A seasonal spring cascade falls across the granite face of Polly Dome, Yosemite National Park.
I know that the chance to see the high country in winter-like conditions is part of what draws people to the opening of Tioga Pass Road, especially after a heavy snowfall season like this one. But for me the water is at least as much of a draw. The high country comes alive in ways that are not seen during the rest of the year. Because of the long and warmer days, the rate of snow melt accelerates, and when the snowpack is as deep as it is this year, that sets loose an amazing amount of meltwater.
I find full-flowing creeks in places where I didn’t even realize that water flowed. Creeks become raging torrents that threaten to jump their banks. In many places they do rise high enough to flood large expanses of meadow. Seasonal water falls and cascades appear almost everywhere you look.
I spotted this slender cascade high on the granite slopes of Polly Dome, above Tenaya Lake. My first idea was to make a photograph in which a longer stretch of the fall would appear, dropping perhaps several hundred feet. But as often happens, the more I worked this scene the more I wanted to eliminate extraneous material – and I ended up shooting at 400mm to edit out as much of the surround as I could.
The last evening light illuminates domes near Tenaya Lake and the summit of Mount Conness with briilliantly colorful alpenglow, Yosemite National Park.
The tall peak at upper left is the summit of Mount Conness, one of the highest peaks in Yosemite National Park. The peak is located on the park boundary and the Sierra Nevada crest a bit north of Tioga Pass, and is visible from many places in the Tuolumne/Tioga high country. It is also a popular destination for peak baggers. The left foreground granite dome is the lower face of Polly Dome, which drops to the shoreline of Tenaya Lake. The left slope of Pywiak dome is visible in the shadows at lower right and beyond is the more brightly illuminated Medlicott dome.
I forgive you if you don’t believe the colors that you see in this photograph. I barely believe them myself, and I was (obviously!) there for the show. What happened on this evening was a near perfect example of a light phenomenon that Sierra photographers watch for and are occasionally lucky enough to experience. I have learned to see the signs that indicate that this light is possible, but also to understand that even when the conditions offer this potential that they rarely deliver.
On certain cloudy evenings in the Sierra it appears that there will be no sunset color – everything is hazy and drab and washed out. But if things play out just right, this very set of drab conditions (that induce some photographers to put away their gear too soon!) can produce some of the most striking and intense color possible if a few things fall into place just right. On this evening I had stopped for a moment at Olmsted Point, thinking to photograph ice-covered Tenaya Lake with a long lens and including the mass of Mount Conness in the distance. When I arrived there, things were about as unpromising as they could possibly be. A dull, greenish-blue haze hung in the air, overcast washed out the light, and Conness was obscured by clouds. I had actually put my gear back in the car when I looked back up and noticed that the summit of Conness had briefly poked through the clouds, accentuating its bulk and the sense that it towered over the foreground mountains. The light was still awful (I have the photos to prove it! ;-) but I thought I’d see if I could get something with the peak emerging from its shroud.
But still nothing much happened. I turned the camera to photograph some nearby trees and a blackbird that was looking for snacks. Then I noticed that there was some brighter light to the southwest and I began to consider the possibility that the cloud cover might end a bit to the west – and that is requirement #1 for the light conditions I’m describing. If the cloud deck ends to the west, as the sun reaches the horizon it may briefly break under the clouds and send brilliantly colorful light up into the clouds in the Sierra from below, creating a miles-wide light panel of the most astonishing colors. But still, it was hazy and the peaks were shrouded in clouds. But then I noticed that the clouds around Conness were beginning to drift off to the east and thin a bit. I mentioned (knock on wood!) to one of the other photographers that there was a possibility of “miracle light,” but that I wasn’t making any promises!
Then the thinning clouds began to pick up a slight pink tinge and the left side of Conness began to get some light directly from the west. Then, within a minute or so, the colors went absolutely crazy. People around me were audibly gasping as the color changed. At one point several of us spontaneously looked up to the west when we noticed the light suddenly increase out of the corners of our eyes. At the same time, the clouds almost completely dissipated from the area around the peak and because the whole sky was filled with brilliantly colorful clouds, this light began to suffuse even the depths of the canyon and slopes facing away from the sunset with this amazing light.
Never put your camera away until the last light is gone. :-)
Young trees grow along the edge of subalpine meadows at Tioga Pass, Yosemite National Park.
This meadow, right below Tioga Pass – which is among the trees in the saddle in the upper part of the photograph – is something of a magical spot in the Sierra. It is, of course, the highest point that you can drive to in the park, and it sits right on top of the crest of the Sierra Nevada. At just slightly less than 10,000′ of elevation it is verging on the true alpine zone. Because of elevation and location, it is only open for a few months each year between roughly the end of spring and generally some time in November. (For those of us who think of this as it looks in summer, it is sobering to remember that during the majority of the year it is a cold and snow-covered place.) Once you pass over Tioga you begin to descend into the very different world of the high deserts east of the crest. Yes, it still feels like the high country for a while, but within miles you are in hot dry places that are not at all like this alpine terrain.
Oddly, while a thin band of trees crosses the saddle at the pass, much of the area on either side is meadow. This section is on the “Yosemite side,” and is an extension of the many meadows along the Dana Fork of the Tuolumne River which drains this area around Mount Dana. As if to reinforce the idea that this is not as gentle a place as it may appear in the summer, parts of the meadow are filled with the bleached remains of trees struck down by avalanches from the ridge that is out of this photograph to the left. The trail to the summit Mt. Dana, of the second-highest peak of Yosemite (being a few feet shorter than Mt. Lyell), begins by crossing this meadow.
Although I drive over this pass with some frequency, I virtually always stop and get out of the car and look around for at least a moment. On this late-July visit I stayed more than a moment, spending a good portion of an afternoon wandering about the meadow and photographing these young trees, small streams and ponds, fallen trees, some of the more distant mountains, and much else.
Alpenglow lights the face of Mammoth Peak beyond a small tarn near the summit of Tioga Pass, Yosemite National Park.
This was very close to the last exposure I made on this productive late-July day last year. After photographing for a few hours in the vicinity of Tioga Pass, I ended up right at the pass as the day came to an end. Braving hordes of mosquitos – comes with the territory! – I worked the area around the pass itself, building compositions out of juxtapositions of the water in the small meltwater ponds, shoreline meadow and boulders, grasses growing along the edge of the water, the surrounding pine forests, and the more distant peaks of Kuna Crest. In this photograph, what is very nearly the very last direct light of the day is bathing the slopes of Mammoth Peak, which still had a fair amount of snow on its flanks even in late July.
This scene posed a few technical challenges. First, there is obviously a great distance between the foreground granite boulder and the very distance mountain. I wanted the foreground to be in optimal sharpness, so I used a relatively small aperture to maintain sufficient sharpness on the far ridge. There was also a fairly large dynamic range in the scene, ranging from soft but direct light on the snow fields of the peak to the dark areas within the forest on the other side of the pond. I wasn’t certain that I’d be able to handle the full dynamic range in one exposure, so I made three – one longer exposure to get a bit more light from the shadows and another shorter one on the dark side to avoid blowing out the brighter areas of the sky. In post, I discovered that there was enough detail in the shadows that I could get everything I needed from a single exposure, though I had to do some work with curves to get create an image the conforms more closely to the way I saw the scene at the time.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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