Tag Archives: blue

Photographs: Central California, Photographs: Nature

Fog, Tree, And Pond

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Fog, Tree, And Pond
A tree reflected in a wetland pond in dawn tule fog, San Joaquin Valley

Fog, Tree, And Pond. © Copyright 2018 G Dan Mitchell – all rights reserved.

A tree reflected in a wetland pond in dawn tule fog, San Joaquin Valley

I love fog, and I especially love the thick and mysterious tule fog of California’s Central Valley — comprised of the northern Sacramento Valley and the southern San Joaquin Valley, and draining to the Pacific Ocean via San Francisco Bay. This fog is mostly a winter thing, when the moisture rises from the ground, farmland, and ponds as the temperature drops at night. It often reaches its peak in the early morning, just after dawn. (It also creates some very challenging driving conditions — so bad that lots of people simply try to avoid them.)

If you stop and get out of your car, the world of tule fog is quiet and mysterious and still. Your universe closes down to a radius of perhaps a couple hundred feet or less, and you can sense as much about your surroundings by sound as you can by vision — you might hear but not see a flock of crane passing overhead. Surprising to some who are new to these conditions, while the tule fog is incredibly dense, it is often astonishingly shallow. On occasion I have seen conditions so bad that it was almost impossible to drive… but I could look up and see clouds in the sky overhead. The tops of trees and utility poles might poke out of the top of the fog layer. This, of course, can produce some very special light, since this thick fog may also be intensely illuminated by that overhead sky and sun, to the point that at times it can almost hurt to look into the brightness. Those were not the conditions when I made this photograph, but the astonishing blue color (which I actually had to tone down a bit in post) is the result of the glowing fog picking up the color of the blue morning sky.

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: New York City, Photographs: Structures and Objects, Photographs: Urban/Street

W!

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W!
Colorful painting and graffiti on metal door, New York City

W! © Copyright 2018 G Dan Mitchell – all rights reserved.

Colorful painting and graffiti on metal door, New York City

Continuing my current pattern of wild back-and-forth swings among subjects, today I retreat from the foggy California wetlands and head back to New York City for some wild color. There’s nothing in the photograph to let you know this, but it was a bitterly cold winter day when I made the photograph. Almost nothing stops me from walking with my camera when I visit New York, though the 20 degree (and colder!) temperatures and biting winds did their best on this day. We started walking in Lower Manhattan, near the Staten Island Ferry Terminal (a very windy place!) and headed uptown on a somewhat random path. The route took us through some places you might not bother to visit on a tourist trip to the city, but it did turn up subjects like this intense example of street art painted on the roll-up door of a small business. If memory serves, this was the day that we finally made it to Veselka, the Ukrainian restaurant. As we walked and got colder and colder, the thought of borscht and other goodies became more and more attractive. Veselka did not disappoint.

About this photograph and its dissonance with other work I post, such as wilderness landscapes, seascapes, and migratory birds. I know that some photographers prefer to focus on a particular range of subjects. (There are fine reasons for making that choice, in fact.) But I have at least a couple of reasons for photographing a wider range of subjects. First, I come from a background in music, where the idea of performing only one style of music (say, Baroque trio sonatas) all the time seems incredibly constraining — so seeking out a wider range seems nature to me. Second, I like to think that these different subjects are still united by whatever it is that constitutes my way of seeing… and that there might be a bit of the landscape photographer in the city and a bit of the street photographer in the landscape work.

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: Nature, Photographs: Sierra Nevada

Reflections, Early Morning

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Reflections, Early Morning
A distant ridge in very early morning light is reflected on the surface of an alpine tarn

Reflections, Early Morning. John Muir Wilderness, California. September 1, 2017. © Copyright 2017 G Dan Mitchell – all rights reserved.

A distant ridge in very early morning light is reflected on the surface of an alpine tarn

A photograph is a curious thing. It can “tell” you things about a subject — and about the person who made the photograph — that might not be easily communicated in other ways. On the other hand, a photograph usually leaves it to the viewer to guess at many aspects of the image’s context — and the viewer either brings her/his own context or may simply be unaware. For example, I probably see this scene very differently from others who view the photograph, even those who were there or who know the place. Let me explain.

What is not “visible” in this photograph? It was made near the end of a long stay in this area, where we were camped in forest a few hundred feet lower near a lake. So by this time I knew the spot quite well, and rather than “discovering” it I was essentially revisiting and looking more closely at things I already had seen. I had crawled out of my tent before sunrise, resisting the temptation to stay in the warm sleeping bag “for just a few more minutes,” and instead unzipping the bag, pulling on a down jacket and boots, heading outside and shouldering my gear. It was still not light when I arrived here, and a made a few “warm up” photographs as I wandered around this pond in the damp meadow. To make the photograph I was standing almost as much in the lake as I was next to it. At the time of this photograph the first, warm dawn light had come and gone, though the alignment of the peaks meant that not much direct light fell on the scene. Having visiting this spot for a week now, I was also noticing that the grass on the rise across the small pond was now visibly transitioning from summer green to autumn brown. As I worked a breeze came up, ruffling the surface of the water — and this photograph was made during a brief interval when it quieted enough to reflect the distant peaks. And speaking of those peaks, as I stood here and looked at them I was also aware that in about 48 hours I would be leaving, crossing a 12,000′ pass that is visible at the low point on that ridge. The trip was coming to an end.

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: Nature, Photographs: Northern California, Photographs: Ocean & Coast

Low Tide, Fog, Drakes Estero

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Low Tide, Fog, Drakes Estero
Thinning fog above Drakes Estero at low tide

Low Tide, Fog, Drakes Estero. Point Reyes National Seashore, California. July 23, 2017. © Copyright 2017 G Dan Mitchell – all rights reserved.

Thinning fog above Drakes Estero at low tide

I spend a mid-July day hiking — at least once I had completed my obligatory bakery stop at Point Reyes Station — a route at Point Reyes National Seashore that I’ve had my eyes on for some time. It is a trail that starts in the upper recesses of Drakes Estero and, if you turn at the right junctions, finally goes all the way to headlands above Drakes Bay. I had, in fact, started this hike at least once in the past, but always a bit spontaneously and too late in the day, and each time I had turned back before completing it. This time I planned more carefully, and I was on the trail in plenty of time to complete the round trip.

This is a spare landscape, mostly without the vertical scale of places like the Sierra or even of the Big Sur coastline. Bare bluffs run along the peninsula that runs out toward the actual “point,” and the view extends more in the horizontal than the vertical direction. But what it lacks in vertical relief, this landscape can make up for as a canvas on which effects of atmosphere and light may play. My plan was to begin my hike at about the time the morning fog broke up, and to then follow the fog/sun line as in moved toward the coast. I was not entirely successful (it never did clear at the coast) but I timed it just about right for the start of the walk. This photograph comes from that early section of the route, when the clear sky above the dissipating clouds reflected its blue color onto the waters of the estero.

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 | Twitter | Facebook | Google+ | LinkedIn | Email

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