The Grove Of The Patriarchs

The setting sun casts a red glow in an ancient bristlecone pine, Ancient Bristlecone Pine Forest
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
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
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
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
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.

East Eagle Creek Canyon (Photo of the week)

Painted cliffs descend to a mixture of fir and pine along East Eagle Creek, Eagle Cap Wilderness, Oregon
Painted cliffs descend to a mixture of fir and pine along East Eagle Creek, Eagle Cap Wilderness, Oregon

This week’s photo was taken on a recent backpacking trip to Eagle Cap Wilderness in north-eastern Oregon. The trip was so scenic that I’m still wading through many great photographs, creating a photographic trip report (so stay posted). This shot was taken on the last evening of the trip, as we were working our way down the canyon from the headwaters of East Eagle Creek. The setting sun lit the western-facing cliffs in soft light. I was doubly blessed that in the afternoon, the gray skies broke up into fluffy white clouds, giving the sky a little texture.

This shot is a great example of what RAW capture from a digital SLR can achieve. The most important aspect to keep in mind when finding the right exposure, is to make sure not to blow out your highlights. Once a highlight is blown, there is no information to recover in the image file. To prevent blowing out the highlights, I use the histogram and adjust the exposure compensation up or down as needed. In this case, I was at risk of the clouds being overexposed, so I had to dial back the exposure to -1 EV. The resulting histogram actually showed that I had overexposed the image just a little, but I knew that was okay, because I was shooting RAW. I brought the file into Lightroom, and used the Recovery slider to bring the detail back into the clouds.

Now I was faced with a very dark foreground. The Fill Light slider helped with that, but the sky was still brighter than it appeared to my eyes in real life. Enter one of Lightroom’s best features, the Graduated Filter. This allowed me to darken just the exposure of the sky, bringing the whole image back into balance.

Shooting RAW gives me the most flexibility to make important image processing decisions on my computer after I get home, rather than relying on the camera manufacturer’s automated algorithms to run in camera while processing the RAW into a JPG. If there is one aspect of digital photography I would recommend, it is learning about and understanding the benefits of shooting RAW. If your camera has this setting (even many point-and-shoot cameras now have this), use it. There will be more work to be done after you get home, but the resulting images will make that effort well worth it.

Copyright 2017 Hank Christensen