Archive for the ‘Landscape’ Category

A Walk on the Wild Side

Friday, August 15th, 2008

[Note: this is a reposting of a story originally published in July 2005.]

Thousand Islands Lake

© Harold Davis - Thousand Islands Lake, Ansel Adams Wilderness, July 2, 2005

About a week ago I organized a solo hiking trip to the Ansel Adams Wilderness. The Ansel Adams Wilderness is administratively part of Inyo National Forest, and lies just south of Yosemite National Park in the high Sierra. It’s accessible to hikers from the eastern slope of the Sierra Nevada Mountains off Route 395, which runs past Mono Lake and through Owens Valley. Here’s the general area in question shown as a Google Satellite image. My goal was to go camp beside Thousand Islands Lake, where I’d spent some time thirty years or so ago in my backpacking glory years. The lake is nestled under Banner Peak and Mount Ritter. I thought it would make good photographic material for the digital equipment I’ve been playing with lately. It’s spectacular country, and there are many islands in Thousand Islands Lake, although probably not one thousand of them. (You’d hardly know there were any from the picture above with the lake mostly under snow.)

I had about a day to make my preparations. I finished up Chapter 9 of the book about Google I am working on, and swung into gear. It had been a while since I had been backpacking, so I needed to remember what stuff to bring, to shop for food, load a backpack and make sure I could carry it, and get a wilderness permit.

The wilderness permit part of it was easy. I called the reservation number at Inyo National Forest, and for $5.00 on my Visa card got a wilderness permit which would be left for me in the night drop box at the Mono Lake Visitors Center in Lee Vining. Lee Vining is on the eastern side of Tioga Pass. The pass had opened a few days before following one of the heaviest snow years in recorded history in the Sierras.

As I chatted with the reservations ranger, he told me that there was lots of snow (I knew that already), and that I probably wouldn’t see too many people or mosquitos on my trip. I said both of these were good things. He also told me I needed to carry my food in an approved bear-resistant container. These bear canisters are made of molded plastic and use screws that you turn with a coin (or back of a spoon) to make it difficult for a bear to get inside. Personally, I kind of think that if a bear can get into a car trunk, a bear can probably get into one of these things. But regulations are regulations, so I added a bear food storage thing to my list of supplies to buy at REI (Recreational Equipment).

I also wanted to figure out a way to store my digital images in the field without having to use a whole mess of memory cards, so I bought a 40 Gigabyte battery operated photo storage gadget. I’ll be writing more about digital photo field storage options in a subsequent blog entry.

After my day shopping, organizing, and preparing I loaded my food in the bear canister, and the canister, sleeping bag, tent, cameras, and so on, into my backpack, and shouldered the backpack. With my backpack, probably about forty-five pounds, and in my hiking boots, I walked to the top of Marin Ave, a pretty straight up road that goes up about 1200 feet here to the top of the Berkeley hills. I was sweating, but I could do it! I felt good. I though to myself, “I may be fifty-something, but I’m fit - and you’d never know it!”

Wednesday morning early I left the three boys and Phyllis, drove out through the Bay area sprawl, across the central valley via Oakdale and Manteca, and onto the North Yosemite highway at China Camp. From there, after passing the park entrance station at Crane Flat, I turned onto the spectacular road that goes up to Tulomne Meadows and Tioga Pass.

On the other side of the mountains, in Lee Vining I picked up my wilderness permit - once I signed it my permission to hike was official! - had some dinner in a restaurant, and headed for a campground near my trailhead.

The trailhead I was going to use, Rush Creek, starts from Silver Lake at an altitude of about 7,200 feet on the June Lake loop. Grant, Silver, and June Lakes are a kind of messy resort (with a ski lift and many trailer parks) the first stop south of Lee Vining and the Tioga pass road. So I drove south for about ten miles, and then turned right towards the mountains. As I passed Grant Lake, the high rolling sage brush turned to mountain forest, rock and snowy vista.

