Spring morning glory flowers along the California coastline, Monterey County.
I hope I have the right identification of this flower! (If not, I’ll rely on the intelligence of the web to set me straight.) I think it is morning glory, though there is at least one other flower that seems to fit the appearance and location along the Pacific Coast Highway.
I had briefly stopped to photograph a landscape scene — a small cove and rocky beach, with overlapping headlands marching away to the south. As I walked to my overlook I passed through an area filled with all sorts of wildflowers, including these specimens.
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” is available from Heyday Books and Amazon.
A desert wash winds through colorful hills at the base of the Black Mountains in soft evening light.
I am a bit surprised that I never really noticed this feature before. This wash twists its way up through a series of very colorful hills that are plainly visible from a road that I have travelled many times. I suppose that the explanation may be that I have often passed by on my way to some other specific location, and thus my attention hasn’t been on my immediate surroundings as much as it should have been.
This was a very cloudy evening, but there were brief intervals of light, often filtered by high clouds and in gaps between thicker clouds and a high mountain ridge to the west. It was extremely windy and the light was in a constant state of flux, so when I saw this scene I worked very quickly, deciding that using a tripod wouldn’t help much in the strong gusty winds and that getting the photograph quickly before the light changed was the most important thing. Sure enough, within seconds after making a small number of exposures this light was gone.
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” is available from Heyday Books and Amazon.
An evening sand storm sweeps up into desert mountains above Death Valley sand dunes.
Desert dust storms and sand storms can create wild photographic conditions, sometimes producing almost apocalyptic effects of light and color and atmosphere. They are, however, a mixed blessing since they bring strong winds and dusk gets into everything. On this evening we knew that there was a chance for such conditions, and when we started to see the dust clouds rising above the valley we headed north to see what we could photograph. I made a series of photographs — some in nearly obscured conditions and others, like this one, when the dust became a bit less thick and dusk colors added to the scene.
Photographing (or anything else, for that matter!) in sand storms is not pleasant. The conditions are impressive, but they are also extremely challenging. The sand and dust are terrible — on lungs, on vehicles, and on camera equipment. I employ several strategies, depending on the circumstances. Often I head for the edges of the storm and photograph into it with long lenses. I also may work from inside a vehicle, perhaps photographing through a partly open window (on the leeward side of the vehicle if possible) or, in extremely bad conditions, even shooting through closed windows. To make this photograph I briefly got out of my vehicle and worked in the partial shelter on its downwind side, shooting handheld so that I could minimize my exposure to these conditions.
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” is available from Heyday Books and Amazon.
Ross’s geese in a wetland pond on a foggy morning beneath dawn sky.
There is often a particular esthetic around bird photography that concentrates on close photographs of individual birds. I’ve often thought that the reasons for this particular approach are several. For some bird photographers – though not so much for me — this work is an outgrowth of “birding,” and in that endeavor being able to view individuals close up is a goal. There’s also an element of the technical challenge. It isn’t easy to get in position to fill the frame with one bird, and it is even more difficult when the bird is in flight. On top of that, we must acknowledge that for at least a subset of bird photographers, the acquisition and use of really big and really expensive lenses has its attractions.
I’m not immune to those things, but I often find myself approaching birds in a somewhat different way. Few of my photographs feature a single bird filling the frame. (I can do that, and I have, just not that often.) More typically, the photographs include a group of birds — a couple of them together or perhaps thousands — and place them in the landscape. The latter is quite likely linked to my long interest in the landscape as a subject. This photograph clearly fits that lineage — it is what I think of as a “birdscape,” a photograph including birds in the landscape they occupy. I made this photograph in a water-filled place on a foggy morning when soft and colorful dawn light briefly lit the sky.
David Hoffman and I have an exhibit of “birdscapes” opening very soon at Stellar Gallery in Oakhurst, California, near the southern entrance to Yosemite National Park. If you’ll be in the neighborhood — going to see the Yosemite Valley snow or to photograph Horsetail Fall? — stop by and take a look at our photographs!
February 16th-March12th. Reception February 16 5-8:00PM. Stellar Gallery, Oakhurst, California
Birdscapes — David Hoffman and G Dan Mitchell
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” is available from Heyday Books and Amazon.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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