“Lake Manly and Telescope Peak, Dawn” — Dawn light on Telescope Peak above Hanaupah Canyon and the reflective waters of Lake Manly.
This photograph includes a short list of superlative features. Telescope Peak, at just over 11,000′, is the highest point in Death Valley National park. From the peak one can see the highest point in California, Mt. Whitney (in the Sierra Nevada) and the lowest point (Badwater Basin). In the photograph Badwater Basin is submerged beneath Lake Manly, which forms only in very wet years and generally evaporates quickly. Snow on Telescope Peak and the Panamint Range is not unusual in winter, but in this photograph it has reached a rather low elevation.
“Creek Bed, Autumn Leaves” — Autumn leaves scattered on the sand of a creek bed, Zion National Park.
Photographing desert canyon streambeds like this one in Zion National Park is rewarding in so many ways. They are little laboratories in composition, texture, alight, and color, with nearly infinite variations. Water, whether by the current flow or the aftereffects of its passage, produces all sorts of fascinating patterns. It rearranges, moves, and sometimes collects whatever is loose — in this case autumn leaves. The light can be magnificent, soft and colorful. In ideal conditions it reflects back and forth between red rock canyon walls before softly and warmly bathing the canyon depths.
Beyond all of that photographic stuff, canyons are just fascinating places to be. The walls cut off the outside world, and your horizons are measured in feet. It is usually very quiet, with the exception of a bit of breeze, the sounds of water, and sometimes a bird song. When I visit them I wander slowly, taking it all in.
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“Wetlands, Dawn Light and Fog” — Drifting fog obscures the distant view at dawn in Central Valley wetlands.
Yes, another foggy Central Valley morning landscape. What can I say? The subject is often on my mind this time of year. While it isn’t always that attractive in the summer, during the winter months this landscape is transformed by the arrival of migratory birds, the appearance of seasonal ponds, and the tule fog. The latter obscures some of the more mundane elements of this landscape and produces a mysterious, moody atmosphere.
I made the photograph just before sunrise. The early light was coloring the sky, visible through the shallow layer of fog. The fog was already starting to drift and thin, and it glowed with the colors of the sunrise clouds overhead. The wetlands were quiet, except for the sounds of birds, and a solitary black-necked stilt stood nearby in the shallow water.
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.
“Flock of Cranes in Flight” — A flock of lesser sandhill cranes in low level flight, Central Valley, California.
This group of sandhill cranes was a minor part of a wild mass of birds, including thousands of geese and lots of cranes. At this point in the season (mid-February) the migratory birds can be quite active during the day, with lots of coming and going. This group of birds was about to land and join a larger flock already on the ground.
I decided to use this high key approach to the photograph in order to slightly abstract the birds’ forms and to separate them from any distracting background. The photograph catches them in a particularly interesting moment: As cranes land they transition though a series of positions. First they glide in smoothly, then begin to turn into the breeze. Then the legs extend, wings rise, and necks crane forward just before they touch down.
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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