“Winter Fog and Trees” — Thick tule fog in a thicket of trees, Central Valley.
TWinter is the season for migratory birds in California’s Central Valley, and I try to get out there as often as I can. This region is also the site of extraordinary tule fog — frequently thick enough to make driving quite challenging. My ideal day of bird photography In the Valley starts with early morning fog that begins to thin after dawn. But sometimes the fog does not thin.
This was one of those persistently foggy days. I could hear birds around me, but I could rarely see more than a hundred feet or so into the murk, so bird photography was not happening. That’s my signal to revert to landscape photography, and fortunately the fog produces a moody and mysterious effect on the landscape.
“Mountains, Sky, and Water” — Desert mountains and hazy light above Lake Manly, Death Valley.
Many of my Lake Manly photographs look out into Badwater Basin, across the lake, and towards the Panamint Range rising in the west. For this photograph I found a camera position a bit north of the “usual spot” and pointed the camera south to including the sequence of desert mountain slopes beyond the lake. This view includes the interrupted reflections of those slopes along with salt flats along the edge of the lake.
This photograph is related to another I shared recently that also featured layers of desert mountains extending into the far distance. Both feature “atmospheric recession,” in which haze lightens more distant features and obscures their details. In addition to elements such as converging perspective lines, this effect also can suggest depth and distance.
“Evening Road, Death Valley” — A gravel road descends toward desert playa under evening skies, Death Valley
Sights like this become familiar if you spend much time exploring Death Valley National Park — a deserted gravel track heading off into the arid landscape with hills in the distance. There are variations: a narrow track following a streamed winding between high walls, a road crossing high desert mountains, and others. This particular example is not all that isolated — though it doesn’t get a lot of visitors.
It was late in the day and we had hurried back down into the Valley in hopes of low-angle sunlight on the terrain between the road and the far hills. That did not happen, and the light was somewhat flat. But the same clouds that blocked the late-day sun also filled the sky above the desert terrain in this photograph.
“Receding Desert Ridges” — Desert ridges recede into the distance, Death Valley.
The desert is a fine place to photograph basic geological forms and effects of light. At first glance this may appear to be a monochromatic photograph, but it is just that the colors are so soft and subtle, being muted by the desert atmospheric haze. That haze is also responsible for the lighter tones of the distant mountains — an effect known as “atmospheric recession.”
Now, weeks after I made the photograph, I can only recall the location in general terms. It certainly was not an iconic spot nor a location where most people would stop. But these patterns speak to me, and I’m fascinated by the conjunctions and relationships of lines and by the layers of tonality in a such scenes.
