Tag Archives: winding

Winter Trees, Levee Road, Fog

Tule fog softens the light on a Central Valley levee road winding among winter trees.

Winter Trees, Levee Road, Fog. © Copyright 2022 G Dan Mitchell – all rights reserved.

Tule fog softens the light on a Central Valley levee road winding among winter trees.

My usual inclination when photographing a place like this is to focus on the natural and to exclude the signs of the human presence. It is perhaps ironic that I embrace the human world in my street photography but often obscure it in my other work. I think this comes from the desire to imagine a “natural” work without, well, us. There are fine reasons to do this, but there are also some reasons to not imagine that we are not part of the natural world. (This subject likely deserves and article, a book, a small library — not a two-paragraph post!)

During the winter months I often photograph in California’s Central Valley, attracted by the tule fog and by the migratory birds. And I mostly photograph these subjects as examples of nature. But the Central Valley is anything but a natural wilderness! It is crisscrossed by roads large and small, increasingly filled by towns and cities, and dominated by the agriculture industry. The good news is that those things are interesting photographic subjects, too. This road more or less winds along a levee at the edge of a large pond. I paused here to look back and the way I had come, photographing the road winding through a gentle landscape of tule fog and winter trees.


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, Amazon, and directly from G Dan Mitchell.

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Aspen Branches

Aspen Branches
Winding branches of an aspen tree, Sierra Nevada.

Aspen Branches. © Copyright 2021 G Dan Mitchell – all rights reserved.

Winding branches of an aspen tree, Sierra Nevada.

For some reason this tree sticks in my memory. I had been scouting and photographing in the Lake Tahoe area as part of the work on my fall color book. On my way back to the San Francisco Bay Area I decided to leave the Tahoe area and head south so that I could drive through Hope Valley and over Carson Pass. By the time I got here it was late and the light was fading. There was a solid wall of aspen leaves behind this exposed tree, but they were very early in the autumn transition and still mostly green. I did not seem like the typical “fall color” photograph, but I stopped and made a few exposures anyway.

Some time later I “found” this file in my archives and, unlike when I made the photograph, it somehow seemed obvious that it could be a black and white image. Sometimes I know (more or less) when I make the exposure that a photograph is going to end up in a monochromatic rendition. But I confess that I sometimes reserved judgment until I see the raw file later on… and that on some occasions a photograph that I initially conceived of as a color image only reveals its potential in black and white during the post processing phase.


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, Amazon, and directly from G Dan Mitchell.

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Autumn Trees, Slot Canyon

Autumn Trees, Slot Canyon
Autumn colors along a stream in a winding Utah red rock slot canyon.

Autumn Trees, Slot Canyon. © Copyright 2012 G Dan Mitchell – all rights reserved.

Autumn colors along a stream in a winding Utah red rock slot canyon.

This little canyon winds away from a backroad gravel route though a section of the Grand Staircase-Escalante National Monument. (I hope it still does — for all I know it is part of the beautiful land removed from the monument in 2016. Sigh.) A group of use spent a good part of a day wandering into the canyon and photographing.

This little scene has most of the features that characterize these canyons, though none of them seem as intense as the most extreme examples. The shallow stream winds quietly through the canyon bottom, though it is also clear that this little steam can sometimes rise up and make the place impassible. There is no direct light anywhere — instead everything is lit by diffused and reflected light that filters down from far above. The view is quite limited, and as you pass through a place like this your would is constricted by the side walls and the bends above and below your position. Looking ahead to the bend in front of us, we can see a bit of light around the corner, inviting us to continue around “just one more bend.”

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.

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All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Turk’s Head, Green River, Evening Haze

Turk's Head, Green River, Evening Haze - The Green River curves past Turk's Head in evening haze, Canyonlands National Park, Utah.
The Green River curves past Turk's Head in evening haze, Canyonlands National Park, Utah.

Turk’s Head, Green River, Evening Haze. Canyonlands National Park, Utah. April 6, 2012. © Copyright 2012 G Dan Mitchell – all rights reserved.

The Green River curves past Turk’s Head in evening haze, Canyonlands National Park, Utah.

Just to the west of the “Island in the Sky” area of Canyonlands National Park, the Green River flows though deep and rugged canyons on its way to the confluence with the Colorado River. The river and its tributary streams have cut thousands of feet down through the layers of rock, exposing plateaus and steep canyon walls and more sandstone than can be believed. At Turks’ Head the river winds through a very large S-curve that widens the lower part of the canyon.

I had begun shooting the evening light at the Green River Overlook somewhat earlier on this evening, and by the time I made this photograph the direct light was almost gone – a bit of it is still hitting the cliff faces at lower left and glancing across the tops of nearby flat areas. It was a rather hazy evening, which is part of what attracted me to this spot – I love shooting into or across back-lit haze which can almost glow in the right light and which can also enhance the sense of distance in the scene. Of course, most of the “glow” was gone by this time, and the result is something a lot more subtle with the most distant terrain above the far end of a tributary canyon almost disappearing into the distant haze.

G Dan Mitchell is a California photographer whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
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