Deserts offer few clues about the scale of the landscape. Unlike forest scenes, where trees often provide a frame of reference, plants often play a lesser role. Even when there are plants it can be unclear from a distance whether they are large trees or small shrubs. Here the inclusion of the human figure clarifies the scale of the grand Utah red rock landscape.
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A peninsula of fractured and worn rocks next to the tidal zone.
As I wrote in another recent post, what I thought would be a quick visit to this cove turned into a rather longer one. As I started my visit I wasn’t sure that I would photograph here, but once I started looking around I found plenty of interesting subjects. After well over an hour I finally tore myself away to go photograph something else!
The location encompasses a shallow cove lined with rocks, some of which are flat and gradually head under the water, and others that are part of a small peninsula blocking the area from the open ocean. The intertidal zone is full of fascinating things — living creatures, pebbles left behind by the surf, and a pavement of upended strata. In this photograph I backed off some distance and put a long lens on the camera so that I could include the foreground boulders along with a small portion of the flat area and the rocky wall of the peninsula beyond.
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.
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Photographer Charles (“Charlie”) Cramer at work in the High Sierra of the John Muir Wilderness Area. A group of us spent a week base-camped in a particularly scenic portion of this wilderness area, heading out each day to find and photograph the abundant and beautiful subjects present here – ranging from the intimate (wlldflowers) to the monumental (the peaks of the Sierra crest).
The pace and nature of the work in a place like this might surprise those who haven’t experienced it. Many years ago, when my orientation to the backcountry was via long pack trips on which I moved every day, I worried that I would become bored if I stayed in the same place for more than a night. After years of doing just that, I realize how completely wrong I was. We can easily find a week’s worth of things to investigate and photograph in such places, and at the end of each trip I invariably end up wishing I could stay longer!
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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
All media © Copyright G Dan Mitchell and others.
A group of us assembled in the outback of southern Utah in October for a few days of landscape photography — and I was perhaps the odd man out as the person least familiar with Utah subjects. Not that I haven’t shot there before… I’ve actually spent perhaps a month and a half photographing in the state in the past few years, all told, and I’m becoming more and more familiar with the visual quality and the rhythms of the place. However, the others were mostly from the Southwest, and they have the same sorts of instincts for this land that I have for the Sierra.
We spent a few days in this red rock landscape of domes, hills, gulches, and canyons. On this evening we went to a location where red sandstone hills rise above the flatlands and stretch into the distance, and are filled with a seemingly infinite variety of textures and shapes and plant life. Here we stopped to photograph an old cottonwood snag in the middle of an expanse of sandstone.
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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
All media © Copyright G Dan Mitchell and others.