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Gullies in Soft Light

Gullies in Soft Light, Death Valley
“Gullies in Soft Light” — Eroded gullies and ridges in soft light, Zabriskie Point.

These badlands formations, where soft layers have been eroded by water, can be difficult to photograph. Those difficulties can lead to ethical questions for photographers. The issue is that the range of colors and luminosity in these formations is very limited — the color is basically a light tan and the difference between the light and dark areas is small, at least in soft light. One choice is to enhance that contrast and coloration during the post-processing phase, and that can create some impressive images… though this can depart radically from the actual appearance of the landscape. Here I decided to go with the low contrast and soft colors instead.

To repeat a story I’ve previously related, almost by accident I ended up here to photograph a subject that ultimately did not develop as I had hoped. So I turned my attention to other things nearby, including these formations. I photographed them rather early, before the direct sunlight arrived. This meant that the contrast was even more subdued, as the soft light was from the early morning open sky — directional, but only subtly so.

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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Gullies in Soft Light #2

Gullies in Soft Light #2
“Gullies in Soft Light #2” — Eroded gullies and ridges in soft light, Zabriskie Point.

In the right light (and perhaps with a certain amount of post-processing) the geological patterns in a place like this can be drawn out and emphasized. But most of the time they are rather subtle, with pastel colors and low levels of contrast. This is especially true early and late in the day when the formations are not in direct sunlight. In this series of photographs from Zabriskie Point I decided to embrace the low contrast light and allow subtleties of shape, texture, and color to predominate.

Previously I mentioned that I ended up here because in the predawn twilight I thought I saw the potential for a spectacular sunrise sky. You cannot predict such things with certainty, and this time the colors did not develop as I hoped. Since I was there and set up to make photographs, I decided to use a long lens and focus on smaller details of this area’s landscape.


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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


All media © Copyright G Dan Mitchell and others.