Last week’s Yosemite photo workshop was ostensibly about Horsetail Fall, but it turned out to be so much more than that. In fact, after photographing more snow than I’ve seen in Yosemite in many (many) years, Horsetail Fall was a bit anticlimactic. The only evening that Horsetail Fall got the coveted direct light everyone came on our second day. Going all-in on Horsetail Fall that evening, we got a decent (not spectacular) show that satisfied everyone enough that they were content to return our attention to the rest of snow-covered Yosemite Valley.
Ironically, what could arguably be called the best shoot of a workshop filled with spectacular shoots might just have been at the mega-popular, always packed view of Horsetail Fall on Southside Drive—on an evening when fall didn’t quite light up. To get here we had to trudge 50 yards through 3- to 4-foot deep fresh powder, but we were utterly alone (unprecedented in my many years photographing Horsetail Fall) to watch sunset paint a diffuse glow on El Capitan and magenta clouds overhead. And as the first visitors here since six-inches of snow had erased all evidence of prior human presence, we got to photograph the scene framed by virgin white snow glazing every exposed surface.
Yesterday I returned to Yosemite, making the 8-hour roundtrip not to photograph Horsetail Fall, but to photograph the full (“super”) moon rising behind Half Dome at sunset. But before setting up shop at Tunnel View, I couldn’t resist circumnavigating Yosemite Valley to check out the Horsetail Fall mayhem. With new snowfall decorating the trees and blanketing the roads, conditions were equal parts beautiful and treacherous.
Unlike last year, the National Park Service isn’t requiring permits, but they have blocked off many normally open parking areas. Cruising around in my Subaru Outback, I witnessed multiple cars that had foolishly ignored the R2 chain requirement (chains except for 4WD/AWD with snow tires) slipping, sliding, and spinning tires unproductively—some sliding backward downhill and others blocking the road. I also saw many cars parked illegally on the road or in closed parking areas. Given the fact that Horsetail Fall didn’t deliver last night, I doubt they’ll feel that their parking tickets (or towing bill) were worth the indiscretion.
I also talked to people who pulled into Tunnel View 30 minutes before sunset hoping to photograph Horsetail Fall. Some even thought that Bridalveil Fall was Horsetail Fall. If you plan to photograph Horsetail Fall, please do your homework. It truly can a remarkable experience, but it can also be a nightmare for the unprepared.
And speaking of Horsetail Fall preparation…
(Check out the “Breaking News” section if you plan to photograph Horsetail Fall in 2019)
For eleven-plus months each year Horsetail Fall may just be Yosemite’s most anonymous waterfall. Usually dry or (at best) a wet stain, even at its best this ephemeral cataract is barely visible as a thin white thread descending El Capitan’s east flank. When it’s flowing, my workshop groups can be standing directly beneath Horsetail and I still have to guide their eyes to it: “See that tall tree there? Follow it all the way to the top of El Capitan; now run your eye to the left until you get to the first tree…”. But for a couple of weeks in February, the possibility that a fortuitous confluence of snowmelt, shadow, and sunset light might, for a few minutes, turn this unassuming trickle into a molten stripe draws photographers like cats to a can-opener.
The curtain rises in the second week of February, a couple of hours before sunset, when a vertical shadow begins its eastward march across El Capitan’s south face. As the shadow advances, the sunlight warms; when the unseen sun (direct sunlight is gone from the valley floor long before it leaves towering El Capitan) reaches the horizon, the only part of El Capitan not in shadow is a narrow strip of granite that includes Horsetail Fall, and for a few minutes, when all the photography stars align, the fall is bathed in a red glow resembling flowing lava framed by dark shadow. (Some people mistakenly call the Horsetail spectacle the “Firefall,” but that altogether different, but no less breathtaking, manmade Yosemite phenomenon was terminated by the National Park Service in 1968.)
Some years Horsetail delivers sunset after sunset in February, while other years administer daily doses of February frustration. Unfortunately, it’s impossible to predict when all the tumblers will click into place: I know photographers who nailed Horsetail on their first attempt, and others who have been chasing it for years.
The “when” of Horsetail Fall depends on the convergence of three independent conditions:
The problem with targeting February’s third week is that it isn’t a secret: I generally prefer sacrificing Horsetail perfection in favor of Horsetail near perfection and far fewer photographers. But I’ll leave that decision up to you.
