The flower of the invasive ice plant, Monterey county.
Ice Plant is ubiquitous along freeways and in similar areas in many parts of California — likely because it is a hardy plant that produces some impressive flowers during part of the year. It is also a non-native that has become invasive in many areas, including some where it probably doesn’t belong.
I photographed this specimen in one of those probably-doesn’t-belong locations. It was growing on a coastal bluff in the upper section of the Big Sur coast, and burrowing its way into the natural ecology of the place. But the flowers were attractive, especially with a bit of early morning dew still on the petals.
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.
Three tule elk grazing along the headlands area at Point Reyes National Seashore.
Although I was certainly aware that there are tule elk herds at Point Reyes National Seashore, I was not thinking about them when we encountered this group. We had driven out to the Point Reyes lighthouse and other areas at the extreme end of the peninsula, and had then stopped at Drakes Beach on the return trip. Finishing up at the beach, we got back in the car and headed up the hill towards the main road. As we reached an area near the top of the hill I thought I saw something moving off to the side, but I initially failed to recognize what I was seeing because the possibility of such animals in this place was not on my mind. I thought I was perhaps seeing a fence or something similar, but I couldn’t make sense out of why the fence would be moving!
A moment later we were a bit closer and it was obvious that a small herd of the tule elk were grazing very close to the fence along the road. I got out of the car and quietly attached a long lens to my camera and began to photograph these animals. The lighting and other circumstances were nearly perfect. It was very late in the day and the golden hour light had just started, and the backdrop was either the rolling hills you see here or, if I moved a bit to one side, some higher hills further to the west. This group of three large animals was moving, along with other animals not included in this shot, away from the road and further out into the meadows. As the three of them lined up in parallel, for a moment one swung its head around and looked directly towards me.
G Dan Mitchell is a California photographer 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
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! :-)
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.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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