Archive for the ‘New Images’ Category

Smoky Beauty

Wednesday, July 30th, 2014

Sun rising through smoke from the El Portal Fire, 7/28/14, Yosemite NP, CA, USA

Sun rising through smoke from Tunnel View, 7/28/14, Yosemite NP, CA, USA

Early Monday morning I drove up to Yosemite Valley, hoping that smoke from the El Portal and Dark Hole fires might create some interesting atmospheric effects. Yes, I went looking for smoke, something that photographers usually avoid. But smoke can impart a wonderful, ethereal quality to photographs – like fog, but with more color.

At Tunnel View the smoke was thick enough to give the scene a misty, painterly look, but not so thick that you couldn’t see anything. Eventually the orange ball of the sun appeared through the smoke, accompanied by a patterned cloud formation (above). Later, along the Merced River, the smoke lent a similar painterly mood to scenes of El Capitan and Three Brothers (below). And much later, near sunset, the sun turned into an orange ball again as it sunk into the smoke to the west (below).

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A Surreal Night

Sunday, July 27th, 2014

El Portal Fire, Yosemite NP and Stanislaus NF, CA, USA; 1:51 a.m., 7/27/14

El Portal Fire from the Glacier Point Road; 1:51 a.m., 7/27/14

We had no inkling that anything was wrong until we reached Crane Flat, where a ranger told us the road down to Yosemite Valley was closed.

Claudia had said that the wildflowers were nice in the Yosemite high country, so we decided to go for a hike up there yesterday afternoon. We drove through El Portal sometime between 3:00 and 3:30 p.m. and continued up the Big Oak Flat Road to Crane Flat. Everything seemed normal. Near Yosemite Creek we passed the Dark Hole Fire. This is a lightning-caused fire that the park service is letting burn, but it looked pretty active yesterday afternoon, with a big smoke plume.

We continued on past Tuolumne Meadows, started our hike, and found some gorgeous wildflowers (you can see a photograph below). Then we returned to the car, and started home at about 10 p.m. Near Yosemite Creek I decided to stop and photograph the Dark Hole Fire (below), then we continued west back to Crane Flat, where we saw a ranger vehicle blocking the road down to Yosemite Valley.

We were surprised that the road was closed, since we’d just driven up it a few hours earlier. The ranger let us through, since we had a park sticker, but he told us there was no stopping, and to watch out for fire crews. Fire crews? We knew these crews weren’t for the Dark Hole Fire, as that was miles away, and still pretty small. What had happened?

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Should You Stay or Should You Go?

Thursday, July 17th, 2014

Moon setting over Tenaya Lake, Yosemite NP, CA, USA

Moon setting over Tenaya Lake, Saturday morning, 5:42 a.m.

“I have always been mindful of Edward Weston’s remark, ‘If I wait for something here I may lose something better over there.’ I have found that keeping on the move is generally more rewarding.”

— Ansel Adams

Sooner or later, every landscape photographer has to decide whether to stay put and hope that the light gets better, or move somewhere else.

Last Saturday morning, on the last day of my Hidden Yosemite workshop with The Ansel Adams Gallery, we rose early and drove to Tenaya Lake to capture the moon setting over the water. On our way there we noticed low-lying mist in Tuolumne Meadows. We photographed a beautiful moonset over the lake, but as soon as the moon dropped below the ridge we drove back to Tuolumne.

The mist was still there. First we ran out to a small pond to catch the sun lighting some small clouds above the high peaks to the east. Then we spotted a herd of deer off to the left in the mist, so we quickly changed lenses and photographed them until they moved away.

By then the sun was hitting Unicorn Peak, so we walked about a hundred feet north to get a reflection of the peak in the pond, and waited until the sun grazed across the foreground.

Then light started hitting the mist and trees behind us, so we moved again to get closer, and put the sun behind trees where we could see sunbeams and starbursts.

And then the sun rose higher, the mist disappeared, and the show was over. The whole sequence lasted about 40 minutes.

