An autumn storm clears above the Pacific Ocean and a group of near-shore islands
We were up on the Northern California coast for a few days this past weekend, to celebrate Patty’s big birthday. This meant that the main goals involved drinking wine and enjoying some excellent dinners, and even allowed for more than a bit of sleeping-in, something that landscape photographers typically don’t do.
On this birthday morning we got up late and headed down to the town of Mendocino, perhaps considering a leisurely breakfast, but with no other specific plans in mind. But looking across the bay to the south we saw gigantic surf, clouds, fog, spray, and intense light — and photography distracted us. We traveled out to the edge of the headlands where there is a group of what must have once been coastal bluffs but which are now off-shore islands. The surf roared as the moving clouds cast alternating light and shadow across the seascape and dramatic clouds, some still dropping rain, passed by to the west.
Winter sunset light on the rugged Big Sur coastline
On the final day of January we took a long drive down and then back up the Pacific Coast Highway between the Monterey Peninsula and Piedras Blancas, where we knew we could see and photograph the elephant seals that gather here on the coast every winter. We took our time on the southward drive, taking nearly nine hours to reach our southern destination – and stopping frequently along the way to make photographs. (OK, for coffee and meals, too…) After photographing the elephant seals in the late afternoon, it was time to start our return trip.
There is so much to see along this coast that it is unusual to be left wondering what to photograph, so the general – and somewhat vague – plan was to take stock of where we found ourselves during the hour or so before sunset and to then find a suitable golden hour and dusk subject to photograph. Perhaps 45 or 50 minutes before sunset we came to an overlook where we had photographed much earlier in the day and decided that this would be the place. Here the coastline arcs south, with rugged mountains dropping right down to the shoreline with its sea stacks, rocky prominences, and hidden beaches. Our overlook was high enough to provide an expansive view of this scene, and it didn’t hurt that a couple of large rocky islands, one with a natural arch, were located right below. You never know how a sunset and evening will turn out in photographic terms and you must more or less take what you get. On the plus side, there were thin, high clouds to the west that wrapped around to the south, and these clouds can produce a lot of color if lit from below right at sunset and shortly after. There was also some haze to the west to soften the light. On the other hand, there also appeared to be a somewhat thicker band of clouds and for right near the horizon, and this can “turn the lights out” at just the wrong moment. I made this photograph as the golden hour light began to intensely color the shoreline. I quickly made a series of photographs in landscape and portrait orientation, moving a bit in between to change the juxtaposition of elements a bit. At one point I looked away for a moment… and when I looked back the color had almost gone as the sun passed behind those thicker clouds. Yes, it happens that quickly and imperceptibly sometimes.
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
In late November I made my first trip of the season to California’s Central Valley, in search of migratory birds – geese, herons, egrets, and so forth. I look forward to this now in the fall, for the experience of seeing (and hearing!) the birds but also as an excuse to explore the landscape of this part of California and, especially, to do so in the very interesting and evocative weather conditions. And, yes, fog is among those conditions.
The tule fog is an almost constant feature during portions of the winter months in the Central Valley, sometimes sticking around for days on end. One can drive over the hills into the Valley in sunlight, only to see the blanket of fog on the Valley floor ahead, and once inside the fog there is little trace of that brilliant winter sunshine. (Except that this fog, being not very thick, sometimes creates the very odd juxtaposition of very impaired visibility and diffused light so bright you can barely look into it. On other occasions you can look up through this fog and see the sky or the moon above.) On this trip, when I arrived at my destination the fog was so thick that bird photography was, to put it mildly, challenging. On my first loop around the dirt road I did go slowly and find a few birds that were close enough to the road to make photographs, but on my second pass I instead thought to focus on the fog-blanketed landscape itself.
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
Midday sun glows through coastal fog bank above offshore rocks and surf, Point Lobos State Reserve.
I made a new photograph in the “barely there” series today at Point Lobos. It was a surprisingly good photography day at Point Lobos. I say this because when I started out this morning things did not look very promising at all. At my home, it was cloudy and gray – but since at least one weather forecast mentioned sun down in the Monterey Peninsula area, I decided to give it a try. As I drove south it got worse – I ended up in very thick fog during the first 30 minutes or so of my drive. However, recalling that when there is inland fog this time of year there is often clearing at the coast, I decided to keep going. A few miles from Monterey the skies began to clear, leaving some pockets of fog here and there with high thin clouds above. Now things were looking up! High, thin clouds can provide excellent conditions for many kinds of landscape shooting, since these conditions soften that shadows and take the harsh edge off of the light.
Arriving at Point Lobos I could see there was fog a good distance off shore, but beautiful light was shining through the forest along the entrance road. I headed down to Whalers Cove and went for a hike around the far side of the cove, and ended up spending the better part of three hours poking around in this area. By the time I got back to my car it was lunch time, and I decided to at least head out to the west-facing shoreline to look around before leaving. When I got there, the offshore fog bank had moved in and was starting to flow across the shoreline. A bit further south I could see the backlit fog lit brilliantly by the sun and almost obscuring the rocks and islands in the Bird Island area. In fact, by the time I got my camera on the tripod, these islands had completely disappeared. I waited a bit, and their shapes began to again barely emerge from the fog.
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
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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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” is available from Heyday Books and Amazon.