It’s fun to circle Yosemite Valley on pretty much any mid- to late-February afternoon just to watch the hoards of single-minded photographers setting up camp like iPhone users on Release Day. In fact, one non-scientific way to find a spot to photograph Horsetail is to simply park where everyone else parks and follow the crowd. Unfortunately, as Horsetail’s popularity grows, so does the distance you’ll need to walk.
If Horsetail Fall is on the top of your bucket list, it’s best to pick your spot and show up early. Really early. Really, really early. The downside of this approach is that, because the best locations for Horsetail aren’t especially good for anything else, you’ll sacrifice a lot of quality Yosemite photography time waiting for something that might not happen.
And no one has commanded that you worship with the rest of the Horsetail congregation: Experienced Yosemite photographers know that any west-facing location with a view of the fall will do. If you find yourself in Yosemite with time to kill, try walking the Merced River between Cathedral and Sentinel Beaches—any place with a view to Horsetail will work. But because of their open space, relative ease access and two spots have become the go-to Horsetail spots for most photographers.
From the National Park Service, February 2019:
– Stopping or parking on Southside Dr between El Cap Cross and Swinging Bridge is prohibited.
– All pullouts along Southside Dr between El Cap Cross and Swinging Bridge are closed.
– Roadside parking along Southside Dr between El Cap Cross and Swinging Bridge is prohibited.
– Southside Dr between El Cap Cross and Swinging Bridge is closed to pedestrians.
– The Cathedral Beach Picnic Area is closed.
– The Sentinel Beach Picnic Area is closed.
– Stopping or parking on El Cap Cross is prohibited.
– Roadside parking along El Cap Cross is prohibited.
– The number 2 lane (right, northern lane) of Northside Dr between Camp 4 and El Cap Cross is closed to all vehicles.
– Stopping or parking on Northside Dr between Camp 4 and El Cap Cross is prohibited.
– All pullouts along Northside Dr between Camp 4 and El Cap Cross are closed.
– Roadside parking along Northside Dr between Camp 4 and El Cap Cross is prohibited.
– El Cap Picnic Area is closed to all vehicles except vehicles displaying an ADA placard.
– The speed limit along Northside Dr between Camp 4 to El Cap Cross is 25 MPH unless posted otherwise.
El Capitan Picnic Area
The El Capitan Picnic Area, highlighted by Galen Rowell, remains the most popular Horsetail Fall vantage point. The picnic area’s advantages are
that it is the closest view of Horsetail Fall, has the most parking, has the most room for photographers (by far), and has a bathroom (plug your nose). The downside is there really isn’t a lot of composition variety here, and thousands of others will have already captured something as good as or better than what you’ll get.
If you like people, the El Capitan Picnic Area is the place to be—more than any other Horsetail vantage point, this one has a festive, tailgate atmosphere that can be a lot of fun. I suspect that’s because people arrive so early and there’s little else to do before the show starts. And since everyone is pointing up with a telephoto, it’s pretty much impossible for anyone to be in anyone else’s way, which eases much of the tension that often exists when shooting among large crowds.
You’ll find the parking lot, with room for twenty or so cars, on Northside Drive, about two miles west of Yosemite Lodge. And in recent years the NPS has blocked a lane of Northside Drive to allow more parking (but don’t park illegally because you will be cited). You can shoot right from the parking lot, or wander a bit east where you’ll find several clearings with views of the fall.
Merced River south bank bend
Photographed from the bend on the Merced River’s south bank, El Capitan’s extreme sloping summit creates the illusion that you’re somewhere above Yosemite Valley, eye-to-eye with the top of Horsetail Fall—it’s a great perspective.
I like this location because the river greatly increases the variety of possible compositions, and also because you can pivot your view upstream to photograph Upper Yosemite Fall, and Sentinel Rock almost directly above you (which also gets fantastic late light) while you wait for Horsetail to light up. The downside to photographing here is that there’s precious little room, both to park and to photograph. This requires getting there a couple of hours early, and also can lead to a bit more tension as people jockey for position.
Driving east on Southside Drive, you’ll parallel the Merced River for most of 1.2 miles beyond the turn for Cathedral Beach. The Horsetail Fall spot is right where the road and river diverge. Parallel park right there in one of two narrow but paved parking areas on opposite sides of the road, where you’ll find room for about a dozen cars.
Since there’s so little parking here, and Southside Drive is one-way eastbound, if you find no parking (don’t try to squeeze in where there’s no room—I’ve seen rangers doing traffic control and ticketing cars that don’t fit), it also helps to know that the spot is about a ½ mile from the 4-Mile Trail parking area and ¾ miles west of the Swinging Bridge parking area—an easy, flat walk.
