The last autumn leaves on a box elder tree against a dark wall of Escalante Canyon, Utah
On a very cold and somewhat cloudy day in late October we explored portions of the Escalante River in Utah. This was a tough day for shooting! Not only was it cold – it was trying to snow by the end of the day – but it was also very windy, making photography of cottonwood and box elder trees and other vegetation a real challenge.
In places the river twists and turns, first going one way and permitting sun down to the river, then abruptly turning in a share s-curve and heading back the other direction. Then, as they say, “lather, rinse, repeat.” The back and forth winding course of the river continues. As we passed through one of the sharp bends, beneath very tall cliffs and in deep shade, we had to wade across the river as it flowed next to this sandstone wall. Tucked up against the wall and growing from rocky ledges were several trees, including this one that still retained just a few autumn leaves.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
I made this in the last moments of an early March visit to the California Central Valley to photograph migratory birds. (As I write this in late March, I’m pretty certain that this was the final “goose chase” of this winter season.) I had come across a very large flock of snow geese in a field alongside a road south of Sacramento near the end of the day – somewhat to my surprise – so I pulled over on the barely adequate shoulder of the road and photographed over a fence and some roadside weeds as the birds began to fly off in small groups.
This little episode illustrates, for me, some of the unpredictability and luck involved in photographing such birds. I don’t mean to diminish the importance of having appropriate equipment and knowing how to use it, nor of having some idea of where to find the birds. But there is a lot about this that is not in the photographer’s control. I had started the day many miles south of here before dawn at a very different wildlife site. My plans were a bit vague beyond starting there, and when the opportunities seemed a bit less than idea after the morning shoot, I decided that I would use the “blah light” midday hours to travel up the valley a good distance to another area where I had not photographed since last season. (This added bit of driving also allowed me to investigate a few highways and side roads that I had been wanting to check out.) After a long drive of nearly two hours I arrived at this location in the Sacramento area and found… not at all what I had hoped for. I was hoping for more large flocks of birds, preferably geese and/or cranes, but at the first place I stopped it seemed that formerly flooded fields had now been drained and tilled. I moved to another area, but still couldn’t see what I had in mind to shoot. I drove around a bit trying to get the lay of the land and discover if perhaps the birds were somewhere other than where I expected to find them, but aside from a few small groups I didn’t find much. I took a nap. I started the usual contemplation about how not every shoot is successful and reminded myself that it was a good day even if nothing turned up here. As sunset approached I decided to make one last loop around the area, stopping to briefly photograph a few Canadian geese. As I watched the, I caught a glimpse of the tell-tale white birds off to the north and since I wasn’t finding anything all the compelling where I was I drove off in that direction. I soon was surprised to find a field filled with many thousands of geese – and a bit more surprised to find that they (or at least many of them) were snow geese rather than the Ross’s geese I often photograph. I stood along the road, separated from them by a low fence and tall weeds and watched. Before long small groups began to take of and fly low angle paths across the field toward the setting sun. The light was beautiful but often they were in front of farmland buildings, trees, and wires. I kept shooting and occasionally a group would rise high enough and quickly enough to appear against early evening sky. One of the important factors, or at least it seems to me, is to capture the group when the birds are in a pleasing and interesting configuration. Too often they overlap, or may not have wings raised or lowered, or there distances may vary enough to create focus problems – so it is no surprise that a good percentage of the shots aren’t keepers. (I have a sense of when this is more likely to work, but only a sense.) But this group managed to cooperate nicely, not only flying against background of clear sky, heading into the golden hour sunset light, but also managing to maintain enough separation that none of them overlap at all.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
A cottonwood tree set against the afternoon colors of shaded sandstone walls of Zion Canyon, Utah
I photographed this tree, still too soon to have fall colors, in front of the huge sandstone cliffs above the Temple of Sinawava feature at the upper end of Zion Canyon in Zion National Park. These trees grow here along the banks of the Virgin River, which makes some rather abrupt twists and turns in this portion of the canyon and flows right up against the canyon walls.
I should probably write something about the colors in this photograph. I actually held this one back for some time on account of the colors – which could easily be seen to be due to overly enthusiastic post-processing on my part. That’s not the case, but there have been a few other photographs that I have made that have evoked such responses, and sometimes I’d rather not have to explain. However, in this case I will explain! :-) The entire scene is in shadow, as the very tall cliffs are along the west rim of the canyon and completely block sun from this spot for a good portion of the day. The cliff face is extensively covered with a sort of “varnish” that is commonly seen on such walls, though it is much more extensive than usual here. This material normally is quite dark, black even, and is more reflective than natural sandstone. When it is in the shade it tends to reflect the blue tones of the sky – and that is where the intense coloration of this cliff comes from.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Spring dogwood blossoms on a branch above rushing water, Yosemite Valley, California
Continuing with this spring’s “dogwood blossoms over water” theme, here is another from my one-day dogwood photography foray to Yosemite Valley in early May. This photograph was made in an area where I made several others of more or less this subject, a spot where I was able to position myself so that dogwood blossoms in soft shadow light would appear against a background of darker water that was in even deeper shade.
Besides getting a beautiful branch to hang diagonally across the frame, in this photograph I was interested in a background that included both some darker water and some of the constantly changing patterns of white water. Anyone who has tried this will recognize that the task provides a combination of wonderful, time-killing fun and some frustration as you realize that you just missed another unexpected and ephemeral pattern of water flow. Needless to say, I (and most other photographers I’ve talked to) are glad we have digital cameras now, since there are often quite a few ordinary or worse frames for each decent or good one!
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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