Wind and Rainbows in the Eastern Sierra

Rainbow in the Wind, originally uploaded by Jeff Sullivan.

The wind was literally ripping water off the wavetops in Mono Lake on Sunday. Gusts up to 80MPH were reported in the Eastern Sierra valleys, with up to 145MPH forecasted on the ridges.

Fall colors will linger on primarily in wind-protected areas.

Fall Colors Peak in the Eastern Sierra

June Lake Loop Fall Colors, originally uploaded by Jeff Sullivan.

Fall colors peaked in many areas of the Eastern Sierra by last weekend. I enjoyed some of the most varied and saturated colors in years along the June Lake Loop on Friday. I returned on Sunday to find ample colors remaining, but the colors were faded and by the afternoon hevay winds had arrived and many of the trees were having their leaves blown off. Pockets of good color and some green leaves still to change do remain, and trees at lower elevations such as cottonwoods down by Bishop have a slightly later season, but many of the largest aspen forests have declined substantially after Sunday's storm.

Stereographic Projection of 360 Degree Panoramas

My World in Autumn, originally uploaded by Jeff Sullivan.

If you want to try something completely different and have a lot of time on your hands, put on your widest lens and shoot a panorama which covers everything around you (including straight up and down). Run that through the free Hugin panorama software, and viola!

I have to warn you that it's a steep learning curve: it took me roughly 24 hours to produce this result (partially due to a nearly 1GB TIFF file initial result). Until I've done a few more the best option is to refer you to the many Flickr groups which have tutorials posted in the discussions: www.flickr.com/search/groups/?q=Hugin

For example, the group Create Your Own Planets www.flickr.com/groups/createyourownplanets/ offers tips on the shooting end. First you put on your widest lens, set one white balance, exposure and manually set focus (so the information in overlapping shots will be easier for the program to identify and blend). Then with the camera in portrait/vertical (sideways) orientation you rotate around and take overlapping photos in a circle (each one overlapping the previous one roughly 1/4 frame). You need to cover everything, so at 10mm you'll need to take at least 2 rows in a circle, one almost catching your feet and one almost reaching the sky straight up. Then you take one shot straight up, and one straight down. Tou do all of this while trying to have the camera always shoot from the same point (rotating around a point roughly halfway down the lens, which can be done best with a panoramic tripod head). Here's a discussion with more detail on the shooting:
http://www.flickr.com/groups/createyourownplanets/discuss/72157606038572766/ including a link to tutorials on this site: www.panoguide.com/howto/

Here's a discussion in that same group with 2 links to tutorials on the whole process, including software: www.flickr.com/groups/createyourownplanets/discuss/72157594556380967
Now I need to go read the tutorials. : )

Good luck!

P.S. - For extra credit, once you get the basic process down, you can try integrating the result into a video, like the opening sequence here, and the timelapse at 4:00! www.vimeo.com/12279966

Shooting & Postprocessing Fall Colors Images

Parker Lake Fall Colors Reflection, originally uploaded by Jeff Sullivan.

Fall is one of my favorite times to shoot, as California's Sierra Nevada is decorated with colorful leaves: in the trees, on the ground, and alongside creeks and lakes. Aspen leaves are flat and shiny, and they point and rotate in virtually any direction, so in my approach a primary shooting consideration is the reduction of color-killing glare. Whether the lighting conditions are sunny or cloudy a circular polarizing filter, properly rotated to darken the image (the visual effect when you cancel out the glare), will enable the full color of the leaves to shine through and get captured by your camera's sensor. In fact, I drive around with polarized glasses on (in all seasons) so I'll recognize more potential shots. There can be issues with polarizers producing uneven results in solid blue skies if you're using wide to ultrawide lenses, so you may have to shoot a given scene with the polarizer on and off so you can select the best one later, and so you'll have the option of superimposing the two images and using Photoshop layer masking to use the Fall colors from one image and the blue sky from the other (more trouble than I currently go to, but a valid option nonetheless).

Optimizing your camera's capture of the color is only the first challenge however. Once you view your RAW file in your favorite editing program, you often find that the camera failed to capture adequate contrast and it assigned an automatic white balance which dramatically changed color as well.

