Shooting the Ends of the Day

Stillness envelops the landscape of Mono Lake just after sunset
Stillness envelops the landscape of Mono Lake just after sunset

One of my favorite times of day to shoot is either just before sunrise or just after sunset. The sky casts the entire scene in deep blues and purple hues, and the light becomes very soft. It is actually a great time to shoot because all harsh contrast is removed, and the photo captures all the details in the shadows.

The photo above was taken about 45 minutes after sunset, just after the typical “magic hour” light had left the sky. For post-sunset photography, it helps to scout your intended shots earlier in the day, as it can quickly get quite dark, and it is harder to compose the photograph. There is only about half an hour with this type of light before it becomes night photography.

Additional benefits include lack of crowds (even most photographers leave after the sunset light goes away), and (usually) any wind will die down, allowing for reflections and keeping grass and plants from moving in those long exposures. Here it is helpful to have an intervalometer to help time really long exposures, as most cameras stop their auto exposure shutter timings at 30 seconds. A stopwatch can also work in a pinch, but that can become more fiddly, especially in the waning light.

Moments before the sun rises, Hot Creek reflects the cool glow of snow covered peaks
Moments before the sun rises, Hot Creek reflects the cool glow of snow covered peaks

This photo was taken at the other end of the day, about a half hour before sunrise. Again, there is little contrast difference between the foreground and the distant mountains due to the soft, even light. I had been to this location before, and had pre-visualized this shot in this kind of light. This helped me greatly in knowing where to go and how I wanted to compose this shot, so that I didn’t have to wander around in the dark (and cold!) of the early morning. I find it also helps with my early morning motivation to know exactly what I want to accomplish. Without a clear plan, it is far too easy to glance out the window and then roll over and go back to sleep!

Mono Lake Sunset

Clouds hang over the tufa at sunset, Mono Lake, CA
Clouds hang over the tufa at sunset, Mono Lake, CA. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 50. Evaluative metering 0 EV: 8 sec. at f/22

After a first evening of disappointing skies at Mono Lake, I went back later in the week on my recent trip to the eastern Sierra. Some clouds were building in the afternoon, and it looked like it would be a decent evening for sunset.

In my mind’s eye, I envisioned still waters, mirrored reflections of tufa, and a lightly clouded sunset sky. The sky was certainly shaping up, but late in the afternoon, the wind picked up and blew away any chance of tufa reflections. Because the wind was blowing the water into small waves hitting the shore, I decided instead to use a longer exposure to translate that lake motion into a quiet mist.

I knew that the tall tufa spires I had previsualized were out – I needed something smaller to use as a foreground to lead the eye into the lake. Whenever using a long exposure to create a water mist effect, I always juxtapose the water against razor sharp, highly detailed subjects. These usually end up being rocks, but in this case, tufa would work just as well. I walked along the shore until I found what I was looking for.

Trying to achieve a longer shutter speed, I added a circular polarizer and lowered my ISO to 50, giving me an 8 second exposure. This was plenty of time to soften the water, giving me the sought after effect. I moved back and forth, forward and backward, working the composition until I was happy with it.

After the sun had set, I walked back along the shore looking for subjects that would work well in twilight. The composition in the photo below caught my eye, and I made a quick photograph on my way back to the car.

A stillness descends on Mono Lake just after sunset
A stillness descends on Mono Lake just after sunset. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 200. Evaluative metering +1/3: 8 sec. at f/16

On my second visit to Mono Lake, I was much more satisfied with the weather, giving me clouds to add a little texture to the sky. But I had to remain nimble in my thinking to work with and accommodate the wind. Sometimes all the planning and thinking about a place must be thrown out the window, but what you get in return may be unexpected and a great reward.

Mono Lake Osprey

Clutching the remains of a fish he caught, an osprey takes off out of a nest after he delievered dinner to his nesting mate, Mono Lake, CA
Clutching the remains of a fish he caught, an osprey takes off out of a nest after he delivered dinner to his nesting mate, Mono Lake, CA. Canon 800mm f/5.6L IS lens with the EOS-7D. ISO 1600. Evaluative metering 0 EV: 1/320 sec. at f/5.6

Last week I took a photography trip to the eastern Sierra to capture some spring time action over there. I went with a photographer friend to the south end of Mono Lake in hopes of a great sunset. Unfortunately, the skies were clear and the light was flat. Instead of a lasting sunset glow, it was as if someone just turned out the lights.

Fortunately, there were two pairs of osprey nesting near the shore in large nests built on top of two tufa towers. Just before dusk, the males came in close to the nests with fresh-caught fish. We had a brief show during which they perched on nearby tufa towers, enjoying their dinner, before they returned to the nests to deliver what was left to their respective mates.

An osprey clutches the remains of a fish in its talon as it perches on top of a tufa tower, Mono Lake, CA
An osprey clutches the remains of a fish in its talon as it perches on top of a tufa tower, Mono Lake, CA

During this time, the sun set and the light left. However, just before it got completely dark, I managed to get a shot of one of the males leaving the nest with the rest of the fish dinner. Because the sun was well over the horizon, it back lit the birds. I knew I could not get enough detail on the birds, so I underexposed and went with a full silhouette, emphasizing the graphical shape of the osprey taking off.

Copyright 2017 Hank Christensen