Tag Archives: point

West From The Panamints

West From The Panamints
Early evening view looking west from ridge of the Panamint range, Death Valley National Park

West From The Panamints. Death Valley National Park, California. April 3, 2017. © Copyright 2017 G Dan Mitchell – all rights reserved.

Early evening view looking west from ridge of the Panamint range, Death Valley National Park

I made this photograph on the evening of my arrival in Death Valley. The drive is always a long one, taking most of the day when I come straight from the San Francisco Bay Area. This time I had started in the Carrizo Plains National Monument, where I had stopped overnight to join friends for some photography of this year’s extraordinary wildflower bloom. That meant that even though I had a slightly shorter drive I got a later start — I wasn’t about the leave the Carrizo without making some morning photographs, and then I explored a slower route through the Temblor Range on my way out to the Great Central Valley before continuing on to Death Valley.

My Death Valley plans were not set in stone, so when I arrived in the park I wasn’t quite sure where I would go the first night. I had some thoughts of heading out to a remote canyon area to camp, but given the late arrival I started to consider simply camping at Stovepipe Wells. When I got there and it looked like the wind might kick up a dust storm I changed my mind again and headed up into the Panamint Mountains. (Anyone who has endured a Stovepipe Wells dust storm will sympathize!) In any case, I set up a camp in the mountains and then headed out to this remote ridge top location, a place from which I have often photographed in the early morning. The haze was a bit thick looking to the east, but what a view there was to the west! In that direction the same haze glowed in the backlight of the evening sun with ridges receding into the distance and culminating at the crest of the Sierra Nevada.


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.
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Predawn Clouds Above The Black Mountains

Predawn Clouds Above The Black Mountains
Lenticular clouds build over the Black Mountains before dawn, Death Valley National Park

Predawn Clouds Above The Black Mountains. Death Valley National Park, California. April 7, 2017. © Copyright 2017 G Dan Mitchell – all rights reserved.

Lenticular clouds build over the Black Mountains before dawn, Death Valley National Park

Death Valley can be a tough place in general and a tough place for photography in particular. My recent trip in April of this year might be a case in point. The photography was not easy, and I faced different sorts of challenges almost every day. During the morning and evening hours when I typically look for “golden light” subjects, I had rather thick clouds on almost each day. Wind is often a challenge in the park, and this trip was no exception. And with the wind comes dust — yes, I dealt with dust storms on multiple days. On one morning I arrived at what I thought was my location in pre-dawn murky light, loaded up a pack, and wandered out into the landscape… only to realize once the light came that I was in the wrong place! While this sort of thing can make the photography edge a bit more difficult, I know that it comes with the territory, so I’m philosophical about it. If you are out there enough to encounter astonishing conditions, it is not a surprise when you find yourself at the opposite end of the bell curve on occasion. And when this does happen, if I just open myself to the terrain and look more carefully I can almost always find something.

On my second-to-last day of photography in the park I packed up my camp and left one of the popular campgrounds, with a plan of putting myself in a more isolated location, one of several that I had in mind. However, as I drove up the Valley a storm wind began to rise from the south, and soon clouds of dust and sand were filling the air and blowing north towards the places I thought I would visit. I wasn’t in the mood for camping in a dust storm so I switched gears and decided to head up into the Panamint Range where I thought the terrain might give me some protection. I arrived and set up my “camp” (which, in this case, was mostly my vehicle, in which I would roll out a sleeping bag), and almost immediately clouds filled the sky and a strong wind raced through the campsite. I hunkered down, at some dinner, and realized that this was not going to be a photography evening. The next morning, my final in the park on this trip, I was up and out of the campground at around 5:00, heading out on a gravel road to a high place with a grand panorama. As the first light appeared it became clear that the clouds had not gone away, and my hopes of a colorful sunrise were not going to be rewarded. I arrived at the destination to find that gale-force winds were raking the summit ridge. But I was there, I had my camera, I figured something might happen, so I got out and watched the sky lighten. Soon I saw this remarkable lenticular cloud formation to the southwest above the Black Mountains.


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.
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Trees, Snowy Ledge

Trees, Snowy Ledge, Yosemite Valley
“Trees, Snowy Ledge” — Trees grow on a snowy ledge below Glacier Point

The cliffs and spires of Yosemite Valley — and not always the most iconic among them — fascinate me. While there is only one Half Dome, there are uncounted intimate vignettes of ridge, ledge, spire, light, texture, color, and atmosphere everywhere — where the cliffs meet the canyon floor, up these giant walls, and along the rim of the Valley. The variety is astonishing — something that is uninteresting in one kind of light may glow in another, what appears as a featureless face in summer may acquire relief when there is snow, changing light color brings colors out of what might otherwise seem entirely gray.

In February a spent a couple of very early (and very cold!) mornings contemplating one specific area of the Valley, staring upwards as the bluish pre-dawn glow was transformed as light came to the sky and then as beams of sunlight slanted across the granite faces and ledges. On both mornings I photographed this subject — a pair of taller trees flanked by smaller trees and brush and a dead snag, and set against a particularly varied bit of cliff texture and color.


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.

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The Shadow Line

The Shadow Line
The boundary between morning sunlight and shadow traverses granite slabs

The Shadow Line. Yosemite Valley, California. February 26, 2017. © Copyright 2017 G Dan Mitchell – all rights reserved.

The boundary between morning sunlight and shadow traverses granite slabs

These slabs on the lower face of the Glacier Point apron always attract me, especially in the morning. I go way back with them — many years ago when I was, for a short time, a budding rock climber, we climbed on them, testing the limits of our trust in friction. Today, when I’m in this section of the Valley early in the morning, I always watch for the arrival of the first sun on the slopes.

I was in a cold meadow before sunrise on this winter morning. Soon the first light began to touch the cliffs along the north side of the Valley, and then trees along the upper rim near Glacier Point picked up the light. It worked its way slowly down the immense face, and the light final streamed through gaps behind Half Dome and slanted across this slope and revealed the cracks and scallops on the weathered granite.


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.
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All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.