Tag Archives: photographing

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.
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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.

Horsetail Fall – It’s That Time Again

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.

As more and more people now seem to know, late February is the prime time for the appearance of the “natural fire fall” in Yosemite Valley, when the setting sun may strike Horsetail Fall near the east end of the face of El Capitan, and when viewed from the right angle create a striking light show. I do not plan to be there to photograph the event this year since I’ll likely be shooting somewhere else during the prime time for the fall… and I no longer encourage others to attempt it. I’ll explain below.

Horsetail Fall, Early Evening
Horsetail Fall, Early Evening

(Photo: Horsetail Fall, Early Evening. Yosemite Valley, California. February 15, 2010. © Copyright G Dan Mitchell – all rights reserved.)

The spectacle of Horsetail Fall is now quite well known. The initial renown came after Galen Rowell produced a striking and now-famous photograph of it several decades ago. Eventually others began to photograph it as well. (I read somewhere that several other well-known photographers made images of Horsetail decades earlier, but apparently no one “discovered” the special annual sunset light until Rowell shot it.) Since that time, and especially in the past few years, news of the phenomenon and information about when, where, and how to shoot it has become widespread – especially now that information travels so fast on the Internet. As of this article revision, a plethora of articles (newspapers, magazines, the web) and social media posts have built the thing up beyond all reason, with predictable and unfortunate results.

Twice each year, the setting sun lines up just right so that it casts its final light directly on this waterfall for a few weeks. The phenomenon is ephemeral and dependent on a series of conditions that must all occur at the right time. First, it must be during that short window of time when the setting sun strikes the location of the fall on a high cliff. Second, the waterfall must be flowing. Typically this means that there has been a good amount of snow followed by a warm-up that melts enough of it to get the fall going, though a warm winter rain could accomplish the same thing. Third, the western horizon must be clear so that the sun’s light will not be obstructed as it sets. (Those who have tried to shoot the fall a few times may have experienced disappointment when a crescendo of light potential occurs late in the day… only to be suddenly switched off as the sun drops behind low clouds to the west. To be honest, this happens more often than not.)

The photographer wants where light hits the fall more or less from behind. The number of suitable locations is quite limited and — no surprise — they end up being hugely crowded.

Having said all of this, be aware that it is going to be extremely difficult to get a photograph of Horsetail that hasn’t already been done. I’ve seen a few,  but most essentially duplicate existing images. In some ways, I think that contemplating the fact that such a thing actually happens in a place that already contains as many marvels as we see in the Valley may be more rewarding than making another photograph of it.

A downside to the experience is that the popularity of “bagging this shot” has taken off remarkably in the past few years. Yosemite Valley is obviously already a place where it is tempting to run from well known spot to well known spot trying to recreate the well known photographic images that others have produced there. (Ironically, those who take this approach often miss many, many less known subjects in the Valley that can be every bit as beautiful and rewarding.) With Horsetail, the rush of photographers is compressed into a very short time period and focused on a few (mostly only two!) very popular shooting locations. Those who shoot from them on prime evenings may arrive in the morning to reserve a spot… to find a crowd of photographers is already set up.

As of the date of this revision in 2020 the situation has become quite insane, and the park service has had to take serious steps to control the mess. Literally thousands of photographers and others have been arriving in places that used to handle a dozen or two folks. Traffic jams ensued, the experience has been significantly degraded, parking is a mess, and the crowds are damaging park features. As of this year large sections of park roads are now off-limits to parking and one of the two popular locations has been completely closed.

I strongly urge you to NOT go.

I was fortunate a few years ago to have a nearly solitary experience photographing the fall. That winter Northside Drive was closed and all traffic was routed in and out of the Valley along Southside Drive. It had snowed, and one of the locations for photographing the fall was only accessible by hiking across the Valley in snow to Northside Drive and then walking a bit further in the snow to the place from which I shot. I walked over early and spent an hour or more shooting alone in the silent and snow-covered El Capitan meadow! Then, as sunset approached, I walked quietly to a place where I could see the fall and joined a small handful of fellow photographers waiting for the event. We weren’t disappointed.

That is the way I want to remember photographing Horsetail Fall.

(Some of my Horsetail photographs are found here.)

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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.

Fifteen Ideas For Photographing Professional Bicycle Races

Some might be surprised to find that I take every opportunity to photograph bicycle racing. Although I’m primarily an urban and natural landscape shooter (to generalize just a bit) I also have a passion for shooting a few other surprising subjects. One of these is professional bicycle racing. Although I never raced, I was at one time a very serious cyclist. I trained with folks who did race and for several years I rode as if I were preparing to race, doing over 10,000 miles per year. With that in mind, it might  seem less surprising that I interrupted my photographs of Death Valley, the coast redwoods, and the Pacific coastline to post a week of bicycle racing photos.

During the last few years I’ve been fortunate to be able to shoot stages of the Amgen Tour of California professional stage race in northern California. As I’ve done so, I’ve gradually figured out more strategies that let me get some effective photographs. Here’s a quick summary of a few of them.

