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Photographs: Death Valley, Photographs: Desert, Photographs: Nature, Photographs: Southern California

Red Rock Gully

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Red Rock Gully
Red Rock Gully

Red Rock Gully. Death Valley National Park, California. March 29, 2011. © Copyright G Dan Mitchell – all rights reserved.

A red rock gully and wash in the Panamint Range of Death Valley National Park.

I have driven past this area along the road from Death Valley up to Wildrose Canyon quite a few times, and as I do I always am impressed by the many convoluted little canyons and odd and interesting rock formations. Most often I have been on my way to some other place or the light wasn’t quite right, but I always take a look and make a mental list of little spots to keep an eye on. This particular little canyon is one you might not even notice unless you were looking carefully as you passed it. It is in a narrow section of the lower canyon where it is one of many such little landscapes. On this morning I was coming back down from shooting up higher in the Panamints and I was watching carefully as I drove, frequently pulling over to stop and check things out more carefully. At first I almost drove past this spot, but it looked like the light might be interesting this time so I quickly stopped and backed up and made a series of photographs including this one.

The question of how to frame this scene was an interesting one. As is often the case I cover more than one base and shoot the subject in several ways. Initially I worked with a vertical orientation that includes a bit more of the rough terrain a bit higher in the canyon. That image may still see the light of day! But as I shot the scene I also realized that I could use a horizontal orientation too, more tightly frame the entrance to the small canyon, and give up some of the upper canyon formations.

With many subjects I would prefer softer light, and I would probably try to shoot much earlier in the day or come back in the evening. But this canyon, I think, works well in the light of a bit later in the morning when the sun has topped the ridge and direct light hits the top of the rocks and reflects into the recesses a bit more.

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Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.

Photographs: Death Valley, Photographs: Desert, Photographs: Nature, Photographs: Southern California

Petroglyphs, Panamint Range, Death Valley

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Petroglyphs, Panamint Range, Death Valley
Petroglyphs, Panamint Range, Death Valley

Petroglyphs, Panamint Range. Death Valley National Park, California. March 29, 2011. © Copyright G Dan Mitchell – all rights reserved.

Petroglyphs of bighorn sheep in the Panamint Range of Death Valley National Park.

If you keep your eyes open, think about your surroundings, and know where to look, eventually you will come across the signs of much earlier residents of Death Valley. From my basic knowledge, I understand that there is evidence that a series of native American cultures resided in and around the Valley for at least the past 11,000 years, a period over which the climate changed from one that was originally much wetter to the hotter, drier climate that we know today. Because many of these people apparently had to migrate locally to find food sources at different times of the year it seems that evidence of their presence can be found in a wide variety of locations.

I recall the first time I found an artifact of one of these cultures. It was on my first visit to Death Valley back in the 1990s. At one point I wandered away from a place where I was camped and walked out across a section of a very large gravel wash, where I found a comfortable rock to sit on and enjoy the view. As I sat there I happened to look down and notice an unusual rock. I picked it up and realized that someone had formed it into a shape that could be used for carving or cutting, and I later read that it was a sort of knife. As I held it, surprised by finding any human signs in such a place, I began to wonder about the life of the person who made it and used it – a life I could barely imagine. A few minutes later I returned the object to where I had found it and walked back to camp.

For me, an encounter with rock art such as these petroglyphs provokes a lot of deep thoughts about time and culture and the lives of people who seem about as far removed from my experience as I can imagine. I try to imagine myself in their lives, but know that I fail.

Of course, I won’t say more about where such things are located than what is on this page. If you know where this example is located, let’s keep it a secret, OK?

G Dan Mitchell Photography | Flickr | Twitter | Facebook | Email
Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.

Photographs: Death Valley, Photographs: Desert, Photographs: Nature, Photographs: Owens Valley, Photographs: Sierra Nevada, Photographs: Southern California, Photographs: White Mountains

From the Panamints to the Sierra, Evening

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From the Panamints to the Sierra, Evening
From the Panamints to the Sierra, Evening

From the Panamints to the Sierra, Evening. Death Valley National Park, California. March 30, 2011. © Copyright G Dan Mitchell – all rights reserved.

The Sierra Nevada in evening light as seen from Aguereberry Point in Death Valley National Park’s Panamint Range.

I made this photograph from Aguereberry Point shortly before sunset. Aguereberry Point is a lonely prominence over 6000′ above Death Valley, high in the Panamint Mountain range, a place of astonishing panoramic views – and often some significant winds. As I drove the gravel road to the point late in the afternoon I saw three or four other vehicles heading the other direction, but when I arrived at the point a bit more than an hour before sunset no one else was there.

Having photographed here a few times previously, I am becoming more familiar with the challenges and the opportunities of shooting here. One of the challenges – as is the case in many spots in Death Valley – is that certain subjects seem to be “photographable” at very specific times and only for short intervals. One of the most interesting views from Aguereberry is southeast down into Trail Canyon and on to the lower slopes of Wildrose Peak beyond. This is wild, rugged, austere terrain. However, because it lies on the east side of this range the light changes quickly from a washed out blast of daytime sun to sudden deep shadows as the sun drops behind the higher ridges of the Panamints. (Trail Canyon is not seen in this photograph.)

Another challenge is that, impressive and overwhelming as the scale of this grand scene is, it can be difficult to pull interesting compositions out of it. I tend to work with longer lenses here, both to isolate smaller areas out of the huge landscape and to compress distance. In this photograph, the silhouetted crest of the highest part of the Sierra Nevada range is on the horizon, with the intervening ridges of the Panamint Range and others probably including the Inyo Mountains and the ridge just west of Panamint Valley.

And, since I tend towards those large and long lenses… wind is an issue! And on top of Aguereberry Point there is nothing to stop the often strong winds of Death Valley. On this evening the winds were howling, so I found a spot below some rocks where it was a bit less windy and then spent a lot time waiting for momentary lulls in the wind when I could make photographs.

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Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.

Photographs: Architecture, Photographs: Northern California, Photographs: San Francisco, Photographs: Structures and Objects, Photographs: Urban/Street

Reflections in Curved Window

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Reflections in Curved Window
Reflections in Curved Window

Reflections in Curved Window. San Francisco, California. July 12, 2010. © Copyright G Dan Mitchell – all rights reserved.

A curved window on the Portside Building reflects a street scene near the San Francisco waterfront.

And now for something quite different from recently posted photographs…

I made this photograph while walking in San Francisco last summer. I’m intrigued by reflections and by scenes holding multiple layers or even multiple layered sub-scenes, so when I found this curved window I had to try to shoot it. For me the first thing I see is the cross-shaped pattern of the metallic bars separating the panes of glass. Looking more closely at what first seems to be just shiny and silver, I see quite a few colors and patterns, especially in the horizontal bars. On the other side of the window is a bit of the interior of the building – a white wall with its own curved shape, the end of a curved cushioned seat, and a dark area opening further into the interior on the right, within which a few shining lights are visible. Then there is the world in the reflections in the glass. (I mostly managed to exclude myself from the reflections, though you might be able to find a bit of me if you look very carefully! ) A person is framed in the lower right quarter of the frame against a background of a warped and curving street and sidewalk. The upper right section features some clearing fog over the Bay and a bit of an overhang in front of the building. The reflections at lower left are faint, though a cross walk can be seen. At upper left is a typical city scene with a traffic signal, wires, and the front of an urban building.

G Dan Mitchell Photography | Flickr | Twitter | Facebook | Email
Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.