (at least) at work in the photograph. OK, maybe four.

      There is the direct sunlight on the far canyon wall. Then there is the light reflected from a(n out of sight) reddish section of cliff that illuminates the middle face. The foreground light is coming from behind and above my camera position — a combination of more reflected light and light from the open sky. The forth kind of light? The deeper shadows with the more blue tones.

      One of the things I love about these canyons is precisely that variety of lighting, and especially the way that the light picks up colors from the sky and from whatever surface reflects it.

      Dan

      Reply
  2. Greg Avatar
    Greg

    Dan:

    It reminds me of Dedeckera Canyon over at the Eureka Dunes.

    Reply
    1. G Dan Mitchell Avatar
      G Dan Mitchell

      Thanks for sharing that. I’ve been to Eureka several times, but I have never investigated that canyon.

      Dan

      Reply

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Photographs: Death Valley, Photographs: Desert, Photographs: Nature, Photographs: Southern California

Zabriskie to Rogers Peak

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Zabriskie to Rogers Peak
“Zabriskie to Rogers Peak” — Long morning view, from formations at Zabriskie Point to distant Rogers Peak in the Panamint Mountains.

Poor Rogers Peak doesn’t get a lot of respect. Despite being just under 10,000 feet tall, offering a rather impressive view from close up, and being snow-capped in the winter… it is eclipsed by its neighbor, Telescope Peak, the highest in the park. (You can see a bit of the shoulder of Telescope Peak at the far left.) It doesn’t help that a communications complex has been installed on its summit — which seems like a bit of an inappropriate insult in a national park!

The photograph encompasses a very long view, extending from rugged hills at Zabriskie Point all the way across Death Valley to the summit of the Panamint Mountains. I estimate that this is over 20 miles as the proverbial crow flies. Such distances are common in Death Valley National Park, a huge place with an expansive landscape.

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. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email

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Photographs: Death Valley, Photographs: Desert, Photographs: Nature, Photographs: Southern California

Desert Gully

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Desert Gully, Death Valley
“Desert Gully” — Eroded formations and a desert gully, Death Valley.

The desert landscape of Death Valley National Park seems fairly static. Yes, we see dust storms blow things around a little, but even the shapes of the dunes remain fairly constant over time. The mountains and the playas look much as they did when I first saw them 25 years ago. But the reality is that this is a very dynamic landscape, and it is constantly being built up and torn down. This photograph is an obvious example of the latter process.

This light material was laid down millennia ago in the distant prehistoric past, long before people were here — and before there were even “people” at all. Over vast stretches of time the material was transformed — squashed, bent, tilted. Eventually a combination of uplift and erosion exposed it, and other processes kicked in. Here, those processes — including flowing water — have eroded and continue to erode the layers, producing this maze of small gullies and the fine silt seen at the bottom of the photo.

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. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email

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