Clouds in blue sky are reflected in the surface of Gaylor Lake next to melting winter ice.
This photograph is very similar to another I made on this late June evening in 2010 when a small group of us hiked over a ridge near Tioga Pass to find a snow covered valley and this lake that was still almost completely covered with ice. The deep blue water near the edge of the melting ice along the shoreline reflected evening clouds passing overhead, and there were quite a few possible compositions combining the clouds, blue sky, curving edge of the ice and the interesting formations where the ice surface was melting. I made quite a few photographs – some up close like this one and others taking in the larger landscape. As I was recently reviewing raw files from 2010, I ended up spending quite a bit of time with this set of images!
A flock of white-faced ibises is silhouetted against evening blue sky and clouds above the Merced National Wildlife Refuge.
On this winter evening I visited, for the first time, the Merced National Wildlife Reserve on a detour I took while returning home from a few days photographing in Death Valley. This winter I have (finally!) started to become aware of the amazing annual influx of migratory birds in California’s Central Valley and I managed to get out there a couple of times to view and photograph the magnificent flocks of birds. Being new at this, I have been working at figuring out just how to photograph this subject, and I’ve come up with a few approaches that seem to work, though I have a lot to learn. In this case, I had figured out that if I just picked a spot and waited that eventually flocks would fly over my position, and that I would have a chance of photographing them against the evening sky and clouds. Being almost completely ignorant when it comes to identifying these birds – but no less impressed with them because of this – I had virtually no idea what I was photographing in the moment when I tracked the birds and made the exposures. In fact, it wasn’t until later that I noticed the wonderful curved bills of these birds and then found out from my friend Tom Clifton (who does know how to identify these critters) what they were.
As the birds approach I work to synchronize my camera motion with the speed and direction of their flight. I try to keep them in the frame, and preferably in the frame in a way that might create an interesting composition. And while I do that I try to keep some attention on the background against which they fly and some small remaining bit of my attention on the technical matter of keeping at least one of them under an autofocus point in the camera’s viewfinder. As a flock approaches, things seem to start out fairly slowly and it may seem like the birds are taking a long time to arrive. But as they get closer – especially when shooting with a 400mm focal length and double-especially when they are as close as this flock – the action speeds up, and as they pass overhead it is all I can do to keep them centered in the viewfinder as I let the camera’s burst mode do its job at the right moment.
There are things about the experience that the camera cannot capture. The cold and damp of a Central Valley winter evening might be evoked by the right sort of landscape photograph, but not by a photograph like this one – yet this is an integral part of the experience. Even more than that, the sound of these birds, alone or in huge groups, sticks in my mind as much or more than the visual image. If you have been there and heard it, perhaps a photograph may cause you to recall it.
Detail photograph of the patterns of overlapping gullies near Zabriskie Point, Death Valley National Park.
I have been working on a sort of informal project to photograph small details at Zabriskie Point that do not necessarily reveal the larger, familiar, and very iconic landscape of the place. A few years ago I noticed – almost by accident – that certain features of the surrounding landscape can be photographed in conditions quite different from the “standard” dawn and very early morning lighting. In fact, some of the geology can, I think, be photographed in interesting ways even during unusual times of the day when there is full sunlight. A bit later in the morning the light, which tends to glance across the tops of some features earlier in the day, begins to penetrate down into the little valleys and gullies and reflect into them from some of the brighter surfaces. While it can work in full sun, it may work even better when there is a bit of overcast, as there was when I made this photograph and a couple others in the series.
With this specific subject I also tend to work from a bit of a distance using long focal length lenses. This one was shot at 400mm! This poses a problem that we don’t encounter as often when using more (supposedly) typical landscape focal lengths, namely that it is hard to get the whole subject in focus due to depth of field issues that become more apparent with such long lenses.
Also, when photographing these rather pale and pastel formations, it is very easy to succumb to the temptation to jazz things up a bit. To be honest, I have seen some very good and interesting work that relied on amplifying contrast and the subtle colors. However, I’m trying hard to not go too far with this. I certainly do some work in post to balance things out a bit and to get the effect that I think best evokes what I recall of the scene, but I’m avoiding the inclination to, for example, adjust curves to the point that I get a lot of pure blacks and whites in this subject that mostly contains bright mid-tones.
Pools of water between sections of melting ice reflect evening clouds above Gaylor Lake, Yosemite National Park.
I continue to mine the vein of photographs from this early summer afternoon and evening visit to a lake not far from the Sierra crest at Tioga pass. In my defense I’ll point out that the conditions were variable and that I shot this subject in a number of different ways – close up views of ice and water, images that focus on the clouds, some that take in the more distant landscape of the surrounding ridges and peaks, others that focus on just the patterns of water and ice, and all shot as the light transitioned toward evening and was occasionally interrupted by clouds.
It is very unusual for me to get to visit a large lake with quite this combination of conditions. Sometimes in the early season I might encounter a lake that is still covered with ice, and later I often pass by lakes that are mostly clear but have snow banks and ice coming down to the shoreline. But in this case the lake was still covered completely in ice, but the ice was melting and creating pools of blue water on top of the remaining ice, and this water reflected the sky and passing clouds. I think the first things that might catch your attention in this photograph are the white areas of ice and the blue areas in between. But if you look a bit closer you see that the blue areas are anything but uniform. The shades of blue vary tremendously, sometimes approaching black in the shadows along the edges of the ice, spanning a range of shades in the open water, and then heading towards white in areas that reflect the clouds floating above the lake.
