This photograph illustrates a few important take-aways from fall photography, things that can be extrapolated to other kinds of photography, too. Again, the location was not iconic, even though it is along/near iconic places. We had stopped after seeing a sign for a pond, but I ended up finding the nearby forest even more interesting. Note that not all of the trees have changed color. As overwhelming as a fully fall-colored forest can be, the colors often stand out when there is some “non-color” in the frame, too. Note, too, that I made this photograph in soft light, which intensifies the colors while opening up the shadows. Finally, I think that some non-color structural elements can help with the composition of photographs of the subject — here that comes from the verticals of the tree trunks.
One thing we learned on this trip — our first to New England in the fall — is how quickly the leaves reach and then pass their peak color. The build-up seems a bit slower, but there was literally one day when it was obvious that the peak had arrived. And only one day later the leaves began to fall more quickly, bare trees became more apparent, and the color was in decline. The show wasn’t over, but the process was clear. Fortunately, because the color doesn’t arrive everywhere at the same moment, flexible photographers and leaf-peepers can move on to different locations that haven’t peaked yet.
G Dan Mitchell is a California photograph
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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” (Heyday Books) is available directly from him. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email
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