That was my experience as I viewed photos of Parker Lake which I took during the Mountain high Workshops Fall Colors session last week. The yellow aspen at the far end were changed to a dull orange-brown, and the gren was overly dull as well. One however I shot of the attendees and lake from behind the trees when I first arrived, and the Fall colors on the far side turned out a lot brighter and more yellow, more like what I remembered from being there.


To restore that yellow to my other Parker Lake shots, first I tried a few white balance settings... changing from As Shot to Auto and Daylight, and possibly even bumping the color from there towards cold (blue) or warm (orange). Your mileage may vary based on your camera's sensor, so what I actually ended up with is irrelevant; the process is more important.

What really did the trick however was to go into the Develop tab/menu and where the color sliders are in the right column under the HSL / Color / B&W heading, first I set the sliders to Luminance (brightness) and made the yellow trees brighter, then I changed the sliders to Saturation and I gave just the yellows a bit of an increase until the trees matched the other photo with more natural color. I did a similar thing to a lesser degree to the greens, which also seemed duller than what I saw onsite.

Two additional adjustments that can often imporve the outcome are Develop - Presence - Saturation (of course, although if I use it at all I prefer to keep it minor and subtle, under 5%), increasing contrast (which you'll see improves color on most images taken at -2/3 EV or brighter... i.e. most exposures), and Library - Saved Preset - Punch, which seems to perform something analogous to a local content-aware contrast adjustment (it either improves the result or it doesn't, so I'm always ready to Ctrl-Z undo it).

I'm not sure what caused the camera to go so far off on the color for that sequence of Parker Lake shots, perhaps the green algae and brown mud on the lake bottom, but the corrected version seems much more natural to me. I've upload both the behind-the-trees shot and this adjusted reflection shot so you can see how the edits turned out on the reflection one.

If you don't have Adobe Lightroom, you can download a free trial, which will be active for 30 days from your first use. Adobe also periodically posts Beta versions for public use (you have to find the Beta download section of their site), which tend to work (with some bugs) for months.

Since I started using Lightroom I no longer have a copy of Photoshop CS installed on my latest laptop, and I hardly ever use Photomatix any more. Lightroom is simply more efficient to use, and it produces excellent results.

One of the key features I use a lot are software GND filters under the Develop (look for a little GND-looking icon near the top of the right column). I often use Cokin GND filters when I shoot, but additional fine tuning is extremely helpful.

A huge productivity boost comes from Lightroom being able to copy editing functions from one photo to many others from that shoot
(Library - right click over photo - Develop Settings - Copy). Since I bracket exposures, I can edit one dark one, one medium one and one light one, then copy those basic edits onto dozens of similarly exposed photos, then simply pick the best results to make some additional minor optimizations to. I even copy dust spot removal from one photo to adjacent ones, then simply adjust a few spots where the content in the new shot requires cloning from a different place (easy to do, difficult to describe... it'll make more sense when you try it).

Lightroom also helps you become deeply familiar with your camera's results. For example, without other experience I'd expect that a 0EV exposure might provide an excellent compromise as the image to work with and edit, and I've heard that a slightly overexposed image would offer more detail (a larger file size), but through using Lightroom and editing three bracketed exposures side by side, I've found that for my camera a 2 stop underexposed image often offers the best color and contrast, so at a minimum I'll edit the darkest file for reference, then see if I can get the middle exposure to look as good. Sometimes the middle exposure gets close if I increase contrast, but often I still choose the darkest one as the best (with a little extra noise reduction). I should mention that my most common bracketing and exposure compensation settings are: bracking of +/- 1 1/3 stop, biased -2/3 stop, resulting in exposures of -2, -2/3 and +2/3 EV. I should add the disclaimer that those settings do seem camera dependent... some of the workshop attendees' cameras seemed to perform better a 0EV, without the -2/3 stop compensation (which works well on my Canon 5DII).

The two things would like to have from Photoshop are adjustment layers / layer masking and free downloadable actions (such as one which enables you to make a star trails shot from multiple 30 second night shots). In some rare instances I might enjoy panoramas/stitching and content aware fill, but I prefer the shooting end of the creative process, not editing, so I tend not to get around to postprocessing which requires a lot of time. It's either easily and quickly available from the in-camera result, or I simply move on to work with another image.

