My relationship with Yosemite doesn’t have a beginning or end. Rather, it’s a collection of asynchronous memories that I’m still forming. In fact, some of my Yosemite experience actually predates my memory (and I have the pictures to prove it—see below). The earliest memories, like following bobbing flashlights to Camp Curry to watch the Firefall spring from Glacier Point, or warm evenings in lawn chairs at the garbage dump, waiting for the bears to come to dinner, are part of the glue that bonds my family.
While my relationship with Yosemite may not have a beginning or end, it does have a few hiccoughs. The most recent, and by far most significant, was the abrupt halt to my regular, and often unscheduled, visits to Yosemite. BC (before COVID) I’d make 20 or 30 trips per year to my home-away-from-home, some planned far in advance (both workshops and personal trips), but many only after dropping everything with just a few hours notice, when it looked like something special might taje place. But COVID closures, and further restrictions that required me to apply for approval to visit, saw my 2020 visits plummet. Let’s see, from March 2020 through January 2021 there were only three: two last July for Comet NEOWISE (8 hours of driving for 1 hour of photography each time), and one for my late October fall color workshop (my only 2020 workshop since February, anywhere).
Glacier Point plays a role in many of my Yosemite memories, but none are more permanently embedded than a visit when I was probably 8 or 9. My father was a serious amateur photographer whose his own relationship with Yosemite influenced me. One of my most vivid Yosemite memories is (foolishly) standing atop Sentinel Dome in an electrical storm, extending an umbrella to shield his camera while he tried to photograph lightning firing across the valley.
Being Californians with little lightning experience, we had no idea how foolish this was—the lightning was a couple of miles away, which seemed a safe distance. But later that afternoon we attended a ranger talk at Glacier Point, we learned that lightning can travel more than 10 miles and that elevated and fully exposed Sentinel Dome is probably the last place you’d want to be in an electrical storm. He said this with a chuckle, as if to imply that he knew no one present would be foolish enough to attempt this. The kicker to this story came at Glacier Point later that afternoon, when seemingly out of nowhere a rainbow arced across the face of Half Dome. I’ll never forget my father’s excitement—the resulting image was the source of his greatest photographic pride, and the print he made still graces my mom’s wall.
As I grew older, I started creating my own Yosemite memories. On countless trips into its vast backcountry, I relished reclining beside gem-like lakes cradled in granite basins, sipping from streams that started the day as snow, and nights beneath an infinite canopy of stars—all to a continuous soundtrack of wind and water.
Given this history, it’s no surprise that I became a nature photographer, using my camera to try to convey the essence of this magic world. A big part of my “new” (it’s now more than 15 years) career is the opportunity to share Yosemite with other photographers. But despite the fact photography is now my livelihood, visiting Yosemite is never work. Now I get to live vicariously through their excitement, watching them experience firsthand the beauty they’ve previously seen only in pictures, or opening their eyes to new perspectives of familiar Yosemite scenes. I’m humbled that I might be a catalyst for others’ nascent or expanded relationships with this special place, and that they might spread their love to others.
Of course I’ve seen lots of change while accumulating my Yosemite memories. Gridlock is a summer staple, the bears have been separated (with moderate success), the Firefall has been extinguished (no, Horsetail Fall is not the Firefall), and backpacking requires difficult-to-obtain permits, water purifiers, and bear canisters. In recent years, the new park vendor has spoiled many of Yosemite’s institutions with what I can only label as corporate greed that places their bottom line above the visitor’s experience.
But I’m thrilled to return to something resembling the old normal. Each time I return I’m reminded that despite human interference, Yosemite’s soaring granite and plummeting waterfalls are magnificent constants, a vertical canvas for Nature’s infinite cycle of season, weather, and light.
About this image
An extremely dry winter allowed for the early opening of Glacier Point, just three days before the start of my Yosemite Waterfalls and Dogwood photo workshop. It’s a always nice to share this spectacular view with others, and this year’s group had a large number of Yosemite first-timers, a particular treat.
When we arrived I was pleased to see that it wasn’t too crowded, but I still had to spend a little time negotiating space along the rail facing Half Dome and Tenaya Canyon for a few people in my group. One potential spot, where the railing protruded from a steeply sloping granite boulder, was especially precarious (not dangerous, though you definitely didn’t want to drop anything), with tricky footing that required grippy shoes, creative tripod arrangement, and a firm grasp of the bar to stay upright. A couple of people tried it and decided it wouldn’t work for them, so after finding no more takers, I ended up settling there.
Though we did have some nice clouds behind Half Dome and distant Mt. Conness, there was no sign of clouds further south. I focused most of my attention on Half Dome and the clouds, but once the sun set I pointed my camera toward the lovely alpenglow deepening on the eastern horizon above Nevada and Vernal Falls. I thought the nearby trees and vertical granite face made a nice foreground, but couldn’t quite get them all in without also including the wall and railing I was braced against. After even more tripod machinations, I managed to elevate my tripod to the maximum height possible—high enough. Using the trees and cliff face on the right of my frame to balance the visual weight of the waterfalls on left, I focused on the dead tree and clicked.
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