A flock of pelicans turns toward Waddell Creek Beach along the Pacific coast of California.
This group was photographed a few seconds before I photographed the single overhead pelican that I posted a couple of days ago. Here the flock had turned back towards the land in preparation for rising to the edge of a much higher bluff just to the north.
Since I so recently described the circumstances of this shoot, I’ll keep this text short!
Three pelicans fly along the California Pacific coastline under clearing fog and blue sky.
To my surprise, I got to feed my pelican obsession on Memorial Day. As we drove up the coast north of Santa Cruz, where the road frequently follows the edges of coastal bluffs where they drop off into the Pacific, we started to notice larger than usual groups of pelicans heading north and riding the updrafts next to the cliffs. Having watched these birds many times before, I have learned a bit about their “traffic patterns,” so I suspected that if we went a bit further north to where the road comes down at a beach where a creek enters the ocean that we might encounter the same birds as they, too, dropped down to the water’s edge.
My hunch turned out to be right, and a few minutes after we arrived I caught a glimpse of the distant flock coming around the edge of the bluffs to the south and starting to descend toward the beach. They approached over the edge of the surf, but then turned toward the land as they started to climb again to rise above the next bluff to the north – and for a few seconds I was able to track and photograph them against the thinning fog and blue sky.
A small tree stands in the raging spring torrent of Cascade Creek, Yosemite National Park.
This may be the final photograph in this series I shot in early May when I visited this seasonal cascade on the way into Yosemite Valley. Compared to some of the others this one takes in a larger portion of the scene, mainly so that I could include the little leafless tree or bush at the lower left, as it stands against the tremendous force of the rushing water descending steeply among the rocks.
This creek is fed by seasonal snow melt fairly early in the season because the ares that feed its flow are at a relatively lower elevation. For a while each year, but especially in a wet year like this one, this little creek rages as it drops precipitously down this narrow canyon towards a point below where it flows into the Merced River. A bridge provides an interesting vantage point from which to shoot almost directly down into the torrent.
Runoff from spring snow melt rushes over boulders of Cascade Creek, Yosemite National Park.
I recently posted the black and white version of this photograph of Cascade Creek in full spring flow. I am still undecided about which I prefer. I haven’t printed either as of the date of this posting, and the results of that further work may help me decide.
The color version of this photograph posed a series of post-processing questions and problems that others who have worked with a scene like this one can probably imagine. The creek descends through a narrow, rocky gorge at this point and I photographed it early in the morning before any direct sunlight was able to reach the water. Benefits of shooting at this time included the softer light, which tends to both throw some light into the shadows and to soften the brightest highlights. This also permits a longer exposure which allows the water to blur a bit and express the wild motion of the creek. However, since the primary source of light was the open sky, the camera “sees” a very blue scene. (Our visual system compensates for this, so it doesn’t look as blue as it really is when you are on the scene.)
There are several ways to deal with the color balance issues that this situation creates. You could just “go with the blue,” and I’ve seen photographs done that way. I’ve even seen some in which the photograph amped up the saturation and ended up with something very blue. In general, that’s not my thing! I’m most often looking for something that seems “believable” – it may not be objectively accurate, but I intend it to be “subjectively accurate.” With this in mind, my first instinct was simply to warm the color balance in order to move away from the blue cast and toward a warmer one.
My immediate impression was that this was an improvement, and I worked with this interpretation for several days – but something about it didn’t sit quite right with me. (This is perhaps one reason that I also worked with the black and white rendition in the meantime.) Eventually I did some comparisons between the “warmed up” version and the original… and neither seemed like what I was after. The overly blue original looked garish but the overly warm version seemed artificial. I tried some other approaches and finally discovered that because the blue was so intense that I could simply desaturate it – more than you might think – and keep the “colder” coloration without letting it overwhelm the image.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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