The immense granite face of Cathedral Rocks looms behind trees of El Capitan Meadow in autumn afternoon light
This meadow, located between two of the largest cliffs in Yosemite Valley, is both an obvious place to make photographs – everyone does it – and a place of nearly infinite variations of light, season, and atmosphere. Sometimes when I’m in the Valley I may stop here two or three times during the day. As is the case in other spots in Yosemite Valley, the place changes radically depending upon what the light is doing – soft early morning or evening light, strong light coming down the Valley in the early morning, light blocked by cliffs at midday, strong backlight in the late afternoon. And many of these changes happen very rapidly. As I made this photograph I could virtually watch the shadow move over the trees from the right.
The granite face rising beyond this meadow – one of the two I mentioned above – has always attracted me for some reason. Although not as high as the much more famous El Capitan, in some ways it seems to me to look more forbidding. It seems to lack the obvious crack systems seen on El Capitan, and unlike the larger wall, which is often bathed in sun, this one is often in shadow. In winter it casts a shadow across this portion of the Valley in the middle of the day, though a low spot may allow a beam of light to sweep across this area in the late afternoon.
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
Hazy morning light filters across the burned hillsides in the area of the Rim Fire, California
In photographic terms this is perhaps not the most spectacular photograph, and the location is not quite a scenic icon – though it is a place that many stop and take a look on their way to Yosemite, the “Rim of the World” overlook along highway 120 between Groveland and the northern park entrance. However, this view is loaded with implications and connected to many stories.
Late this past summer, the state of California was tremendously dry after a second drought season. It wasn’t a question of whether there would be big wildfires, but more of where, when, and how many. Perhaps the biggest one of all started very near the Rim of the World overlook, and in the hot and dry conditions it quickly – some might say explosively – spread to the north, east, and south. While many think of it as “the Yosemite fire” – and it did burn a lot of terrain inside the park – it really was more of a “Yosemite area” fire. Because of the conditions – the long-term conditions of drought and the immediate conditions of heat and wind – the fire apparently did very serious damage to the forests in the are.
Shortly after the fire was contained, I thought that I might drive through the park on Tioga Pass Road to get to and from the eastern Sierra in early October. In fact, the roads had opened up again by that time, but snow closed Tioga Pass on my trip to the west and we ended up coming back over Sonora Pass. So the post-fire conditions of this area, which is very familiar to me after years of visits, were still an unknown when I drove to The Valley on October 30 for a few days of autumn photography. Passing into the first fringes of the burned areas along highway 120 things didn’t look all that different than they do after any wildfire – some areas badly burned, some singed, and others that mostly escaped the fire. I decided to stop at the Rim of the World overlook, which was pretty much the only place where stopping was allowed, and get out and take a look. I was floored by the scale of the fire. It had come from behind my position, burned down and across the deep canyon of the Tuolumne River, up the canyon walls on the far side, and then across a vast series of receding ridges. Some smoke and haze still seemed to be coming from the area, and early morning light glanced across the ridges, with their dead trees. In the far distance there is a low peak with a bit of early season snow.
I have seen quite a few fires in the park over the past few decades. One not far from here destroyed a large area of forest a few decades ago – and on this trip, ironically, I was noting that new evergreen trees are finally taking hold there. Later several very bad fires blew up from near Foresta, doing terrible damage to the section of Crane Flat Road descending towards The Valley. There have been others. In most of these cases – though I wondered in the case of the most recent Foresta fire, too – it seemed that I could watch the forest recover and return to something resembling what I remember. However, given the intensity and scale of this fire, I wonder if I’ll have that opportunity where the Rim Fire burned?
To end on a cheerier note, a couple of other observations. Even near badly burned areas, I did see sections where this fire only burned some of the vegetation and a few that seemed to have been completely spared. And when I got to a spot inside the park along highway 120 where I often stop to photography dogwood trees in the spring and fall, a spot that seemed like it might have been within the burn zone on the maps, I found my little spot completely intact, with the dogwoods turning to fall colors.
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
Colorful autumn trees among burned forest and reflected in the water of the Merced River, Yosemite Valley
This is, in several ways, a “quieter” photograph than some that I have posted recently. The location is along a section of the Merced River in Yosemite Valley that is probably not really seen by more than a handful of people, if that, on any given day.The spot is not special enough, if specialness is definable, to warrant its own particular name. (However, a few people do have a name for it – but it isn’t really to be shared here.) So the scene itself was, objectively speaking, quiet – the only others around were a couple of photographer friends working individually nearby, there was no wind, the river was as calm and quiet as I recall seeing it – barely even flowing, and almost nothing was moving in the forests along its banks.
There was another kind of quiet, too – the mental quiet that I often look for while photographing, especially in places like this. It is easy to let my mind wander – is this the right place to stop? should I check email before leaving the car? is there anything here that will make a great photograph? might it be easier to shoot someplace more predictably beautiful? what if I can’t find anything to shoot? Leaving my car behind and shouldering my tripod and bag of gear, I walked down to the river bank and began looking. My notions about what I might photograph are not so important – being open to what I might find to photograph is. When you first begin to photograph, it can sometimes take a long time to get into the frame of mind that allows you to slow down and become engrossed by what you see, to the point that you lose track of time and even where you are, focusing entirely on the seeing and the photographing. Eventually, I think you can learn to let this happen more quickly – not that it always does – and to avoid the trap of trying too hard to steer the process and to instead be quiet and open to what you see. And so, thinking back on this evening, as I made my last photographs before heading home, I recall the sense of quiet focus as much as the objective features of the scene itself.
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
Morning fog drifts through a stand of cottonwood trees with golden autumn leaves, Yosemite Valley
Like essentially everyone who has photographed much in Yosemite Valley, I know this little stand of cottonwood trees very well. It is an obvious attractive photographic subject since its densely grouped trees stand apart from other trees in the middle of a meadow, its “perfect cottonwood-ness” is broken by the presence of a couple of other trees almost hidden within the stand, there are a variety of potential backgrounds for the small grove, at the right times it can be beautifully lit, and the meadow often forms beautiful ground fog early in the morning during certain seasons and conditions. Since the fall color of the trees seemed near its peak, I made a plan to be out there at one of the potentially ideal times on Halloween morning.
On the prior day I had decided on the spot from which I would photograph, with the idea being to make a fairly tightly cropped photograph of the trees with a bit of canyon wall in the background. With this plan in mind, I woke up in the darkness and arrived here well before sunrise and went directly to the spot I had picked out. I was very happy to find ground fog drifting over the meadow and frost on its dried grasses. I started photographing almost right away, before there was any direct light here or anywhere else in the Valley, and I planned to shoot right through sunrise and the point when the first direct light strikes the meadow and this group of trees. Before long, the first bit of sunlight came to the upper edge of the trees, and the light changed quickly as the beam of light from up near Half Dome moved down across the trees and began to cast alternating light and shadow across the meadow. This image from the series of photographs seems like the best combination of fog (which began to dissipate as the sun arrived), sunlight on trees and meadow, and background still in shade.
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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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.
