Rugged canyon and plateau landscape of the White Rim area, photographed from Grand View, Canyonlands National Park.
I made this photograph on a day when we visited the “sky island” section of Canyonlands National Park, a high plateau fronted on many sides by steep cliffs and giant drop-offs. Since this was my first time in Canyonlands, I had a lot of reconnaissance to do before my planned evening shoot. We drove around sections of this part of the park, pausing at many overlooks to enjoy the view and consider the potential evening views. At one point we stopped at an overlook near the southern end of this section of the park to look and photograph.
The area in the photograph is the “white rim” area, where whitish colored rocks form a sort of tough terrace into which creeks have begun to carve canyons. The scale of the formations is tremendous, and the fact that two mighty rivers, the Colorado and the Green meet not too far from this point. This photograph was made well before the “ideal” golden hour time, but the low and slanting side-light and the rugged terrain of canyons and buttes seemed to compensate for that.
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
Soft evening light on the canyon of the Green River as it winds through the desert terrain of Canyonlands National Park, Utah.
I recently returned from a week in Utah which, perhaps surprisingly, was completely new to me as a photographic subject. More about that in a moment, but first a bit of description of the photograph. This photo was made in Canyonlands National Park in the “Island in the Sky” area, looking west from a high viewpoint above the canyon containing the winding Green River, not far above its confluence with the Colorado River. The “Island” is a high and relatively flat plateau at around 6000+’ of elevation, surrounding on many sides by deep canyons, cliffs, and then several levels of lower plateaus. There are “edges” everywhere, and all of them provide stunning vistas into the vast spaces below and beyond. We ended up at this spot largely due to a photograph I had seen an a park brochure that included a view of receding mesas and canyons in evening light. We scouted it in the middle of the afternoon as we visited several places in this area of the park, and it seemed inevitable that I would end up shooting here at sunset. I was initially imagining a scene with brighter colors from the sunset and the post-sunset sky, but instead I ended up with something that I think I like even more, namely softer light with some haze in the atmosphere and somewhat gentler colors.
As I mentioned above, I have not photographed in Utah before. I had been through the state several times many years ago, but I think we more or less sped through on interstate highways – which don’t tend to follow the most scenic routes – and I had a very limited view of the place. While it is too bad that I waited so long to go there, it gave me the opportunity to have an experience that I don’t have nearly as often in California where I do most of my shooting. Because I live within a short drive of redwood forests, the Pacific coast, and places like Yosemite Valley and the Sierra and visit all of them frequently, I have to admit that I sometimes forget how extraordinary they are. I can drive right past Yosemite’s Tunnel View if the view is just a typical Yosemite Valley view. But on this trip, I more or less intentionally avoided finding out a lot about some of our destinations before we left. Consequently, I had opportunities to be surprised and astonished – like any good tourist! – by things that I was seeing for the first time. For example, I really had no idea what I would see at Arches National Park when we drove into it at just about the “golden hour” – and I was completely stunned by impossible structures and juxtapositions of sandstone columns and arches and towers and cliffs. I just got a quick taste on this trip… but I’ll be back.
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
Afternoon shadows fall across the lower slopes of Wildrose Peak above Trail Canyon and below Aguereberry Point, with Death Valley and the Black Mountains beyond.
The view from Aguereberry Point (and from this location close to the point) is spectacular and expansive, taking in everything from Death Valley itself, stretching almost 180 degrees from left to right, to the Green, Black, and other mountains beyond. To the south and north other ranges merge with the atmospheric haze. The peaks of the Panamint range lie behind, and in places where the view is clear you can look down on the rugged terrain of the east face of the Panamint Range with its rugged ridges and deep canyons dropping towards the Valley. This photograph looks roughly southeast towards the lower end of Death Valley in the area around Ashford Mill. The deep foreground canyon, the bottom of which is just visible at lower right, is Trail Canyon. I understand that a four-wheel-drive road used to come up to Aguereberry Point via that canyon, but that parts have washed out and it can no longer be driven. I think that you can hike it, but that would be one heck of a climb since the base of the canyon can’t be more than a few hundred feet above Death Valley (which is below sea level in this area) and the Point is well above 6000′. The lower slopes of Wildrose Peak rise beyond the canyon.
Surprisingly, this view presents several photographic challenges. Because of the haze that appears when such great distances are part of the scene, I chose to use a polarizing filter for this shot. Timing is important here, too. Arrive a bit too early and the light is harsh and flat. Arrive a bit too late and the foreground ridges are quickly enveloped in shadows as the sun drops behind the crest of the Panamint Range. (Yes, I have made both mistakes in the past.) Knowing this, I arrived a bit earlier than I might have usually arrive to shoot evening light and I managed to photograph the scene before that Panamint Range shadow obliterated the foreground light.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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