While much of the Horsetail Fall article below is still valid, crowds and COVID have led the NPS to make some fairly impactful changes.
Please respect these restrictions. The minority of photographers who ignore rules, or try to cut corners, reflect poorly on all photographers, which only leads to even tighter restrictions and risks complete loss of access to Horsetail Fall.
I just returned from photographing Horsetail Fall, and I have some good news and some bad news. The good news is, there’s water in the fall (never a sure thing)—not a lot, but definitely enough to photograph. And given the amount of (old and crunchy) snow on the ground in Yosemite Valley, I’m pretty confident that the Horsetail Fall watershed has ample snowpack to keep the fall flowing through the end of the month. In fact, with warmer temperatures in the forecast, the flow might increase.
The bad news is, despite the reservation requirement for admission to the park, the crowds are as bad as ever. This could be because the NPS didn’t really try to cut the crowds as much as they tried to cap them. Another factor is that, with Southside Drive access eliminated, everyone trying to photograph the fall is crammed onto Northside Drive.
And if you think you’ll be able to skirt the rules and slip under the radar, think again. I saw a very active ranger presence monitoring the activity on both sides of the river. The rangers were very friendly and helpful, but they were also clearly serious about making sure everyone abided by the rules. So be patient, stay mellow, and enjoy the show…
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 when flowing strong 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 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.
One important thing before I continue. To avoid outing yourself as a Yosemite rookie, don’t make the mistake of calling Horsetail Fall the “Firefall.” Yosemite’s Firefall was a very real nightly display of burning embers pushed from Glacier Point every summer night. It was as spectacular as it sounds. The phenomenon started in 1872 and continued until the National Park Service, concerned (among other things) about the crowds it drew, terminated the Firefall in 1968.
Anyone who has witnessed or seen pictures of Horsetail Fall would agree that “Firefall” would be a great name for it, but those of us fortunate (and old) enough to have witnessed the actual Firefall know the difference between Horsetail Fall and the Firefall, and will never confuse one for the other.
(Oh yeah, and it’s Horsetail Fall, not Horsetail Falls.)
Horsetail Fall turns red for the same reason clouds turn red at sunset. When the sun drops below the horizon, the last rays to make it through the atmosphere are long, red wavelengths. El Capitan, towering more than 3,000 feet above Yosemite Valley, is high enough above the surrounding terrain to receive extended exposure to these red rays.
Horsetail Fall’s sunset color varies between orange and red. The color’s hue and intensity is a function of atmospheric clarity—the cleaner the air, the more vivid the red will be. You can read more about sunrise/sunset color in my Sunset Color article.
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 and relative ease of access, two spots have become the go-to Horsetail spots for most photographers.
El Capitan Picnic Area / Northside Drive
The El Capitan Picnic Area (highlighted by Galen Rowell) on Northside Drive for years was the epicenter of the Horsetail Fall experience. 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 (now only open to people with handicap parking permits). You can shoot right from the parking lot, or wander a bit east to find several clearings with views of the fall.
There are variations of the picnic area view all along Northside Drive that in recent years have surpassed the picnic area in popularity (crowds). My suggestion is to scout El Capitan views in any month that’s not February; if your only Yosemite visit is the day you’re there to photograph Horsetail Fall, scout early in the morning. Or, as you set out to photograph Horsetail Fall, simply walk Northside Drive (one lane is blocked for pedestrians walking from Yosemite Valley Lodge) until you find a view that you like (but don’t expect to have it to yourself).
The farther east you set up, the better your view of the top of El Capitan. But some of the east-most views are too aligned with El Capitan’s face, giving you a more side view of Horsetail that makes it very hard to see. You can also try venturing off into the woods to get a better angle, but doing that also means trying to avoid trees that obstruct your view.
Merced River south bank bend
Due to extreme crowds and the damage they’ve caused, the National Park Service has closed Southside Drive to any Horsetail Fall viewing. While there’s no indication that this closure is permanent, it won’t surprise me if it is (in fact, it would surprise me if it doesn’t become permanent). So the information below is strictly historical as I write this (February 2021), and maybe forever.
Photographed from a 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 behind you toward Sentinel Rock (which also gets fantastic late light), almost directly above 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 one-way 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. There are definitely other places in Yosemite Valley with view of Horsetail Fall, they just take a little hunting—I suggest walking the south bank of the Merced River, and ascending the 4 Mile Trail. And 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, don’t wait until the light is perfect—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—just keep shooting . 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 (if you’re lucky) red. The best light is in the final five minutes before sunset.
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 300mm or full frame. I use my Sony 24-105 and 70-200 (or more recently, my 100-400) 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.
A frequent rookie mistake is cutting the waterfall off at the bottom. I’m not saying there’s never a reason to do that, but unless you consciously decide to truncate the fall because you think it’s the way to compose your frame, make sure you include the diagonal ridge that Horsetail disappears behind.
Years ago I used to use a graduated neutral density filter to keep from washing out the color in the bright sky, but today’s cameras all have enough dynamic range to handle the exposure if you monitor your histogram. A polarizer cuts reflections 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, it’s best to just shoot it both ways and decide later.
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 or the adjacent sunlit granite. To maximize the color on the fall and El Capitan, I usually underexpose slightly. Because the trees rarely add value beyond framing, they usually work better when very dark green to black, a fact that’s completely lost on your meter (which thinks everything should be a middle tone). And monitor your RGB histogram to ensure that you haven’t washed out the red (Horsetail and El Capitan) or blue (sky) channels.
Highlight Alert (blinking highlights) is your friend. While you should never make your final exposure decision based on the highlight alert, when you see the highlights flashing, check your histogram and adjust if necessary.
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 appreciate the amazing spectacle unfolding before your eyes.
Click an image for a closer look and to view a slide show.