  1. Time trials, especially those on short courses, can be the best opportunity to shoot riders on their bikes. Each competitor rides the course individually, so you can get a clear view of the rider approaching. Because lower ranked riders go first, you can experiment with locations, lighting, and so forth on them… and have your shooting strategy worked out by the time the big names arrive.
  2. If you want to shoot the peloton (the pack of riders) try to do so at a start in a downtown area that includes “parade laps” – where the pack does a few loops at less competitive speeds before heading out on the open road. You’ll have similar opportunities at the end of a stage that finishes with several downtown loops, though things tend to happen a lot faster at the end than during the parade laps.
  3. If you try to shoot a sprint finish and cannot be right at the finish line – and you probably cannot – try to be in the area 100-200 meters from the line. At this point there is tremendous action as the final sprint starts to take place and, in my experience, some very dramatic shots are possible – even more so than at the finish line when the race has usually already been decided.
  4. In all of these situations, unless you are very experienced at tracking riders close up with a long lens as they fly by at high speed… practice on every rider that comes by. I’ll even practice tracking support motorcycles, police escorts – anything that moves. Eventually you want to pan smoothly while you remain continuously aware of the position of the riders in the frame – and the non-rider elements in the background. To put it mildly, this isn’t easy – and it takes a lot of practice.
  5. When you track riders moving at high speed, think about putting their torsos/hips in the center of the frame vertically. Unless you are shooting very tight, if you center their heads you’ll get lots of empty space above them and cut off their legs and bikes.

    Team Gerolsteiner Warms Up for the Prologue
  6. Pick your shooting location carefully. You certainly want a spot where the riders are likely to be in dramatic and dynamic positions. Turns can be good for this, for example. But also carefully consider the background to your shot – who is standing on the other side of the road and what is beyond the riders. (I once shot a series of riders warming up for a time trial… only to realize later that there was a bright green outhouse behind them!) Also think carefully about the ambient lighting. If the riders are backlit there is a good chance that they will be very dark. I try to place myself in a position where they will be front or side-lit.
  7. Counter-intuitively, very high shutter speeds may not always be a good choice. Yes, you may stop the action – but you also may end up with very static looking shots. In many cases you’ll more effectively capture the speed and motion of racing if you lengthen the exposure and track the riders, thus allowing some motion blur.
  8. Don’t let bad weather dissuade you from shooting. Often rain or clouds or fog can make for some of the most dramatic images. Be careful with your gear, but try to take advantage of these conditions.
  9. If you are going to try to shoot the pack in the middle of a long road stage, you need to plan carefully. The road will often close well before the peloton arrives, so you need to be in place well ahead of time – an hour or many hours before the race passes. If possible, scout the area where you think you’ll shoot ahead of time. Look for a dramatic setting – an expansive view, a bridge, forest, anything that can make your shot something other than just “bikes on a road.” Consider shooting on an uphill section – the pack will go more slowly. Try out different focal lengths to see what will work best in your location. Consider having two camera bodies with different lenses – a telephoto to do long shots as the group approaches and a shorter lens to shoot the pack as it is right in front of you.
  10. The pack will pass very quickly. A few motorcycles will pass, then the pack will suddenly appear in a rush of color and wind, followed quickly by the support vehicles… and then they are gone. You’ll have only seconds to shoot. You must pick your spot ahead of time. You’ll almost certainly want to use burst mode – perhaps shooting jpg so that you can get more images before the camera buffer fills. Better to err on the side of using a focal length that is too short (wide) than one that is too long (telephoto) – you can crop later if necessary.
  11. The actual race is not the only thing worth shooting – there are many, many interesting subjects before and after the race. I often find interesting subjects among the spectators waiting for the pack or even watching the peloton pass. One of the great things about pro bike racing is that you have amazing access to the riders in the team area before the race. I often spend at least an hour there before the race, shooting like crazy so that I don’t miss anyone. You may look up and see Lance Armstrong riding past you five feet away, or you might see some guy you don’t recognize talking to fans – only to find out later in the day that he was the stage winner. I generally use a relatively long lens in this area and “snipe” – getting close shots of riders. (You’ll generally have far fewer opportunities like this after the race, when the riders quickly disappear.)
  12. Occasionally try things that aren’t quite so obvious. I once found myself on an inside corner a few blocks from the end of a stage as the peloton came into town. I put on my widest lens – a 17mm zoom – and stuck the camera through the fence down low to the ground. With the camera in burst mode I shot as riders leaned into the turn only a foot or two from the camera.
  13. Large apertures are often better than small apertures. Yes, the small apertures give you greater depth of field – but they also force you to shoot a slower shutter speeds (not always a bad idea…) and put non-central subjects in sharper focus. Often the riders will stand out more against an out of focus background than against a busy in-focus background. (It is difficult to generalize too much about this though – if you are already throwing much of the scene out of focus by using a slow shutter speed, there can be advantages to the smaller aperture.)
  14. When shooting individual racers, especially in the team area, do shoot a lot of frames – but also think carefully about what the riders are doing and what they look like. I’ll often try to quickly get an initial shot that is serviceable – but once I get that I become a bit more selective. I’ll watch the subjects face for the most interesting expression or better light. I’ll also watch to see them interact with fans – this often creates really compelling moments.
  15. Shoot a lot. Things happen quickly, and not just on the course. Not every shot is going to be a great one, but you’ll often have little time to carefully consider each shot – better to work on instinct. (Oddly, I realized a few years ago that the closest experience to this might be shooting certain types of wildlife – birds in flight for example.)

© Copyright 2010 G Dan Mitchell – all rights reserved.

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.

Web Publishing Experiment – Draft of the Next Death Valley Post

I decided to try a little web-publishing experiment with part 2 of my series of posts on photographing Death Valley National Park – I’m sharing the draft publicly as I write it. I decided to try this for several reasons.

  • It is prime DeVa photography season now and for the next couple of months, and some people may find the information useful before I’m ready to release the final version.
  • There are lots of you who have DeVa experience of your own, and perhaps your comments and feedback may improve the post.
  • Maybe, just maybe, someone might be interested in watching the evolution of the post. I can flatter myself, right? :-)

To find out more take a look at the current version of the draft, where I’ve added a few words of explanation.

Dan