A few final beams of light illuminate Eastern Sierra autumn aspen trees.
The light in this location is unusual for the Sierra — for geographic reasons that I’ll explain below. This forest of autumn aspen trees is on the east slope of the range, at what I think of as a middle elevation. Here the high desert sage country meets aspens and a few conifers, then transitions as the terrain rises until the forest is mostly conifers. The shallow angle and steady rise let us view one of the bigger aspen stands in the Sierra.
About that special geography… In many places the eastern front of the Sierra is quite steep, and some of the most precipitous mountain faces in the range are along this side. But in this location the rise is more steady and gentle and it begins at a higher elevation. Consequently, late in the day when I made this photograph the light streaming between peaks to the west comes in at about the same angle as the slope — and long shadows and beams of late-day sunlight spread across the landscape.
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.
Aspen trees with a few remaining autumn leaves, against a cliff face with snow.
The Sierra Nevada experience of the past year-and-a-half or so has been… strange. Everything has changed since our world was turned upside down in March of 2020, and my ability to visit and photograph my favorite mountain range has not been an exception. During the first summer we saw many locations simply shut down, and I didn’t really get into the Sierra until the very end of that summer — but only for very brief visits and one aborted pack trip that I had to cancel as a result of the intense wildfire smoke. By last winter I was again able to more comfortably get to non-Sierra locations including Death Valley, where it was possible to work in relative isolation, but the Sierra remained difficult to access. I got up there a few times later in the season, but it wasn’t until this fall that I felt that I was beginning to reconnect with this landscape.
In mid-October we put together an actual road trip. It began with a couple of nights in the Eastern Sierra before continuing on to Southwest Utah, another location that I hadn’t been to in far too long. This brief autumn Sierra visit (which followed another visit a week earlier) was a bit later than usual, and we ended up visiting a few places that I usually overlook… and heading to a few “old friends” even though they were past their prime. I made this photograph in one of those places, a location where the colors are usually spectacular a bit earlier in the season. I knew that wouldn’t be the case this time, so we went there a bit later in the day after photographing more promising morning subjects. We arrived, made a quick stop, and I spotted this small group of trees in the shadow of a cliff. They were nearly at the end of their color transition and most of the leaves were gone, but those that remained glowed in the bit of light arriving over the top of the cliff.
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.
The shoreline of Mono Lake, a cone, mountains, and the last light of an early Autumn evening.
The views from this section of Mono Lake have long intrigued me. I think it may be because I frequently arrive here late in the day from the north, and especially in the autumn it is pretty common for me to come down the grade from Conway Summit at just about sunset. On quite a few occasions I’ve raced the sunset to get there in time for the last light, occasionally with the rising full moon in the scene. By now I have a few particular locations where I like to pull over and set up on these lovely evenings.
This view looks along the shore of the upper “corner” of the lake just off of US 395. The shoreline undulates here now that the waterline has dropped from historic levels. (I’m fairly sure that the foreground peninsula was previously under water.) A second peninsula extends into the lake from the Black Point formation, and beyond that lies Negit Island. In the distance, beyond the far shore of this huge lake, lie desert mountains, catching the final sunlight of the day in this photograph.
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.
Trees, fog, and snow on the granite summit of El Capitan glow in a final beam of sunset light.
Near the beginning of March I was in Yosemite Valley for three days in conjunction with the opening of the Yosemite Renaissance XXIX exhibit. (One of my photographs is in the show.) It was a wonderful weekend in many ways. Lots of artists of all sorts were there for the opening—and for Yosemite!—and I had the chance to get together with many friends among them. It was also a time of atmospheric conditions that were spectacular in ways that interest me as a photographer – broken light, occasional rain, mist and clouds.
On this evening we went to Tunnel View since it was mostly gray down in the Valley and because there was some promise of not only drifting clouds and mist there, but also of some late day light. All of those things happened, but as the end of the day approached, the “lights went out” as the clouds to the west thickened and blocked the setting sun. I continued to shoot for a while, mostly focusing a long lens on small distant details within the scene, but I finally decided that the light was simply becoming too flat and I walked back to the car to pack up, thinking about the friends I would soon join for dinner in the Valley. At the back of the car I removed the long lens, collapsed the tripod, and was packing everything away when Patty, who was sitting the front seat and facing the valley, exclaimed, “Look at that light!” Frankly, I wasn’t expecting much, but when I looked up I saw a blood red band of light stretching across the cliffs of El Capitan on the left and Sentinel Rocks on the right. Apparently the sun had found a narrow gap in the clouds almost exactly at the point it reached the horizon far to the west. I immediately knew that this light would be gone very quickly—at best it might last a minute or two—so I worked very quickly to set up the tripod, attach the camera, and stick a long lens on it… not even looking up at the view as I worked. No time to look! I quickly moved the camera to the nearest possible shooting location and, working almost entirely intuitively, quickly picked out perhaps four different shots, each focusing on the momentarily best bit of light as the scene evolved quickly. The final bit of light was a rapidly fading stripe just across the snow- and cloud-shrouded summit of El Capitan, where the upper rocks, snow, and trees picked up the intense red light for a matter of a few seconds, and then it was gone.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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