Eastern Sierra Aspen Color Reports Starting (9/24/09)

If you are really trying to follow the evolution of eastern Sierra fall color – most aspens – your best bet is to find some of the primary sources yourself and start following them. However, I’m going to continue to post a few here from time to time – and before long I should be able to start posting some of my own reports.

  • Inge Fernau posted an extensive description of her one-day marathon trip to Bishop Creek, including some photographs that will help those who know the areas already extrapolate a bit. Inge’s site is always worth a visit, and few post more thoroughly on the aspens.
  • The calphoto site is typically a great source of current information about the fall color in the eastern Sierra… but this season there doesn’t seem to be much info there yet. I’m hopeful that this many change in the next few days.
  • The Eastern Sierra Fall Color group at Flickr has a lot of information, both in the form of text and in images that will give you some answers to the “where?” and “when?” questions.
  • Greg Boyer’s One Horse Studio site is featuring frequent updates including one from the middle of the current week that sounds somewhat optimistic.

Remember a few things about finding and shooting aspens:

  • Conditions can vary a lot as you travel north/south and low/high. If you hear a poor report about one spot, you cannot necessarily extrapolate that to the whole range. Be prepared to move if your “perfect spot” isn’t in condition.
  • How you shoot the trees matters a lot. Sometimes a grove that seems to be almost green will appear to be quite yellow/gold if you go around to the other side for some backlight.
  • Time of day matters a lot #1. It is really tough to shoot them effectively in harsh, midday sun on a cloudless day. Early and late are often better, and shooting on the sun/shade boundary is often very interesting – though you’ll have to be prepared and work quickly.
  • Time of day matters a lot #2. A spot that is flat and boring in the morning may shine in the evening, and vice versa.
  • Time of day matters a lot #3. Shooting in shady conditions is sometimes very effective. You can get past the problems with black shadows and blown highlights and get a very wonderful soft effect – though you’ll likely have to do some color balancing in post.
  • If you show up and there is a crowd in the spot you were heading towards – yes, it happens! – look around. There is often something slightly different nearby and shooting something other than “the obvious thing” often leads to more interesting shots. (One morning I arrived at North Lake intending to do the iconic “across the lake towards Piute Peak” shot only to find a few dozen photographers lined up tripod to tripod in “the spot.” I went a few hundred yards away… and came back with one of my very favorite aspen photos.
  • Think small. Big groves are spectacular, but sometimes one perfect leaf can make a better photograph.
  • Think beyond the trees. Part of the experience includes other trees, rocks, moving or still water, clouds, grass, etc.

Happy aspen hunting!

UPDATE: 9:00 p.m. – Sierra Impressions points out that there is a probability of a change in the weather pattern next week – in the direction of true fall-like weather. That could mean cooler temperatures (a possible hard freeze is mentioned), perhaps wind, and (outside chance) some precipitation. It is always good to keep an eye on this stuff, for a whole bunch or reasons:

  • light snow can create some really wonderful photographic opportunities, but
  • it can also temporarily close passes, and
  • challenge your adaptability to and knowledge of more challenging conditions.
  • wind can quickly bring down some aspen leaves. (One morning I arrived before dawn at North Lake to find beautiful leaves. A squall swept in and it blew and snowed lightly for about an hour. At the end of that hour the large grove across the lake had lost half of its leaves!)

Besides following the official weather service reports – I like to read the “weather discussion” pages for more details – it also can be fun and informative to follow the Mammoth Dweeb Report. Not only does this site include some interesting local information and a lot of background stuff, but you can have fun following the speculation about longer term patterns.


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” (Heyday Books) is available directly from him.

G Dan Mitchell: Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email


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

Ship Yard Structure, Night

Ship Yard Structure, Night

Ship Yard Structure, Night. Mare Island Naval Ship Yard, Vallejo, California. August 30, 2009. © Copyright G Dan Mitchell – all rights reserved.

A towering ship yard structure against fog lit by artificial lighting at the historic Mare Island Naval Ship Yard, Vallejo, California.

An explanation of the colors in this photograph is probably in order. If you had been there next to me, looking up at the sky past this tall steel structure, you would not have seen colors that looked like this. It was, of course, dark out! You would have noticed a glow coming from the base of the fog clouds that were overhead, but it would not have seemed to have much of a color beyond a certain “warm” effect.

However, once I extend the exposure time so that I get a “normal” exposure in the camera (a bit more than three minutes in this case) light and color that are not visible to the human eye become visible to the camera. During RAW conversion I did not significantly alter the colors – these are what ACR refers to as “as shot” color balance. So we get this wild, luminous effect in the fog clouds and the brightness of the light on the structure becomes similar to that of daytime light… except the colors are different and many of the shadows come from sources that would be impossible in a daytime exposure.

This photograph is not in the public domain. It may not be used on websites, blogs, or in any other media without explicit advance permission from G Dan Mitchell.

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Michael Frye at the Ansel Adams Gallery

You have about a week and a half to catch Michael Frye’s “Color, Light, and Form” exhibit at the Ansel Adams Gallery in Yosemite Valley. If you are up that way, check it out!


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” (Heyday Books) is available directly from him.

G Dan Mitchell: Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email


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

Nimitz Street, High Fog, Night

Nimitz Street, High Fog, Night

Nimitz Street, High Fog, Night. Mare Island Naval Ship Yard, Vallejo, California. August 30, 2009. © Copyright G Dan Mitchell – all rights reserved.

Nimitz Street with high fog and moonlight and ambient artificial lighting, Mare Island Naval Shipyard, Vallejo, California.

This is probably one of the iconic scenes for night photographers at the historic Mare Island Naval Ship Yard near Vallejo, California. This shot looks up Nimitz Street near the waterfront and across railway tracks toward some of the core old buildings and beyond to the smoke stack of the power plant. It includes some of the huge overhead structures that were, as I understand it, used to move large ship components such as engines from the shops in which they were assembled to the ships under construction.

As is typical at night at Mare Island, the photograph includes a wild range of types of lighting. The 3/4 moon is partially responsible for illuminating the high fog, but the fog also picks up a warmer glow from a variety of types of lighting on the ground at Mare Island and beyond. The buildings are lit by some of the same light sources, but also by local security lightning and some street lights including tungsten, sodium vapor and perhaps even florescent sources. (When composing such shots I have to be very careful to place the camera in a position where direct light from these many sources is blocked by buildings, towers, and so forth.)

This photograph is not in the public domain. It may not be used on websites, blogs, or in any other media without explicit advance permission from G Dan Mitchell.

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Twitter: http://twitter.com/gdanmitchell
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