Intensely red light on granite slabs and trees in the Yosemite National Park backcountry.
This is the third and final in this short sequence of photographs from this late summer evening in the Yosemite backcountry. I had passed over the summit of a granite dome just before sunset and was descending granite slabs along the drop-off into a large canyon, heading back toward camp, as the sunset light became intensely red.
The intense color was largely the result of the not-so-great air quality to the west of here. September and October are traditionally the wildfire season in California, and the atmosphere is often softened by a sort of general haze at this time of year. In addition, because I was in a location where I had a direct line of sight to the horizon across the Great Central Valley, the light was passing through more of this hazy atmosphere than usual. The result was light with a color intensity that might seem almost unbelievable — but I guarantee that it was real.
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.
A tree and granite slab are lit by brilliant sunset light from a dissipating evening thunderstorm, Yosemite National Park.
This was another of those sometimes-surprising bursts of evening Sierra color that results in effects so gaudy that they almost seem unreal – but this is real. I was camped down in a valley among trees so I wasn’t initially expecting much in the way of spectacular sunset photography. Instead, I planned to take advantage of the early shadows in the valley and get some evening photographs under soft light without any direct sun at all. I first worked some moving water where the nearby river flowed across granite slabs, and then I contemplated photographing some small plants in deeply cracked and patterned granite. As a worked my way across this granite, I remembered a small tree on the other side of the bowl that had looked like an interested photo subject a few days ago, so I walked over to that area where the tree stands in a shallow granite bowl.
Earlier in the afternoon I could see huge thunderheads building up to my east, but they did not move far enough west to affect me with anything more than a bit of gray sky. However, as the clouds built up to higher elevations, their tops began to take on the familiar “anvil” shape and the upper portions of the “anvils” began to spread to the west and out over my position. This is a classic setup for potentially spectacular evening sky color. Near sunset the clouds can pick up intense red/orange coloration from the sun setting in the west. At the same time, the storms begin to dissipate, creating semi-transparent “curtains” of virga (falling rain that doesn’t reach the ground), unusual shapes along the bottoms of the clouds, clouds emerging out of the gray murk as the sunset light picks them up.
As I arrived at my little tree, I quickly lost interest in that subject as the cloud light show began. First the bottom of the thunderhead began to turn brilliantly orange and red. Then the lower reaches of the small storm began to produce very unusual cloud shapes including mammatus clouds. Virga produced a brightly colored by semi-transparent scrim. It quickly became so bright that the red/orange colors began to wash the granite bowl, and I turned my camera from the little tree to the uphill granite surfaces and the clouds above.
In this vertical format image the tip of a small tree extends above the top of a dome-like area above me, and the brilliant light from the clouds washes the dome with color. The colors here have not been “amped up” in post – in fact, I’ve actually toned some of them down a bit!
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A brick wall with windows and a door is illuminated by garish yellow artificial lighting at Mare Island Naval Ship Yard.
During the final weekend of February I was able to join my friends from The Nocturnes for an “alumni” shoot at the historic Mare Island Naval Ship Yard at Vallejo, California. I photograph at this location a few times every year – most often with The Nocturnes – and each time I go I find something new or else find a new way to photograph something familiar.
This wall is in a little side alley off or one of the main roads through the facility. Although it certainly doesn’t look like it in this photograph, this is a fairly dark area of the island where rows of large factory buildings (mostly abandoned) are lit, for the most part, by a few security lights. Standing there next to me as I made the photograph, this is not what you would have seen. At best, I could make out the shapes and arrangement of the windows and door, recognize that the wall was constructed of bricks, and notice that the light from nearby yellowish artificial lights was diffused and broken up by shining through intervening fences and other stuff.
But, for me at least, one of the goals of night photography is to see what cannot be seen with our own eyes. The whole idea of a “realism” in night photography seems almost crazy to me, at least when shooting such dark subjects as this one. “Reality” is an incredibly dark and dim and barely visible wall. What is more interesting to me is what the camera can see in the near dark. Here it reveals the intense yellow/orange color of the artificial lighting and the uneven patterns of light and shadow.
(It also occurred to me as I worked on this photograph that while I generally am somewhat conservative with color and saturation and all the rest in my photography of natural landscapes… the wild, garish, and intense color and light of this night photography may represent an opposite pole for me.)
Aspen leaves in transition from green to fall hues in the shade of a grove above Conway Summit, Sierra Nevada, California.
This is another of my close-up aspen detail photographs from my one-hour or so shoot in the eastern Sierra near Conway Summit on the last Sunday of September. I took a quick detour to this part of the “east side” after completing a short photographic backpack trip to Cathedral Lakes that weekend.
I’ve photographed this grove before, so I stop every season and see what I can find. This time I think I arrived a few days earlier than usual in the color transition. There were still a lot more leaves on trees in the grove than I’ve seen in the past and a nearby grove was still completely green. (This grove is among the first you encounter as you drive up the road from Highway 395/Conway Summit toward Virginia Lake, right by a dirt road turnoff on the left side.)
As I walked into the lower edge of the grove, I discovered that among leaves that were for the most part either green or yellow, there were a few here that had a wider range of colors – some residual green, yellow, gold, orange, and even verging on red. So, in addition to shooting the larger view of the grove, I decided to use a long lens and work on a few close shots of the leaves that most caught my attention.
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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