Many times the most interesting late-day light comes after the sun set, and I have learned to stick around as long as I can in these situations. The colors can become more intense as the details become softer, especially when the low light allows me to use longer exposure times with moving subjects in the very low light. By the time I made this photograph my exposure time was up to four seconds. (Shortly after this it was too dark to continue shooting – I could hardly see my camera any more!)
This image falls into my “minimalist seascape” category, without any particular central subject – though there are some points in the scene that do, I think, draw a bit more attention. There is a certain element of chance in these photographs since, obviously, I cannot control the waves. However, by watching their patterns and thinking about how their sharply defined shapes might form more diffused shapes over the longer exposures, I can make some reasonable guesses about when to trip the shutter release. Besides the sky, there are three things in the water portion of this scene that “worked” for me: the single darker wave just below the horizon, the row of three parallel waves in the middle of the frame, and the blurred and reflective area closest to the shore.
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.
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