Turning a Negative Into a Positive in Yosemite

Gary Hart Photography: Autumn Reflection, El Capitan, Yosemite

Autumn Reflection, El Capitan, Yosemite
Sony a7RIV
Sony 24-105 G
1.6 seconds
F/16
ISO 200

Update, November 4

Since posting this image yesterday, I’ve gotten a few comments ranging from “Magnificent!” to “What is it?”. If you think it’s magnificent, thanks. For those scratching their head (I understand), it’s a reflection of El Capitan in the Merced River. This sheltered pool was covered with pine needles, with a collection of colorful leaves resting atop the floating pine needles. One problem with sharing this online is that it’s a 61 megapixel capture using my Sony a7RIV; with so much detail, it really needs to be seen on a screen bigger than your cell phone’s, the bigger the better. But of course I can only post so big online (in this case, 1200×800 pixels), and even that relatively low resolution is compromised by website (WordPress, Facebook, Instagram, and so on) compression, so I doubt that even on a computer screen you’ll see the detail as clearly as I can. And I realize in this day of eye-grabbing computer art, images like this don’t go viral, but this kind of photography makes me happy.

Original post

When I was a kid, I loved power outages. As an adult…, uh, not so much. And if you’ve been living under a rock, you may not have heard about the wildfires charring California’s hillsides and soiling our skies, and PG&E’s dubious strategy to mitigate decades of mismanagement by simply shutting off the power to millions of customers on days the fire risk is deemed extreme. I’m fortunate to live Sacramento, which doesn’t get its electricity from PG&E, which means these outages haven’t really been my problem. Until last week.

When I schedule a photo workshop, I do my best to time it for ideal photography conditions, but sadly, some things are beyond my control. In the 15 or so years I’ve been doing this, I’ve had workshops impacted by rain, snow, wind, fog, wildfires, rock slides, and a tropical storm. I can now add power outage to that list.

Last week’s Yosemite Fall Color workshop coincided with the latest round of wind-induced PG&E power outages. We started Monday, and I learned on Sunday that the power had been shut down in Yosemite and the surrounding area, with no estimate for its reactivation. I e-mailed the group an update Sunday evening, reassuring them that our hotel was open even without power, and that the workshop would go on, power or not. There was still no power in Yosemite when I left home early Monday morning, so all I could do was drive and hope for the best.

With no power at workshop start time, I jettisoned my normal orientation presentation and just winged the group introductions and preparation info in the semi-darkness of the hotel’s lounge area. With only one exception, the group’s attitude was wonderfully positive and up for a we’re-all-in-this-together experience (the exception bailed for home in the first ten minutes, which was probably for the best).

One thing you’re quickly reminded of in a hotel without power is that it’s not just darkness you’re dealing with—we also had no heat, no hot water, and no juice to recharge cameras, computers, and cell phones (and no WiFi!). Between flashlights, headlamps, and battery-powered lanterns, most everyone came armed with enough light to navigate their room in the dark. For emergency battery charging, I brought a couple of fully charged power bricks, and Curt, the photographer assisting me with this workshop, came with an industrial strength portable charger that could have illuminated Vegas for a week. The rooms didn’t seem to get too cold until close to bedtime, but extra blankets in every room fixed that. The biggest problem was the no hot water thing—on the first morning I managed to make myself sufficiently presentable with a sponge bath (applied with prayer for power and hot water by the time the next morning rolled around).

Meeting the group before sunrise Tuesday morning I braced for a mutiny, but everyone remained spectacularly upbeat. And because there was little reason to hang in the rooms without light or heat, I ended up replacing some of my standard mid-day break and training time with extra shooting. Even without power, Curt was able to do his sensor cleaning talk, and clean everyone’s sensor, which was a big hit. And with extra time for shooting, I decided to make the 75-minute one-way drive to Olmsted Point (where I haven’t taken a Yosemite group in years), for a sunset and Milky Way shoot.

Much to our delight, we returned from Olmsted Point on Tuesday night to find the hotel lit up like Christmas—lights, heat, and hot water, but alas, no internet for the rest of the week. We had survived about 30 hours without power (from the time the workshop started until our return from the Milky Way shoot) in remarkably good spirits, and in fact I think the whole experience drew the group even closer. The workshop’s final two days went off without a hitch, and by the end, people who were complete strangers at the start were making plans for post-workshop meals and more photography.