For more tips, search my blog as follows:
http://activesole.blogspot.com/search?q=technique+tips

Photographic Technique: Iterative Composition

Shooting Process: Kearsarge Lakes Evening Reflection, originally uploaded by Jeff Sullivan.

When I see an opportunity to capture a nice reflection I may capture a quick shot of the reflection to have one before the light or water surface changes, but then I spend time walking around looking to "upgrade" and add a more interesting foreground like this one, where the logs provide "leading lines" whch further draw your eyes to the subject. It'd still be nicer with some colorful sunset clouds of course, but less than optimal weatehr is all the more reason to ensure that your compositions are strong and make your images work as well as possible, whatever the weather.

It's certainly well worth the few extra moments of forethought and exploration while you're shooting. Your percentage of strong images will go way up when your shooting process is more thoughtful and deliberate than see, point, and shoot. It all starts with your mindset and intention; when an opportunity presents itself you deliberately set out to make the shot, and reshoot it after making it better, resisting the urge to simply take one.

Sure there are details along the way that can help, but it all starts with your intention and your shooting process.

I'm not presenting this as a perfect shot by any means, but it's better than the others I shot immediately prior, and it was about as well as I could have done without wading around in ice cold water and muck to fine tune the composition (subject placement, lines, angles, etc) even further. After exploring this shot to this extent I simply decided at the time that with three lakes within a couple of hundreds yards of me, searching out other locations, foregrounds and results would be a better use of my limited time as the sun continued to set.

For more technique tips search this blog for "technique" or "technique tips". To practice this, join me this October for one of our two field workshops in California's Eastern Sierra:
Mountain High Workshops: Fall Colors in California's Eastern Sierra http://www.mountainhighworkshops.com/FallSierra.html

You may also use the NetworkedBlogs feature in the right column to follow this blog over on Facebook.

Photographic Technique: Exposure for Maximum Reality and Flexibility

Garnet Lake Sunset, originally uploaded by Jeff Sullivan.

To increase your successful exposures and the percentage of your shots which successfully capture what you saw, there are a number of things you can do while shooting to improve your odds.

It helps to understand that a camera does not "see" in the same way that our eyes see. A camera has one exposure for everything in the scene, while our eyes focus on one point, then change focus and exposure for the next point. so when we are present for an event like this, we see far more shadow and highlight detail than a camera will pick up. As with a camera, a photographic print reproduces the scene in a way that often won't enable your eyes to see or your brain to perceive the light the same way that they woudl onsite. To compensate for this and produce a more natural image and print, it's often helpful to increase shadow light when taking the shot (preferable) or afterwards when "developing" / editing it.

It is not always possible to perform the corrections while editing due to shadow noise, so it's better to optimize the shot as you shoot. All digital cameras worth shooting with (in my opinion) offer the ability to shoot and store files in the camera's native "RAW" format. While the common and smaller JPEG format offers smaller file sizes, it only stores 8 "bits" of data, or 256 colors per pixel. RAW formats offer either 12 bits (4000 colors) or 14 bits (16,000 colors), so when you go to adjust colors after shooting, such as simply lightening or darkening part of the image, there's far more of hte original scene's subtle information there to work with, and adjustments can be made in a much more subtle and natural-looking way as well, not having color or brightness simply make a massive jump to the next shade out of only 256 choices.

Once you have the camera set to capture RAW files, since digital files are free, I recommedn turning on yoru camera's Automatic Exposure Bracketing to take at least 3 exposures which you can select from later. I examine the results to ensure that the brightest exposure provides detail in the darkest shadows, and the darkest exposure preserves detail int he lightest areas. The middle exposure should be the best single exposure, at least in terms of being the best compromise between light and dark ones. All three exposures can be combined later in Photoshop using Layer Masking (they align best in the widest number of editing programs if you shoot on a tripod). Nikons can often shoot AEB sequences of 5, 7 or 9 exposures; it's your call how much data you want to store and to sort through later. In moast cases so many shots won't be necessary, but in some extreme cases having the extra information could prove very useful (hear that Canon?).

