Dawn begins to light Mt. Langley and the wild rock formations of the Alabama Hills. Canon 70-200mm f/4L lens with the EOS-5D MkII. ISO 200. Evaluative metering 0 EV: 1.6 sec. at f/16.
A popular stop on any eastern Sierra tour is the Alabama Hills outside of Lone Pine. I’ve been here before, but every time I come back I see new things to focus on and photograph. Dawn is the most versatile time to shoot the area, as your photographs are enhanced by the intense alpenglow that adorns the 14,000 foot peaks to the west.
The two dominating mountain subjects in this area are Mt. Langley (above) and the Mt. Whitney massif (below). I was lucky to shoot the area after an early season snow storm, so I had some snow to contrast the red rock of the mountain tops. The Alabama Hills are covered with interesting boulder shapes, which provides endless photographic possibilities.
The peak of Mt. Whitney glows red in the early morning light. Canon 70-200mm f/4L lens with the EOS-5D MkII. ISO 200. Evaluative metering 0 EV: 1/4 sec. at f/16.
Using an entire arsenal of lens lengths is key to this area. Wide angles work well framing mountains inside of arches. Medium lengths can use rock formations as foregrounds, while not diminishing the relative size of the massive mountains in the background (as seen in the first photo). Perhaps my favorite in this area however, are the long lenses. Point them anywhere and you’ll see interesting rock detail or a study of the cracks and crags that define a mountain face.
Moments after the sun rises over the Nevada desert, the peak of Mt. Whitney glows a bright orange. Canon 100-400mm f/5.6L lens with the EOS-7D. ISO 400. Evaluative metering +1/3 EV: 1/500 sec. at f/5.6.
Snow, rock, shadow and light combine to illustrate the steep slopes of Mt. Langley at dawn. Canon 100-400mm f/5.6L lens with the EOS-7D. ISO 400. Evaluative metering +1/3 EV: 1/640 sec. at f/5.6.
I kept shooting until the red glow of the mountains faded to its natural gray, and the long shadows of dawn began to shrink. I looked to the shady spots so that I didn’t have to work against the harsh shadows of mid morning. My eye was drawn to the variety of cactus growing in this high desert. In order to separate the cactus from their busy surroundings, I attached my 70-200mm lens and got down on my stomach. I worked with apertures that gave me just enough depth of field for the cactus, but threw the background out of focus.
Cholla cactus thrives in the high desert of the Alabama Hills. Canon 70-200mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering 0 EV: 1/250 sec. at f/4.
A modest beavertail cactus grows in the Alabama Hills. Canon 70-200mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering +1 1/3 EV: 1/10 sec. at f/8.
After another hour, it was time to pack up for the morning and head out. If I had several days here, I would use this part of the day to explore and scout potential spots for future sunsets and sunrises. Unfortunately this day, I had other places to visit.
The blazing sun beat down on us as we scanned the horizon looking for more rock piles, heaved up eons ago from the ancient volcanic surface on which we stood.
“Hey Dan, wanna try over there?” I asked, pointing to a long stretch of ten to thirty foot wide boulders. Dan nodded and we trudged across the high desert plateau to search another area.
I was with my photographer friend Dan Canfield, and we had decided on our first night in town that we would try to find a secret Native American petroglyph, in recent years dubbed “Sky Rock”. Not found on any map, this ancient rock drawing is kept secret from the general public. Those in “the know” don’t divulge its location so that fewer people will visit, and its condition will be kept as pristine as natural forces allow. After some hunting, we narrowed down the location to its general vicinity, but even then, the ancient carving eluded us.
It was midday, and our second attempt at searching. Our first attempt was during sunset the evening before, and we quickly ran out of time trying to find it before dark. This time we were armed with a little more research, and many more hours of daylight. Finally, after much scrambling, a few skinned knees, and crawling into some dark and nasty places, we found it! We were giddy with excitement.
Created long ago by Native Americans, the Sky Rock Petroglyph’s location is kept fairly private. It is only shared through word of mouth so that it can be kept safe.