The lesson here, one that we already know but sometimes need to be reminded, is that our experience of the world is shaped more by our attitude than the world. We were in Yosemite for heaven’s sake, in one of the most beautiful times to be there, sharing the experience with a group of like-minded individuals. Doing 12-18 workshops a year for nearly 15 years, memories of the individual workshops tend to run together, but this is one I’ll definitely never forget!

About this image

Landscape photographers love clouds, both for the drama they add to the sky and for the way they soften harsh light. So besides the power thing, the other difficulty this workshop faced was no clouds. For four days: Not. One. Cloud. Fortunately, I’ve been photographing Yosemite long enough to know how to make it work without clouds, and the fall color was pretty great—not just on the trees, but also on the ground and in the water.

It also didn’t hurt that the reflections in the Merced River were off the charts (as they pretty much always are in autumn). Virtually every stop offered some reflection of Half Dome or El Capitan in the Merced. And we didn’t have to look to hard to find color to add to the reflections. Frequently it was in the trees lining the far riverbank, but I set my own sights on the yellow and red leaves floating on the near riverbank. With a little careful positioning, I was usually able to juxtapose the floating leaves with the reflection du jour.

On Tuesday morning we found our first nice El Capitan reflection near El Capitan Bridge. I walked along the riverbank until I found this bed of floating pine needles punctuated with an assortment of colorful leaves. I set up my tripod and positioned it so my camera framed the reflection with the most colorful leaves, placing El Capitan in an area with fewer pine needles (and more reflection). I used a polarizer darken the water, but not so much that I lost the reflection of El Capitan (which I dodged slightly in Photoshop to help it stand out).

Read more about photographing reflections


A Gallery of Reflections

Click an image for a closer look and to view a slide show.

 

Low Hanging Fruit

Gary Hart Photography: Winter Reflection, Valley View, Yosemite

Winter Reflection, Valley View, Yosemite
Sony a7RII
Sony/Zeiss 24-70 f4
10 seconds
F/7.1
ISO 1600

Gary Hart Photography: Snowcap, El Capitan, Yosemite

Snowcap, El Capitan, Yosemite

A few days ago I posted an El Capitan in winter image on Instagram. Since it had been nearly three years since that trip, a lot of the specifics of that day had slipped my mind, but when I pulled up the Instagram image’s raw file in Lightroom to check the capture info, a few more of that day’s (so far unprocessed) images caught my eye. The next thing I knew, I was processing this one, and gradually, some of the day’s details returned to me.

Yosemite Valley had been brown and dry beneath an overcast sky when I checked into the lodge the evening prior, but I woke the next morning to a world of white. (This was no surprise—I’d made the trip because snow was forecast.) The snow was still falling after breakfast, and as usually happens in a Yosemite storm, the clouds completely obscured all of Yosemite’s icons. But knowing that the key to photographing snow in Yosemite is to be out in it when the storm breaks, I was quite content to drive into its midst and wait it out. And break it did, turning to flurries with a mix of clouds and blue sky by late morning. The conditions stayed like that the rest of the day and I was in photographer heaven.

I circled Yosemite Valley all day, sometimes targeting specific spots, other times just pulling over when something moved me. By the time the sun set I was pretty certain that I had lots of good stuff on my card, but most important, I was happy. (If just spending time with your subject, regardless of the photographic results, doesn’t make you happy, you probably should be photographing something else.)

On my way out of the park after sunset I made one last stop to photograph this Valley View scene. With its easy access and riverside views of El Capitan, Cathedral Rocks, and Bridalveil Fall, Valley View is low-hanging photography fruit. And it’s especially nice with fresh snow. I’d already stopped here at least once before on that day, capturing last week’s Instagram image late that morning, but I couldn’t resit taking one more peek before heading down the canyon and home.

After the trip I processed a couple of images right away, but like so many of my photo trips, most of the images from this day have languished on a hard drive, victims of the priorities of running a business. This whole experience has been a good reminder of how many unprocessed images I have “in the bank,” waiting to be processed. It has inspired me to make a concentrated effort to go back through my archives to see what might be lurking there. I’ve already excavated a couple besides this one, with more on the way.

And speaking of low hanging fruit, I’ve started by going through my Yosemite snow images, because, well…, how can you go wrong with Yosemite and snow?

Winter is coming

Because winter is right around the corner, and we’ve already entered (just barely) the window when snow is possible in Yosemite, here’s my recipe for photographing Yosemite with snow.

