Woe is me
I just returned from nearly a week in Death Valley, where I had virtually no connectivity (wifi at my hotel made the Grand Canyon North Rim feel like a Silicon Valley Starbucks). Workshop or not, I try to post something on social media every day, and a new blog article each Sunday, but with no wifi and spotty 3G cellular that struggled just to send or load a text-only e-mail, I felt virtually cut off from civilization (there was a tsunami?!). I know in the grand scheme of things these are small problems, and that I probably missed the world more than it missed me, but still….
Last week I wrote about creating unique perspectives of familiar scenes, and offered some ideas for achieving this. As admirable as it is to make unique images, sometimes Mother Nature delivers something so magnificent that best thing to do is just get out of the way and let the scene stand on its own.
Though last month’s Yosemite Winter Moon workshop wasn’t scheduled to start until the afternoon I took this picture, I drove to Yosemite the evening before the workshop to get a few hours of morning one-on-one time with the multiple inches of snow forecast to fall overnight. And as hoped, I arrived that morning to find every square inch of exposed surface glazed white—and the snow was still falling.
The paradox of photographing Yosemite during a storm is that all of the features you came to photograph are most likely obliterated by clouds. Sometimes visibility is so poor, it’s difficult to imagine the obscured features ever existed—and quite easy to imagine the comfort and warmth of your hotel room. The key Yosemite storm success is to be there when the storm clears—but job-one for catching the clearing part of a Yosemite clearing storm, is first enduring the storm part.
So, rather than succumb to the temptation of comfort and warmth, I armored up and went to work in near zero visibility. After an hour or so of driving around, interrupted by a stop or two (or three) to photograph some of the more intimate nearby beauty, I pulled up to El Capitan Bridge and noticed the clouds starting to lift (fingers crossed). In the still-falling snow, I quickly set up my tripod, grabbed my Sony a7RIV, attached my Sony 12-24 f/2.8 GM lens, and hoped.
Without getting too preachy, let me just say that if you ever want to piss off a photographer, look at one of their images and say, “Ooooh, you must have some great equipment.” While that may very well be true, the unavoidable inference is that the beautiful image is a product of the photographer’s equipment, not their photographic vision and skill.
But…. As much as I’d like to say my equipment is irrelevant and I could achieve the same results with a pinhole camera, I’ll admit that I have images I couldn’t have created without the right camera or lens. And this is one of them.
Back on point
I’ve written before about Sony’s 12-24 lenses, and how they feel specifically designed for Yosemite’s ultra-close views of massive monoliths. El Capitan Bridge is one of those views, so close that I’ve always felt that even a 16-35 wasn’t wide enough to do the scene justice. So when Sony released its 12-24 f/4 G lens, this was one of my very first stops. My excitement was validated when I discovered that at 12mm I could indeed get all of El Capitan, plus its entire reflection, in a single vertical frame. I became so enamored of my new top-to-bottom-reflection power that pretty much every subsequent 12-24 El Capitan composition here (both with the original Sony 12-24 f/4 G, and the newer Sony 12-24 f/2.8 GM) had been vertical. My goal this morning was to change that.
While the clouds didn’t completely part for several more hours, during this stop at El Capitan Bridge they did lift just enough to reveal all of El Capitan for about 15 minutes. During that time, their swirling vestiges careened across the granite face so rapidly that the scene seemed to change by the second.
Photographically, there wasn’t really a lot I could do for this scene besides not mess it up. Mounting my camera horizontally, I widened my lens all the way out to 12mm, put the top of the frame slightly above El Capitan (to maximize the amount of reflection below it—more sky would have meant less reflection), and used the snow-covered trees on both sides to frame the scene.
Depth of field wasn’t a factor, and very little contrast made metering easy. Wanting a fast enough shutter speed to freeze the falling snowflakes, I dialed to ISO 800 and f/9, which I quickly determined centered my (pre-capture) histogram at a more than adequate 1/250 second. Then I clicked a dozen or so images to ensure a wide variety of cloud formations and falling snowflake patterns, pausing occasionally to appreciate the moment.
This scene felt like a gift that I really didn’t want to overthink. I’m just grateful for the opportunity to photograph it (and the equipment that allowed me to do it justice).
Click an image for a closer look, and to view a slide show.