An old gate and fence in the wildflower-dotted landscape of the Calero Hills.
Photos are temporarily being shared without additional commentary. Watch for commentary to resume in late summer.
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.
The curving shoreline of Steelhead Lake, photographed in early evening light.
This is a fairly simple shot, and I think it represents a sort of scene that many Sierra Nevada back-country travelers know well. Steelhead Lake sits high on a bench up in the McGee Creek drainage, with a very tall ridge running to the east (and blocking early morning light) and a deep canyon to the west and northwest, with views toward the Sierra crest beyond. Unusual for an east-side location, there is much better light in the evening than in the morning. (More typically, east-side high country areas are open to the east and the morning light, and the evening light is blocked by the Sierra crest.) Most of the shoreline of the lake is forested, with the exception of a section at the upper end that is covered by the base of a talus field spilling down from the higher ridges.
We camped on what almost amounted to a peninsula, at least when viewed from the direction from which the trail arrives at the lake. Our spot on the peninsula was high enough to command a view of most of the moderate sized lake, and especially back across this little cover below our position. Late in the day as the setting sun approached the crest of the Sierra out of the frame to the left, low angle light slanted across the valley below and onto the low ridge along the edge of the lake, illuminating the atmospheric haze and back-lighting the trees along the shoreline.
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. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Early morning light on Greenstone Lake and surrounding trees and rocky terrain.
Greenstone is a relatively small lake just beyond the upper end of Saddlebag Lake, which is itself located just east of the Sierra crest and Yosemite National Park in an area dominated by Mount Conness and the tall ridge on which it stands. I had arrived before dawn at the Saddlebag Lake parking lot so that I could be on the trail before sunrise. Rather than giving in to the temptation to pay for a “water taxi” ride to the other end of the lake, I took the trail along the left shore, and arrived at Greenstone Lake just about the time that the first direct light was making its way down to this lake and the surrounding rocky hillside.
In this wet year with its late arrival of summer conditions, everything was still very wet around the lake and the meadow plants were still green and growing. (In dry years they start to finish up their growth spurt and begin turning brown by this time.)
I think this lake is a bit tricky to photograph in morning light. The light could be lovely at sunrise, but it would still be well up on the high ridges above the lake. It takes a long time for the sun to get high enough to rise above the ridge leading to Tioga Peak, and by that time most of the early morning warm light quality has given way to more typical daytime light. There were a few challenges in this photograph. They included trying to figure out how to find a workable composition in such a complex scene that was made even more complex by the reflections in the water. I think the triangle of rocky terrain in the upper half of the frame may help with this. The light posed several problems, mainly related to the very large dynamic range between the bright rocks and the shaded areas of forest at upper right. The light color was also tricky – because the shadows tend to be much bluer in a photograph than your eyes register when you are there, I had to mute the very blue quality of the shadows. This was done partly with an overall adjustment to color, but some additional work had to be done directly on the shadows.
Since the summer backpacking season is upon us – though it will be at least a few more weeks before I’m out and about in the back-country – it seems like a good time to post a pointer to a post I wrote earlier (and update every year) about my backpacking photography equipment.
I have backpacked in the Sierra Nevada – and occasionally elsewhere – for more than four decades, believe it or not. My total time on the trail can be measured in years if you add it all up. Over the years I’ve gone through a diverse range of approaches to integrating my photography with my time on the trail: early on I used to carry film SLRs, I gradually moved to smaller and lighter and less capable cameras, for a while I decided to not let photography interfere with the backpacking experience at all, and these days the photography has again become a primary reason for the backpacking.
I’ve evolved an approach to doing serious photography on the trail that works really well for me. It has to do partly with the selection of equipment that I’ve come to use, but it also has to do with my philosophy about what, when, where, and how to shoot. If you are serious about doing photography on the trail, I hope that the article has something to offer to you, whether your approach turns out to be similar to or quite different than mine.
