Tag Archives: park

Imaginary Landscape – Death Valley

Imaginary Landscape - Death Valley - An imaginary landscape derived from subjects photographed in Death Valley National Park.
An imaginary landscape derived from subjects photographed in Death Valley National Park.

Imaginary Landscape – Death Valley. Photographic components from Death Valley, California. January 3, 2012. © Copyright 2012 G Dan Mitchell – all rights reserved.

An imaginary landscape derived from subjects photographed in Death Valley National Park.

“Imaginary Landscapes” are images most often derived from photographs of natural scenes and objects, but modified in ways that are not intended to be realistic.

While working on this photograph, I was experimenting with some techniques for post processing images, particularly to control the visibility of features at the very light and very dark ends of the luminosity scale. One thing led to the next, and soon I had darkened the sky, enhanced the dynamic range in the clouds, and tried a monochrome interpretation of the scene. Then I got the idea to play around a bit with the sky and clouds and before long things had progressed to a point that was well beyond believable.

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.
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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.

What Happened to My Death Valley Guide?

During the past year or two I had written the majority of an extensive guide to photographing in Death Valley National Park and some of the surrounding areas, and shared it at this web site. It was chock-full of the names of places and descriptions of how to get to them and specific suggestions regarding how they might be photographed – along with a few disclaimers and warnings about dangers including focusing too much on bagging photographs of icons, endangering certain fragile things in the park, and so forth.

I recently took this guide down, with the intention of writing a new one that I hope will be more useful to those who are looking for a bit of a deeper understanding of the place and how it might be photographed, perhaps at the expense of providing that quick list of where to go and how to get there.

Every so often friends remind me that there are ethical risks in sharing too much detailed information in the wrong forums, and recently one friend mentioned this relative to a post about a particular area I had photographed that is easily accessible but not yet overrun. As result I began the process of going through some previous posts and editing descriptions to offer details only when it seemed important in the context of the photograph. Then I started thinking a bit more about the content of the my existing guide to photographing the park. Even though I had worked to “sanitize” the descriptions in the old guide – removing many of the references to exact spots and so forth – and of including exhortations to protect the place, I began to think that I was not necessarily doing photographers a big favor by offering a guide that was primarily organized along the lines of “places to go,” and which might encourage people to go “bag a shot” of these places rather than looking a bit deeper.

Some may ask, “Why not tell people the best places?”

  • Plenty of other people have already written guides to the places. In the end, I probably don’t really have a lot to add to this pool of information. If you want to know the names of icons and where to find them you can certainly find this information elsewhere.
  • While many of us begin by thinking that the goal is to photograph the “famous places” – and, frankly, that is not a bad way to start – eventually I realized that it was the process of discovering my own orientation to the park that brought greater pleasure and rewards. I don’t want to encourage others to miss out on that experience.
  • Some of the places are wonderful largely because of their remoteness and solitude. In fact, the immense solitude of Death Valley is one of the most powerful and rare things it has to offer, and there are still many places and times to find this. I don’t want to accelerate the loss of this valuable commodity.
  • While many areas of the park might seem too rugged to be damaged much by our passage, there are fragile things here that cannot withstand the presence of too many people – and there are plenty of examples of things that have already been damaged. While it isn’t my goal to keep people away from the park, I certainly don’t want to accelerate the degradation of these resources by unnecessarily encouraging more people to go to these places.

So, I’m offering this post as both an explanation of where the old Death Valley guide went, and as a promise to get to work on the document that will replace it. My plan is to speak in more general terms about what it means to photograph in the park and about how to approach it as a photographic subject – and to do so in a way that may offer something useful to all who want to seek out the rewards that come from developing a deeper relationship with this land.

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.
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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.

First Light, Base of Tucki Mountain and the Panamint Range

First Light, Base of Tucki Mountain and the Panamint Range - First morning light on the rugged landscape of the base of Tucki Mountain and the Panamint Range, Death Valley National Park, California
First morning light on the rugged landscape of the base of Tucki Mountain and the Panamint Range, Death Valley National Park, California

First Light, Base of Tucki Mountain and the Panamint Range. Death Valley National Park, California. January 3, 2012. © Copyright 2012 G Dan Mitchell – all rights reserved.

First morning light on the rugged landscape of the base of Tucki Mountain and the Panamint Range, Death Valley National Park, California

This photograph was made from a location a ways up from the bottom of Death Valley, from which I could look directly across at the lower slopes of gigantic Tucki Mountain as the first morning light worked its way down toward the lower ridges and the huge alluvial fan at the base of the mountain. At the moment I made the exposure the light was just beginning to fill this slanting area below the rugged mountains, and the light was softened by morning haze.