To obtain the best 3 exposures while shooting it is also necessary to adjust the whole AEB sequence up or down, using Exposure Compensation. I often shoot my three exposures with a spacing between them of +/- 1 1/3 stops, and with the whole sequence biased down (darker) 1/3 to 2/3 stops. This is not a "rule" it is just where I start. If I review the shots and the situation calls for it, I may expand the AEB spacing between exposures to the full 2 stops allowed by my Canon, and I may bias the whole AEB sequence up of down the full 2 stops allowed as well. For example, night star/Milky Way shots tend to need far more light than the camera estimates, while shooting a rising full moon often requires that one exposure be many stops darker to preserve detail on the moon itself, with tends to be much brighter than the surrounding landscape. If the automatic bracketing still fails to handle a wide range of light in the scene, you can use Aperture Priority (Av) mode to capture and optimize results for most of the scene, while setting your Manual (M) mode to be many stops away to capture the most challenging subset of the light (such as the bright full moon well after it rises and the surrounding landscape has gotten much darker).

Then there's the content of the shot to consider... while shooting. For a shot with a reflection like this, the part of the scene that is easiest to correct is the reflection, which will be close to 3 stops darker (8X times less light) than the direct view of that same object in the scene (in this case the orange clouds). Yet our eyes and brains perceive the direct light and the reflection as being the same intensity! To bring the exposure of I used a Cokin #121 3 stop graduated neutral density filter, which I positioned to darken only the portion of the scene from the horizon up (where the far side of the lake meets the mountain).

That adjustment while shooting was a great start, but some fine tuning of the light is still necessary in software, and I highly recommend Adobe Lightroom for that, since it offers three levels of fine tuning:
- software graduated neutral density filters which can correct for your hardware filter not being exactly right for the light present
- a "fill light" adjustment which can brighten shadows across teh entire scene
- a selection brush which can be used for burning and dodging selected items or regions of the image.
If some of the operations such as fill light start to make the image look less realistic, increasing contrast may be required to restore a natural look. I like to start with slightly underexposed exposures which already have high contrast and (in my experience) the most realistic color. There are always exceptions, but I don't find that the brightest exposures can be adjusted to look just like, or as good, as the darkest one. I'd strongly prefer to use the brighter exposures with less noise and more shadow detail, so I'll often edit 2 or all 3 exposures, but I simply find that the "keeper" is often still the darkest one. In that case it helps to have a camera with a sensor which delivers images with very low noise in the shadows.

So even having software that can do some of the adjustment, the physical GND filter is still necessary to do as much of it in the camera as possible, to avoid having too much noise in the shadows as you level out the light somewhat, just like our eyes would if we were there viewing the scene onsite. Similarly, having the physical GND alone is a great start but won't get you to the best possible result without software that has a software GND function plus some way to perform additional dodge and burn. And this all assumes that you shot and optimized 3 exposures on a tripod, with the files saved in RAW format.

Once you have these basic exposure tools and practices down, you can free yourself to focus on more strategic and creative things like composition, and to add creative elements such as motion/long exposure or light painting.
For more technique tips search this blog for "technique" or "technique tips". To practice this, join me this October for one of our two field workshops in California's Eastern Sierra:
Mountain High Workshops: Fall Colors in California's Eastern Sierra http://www.mountainhighworkshops.com/FallSierra.html

You may also use the NetworkedBlogs feature in the right column to follow this blog over on Facebook.

Perseid Meteor Showers

Perseid Meteor Over Mono Lake Tufa, originally uploaded by Jeff Sullivan.

My next photography adventure was heading out to shoot the Perseid meteor showers. After a realtively weak showing at the first night at Mono Lake, in part due to the large amount of dust in the air there (great for sunrises, not so great for seeing stars or meteors rising over the eastern horizon), I drove down to the higher and clearer Ancient Bristlecone Pine Forest.

This time I had spoken to Tom Lowe several times in the weeks leading up to the event and I decided not to wait to capture the crescent moon setting over the crest of the Sierra Nevada before driving up to the Patriarch Grove at 11,300 feet. Several other photographers on Flcir who had expressed an interest in shooting this event had communicated that they would not be making it after all, but photographer Jean Day was expecting to join us. As luck would have it, her truck was up on a jack with a flat tire, shortly after Schulman Grove, still 10 miles and at least a half hour to 40 minutes short of my destination.