Carved into a flat rock, this series of drawings is different than most other petroglyphs because of its horizontal orientation. Most Native American drawings were done on vertical walls. The drawings are carved into the rock about an inch deep, to reveal the lighter colored stone underneath the darker outer coating. We took some photos, sat for a while, and scouted our route so that we could come back in the dark. Midday was great for searching, but as photographers, we wanted only the best light, which would be either sunrise or sunset. Our schedule allowed for a sunrise shoot in a couple of days, so all we could do was cross our fingers and hope for good weather.
The mountains of the easter Sierra Nevada glow red over the Sky Rock Petroglyph, just outside of Bishop, CA
The history of this carving is not well known. Some have theorized that it was probably created by the ancestors of what are today known as the Owens Valley Paiute, possibly as long as 8,000 years ago.
It was a very special experience spending some time on this rock as the sun lit first the western mountains, and then the valley below us. I devoured the silence of the morning, and felt a special energy around this place. It was an amazing feeling to know that this human creation had sat here for similar sunrises, long lazy days, and powerful storms for millennia.
Possibly the best part of finding Sky Rock was the fact that it was hidden. In the days of instant gratification and unlimited knowledge, it was nice to really have to work for answers.
A couple of weeks ago my friend Steve and I finally headed into the Sierra high country for a long-overdue back-country excursion. Due to the heavy snow pack this year and busy schedules, this turned out to be our only trip of the summer. To make the most of it, we chose to visit the Ansel Adams Wilderness, arguably one of the most scenic regions of the Sierra.
Banner Peak is reflected in Thousand Island Lake at dawn, Ansel Adams Wilderness. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 100. Evaluative metering -2/3 EV: 1/15 sec. at f/14.
Hiking out of June Lakes and up Rush Creek, we hit less than ideal weather. The climb was a brutal slog (4200 ft of gain), and thunder clouds began to congregate in the western sky. A biting wind whipped us from all sides, making even the flat spots (of which there were few) seem like a chore.
Finally we reached our destination – Thousand Island Lake. Rising above the lake was the impressive Banner Peak, but most of it was obscured by thick clouds. This is a very scenic and popular spot. Sitting next to both the Pacific Crest Trail and the John Muir Trail, it receives an enormous number of visitors each summer. Even though it was after Labor Day, and the weather was no good, there were still quite a few backpackers settling in for the night along the north shore of the lake. I’d hate to see this place on a mid-August weekend!
We set up camp and soon the weather was too cold to even wait for darkness to fall. We were in our tents by 7pm.
The sun rises over Thousand Island Lake and Banner Peak, Ansel Adams Wilderness. Canon 24-70mm f/2.8L lens with the EOS-5D MkII. ISO 100. Evaluative metering -2/3 EV: 1/15 sec. at f/14.
Dawn brought clear weather and introduced me to an entirely new landscape. The wind was gone, and Banner Peak was reflected like a mirror in all its morning glory. I finally got out my camera and began to hunt for shots. The day before I took only four photos the entire day.
After finally warming up, we packed up camp and decided to get away from the crowds. We headed north off trail. We only had one ridge to climb before descending into Davis Lakes. It was our shortest hiking day on record, but given the beautiful scenery we were surrounded by, we couldn’t complain.
Mt. Davis is reflected amongst the boulders in Davis Lake, Ansel Adams Wilderness. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering -1 EV: 1/6 sec. at f/16.
We spent a leisurely afternoon by lower Davis Lake, and I scouted the area so that I would be prepared when the evening’s magic hour arrived. I was not disappointed, with views to the south (above) and to the north (below).
Mountains are reflected in the smooth surface of Davis Lake at sunset, Ansel Adams Wilderness. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering 0 EV: .3 sec. at f/16.
After another long night in our tents, I woke long before dawn and watched the world slowly light up around me while I was hunkered behind my lens. It was our last morning out, and it didn’t disappoint. The landscape had a wholly different feel than in the sunset light the night before.
Sun lights the tip of Mt. Davis at dawn, Ansel Adams Wilderness. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering 0 EV: .8 sec. at f/16.
The lake shore had many interesting boulders and grass features to position in the foreground. This helped to keep the shots varied and gave me plenty to work with in terms of composition.
