Two snags stretch toward the sky below an Eastern Sierra Nevada peak in morning light.
This location was a short walk above the Eastern Sierra backcountry base camp where our group spent a week in late August and the very beginning of September. We were camped at about 11,000′ of elevation, where the trees start to give out just below timberline… and where the landscape’s main feature is rock, including granite slabs, glacial moraines, talus fields, and rugged high peaks.
I walked up here early one morning with a plan to photograph a subject just a bit farther away, but I got distracted by beautiful and developing light. I had noted these snags several days earlier and made a plan to return to photograph them in better light. As I arrived the dead trees were still in shadow, but within moments the sun/shadow line reached the trees, and I made this photograph just as the entire height of the trees came into the light.
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.
The first morning light strikes a tree on a rocky peninsula reflected in the still water of an alpine Sierra Nevada lake.
Our group’s method is generally to pack in to a base camp location, and to then remain in that single location for a week or so. Many years ago, when my primary orientation was that of a backpacker, I recall being almost terrified of staying in one spot so long — I imagined that I would be bored. But the opposite turns out the be the case. I gradually push my boundaries out from the camp, learning the variables of light and conditions, and get to the know the area much more intimately. I may initially visit a spot in light that is just “OK,” but then make plans to return when it is likely to be perfect. (And when I blow it I can come back and try again!)
This lake was only a ten or fifteen minute walk away from our camp. I had visited it some years back on a pack trip, but only briefly. This time I was able to wander up there quite a few times, in both morning and evening hours. On my first visit of this trip I missed the timing on the light, arriving just after interesting light had left some picturesque snags. But on the visit when I made this photograph everything worked out just right. I arrived very early before the sunlight had made it down to lake level, and I spent time photographing in this quiet light. Then I decided to move to a feature that I had scouted on the previous visit, and that also provided the light I was looking for. Finishing that, I decided to climb a higher ridge and traverse around the side of the lake, but as I did so I looked back and saw this scene illuminated by the reflected glow of rocks that were now in sunlight. I stopped and made a series of photographs of this little peninsula, the dark and reflective lake surface, and the jumbled rocks along the shoreline.
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.
A lush lupine-filled meadow along the outlet stream from Hungry Packer Lake near Picture Peak, high in the Sabrina Basin – John Muir Wilderness, Sierra Nevada, California.
A lush lupine-filled meadow along the outlet stream from Hungry Packer Lake near Picture Peak, high in the Sabrina Basin – John Muir Wilderness, Sierra Nevada, California.
We had hiked up through this meadow filled with plants and wildflowers earlier in the day while walking a circuit that included Hungry Packer Lake (beyond the saddle seen in the distance and below Picture Peak), Moonlight Lake, and Sailor Lake. At that time the early afternoon light had been far too harsh for photography, so I made plans to be back here early in the evening. I had hoped for some “golden hour” light, but I have to admit that I could see that a ridge to the right was going to cast a shadow here too early for that. Fortunately, the light on the peak came from the side such that it wasn’t as much brighter as it might otherwise have been, and it seemed like it might be possible to capture the huge dynamic range of this scene.
That last point brings up a difficult technical issue with this photograph – that tremendously large dynamic range. Although my eyes/brain could take in the full scene while standing there, no camera that I’d be carrying on the trail can possibly deal with this in a single shot. In the foreground the meadow plants were in early evening/late afternoon shade while the cloud above the peak was brightly lit by the direct sun. In the film days the only real option would have been to use a graduated neutral density (GND) filter to reduce the light from the sky. However, with digital capture we have another alternative – capturing several exposures of the scene optimized for the bright and dark areas and then combining them in post-production. That is precisely what I determined to do here.
In this case I made a main exposure that handled the middle of the dynamic range of the scene. I also made two more; one optimized to barely contain the brightest levels in the cloud and the second optimized to capture all of the details in the darker foreground meadow. The three versions of the scene were combined in post-processing to recreate something much closer to what I actually saw. (Yes, this was a complex photograph to realize!) in addition to using three exposures, I was also able to carefully customize the boundaries between them issuing masks – both of which would be impossible with a GND filter.
This photograph is not in the public domain. It may not be used on websites, blogs, or in any other media without explicit advance permission from G Dan Mitchell.