Even worse, someone who stopepd to help had overextended the jack, breaking the handle in the process. I had both cans of Punture Seal and an air compressor built into my minivan, but my jack was too short, so I shot the crescent moon descending behind some communication towers while we waited for an adequate jack.

After several people stopped we eventually were able to get the truck down off its jack, and drive, inflate, drive, inflate our way to highway 168 before the leak in the tire got too bad to reinflate. Fortunately we had been able to flag down a flatbed tow truck on its way to another call, who would now be looking for her as he drove out. Jean urged me to get back up there and shoot, so I headed back up.

To make a long story short, I was off to a late start, but I found a shooting location which would not get lit up by late arrivals, and set my camera and intervalometer timer loose to capture hundreds of consecutive 30 second shots.

Olmstead Point Dawn Full Moon Set

Olmstead Point Dawn Full Moon Set, originally uploaded by Jeff Sullivan.

In late July I positioned myself to catch the full moon rising at Mono Lake. It had rained during the day, but as I sat on the porch of the lcoal coffee shop waiting to see how the weather woudl turn out, it was clearing up nicely for sunset, and hopefully the moonrise. One of the nice things about photography is that the people really into it are a pretty relaxed and sociable bunch. I ran into filmmaker Tom Lowe at a coffee shop in Lee Vining, and he was heading out to Mono Lake as well. A young woman with an accent had shared the table and power for her laptop, and not knowing the area, when she heard we were going to a nice sunset location, she decided to follow along in her car.

We drove south out of town, and as I turned left onto a shortcut, Tom missed the turn and kept going towards the standard highway 395 to highway 120 route towards South Tufa. The woman, Rotem Retter from Israel who had come to the U.S. after serving in the Israeli Defense Force, made the turn. By now a large rainbow was forming in the remaining showers over the Mono Basin, so I stopped at a turnout near another photographer's car. This turned out to be Ron Wolf. We had seen each other's work on Flickr, but had never met.

As I continued on, I decided that the clouds would obscure the moonrise, but they were well posisioned for shooting sunset at South Tufa. I called Tom with the update, but by now he was already set up elsewhere, and decided to stay put.

The clouds were fine for sunset, but as i had suspected, they were too thick to allow the rising moon to show through. This is why it's critical to try to shoot as many sunset full moon rises as possible in a given year... there are only a dozen or so to start with, and weather will obscure many of those!

No problem... I could still catch the moon set at dawn. After having the June 26 partially eclipsed moon set at Olmstead Point behind a nearby ridge before it woud have set on the horizon, I decided to shoot this moonset there as well, so I could find a better shooting position that would enable the sunrise to proceed further as the full moon set.

It turned out even better than I could have planned. The sun was sending light rays over the Eastern horizon, while the moon acted as a gaint reflector, sending more of the sun's rays radiating back from the Western horizon.

I had high expectations for this sunrise, or at least high hopes. After all, I had looked up the moonset and sunrise times a week or two in advance, checked sun and moon angles for various locations in The Photographer's Ephemeris to select my shooting location, gotten up at 3:55 over by Mono Lake to make it here in time, and to place the foreground hill out of the way for the moonset I decided to hike up the granite slope across the road instead of down to Olmstead Point. To do this landscape photography thing right, it's a far cry from just arrive, point and shoot!

"A lot of people think that when you have grand scenery, such as you have in Yosemite, that photography must be easy."
- Galen Rowell

I continued to shoot as the clouds and light changed, and there were some majestic juniper trees on the hill which added nice foreground subjects. But I was done by 7am or so, with no plans for the day.

As with the prior sunset Rotem had decided to check out my shooting location, and having hiked Mt Dana the day before, she was eyeing Mt. Hoffman today. I had no plans for the "boring" mid-day light, and the trailhead was only a couple of miles away, so this time I tagged along.

After we moved food and scented items fomr our cars to bear boxes, we got an early enough start to reach May Lake while I could still catch a reflection with minimal wind.

