The late-day light on autumn aspens is a fleeting thing, especially here along the east slope of the Sierra Nevada where peaks tower to the west. Over the years I have become familiar with the rhythms of this particular spot. I know that the best light happens during the half hour (or less) before the sun drops behind those peaks. So I arrive a bit early, pack a long lens, and prepare for a half hour or so of intense photography.
Continue reading Aspens and Distant Mountains
These sage-covered foothills are at an elevation of 8000′ and higher, but they are brown and dry, especially this late in the season. Technically this spot is part of the Sierra Nevada — it certainly seems so when you look at these peaks. However, it feels more like high desert than part of the mountain range.
The little grove of aspens grows in the bottom of the canyon that drains the nearby highlands. These trees were approaching their peak color, but with changing light I had to work quickly. Cloud shadows were moving across the landscape, and the shadow of the low hill at bottom right was starting to intrude on the colorful trees.
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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
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Transition zones in the mountains fascinate me — places where one sort of landscape runs into another. In this photograph from the Eastern Sierra Nevada, aspens extend across high desert sagebrush terrain and right into the lowest conifer forests. The demarcation between sagebrush and forest is fairly sudden, but the aspens live in both.
Decades ago my entire notion of the Sierra Nevada revolved around the forest and alpine zones. For that reason, and because I usually approached the range via its gentle west slope, I did not know about this high desert terrain. It is possible that the first time I encountered this zone was when exiting on the east side after a long walk in the high country — and it was a shock to me.
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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.
I reached this spot on a lonely gravel road that branched off from the main route heading southeast from Mono Lake toward some slightly higher sections of the basin. This group of ponderosa pines includes the last trees that manage to grow here, and beyond this point it was all dry sagebrush country. In the distance you can make out Mono Lake and distant mountains beyond its far shore.
There is an immense ponderosa pine forest in this area. It is my understanding that it may even be the biggest stand of these trees. They extend from here all the way over to highway 395 far to the south of the lake. Near the spot where I made the photograph I found many dead trees, apparently the victims of a long ago wildfire.
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, Amazon, and directly from G Dan Mitchell.
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