Somewhere in northwest Scotland, between Shieldag and Applecross, we paused on our drive through this broad valley. It was surprisingly cold — there was new snow on peaks on either side — and rain showers passed across the landscape. Nearby was what appeared to be an old road, now marked as a foot trail, heading off into the valley — the sort of trail that makes you aware that there are places more remote than where you stand.
Continue reading Trail, Highlands Valley
Except for one element, you could find a similar scene in California’s Sierra Nevada. That one element? The intense coloration of the Utah sandstone red rock formations. The contrast between the green trees and the red sandstone is striking, as is the complexity of the geology —with strata and layers intersecting and exfoliation gradually removing the topmost layers.
I photographed this scene some years ago on a visit to Zion National park. These colors and textures provide a visual playground for photographers. And sometimes wildlife even joins in the fun — on one occasion I photographed big horn sheep on nearby slopes.
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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
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Every so often I think about how photographers captured images of fall “color” in the era of black and white photography, and I have to try my hand at it once again. Obviously the usual approach — finding some brilliant color and then emphasizing it in the photograph — won’t work here. Instead, contrast with darker surroundings could be one way to evoke the brilliance of autumn foliage.
Although this small black oak appears alone in the photograph, it has other oak neighbors nearby. What sets it apart apart is that it grows against a backdrop of a very dark and thick conifer forest. I’ve watched this tree for years, and the contrast can be quite compelling in the fall.
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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.
This is another of those dense vegetation photographs that I like. I enjoy the challenge of looking at these complex scenes long enough to find order in their complexity and near-chaos. Here that meant setting up a good distance back from the scene and photographing with a very long lens, moving around to find just the right relationships among the elements.
There are two special things about this specific spot in Yosemite Valley. The first has to do with light. Since areas along the base of the southern cliffs tend to remain in the shadows for many hours, I go here to find soft shadow light. But even better, El Capitan is across the Valley from this spot, and it reflects the daytime sun into these trees, giving a directional quality to the light. There’s one more interesting thing about this spot: a road runs fight in front of it, so one must compose carefully to leave it out and then wait for any cars to pass!
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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.