The entire hike is only a 6 mile round trip, but the trailhead is at 8710 feet and you end up at approximately 10,850, so it's a healthy climb. I'm never particularly fast lugging 10-12 pounds of camera gear plus 3 liters (another 6 pounds) of water, but it's an enjoyable hike with a nice view.

Unfortunately there was a fire somewhere which cast a haze in the air. With the distinct possiblility of afternoon thunderstorms, after some rest and chatting with other hikers on top, while protecting day packs from persistent marmots wanting to steal food, it was time to make a hasty descent.

Don't Tread On Me

Don't Tread On Me, originally uploaded by Jeff Sullivan.

I was on my way down from shooting a sunset on Monitor Pass in when I came across a rattlesnake in the road. I rarely see rattlesnakes in the Sierra Nevada, but they're vital to helping control rodent populations and reducing the risk of bubonic plague and hantavirus, so I helped ths one off the road. Sadly, it was injured, perhaps by some ignorant motorist who would prefer a slow, painful death from black plague? I've never had a rattlesnake strike at me or act offensive in any way.

Instead, they warn me of their presence, and move in the opposite direction at the earliest convenience. They're shy, reclusive creatures and avoid us whenever possible. I always feel priveleged at having seen one.

"I recollected that her eye excelled in brightness, that of any other animal, and that she has no eye-lids—She may therefore be esteemed an emblem of vigilance.—She never begins an attack, nor, when once engaged, ever surrenders: She is therefore an emblem of magnanimity and true courage.—As if anxious to prevent all pretensions of quarreling with her, the weapons with which nature has furnished her, she conceals in the roof of her mouth, so that, to those who are unacquainted with her, she appears to be a most defenseless animal; and even when those weapons are shewn and extended for her defense, they appear weak and contemptible; but their wounds however small, are decisive and fatal:—Conscious of this, she never wounds till she has generously given notice, even to her enemy, and cautioned him against the danger of treading on her.—Was I wrong, Sir, in thinking this a strong picture of the temper and conduct of America?"
- Benjamin Franklin

Little Lakes Valley for Dawn, Tenaya Lake for Sunset

Tenaya Lake Pollen Lines, originally uploaded by Jeff Sullivan.

I'm going on so many hikes, it's getting hard for me to follow me! I know, I'll go on my blog and see where I've been... Doh!

OK, so painstakingly reconstructing my movement by photo timestamps it now comes back to me... after Minaret Lake I shot Rock Creek/Little Lakes Valley for dawn, then made my way back to Mammoth to talk to Ranger Mike about destinations. He had photos from all over on his PC, recommended a bunch of places, and issued me a permit to hike to Gardisky Lake up near Saddlebag so I could shoot back towards Conness Peak at sunrise. It didn't turn out that way, but I'm getting ahead of myself... let me start with Rock Creek.

The Mosquito Flat trailhead at the end of the Rock Creek road has a hikers' walk-in camp at the end... all you need is a wilderness permit to stay there. That puts you right there to do a short hike before dawn to get up the lakes as the alpen glow starts to light up the peaks. It's a lot easier to pull this off in the Fall, when the sun comes up later! Anyway, you can start a few hundred yards up the trail (and some bushwhacking to the south) at Long Lake, but I usually go a mile or so up to the first lake on the trail There's an even better lake another mile up, but who wants to get up that early? Either way plan to arrive roughly 30 minutes before the published sunrise time, as the sun will stike these tall peaks 10-15 minutes before sunrise. For the more subtle alpenglow before the direct sunlight, allow yourself that additional 15 minutes. Make sure you also make allownaces for your fitness level and your degree of acclimation to the elevation around 9000 feet (another reason to stay overnight nearby... it makes the hiking easier). One really nice feature about Little Lakes Valley is that the mos tinteresting mountains to shoto are far enough to the south that you're not shooting directly away from the sun, and your shadow doesn't get in your shots after the sun rises. You can shoot your way up the valley for hours.

To make a long story short, one brunch, coffee / Internet stop and wilderness permit later I was off to Yosemite. The weather didn't seem interesting enough for a great show at Cathedral Lakes that night, so I headed over to Tenaya Lake.

