Photographs: Fall, Photographs: Fall Color, Photographs: Nature, Photographs: Sierra Nevada

Aspen Grove, Late Afternoon

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Aspen Grove, Late Afternoon
Late afternoon light on an Eastern Sierra Nevada autumn aspen grove.

Aspen Grove, Late Afternoon. © Copyright 2019 G Dan Mitchell – all rights reserved.

Late afternoon light on an Eastern Sierra Nevada autumn aspen grove,

Later in the Sierra Nevada aspen color transition many of the groves in this area had already lost their leaves — as you can see if you look towards the more distant trees. But the foreground trees were in that wonderful stage where there are still plenty of colorful leaves, yet enough of them have fallen to more clearly reveal the white aspen trunks. The late-afternoon side light, coming in low over the nearby Sierra crest, helped to make the leaves glow, too.

As I work my way toward the end of this year’s eastern Sierra fall color photography I’m thinking back on the nature of this season. Although the general contours of the color transition are often rather similar from year to year (aside from some of our recent extreme drought years) there are fascinating differences, too. Late in the summer this year I saw a lot of very healthy-looking aspen, probably as a result of two very good water years. That led me to expect that we the colors might be more spectacular than usual. In the end, there was plenty of wonderful color, and I managed to find it in some new-to-me locations… but the transition was unusual and overall not the most spectacular I have seen. It seemed to start a bit early and, to my surprise, in more places than usual I found trees that dropped leaves early. This grove is an example — in a more typical year most of the trees would likely have been in peak color when I made this photograph. No matter… one of the beauties of autumn aspen trees is that there are so many ways to photograph them, and if you don’t get vast groves of wild colors you may find another kind of beauty.

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 and Amazon.

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Photographs: Abstract, Photographs: Central California, Photographs: Imaginary Landscapes, Photographs: Nature

Winter Landscape

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Winter Landscape
A California winter landscape photograph reduced to its compositional fundamentals.

Winter Landscape . © Copyright 2019 G Dan Mitchell – all rights reserved.

A California winter landscape photograph reduced to its compositional fundamentals.

This photograph fits into a category I describe as “imaginary landscapes,” a type defined loosely by where it sits along the continuum between supposed representational reality and abstraction of landscape-derived materials. That might seem an overly-wordy way to describe it, but I’m always cognizant of the fact that no landscape photograph is truly objective or fully “real” — all photographs and certainly all landscape photographs necessarily are subjective. This could be due to something as basic (and obvious!) as the fact that the photographer chose to point the camera at some specific thing (and not at other things). It includes equipment choices( length of lens, aperture, etc.), basic interpretive choices (color or black and white, and how to handle either of those), and much, much more. In my “imaginary landscape” photographs I think I’m simply making this stuff more plainly obvious.

This one also illustrates, I think, something that figures into the landscape (but not just landscape!) photographs of virtually every photographer that I know of — the photograph is not just about the ostensible subject of the image. For most photographers other things also appeal — the shapes of things, their colors (a huge topic, by the way), how the components fit together, how things may be suggested rather than declared, and more. Allow me to make a musical analogy here. There’s a famous (or infamous) piece by composer/philosopher John Cage called 4’33”. In it a performer, takes the stage in the manner of any classical performer, then sits in front of a (usually) piano silently for 4′ 33″. One way to look at this is to recognize that Cage gave us every element of a musical performance but the one we think is central, thus forcing us to think about all of those “other details” and their central role in our perception of music. A photograph with no details (“the horror!”) may work in a somewhat similar (though not quite identical) way. Or maybe you just like the colors? ;-)

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 and Amazon.

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All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Photographs: Fall, Photographs: Fall Color, Photographs: Nature, Photographs: Sierra Nevada

Grove Of Small Aspens

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Grove Of Small Aspens
A grove of small aspens with leaves beginning the transition to autumn color.

Grove Of Small Aspens. © Copyright 2019 G Dan Mitchell – all rights reserved.

A grove of small aspens with leaves beginning the transition to autumn color.

This photograph comes from very early in the annual eastern Sierra Nevada fall color transition. I would typically start my serious aspen color search in California about a week into October, but this year I was out looking during the first week of the month. In truth, you can find earlier color in the Sierra — sometimes due to unusual weather conditions during the past year and sometimes due to anomalous trees in certain places that change earlier than others. This grove of small trees lay in the shadows next to a rocky hill, and the color transition was just beginning.

I want to share a few other factors that crop up in this particular photographic interpretation. When photographing in shadows — as was the case here — the light can be very blue. We face an interesting question about how to deal with that in the post-processing phase. We could leave the image “as the camera saw it,” but because the camera doesn’t see the way we do it may look unusually blue. Or we could tone down the blue in any of several ways — lower the saturation of the blue channel, shift the color balance toward yellow, and so on. Here I did the latter, which is the more typical approach. There’s one other thing going on in the interpretation of this photo that bears mentioning. Various approaches to post-processing might be said to characterize the quality of many photographers’ styles. In this photograph I employed an increasingly common technique — one that I don’t generally use, but which can provide a different “look.” Essentially I softened aspects of the image and then compensated for that by altering other parameters that can produce what I think of as subjective sharpness — contrast, saturation, and adjustments to curves. I won’t give everything away here, but you might look at the photograph and see if you can identify some of what is going on in it.

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 and Amazon.

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Links to Articles, Sales and Licensing, my Sierra Nevada Fall Color book, Contact Information.

All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Photographs: Architecture, Photographs: San Francisco, Photographs: Structures and Objects, Photographs: Urban/Street

Urban Geometry

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Urban Geometry
A woman walks past a building with a display under construction.

Urban Geometry. © Copyright 2019 G Dan Mitchell – all rights reserved.

A woman walks past a building with a display under construction.

One element of the urban/street world that fascinates me is the juxtaposition of “perfect” structures — geometric patterns, shiny metal, highly designed forms — with the imperfect and always-deteriorating nature of this world — peeling paint, dirty sidewalks, constant construction and reconstruction, accumulated dirt, and so forth. Long ago the fact that urban structures fell short of the theoretical perfection offered in architectural drawings bothered me, but now I find it fascinating.

This is an example of one of those little scenes that always seem to catch my eye. The facade fo this building is, from one perspective, quite boring, even though its patterned wall and metal lights depart from typical (and often rather plain) urban surfaces. But notice some interesting things about it. For example, because the sidewalk and street are inclined, the designer was faced with a question: align the metal form beneath the windows with the sidewalk or align them with one another? And if you align with the sidewalk — as is done here — what do you do about the size of the windows and about their alignment? (The sizes were kept the same, leaving the lower bank out of alignment… but they are “corrected” in the second level!) Beyond that, the contrast with the op-art nature of the under-construction window dressing is fascinating. I waited for a passer-by to enter the scene before making the exposure.

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 and Amazon.

Blog | About | Flickr | Facebook | Email

Links to Articles, Sales and Licensing, my Sierra Nevada Fall Color book, Contact Information.

All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

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