A solitary tree grows among broken slabs of stained granite, Yosemite National Park
I suppose that this photograph also is at least partly of the “brave little tree” school, since there is indeed a little tree standing in an improbable looking place at the far side of this jumble of exfoliated and broken granite slabs. I wouldn’t say, though, that the tree is the primary subject — I think that it is more of a “surprise” that you might see only after first registering the shapes, textures, and colors of the rocks that fill the frame. It also may help establish a sense of scale for the broken slabs, though there are aspects of this image that work to defeat that possibility, too.
I remember the general place where I made this photograph, and I might be able to narrow down the location a bit if I went back to my files to see what I shot before and after. But the specific spot probably doesn’t matter that much. It is in the Yosemite backcountry, in a large area of granite slabs and bowl-like terrain where many of the rocks are stained an unusual and unusually intense reddish-brown color. It had rained overnight and was still raining off and on, so I worked with the soft light that comes with the passing clouds, making photographs in between the passing showers.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
A small pine finds a foothold in a small crack on an immense glacier-sculpted granite slab, Yosemite National Park
This photograph is connected to quite a few others that I have posted recently, and in multiple ways. One of the subjects that I focused on during our time photographing at this Yosemite backcountry location was the many small trees growing tenuously in small cracks and pockets in this large bowl of granite and among nearby granite slabs. It seems almost a rule that in the natural world something will manage to find a way to grow in almost any location where growth is remotely possible. These trees certainly seem to illustrate that idea, as they sometimes seem to have nothing more than a thin crack in otherwise solid granite in which to put down roots. This one grows part way up the incline of a sloping bowl that faces west, so the morning light doesn’t arrive until rather late. I photographed as the line of sunlight worked its way across the tree and toward the textured slabs beyond.
I have heard a photographer friend humorously refer to photographs like this as “brave little tree” shots. It certainly is a popular concept. While I often like to think that photographs may speak simply as images whose components of light and texture and shape and color evoke an emotional response, it doesn’t escape my notice that photographs also, partially through the expectation that photographs contain true images of things, may also resonate in other ways — and that a “brave little tree” may evoke connections to other “brave little” things and ideas, and that these associations may be personal and specific to each viewer.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Warm reflected light filters into the depths of a Utah slot canyon
I’m somewhat new to the world of Utah slot canyons, but I’m also increasingly enthusiastic about them and their photographic potential. I have not visited some of the iconic “big name” slots (and I may or may not do so), but I have found similar experiences in other locations. During my recent Utah visit I had thought about exploring a particular area in southwest Utah. I had a few place names in mind, but I really did not know much about them in any detail. (I often prefer to not know too much about these places, preferring instead to discover them on my own.) This canyon has a name that I had heard before, so one morning I decided to head out that direction and see what I could discover.
I drove down a gravel road, parked, loaded up camera equipment and a snack, and headed down a broad wash into the upper part of the valley though would eventually narrow and become a slot canyon. While it is no doubt more efficient to begin closer to such canyons, I enjoy the process of moving from the wider valleys to the narrower canyons, and the walk down the meandering path of the stream above the narrow canyon was enjoyable. Inside the narrow section the walls rose vertically, the canyon floor was often quite wet, and beautiful soft light filtered down from above, reflecting the warm reddish colors of the rocks and highlighting their shapes and patterns.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
This is another multi-photograph post — in this one I share four photographs from the Grand Staircase-Escalante National Monument that feature trees in various back-country landscapes ranging from the canyons and rock formations to one otherwise perhaps un-notable stop near a campsite where I stayed.
Colorful autumn foliage on a cottonwood tree next to a creek at the bottom of a deep sandstone canyon
This stout cottonwood tree grows in the wash at the bottom of this deep canyon, at the base of huge sandstone walls that tower above and wrap around curves in the canyon’s path. I had stopped here to photograph a different tree — it is among those shared in this group — and after finishing with that tree I looked over here to see this one standing against the worn and curving rock shapes at the base of the canyon walls.
Fractured and sandstone canyon walls arch above a cottonwood tree with fall foliage
This is one of two photographs of this tree that I like. (The other is a in portrait orientation, and may give a better sense of the trees size and the relative scale of the huge sandstone canyon wall.) The tree grows in the bottom of the wash and right up against the canyon walls, with several arch shapes in the sandstone creating a sort of frame for it.
A solitary oak tree grows from a crack in Utah sandstone
This photograph comes with a bit of a personal story. In the morning we (a group of six photographers) had departed our camp on foot to hike down a nearby wash and drop into a deeper canyon. Although the morning began well, with a pleasant walk down the wash, followed by some exploration as we tried to find a good way to drop into the deeper canyon, I suddenly developed a knee problem — I decided to remain behind as the group went on. I walked back to camp, making photographs along the way, and then drove to some other places along our gravel road looking for other subjects. In the late afternoon I returned to camp, though no one else had yet returned. So I decided to do a bit of exploring near camp, and I ended up at the base of a sandstone face as the sun dipped behind mountains to the west — and I photographed this tree in the low light before heading back to camp.
On our first night together as a group in a back-country area of Utah we set up camp and then headed out to photograph something as the evening approached. We drove, ending up at a spot where large sandstone formations are backed by an even larger area of smooth sandstone surfaces, interrupted by potholes and other features. At one point we were in one of those locations where the number of obvious photographic subjects was limited — basically, there was a beautiful pothole with a true and there was this old snag. With six photographers, interesting questions arise. Do we all shoot the same subject? If one person shoots it first, is it OK for the next to photograph from the same angle? How could we each take this common subject and do something different with it? I initially resolved to not shoot this snag, but a bit later I came back and gave in to temptation! ;-)
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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