Patterns in eroded shoreline sandstone rocks at the Point Lobos State Reserve, California.
The rugged Point Lobos shoreline in places exposes some very interesting rocks, including sections like this one where layers of different colored sand stone are gradually worn away, revealing underlying layers of different colors and textures and sometimes exposing surprising color contrasts. On days when the light is very soft (or very boring!) I may seek out some of these rocks and photograph them since the softer light lets details appear that might easily be washed out in harsher light.
High Sierra corn lilies grow profusely near a waterlogged meadow in the high country of Yosemite National Park.
I had spotted this little meadow area on my way to photograph earlier in the morning at Tenaya Lake, so on my return I decided to wander down into this wet, meadowy area where a small creek flows in the early summer season. As I walked up the stream I came upon large and lush stands of corn lily plants in a boggy area where the stream turned and twisted through a flat area.
I have long been a fan of these plants. I’m fascinated by them at every phase of their annual life cycle, from the time when they first poke up from ground newly free of snow, through this phase when they grow thick and wildly green, to the first hints of brown at the tips of the leaves (which always seem to come a bit too early), to the time in late August when they begin to turn brown and yellow and hint at the coming fall, to the dry stalks that fall over in late September and October.
It is somewhat hard to give up the beautiful green color when you photograph the plants at the peak of growth, as these were when I photographed them at the end of June. However, I like the way that black and white abstracts the curving and sweeping shapes of the plants. (And I always think of John Sexton’s wonderful corn lily photograph when I work with this subject!)
Clouds in blue sky are reflected in the surface of Gaylor Lake next to melting winter ice.
This photograph is very similar to another I made on this late June evening in 2010 when a small group of us hiked over a ridge near Tioga Pass to find a snow covered valley and this lake that was still almost completely covered with ice. The deep blue water near the edge of the melting ice along the shoreline reflected evening clouds passing overhead, and there were quite a few possible compositions combining the clouds, blue sky, curving edge of the ice and the interesting formations where the ice surface was melting. I made quite a few photographs – some up close like this one and others taking in the larger landscape. As I was recently reviewing raw files from 2010, I ended up spending quite a bit of time with this set of images!
Detail photograph of the patterns of overlapping gullies near Zabriskie Point, Death Valley National Park.
I have been working on a sort of informal project to photograph small details at Zabriskie Point that do not necessarily reveal the larger, familiar, and very iconic landscape of the place. A few years ago I noticed – almost by accident – that certain features of the surrounding landscape can be photographed in conditions quite different from the “standard” dawn and very early morning lighting. In fact, some of the geology can, I think, be photographed in interesting ways even during unusual times of the day when there is full sunlight. A bit later in the morning the light, which tends to glance across the tops of some features earlier in the day, begins to penetrate down into the little valleys and gullies and reflect into them from some of the brighter surfaces. While it can work in full sun, it may work even better when there is a bit of overcast, as there was when I made this photograph and a couple others in the series.
With this specific subject I also tend to work from a bit of a distance using long focal length lenses. This one was shot at 400mm! This poses a problem that we don’t encounter as often when using more (supposedly) typical landscape focal lengths, namely that it is hard to get the whole subject in focus due to depth of field issues that become more apparent with such long lenses.
Also, when photographing these rather pale and pastel formations, it is very easy to succumb to the temptation to jazz things up a bit. To be honest, I have seen some very good and interesting work that relied on amplifying contrast and the subtle colors. However, I’m trying hard to not go too far with this. I certainly do some work in post to balance things out a bit and to get the effect that I think best evokes what I recall of the scene, but I’m avoiding the inclination to, for example, adjust curves to the point that I get a lot of pure blacks and whites in this subject that mostly contains bright mid-tones.
