The north shoreline of Mono Lake leads from foreground offshore tufa past the base of Black Point to Negit Island and beyond.
You would never know it from this black and white photograph of the austere desert landscape around Mono Lake, but I was there to photograph… fall aspen color! Earlier in the day I had photographed further south along the eastern slopes of the Sierra, gradually working my way north with a plan of heading back to the “west side” over Tioga Pass at the end of the day after doing a last bit of fall color photography near Conway Summit and Dunderberg Road in late-afternoon light. By mid-afternoon I had made it to Lee Vining for an espresso stop at Latte Da and a break to check some email and so forth. Soon it was time to get into position for the low angle sun that would light the aspens a bit later, so I headed north out of town.
The road north from Lee Vining skirts the west shore of Mono Lake. Before leaving the lake there is a turn-off to another road that passes along the north shore of Mono Lake and can take you to places such as Black Point. I often stop at this turn-off since it provides a slightly elevated view of the larger terrain around the lake including the low hills to the east and Mono Craters and higher mountains to the south. On a typical blue sky mid-afternoon I might not make any photographs, but something about the light and the forms of the shoreline, Black Point, and Negit Island leading into the distance convinced me to make a few exposures, using a long lens to compress the distance.
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.
Autumn storm clouds swirl around the Upper Yosemite Fall, Lost Arrow, and the cliffs of Yosemite Valley.
Shooting with a long lens, I watched as the clouds floated in and out of this scene, at times almost completely obscuring Upper Yosemite Fall and then clearing. At this instant the clouds cooperated for a few seconds, lining up so that the fall was completely visibly, parting enough to let the pinnacle of the Lost Arrow appear at upper left, and revealing just a bit of the tree covered ridge in the background. A few seconds later the clouds again thickened and this view was gone.
I posted a black and white version of the same photograph perhaps two weeks ago. I have since printed the monochrome version and I like it a great deal. Today I returned to these files and since I feel that it also works in color I decided to post it again.
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.
Meadow grasses made shiny by autumn rain, Yosemite Valley, California.
This fall I have been “playing around” with photographs of very dense and detailed vegetation. (Two other recent related photographs include one of aspen leaves and one of creek dogwood.) This is a difficult thing, especially with a subject whose colors seem somewhat muted, but if it works the largish prints can work both by revealing some form that might be difficult to see in all the detail and by presenting the detail itself. (As much as many of us rightfully point out that sharpness is not everything, sometimes it is pretty important!)
I noticed the subject of this photograph while shooting something quite different. I was standing in a meadow near Curry Village in light rain and using a very long lens to photograph mist and clouds drifting among trees and spires high on the Yosemite Valley rim when I happened to look down at my feet. (Always a good idea to look at the other stuff when shooting a specific subject that you came for.) I noticed the shapes of the grasses and the mixture of greens and browns with the “cool” light from the cloudy conditions. Since I couldn’t shoot this subject with the lens I was using at the moment, I went back to the other subject and made a mental note to switch lens and pay some attention to the grasses when I finished.
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.
“Abandoned Pier, Dusk” — The pilings of a long-abandoned pier on the Pacific coast near Davenport, California.
Besides being a matter of hours from the Sierra Nevada and less than a day’s drive from places like Death Valley, I can be at the Pacific coast between San Francisco and Santa Cruz in barely more than a half hour. Yesterday it looked like evening conditions might be interesting so I headed over there in the late afternoon. As I crossed the mountains on my way there I was pleasantly surprised to see low clouds over the ridges and some higher clouds over towards the ocean, which got my hopes up for some sort of spectacular evening light. However, when I actually got the the coast the conditions were not as interesting – mostly clear with just a bit of cloudiness on the horizon, and no interesting haze or mist over the water. Either that or I just wasn’t “seeing it” this time. So, after stopping for a cup of coffee, I headed up the coast from Santa Cruz and stopped at several of the usual locations, but didn’t make a single exposure. At the northernmost point on my drive I stopped right by the water and it looked like interesting light might be five or ten minutes away… and then the sun dropped below some low clouds near the horizon and the light died!
I think I’ve learned to go with the flow when this happens. I react in several ways. One is to look around for subjects other than those that I thought I was there for. With that in mind I thought about photographing shore birds… but there was only one forlorn seagull down near the water. I saw an interesting pool of water on the beach and thought it might play into a seascape photograph, but the flat light and cloudless sky was not working. I remembered a spot a bit further south where I had once shot some shoreline shoals from the top of a steep cliff at sunset, so I quickly drove up that way… and couldn’t find them!
I had one final thought. On the way north I had seen a group of photographers on the bluff near the northern edge of Davenport. I had stopped, leaving my camera equipment in the car, and quickly dashed out to where they were set up to see what was so interesting. Below their position were the four remaining supports from an old pier that washed away many years ago. It looked interesting and I recognized the structure from photographs that others have made from down on the beach – but I hadn’t been up for the steep descent to the beach so I had driven on after making a mental note about a position from which I thought a photograph might be made. Now I realized that if I went straight there that I might be able to make some long exposures in the dying light and perhaps frame them so that they only contained the structures and the open sea. So, off I went.
I arrived just before the moment of sunset and, sure enough, the group of photographers I had seen earlier was still there. I grabbed my gear and quickly walked out to the point I had scoped out earlier, which was some distance from where they were set up. I framed up this composition and then photographed right though sunset until there wasn’t really enough light to keep shooting. (The group at one point looked like they thought the show was over and they were going to leave, but I think they saw me continuing to shoot and decided to stick around almost as long as I did.) The light just kept getting more interesting as it faded. Although it was too dark to really see the image as it appears here, I knew that this three minute exposure (intentionally lengthened by choosing a small aperture and low ISO) would smooth out the surface of the water but still show the shadows and reflections of the old pilings.
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Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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