The next morning I grabbed a massive breakfast at the Silver Lake Resort. For the record, I ate “Miner’s hash - everything but the kitchen sink.” I can’t vouch for the kitchen sink, but it certainly had eggs, ham, bacon, and potatoes. They are big on gold and silver mining and hearty eating in the tourist enclaves of the eastern Sierra.

Next, I stuffed my tent back into its sack, parked by the trailhead, and started up. Here’s a map of the area (you can click it for a larger size):

It’s amazing how easy it is to leave our everyday world and enter a completely different universe. This other universe is one where issues are simple: survival, not falling down a cliff or into a hole in the snow, being warm and dry, having enough to eat, and (if you are fifty-ish with kids) not having a stroke or heart attack alone in the wild. The wilderness is grand and majestic and magnificent - but it is utterly alien to us, and does not care in the least about us and our concerns, our well-being, or whether we live or die. Depending upon how you look at things, this is either comforting or terrifying (or both). Hikers do vanish each year in the Sierran wilderness; for example, probably no one will ever know what happened to Fred Claasen or Michael Ficery other than that they died.

Perhaps it is a good time to start making clear the mistakes I made on my journey through one of these cracks into the alternate universe that is the wilderness. First, I wasn’t really paying attention when people (such as the reservation ranger) told me about all the snow, and how empty the Sierra wilderness was this year. I also wasn’t taking the time to get adjusted to the change in altitude. I drove from sea level to above 7,000 feet in one day, and then started hiking up. No wonder I didn’t feel so good. My head was pounding, and my breathing labored. Stay tuned for one big whopper of a mistake to come (though obviously I am here to write about it).

The Rush Creek Trail goes up on a long diagonal above Silver Lake. You can look down at the normal world of people fishing on the lake:

Silver Lake

Around the bend, Rush Creek pours out of Agnew Lake - this year, a great deal of water (which might have made me stop to think):

Rush Creek Falls

The trail on its way up to Agnew Lake somewhat bizarrely crosses a cog railway twice. This railway is used by Southern California Edison, who uses the area for power generation in a modest way. Also on this first bench up, I crossed a snow field (not very hard, but a slip could have been bad news - in fact I later heard someone had been badly injured crossing this patch), and a creek crossing where the bridge had been washed out, both within two miles of the start of my hike. Obviously, I wasn’t paying very good attention. My attitude was simply “Gosh darn I can do this!” Here’s the railway:

Tramway below Agnew Lake

Right about at the second crossing of the tracks I met a hiker, my first on this trip. He was an old codger dodger - well, no older than me, but you know what I mean - carrying a day pack and his name was Billy. Billy’s hobbies were leading boy scouts from his home near Ventura into this area and helping with search and rescue operations. He knew this part of the mountains pretty well.

I told him what I was planning: to head up the cliff on the little-used trail on the south side of Agnew Lake, continue past Spooky Meadow, Clark Lake, and Summit Lake, and find the Pacific Crest and John Muir trails near Thousand Island Lakes, camp there a few days, and then head out the same way.

Billy suggested gently that I might want to reconsider. He said that in thie year of extraordinary snow the trail I was planning to take would almost certainly be under snow and probably impassable and dangerous. I should at least scout it, he said, from the other side of the lake before heading up it. Billy also suggested several longer (but less steep and dangerous) ways to get into the high country.

I can say with absolute certainty that I paid no attention to anything Billy the search and rescue codger-dodger said to me. When I got to the junction with the side trail I’d been planning to take - my trail led off to the left on the far side of the lake - I took it without looking ahead. I did notice that there was no sign marking my trail. I later learned that they didn’t post “my” trail because they wanted to discourage people from using it.

