Storm clouds begin to clear about granite towers and spires, Yosemite Valley, California
These towers stand close to Sentinel Rocks in Yosemite Valley. The day had started out very cloudy, with light rain on the Valley floor and snow flurries around the rim of the Valley. As the day wore on the rain mostly stopped and there were breaks in the clouds, although the atmosphere stayed a bit on the murky side overall. That “murkiness” was not very conducive to a color photograph so I felt that this was more likely to end up in monochrome, as indeed it did. Because the sun is slightly behind the large towers and because the atmosphere was not completely clear, the towers took on a sort of ominous quality.
On a winter day when clouds ring the Valley I could easily spend hours with a long lens pointed up toward the rim, isolating little vignettes of clouds and trees and rock. For a place whose landscape seems to be so familiar, this provides an ephemeral alternate landscape that forms and disappears in moments. When I’m in the Valley, give me clouds!
G Dan Mitchell is a California photographer and visual opportunist 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
The Colorado River winds through rugged country beyond the White Rim, Canyonlands National Park
On our second visit to Canyonlands National Park (the first had been back in April of the same year, when we briefly visited the “Island in the Sky” highlands of the park) we were somewhat stymied by less than astonishing light. Overall the skies were sort of partly cloudy, but that “partly” portion seemed to line up almost perfectly with where we were, and from afternoon on a large mass of clouds sat above us and to the west. For this photograph, that might have actually been a bit of a blessing, in that trying to photograph the tremendously intricate and detailed landscape visible from the “Grand View” overlook in full sun at this time of day would have been challenging, to say the least. This landscape, lit that way, would have contained some extremely bright features along with very deep shadows in the canyons, and the result probably would not have been all that great. The clouds, however, somewhat mute the contrasty light, making the bright areas a bit less bright and allowing diffused light down into areas that would otherwise be dark. At least there was a bit of light on the buttes in the far distance at the upper edge of the frame.
This scene is one of those “iconic” views that, well, everyone photographs. Generally, I’m not that much about photographing icons. In fact, often when I go to places like this I try to not know what the iconic shots are or where to find them, preferring to instead just sort of guess, follow hunches, poke around, and see what I discover. This may not be the most effective way to find the “cool stuff” in a new location, but it does let me start to develop my own relationship with a landscape from the very beginning. So when we went into Canyonlands the first time I basically had almost no idea what I was “supposed” to see and photograph. (For example, I had no idea that iconic “Mesa Arch” is in this park – drove past the road to it and said, “Ah, that’s where Mesa Arch is!” And, no, I did not photograph it.) However, as we wandered about and looked at stuff, we somehow managed to end up at several of “those places” – especially the Green River overlook (which I now recognize as one of the iconic views of this park) and Grand View. In addition, I’ve often advised others to not eschew icons in certain situations. One, of course, is when you find yourself in front of such an icon and have never photographed it before. But another is when one visits a location for the first time and does not yet have a deeper knowledge of the place. For example, I’ll occasionally get asked by first time visitors to Yosemite or Death Valley (places where I shoot a lot) about where the “secret spots” are that not everyone shoots. I tell them that getting to know a place to such an extent that you can find, “see,” understand and photograph the non-iconic subjects is not a reasonable goal for a first visit. Often that takes many visits, perhaps in different seasons, and the time to let the place “get under your skin” to the point that you have a real feel for it.* But everyone has to start somewhere, and photographing icons is a fine place to start when you are new to a place. They are, after all, usually quite spectacular spots – as I say, “They are icons for a reason.”
*For my part, during my first year photographing in Utah I spent over 30 days there during three long visits. It wasn’t until well into the third visit that I really began to feel that I was moving past the “Oh, wow, Utah!” state and starting to really understand the place.
G Dan Mitchell is a California photographer and visual opportunist 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
Autumn storm clouds swirl around the Upper Yosemite Fall, Lost Arrow, and the cliffs of Yosemite Valley.
Shooting with a long lens, I watched as the clouds floated in and out of this scene, at times almost completely obscuring Upper Yosemite Fall and then clearing. At this instant the clouds cooperated for a few seconds, lining up so that the fall was completely visibly, parting enough to let the pinnacle of the Lost Arrow appear at upper left, and revealing just a bit of the tree covered ridge in the background. A few seconds later the clouds again thickened and this view was gone.
I posted a black and white version of the same photograph perhaps two weeks ago. I have since printed the monochrome version and I like it a great deal. Today I returned to these files and since I feel that it also works in color I decided to post it again.
This photograph is not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
A rocky spire emerges from the mist of an autumn storm along the rim of Yosemite Valley.
Still mining the backlog of photographs from my late-October visit to Yosemite Valley, here is another photograph made in the beautiful rainy and misty conditions of an autumn storm that came across the Sierra during the last weekend of the month. Since I’m crazy about photographing mist and fog, there was almost too much to shoot at times! When I made this photograph I was moving back and forth between isolated shots of small sections of the upper Valley rim blanketed by fog and light rain, and the scene of Yosemite Falls which was alternately socked in and almost clear. I kept my eyes on the cloud conditions just upwind of the falls, and when it looked like a clearing was approaching I would swing my camera that direction. Then, as thicker clouds moved across the falls and obliterated that view I redirected the camera towards small and quickly changing bits of cloud-covered landscape elsewhere along the cliffs nearby.
This is the sort of scene that makes me think more about how tremendously difficult it was/is to photograph such things with film! A subject like this is anything but static – the clouds move across and through the trees and rocks and change continuously, often so quickly that you only realize what has happened when the opportunity has passed. Accomplishing this with a few sheets of film must require not only tremendously good luck but also an excellent understanding of how these conditions evolve. I try to apply the same awareness of the conditions when I shoot such scenes… but I’m quite happy to be able to make multiple exposures quickly and without a lot of fuss!
This photograph is not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
