A twisted piece of seaweed tossed onto sandstone rocks at Weston Beach, Point Lobos State Reserve.
Bits of sea life-like this illustrate one of the great reasons to walk slowly and carefully along the shoreline with eyes wide open. I photographed this section of dried seaweed just as I found it, lying on this stratified bit of sandstone on Weston Beach at Point Lobos. It is hard to imagine how a plant that, I presume, might have been fairly straight underwater, ended up in such a wonderfully twisted shape and to sit on this bit of rock with its own shallow curve.
I was a bit surprised to find this and some similar nearby examples on this beach. I’m used to coming here in the high-wave months of winter, when storm surf can cast all sorts of interesting things far up on the beaches and beyond the usual high-water line. But at this time of year the surf is often a lot calmer, as it was on this day, and I don’t expect to see nearly as much “stuff” washed up.
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
Shoreline debris, including pebbles and seaweed, at Weston Beach, Point Lobos State Reserve.
During virtually every visit to the Point Lobos State Reserve I end up shooting at Weston Beach (named after photographer Edward Weston) at least once. Perhaps the Weston name is part of what attracts me… though the easy parking might have something to do with it, too. ;-) But seriously, this beach is a special place that I have visited for decades, starting when my family went to Point Lobos so that I can my siblings could wander about and inspect the tide pools.
Weston Beach has always seemed to me to barely qualify as what I think of when I hear the word “beach.” That word, to me, suggests a strand of fine sand that runs along the edge of the ocean. But this beach is more of a cove, and the its shore is emphatically not that kind of “sand.” Instead, it is mostly rocky with broken ledges full of channels that run down and into the water. It is separated from the open ocean by another wall of rocks that almost closes it off from the rougher water, though wave spill in through the gap. Instead of fine sand, there is gravel, consisting mostly of smooth rocks that are almost golf ball sized. During much of the year, but especially in winter when Pacific storms bring the highest surf, all sorts of interesting stuff washes up on this beach – shells, drift wood, seaweed – and I love to walk here slowly, looking for seemingly random juxtapositions and forms that might make a photograph.
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
Trees of Tuolumne Meadows in morning light, with forest ascending background slopes, Yosemite Naitonal Park.
As a photographer, I am often up and off to shoot some interesting subject well before dawn. When I am car-camping, as I was during my mid-July visit to Tuolumne Meadows this year, I have a loose ritual that I usually follow. The night before I come up with one or more subjects that I would like to photograph in morning light. Based on where those are – driving or walking distance, and closer or further away – I set an alarm for a much earlier time than I want to. Then I have everything ready for a quick and fairly brainless early start – anything I’ll need to take from the tent sits by the end of the zipper I’ll grab to open the tent, and other things are already in the car. The alarm goes off – way too early for my brain, of course! – and I try to sit up so that I won’t go back to sleep and then put on whatever clothes I need for the morning weather. On a good day, I’m out of the tent and in the car in 5 minutes. On a bad day it might take 15. (On a really bad day, I have been known to just go back to sleep! Hey, it happens… but not very often.) I get in the car and try to drive out of the campground as quickly and quietly as possible.
You may have noticed that something was missing from that routine – breakfast! Indeed, I usually don’t bother with breakfast before shooting, preferring instead to get to work while the light is good. As hard as it can be to get started, it usually doesn’t take too long to find some site so special and compelling that I forget how hard it was to get up so early. In fact, once I get going I am often surprised to find so few others out and about at this time of the most beautiful light. Frequently I may see only a few hikers and perhaps another photographer or two, and even a couple of hours later, as the best light begins to transition into the “blah” daytime light, many people are apparently still in their sleeping bags.
I didn’t have far to go on this morning. Tuolumne Meadows is just across Tioga Pass Road from the main campground. The early light was a bit hazy, and as the backlight lit up the meadow and fringed the many trees, this haze enhanced the sense of distance between the closer trees and the forest leading up the more distant hillside.
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
The Tuolumne River curves through Tuolumne Meadows as alpenglow colors the landscape, Yosemite National Park.
I have written previously about several topics that connect to this photograph. For one, I have described a certain type of atmospheric condition in the Sierra that may bring astonishingly intense evening colors when clouds above the mountains end to the west of the range, allowing the final sunset light to illuminate the clouds from beneath. On this evening it looked like all the pieces were in place for such a show, but I know that while these conditions make the light possible, they do not guarantee it – and on this evening there was a wonderful, subtle glow just after sunset… but not the imagined overwhelmingly brilliant light.
For another, I have written about scoping out a shot ahead of time, sometimes earlier the same day and sometimes weeks, months, or even years earlier. Earlier on this day I decided to take a walk in the meadow without my camera gear, with precisely the task of “scoping out” in mind. I wandered around somewhat aimlessly, following my nose this way and that to investigate lots of interesting things and places that I might have passed by on a more purposeful hike. Before heading back to camp for an early dinner I had selected three possible subjects that I thought might work well.
I have also written about how little control we have over our subjects when shooting landscape. We can anticipate and guess and be fortunate enough to be in the right place at the right time with the right gear and the skill to know how to use it, along with the ability to see what is happening – but in the end, in many ways, we take what we can find and work with it. When I arrived back in the evening an hour or so before the time of interesting light, I had a feeling that the first subject I had seen earlier might be the most promising. This was a scene that placed Lembert Dome between a couple of groups of trees and a bit of the river when viewed from the middle of a footbridge crossing the Tuolumne. I arrived and set up and began the planned wait for what I hoped would be very interesting light. However, as sunset approached, I could see that the shot I had planned was not going to work in the light that I found myself working with. So, on the spur of the moment and acting essentially intuitively, I picked up the tripod and camera and moved to a nearby spot and rather than making a tightly focused shot of the dome, I zoomed way out to include a gentle curve in the Tuolumne, a sandbar, and a line of foreground trees, and I made this photograph of the much subtler-than-expected post sunset light.
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 whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