In this case, the light and fog were changing quickly, so we had to switch lenses and move our feet if we wanted to catch those fleeting moments. But three years ago, during the same workshop, a similar situation required waiting patiently for the light to change.

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Moody Weather at Mono Lake

Tuesday, July 8th, 2014

Sunrise at South Tufa, Mono Lake, CA, USA

Sunrise at South Tufa, Mono Lake, Monday morning

Claudia and I have been in Lee Vining, on the eastern side of the Sierra, preparing for my Hidden Yosemite workshop. The weather over Mono Lake the last few days has been really interesting and moody, with some light showers, rainbows, and skies full of beautifully-textured clouds. In between scouting and setting up we’ve photographed a couple of sunsets and a sunrise at the lake, and I’ve included some of the images here.

The last photo might be the most unusual rainbow I’ve ever seen. Claudia, my workshop assistant Kirk Keeler, and I were walking out of the Whoa Nellie Deli after dinner last night when we spotted a rainbow. We drove quickly toward the lake, where we found a short, vivid section of the rainbow over a zigzag shoreline. The rainbow was formed by the sun poking through a small hole in the clouds and hitting a rain squall, which made it look like the rainbow was suspended in space and creating a sunbeam.

Forecasts call for similar weather over the next few days, so I’m looking forward to a great week with our group!

— Michael Frye

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When a Scene Composes Itself

Friday, June 20th, 2014

Sun setting over the Pacific Ocean, Samual H. Boardman SP, OR, USA

Sun setting over the Pacific Ocean, southern Oregon

After our redwoods workshop, Claudia and I drove north and spent a couple of days along the Oregon coast. I’d never been to this area before, so on our first afternoon we scouted a number of locations north of the town of Brookings. We made several short hikes down steep trails to the coast, with correspondingly steep climbs back out. Though we found some nice spots, none made me jump up and down. Sunset was approaching, and I had to decide where to go. I could see some interesting sea stacks to the north, and decided to drive in that direction.

But we never made it to those sea stacks, because before we could get there we checked one more viewpoint, and immediately realized we didn’t need to go any further. We’d found a scene that practically composed itself, with all the elements nicely balanced and arranged: two stands of silhouetted trees on a ridgeline, with an offshore rock placed perfectly in the gap between the trees, and another rock spaced neatly out to the left. There was even a scalloped line of waves in the foreground to lead the eye toward that gap and the distant rock.

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Chasing the Light and Weather

Sunday, June 15th, 2014

Rainbow, Crescent Beach, Crescent City, CA, USA

Rainbow, Crescent Beach, Crescent City, CA, USA

It should be obvious that weather and light are important aspects of landscape photography. No matter where you are, it pays to keep an eye on the weather, and to learn local weather patterns.

We arrived in Crescent City about five days before our redwoods workshop was set to begin. Our first night there some showers moved through, and at sunrise it was gray and raining. But online radar and satellite images showed that the showers might end soon, so I prepared to go out. Then through our hotel room window I saw a rainbow! We made a dash for the car, drove out to Crescent Beach, and luckily the rainbow was still there (right).

The weather then settled into a more typical pattern for the season, with frequent coastal fog and low clouds in the mornings, giving way to clear skies in the afternoons. This pattern should be familiar to anyone who has spent time along the California coast in summer.

This fog is the perfect complement to redwood forests. The rhododendrons were also putting on a great display this year, so for the first part of our workshop, and while scouting beforehand, we had beautiful conditions in the redwoods, with fog, rhododendrons, and even sunbeams.

But on the last day of the workshop the wind shifted and pushed the coastal fog offshore. This also happens frequently along the northern California coast, even in summer, as any disturbance in the weather pattern can change the winds and move the fog out to sea. But the offshore wind produced a different kind of fog – valley fog along the Klamath River. I didn’t think we would see valley fog during this visit, because valley fog usually requires damp ground from recent rains, and there hadn’t been much rain in the area. But apparently the river itself provided enough moisture to create fog.

This time the fog flowed along the river toward the sea, and it was local enough, and low enough, for us to get above it near the mouth of the Klamath River. It was a special treat to look out over the fog bank, and then to watch and photograph the sun breaking through the fog and lighting the surf.

