This is, in several ways, kind of an odd Death Valley photograph. The fine-grained gravel covering the slopes and hills here are not widespread in the park — in most places the ground tends to be lighter in color. On the other hand, the curving shapes and runoff erosion channels are seen elsewhere, as are the plants. (If you look very closely, you will see not only the larger green plants but lots of small wildflower shoots just emerging.)
Continue reading Eroded HIlls
We ran into a photographer friend in Death Valley, and she reminded me of this location. It is a surprising and unusual geological formation, but one that I have never felt too enthusiastic about photographing. But her enthusiasm persuaded me to go there and try again. We got sidetracked by a different subject nearby, but we finally made it here late in the day.
The late arrival may have been fortuitous, since the sun had dropped behind nearby mountains, and much of the filtered light came from other bright clouds that were still sunlit. This softer light filled in the shadows of this rugged formation.
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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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This is not the first time that I have photographed this same subject, more or less, in evening light. Corkscrew Peak stands out in this scene of rugged, furrowed desert mountains. Because the location is on the eastern side of Death Valley, late light angles across the landscape just before the sun drops behinds mountains far to the west, and this light emphasizes the textures of the eroded landscape.
Continue reading Corkscrew Peak and Desert Hills
We re-visited this location in Death Valley at the recommendation of a friend. I have photographed here before but was never particularly inspired by the subject. We arrived late in the day, and almost didn’t get there in time for decent light… because we stopped before we got there when I was distracted by another subject.
We showed up just as the sun was dropping behind high ridges to the west, and clouds were further softening the light. That soft light is often good for a subject like this. For one thing it makes the subject less harsh. For another it reduces the contrast between highlights and shadows and opens up those shadows a bit.
Leave a comment or question using the form. (Click the title to see the full article and to comment if you are viewing it on the home page.)
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.