Every storm has to end eventually. Even Noah got a reprieve after 40 days and 40 nights. I didn’t have to wait quite that long for this past weekend’s storm to clear, but at first it seemed like the timing was less than ideal.
There was a small chance that the storm might clear before sunset on Sunday, so Claudia and I drove up to Yosemite Valley that afternoon. It was snowing when we got there, and kept snowing, and it soon became apparent that clearing wasn’t imminent. I photographed snow-covered trees until it got dark, then we joined our friend Charlotte Gibb for drinks and dinner at the Yosemite Lodge bar.
We watched snow falling outside the windows and coating the trees, but it seemed possible that the storm might clear soon, so we lingered a bit. The moon wasn’t due to rise until 12:45 a.m., but I had photographed a clearing storm by starlight before, so I knew it was possible.
We finally left the bar about nine o’clock. Light snow was falling, and the radar still showed some lingering showers in the area, but when we got outside we could see stars. That seemed promising. We drove out to Cook’s Meadow, away from lights, and sure enough, it looked like the storm was clearing. We made a couple of stops before ending up at one of my favorite spots along the Merced River. It turned into an incredibly beautiful night, with fresh snow, mist wrapped around the cliffs, and stars above. I spent the next two hours photographing the changing scene. Charlotte joined us, and then, to our surprise, another photographer showed up in the dark – Phil Hawkins. He called it “the meeting of the crazy photographers.” Definitely.
Normally it’s difficult to get any detail in the landscape with only starlight for illumination, because the light is just too dim. But the new snow coating the cliffs and trees helped to reflect some of that feeble light, revealing more detail in the foreground. Looking east, Yosemite Point (just to the right of Three Brothers) was also illuminated by the lights from Yosemite Village and Yosemite Lodge – something I couldn’t see with my eyes, but was readily apparent in the photographs. It looked like sunrise or moonrise light hitting the cliffs and clouds.
I often took two different exposures for each scene, one for the foreground and one for the sky. (The sky exposures were usually 15 seconds at f/2 or f/2.8 at 6400 ISO, while the foreground exposures were 30 seconds at f/2 or f/1.4, also at 6400 ISO.) The idea was to have some longer, lighter exposures for the foreground that I could blend with the exposures for the sky if necessary – if the foreground turned out to be too noisy otherwise. But the two images shown here didn’t need any exposure blending. The Three Brothers photograph is actually a stitched panorama, using three separate frames, because my best nighttime lens (a Rokinon 24mm f/1.4) wasn’t wide enough for the composition I wanted. The exposures for these three frames were 20 seconds each at f/2, 6400 ISO. The El Capitan image was one frame, exposed for 15 seconds at f/2, 6400 ISO. In both cases I was able to lighten the foregrounds enough to show some detail, and reflections of stars, without creating too much noise. I don’t think I could have done that with my A7r, but my A7rII handled this moderate shadow-lightening at high ISOs remarkably well.
Photographs like this, made with only starlight for illumination, really push the limits of sensors and lenses, especially if you want to keep the exposure times short enough to show stars as points rather than streaks. You need need to use wide apertures to gather enough light, and there aren’t many wide-angle lenses that are really sharp at f/1.4, f/2, or even f/2.8, especially in the corners. And you need a sensor that can produce relatively noise-free images at high ISOs.
But the best modern equipment can produce amazing results with meager amounts of light. I used to hope for storms to clear around sunrise or sunset. Then I photographed some clearing storms by moonlight. Now it seems that even starlight is sufficient. The only bad times for a storm to clear (or less-than-ideal times, let’s say) are midday, or at night when the moon is high overhead. Any other hour is great. It’s a wonderful time to be a photographer.
Well it’s wonderful if you don’t mind losing sleep. We got home at 3:00 a.m., but it always seems worth it after spending a beautiful night under the stars.
— Michael Frye
Related Posts: Gates of the Valley by Moonlight; That Moonlit Night; Too Much Fun; A Memorable New Year’s Eve
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Michael Frye is a professional photographer specializing in landscapes and nature. He is the author or principal photographer of The Photographer’s Guide to Yosemite, Yosemite Meditations, Yosemite Meditations for Women, Yosemite Meditations for Adventurers, and Digital Landscape Photography: In the Footsteps of Ansel Adams and the Great Masters. He has also written three eBooks: Light & Land: Landscapes in the Digital Darkroom, Exposure for Outdoor Photography, and Landscapes in Lightroom: The Essential Step-by-Step Guide. Michael has written numerous magazine articles on the art and technique of photography, and his images have been published in over thirty countries around the world. Michael has lived either in or near Yosemite National Park since 1983, currently residing just outside the park in Mariposa, California.
Really, really beautiful Michael. I am amazed that you were able to make these images with only starlight. I love the feeling both your images evoke.
And yes, it seems the “crazy photographers” were out that night…but perhaps they are not so crazy afterall seeing these images.
Thanks very much Richard! I guess the craziness depends on your perspective. 🙂
I get the sense of peacefulness with these scenes. That wonderful stillness after the snow has fallen. And amazing what sensors can do now!
Thank you Vivienne!
Wonderful images, Michael!! BIG wall space now required!
And the “backstory” is always a pleasure to read.
Thanks so much Chuck!
Now that is making artistic use of modern technology! Two questions Mr. Frye, how did you get the depth of field with a near wide open aperture? (even 24mm has its limits at wide open) And how did you focus in the dark?
Thanks Steve. Depth of field really wasn’t an issue, as the foreground is not that close to the camera, and there’s lots of depth of field with a 24mm lens, even wide open. The closest foreground, the snow on the right side, might be a little soft technically speaking, but not enough to be noticeable, even in a pretty large print. I focused manually by zooming in with live view (the only choice with a mirrorless camera) and focusing on a star. You could also use a bright flashlight, shine it on, say, the trees, and focus on that.
Michael,
FANTASTIC! EXTRAORDINARY! OUT-OF-THIS-WORLD!
Cheers,
Alyn Brereton
Thanks very much Alyn!
Dear Michael,
Beautiful!! Thanks again for sharing these amazing pictures and your thought process on how to make them. You are an inspiring artist and a great teacher.
Best,
George
Thanks so much George!
A7R II I presume? what are your thoughts on this camera?
Ross
Ross, yes, I used the A7rII. I think it’s fantastic – a great all-around camera. As I said in the post, it did really well with these scenes, with manageable noise even in lightened shadows at 6400 ISO.
Lovely! Are you selling prints?
Thanks Jennifer, and yes, most of my images are available as prints, including this one. I can send you an email with the details if you’d like.
Simply amazing!
Thanks Victoria!
These look like they may be on your list for the Jim Goldstien blog Project at the end of the year!! Beautifully done.
Thanks JJ!
Hi Michael!
Your images of Yosemite are stunning. I’m about to visit the park from March 20-24th. There will be a full moon. I have pretty limited experience with night photography. Do you have any suggestions on location where I might have the best chance of capturing any images with bright moonlight or stars? I am also not able to do any real difficult hiking. Thank you!
Thanks Mary! Since the moon will be so bright you won’t see a lot of stars, so you’d probably be better off concentrating on photographing cliffs or waterfalls that are lit by the moon. Any south-facing cliff would work, including El Capitan or Yosemite Falls.
very nice shots!the mood is peaceful and soothing
thx for sharing these wonderful images and its settings as you usually do
you inspires lots of people Mr Frye!
thx for everything,and especially that Yosemite guide that has become my bible when i come to the park every year
cheers!
Luc
Thanks Luc! I appreciate that very much, and I’m glad you’ve found The Photographer’s Guide to Yosemite helpful.