The west end of the lake offers a variety of interesting foregrounds and a nice view of the granite ridges over the east end, so I headed there. The wind died right on schedule as the sun dropped and the light warmed. I crossed the outlet creek to shoot from the crushed granite beaches, but evan with heavy repellent the mosquitos were too persistent, so I retreated with a few nice shots already captured.

In Search of Cathedral Peak Reflections

Cathedral Peak Summer Alpenglow, originally uploaded by Jeff Sullivan.

I started the day up near Saddlebag Lake to shoot a sunrise timelapse sequence on a nearby ridge. Then I hiked in to explore the lakes up by the old mining camp of Bennettville, hiking out in time to move to Tuolumne Meadows for a Cathedral Lakes sunset hike.

I arrived at Cathedral Lakes early enough to scout out both lakes. I arrived at Lower Cathedral Lake to find a enthusiastic welcoming committee of ravenous, probably disease-ridden, blood-sucking bugs. The few surviving human visitors to this lake were beating a hasty +retreat, doing what will be forever etched in my mind as the "Cathedral Lake dance," an awkward combination of jogging, arm-waving, stream-hopping and loud expletives.


Spotting a reflection of Cathedral Peak accompanied by an unreal, seemingly metallic cobalt rending of sky blue in the inky tea-colored waters of a nearby stagnant pool, I decided to make some use of the rock-like camera gear which for the past 3.5 miles had only served as ballast in my daypack. Aware of the risk of picking up some rare and exotic plague from the parasites spawned in this pool of decaying primordial goo, I blithely pulled out a small vial of insect repellent to keep the little pests at bay. The repellent was 100% DEET, which I knew was roughly 3.4 times stronger than the maximum effective concentration of 29% as determined by Consumer Reports. It's not possible to repel mosquitos any better than 100%, and I might grow new organs and evolve into some awkward new life form from excessive toxic chemical exposure, but perhaps I could keep the little buggers 3.4 times farther away and reduce my odds of becoming a curiousity at the Centers for Disease Control.

The chemical haze only served to confuse the little creatures, which continued to bump into my arms and legs, sing in my ears, dicover patches of unprotected flesh around my eyes, and (the last straw) congregate on my camera and in front of the lens.

I made quick work of the mosquito pond, checked the map for a possible direct route to the upper lake, and struck out to find a game trail that would lead me over the polished granite cliffs between me and my next destination.

I arrived at the upper lake to find mosquitos slightly lower in numbers, but no less annoying, so I kept moving farther up the westward granite slope to get farther and farther from their home. Eventually I ended up on a large and more or less flat rock way up the slope, killing time before sunset by killing mosquitos, and counting the ones resting on my camera and tripod (up to 12).

The wind picked up however, so I had to move down to the lake to increase my odds of finding some calm water to get the reflection that I had gone up there for. Fortunately the wind calmed down for a few minutes right when I needed it to, so I was able to catch a few good shots before making the long, dark hike back out to the trailhead at Tuolumne Meadows.

Second Try at Minaret Lake

First Light on The Minarets, originally uploaded by Jeff Sullivan.

After getting shut out on my attempt to make a visit to this lake realtively easy from the adjacent canyon, I returned a few days later to make the long, hot 7.5 mile hike up from the bottom, via Devil's Postpile National Monument. This time I camped in the monument ot be able to drive my own vehicle in, which greatly simplified logistics (and enabled me to use a bear box to safely store food away form my vehicle, an option which was lacking on the prior week's trip when the ranger station advised me to park at Mammoth Mountian and take the shuttle in).

It would be a 15 mile round trip, so I budgeted two nights in case I might want a layover day to go explore nearby lakes.

In the end however I decided that I wanted to make sure tha I got to Yosemite and Cathedral Lakes more, so I hiked back out the daya after arriving, and headed back to the Tioga Pass/Saddlebag Lake area to catch sunrise and get ina hike to the old mining camp of Bennettville before making the Cathedral Lake hike in time for sunset.

Quick Overnight to Twenty Lakes Basin

Early Morning at Conness Lake, originally uploaded by Jeff Sullivan.

