A redwing blackbird rests on a branch on a foggy early spring morning at Calero County Park, California.
Although this photograph was made in April, it evokes the Central and Northern California winter for me. This is a time when tule fogs are common – the inland valley fogs, which are different from the coastal fog of warmer months – and when the number of birds and other wildlife seems to increase, perhaps because fewer people are out and about than in the summer.
This photograph was made at a small pond that is not too far from where I live. It is near the start of a trail that I have hiked many times, a trail that eventually rises through grass and oak covered hills to low ridges that catch the morning sun. The small ponds is only perhaps five minutes from the start of this trail, and it is a place where I can often find local and not-so-local wildlife if I arrive early and approach quietly.
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
An imaginary landscape from surf, rocks and horizon at Point Lobos State Reserve, California.
I refer to photographs like this one as “imaginary landscapes” – though I suppose that this one is actually an imaginary seascape. The boundary between these photographs and my Regular Old Garden Variety Landscapes is a bit nebulous, but it relates to how far and how intentionally the interpretation of the scene departs from what might be regarded as its objective reality. In this case, some things were done at the time of exposure and some other things were done in post that make this image more obviously a subjective interpretation of the scene than might be the case with many of my other photographs. But you could see that by looking at it, right?
In any case, this is a single photographic “capture” made with a long exposure time that was extended by the use of a nine-stop neutral density filter – and this is what creates the majority of the soft quality of the image. Some additional work was done in post to further manipulate the original image – work with saturation and certain ways of diffusing portions of the image and so forth. In the end, little of that matters beyond the fact that these techniques were ways of producing the image that I had in mind, and which I intend to evoke something about the nature of the real scene upon which it is based.
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
San Francisco Bay morning fog over begins to break up over Alcatraz and Yerba Buena Islands and the San Francisco Oakland Bay Bridge.
I made this photograph back around the start of spring in 2009. I recall shooting from the Marin Headlands back toward the Bay as the fog began to break up, still obscuring the view but allowing beams of light to begin to come through the gloom and light up portions of the Bay. Alcatraz Island is at upper left and beyond that is the Treasure Island and Yerba Buena Island complex.
Many things intrigued me about this scene. Although it is in shadow still, Alcatraz stands out as the clearest object in the scene. The patterns on the water were amazing, created by a combination of the normal surface waves, the wakes of ships that had passed, and the mottled and mixed lighting of areas of fog and sun. Beyond the main subjects and over the East Bay shoreline around Oakland, light beams come down from the clearing fog.
This photograph is also an example of why I save and later review all of my raw files. Either because I don’t understand the image when I first make it or perhaps I move on to the next project too quickly sometimes it is not unusual when a photograph “slips through the cracks” and I end up overlooking it. This was one of those photographs… which I now find hard to understand.
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As is often the case, there is a story behind this photograph – an image that I think is fairly atypical of my work, at least as to the subject.
A year ago, almost to the day, I was also in the eastern Sierra to photograph aspens. And on that day I got up very early at my lodging in Mammoth and headed out before sunrise, which it was still dark actually, without a fixed idea of where or what I was going to photograph. I reached highway 395 and headed south, with a vague idea of heading up one of the promising canyons such as that of McGee or perhaps Rock Creek. But very soon I saw fog out in Owens Valley above Crowley Lake and I started thinking of instead heading away from the Sierra and out into that Valley. I ended up at a small pond from which I photographed the light from the rising sun as it hit the eastern slopes of the Sierra.
That show was over fairly quickly, so I decided to explore a bit. I had noticed mist and fog in various places in the surrounding area. Some of it seemed to come from small hot springs while in other places it seemed to extensive for that. I picked, more or less randomly, some gravel roads that headed toward the foggy areas and ended up on Hot Creek, where I made several photographs of and through the fog rising from the water.
Fast forward to this year. The first day of aspen shooting was productive, but the colors were overall not really as spectacular as I had hoped. If the intended subject “isn’t happening,” I’ll often change course and look for something else. So, once again I woke up without an aspen photography plan, but with two other vague ideas in mind. One was to go up to Minaret Summit and photograph the first light on the Minarets and Ritter and Banner Peaks. The other was to drive south again on 395 to see what would happen. When I got in my car to head out I still literally did not know where I would go. I sat in the car a moment and then, for reasons that I can’t recall, picked the 395 option. (Later I realized that the other option could have been productive, too.) I headed south on 395 and was astonished to see – again! – the fog over Crowley and the mist rising out in Owens Valley. So I went to my little lake to shoot there first and then headed out to where I had shot Hot Creek last year, but this time I kept going. At one point I passed this small range while heading out but couldn’t see a shot. Later on my return trip I passed it again, and this time I saw the stock grazing in the frozen meadow next to this small creek, with mist and fog rising everywhere. I stopped.
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Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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