Tucki Mountain is a huge peak that almost seems to me to be large enough to count as its own minor mountain range. It rises above Stovepipe Wells, and extends a great distance east, south, and west of there. It is laced with deep canyons and its lower slopes are heavily eroded to reveal tilting and twisting strata. Another large valley lies on beyond the foreground spur ridge in this photograph, and beyond that the Panamint Range rises to its crest at 11,000+’ Telescope Peak.

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.
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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.

Thinking About Yosemite’s Horsetail Fall

Horsetail Fall
Horsetail Fall

Horsetail Fall. Yosemite National Park, California. February 15, 2010. © Copyright 2010 G Dan Mitchell – all rights reserved. *

UPDATE: As of 2020 I am no longer posting annual updates concerning this subject — and I am editing older posts on the subject in light of the need to be more responsible about not encouraging the onslaught. I also no longer recommend going to the Valley to see it. Unfortunately, too much exposure (yes, I played a part in it, unfortunately) has led to absurd crowds, traffic jams, littering, destruction of areas in the Valley where too many people go to see it… and the park has increasingly — and appropriately — cracked down. Parking options have been eliminated, at least one viewing location has been closed. Good news! The rest of Yosemite Valley is still there and often exceptionally beautiful at this time of year.

The silver strand of Horsetail Fall and water reflecting on surrounding cliffs in late afternoon light, Yosemite Valley.

This being February, it seems that Horsetail Fall has again (and more every year) become a hot topic. Horsetail Fall, sometimes referred to as the “Natural Firefall” has been popularized to an absurd and, frankly, dangerous level on social media and in the press. To be honest, I now recommend that you not go.

The conjunction of elements required to produce the most spectacular Horsetail Fall “event” is complex. First, it depends on the geological coincidences of the placement of the fall in a spot hight on the face of El Capitan that receives a narrow beam of sunset light during two brief periods each year. Second, the fall must be running – in roughly the middle of winter. The area supplying water to the fall is high enough to be snow-covered in a typical winter, but low enough that snow can melt and start the fall flowing even in the cold season – but this is not a sure thing. Essentially, there must be snow and then some warmth to melt it, or else some significant warm rain. Third, a series of meteorological events must play out just right. Obviously, the upper face of El Capitan must be clear of clouds. (Yosemite Valley fog and clouds ringing the cliffs are rather common in the winter season.) The sky west of the Valley must also be clear all the way to the horizon since the best color occurs just before the sun hits the horizon.

Most often the requirements do not align. Many of us can tell stories of light getting better and better, leading toward a brilliant finale… and then the “lights going out” just at the peak of color as the sun dropped behind clouds far to the west.

Hundreds and hundreds Thousands of photographers now show up to try to photograph the thing. I’ve done it in the past, though I’m no longer interested these days – partly because of the absurd crowds and partly because I’m often busy photographing other interesting things!

My best memory of photographing Horsetail was years ago when the park service was doing major road work on Northside Drive, the road along that side of the Valley. The road was completely closed as were the cross-valley roads that travel between Southside and Northside Drives. It had snowed and there was perhaps a foot or more of snow along this section of the Valley floor. I wanted to photograph the fall from a location on the north side of the Valley, so my only option was to put on lots of warm clothes, load up a pack of camera and other gear, and walk across the Valley in the snow. I arrived long before sunset, so I first walked west to El Capitan Meadow where I photographed in rare quiet and solitude on this car-free and carefree late afternoon. Later, I quietly walked back along the road to my shooting location and found perhaps three or four other people there. This quiet, peaceful, and relatively uncrowded experience became my touchstone for photographing Horsetail.

If you go today, there is no way that your experience will be even close, unfortunately.

In recent years, as more people have acquired digital cameras and become more serious about their photography and as the renown of the fall has increased, the crowds have also increased to the point that they have become unmanageable and are damaging the park. As I revise this article in 2020, the problem has become so acute that the park service has wisely put severe restrictions on access — there is no stopping allowed along large sections of nearby Valley roads and one of the popular locations has been completely closed due to damage to forest, meadows, and the river.

* Note: In a wonderful video about Horsetail Fall, Ansel Adams’ son Michael Adams speaks eloquently about his father’s early photographs of the phenomenon. I was intrigued by his comment that Ansel might not have photographed the fall the way we do now because he couldn’t – since he worked with black and white photography. Thinking of this, and being full of myself today, I thought that I’d post a black and white photograph of Horsetail Fall! :-)

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 | FacebookGoogle+ | 500px.com | LinkedIn | 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.