For the first part of the trip up the steep side of the lake, things seemed OK, and well steep. Here’s a picture with the trail outlined in red so you can see it:

Trail

I took the photo from the other side of the lake on my way out a few days later because I wanted to get a good look at where I had started my walk on the wild side. The first part up along the side of a steep scree field was no particular problem, although I did have to pause to take a breath frequently. When I got to the trees shown in the photo I had to start pulling myself up hand over hand, backpack and all. As I continued up the snow crossings started to get more and more difficult and scary. Some were undercut with fast running water, and I knew a collapse was possible at almost any time in these conditions of brutally hot sun and massive snow. As I’ve said, I drew the trail into the photo above. The part I drew in towards the top was the last I saw of the trail for many miles - it vanished under a snow field, and didn’t reappear. I began to wonder why I hadn’t brought proper gear for traversing snow - an ice ax, or at least crampons. Gators would have been nice, too, although more a matter of comfort than safety.

At some point when I was fairly shortly above the area shown in the photo I realized that I had lost the trail in a terrain of infinite snow and steep cliffs, and that it was probably too dangerous to go back down the way I had come.

This story is continued in Does the Wilderness Care about Me?
It concludes in There and Back Again

Fog on the Headlands

Tuesday, August 12th, 2008

Fog on the Headlands

Fog on the Headlands, photo by Harold Davis. View this image larger.

The other day Mark and I climbed Slacker Ridge, and watched the early evening fog pour over Marin Headlands and through the Golden Gate. I saw the scene in black in white, although of course I shot in-camera in color. It’s always a good idea to keep one’s options open. (This story explains some of my black and white conversion process.)

The funny thing is that the intense, cold, wind-powered fog, which had all the appearance of settling in for the night, cleared a few moments later, and was gone.

Clouds

Saturday, August 2nd, 2008

Clouds

Clouds, photo by Harold Davis. View this image larger.

My idea was to hike down to the northeastern end of Drakes Beach, and see if I could make my way to the spot where Drakes Estero flows into the ocean. This took some bushwacking, but I did figure out how to get there. On the way, I found this platform of rock above a placid, reflecting tidal flat.

I used a circular polarizing filter to enhance the reflections.

[Nikon D300, 18-200mm VR zoom lens at 18mm (27mm in 35mm terms) with polarizer, 25 seconds at f/5.6 and ISO 100, tripod mounted.]

Azalea Sunset

Thursday, June 26th, 2008

Azalea Sunset

Azalea Sunset, photo by Harold Davis. View this image larger.

The sun was a fiery orange ball setting in a North California sky hazy from forest fires. I ran out with 400mm of telephoto (600mm in 35mm terms) and focused on plants in the foreground to take advantage of the dramatic solar appearance.

Decorative Grasses

View this image larger.

[Both images: Nikon D300, 70-200mm VR zoom lens at 200mm, TC-20E 2X teleconverter, 1/320 of a second at f/7.1 and ISO 320, hand held with vibration reduction turned on.]

Surf and Stars

Wednesday, June 25th, 2008

We’ve had a couple of spells of really warm weather lately. This is an unusual pattern for the San Francisco Bay area in summer. It is well known that summer weather in San Francisco is often cold and foggy.

On one of these hot and sultry summer days Mark and I started down the trail for Tennessee Beach well after sunset. It was night by the time we reached the ocean. The stars were out and the moon hadn’t risen yet. It was cool and relaxing after the hot day sitting on a ledge above the beach in the darkness.

Surf & Stars

View this image larger.

I made four exposures while we sat and chatted. Everything looked dark, so I was surprised to see oodles of color in the LCD screen after each exposure. No matter how many times this happens, it always surprises me. In an apparently dark and monochrome world, there are transcendentally beautiful colors.

Vincent van Gogh put it this way: “It often seems to me that the night is much more alive and richly colored than the day.”

Surf & Stars 2

View this image larger.

Where do the colors in these images come from? I’ve two theories: possibly the colors in the clouds are ambient light from the city of San Francisco, reflected off clouds and around the bend. Also, some of the colors may be left over from the sunset. I’ve noticed that these colors do grow less vivid as the night progresses.

Our human eyes simply don’t have great sensitivity to the light waves that are present after sunset. (Vincent van Gogh may have been an exception.) Digital sensors do, and maybe animals of the night see these colors as well.

