In addition to more than a dozen of my photographs, the show includes prints from a talented group of photographic artists and friends that I invited to collaborate on the project: Jerry Bosworth, Franka Mlikota Gabler, Charlotte Hamilton Gibb, David Hoffman, Vidya Kane, and Kerby Smith.
From the Yosemite Renaissance website:
Over the past two months, artist in residence G Dan Mitchell has been photographing Yosemite during the transition from winter into spring. It is an unpredictable time, rich in imagery for photographers as late winter storms challenge the new growth of spring. Wildflowers appear first, poppies and many others. Dogwoods come next, encouraged by warming temperatures and clearing snow. At the same time temperatures suddenly drop and snow falls in unpredictable ways. Daffodils and irises are suddenly covered in snow. G Dan and six other photographers have done their best to capture this magical time in and around Yosemite. The show will include over 40 works documenting the transition. Proceeds from the exhibit will benefit Yosemite Renaissance. Please join us!
Gallery 5
40982 Hwy 41, Suite 5, Oakhurst CA
559-683-5551
This is the first of what will be a series of articles looking at steps you can take to improve your chances of producing compelling photographs.
A recent stay in Yosemite Valley during my Yosemite Renaissance artist-in-residency reminded me again that while many aspects of photography are out of our control, there are things we can do to increase the odds of success.
On this visit I had three late April spring days to photograph in the park, which mostly means “in Yosemite Valley” at this time of year when the high country is still snowed in. By non-photography standards, the Valley was beautiful — if a bit crowded. The sun was out, the sky was blue, temperatures were comfortable, rivers were full of early snowmelt, the waterfalls were flowing, there were hints of green in the seasonal vegetation, and too many tourists were already showing up!
I did the usual things: I got up before dawn to find the early light. I stuck around until the last light faded. I returned to subjects that I knew from past experiences to be promising. I considered where the light would be at different times of day. I went looking for new subjects in likely places. I wandered. I kept my equipment with me at all times. I made photographs, and some of them are even pretty good, but at times it was hard to “see” something special in these conditions.
What’s not to like, right? From a photographer’s point of view these are not ideal conditions for photography. As pleasant as nice weather is for hiking and camping and picnicking, it can be hard to find exceptional photographs in such everyday light. I and many of my fellow Sierra photographers prefer interesting and unusual conditions — precipitation, broken light, mist and clouds, some haze.
On the final morning I was up and heading into the Valley well before sunrise. The light was unspectacular, with thick overcast cutting off the morning light. But then I caught sight a bit more light in the east, and soon I saw some breaks in the clouds. Within fifteen minutes the conditions opened up and I was treated to an exceptional spectacle of light and clouds and landscape that lasted for several hours, during which I photographed continuously. I made more interesting photographs during these few hours than during the rest of the visit.
The morning sun breaks through clearing clouds above Merced Canyon
To state the obvious, “exceptional” and “unusual” conditions are not the norm. The blue-sky “blah” light is. If you show up on ten randomly selected days, nine of them are going to be, literally, unexceptional, and if you are looking for something unusual and beyond-the-norm you aren’t likely to find it.
“Los Banos Donuts” — Los Banos Donuts shop at night
I can’t be certain, but there is a very good chance that this place was there back when I made my first trip to Yosemite decades ago as a child. I recall my Dad driving us over Pacheco Pass and down through green hills into the Central Valley. (This was before the San Luis Dam was constructed, though I think it was already approved or planned. Yes, I’ve been in California that long!) I know we passed through Los Banos, stopping in a park along the way for a picnic. I don’t know if we stopped for donuts on that trip, but I have stopped here a few times since then.
Every time I’ve passed through this town for the past few years, typically before dawn or well after sunset, I’ve noticed the place and made a mental note to stop and photograph it before dawn or after sunset, its big red DONUTS sign and glowing interior lights calling to us in the darkness. But since I was usually in a hurry to get somewhere — a destination to the east or else back home — I never stopped. Until this season. I finally pulled over and stopped briefly in a parking lot across the street and made a few exposures. I thought the pickup truck was an appropriate touch. (And, no, I did not stop for donuts. This time.)
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him.
It can be difficult to figure out what gear will work well for photography while traveling, what kind of camera and what lenses to take. I do a fair amount of travel photography, and I’ll going this use this article to summarize a few approaches that can work. (Article updated April 25, 2026.)
“Je Suis Bleu” — Sidewalk, graffiti covered wall, and women (virtual and real) on a Paris street
A starting assumption: There is no one “right” or “best” approach to photography while traveling, and what works for me may be far from ideal for you. I’m hopeful that this article may help you figure out about what fits your approach to travel.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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