Tag Archives: season

Photographs: Nature, Photographs: Northern California, Photographs: Sierra Nevada, Photographs: Yosemite

Mount Conness and Lower Young Lake, Sunset

June 15, 2011 G Dan Mitchell 4 Comments

Alpenglow lights Mount Conness above Lower Young Lake in the Yosemite National Park back-country.

I was recently going through a large portion of my archive in search of a variety of photographs of Mount Conness, a well-known peak along the northeast edge of Yosemite National Park on the crest of the Sierra. This is perhaps not the best known peak in Yosemite for most people – they are obviously going to be far more familiar with the cliffs and domes around Yosemite Valley or with Mount Lyell (the tallest peak in the park) or perhaps Mount Dana (second highest peak, and towering above the Tioga Pass entrance.) Mount Conness is found a bit further “north” along the crest, and while it may be less known, it is certainly no less visible once you know where to look. You can see it in the distance towering above Tenaya Lake if you stop at the iconic Olmsted Point overlook. It is visible from many places along the road to Tuolumne Meadows. Once you get away from roads and into the high country it can be seen from almost any high point with an open view in the direction of the peak, including places like Vogelsang High Sierra Camp.

This photograph was made on a quiet late-season evening at Lower Young Lake, a place that I return to frequently, most of the time in the off-season when fewer people are there and the fall colors of the high country are starting to appear. The peak (and many other features in this area) are beautifully illuminated late in the day as this high ridge is open without obstruction to the west. The light on the peak was magical on this evening, being colorful and contrasting with the higher and more drab clouds, but not being as gaudily bright as it can be on other evenings.

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Photographs: Nature, Photographs: Northern California, Photographs: Wildlife

Elk Walking Across Grassland

June 11, 2011 G Dan Mitchell 1 Comment

Tule Elk walking across grassland at Point Reyes National Seashore, California.

I know I promised that the previous one would be the last… but, yes, one more tule elk photograph. (For now? ;-) This one was slightly apart from the others in the group as they began to move off to the right, and I managed to time this photograph so that the others were out of the frame. Beyond that… perhaps not a lot new to say about photographs of tule elk at Point Reyes! :-)

Photographs: Nature

Three Elk, Point Reyes

June 6, 2011 G Dan Mitchell 2 Comments

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.

Photographs: Nature, Photographs: Northern California, Photographs: Sierra Nevada, Photographs: Yosemite

Boulders and Spring Torrent, Cascade Creek

May 25, 2011 G Dan Mitchell 4 Comments

I recently posted the black and white version of this photograph of Cascade Creek in full spring flow.

The color version of this photograph posed a series of post-processing questions and problems that others who have worked with a scene like this one can probably imagine. The creek descends through a narrow, rocky gorge at this point and I photographed it early in the morning before any direct sunlight was able to reach the water. Benefits of shooting at this time included the softer light, which tends to both throw some light into the shadows and to soften the brightest highlights. This also permits a longer exposure which allows the water to blur a bit and express the wild motion of the creek. However, since the primary source of light was the open sky, the camera “sees” a very blue scene. (Our visual system compensates for this, so it doesn’t look as blue as it really is when you are on the scene.)

There are several ways to deal with the color balance issues that this situation creates. You could just “go with the blue,” and I’ve seen photographs done that way. I’ve even seen some in which the photograph amped up the saturation and ended up with something very blue. In general, that’s not my thing! I’m most often looking for something that seems “believable” – it may not be objectively accurate, but I intend it to be “subjectively accurate.” With this in mind, my first instinct was simply to warm the color balance in order to move away from the blue cast and toward a warmer one.

My immediate impression was that this was an improvement, and I worked with this interpretation for several days – but something about it didn’t sit quite right with me. (This is perhaps one reason that I also worked with the black and white rendition in the meantime.) Eventually I did some comparisons between the “warmed up” version and the original… and neither seemed like what I was after. The overly blue original looked garish but the overly warm version seemed artificial. I tried some other approaches and finally discovered that because the blue was so intense that I could simply desaturate it – more than you might think – and keep the “colder” coloration without letting it overwhelm the image.

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