Interrupted Dune #2
Interrupted Dune #2. © Copyright 2022 G Dan Mitchell – all rights reserved.
Interrupted curve of sand at a Death Valley dune.
If you follow my posts regularly and think that this looks familiar… you are correct! It is a vertical (or “portrait”) format of a photograph that I shared earlier in a companion “landscape” orientation version. When a subject can work either way (albeit with different effects) I will usually take the time to capture both vertical and horizontal versions. I suppose that one reason is that it relieves me of the worry that I might have picked the “wrong” option and puts off a final decision until later. It also provides me with two visual options for the image, something that is occasionally useful.
Superficially this version looks a lot like the other one, though the taller and narrower format may give greater weight to the curve running between the bottom and top of the image. However, if you were to look at them side-by-side you would notice that the textures in the sand are subtly different, and that that colors have also shifted a bit. This photograph, like quite a few that I make in situations like this, was made in rapidly changing light conditions, and in the brief interval between the two photographs the scene changed visibly.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
Interrupted Dune #2
Interrupted Dune #2. © Copyright 2022 G Dan Mitchell – all rights reserved.
Interrupted curve of sand at a Death Valley dune.
If you follow my posts regularly and think that this looks familiar… you are correct! It is a vertical (or “portrait”) format of a photograph that I shared earlier in a companion “landscape” orientation version. When a subject can work either way (albeit with different effects) I will usually take the time to capture both vertical and horizontal versions. I suppose that one reason is that it relieves me of the worry that I might have picked the “wrong” option and puts off a final decision until later. It also provides me with two visual options for the image, something that is occasionally useful.
Superficially this version looks a lot like the other one, though the taller and narrower format may give greater weight to the curve running between the bottom and top of the image. However, if you were to look at them side-by-side you would notice that the textures in the sand are subtly different, and that that colors have also shifted a bit. This photograph, like quite a few that I make in situations like this, was made in rapidly changing light conditions, and in the brief interval between the two photographs the scene changed visibly.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.