The subtraction of Minaret Lake from my John Muir Wilderness trip left me with an extra day on my hands. On the exit day from Devil's Postpile National Monument I headed up to Rock Creek to catch Little Lakes Valley at dawn while the peaks had snow on them, then I headed up to Saddlebag Lake at 10,000 feet to catch the boat taxi down the lake to the Twenty Lakes Basin. The mosquitos were thick and aggressive, as was becoming a theme for the season. I had just enough time to catch a couple of Brook Trout or dinner, make camp, and prepare for an early sunrise (sleep).

By dawn I made my way up to Conness Lakes, and I worked my way to one of the upper lakes to catch one with snow and ice still on it. Descend, break camp, hike out, catch the boat taxi, and off to the next location!

The Trail Succumbs to Snow

John Muir Wilderness Sunrise, originally uploaded by Jeff Sullivan.

Descending from Garnet lake to Shadow Lake, the mosquitos were becoming more numerous and persistent, so it was a fast trip. Taking a right turn up the canyon, I completed the roughly 5 mile trip to Ediza Lake. There was no access to the northside of the lake and there still quite a bit of snow on the north-facing and east-facing slopes, so campsites were difficult to come by. The wind was strong, but the mosquitos were stronger. I had a brief moment of relative calm winds and water to catch some reflected light on the far shore, then I retreated to the safety of the tent to prepare for dawn, which fortunately arrived calm and clear. It wasn't cold enough for the snow to re-freeze solid, and I hadn't carried crampons or gaitors on this trip, so I decided not to traverse the snow and pass up past Iceberg Lake, and to put off a visit to Minaret Lake.

Gem on the John Muir Trail

Early Morning Light at Garnet Lake, originally uploaded by Jeff Sullivan.

Next on the itinerary was Garnet Lake. Following the John Muir Trail from Thousand Island Lake to Garnet Lake was an easy two miles and change, so I had time to shoot a few pictures at Ruby Lake along the way, and to catch some Brook Trout for dinner once I arrived. Fortuantely a guide-led tour of hikers arrived to help finish dinner so I could run off to catch sunset.

It wasn't clear whether or not sunset color would punch through the clouds, but in the nick of time the sun came through and the skies really lit up. I had a few short minutes to run around and see how many compositions I could capture. There were far more than I could do justice to, but I knew that I was bound to have a couple of keepers.

I returned to camp to enjoy some nice "blue hour" light, with a faint echo of sunset light from the distant horizon still painting the bottoms of the clouds.

For sunrise I moved further west along the northern shore of the lake, enjoying the changing light on Banner Peak and on the lake's islands.

Starting Backpacking Season with a Bang

First Morning Dawn, originally uploaded by Jeff Sullivan.

I was determined this Summer to do a fair amount of backpacking to reach some of the most scenic portions of the High Sierra. Although trail accessibility was delayed somewhat by a healthy Winter, I was determined to get up to a few lakes before the snow on the surrounding peaks was entirely gone. For the first trip I decided to do a loop out of Devil's Postpile National Monument starting on July 10, from Agnew Meadows to Thousand Island Lake, Garnet Lake, Ediza Lake, and possibly cross-country over to Minaret Lake. Much of the trip would be in the vicinity of 10,000 feet in elevation, so I built an extra acclimation day into the schedule.

I could only get a wilderness permit to enter on the Pacific Crest Trail, so I'd start off with an eight mile day rising a couple of thousand feet. That portion of the trial was exposed, hot, my packing wasn't as Spartan as it should have been, and I was carrying five days of food, so it was a long haul. Obtaining the wilderness permit, taking the requirted bus shuttle into the park, and the hike itself led me to arrive jsut before the sun went down. There was wind on the lake, so I'd have to wait until morning for the best conditions and light. Fortunately the dawn conditions didn't disappoint, with the snow-clad Banner Peak reflecting in the still waters of the lake, an angular cloud providing additional light-catching capability and interest.

During the day I navigated cross-country up to a nearby ridge to catch a view over Sullivan Lake and down to the June Lakes Loop. I ruturned in time to catch alpenglow in the sky over a small iceberg.









Fortunately the skies that night were clear and no moon was visible, so the starts were incredible: bright and endless in number. The lake was calm, so the Milky Way reflected clearly in its waters. With a start like this, I couldn't wait to see what the next days would bring!