The Early Bird Gets the Snow

If you delay your trip until you hear that it snowed in Yosemite, you’re too late. That’s because Yosemite is only 4,000 feet above sea level and actually warmer in winter than most of the United States. When it does snow there, as soon the snow stops, Yosemite’s relatively mild temperatures collude with sunshine, wind, and gravity to clear the trees in a matter of hours. Not only that, park visitors, driven to shelter by the storm, swarm outside to gape as soon as the snow stops, quickly marring the pristine beauty with footprints, not to mention the mud spread by their boots and tires. In other words, the key to photographing Yosemite with snow is being in the park during the storm (and working fast).

Monitor the weather

All winter I monitor the Yosemite weather forecast for hints of a cold storm. But even this isn’t as simple as you might expect—the single biggest mistake people make when planning a Yosemite snow trip is opening whatever weather site or app is convenient and simply typing in Yosemite. Yosemite Valley is only 4,000 feet above sea level, and virtually the entire rest of the park is higher—up to 13,000 feet elevation. And for some reason, even though Yosemite Valley is where you want to be for snow (and pretty much the only place in Yosemite you can be in winter), most weather resources don’t give the forecast for Yosemite Valley. Instead, they pick some other (random?) elevation that is almost always more likely to get snow than Yosemite Valley. You’d be amazed at how much more frequently snow falls just 500 feet above Yosemite Valley than falls in Yosemite Valley, which means a lot of people end up driving to Yosemite to photograph the snow their weather app promised, then end up marinating all day in a cold rain.

I know there are lots of weather forecast options out there, but most lack the resources of the National Weather Service (or they just use the NWS data). The NWS may not always nail the forecast, but they seem to be more consistent and reliable than any of the other options. But even selecting a generic NWS Yosemite forecast can lead you astray. I recently typed “Yosemite” into the NWS’s forecast input field and was given an assortment of similar options, each of which returned a different location in Yosemite (most not Yosemite Valley). So rather than leave it to chance, to ensure a forecast for the correct elevation, I’ve bookmarked the NWS point forecast for Yosemite Valley.

Chains

When it snows in Yosemite, they do sometimes require chains. Usually 4WD or AWD cars with snow tires are exempt, but not necessarily. Regardless of the conditions, park rules say if you plan to drive in the Yosemite in winter, you must carry chains—even if you have 4WD/AWD. My Subaru Outback is AWD, but when the weather is threatening, I have been asked if I have chains. So they’ve never asked me to prove it, or had to put chains on, but I always carry chains because if they do find that you don’t have chains when they’re required, you’ll need to just park until it chain requirement is lifted.

Driving to Yosemite

Sometimes the chain requirements aren’t for Yosemite Valley, but they do apply to two of the three routes into Yosemite Valley. When a storm is possible, the best way to avoid snow, ice, and chain requirements is to ignore the guidance of your GPS and Google Maps and enter via Mariposa on Highway 140, which comes up the Merced River Canyon and doesn’t ever get as high as 4,000 feet until Yosemite Valley. (Trust me on this.)

That said, any route into Yosemite is subject to closure or restrictions due to slides, flooding, or downed trees. Always check the Yosemite and Caltrans road conditions pages before you leave (I sometimes check them on the way too).

Go-time

Weather in Yosemite is very changeable, and a storm forecast that looked promising one day can completely fizzle the next—or vice versa. Some trips I’ve had a week to prepare for, others I didn’t consider going until I woke up and checked the Yosemite forecast that morning. Because I want to be ready at the drop of a hat, all winter long in the back of my Outback are my chains and a duffle bag with all my cold weather gear: waterproof pants, parka, and shoes, wool hat and gloves, and an umbrella.

When possible, I like to be in Yosemite the day before the snow starts. That said, it isn’t usually difficult to get a room in Yosemite at the last minute when a winter storm threatens, and there have been times when I’ve actually waited until I arrived in the park before booking my room (not necessarily a strategy I’d recommend). Nevertheless, the later I wait to leave, the more likely I’ll be delayed or turned back by a road closure.

Once the snow arrives, rather than hole up in my room, I’m out shooting. Even though Yosemite’s storms often erase all signs of its most recognizable features, stormy weather is a great time to photograph swirling clouds and accumulating snow in glorious (and rare!) solitude. Nice soft light too.

As much as I love photographing Yosemite when snows, the poor visibility and near white-out snowfall can reach a point of diminishing photographic returns. But even then, I don’t go in (or home). Instead, I park at Tunnel View and wait for the weather to clear. Tunnel View is the perfect place to wait out a Yosemite storm because it’s on the west side of Yosemite Valley (where the clearing usually starts), provides an elevated vantage point with a view all the way up the valley to Half Dome, and is spectacular to photograph when the storm clears. It even has decent cell service. And if I’m looking for an excuse to turn on the engine and warm things up, I drive through the tunnel for the view westward, a preview of coming weather.