Surf & Stars 3

View this image larger.

At a recent workshop I gave, I was asked whether I worked to recreate a scene the way I saw it when I was there. I answered, to a certain amount of gasping, that actually I didn’t care what a scene I photographed “really” looked like; my concern was for the way my imagery came out.

Of course, the merits of photographic fidelity to a subject depend on the goal of an image. Journalistic photographers and documentary photographers are correctly held to a standard of recreating the actual look of their subjects. On the other hand, advertising photographers have the intentional goal of misleading by exaggerating the visual benefits of the products they shoot. I believe, as a photographer with the stated goal of creating art, that what “was there” when I took the original photo is essentially irrelevant.

One reason I use the term “image” to describe the pictures I make, rather than “photo” or “photograph”, is to say that my work cannot necessarily be regarded as a literal depiction.

It takes work to tease these colors out of my RAW files. True, I couldn’t tease them at all if something wasn’t there in the first place. But still, in someone else’s hands these images would be processed very differently.

For me, I care far more about the final visual result than the classification of the technology used to create the image. I’d be happy to use digital photography and post-processing to make night landscapes in the tradition of van Gogh’s magnificent Starry Night. What you see is not always what you get.

Tennesse Beach at Night

View this image larger.

[All images Nikon D300, ISO 100, tripod mounted. From top to bottom: (1) 12-24mm Zoom lens at 12mm (18mm in 35mm terms), 180 seconds at f/5.6; (2) 12-24mm Zoom lens at 12mm (18mm in 35mm terms), 180 seconds at f/5.6; (3) 10.5mm digital fisheye, 180 seconds at f/5.6; (4) 10.5mm digital fisheye, 903 seconds (about 15 minutes) at f/11.]

Richmond-San Rafael Bridge

Wednesday, June 18th, 2008

Richmond-San Rafael Bridge

Richmond-San Rafael Bridge, photo by Harold Davis. View this image larger.

At one time one of the longest bridges in the world, the John F McCarthy Memorial Bridge is a double cantilever structure stretching across the San Francisco Bay from Richmond to San Rafael. Certainly not the most glamorous bridge across the Bay, the snake-like twist in the structure adds visual interest, particularly under cloudy night skies.

[Nikon D300, 18-200mm VR zoom lens at 120mm (180mm in 35mm terms), four captures at shutter speeds between 13 seconds and 2 minutes, all captures at f/6.3 and ISO 100, tripod mounted.]

Mount Tamalpais from Corte Madera Creek

Monday, June 16th, 2008

Mount Tamalpais from Corte Madera Creek

Mount Tamalpais from Corte Madera Creek, photo by Harold Davis. View this image larger.

A long, happy, tiring, and exciting day began for me with a visit with my three boys to Katie in the NICU. I then spent the afternoon giving a digital landscape photography workshop to full house of enthusiastic photographers under the auspices of the Point Reyes National Seashore Association.

If you are interested, I’ll be giving this one-day digital landscape photography seminar again on October 26 in the Red Barn at the Point Reyes visitor center. I’ll post more information once a registration link is available.

Afterwards, as darkness covered the landscape, Mark and I wandered around taking pictures.

This image is from the tidal flats near Larkspur, by the banks of the Corte Madera Creek, looking back towards Mount Tamalpais. I was trying for a frontal view of San Quentin prison at night from the mud flats, but saw this neat night vista behind me.

While it was pretty much night, there was plenty of ambient light from the Marin cities, as well as a half moon. The interest for me in this photo was the way the various kinds of light mix to make an interesting melange of colorful night.

[Nikon D300, 18-200mm VR zoom lens at 32mm (48mm in 35mm terms), 30 seconds at f/4.2 and ISO 100, tripod mounted.]

Tree Skeletons

Friday, June 6th, 2008

Tree Skeletons

Tree Skeletons, photo by Harold Davis. View this image larger.

In 1995 the Vision Fire burned more than 12,000 acres of Point Reyes National Seashore. Fierce Santa Ana winds blew the resulting smoke plume a thousand miles out sea (here’s a satellte photo of the plume).

