Desert holly plants grow along the curves of a small desert wash.
Among plants that manage to eke out an existence in dry landscapes, such as that of Death Valley National Park, there seems to be a spectrum of accommodations to dryness. Out near the sharp edge of that bell curve is found the desert holly plant. In some of the locations where I see it, the plant seems to be just about the only thing that is still able to live on the driest and rockiest soils.
The specimens in this photograph are growing along the course of a dry wash, and they probably get a good portion of whatever small amount of water that sustains them during brief periods when water flows following rainstorms. (It had rained heavily during the previous month here… and there was no visible water in this wash.) The plants present a sometimes surprising bit of green in this otherwise arid and bare landscape.
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.
Morning light on eroded forms and desert mountains.
Often when I photograph in a familiar place I look at certain subjects, find them appealing, but just don’t quite yet know how to see them as photographs. Sometimes I attempt a photograph and end up dissatisfied. Other times I look and don’t even photograph. The far ridge in this photograph has been one of those subjects.
The ridge is very impressive — high, barren, and rugged — and it is easily visible from some very popular locations in Death Valley National Park. However, perhaps because access is not easy or possibly because better known features are nearby, I rarely see it photographed. On this spring morning I had been photographing one of those other locations, and I looked up to see the high clouds above the ridge and the backlight on the foreground hills… and it seemed like the right time to give this scene a try once again.
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.
Soft early-morning light on rugged and colorful badlands formations.
On the final full day of our early-April 2019 photography visit to Death Valley we decided to head for a familiar location where I enjoy photographing in the morning. After being closed earlier in the season this area had finally reopened — flooding of washes in the area had interfered with access, and repairs had be recently completed.
The photographic opportunities in this area — and, to be honest, in many places — depend a lot on the specific qualities of the light during a visit. I’ve been here where clouds turned everything gray and when intense light made some portions of this landscape a bit too stark for my preferences. This morning was close to ideal. When we arrived, before dawn, there was a high overcast and the light was not all that spectacular. However, the clouds were thin, and as the sun rose the light made it thought the dissipating clouds — and this sort of high, thin clouds provide some of the most subtle and beautiful light.
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.
Deeply furrowed erosion patterns in early morning light, Death Valley National Park
I spent some time photographing Death Valley National Park in mid-December, during a very cold time of the year. It is not unusual for the place to be surprisingly cold in the middle of winter, but this was a period of exceptional cold and it got down to 25 degrees in the Valley and much colder in some of the places I visited in the surrounding desert mountains. I had arrived the evening before I made this photograph, and a sequence of events on the drive it suggest an inauspicious beginning to this visit. I usually come in through Ridgecrest and then up through Trona. I usually drive almost straight through to Ridgecrest and then take a long, late lunch break there – getting my last espresso until I come back out of the park, filling up the gas tank, and so forth. I killed pretty close to an hour taking care of these odds and ends, and then started out of town toward Trona.
Less than a mile up the road I ran into a flashing warning sign announcing that this entrance to the park was closed! This necessitated a bit of backtracking and then travel north up US 395 to then head east toward the park on highway 190. I had originally planned to arrive by mid-afternoon, set up camp, and then photograph in the evening… but by the time I finished all of this driving it was dark when I arrived and I simply pulled into the campground and slept in my car. Early the next morning, feeling just a bit disconnected, I drove over towards 20 Mule Team Canyon where I knew I should be able to find some nice morning light. In fact I did, and I soon found this beautiful miniature landscape of nearly parallel gullies in a hillside along the canyon. As the first light hit the edges off the ridges between the gullies I found a composition that mostly filled the frame with them. I finished shooting here and moved on. At my next location, I finally must have engaged my brain, and I checked the camera to find that it had been left on ISO 3200 from my previous work photographing musicians backstage at a concert in natural light. Groan! So this photograph is one that I managed to salvage from that little escapade… and I’m grateful for the relatively good performance of modern cameras… even when the operator is not paying attention!
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