My final advice for anyone is, when the storm clears, move fast and don’t spend too much time at any one spot, no matter how beautiful it is. It’s a pretty safe bet that if the conditions are beautiful right here, you’re probably missing opportunities elsewhere. The peak conditions, with snow draping every exposed surface, don’t last long, so get your shots and move on—or risk missing out. (This is the voice of experience talking.)

Yosemite Winter Photo Workshop

Yosemite Snow

Click an image for a closer look and to view a slide show.

 

 

Endless Possibilities

Gary Hart Photography: Winter Moonrise, Horsetail Fall and Half Dome, Yosemite

Winter Moonrise, Horsetail Fall and Half Dome, Yosemite
Sony a7RII
Sony 100-400 GM
ISO 200
f/10
1/160 seconds

This picture from last February features two beautiful photographic phenomena, one with (literally) thousands of cameras trained on it, the other virtually ignored. You might be surprised to learn that for most, the “main event” about to take place in this scene wasn’t the moonrise, it was the light on the thin stripe of waterfall trickling down the diagonal shoulder of El Capitan (the top is in shadow). But while (it seemed) virtually the entire photographic world was elbow-to-elbow in Yosemite Valley hoping for their shot at the day’s last light on Horsetail Fall, I was one of a half dozen or so photographers chilling at Tunnel View, waiting for the moon to rise.

When I’d arrived at Tunnel View and saw a herd of several dozen photographers already set up, I was initially heartened to think that so many photographers had foregone the Horsetail mayhem in favor of the moonrise. But why had they set up so far down the wall, behind trees that obstructed their view of Half Dome? It wasn’t hard to conclude that they weren’t there for the moon at all, they were there for Horsetail Fall. And as I waited for the moon, still more photographers showed up, and though there was plenty of room at spots with a far better view of the entire scene (including Horsetail Fall), every single new arrival crammed in to the scrum pointed at Horsetail Fall.

Photographing Horsetail Fall is kind of like dropping a quarter in a slot machine and hoping all the cherries line up: 1. Sun angle—the light’s right only at sunset for a couple of weeks in February (and October, when the fall is dry); 2. Snowmelt—no snowmelt, no waterfall; 3: Sunlight—all it takes is one cloud to block the sun and send everyone home disappointed. The jackpot? Some version of a picture that’s not much different from thousands (millions?) of other pictures.

Don’t get me wrong—the Horsetail Fall phenomenon is breathtaking, unique, and absolutely photo-worthy. But I do think that photographers, myself included, can be somewhat myopic when it comes to subject choice, deciding far too soon what “the” shot is and missing something even better as a consequence. And when they’re not sure what the shot is, instead of trusting their own vision, they just do what everyone else is doing.

We all could be a little better about considering photo opportunities beyond the obvious. Never is this more clear than in the image reviews in my photo workshops. In my image reviews everyone shares an image taken during the workshop (I project the image for all to see), and I offer constructive feedback. When I started doing workshops, I assumed that the prime benefit from the image reviews would be my “expert” critique, and while I like to think my suggestions do help, I didn’t anticipate how effective this image sharing is at conveying to everyone the unlimited possibilities each scene offers. We’re all photographing the same locations, but the variety of images always catches me off guard. In fact, I can’t tell you how many times I’ve looked at a workshop student’s image and thought, wow, how did I miss that?

It turns out the photographers who locked in on Horsetail this evening were disappointed. A rogue cloud, low in the west and unseen from Yosemite Valley, blocked the sun at just the wrong time. But that’s not the point—even if Horsetail Fall had lit up like red magma, there were other things to photograph in Yosemite that evening. And I wonder how many photographers would have opted to photograph the moonrise had they known about it.

I don’t share this image to pat myself on the back—I came to Yosemite specifically for this shot and didn’t really look for anything else. Therefore, it’s entirely possible that something even more special was happening behind me. (One reason I write these blogs is to remind myself of stuff like this.)

In life, we stop learning the instant we believe we have the answer. It’s equally true that photographers stop being creative the instant they “know” what the shot is. Our ability to grow as photographers is determined by our ability to open our eyes (and mind!) to the endless possibilities not yet visible.

An Evening’s Rewards

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Alternate Perspectives

(Views Away from the Conventional Scene)

Click an image for a closer look and to view a slide show.

