Afternoon light reflects on the surface of the Pacific Ocean beyond the Point Reyes lighthouse.
Although our trip to Point Reyes was not primarily to do photography, somehow I ended up bringing back quite a few photographs! This photograph was made from the iconic overlook at “the point” and right above the long stairway down to the historic lighthouse. On this afternoon high clouds were streaming in from the Pacific and casting a mottled pattern of light and shadows on the surface of the Pacific Ocean.
This spot is often completely socked in by clouds and/or extremely windy and cold. However, this was perhaps the most benign afternoon I’ve experienced there. The temperatures were very comfortable – we were a bit too warm on the walk to the point. The sun was out, and the wind was nearly still at times.
I wasn’t certain when I made the exposure of whether it would end up being a black and white or a color photograph. I’m still not sure! I’m sharing the color version first, but a black and white rendition will follow in tomorrow’s post.
Three tule elk grazing on hills above Drakes Beach at Point Reyes National Seashore, California.
This is one more – and possibly the last – in the series of tule elk photographs that I made at the Point Reyes National Seashore on Memorial Day. A group of perhaps eight or ten bull elk were grazing along the top of the hills above Drakes Bay when we encountered them in beautiful late afternoon light. As soon as I got out with my camera they moved just a bit further away, but still well within photography range.
There is a typical sequence in how I usually photograph creatures such as these. Because I never know how long they will stick around, I begin my just shooting them in any way that seems even somewhat interesting, perhaps muttering to myself, “At least I have tule elk shots in my portfolio now!” But after getting a few “insurance” shots right off the bat, I start to be more selective and more observant. Initially, I’m looking for a variety of interesting individual shots. These might include a single animal separate from the group, perhaps the full group, and perhaps sub-groups of two or three. I also pay a lot of attention to their positions, watching to make sure that faces are visible. (In this shot, the leftmost elk is partially obscured, but because his eyes are still visible and because of the way his antlers align with those of the front animal, on balance I don’t think this is a big problem.) I also watch for distracting elements, and may stop shooting if they are present. For example, the rear end of an elk is bright white and, uh, not the most photogenic part of the beast – so I wait until an animal presenting its backside to the camera either moves out of the frame or rotates into a better position.
I also try to think the same way I think when photographing a group of people. Their faces and eyes are the most important things, with the relationships their positions create among them being a very close second. Here two of the elk are looking almost at me, but slightly past my left shoulder. The third animal seems to be looking more toward the other two, creating a different sort of relationship among the animals. These things are so fleeting that I sometimes don’t see them until they have happened, so I have learned to not be conservative about exposing a lot of frames!
To the extent that I have control over such things, I also like to think about the angle of the light on the subjects. Sometimes you have no choice – you simply have to shoot from where you are. However, with these elk I did have some range of options. They were along a road, and I chose to stop a bit before their position because the light coming from the left would light them in a more dramatic and interesting fashion than if I had gotten closer and shot them with the light right behind me. In addition, I try to look beyond the animals themselves and be aware of how they position themselves against background subjects. This particular shot isn’t a great example, but in others I might wait for the moving animals to position themselves in a place where the background elements relate to them in some interesting way.
With all of this detail, you might get the idea that I’m standing there making a series of careful and logical calculations about how to shoot these guys. That’s not really what happens at all. Much of it turns out to happen in a quick and intuitive and almost subconscious manner “in the moment.” I’ve probably written here before about my belief in the important of “practice” (something I learned from my musical background) when it comes to being able to work and see quickly and effectively.
A bull tule elk grazes among the grassy hills near Drakes Bay, Point Reyes National Seashore.
The group of bull tule elk that I encountered at Point Reyes National Seashore on Memorial Day was large and tended to stick together very closely. Most of the photographs that I shot include multiple animals. However, this fellow paused for a moment as the others moved to the right and I had a chance to make a few photographs containing only a single elk. He was even thoughtful enough to pose in front of the rolling green hills rising above Tomales Bay in the distance!
The elk were apparently native to Point Reyes – and much of the rest of California – but were decimated in the 1800s as a result of hunting and displacement by cattle. As I understand it, a small group was reintroduced to Point Reyes in the 1970s or thereabouts. Eventually they were so successful that the herd began to expand to other areas of the park, and the area has now reached it normal carrying capacity for these animals. This specimen and the group it was part of were along the top of the rolling hills above Drakes Bay.
Afternoon light filtered through incoming clouds illuminates the surface of the Pacific Ocean at Point Reyes, California.
When we were at the Point Reyes lighthouse on Memorial Day, clouds from a weak weather system were approaching the coast. Above the horizon the sky was dark and somewhat gloomy. Overhead there were broken clouds, the light coming through the cloud breaks dappled the surface of the Pacific Ocean to the northwest of the Point, and there was a larger pool of light on the horizon. All of this seemed to call for another “minimalist seascape,” so I made one.
When I made the exposure I was leaning towards a black and white image, but when I began to work with it in post and realized that it was very close to being monochromatic already, I decided to stick with the very muted colors of this version. The colors a bit more obvious in the print, but still quite subtle. The closest thing to real color is a slight golden tinge to the light on the horizon.
The Point Reyes lighthouse area is often a pretty wild place. I’ve been there when the wind was blowing so strongly that I essentially gave up on photography. It can be extremely cold out there, too, even on days when the sun is breaking out and the temperatures are warm a bit inland. But this spring day was a surprise. Apart from the passing clouds, the weather was quite comfortable, and for the first time that I can recall there were moments of no wind at all!
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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