“Wheat Field, The Cotswolds” — Trails cross a large wheat field in the Cotswolds.
At the end of May and beginning of June we waked for a week through England’s Cotswolds district hills. Our route took us from town to town, and each night we stayed in civilized accommodations. Yes, this is a lot different that the Sierra Nevada backpacking that I’ve done for decades! This area is, it seems, vacation country for a lot of Britons, and some of those towns can be pretty busy. After a day walking the green hills and woods, it can be something of a shock to enter them — but then again, there were comfortable beds and good food!
“Church Interior, Ghent” — Angled light falls across a wall inside a church in Ghent, Belbium.
I have a somewhat embarrassing confession to make about this photograph. I know that I made it in a church in the Belgium town of Ghent… but I failed to record which church it was! In my (weak) defense, this is a town of many churches — I don’t think I’ve seen many others with so many steeples. And after a few weeks of visiting Various European cities it is possible that I was starting to suffer from an overdose of church architecture.
A view from the Panamint Mountains across Death Valley toward mountains near Las Vegas.
This is another in the “very long views” series. Like another recent photograph, it also comes from the crest of the Panamint Mountains, though this time looking generally east. As such, the view extends across Death Valley (over 6000 feet below), then over the Black Mountains, the Amargosa Range, and across the Amargosa Valley to a snow-capped ridge close to Las Vegas, Nevada. (in the full size version of this photograph remarkable details become visible — a parking lot near Artist Palette, utility poles along the road out of Death Valley.)
There is a bit of a story about the lighting in this scene. It is essentially front-lit, with the light coming from behind my camera position and shining directly on the subject. Typically, this would be about the worst kind of lighting for a landscape subject, especially when haze is present, since it produces almost no shadows and very little visibility of details. But here something compensates, namely the shadows of broken clouds which introduce some shadows into the scene and help us sense its depth.
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, Amazon, and directly from G Dan Mitchell.
A desert wash curves past barren desert hills on its way to the salt flats of Death Valley.
Visitors to Death Valley might not immediately realize how much of a role water has played (and continues to play) in shaping the place. I like to point out that this location, known for its heat and aridity, is one of the best places to see the effects of water laid bare. The vast playa and salt plains in the valley are formed by water that settles there and evaporates. The Valley once held an ancient (and quite large!) lake. The alluvial fans — like that in the foreground of the photo — are laced with waterways, small and large. The present-day forms of the mountains result largely from water eroding uplifted blocks.
The location of the photograph is on one of the immense alluvial fans that descend from rugged mountains toward the playa. In this area the fan is interrupted by groupings of mostly-barren hills, many featuring darker rock, and they line up in interesting patterns. In the far distance, perhaps up to 50 miles away, lie mountains at the far southern end of the Valley.
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, Amazon, and directly from G Dan Mitchell.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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