Granite boulders lie in shallow waters of a sub-alpine lake reflecting shoreline trees, Yosemite National Park.
This quiet little lake lies unobtrusively just off of highway 120 across the Sierra Nevada in Yosemite National Park. I’ve posted a few photographs from here before and noted that, as far as I know, the lake doesn’t even have an official name. There is just a small parking loop where you can pull out and then wander down to the lake, typically in complete solitude.
The light is a bit tricky here since the lake is in a depression where ridges to the east block the morning light. However, the wonderful rocks scattered along the shoreline make up for this! I made this photograph, and several others in the sequence, by shooting with a long lens from the other side of the lake. The low camera angle and still water created some very interesting reflections above the barely visible underwater logs and rocks.
Early morning light on Greenstone Lake and surrounding trees and rocky terrain.
Greenstone is a relatively small lake just beyond the upper end of Saddlebag Lake, which is itself located just east of the Sierra crest and Yosemite National Park in an area dominated by Mount Conness and the tall ridge on which it stands. I had arrived before dawn at the Saddlebag Lake parking lot so that I could be on the trail before sunrise. Rather than giving in to the temptation to pay for a “water taxi” ride to the other end of the lake, I took the trail along the left shore, and arrived at Greenstone Lake just about the time that the first direct light was making its way down to this lake and the surrounding rocky hillside.
In this wet year with its late arrival of summer conditions, everything was still very wet around the lake and the meadow plants were still green and growing. (In dry years they start to finish up their growth spurt and begin turning brown by this time.)
I think this lake is a bit tricky to photograph in morning light. The light could be lovely at sunrise, but it would still be well up on the high ridges above the lake. It takes a long time for the sun to get high enough to rise above the ridge leading to Tioga Peak, and by that time most of the early morning warm light quality has given way to more typical daytime light. There were a few challenges in this photograph. They included trying to figure out how to find a workable composition in such a complex scene that was made even more complex by the reflections in the water. I think the triangle of rocky terrain in the upper half of the frame may help with this. The light posed several problems, mainly related to the very large dynamic range between the bright rocks and the shaded areas of forest at upper right. The light color was also tricky – because the shadows tend to be much bluer in a photograph than your eyes register when you are there, I had to mute the very blue quality of the shadows. This was done partly with an overall adjustment to color, but some additional work had to be done directly on the shadows.
The nearly- full moon rises above the sunset light on Kuna Crest, Yosemite National Park.
Kuna Crest runs up Lyell Canyon between the Lyell and Dana forks of the Tuolumne River with the Sierra crest at one end and Mammoth Peak at the other. (Mammoth Peak is the large peak straight in front of you as you top Tioga Pass entering Yosemite National Park.) This ridge can catch great sunset light during the summer, and as I came down from the pass, heading back toward my camp at Porcupine Flat, and saw the almost full moon appearing over the shoulder of the ridge I decided to quickly stop and make a few exposures as the last light was about to leave the forest and soon after the peaks.
If you have tried photographing a scene that includes the moon in the early evening you know that the exposure is a tricky thing. The moon is lit by daylight, so it isn’t too surprising that the “correct” exposure for the moon is close to a normal daytime exposure. But that is not the right exposure for the rest of the scene, which turns out to be quite a bit darker than daylight at this time of day. In this scene things were even more complicates as the very saturated red colors on the ridge were quite “hot,” while the foreground meadow and forest was in shade and both darker and cooler in color. Basically, the dynamic range between the moon and the foreground was too large for a single exposure… so I made several.
At the time of exposure I thought that I might need as many as three component images in the final photograph – they would be one exposed for the bright ridge and sky, one exposed for the rather dark and shadowed foreground, and possibly a third that correctly exposed the moon. To be on the safe side I bracketed four exposures. When I began to work on the image I figured out that in this case I could construct a final “believable” image from two exposures if I was careful and could make some additional adjustments during post.
This is an example of a shot in which the use of a graduated neutral density filter could have been problematic, but where exposure blending could work very well. (“Exposure blending” is one term for the process of manually combining two component exposures using masked layers in Photoshop. No, it is not the same thing as HDR photography.) One of the things that would have been quite tricking using graduated neutral density filters is that the division between the brighter upper half and the darker lower half is not linear. Instead, the roughly follows the curved boundary between the lower meadow and dark trees and the still sunlit trees and the peak and sky.
The heavily weathered and contorted trunk of juniper trees near Olmsted Point, Yosemite National Park.
These Sierra juniper trees grow in the most improbable places – on top of granite domes and slabs, with roots somehow finding sustenance in cracks and bits of gravel, and no doubt exposed to the full force of mountain storms. This is actually a group of trees that take advantage of the same crack in the otherwise solid granite, and which have grown together into what almost appears to be one very wide tree at first.
Because of their toughness, the way they grow almost into the rock, and the fact that the trees continue to live even when portions have died, it sometimes seems to me that these trees can have a character that is closer to that of the rock itself than just about any other living thing in the Sierra. The oldest branches and roots grow into the rock and have been shaped so much by their relationship to it that they can almost take on a rock-like character themselves.
These particular specimens happen to be growing part way up a dome-like granite slab above Tioga Pass Road as it passes through Yosemite’s high country. It appears that part of the treed may have been affected by fire, and dead sections have been worn and eroded by the tough sub-alpine environment. The only obvious signs of life in this close up image are the bits of moss or lichen growing in a few cracks in the wood.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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