On my recent trip to the Owens Valley, I tried to look for good panorama opportunities. These situations arise when there is an expansive vista that lends well to an image that is three to six times wider than it is high. As with any photograph, one thing to keep in mind is to make sure the entire contents of the frame supports the photograph. There should be no large empty areas, unless those areas purposefully support the image with negative space.
These images can be created with any regular digital camera. The images are stitched together in post processing to create large, wide angle views. All of the photos presented here are in the 40 to 100 megapixel range, which means they can be printed very large (at least 30×90 inches). For better appreciation for the detail captured in these photos, please be sure to click on the image to see a larger view.
The sun lights stormy clouds as sets behind the eastern Sierra range, north of Bishop. Canon 70-200mm f/4L lens with the EOS-5D MkII. ISO 640. Evaluative metering 0 EV: 1/400 sec. at f/8. Composed of 7 stitched photos, handheld.The sun rises over Hot Creek, as the Sierra Nevada looms in the distance. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 100. Evaluative metering 0 EV: 3.2 sec. at f/16. Composed of 4 stitched photos.The wall of the eastern Sierra rises over ten thousand feet above the Alabama Hills at dawn. Canon 70-200mm f/4L lens with the EOS-5D MkII. ISO 200. Evaluative metering 0 EV: 1/4 sec. at f/16. Composed of 7 vertical stitched photos.An ancient bristlecone pine crouches on a snowy slope, greeting morning's first rays of light, Ancient Bristlecone Pine Forest. Canon 70-200mm f/4L lens with the EOS-5D MkII. ISO 200. Evaluative metering 0 EV: 1/6 sec. at f/7.1. Composed of 7 stitched photos.
The setting sun casts a red glow in an ancient bristlecone pine, Ancient Bristlecone Pine Forest. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 100. Evaluative metering 0 EV: 1/8 sec. at f/14.
On my trip to the Owens Valley last month, I spent a night up in the Ancient Bristlecone Pine Forest with some friends. This forest runs across the ridge of the White Mountains in Inyo National Forest. It is an inhospitable environment, with a barren landscape, freezing weather, and frequent gale-force winds blasting across exposed rock. It is also one of my favorite places on earth.
This was the first time that I was in that area for both sunset and the following sunrise. A few small clouds moved in at sunset (above), providing some texture to the sky.
At sunrise, I had unobstructed views of the sun rising over the eastern horizon, across the Nevada desert. Similar to the intense alpenglow of the eastern Sierra peaks, at this elevation the trees turn an unworldly red glow at dawn. From a distance, these bare, twisted branches can transform into the wild licking flames of a campfire.
A twisted bristlecone pine glows orange in the intense rising sun, Ancient Bristlecone Pine Forest. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 200. Evaluative metering 2/3 EV: 2 sec. at f/16.
The early tree-glow gave way to direct sun on the bark. This was prime time to capture the morning light, and the race was on to photograph as much as possible before it faded. Of course, working along a steep slope at 11,500 in deep snow is not easy! Soon I was panting for breath and my heart was racing out of my chest. In these types of environments, it is better to pick a spot with several morning light opportunities and stay there.
A twisted bristlecone pine reflects the warm glow of the rising sun, Ancient Bristlecone Pine Forest. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 200. Evaluative metering 1/3 EV: 1/10 sec. at f/16.
A bristlecone stump clings to the side of a snowy slope, where it has sat for thousands of years. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 200. Evaluative metering 2/3 EV: 1/5 sec. at f/16.
An hour later, the sun had risen above the horizon, and the trees went back to their natural brown-tan color.
A gnarled bristlecone pine grows out of a rocky slope high in the White Mountains. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 100. Evaluative metering 1/3 EV: 1/60 sec. at f/16.
Photographing these trees in the right way is not an easy task. I learned this the hard way when I first visited the forest. Having seen many amazing photographs from Galen Rowell and David Meunch taken in this area, I was expecting a lot. But I came away with less than desirable photographs, and a deeper appreciation for the difficulty in photographing these trees well. The key is to take it slow and spend some time with the trees. Not to get too metaphysical, but it helps to sit with a tree, and listen. Each time I go back, I feel as though I understand the trees a little better, and my photos improve just a little more. Some day, I may just do them justice.
Water cascades down the south fork of Bishop Creek, Inyo National Forest, CA
This week’s photo was a tough choice for me. I couldn’t decide if I liked the photo above, or the photo below better. I shot the first photo as I came upon the scene, exploring the best angles from which to capture this waterfall. I loved how the roots of the bush on the left seemed to break the granite into small slabs, so I moved in close to simplify the scene, resulting in the second photo.
A root system grows from broken granite, Bishop Creek, Inyo National Forest, CA
After much deliberation, I chose the first photo as my favorite for several reasons. Firstly, it is more of a layered photo, with several foreground elements stacking up to lead the eye easily to the upper waterfall. Secondly, it accentuates the fall colors a little more than the second photo. There are more trees included in the background, and since it was shot from a higher vantage point, there are more fall colors reflected in the pool between the upper and lower waterfalls. The second photo holds more tension because the root system really makes the eye travel around it and up the creek. Either way, I like them both.
As with any art, there is no “right” answer in photography (although there can be many wrong answers!)
In today’s post, I present two images I took one after the other in the same location. Which one do you like better? Today you get to be the judge. Add your comments below (no registration of any kind necessary).
Silken water reflects the gold colors of fall, South Fork Bishop Creek, Inyo National Forest, CAWater pours over rocks, South Fork Bishop Creek, Inyo National Forest, CA
I was photographing along Bishop Creek when I came across the scene in the first photo. I was attracted to the aesthetics of the small ripple in the creek, and thought it would make a strong foreground element. There were slight color reflections in the water, and I loved how the water poured over the top of the rocks. After taking the shot, I realized that my foreground element was strong enough to stand alone as more of an abstract. So I moved closer, recomposed, and took the second photo.
So, which is the better photo? Tell us which you like better and why in the comments below.
