Tag Archives: shadows

Photographs: Death Valley, Photographs: Desert, Photographs: Nature, Photographs: Southern California

Trail Canyon, Lower Slopes of Wildrose Peak, Death Valley

April 10, 2011 G Dan Mitchell 4 Comments

Afternoon shadows fall across the lower slopes of Wildrose Peak above Trail Canyon and below Aguereberry Point, with Death Valley and the Black Mountains beyond.

The view from Aguereberry Point (and from this location close to the point) is spectacular and expansive, taking in everything from Death Valley itself, stretching almost 180 degrees from left to right, to the Green, Black, and other mountains beyond. To the south and north other ranges merge with the atmospheric haze. The peaks of the Panamint range lie behind, and in places where the view is clear you can look down on the rugged terrain of the east face of the Panamint Range with its rugged ridges and deep canyons dropping towards the Valley. This photograph looks roughly southeast towards the lower end of Death Valley in the area around Ashford Mill. The deep foreground canyon, the bottom of which is just visible at lower right, is Trail Canyon. I understand that a four-wheel-drive road used to come up to Aguereberry Point via that canyon, but that parts have washed out and it can no longer be driven. I think that you can hike it, but that would be one heck of a climb since the base of the canyon can’t be more than a few hundred feet above Death Valley (which is below sea level in this area) and the Point is well above 6000′. The lower slopes of Wildrose Peak rise beyond the canyon.

Surprisingly, this view presents several photographic challenges. Because of the haze that appears when such great distances are part of the scene, I chose to use a polarizing filter for this shot. Timing is important here, too. Arrive a bit too early and the light is harsh and flat. Arrive a bit too late and the foreground ridges are quickly enveloped in shadows as the sun drops behind the crest of the Panamint Range. (Yes, I have made both mistakes in the past.) Knowing this, I arrived a bit earlier than I might have usually arrive to shoot evening light and I managed to photograph the scene before that Panamint Range shadow obliterated the foreground light.

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Photographs: Architecture, Photographs: Night, Photographs: Northern California, Photographs: Structures and Objects, Photographs: Textures, Photographs: Urban/Street

Brick Wall with Windows and Doors, Artificial Light

March 1, 2011 G Dan Mitchell Leave a comment

A brick wall with windows and a door is illuminated by garish yellow artificial lighting at Mare Island Naval Ship Yard.

During the final weekend of February I was able to join my friends from The Nocturnes for an “alumni” shoot at the historic Mare Island Naval Ship Yard at Vallejo, California. I photograph at this location a few times every year – most often with The Nocturnes – and each time I go I find something new or else find a new way to photograph something familiar.

This wall is in a little side alley off or one of the main roads through the facility. Although it certainly doesn’t look like it in this photograph, this is a fairly dark area of the island where rows of large factory buildings (mostly abandoned) are lit, for the most part, by a few security lights. Standing there next to me as I made the photograph, this is not what you would have seen. At best, I could make out the shapes and arrangement of the windows and door, recognize that the wall was constructed of bricks, and notice that the light from nearby yellowish artificial lights was diffused and broken up by shining through intervening fences and other stuff.

But, for me at least, one of the goals of night photography is to see what cannot be seen with our own eyes. The whole idea of a “realism” in night photography seems almost crazy to me, at least when shooting such dark subjects as this one. “Reality” is an incredibly dark and dim and barely visible wall. What is more interesting to me is what the camera can see in the near dark. Here it reveals the intense yellow/orange color of the artificial lighting and the uneven patterns of light and shadow.

(It also occurred to me as I worked on this photograph that while I generally am somewhat conservative with color and saturation and all the rest in my photography of natural landscapes… the wild, garish, and intense color and light of this night photography may represent an opposite pole for me.)

More Night Photography

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

Tioga Lake, Late Spring

February 22, 2011 G Dan Mitchell 3 Comments

Late spring at icebound Tioga Lake below Tioga Pass with Mammoth Peak and the Kuna Crest beyond in afternoon light.

I made and shared a slightly different photograph of this scene last summer, but when I did my annual end-of-year traverse of the year’s raw files I returned to the original set of images and wondered how I missed this one. In a lot of ways it is similar to the one I selected earlier, though the foreground light and shadow patterns are a bit different and, more importantly, I like the position of the clouds in this one more than what I had in the original. So, there are now two versions of this scene floating around…

After several fairly dry years in California, the winter of 2009-10 produced much more precipitation, as rain in the lowlands and as snowpack in the Sierra. Because of the heavier snow, Tioga Pass opened just a bit later than average, and when it opened there was still a lot of snow in the high country. Since this afforded a rare chance to cross the Yosemite Sierra in conditions not usually seen by drivers I made it a point to get up there as soon as the road opened.

On the drive there was snow along almost the entire length of Tioga Pass Road, and in many places it looked more like winter than like spring. At the same time, it was spring, and the melting of the snowpack was fully underway. While lakes like Tioga Lake, as seen in this photograph, were still ice-covered… the ice was thinning quickly, and everywhere the melting snow was creating creeks and cascades. The high country, especially at the elevation of the road, was filling with water – water in ponds, water in overflowing lakes, water in rivers, water in cascades and waterfalls. I was waterfalls along the road in places where I had not even suspected that there were creeks!

This photograph shows Tioga Lake, just east of and below Tioga Pass, the eastern entrance to Yosemite. The pass itself is in the low saddle just above the meadow ascending the hill at the end of the lake. Beyond, and inside the park, is massive Kuna Crest with white, snow-capped Mammoth Peak in full sun at the right end of the ridge.

Photographs: Night, Photographs: Northern California, Photographs: Structures and Objects, Photographs: Urban/Street

Turnstile Shadows

February 17, 2011 G Dan Mitchell 1 Comment

Shadows cast by sodium vapor lamps shining on old turnstiles at Mare Island Naval Ship Yard.

This old row of abandoned turnstiles stands at the entrance to an alley through which we almost always walk as we begin shooting in the core area of the historic Mare Island Naval Ship Yard near Vallejo, California. It seems odd to see the structure here since now one can just walk around them, but I suspect that this area must have been somewhat secure at times since military ships were built here.

This isn’t an easy subject to photograph. Several of us were talking about how we have struggled to find a composition built around the turnstiles. I have one other photograph that I made a few years ago that I think works pretty well. In that one I aimed a bit higher and let the metal structure pretty much fill the frame, and I also ended up making it a black and white image. (It was used as a cover for a book at one point.) But on this evening a few of us were staring at the turnstiles again and remarking that there must be more photographs in there… somewhere… but that we are still trying to find them.

I thought it might be interesting to make the long and complex patterns of the shadows fill most of the frame, so I moved back just a little and pointed the camera down so that just a portion of the turnstile structure appears at the top of the frame. This also helps with a couple of technical challenges: the bright lights beyond the structure create a tremendously large dynamic range in the scene, and it can be difficult to keep some distracting background elements (like a stop sign!) out of the image. The garish yellow/orange light is from a large sodium vapor lamp that sits above the intersection on the road in the background. That coloration is part of what made me choose to make the previous photograph of this subject black and white, but on this night I decided to go with the color.

The final image is a blend of two exposures. The shorter one was selected to avoid blowing out the brightest areas in the upper part of the frame, and the longer one let me keep a bit more detail in the shadowed asphalt foreground.

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