Recently I have heard some photographers suggest that IBIS-equipped cameras have made tripods obsolete. IBIS is a fine thing, but that overstates the case.
“Photographer Patricia Mitchell” — Photographer Patricia Mitchell at work in early morning autumn light in the Eastern Sierra Nevada.
Contemporary cameras incorporate remarkable advances in camera and lens image stabilization. Some newer cameras with IBIS (In-camera Image stabilization) claim to extend the useful range of shutter speeds for handheld photography by as much as seven stops.
IBIS can be very useful for photographers who shoot handheld. I do urban night street photography using a handheld, IBIS-equipped camera that supports high ISOs — and I can capture subjects that would have been just about impossible to photograph a few decades ago.
“Photographer Patricia Mitchell” — Photographer Patricia Mitchell at work in early morning autumn light in the Eastern Sierra Nevada.
Someone has a birthday this week, so it seems appropriate to feature a photograph of, um, someone here. Photography is often a solitary activity — one person, a subject, a camera, how to see — and most of the time the two of us photograph alone. But every so often we get a chance to head out together on a trip that involves photography. We had such an occasion earlier this fall — and it has been too long! — when we did a weeklong trip that took us to the Eastern Sierra Nevada and then to Utah and a few nearby locations.
We started in the Sierra, where we headed into the eastern part of the range in search of fall color. Perhaps “search” is the wrong word here, as it is easy to locate! Instead of going to the “usual places” we wandered up some less-travelled roads, including the one that took us to this spot right beneath the eastern escarpment, a place with very few other people where the high desert and the beginnings of true mountain terrain intersect. We arrived on a brilliantly lit morning, with fall color everywhere, and a bit of early snow still on the peaks.
Photographer Charles Cramer at work in the John Muir Wilderness backcountry.
Photographer Charles (“Charlie”) Cramer at work in the High Sierra of the John Muir Wilderness Area. A group of us spent a week base-camped in a particularly scenic portion of this wilderness area, heading out each day to find and photograph the abundant and beautiful subjects present here – ranging from the intimate (wlldflowers) to the monumental (the peaks of the Sierra crest).
The pace and nature of the work in a place like this might surprise those who haven’t experienced it. Many years ago, when my orientation to the backcountry was via long pack trips on which I moved every day, I worried that I would become bored if I stayed in the same place for more than a night. After years of doing just that, I realize how completely wrong I was. We can easily find a week’s worth of things to investigate and photograph in such places, and at the end of each trip I invariably end up wishing I could stay longer!
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.
Photographer Patricia Emerson Mitchell at work in Death Valley National Park
Patricia Emerson Mitchell at work in the desert landscape of Death Valley National Park in morning light. Our morning here started much earlier, well before sunrise, and we walked out across the playa and around the side of dunes before sunrise. We arrived at the dunes just as the first light arrived, hitting the mountains to our west and then working its way down to the valley floor and across to us. Landscape photography might seem like a rather leisurely pursuit — after all, mountains don’t move much! — but at these times of marginal light things can happen very quickly.
We continued photographing after sunrise, enjoying the chance to explore the nearly endless subjects among the forms and colors and textures of the dunes. Eventually the sun would rise high enough to diminish the beauty of the light and it would be time to leave. It was perhaps approaching that time when I stopped atop a low dune and saw Patty photographing across the landscape, with her long shadow extending in front of her camera and the distant mountains of the Panamint Range rising in beyond.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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