Today, thirteen years later, the burnt trees stand like sentinels against the sky while new growth has sprung up all around. This year, alas, the poison oak is particularly thick in the clearings.

[Nikon D300, 18-200mm VR lens at 22mm (33mm in 35mm terms) with image stabilization turned off, three exposures between 2/5 of a second and 4 seconds at f/25 and ISO 100, tripod mounted.]

Hayward Marsh in Black and White

Thursday, June 5th, 2008

Hayward Marsh

Hayward Marsh, photo by Harold Davis. View this image larger.

This is a black and white version of my photo of the Hayward Marsh. I prepared the black and white version for an environmental magazine doing a story on marshes created using reclaimed waste water (as is the case with the Hayward).

Some other monochrome images: Monchrome Shore, Nautilus in Black and White, Bristlecone Pine.

Wildcat Peak Sunset

Monday, May 26th, 2008

Wildcat Peak Sunset

Wildcat Peak Sunset, photo by Harold Davis. View this image larger.

I went for a walk at twilight, hoping to clear my head after the excitement of the last few weeks. Sea-born clouds and fog were ramping quickly into the coastal range, so I didn’t have too much hopes for photography. Still, I brought my photo gear, because you never know.

Turning the corner on the trail, I got a view of Wildcat Peak with the disk of the setting sun visible above it. By the time I got my camera out and was in position, the sun had vanished in the fog. I held on to the bitter end. The sun appeared, setting behind the peak, at the last.

I took care to expose for the sun itself, letting the foreground go dark (because I know I could fix this in the digital darkroom, and I didn’t want the sun to blow out). Fix or no fix, much of the drama of this photo is in the contrast between the setting sun and the dark hillside.

[Nikon D300, 18-200mm VR zoom lens at 200mm (300mm in 35mm terms), 1/400 of a second at f/7.1 and ISO 100, handheld, image stabilization engaged.]

2,407 Seconds

Friday, May 2nd, 2008

Star Circles 2

Star Circles 2, photo by Harold Davis. View this image larger.

This is my second forty minute exposure of stars circling over the Point Reyes the other night. The original version was horizontal. As this exposure progressed, low-flying clouds were sweeping across the sky, softening and darkening the scene. At the extreme left of the photo, a working boat on Tomales Bay flooded the scene with light. Time passed.

On a technical note, it’s pretty tough to accurately gauge exposures from the LCD at night because the display compensates. It might look decent on the screen, and still be four stops underexposed. So the exposure histogram is a better way to tell if your exposure is in the ball park. It’s unrealistic at night to expect nice, bell-shaped histograms in the middle of the range. But if your histogram is totally clumped on the left, you have a problem.

I glanced at the histogram for the previous exposure, and lightened things up a bit, moving from f/13 to f/10. Had I known the scene would darken as much as it did (because of the clouds), I would have opened it up at least another full f-stop.

[Nikon D300, 12-24mm zoom lens at 12mm (18mm in 35mm terms), 2,407 seconds (about 40 minutes) at f/10 and ISO 100, tripod mounted.]

Angel Island Views

Friday, May 2nd, 2008

Golden Gate Reflections

Golden Gate Reflections, photo by Harold Davis. View this image larger.

There was a strong wind blowing at my Angel Island campsite, and my tent puffed in and out like a bellows. But a little after midnight, the wind totally cut out and the surface of San Francisco Bay turned as flat and reflective as a sheet of glass. I grabbed my camera and tripod, put on a polarizer, and got a bunch of exposures before the wind picked up again and the glorious reflections vanished.

Some hours later, emerging from my sleeping bag, I saw the rising sun kissing the top of San Francisco’s towers.

[Above: Nikon D300, 18-200mm VR zoom lens at 95mm (142.5mm in 35mm terms), circular polarizer, 30 seconds at f/5.3 and ISO 100, tripod mounted. Below: Nikon D300, 18-200mm VR zoom lens at 26mm (39.5mm in 35mm terms), 2/5 of a second at f/22 and ISO 100, tripod mounted.]

