This is probably the classic notion of what a desert looks like — fields of wind-formed sand dunes stretching into the distance. In truth, such dunes typically cover only a very small fraction of the desert landscape. That’s certainly true in Death Valley National Park, where large, impressive dunes are only found in a handful of locations. We visited one of them on the final morning of our late February trip.
Continue reading Aeolian Bedforms
Fog can make photography wonderful… or difficult when I photograph migratory birds in California’s Central Valley. There are practical issues, such as driving on roads that are dangerously obscured, or not being able to see the birds in the murk. It is cold and damp. But I love the atmosphere that tule fog brings to this landscape, and that’s why I keep going back.
I also like the way that it lets me “minimize” the landscape. Fog blanks out any subjects that are not close to the camera position. On a clear day you would see trees, possibly utility lines and poles, a sky with clouds, and who knows what else. But when the fog is thick all of those distractions disappear and I can work with the most minimal of materials.
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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. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email
All media © Copyright G Dan Mitchell and others.
In early July I spent a few days in the Eastern Sierra Nevada, mostly photographing high country in and around the Tuolumne Meadows area of Yosemite National Park. Since I was camped just outside the park boundary and east of the crest, I managed to get down to the high desert country east of the range, too. In particular, I spent one morning photographing at Mono Lake.
These tufa towers are, of course, more or less the classic subject at the lake. On this morning they were actually more of an afterthought for me. My main subject had been long views of the lake itself, and especially those that include the distant mountains to its east and north. I started photographing that subject before sunrise and kept at it until the early morning warm light dissipated. With plenty of time on my hands, I figured I might as well take a long, lazy walk down to the shoreline where I made this photograph.
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. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email
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(All media © Copyright G Dan Mitchell and others.)
This was a morning of utmost stillness and quiet. We worked our way around the perimeter of a wetlands landscape filled with ponds. Geese and sandhill cranes were beginning to stir in the first light. There was thick tule fog before dawn, and it started to thin as the sky began to lighten as the sun rose.
These wetlands marshes can be a welcome antidote to the stresses of our current world. (No, I don’t believe in ignoring the causes of that stress, just in trying to find balance.) Here things move so slowly that sometimes they barely appear to change at all. In this scene a few ducks paddled by slowly, and tiny ripples appeared in the water, while fog moved almost imperceptibly.
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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. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email
All media © Copyright G Dan Mitchell and others.
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