 

Small Steps and Giant Leaps

Gary Hart Photography: Big Moon, Yosemite

Big Moon, Valley View, Yosemite
Sony a6000
Tamron 150-600 (Canon-mount with Metabones IV adapter)
1/25 second
F/8
ISO 400

The memory of Neil Armstrong’s first steps on the moon has personal significance to me. To honor the 50th anniversary of that achievement, I’m sharing an updated version of my story, first posted five years ago.

July, 1969

I had just turned 14. I was into baseball, chess, AM radio, astronomy, and girls—not necessarily in that order. Of particular interest to me in 1969 was the impending moon landing, a milestone I’d been anticipating since tales of American aerospace engineering ingenuity and our heroic astronauts started headlining  the “Weekly Reader,” and my elementary school teachers began gathering the class around a portable TV to watch the latest Mercury, Gemini, or Apollo launch.

If you remember the 60s, you understand that the buzz surrounding each of these missions provided a unifying distraction from the divisive tension spurred by headlines of Vietnam casualties, anti-war demonstrations, Civil Rights clashes, and Communist paranoia. When President Kennedy promised to land a man on the moon by the end of the decade, so far in the future was that goal that in my mind he may just as well have said infinity. But as the decade drew to a close and the promise approached reality, I couldn’t devour enough information on the impending mission.

Unfortunately, without checking NASA’s schedule or asking for my input, my parents and three other couples they knew from graduate school decided mid-July 1969 would be the ideal time for our four families to join forces on a camping trip in the remote, television-free redwoods of Northern California. (“What could we possibly need a television for?”)

Apollo 11 was halfway to the moon when the Locher and Hinshaw families pulled up to our home in Berkeley (the Hardings, coming down from Eastern Washington, would meet us at the campground a couple of days later). The warm greetings exchanged by the adults were balanced by the cool introductions forced on the unfamiliar children.

We departed the next morning, caravan style, our cars connected by woefully inadequate walkie-talkies that we’d almost certainly have been better off without (I’m sure it had seemed like such a good idea at the time). I remember my dad keeping a safe distance behind the Hinshaws, as he was convinced that their borrowed trailer that seemed to veer randomly and completely independently of their car, would surely break free and careen into the woods on the next curve.

Somehow our three-car parade pulled safely into Richardson’s Grove State Park late that afternoon. In true sixties style, the three dads went immediately to work setting up campsites, and the moms donned aprons and combined forces on a community spaghetti dinner. Meanwhile, while the younger kids scattered to explore, the four teens, having only recently met and being far too cool for exploration or anything remotely resembling play, disappeared into the woods, ostensibly on a firewood hunt. Instead, we ended up wandering pretty much aimlessly, kicking pinecones and occasionally stooping for a small branch or twig, lingering just far enough from camp to avoid being drafted into more productive (and closely supervised) labor by the adults.

But just about the time we teens ran out of things not to do, we were relieved to be distracted by my little brother Jim rushing back into camp, breathless, sheet-white, and alone. We couldn’t quite decipher his animated message to the adults, but when we saw our dads drop their tarps and tent poles and rush off in Jim’s tracks toward the nearby Eel River, we were (mildly) curious (to be interested in anything involving parents was also very not cool). So, with feigned indifference, the four of us started wandering in the general direction of the river. Our path was blocked by a 50 foot, nearly vertical cliff that provided a clear view into the vortex of all the excitement. It was the instant of that shared view when I think we all ceased being strangers.

The scene before us could have been from a bad slasher movie: Flat on the ground and unmoving was 11 year-old Paul Locher; sitting on a rock, stunned, with a stream of blood cascading from his forehead, was Paul’s 10 year-old brother John. As disturbing as this sight was, nothing could compare to seeing father Don Locher orbiting his injured sons, dazed and covered in blood. The rest of this memory is a blur of hysterics, sirens, rangers, and paramedics.

It wasn’t until the father and sons were whisked away by ambulance to the small hospital in Garberville, about 10 miles away, that we were able to piece together what had happened. Apparently Paul and John, trying to blaze a shortcut to the river, miscalculated risk and had tumbled down the cliff. My brother at first thought they were messing with him, but when John showed him a rock covered with blood, he sprinted back to fetch the parents.

Conferring at the point where the kids had gone over, the fathers made a quick plan: My dad and Larry Hinshaw would rush back to to summon help, and to see if they could find a safer path down to the accident scene. Don would stay put and keep an eye on his sons. But shortly after my dad and Larry left, John had looked down at his brother cried, “Daddy, I can see his brains!” Hearing those words, Don panicked and did what any father would do—attempt to reach his boys. Thinking that a small shrub a short distance down would make a viable handhold, Don took a small step in its direction, reached for and briefly grasped a branch, lost his grip, and tumbled head-over-heals down to the river.