San Francisco Sunrise

View this image larger.

Camping on Angel Island

Friday, April 25th, 2008

Campsite #4

Campsite #4, photo by Harold Davis. View this image larger.

I spent a night last week camping on Angel Island. Smack dab in the middle of San Francisco Bay, wild in the midst of civilization, I had a great time. You can only reach Angel Island by ferry, and after the last ferry left I had the place pretty much to myself. I climbed Mount Livermore, and then settled down at my camp.

Perched on the southwest corner of the island, I had drop-dead views of Alcatraz, downtown San Francisco, and the Golden Gate. The show started at sunset, and did not stop. More photos will follow.

I took this one a little after midnight. There was a huge old Eucalytus tree stump at my campsite. I exposed for the Golden Gate Bridge, and lit the stump (which was in deep shadows) during the exposure by “painting” with light, using my headlamp.

[Nikon D300, 18-200mm VR zoom lens at 18mm (27mm in 35mm terms), 60 seconds at f/5 and ISO 100, tripod mounted.]

Related stories: Alone in the City; Gerbode Valley.

Monochrome Shore

Tuesday, April 22nd, 2008

Monochrome Shore

Monochrome Shore, photo by Harold Davis. View this image larger.

I’ve been thinking a good bit lately about making black and white prints from certain of my digital images. Actually, since the final output would be using my digital printer, printing via offset, or display on a color monitor, what I’m really doing is to use the RGB (or CMYK) color notation to create a simulation of a black and white image. So this is an intentionally retro endeavor. Worth noting: quality vintage black and white prints were not actually “black” and white, but toned to create a rich (but monochromatic) look.

I took this photo from a position some way off the Chimney Rock Trail in Point Reyes, look west at the setting sun and the rugged shore of the end of the Point Reyes peninsula. My intention when I took the photo was to convert it to monochrome, because there were hardly any colors anyhow. The shoreline seemed backlit to me, and I figured, well you can get a glamour backlit black and white of a model, why not a landscape?

Taking the photo took a fraction of a second, but converting this image took much longer.

First I processed it from the RAW as I would a normal color image, using several different RAW “exposures” in combination. Next, I tweaked each color channel used Color Channel adjustment layers with monochromatic check. I weaked the whole confection a bit, then added a few adjustments in LAB color and a tritone version of the original on top of my (by now massive) layer stack. Not to oversimplify, I used a variety of blending modes, masks, and adjustment layers.

If there is a moral to this, it’s that the key word is “simulate.” To get the “black & white” results I wanted, I needed to alter the color structure of the image, creating an entirely new look in the process. Well, honestly, that’s what I normally do with my photos much of the time.

Related story: Nautilus in Black and White.

[Nikon D300, 18-200mm VR zoom lens at 55mm (77.5mm in 35mm terms), 1/160 of a second at f/32 and ISO 100, hand held, image stabilization engaged.]

Scalloped

Monday, April 21st, 2008

Scalloped

Scalloped, photo by Harold Davis. View this image larger.

I stood on the bluffs high above Drakes Beach just after the sun had dipped below the horizon. The high bluffs shadowed the beach below, while the light of sunset still reflected from the incoming surf. I shot a sequence of images at various shutter speeds.

If you are curious, the faster shutter speeds came out better than the slower ones at the same EV value. Across the board, I intentionally underexposed by about two f-stops (or by a factor of four) to make the beach go even darker while still picking up the colors in the water.

Scalloped

Back at home, when Phyllis and I looked at the sequence in Adobe Bridge, the thumbnail looked to us like a scalloped sea shell on a black background. I processed the photo in Photoshop to emphasize this effect.

Related stories: Wave Tangent, Patterns of Design.

[Nikon D300, 18-200mm VR zoom lens at 200mm (300mm in 35mm terms), 1/250 of a second at f/6.3 and ISO 100, tripod mounted.]