Tag Archives: dark

Interrupted Dune #2

Interrupted Dune #2
Interrupted curve of sand at a Death Valley dune.

Interrupted Dune #2. © Copyright 2022 G Dan Mitchell – all rights reserved.

Interrupted curve of sand at a Death Valley dune.

If you follow my posts and think that this looks familiar… you are right! It is a vertical (or “portrait”) format version of a subject that I shared earlier in a companion “landscape” orientation version. When a subject can work either way (albeit with different effects) it is my practice to capture both vertical and horizontal versions. I suppose one reason is that it relieves me of the worry that I might have picked the “wrong” option. It also puts off a final choice until later. In addition, it provides me with two visual options for the image, something that is occasionally useful. (For example, book and magazine covers tend to use vertical formats.)

Superficially this version looks a lot like the other one, though the taller and narrower format may give greater weight to the curve running between the bottom and top of the image and less weight to the darker portions of the scene. However, if you were to look at them side-by-side you would notice that the textures in the sand are subtly different, and that that colors have also shifted a bit. This photograph, like quite a few that I make in situations like this, was made in rapidly changing light conditions, and in the brief interval between the two photographs the scene changed visibly.


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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Criminal Courts Building

Criminal Courts Building
North Entrance, Crimial Courts Building, Mahattan.

Criminal Courts Building. © Copyright 2021 G Dan Mitchell – all rights reserved.

North Entrance, Crimial Courts Building, Mahattan.

This photograph comes from the same winter walk from Midtown to Lower Manhattan that I wrote about in another recent post. It was a somewhat unusual photographic walk, in that we had a specific appointment to make in Lower Manhattan just after sunset. With that in mind we were less able to follow our noses on this walk, and rather than pausing too much or taking little side journeys along the way, we progressed at a fairly regular rate to the south. This meant that I rarely had time to pause long to make photographs, aside from the occasional street light, so most of the photographs were made quickly, and I had only a short time to work any of the subjects. (In fact, we moved fast enough that I often did not have time to even take careful note of what I was photographing.)

As we passed this impressive Art Deco building in Lower Manhattan, the combination of angular stone faced, blue-toned evening light, and the contrasting warm yellow tones of interior light caught my attention. I was working quickly and using a fixed-focal length lens, so my compositional options were limited. I couldn’t photograph the entirety o the building, so I focused on this entrance area. It occurred to me later how profoundly the appearance of this scene is affected by light — a daytime photograph here would not be particularly dramatic, but there’s something a bit oppressive about the quality in this light.


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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Mono Moonrise

Mono Moonrise
Autumn full moon rises over Mono Lake, California.

Mono Moonrise. © Copyright 2021 G Dan Mitchell – all rights reserved.

Autumn full moon rises over Mono Lake, California.

The scene is an autumn moonrise over Mono Lake, a scene that I often encounter on my fall photographic visits to the Eastern Sierra. I’m there often enough that it seems like I have this opportunity almost every year. I had been photographing more typical autumn subjects earlier in the day — largely the fall colors of aspen trees — but I decided to finish that activity early enough to get myself to a likely location to see and photograph the moonrise over the lake. These days, with the help of various digital tools, we can come very close to putting ourselves in precisely the right spot at precisely the right time. On this evening the moon rose in early twilight, but I continued photographing until it became quite dark.

On a technical note, there are some challenges to including the full moon in a photograph made after dark. The biggest issue is that the moon is a lot brighter than the landscape — the landscape is in darkness but it is essentially noon on the moon! There are ways to deal with this, one of which is to photograph before the landscape becomes completely dark, and I did that here. But I was pushing that boundary a bit, and I was initially unable to get the balance between the moon and the dark landscape that I was looking for. However, as sometimes happens, the sophistication of post-processing software advanced, most notably with the introduction of some powerful new selection tools in Lightroom and Adobe Camera RAW. (Despite the popularity of Lightroom, I’m still a Bridge/ACR/Photoshop user.) These tools enabled me to make some important adjustments to the dark portions of this image while retaining detail in the moon. (NOTE: This is a re-working of a photograph that I had previously shared back in 2019.)


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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Solitary Aspen, Dark Forest

Solitary Aspen, Dark Forest
A small autumn aspen tree in the light in front of dark forest.

Solitary Aspen, Dark Forest. © Copyright 2021 G Dan Mitchell – all rights reserved.

A small autumn aspen tree in the light in front of dark forest.

There is something about solitary trees standing against some sort of background. A friend has referred to them as “brave little tree” photographs — something I now think about every time I make one or see one. Landscape photography doesn’t always come quite this close to eliciting metaphorical associations, but I can certainly understand how one could make this association with these subjects. On a more prosaic note, from a purely compositional perspective, a single central subject posed against a larger and contrasting background often works visually, too.

This photograph was also an extra reminder to me about why I like to photograph non-iconic subjects. (Though I do have to admit that the solitary tree is a sort of generic icon, if that makes sense.) I rediscovered this photograph recently while reviewing some raw files from a couple of years ago. I usually record location information as I work on photographs, but with this one I could not even determine exactly where I made it! By sequencing the files before and after this exposure I was able to narrow it down to one very large drainage, but I don’t actually recall making the photograph! I I had worked with the file back when it was new, but I wasn’t fully satisfied with the result. When I came back to it I saw it in a somewhat different way, and I saw how to apply some newer post-processing tools to get the result I was after.


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.

Blog | About | Flickr | FacebookEmail

Links to Articles, Sales and Licensing, my Sierra Nevada Fall Color book, Contact Information.

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