“Almost Bare” — A tightly-packed grove of almost-bare aspen trees.
This photograph combines two types of subjects that fascinate and challenge me — post-color aspens and finding compositions in complexity. While the intense colors of peak-autumn aspen leaves are undeniably appealing, I also like the stage right after that when most of the leaves are gone and the skeletal white trunks are fully revealed. I also enjoy the challenge of trying to figure out how to photograph extremely complex and detailed subjects like this dense grove of small trees.
Tightly packed buildings and large trees, Manhattan.
This photograph embodies something about Manhattan that I’ve mentioned before: For such an intensely urban place, there are a lot of examples of the natural world. It isn’t the kind of (ostensibly) “pure” nature that we see in the America West, but I sometimes think that its close juxtaposition with the city environment almost makes it more precious. We have whole forests out here in California, but in Manhattan a single tree can sometimes mean almost as much.
I saw this scene from the High Line Park as we walked its length last November. To those of use used to living with more space around and between us, the closeness of urban abodes along this park is surprising, and it almost seems voyeuristic to take a long look through the trees in someone’s tiny yard.
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, Amazon, and directly from G Dan Mitchell.
A tightly spaced grove of small Eastern Sierra aspen trees with fall color
I like to say that it is never too soon to start thinking about fall color… though I forgive you if you aren’t sure that May is quite yet the right time. To be honest, I came across this photograph of a familiar subject earlier today while I was backtracking through my archive of older raw files. I have a bunch of urban/street photographs queued up for posting here soon, but I feel like sharing a few more natural photographs first.
The location is in a popular area for Eastern Sierra Nevada fall color, but there is nothing exactly iconic about this particular grove – though it is a place that I’ve returned to every fall for years. I suspect that something about it caught my attention on my first visit, and that whatever that “something” is, it is not a feature that every viewer will spot. I recall stopping here the first time I visited. It was late in the day and the sun was about to drop behind the surrounding high ridges. I was surprised to see this densely spaced grove of slender trees, with trunks exposed below their fall color crowns. I stopped and made a few photographs, and the spot has become one of my touchstones in the Sierra Nevada.
Groves of tightly spaced slender aspen trees with golden fall leaves at Conway Summit, California.
Conway Summit is a location well-known to many eastern Sierra photographers, especially those who photograph the autumn aspen color displays. The “Summit” is the high point on the highway 395 just north of the town of Lee Vining, and the aspens grow to the west on the slopes that gradually rise toward Dunderberg Meadow and Peak. When I’m looking for brilliant autumn color here, several factors come into play. First, you have to be there at the right time. This isn’t always easy to predict, and when the color is great in one area of these trees it may have passed or not yet arrived in others. Second, you need to come at the “right” time of day. For me this means, at least at Conway, coming in the mid- to late-afternoon when the groves are lit by backlight coming across the Sierra crest. Third, it helps a lot if you can be there for conditions that are not too ordinary. For example, on the afternoon when I made this and some others photographs that may follow, after a weekend of boring perfect cloud-free weather some puffy clouds began to form above the Sierra crest, and their shadows raced across the area and created patterns of light and dark.
This photograph is also an example of long lens landscape photography. For some reason there are those who think that landscape photography must be done with certain lenses, often those of “normal” to wide focal length ranges. Those certainly have their place, and I use them too. However, I find that longer focal lengths are also indispensable – not just for filling the frame with subjects that you otherwise might not be able to approach, but also to compress foreground and background and to narrow the depth of field, among other reasons. Here I photographed with a 100-400mm telephoto at 250mm.
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.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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