After what seemed like days but was probably only an hour or two, we were relieved to learn that John needed no more than a few stitches; he was back in camp with us that night. Paul had faired slightly worse, with a concussion and a nasty cut behind his ear—the “brains” his brother had seen was ear cartilage. Paul spent the night in the hospital and was back with us by the time the Harding clan arrived the following afternoon. Don, however, wasn’t quite so fortunate. In addition to a severe concussion, he had opened up his head so completely that over 150 stitches were required to zip things back together. Though Don spent several days in the hospital, we were all consoled by the understanding that it could have been much worse.

By Sunday, Don was feeling much better but was still a day or two from release to the dirt and fish guts of our four family campsite. Most of us had visited the hospital at one time or another in small, brief waves that honored the hospital’s visiting rules. I can’t say who first recognized the opportunity, but I’m guessing that Larry Hinshaw had something to do with convincing the nursing staff to look the other way when Don was suddenly host to 20 simultaneous visitors that night. Whatever magic was worked, I’ll forever remember Sunday evening, July 20, 1969, when our entire group shoehorned into a tiny hospital room to witness history on a tiny, black-and-white television screen.

Besides my parents and two brothers, the rest of the crew that night I’d only met just a few days earlier, but I can still name every single one of them. The relationships formed that week continue to this day. And so do the stories, which, like this story, are filled with some of the greatest joy I’ve ever experienced, and also with some of the greatest tragedy. But it’s this story in particular, the catalyst for all the stories that follow, that explains why the words, “One small step for man, one giant leap for mankind,” have a very personal significance for me. Today it’s hard to look at the moon without remembering that hospital room and the emotional events that enabled me to witness Neil Armstrong’s historic first steps with those very special friends.

Read more about this image

Gary Hart Photography: Big Moon, Yosemite

Big Moon, Valley View, Yosemite

Photograph the moon with me in a Yosemite photo workshop

Workshop Schedule || Purchase Prints


A lunar gallery

Click an image for a closer look, and a slide show

Yosemite for the First Time—Again

Last Light on Half Dome, Yosemite Valley
Sony a7R III
Sony 24-105 f/4 G
1/9 second
F/9
ISO 100

On Wednesday I made a quick trip to Yosemite to meet my (old and new) friends and fellow photography pros Don Smith and Ron Modra, plus Ron’s wife MB. Since I’d never met Ron and MB in person (though from conversations with Don I felt like I already knew them), and Ron had never been to Yosemite, I broke my personal rule to stay clear of Yosemite from Memorial Day through September (summer is for the tourists). Plus, after a lifetime of visiting Yosemite, there are few Yosemite firsts remaining, so I live vicariously through the first Yosemite experiences of others.

We met in El Portal, where I deposited my car and hopped in the back of Don’s car with MB. With Don driving and Ron riding shotgun, we headed up the hill discussing a strategy to make the most of our time. The plan we crafted was quickly discarded when we learned at the Arch Rock entrance station that Glacier Point, which had been closed since Saturday night, had just opened.

After a quick stop at Tunnel View to give Ron what should be everyone’s first Yosemite view, we zipped up to Glacier Point. Getting out of the car at Glacier Point, I immediately discovered that the beautiful spring day I’d dressed for had turned to winter. But cold is no match for the enthusiasm of the first time witnessing any of Yosemite’s spectacular views. Not only were the clouds spectacular, they did us the courtesy of parting just enough to illuminate Half Dome for a few minutes.

Our successful Glacier Point detour foreshadowed a spectacular day pinballing about Yosemite Valley, hitting all the spots a first-timer needs to see. Even the weather gods smiled on us, delivering thunderstorms filled the sky with billowing clouds and spread beautiful diffuse light across the park, without much rain.

I’m usually the driver for others’ first time Yosemite experiences, so riding in the back seat allowed me to rubberneck like an actual first-timer. There’s El Capitan! there’s Bridalveil Fall! there’s Sentinel Rock! And on down the list of Yosemite celebrities wearing their spring best. We were a little late for the dogwood, and the blooms that remained were in tatters, but everything else was green and the waterfalls were thundering, even for May. At each stop Ron’s excitement reminded me of a kid on Christmas morning, and seeing it all through his eyes, I totally got it. (Ron shot for Sports Illustrated for many decades—I imagine his reaction was no more enthusiastic than mine would be my first time in a Major League clubhouse.)

