Exfoliated and fractured granite ledges form patterns in late afternoon light, Yosemite National Park.
While this particular spot happens to be in the neighborhood of Tenaya Creek, similar features may be found throughout Yosemite and in many other parts of the Sierra. These rocks have probably been eroded in just about every way possible. They have been broken away from the underlying rock via exfoliation. The area was obviously glaciated. No doubt freezing water helped to widen the patterns of cracks and break up the rocks.
I made the photograph in late afternoon light when the sun was just barely above a low ridge beyond the upper edge of the photograph. The zoom was cranked out as wide as it goes in order to capture a good width and density of these wonderfully broken up rocks and the trees and other plants that somehow manage to live on and among them.
Trees ascend sage-covered hills toward the Sierra Nevada crest near June Lake, California.
Near highway 395 in Mono County, the main north-south route east of the Sierra crest, these open stands of large conifers ascend from the high desert sagebrush country towards the peaks of the Sierra crest, which rise much more abruptly on this side of the range than on the gentle west side. The tall ridge is above the June Lakes resort area between Mammoth Lakes and Lee Vining.
While my primary goal on this trip was to photograph in the Yosemite high country along Tioga Pass Road, smoke from a wildfire near Glacier Point in the park was drifting over the Tuolumne area and creating a lot of very non-photogenic haze. I had a hunch that by dropped over to the east side of the range I might be able to get away from the smoke or at least find areas where it wasn’t so thick. The smoke was still affecting the light near Lee Vining, but I didn’t have to drive too far south to get out of its path, though even here there is a bit of haze increasing the effect of atmospheric recession.
Ice covers the surface of Tenaya Lake on the day of the mid-June opening of Tioga Pass Road as afternoon clouds cluster around the summit of Mount Conness, Yosemite National Park.
After the wild sunset-illuminated versions of this scene that I’ve posted recently, I thought it might be a relief to post something more subtle! This photograph was also made on the evening of June 18, the day that Tioga Pass Road opened for the 2011 season. A bit earlier I had photographed along the shoreline of Tenaya Lake – the ice-covered area in the lower portion of this image – where I had juxtaposed melting ice, deep blue water, and interesting clouds. When I finished there I had a decision to make – whether to head back up toward the pass, continue to photograph around the lake, or try to get a shot of Mount Conness from Olmsted Point. Since I had been in contact with a client concerning Mount Conness photographs just a few days earlier, I decided to try that third choice.
When I arrived at Olmsted, conditions were a bit unpromising. Clouds had come up over the Sierra crest and Conness was completely obscured. In addition, a certain type of gloomy haze and cloudiness was taking much of the energy out of the scene. Clouds to the west were washing out the light, too. Many times I don’t give up immediately in situations like this, at least not until I’ve spent a bit of time trying to get a sense of where things might be headed. (Ultimately on this evening that turned out to be a good decision, as near sunset one of the most intense displays of Sierra evening color occurred… but that it a story I’ve already told in earlier posts.) As I watched, the clouds around Conness began to move a bit and every so often a bit of the tip of the mountain would poke through. During one of these moments, a bit of light filtered through the high clouds from the west and glanced across the slopes of Polly Dome and struck the upper reaches of Medlicott Dome.
Three tule elk grazing on hills above Drakes Beach at Point Reyes National Seashore, California.
This is one more – and possibly the last – in the series of tule elk photographs that I made at the Point Reyes National Seashore on Memorial Day. A group of perhaps eight or ten bull elk were grazing along the top of the hills above Drakes Bay when we encountered them in beautiful late afternoon light. As soon as I got out with my camera they moved just a bit further away, but still well within photography range.
There is a typical sequence in how I usually photograph creatures such as these. Because I never know how long they will stick around, I begin my just shooting them in any way that seems even somewhat interesting, perhaps muttering to myself, “At least I have tule elk shots in my portfolio now!” But after getting a few “insurance” shots right off the bat, I start to be more selective and more observant. Initially, I’m looking for a variety of interesting individual shots. These might include a single animal separate from the group, perhaps the full group, and perhaps sub-groups of two or three. I also pay a lot of attention to their positions, watching to make sure that faces are visible. (In this shot, the leftmost elk is partially obscured, but because his eyes are still visible and because of the way his antlers align with those of the front animal, on balance I don’t think this is a big problem.) I also watch for distracting elements, and may stop shooting if they are present. For example, the rear end of an elk is bright white and, uh, not the most photogenic part of the beast – so I wait until an animal presenting its backside to the camera either moves out of the frame or rotates into a better position.
I also try to think the same way I think when photographing a group of people. Their faces and eyes are the most important things, with the relationships their positions create among them being a very close second. Here two of the elk are looking almost at me, but slightly past my left shoulder. The third animal seems to be looking more toward the other two, creating a different sort of relationship among the animals. These things are so fleeting that I sometimes don’t see them until they have happened, so I have learned to not be conservative about exposing a lot of frames!
To the extent that I have control over such things, I also like to think about the angle of the light on the subjects. Sometimes you have no choice – you simply have to shoot from where you are. However, with these elk I did have some range of options. They were along a road, and I chose to stop a bit before their position because the light coming from the left would light them in a more dramatic and interesting fashion than if I had gotten closer and shot them with the light right behind me. In addition, I try to look beyond the animals themselves and be aware of how they position themselves against background subjects. This particular shot isn’t a great example, but in others I might wait for the moving animals to position themselves in a place where the background elements relate to them in some interesting way.
With all of this detail, you might get the idea that I’m standing there making a series of careful and logical calculations about how to shoot these guys. That’s not really what happens at all. Much of it turns out to happen in a quick and intuitive and almost subconscious manner “in the moment.” I’ve probably written here before about my belief in the important of “practice” (something I learned from my musical background) when it comes to being able to work and see quickly and effectively.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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