Tag Archives: shoreline

Photographs: Mono Lake Basin, Photographs: Nature

Black Point

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Black Point
Mono Lake and Black Point

Black Point. © Copyright 2019 G Dan Mitchell – all rights reserved.

Mono Lake and Black Point.

Mono Lake and the basin it occupies make up a huge and diverse area with all sorts of attractions. The lake itself is usually regarded as the most striking feature — it is a massive, landlocked body of water filled by runoff from the eastern Sierra, whose peaks form the backdrop to the west. It sits on the western edge of the basin and range country that stretches east for many hundred of miles. And there are subjects on a more intimate scale, too, ranging from tufa towers to the abundant birdlife. It is also a place of volcanism, with craters in and extending south from the lake. And for me one of the most impressive features is the expanse of the place, with views extending across vast distances.

This feature, also volcanic, sits along the northern shoreline of the lake. While is easy to view from afar, it isn’t quite so simple to get to it, and consequently it is not a crowded place at all. In the lower portion of the photograph the lake’s waters meet its gentle shoreline, where water levels have dropped, in more recent times largely due to water withdrawn from tributary streams and sent to the LA area.

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 and Amazon.

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Photographs: Nature

Lake And Mountains, Morning Light

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Lake And Mountains, Morning Light
High Sierra peaks in morning light, reflected in still waters of a subalpine lake

Lake And Mountains, Morning Light. © Copyright 2019 G Dan Mitchell – all rights reserved.

High Sierra peaks in morning light, reflected in still waters of a subalpine lake.

Our group spent a week base-camped in this location a few years ago, getting to know the area intimately and photographing it and its surroundings extensively. The spot is quite beautiful, but many of its beauties don’t reveal themselves immediately. In fact, when I passed by here some years earlier I don’t recall even stopping! My only memory is of walking past a campsite and continuing toward my more distant goal. But a week spent in such a place — or almost any similar place — inevitably turns up treasures that are overlooked when passing through.

It turned out that a short walk in any of several directions took us to all sorts of photographic subjects: wildflower-filled meadows, granite slab country, streams meandering through timberline meadows, expansive views. In most cases “short walk” meant something between ten minutes and perhaps an hour. In the case of this photograph it meant “5 minute amble before breakfast!”

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 and Amazon.

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Photographs: Nature, Photographs: Sequoia-Kings Canyon, Photographs: Sierra Nevada

Lakeshore, Evening

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Lakeshore, Evening
A few sunset clouds reflected in the quiet surface of a backcountry Sierra Nevada lake.

Lakeshore, Evening. © Copyright 2019 G Dan Mitchell – all rights reserved.

A few sunset clouds reflected in the quiet surface of a backcountry Sierra Nevada lake.

Periodically I find myself going back to my archives and looking through older photographs, typically images that I made years ago and sort of left behind as I went on to work on newer things. These reviews often have a couple of wonderful consequences. Often I rediscover a photograph that I had originally neglected, perhaps because it worked in a different way than what I originally imagined or possibly because I wasn’t patient enough at the time. The distance provided by a few years of time often allows me to see the image in ways I missed at first. In addition, these older photograph bring back wonderful memories — of the subjects, for sure, but also of the trips themselves and the people I traveled with.

I made this photograph on a long southern Sierra backcountry trip with a group of long-time backcountry buddies — folks I have backpacked with many times over the years. On this trip we were down to our core group of four, and we traveled into one of the highest, alpine regions of the range, into the upper Kern River drainage of Sequoia National Park. Those who know this region won’t be surprised to hear that we had to cross several very high passes, that we were out for over a week, and that we got into places where we saw very few other visitors. I made the photograph on a lovely, lazy evening, near a lake we ended up at almost by accident — a place that turned out to be utterly scenic, extremely quiet, and almost devoid of visible signs of humans.

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 and Amazon.

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Photographs: Nature, Photographs: Sierra Nevada

Talus, Reflection

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Talus, Reflection
A talus field of large boulders meets the shoreline of an alpine lake

Talus, Reflection. © Copyright 2018 G Dan Mitchell – all rights reserved.

A talus field of large boulders meets the shoreline of an alpine lake

And, yes, another “going with the blue” photograph of talus boulders. It is, I admit, turning into a bit of a theme among my photographs from the September backcountry Eastern Sierra photography week. If you follow my posts you probably already know the following, but for anyone who hasn’t read the previous text… we were camped at a lake in a deep north-south oriented valley with very high peaks on either side. Immediately to the east of our camp, across a nearby lake, was a huge talus slope, full of randomly arranged boulders from top to bottom.

Because of the north-south trend of the canyon, early morning and evening direct light was blocked, and we had long periods of “blue hour” shaded light to work with every day. Yes, the light actually is very blue. It comes from having only the blue sky — a sort of giant natural light panel — as the light sources. The question in post is always how blue to let the scene be, since the actual blue can be shocking to viewers. (Our complex sensory system sees this as less blue — the mental process subconsciously says, essentially, “Yes, this is blue, but I know the actual color of rocks, so I’ll pretend I don’t see the blue!”) The photographer gets to make the subjective call on how blue things should be. At times I’ve gone so far as to completely neutrally the blue tones, and if I did so here you would probably feel that it looked natural. On the other hand, it is interesting to me to “go with the blue” and think about the real color of light and the effect that it has on our perceptions. (To be honest, I have actually reduced the amount of blue in the scene!

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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” is available from Heyday Books and Amazon.
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All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.