By 6:30 or so we’d worn Ron and MB out (well, Ron at least). With the rain starting to fall again, they declared their mission accomplished. With little sign of an impending sunset, and against the advice from Don and me, they decided to call it a day so Ron could get back and open the presents he’d so enthusiastically collected all day.

Our last stop was Valley View, where I realized that despite the beautiful conditions, I’d been so caught up in the view that hadn’t taken my camera from my bag all day. Chatting with MB while Don and Ron worked the beautiful scene, we agreed that sometimes it’s nice to enjoy nature without a camera. I know I missed some gorgeous photography, but I felt enriched by the conversation and laughter, and the sublime surroundings I often miss behind a camera.

But…

Saying our goodbyes in El Portal, I noticed breaks in the clouds. Hmmm. Instead of returning to my home in Sacramento, my destination that night was a heretofore undermined hotel between Yosemite and my Thursday destination in Southern California. But with an hour to go until sunset, I did a quick calculation and decided to forego the quickest route (down 140 to Mariposa) and detour back through Yosemite.

Back in the park I found the clouds still hanging in there, delivering the same nice but unspectacular light we’d enjoyed all day. But encouraged by my preview of the sky approaching from the west, I parked at Tunnel View for a few minutes, just to see what happened. I chose Tunnel View for its proximity to my (revised) route, and because when good stuff happens in Yosemite, it usually starts at Tunnel View. Plus, it’s pretty hard to mess up this classic view. And given that my long day was still several hours from ending, I simply wanted to take a pretty picture and Tunnel View was just the low hanging fruit I needed.

So there I waited in my car, one eye on the view, the other on my watch—30 minutes until sunset, 25 minutes, 20 minutes…. About 30 seconds after deciding nothing was going to happen, the granite next to Leaning Tower (the flat granite face just right of Bridalveil Fall) lit up like it had been hit with a spotlight. I was in business.

To get away from the photographers and tourists teeming about the standard vista, I climbed the granite behind the parking lot until I felt alone. I started wide, with my Sony a7RIII and Sony 24-105 lens (I’ve always felt 16-35 is too wide for Tunnel View). When a second spotlight hit Half Dome, I reached into my bag for my Sony a7RII and Sony 100-400 GM. I spent the rest of the shoot switching between the two bodies, trying all the compositions I’ve become so familiar with over the years. My goal this evening wasn’t an artistic masterpiece or some never seen Yosemite perspective, I simply wanted a low-stress shoot that captured this iconic Yosemite scene at its very best. Mission accomplished.

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A Yosemite Spring Gallery

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Yosemite in a Raindrop

Gary Hart Photography: Yosemite in a Raindrop, Valley View, Yosemite

Yosemite in a Raindrop, Valley View, Yosemite
Sony a7RIII
Sony 100-400 GM
15mm extension tube
ISO 3200
f/20
1/200 second

I’ve been to Valley View in Yosemite about a million times. For those not familiar with Yosemite Valley, Valley View (sometimes called Gates of the Valley) is the classic view of El Capitan, Cathedral Rocks, and Bridalveil Fall, with the Merced River in the foreground, that represents Yosemite in countless calendars, postcards, and advertisements. Though all this attention is justified, after a million visits and counting (okay, so maybe I’m exaggerating just a little), you’d think it would be easy to take Valley View’s beauty for granted. But I don’t get tired of visiting here, not ever.

Gary Hart Photography: Autumn Snow, El Capitan, Yosemite

Valley View, Yosemite

Like most spots in Yosemite, the scene at Valley View varies greatly with the season and weather. In spring, Bridalveil Fall explodes from beneath Cathedral Rocks, and the surrounding forest is dotted with blooming dogwood. In autumn, rocks dot the Merced River, and colorful leaves mingle with glassy reflections. And on still winter mornings, a low mist hugs Bridalveil Meadow just across the river, while churning clouds surrounding El Capitan after a storm are a sight to behold. Nevertheless, I’m often content to keep my camera in the bag and just privately appreciate Valley View’s majesty.

But I’m a photographer, and sometimes it’s hard to experience this beauty passively. On those visits when I’m moved to photograph Valley View, I challenge myself to find something that hasn’t been done a million times. The final morning of last week’s Yosemite Moonbow and Wildflowers photo workshop was gray and damp, with occasional sprinkles lingering from a heavier overnight rain. We’d been here earlier in the workshop (in different conditions), and I hadn’t planned to photograph this time, but spotting raindrops clinging to the branches of the shrubs that line the river, I recognized a unique opportunity.

