“Forest Floor, Late Summer” — Late-summer forest floor littered with fallen cones, branches, needles, and leaves.
As summer comes to an end in the high country of the Sierra Nevada, as it was during my early September visit this year, the moisture, growth, and greenery of the early season give way to the drier and more brown conditions signaling the coming of fall. The short period of rapid summer growth ends, and the mountains seems quieter.
We camped and photographed for several days at a small lake, exploring and even revisiting to places to photograph them more than once. By staying in one location for a time, it we notice things that are overlooked during a shorter stay. Initially the dramatic granite features around the lake drew our attention, but after a few days we became more interested in subtler things, including a low, grassy area near the outlet stream of the lake. On this morning I was simply wandering slowly though this area, now looking more closely and at smaller things, when I saw the still-shadowed ground densely covered by a carpet of pine cones.
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.
Boulders, grasses, and trees along the shoreline of a subalpine lake, Yosemite National Park
Some aspects of landscape photography remind me, perhaps in a strange way, of spring skiing. In the spring there is still often plenty of snow, but the temperature swings between sub-freezing nights and warm days have some big effects on the snow. In the morning the re-frozen snow can be so hard that it is almost like trying to ski on a tilting ice rink, and you can easily find yourself skittering across the surface out of control. By late afternoon the warm temperatures melt the snow and can turn it into a slippery slush, and it can be like skiing on oatmeal. But at just the right moment, as the surface of the snow begins to soften but the lower layers are still firm, some of the best skiing possible can occur for a short period each day.
When photography in early or late light, I encounter something very similar — though with a bit of creativity it is possible to stretch things just a bit. Let’s take the afternoon, the time of day when I made this photograph of a simple scene near the outlet stream of a subalpine lake. I began my work a couple of hours before sunset, when the light was still clearly “daytime light.” The sun’s angle is higher, the shadows are more start, the light has a blue quality. As the evening approaches, there is a point at which the light seems to mellow and warm, the shadows lengthen and fill with a bit of reflected light… and almost everything begins to look beautiful. But at this point things change very quickly. I might find myself spotting a bit of light on a branch or a rock, and by the time I’m set up it has moved. While this time seems conducive to looking and contemplating, it is actually a time when I often have to work quickly before the “good light” is gone. This little scene, which is nothing all that special in objective term, was such a scene — a brief moment of warm light slanting through shoreline trees and across meadow grasses, and a few moments later the day ended.
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
Mountaintop trees stand above a sub-alpine lake, dome, and ridge in evening light, Yosemite National Park
In early September — before the big fire not far from here — I was among a group of photographers who spent a bit more than a week in the Yosemite back-country chasing late summer subjects in the Range of Light. The rough outline of the adventure was that the group packed in to a remote lake with expansive views, stayed there for about five days, then adjourned to a nearby area at a lower elevation for a few more days before heading back out. The “Meadow Fire” between Clouds Rest and Mount Starr King started late in our trip, but this photograph was made a few days earlier when skies were still beautifully clear.
Days on this kind of trip revolve almost completely around photographic opportunities. By staying on one place for a few days we are able to explore our surroundings more extensively and get a better idea of the prospects for photographs and the best times to make them. A typical day begins very early in the morning, when we arise quietly before sunrise and head out in various directions, goals in mind. After a few hours of photography the light becomes a bit less interesting and we reassemble in camp for breakfast. After that we have a few hours of mostly non-photographic time — for lunch, for camp chores, reading, and even a nap. Dinner comes early, with preparations starting around 3:00, and a few hours before sunset we head out once again. On this evening I chose to climb a nearby ridge of granite slabs and glacial erratics where stubborn trees find a living in cracks in the rock overlooking a nearby lake and one of the main ridges of the Yosemite back-country.
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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