Because of the potential for crowds, the best strategy here is to arrive early and forego what may be a great view from the elevated riverbank (that is sure to be blocked by late-arrivers trying to cram their way in), in favor of getting as close to the river as possible. Standing at river level gives you many more compositional choices, and nobody else can block your wide shots. (But if there are other photographers already set up on the elevated riverbank when you arrive, please don’t be the one who sets up in front of them.)
Regardless of where you set up to photograph Horsetail Fall, it’s pretty difficult to find something that nobody else has done. But that doesn’t mean you shouldn’t try. Since you’ll likely be doing lots of waiting, take advantage of the downtime to experiment with compositions.
When the light begins to warm, it’s time to shoot—because you never know when the light will shut off, it’s best to start early and photograph often. Until the light goes away completely, my rule of thumb is that the light now is better than the light a minute ago. Since you have no idea when the light will disappear for good, just keep shooting, especially in the final fifteen minutes before sunset (trust me on this). I’m not suggesting you hold your shutter down in burst mode until your card fills; I usually tell my workshop groups to fire a frame every minute or two until the fall turns amber, then pick up the pace as it goes (fingers crossed) pink and eventually red. The best light is in the final ten minutes before sunset; that’s when you might have a hard time resisting burst mode.
Viewed from the picnic area, there’s not a lot of visual interest surrounding Horsetail; your most obvious compositions will be moderate telephotos, up to 200mm or full frame. I use my 24-105 and 70-200 lenses almost exclusively here. Use the trees to frame your shots and let them go black; with a telephoto you can isolate aspects of the fall and eliminate the sky and some or all of the trees.
The Merced River bend near Southside Drive is farther away from the fall, with more foreground possibilities, including the river and reflections, so you’ll be able to use a greater range of focal lengths here. Don’t get so caught up in photographing the fall that you overlook wider possibilities that include the river.
From either location I think vertical compositions work best (there’s a reason you don’t see lots of horizontal Horsetail Fall images), but that doesn’t mean there aren’t horizontal opportunities too. I like to identify a go-to composition based on the conditions, then vary between wide/tight and horizontal/vertical. If the sky is boring (cloudless), minimize or eliminate it from your composition. If there are clouds that make the sky interesting, by all means include them.
If your camera struggles with dynamic range, a graduated neutral density filter will help any shot that includes the sky—a two-stop hard angled across El Capitan parallel to the tree line should do the trick. This usually requires some Photoshop dodging and burning to hide the transition, but it’s the only way to darken the brightest part of the sky, which is usually in front of (not above) El Capitan.
A polarizer will alter your results, so if you have one on, make sure you orient it properly. I often have a difficult time deciding between maximizing and minimizing the reflections with my polarizer, so I hedge my bets and shoot both ways. I’ve found that when Horsetail is flowing strongly, minimizing the reflection is best; when Horsetail is more of a wet or icy stain, maximizing the reflection works better. Either way, this is a decision you should make long before the best light arrives.
Automatic metering can be problematic in extreme dynamic range scenes when color is paramount, so I always recommend manual exposure, spot metering on Horsetail Fall. To get the color in the fall and Horsetail, I usually underexpose slightly. The trees have little value beyond framing and usually work better when very dark green to black, a fact that’s completely lost on your meter. And monitor your RGB histogram to ensure that you haven’t clipped the red (Horsetail and El Capitan) or blue (sky) channels. Highlight Alert (blinking highlights) is your friend.
And perhaps most important of all, don’t get so caught up in the photography that you forget to appreciate what you’re viewing. Just take a couple of seconds to stand back and allow yourself to take in the amazing spectacle of Horsetail Fall.
Click an image for a closer look and slide show. Refresh the window to reorder the display.
Gary, loved the opening photo as well as the one and the end of your newsletter and also the others. Glad you’re young and have the stamina for those long, long days.
Getting new knees this year and hope to join you on a future workshop.
Before 1st knee I think I’m going to CA Hwy 49 Gold Country. I’ve read about it and think I can do it without much walking. I love those quaint, old towns.
Gary—on your “Winter Glow” shot, can you talk about dealing with the exposure issue with all the snow vs. the sky and El Capitan ?
Great shot. Wish I were there and you were driving.
Thanks, Charlie. This dynamic range wasn’t too tough for my Sony—I just monitored my pre-capture histogram before clicking, then checked the capture histogram to verify that I got it. On my LCD the highlights looked pretty bright and the shadows were nearly black, but the histogram confirmed that I had all the tones necessary to recover in post.