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Waves and Slow Shutter Speeds

Wednesday, June 11th, 2014

Fog at the mouth of the Klamath River, Redwood NP, CA, USA

Fog at the mouth of the Klamath River, Redwood NP, CA; 30 seconds

The far northern coast of California has many wonderful, wild coastal areas, providing great opportunities to make moody photographs of ocean scenes. It can be challenging to photograph these scenes, however, because things are constantly changing. In addition to that usual variable – the weather – you have to think about the tides and movement of the waves. Timing can be critical for catching a wave, or pattern of waves, in just the right position, and sometimes you need a lot of patience to wait for the right moment.

Any moving subject – including waves – can lend itself to using slow shutter speeds. With ocean scenes, the blurred motion created by slow shutter speeds can convey a sense of motion more strongly than a frozen image would, or give the water an ethereal quality that adds to the mood of the image. Here’s a small portfolio of my slow-shutter-speed ocean photographs from before, during, and after our workshop, with the shutter speeds included in the captions for each image.

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In the Redwoods

Sunday, June 8th, 2014

Sunbeams and corona in a redwood forest, northern California, USA

Sunbeams and corona in a redwood forest, northern California, USA

Claudia and I have been up in the redwood country, in far northern California, for the past two weeks. We had such a great time during my Mystic Forest workshop. Like last year, we stayed at the Requa Inn, with its great food, relaxing atmosphere, and beautiful views. We had a wonderful group of people, and I already miss the energy of the group learning and photographing together. And we had great weather, with lots of fog! Here’s one image from our first morning, with the sun breaking through the fog and creating a spectacular triple corona. I’ll post more photographs soon as I get time to process them.

— Michael Frye

Related Posts: In Redwood Country; Back From the Redwoods, and the Lightroom 5 Release

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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 YosemiteYosemite Meditations, Yosemite Meditations for Women, 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 5: The Essential Step-by-Step Guide. Michael 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.

Déjà Vu in the High Country

Monday, May 26th, 2014

Setting sun, Tuolumne Meadows, Yosemite NP, CA, USA

Setting sun, Tuolumne Meadows, 7:39 p.m. Thursday (as the sun sank behind the ridge)

Last week some unseasonal showers reached Yosemite. The showers didn’t bring heavy amounts of precipitation, but enough snow fell at higher elevations to temporarily close Tioga Pass and the Glacier Point Road.

On Thursday the Tioga Road reopened. Since Claudia and I are heading up to the northern coast of California soon for my redwoods workshop, we thought this might be our last chance to go up to the Yosemite high country for awhile, so we decided to drive up to Tuolumne Meadows for the afternoon. There were still some clouds and showers in the area, so the prospect of some interesting weather made the idea even more enticing.

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Appalachian Waterfalls

Sunday, May 18th, 2014

Minnehaha Falls, GA, USA

Minnehaha Falls, GA; 1 sec., f/16, ISO 100

Waterfalls are abundant in the southern Appalachians. It seems like you can hardly throw a stick without hitting one.

Of course I’ve spent the last 30 years in Yosemite, which might have the most spectacular collection of waterfalls in the world. But they’re different. Yosemite’s waterfalls are big and dramatic, and often leap hundreds of feet in a single drop. The waterfalls in the southern Appalachians are smaller, more intimate, and more complex, often containing multiple tiers and channels. This complexity can make them both more challenging and more rewarding to photograph – challenging because there’s rarely an immediately-obvious composition, but rewarding because once you start looking you might find a dozen or more good compositions in a single cascade.

During our last trip, one of the first places we visited was Minnehaha Falls in northern Georgia. Since this fall is on the cover of two different waterfall guidebooks it seemed worth checking out. And we weren’t disappointed. Minnehaha is graceful enough to lend itself to overall views, and intricate enough to offer many smaller-scale compositions. The day was overcast, which is often ideal for these kind of waterfalls. I spent an hour and a half there working just one side of the cascade before we had to move on.

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