If you know optics, you know that a convex shape bends outward (so water striking its surface would run off; water striking a concave surface would pool inside). Due to this curvature, photons passing through a convex lens are diverted toward the center, where they converge and cross to create an inverted image at the point of convergence (focal point).

In fact, the human eye is a convex lens, projecting its inverted image onto the back its sphere, an image your brain promptly reverses. And photographic lenses are a complex arrangement of convex lens elements that ultimately project onto your camera’s sensor an upside-down image that’s flipped for display by the camera’s firmware.

Compared to these two examples, a dangling raindrop is elegant simplicity. Bound by surface tension, water molecules naturally form a spherical shape that is flattened or stretched slightly by gravity. Because water molecules form an electrostatic bond with foreign surfaces as well, they also adhere to things like leaves and branches, sometimes appearing to defy gravity. This small gift from nature turns a raindrop into a natural convex lens. Courtesy of this natural lens, those who peer closely into a water drop will see an inverted microcosm of the surrounding world, a view that changes with the viewing angle.

There’s potential beauty inside every water drop, but on this morning at Valley View I was in the fortuitous position to photograph raindrops holding one of the most beautiful scenes on Earth. I found a quintet of raindrops lining a branch that had nothing behind it but river. Tiptoeing close, I aligned myself and the raindrops with the Valley View scene and extended my tripod to branch level. I started with my Sony 90mm on my Sony a7RIII, adding extension tubes to get even closer. After working with this combination for a few minutes, I switched to my Sony 100-400 GM (still with extension tubes).

The image you see here is from the 100-400. Depth of field with such a close focus point is paper thin, so I stopped down to f/20 and bumped I my ISO to 3200 to ensure a shutter speed fast enough to minimize the risk of motion blur. To focus, I magnified the raindrop scene in my mirrorless viewfinder. Exposing to avoid blowing out the bright highlights in the (inverted) sky also darkened the river, creating the ideal background.

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The Many Views of Valley View

Click an image for a closer look and slide show. Refresh the window to reorder the display.

A Horsetail of a Different Color

Gary Hart Photography: El Capitan Glow, Yosemite

Winter Glow, El Capitan, Yosemite
Sony a7R III
Sony 16-35 f/2.8 GM
1 second
F/16
ISO 100

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…



Here is a just-revised version of the Horsetail Fall article in my Photo Tips section

(Check out the “Breaking News” section if you plan to photograph Horsetail Fall in 2019)

The Horsetail Fall phenomenon

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.

When to photograph Horsetail Fall

The “when” of Horsetail Fall depends on the convergence of three independent conditions:

  • The sun’s angle is refreshingly predictable, lining up perfectly only in February (and October, when the fall is almost always dry). Common wisdom says the shadow on El Capitan most precisely targets Horsetail Fall at sunset during the third week of February, from around the 15th through the 22nd (or a little later). While I won’t dispute this, I’ve had some of my best success a week earlier, and my favorite Horsetail shot was captured February 9. I’ve also had success photographing it right up until the end of February. On the other hand, I tried Horsetail once on March 1 and found the shadow no longer cooperating. But the stripe of sunset light on El Capitan is most precisely focused on Horsetail Fall in the third week of February.
  • Water in the fall varies greatly from year to year, depending on how much show has fallen on the fall’s extremely small watershed, and how much of that snow is currently melting. A large snowpack and warm daytime temperatures are ideal. Sometimes Horsetail can be frozen solid in the morning, but afternoon warmth can be enough to get it flowing in time for the show. And a heavy rain can get it going strong for a few hours.
  • Direct sunlight at sunset is the most fickle aspect of the Horsetail experience—for every tale of a seemingly perfect evening when the sunset light was doused by an unseen cloud on the western horizon mere seconds before showtime, there’s another story about a cloudy evening when the setting sun somehow threaded a gap in the clouds just as tripods were being collapsed.

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.

Where to photograph Horsetail Fall

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.

* Breaking News *

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

HorsetailPicnicAreaMap

El Capitan Picnic Area, GPS: 37.72782N 119.61844W

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.

Horsetail Fall and Clouds, El Capitan, Yosemite

Horsetail Fall from the picnic area

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

HorsetailFallMercedRiver

Merced River south bank bend, GPS: 37.72885N 119.60743W

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.

Horsetail Fall Reflection, Yosemite

Horsetail Fall reflection from the Southside Drive Merced River view

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.)

How to photograph Horsetail Fall

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.

Strategy

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.

Composition

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.

Filters

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.

Exposure

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.

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A Horsetail Fall Gallery

Click an image for a closer look and slide show. Refresh the window to reorder the display.

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