A Sierra Nevada stream cascades over and around rocks.
To be honest, photographing moving water like this can easily become addictive, and there are endless variations on how you might do it. Shutter speed variations allow a range of interpretations between stopped motion and motion-suggesting blur. Zoom in close and the water can be the entire subject, or work from a bit more distance and incorporate the surrounding terrain. Choose your time of day and get warm or cool coloration. Photograph at a time when the water reflects light on nearby objects and introduce a wider range of colors into the composition.
During our one-week stay high in the Eastern Sierra we were fortunate to have many opportunities to photograph water, ranging from many nearby alpine lakes to the abundant creeks and cascades that were still flowing despite the rather late date in the season. One evening I wandered a few hundred feet down below our base camp to this area where I had walked this creek a day or two earlier, and I spent a good deal of time photographing it.
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 and Amazon.
Soft early morning light illuminates curving erosion patterns of a desert gully, Death Valley National Park
Today I’m back from my annual spring photography visit to Death Valley National Park. I first visited this place a bit more than 15 years ago, though photography was not the purpose of that first trip. My first view of the Valley was magical. We had arrived the night before and set up camp in the dark at the first camping area we found, a tiny campground near below Towne Pass at the turnoff to Wildrose Canyon. I had little idea where I was nor what my surroundings looked like, as I had literally never been in this place before. Early the next morning I stepped out of my tent and was greeted by an astounding and unexpected view down into the huge and rugged landscape of this Valley, a first sight I will not forget.
Since then I have returned many times — much of that landscape has become familiar to me as I’ve pushed the boundaries of my knowledge of the place outwards in all directions. I’ve been into areas that I didn’t imagine existed on that first visit, and I’ve learned to see past the geology and geography of the place and see the human history of the park and the sometimes-hidden beauties of wildflowers and more. Today when I visit I still look for that astonishing and grand landscape, but I also slow down and stop and look for more subtle things that I surely missed nearly completely on that first visit. This little miniature landscape of curving erosion and stones and first light is one that I would have missed completely on that first visit, but which I now know can be found almost everywhere in this park once I slow down to the pace of the desert and take the time to really look.
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
The Little Sur River meets the Pacific ocean along the Big Sur coastline of California in evening light
On this weekend near the middle of January, the local news and weather reports announced the arrival of very large winter surf along the central and northern California coast. This typically happens a few times every winter, when very distant storms far to the north in the Pacific Ocean near the Aleutian Islands send huge swells south towards California. For those whose experience with the California coast has mainly been to experience the usually gentle surf on summer, these waves can be stunning. When I heard about these conditions I knew I had to make it over to the coast. The setup this weekend was special in another way – the period between large waves was rather long and the larger sets of waves were separated by many minutes. We saw this process in action when we first arrived to find what looked like surprisingly calm seas, with only rather normal looking waves. But within minutes a set of the larger waves began to come ashore and we were astounded at their size and power.
This weekend was doubly special. Not only was the monumental winter surf running, but we had a spell of that weather than can make people from other places envy Californians! We went south from Monterey and into the upper reaches of the Big Sur coastline, where it was beautifully sunny and close to 70 degrees! (For those who think this is actually typical… not quite! In the summer this area is often blanketed by thick fog for days on end.) The waves and the weather drew thousands to the shoreline, and I can’t recall the last time I saw so many people along the coast highway. We joined them and made quite a few photographs during the afternoon hours. At the same time I was scoping out possible locations for that final golden-hour photograph. As the end of the day approached we were very close to Big Sur itself, and I remembered stopping at this spot a bit earlier in the day and thinking about how to compose a photograph of the peninsula separating the curving Little Sur River from the steep cliffs and ocean beyond.
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
A solitary boulder interrupts the flow of the Tuolumne River as it reflects the colors of sunset sky, Yosemite National Park.
I’m just back from a few days photographing in the greater Tuolumne Meadows area of the Yosemite and the Sierra. I stayed in Tuolumne for a couple of nights and then one additional night at a forest service campground just east of the pass, allowing me the better part of four days of photography in the area between about Tenaya Lake and the pass, plus some areas east of the pass. I even managed to get down to Mono Lake for one very early morning shoot. For those who haven’t been up there yet this season, this is a very different year in many ways related to climate. It is dry! There is virtually no snow left except in the usual “permanent” areas on the highest peaks, water levels are very low, and overall it looks a lot more like late August or even September. (But look around and you’ll still find wildflowers.) Areas of the forest, especially higher up and near passes, seem to have suffered a lot of damage in a late-2011 wind storm. I’ve never seen so many trees downed by wind as I saw near Tioga Pass on this visit.
Since I was camping in Tuolumne Meadows, one day I used the midday hours that are less conducive to photography to scout a few locations along the Tuolumne River. I wandered down from camp, across the meadows, and over towards Soda Springs. From here I picked out a few likely prospects for evening photography – a bend in the river with some interesting trees, a large boulder that might front a photograph of the Cockscomb, and a few others. That evening I returned, hoping for interesting lighting. It was one of those evenings that held the possibility of very interesting sunset and post-sunset light. There were dissipating clouds above the Sierra crest, some clouds directly overhead, and clearing to the west. These conditions can allow light to shine up under the clouds from the west at sunset, and can produce intensely colorful displays. I never know for sure that this will happen, but I know that the conditions increase the chances a great deal… so I’m willing to be there and ready to photograph if it does happen. On this evening it didn’t quite happen. It was a lovely evening and there were colors, but nothing tremendously out of the (relatively nice) ordinary. During the last few minutes of color I was thinking about how there was nothing to the west that could make a photograph that included the light appearing that direction, when I happened to look down on the surface of the river to see this rock and these patterns on the surface of the water.
G Dan Mitchell is a California photographer 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
