View allAll Photos Tagged Strata
The primitive rim drive with multiple vantage points overlooking Marble Canyon ends at perhaps the very best vista of all: the confluence of the Little Colorado and Colorado Rivers. Two grand canyons consolidating into one, out in the middle of nowhere. The landscape is awe inspiring, and the lack of crowds (or just about any other people at all for that matter) is the cherry on the cake. This image was taken just north of the confluence. The nearly horizontal mid morning rainbow seemed to complement the layers of sandstone which are revealed here.
Early 1900s concrete crushed by years of vehicles driving over the sidewalk, granite curbstone that was probably quarried in the North Cascades, old asphalt from the teens, brick gutter, inept patch job with hot mix tamped down with a shovel, and Wilkeson sandstone pavers
A box made of layers, deep into the ground. The box and lid join together with rows of cheese slopes. And of course, there's at least one buried treasure :)
I can't remember who originated the buried rock technique -- it'll be familiar to all you castle builders.
More views of this box.
Part of an ongoing series on Boxes ... making useful or decorative containers out of LEGO.
Die Zeit in Schichten messen —
Verblasste Zeugen und Spuren
gewaltiger Epochen.
Measuring time in layers —
Faded witnesses and traces
from vast eras.
a beach near Solva, Pembrokeshire, only accessible by foot. The light wasn't great today, and I didn't really have the time to do it justice..... but when you see rock formations like this, whatever the weather, it's hard to resit. Will try and go back again when the light is more amenable and I have more time to play around.
Interbedded sandstones, shales, and coals of the Cretaceous Mesa Verde Formation near Meeteese in Park Co., Wyoming.
Not natural, but man made. Every line in the cross section was once a road surface. After a bit they gave up.
Behind a span of Mojave riverbank fencing, the desert landscape divides into layers—river rock, flora-filled sand, and early autumn sky.
Camera: Pentax Auto 110 (1979, with Pentax-110 50mm f/2.8 lens).
Film: Lomography Orca 100 ISO 110 Film, developed in Arista Liquid Developer for 6:30 minutes @ 70 degrees, and scanned with an Epson V600 scanner.
Up on Hwy 46 getting ready to find the Milky way, but first got this handheld shot of the sun setting over the fog, clouds and rolling hills.
Strata. © Copyright 2019 G Dan Mitchell - all rights reserved.
Sort morning light illumnates rugged desert strata.
Desert landscapes can have an almost surreal quality, with features that are close to unbelievable. (I suspect that this happens in most landscapes, but the "barren" desert reveals them more clearly.) The landscape is laid bard, and we get a clear view of eroded features, twisted rock strata, contrasting colors produced by layers of different materials.
In certain places, in the right light, the contests and patterns become even more striking. This is one of those locations, and it was a day with that kind of light. These eroded hills are threaded with both very light and very dark strata, sometimes directly juxtaposed. On this morning the low-angle, directional light was softened a bit by high clouds.
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 and Amazon.
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Strata, Morning Light. © Copyright 2019 G Dan Mitchell – all rights reserved.
Early morning light on eroded strata with contrasting colors, Death Valley National Park.
This photograph is an example of the transitory nature of light — and how this factor puts the lie to the notion that landscape photography is something always done slowly, at leisure. That is sometimes possible, but more often the most interesting light is fleeting, there only for an instant and sometimes passing its peak before you realize it. Here the layers of colorful strata are in a small canyon, and the light is blocked early in the morning by hills on the other side, behind the camera position. Once the light does arrive, the shadows move down the landscape quickly, and the interval when the light is ideal is brief.
This photograph is also an example of finding balance between an “objective capture” of the scene, a photographic representation of “what it looked like to me,” and something extreme or even fantastical. You have perhaps seen other photographs of these colorful strata, with shades of red, yellow, blue, green and more. Such colors are striking, but they are often quite subtle. In flat or harsh light they are less intense than what you see here. Even in great light and with the kinds of post-processing that I do, the colors are still not exactly intense. I think this subtlety is part of the beauty of these features, and this is lost when the photographer pushes things too far.
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 and Amazon.