The morning sun touches the peaks surrounding Davis Lake, Ansel Adams Wilderness. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering -1 EV: 1 sec. at f/16.
Soon the morning’s sweetest light was gone, but I was confident that I had captured at least a little of the beauty around me. It was time to pack up and start the long hike out.
Mt. Davis is reflected in the still morning waters of Davis Lake, Ansel Adams Wilderness. Canon 17-40mm f/4L lens with the EOS-5D MkII. ISO 100. Evaluative metering 1 EV: 1 sec. at f/16.
Despite the problematic weather at the beginning of our trip, I thought it turned out very well. I was glad to have visited this area, and know that I’ll be back to photograph it more in depth.
Earlier this summer I spent a couple of mornings in the Columbia River Gorge, photographing just a few of the many waterfalls that line its cliffs. Luckily, I was blessed with Oregon’s trademark high overcast skies, which gave me the perfect diffused light with which to do forest photography. By cutting out all the scattered light beams filtering through the canopy, I was able to get even light across the entire scene, and reduce the dynamic range to something my camera could handle.
Latourell Falls drops straight down from an overhanging basalt cliff, Columbia River Gorge, Oregon
The two preceding images are of Latourell Falls, which seems to have endless foreground opportunities. While most of the falls in the Gorge cascade down rock faces, this waterfall plunges off an overhanging basalt cliff, allowing the water to fall straight down. Since there are never any true straight lines in nature, having a strong vertical line to work into the composition can be a lot of fun.
Ponytail Falls shoots outward from a cleft in a rock cliff, and cascades over large stones below, Columbia River Gorge, Oregon
Ponytail Falls sits upriver from Horsetail Falls, a much larger waterfall closer to the road. While Ponytail may be inferior to its companion in size, it makes up for it in beauty. This fall shoots out from a notch in the cliff, creating a pleasing arc of water. A hiking trail wraps around the base of the cliff behind the waterfall, giving hikers the added bonus of seeing the fall from a different perspective.
Shepperds Dell Falls empties into a narrow canyon overgrown with greenery, Columbia River Gorge, Oregon
Shepperd’s Dell Falls is absolutely covered with green. This is a nice tidy little waterfall that starts well below the trailhead, allowing views from high above looking down. Of course, shooting so much foliage makes using a polarizer a must. This will cut all reflections on the leaves, and really make the green color pop. This is an effect that cannot be replicated well in post processing.
The river below Wahkeena Falls cascades past a fern, Columbia River Gorge, Oregon
Just below Wakheena Falls is a beautiful cascade that runs past lush ferns and wild flowers. It is not as well visited, as it is tucked away below the road, and most visitors are drawn immediately to the waterfall.
Bridal Veil Falls empties into a small pool surrounded by dense forest, Columbia River Gorge, Oregon
The last waterfall I covered in this trip was Bridal Veil Falls. This is one of the more popular waterfalls along this stretch of road. Equally as popular is the Bridal Veil post office, which receives boxes of wedding invitations from all over the world, so that the invitations can be postmarked by the town of “Bridal Veil” and mailed out to potential wedding guests.
I have to admit, I had a little trouble with the aesthetics of this waterfall. The shot above is a straight-forward interpretation, shot from an (ahem) observation platform. Okay, let’s be honest – it is a vacation snapshot! I wasn’t very happy with this rendering, as I felt it lacked conveying the almost ethereal quality of the grotto that this waterfall plunged into. I worked the scene and settled on the more distant perspective below.
Bridal Veil Falls opens up into a creek that flows through dense forest, Columbia River Gorge, Oregon
The best part of this photo excursion is that I only scratched the surface of the multitude of waterfalls along the Gorge. With so much water flowing into the Columbia River, and so many overcast days (smile), this area really can be a photographer’s paradise.
Gear I used to create the photos in this post:
[amazon_link asins=’B007FGYZFI,B0076BNK30,B00009R6WO,B00IAYFDIC’ template=’ProductCarousel’ store=’hankchristens-20′ marketplace=’US’ link_id=’1e2a6983-927e-11e7-b829-e91a331daddd’]
