Sierra Nevada East Side - 2010 by Dave Wyman
Dave Wyman's Gallery Dave Wyman's Gallery
  1. Dave Wyman's Gallery
  2. Sierra Nevada East Side - 2010Sierra Nevada East Side - 2010
Foggy Night in Los Angeles
Coastal Bike Rides
Trek Émonda
Yosemite's Natural Fire Fall
Fearless Photographer: Nature
Had Camera, Did Travel - 2015 in Review
Italy by Bike 2015
The Wildflower Century - Chico, California, 2015
Getting High on Haleakala
A Photograph On Occasion
Yosemite, Selected Images, 2014
Route 66 - 2015
Navajo Country - 2014
A Ride Up Stelvio Pass, Italy
The Un-Yellowstone/Teton Photography Tour, 2013
Clover Avenue Elementary School
The Swingin' 60s - An Eyewitness Account
Homage Galleries
It's Hip to Be Square
Indian Country Galleries
Holiday Festivals of Los Angeles
The Mother Road - The Route 66 Galleries
California Galleries
Mountain Home - Photography Amongst the Giant Sequ
The Oregon Galleries
An August Ascent of Mt. Sill
The Tidelands of South Carolina
Yellowstone Country - Autumn, 2007
The Magic of Autumn - Yosemite, 2006
Sierra Nevada East Side - Autumn, 2006
Zion, Bryce and Las Vegas - A Photography Tour
Death Valley Haikus - Winter, 2007
Yosemite in Winter - 2007
Emigrant Highways - San Joaquin Valley, California
The Glory of Yosemite - Spring, 2007
Winter in Yosemite - 2008
Steinbeck Country
Death Valley 2008
Yellowstone Country - Autumn, 2008
Mono Lake, Bodie Ghost Town and Autumn Colors - Si
Autumn in Yosemite, 2008
Route 66, California - Barstow to Amboy - 2008
Route 66 - Barstow to Amboy, California - 2009
San Diego Natural History Museum - Death Valley -
Land of Fire and Ice - The Cascades and Northern C
Return to Steinbeck Country
Point Reyes National Seashore, California - Previe
Rapha Continental -The Navajo Nation Ride
Beyond the Snapshot: The Point Reyes Peninsula
Yellowstone Country 2009
Yosemite in Autumn - October, 2009
Sierra Nevada East Side - 2009
Indian Country and the Southwestern United States
The Southwest - Canyon Lands and Indian Country, 2
The Mother Road - Route 66, 2010
Family Camping Trip Galleries
The Fargo Street Hill Climb, Version 2010
California's Gold Rush Country
Yosemite's Waterworks, Spring, 2010
The Central Coast of California - 2010
Mule Pack to the High Sierra
Point Reyes, Tomales Bay, Petaluma - 2010
Sierra Nevada East Side - 2010
Winter in Yosemite - 2011
IPhonic Imagery
Death Valley - Spring, 2011
En Plein Air: The Central Coast of California
Steinbeck Country 2011
City of Angels - Photojournalism
Oregon Photo Tour/Ken Rockwell Homage - 2012
Yosemite - Selected Images, 2014

Once again, a plucky group of photographers made their way to the very heart of the eastern Sierra Nevada Mountains, to photograph fall colors, Mono Lake, and the ghost town of Bodie. We will do it again next year.

Here are some of my photographs.

Lower Twin Lake
In Lee Vining Canyon, Below the High Sierra
At Lower Twin Lake
Bridgeport Hot Springs
Calcium Carbonate Trickle at Bridgeport Hot Springs
Great Pyrenees and His Flock
Great Pyrenees
Wagon Reflection, Bodie
Saw and Wood, Bodie
Dark Skies over the Standard Mill, Bodie
View of the Standard Mill, Bodie
Bodie Shadows
Reflections at the Window in Bodie
Darkening Skies over the Tufa, Mono Lake
Sunset Over Mono Lake
Sand Tufa, Mono Lake
Look South Along the June Lake Loop
Trail of Aspens
Aspen Leaves in the Creek
Rock, Leaves, Creek
Near Gull Lake
Quiet Landscape
Golden Creek
Angler Along the June Lake Loop
ALong the June Lake Loop
Lee Vining Creek Cascade
Looking up at the Aspens
Aspens and Starburst
The way to achieve a starburst, without a special filter, is to set the camera to f/16 or f/22, and then meter off the trees without the sun in the viewfinder. That way the trees are exposed correctly, and the very small f/stop will bend the light around the blades of the shutter to create the starburst effect.

Sometimes I like to look up at the trees, rather than straight on; it can sometimes make for a compelling image.
A Leaf in Lee Vining Creek
This is almost an abstract image. I slowed the shutter down to 1/6th of a second, which gave enough time for the water in the creek to blur a little.
Culvert Beneath the Road
For the past few years, I've found pleasure in photographing this culvert that runs under the road in Lee Vining Canyon. Like any subject, there is no one correct way to picture this metal tube. The colors bouncing around the inside of the culvert change, the flow of the water is always different, the light at the end of the tunnel varies. I suppose that's why I find pleasure with it.
Golden Reflections
The reflections in pools of water and the creeks flowing out of the Sierra Nevada Mountains were as colorful as I've ever seen them, in what was, in my memory, the best year for autumn color I've ever seen. One of the enjoyable aspects of photographing reflections of fall in bodies of water is the knowledge that each image is unique.

The trick to finding good reflections is, of course, to have some experience to know they are there. And the careful photographer will walk around a reflection, to see both what might be imagined, as well as all that can be revealed.
Aspens at Their Peak
The low angle, the lines of the trees, the leaves and the road all lead the viewer into the photograph.
Photographers in Lee Vining Canyon
Gold on Gold
By using a 300mm lens, I managed to completely throw the background out of focus; it was a small aspen tree light with the light of the sun shining through its leaves. The long lens also let me narrow the background, cutting out everything in the scene as my eye saw it except for the colorful tree.

When I use a long lens, it isn't always to bring in something far away, it's to help control the way the background looks compared to what I have in the foreground; it's to help create some sort of tension between the foreground and the background.
Seagull at the Bridgeport Reservoir
Another look at the Bridgeport Reservoir, and another look directly into the sun, as per my earlier Mono Lake photograph. The seagull was a fortuitous addition to the scene. The landscape looked completely different to my eye. I could see detail and color not visible here. Yet it's that abstraction of information that I think makes this photograph work. Experience, in fact, taught me that I could make an image more abstract than realistic, and experience taught me it would please my aesthetic sensibility.
Dawn Over Mono Lake
Unlike the earlier image in this series, I pointed my camera into the sun. I'm not sure this looks that much like the original scene; it's probably more contrasty, and I added some warmer color.
Bridgeport Reservoir
This is the same reservoir pictured in the background of the previous photo. My approach this time was to explore the design of the landscape itself, rather than use it as a counterpoint to foreground details.
Backlit at the Bridgeport Reservoir
I used a reasonably long lens to zoom in on the vegetation in the foreground. The long lens also let me narrow the background, so that the top of the plant fit into the bright haze of water in the Bridgeport Reservoir (the same reservoir pictured in the the next photograph).
Early Light Over Mono Lake
Our group had perfect timing, arriving at the viewpoint over Mono Lake as dawn light was breaking. Although I made many photographs directly into the light, I also tried photographing off to one side of the sun, or other. While there is a lot of contrast, I think the layering of lights and darks and colors is effective, if only because it is so evocative of the moment.
Horse Behind the Fence
The horses behind the fence weren't playing along. Rather than posing for us, they were ignoring us, feeding with heads on the ground. I fell back on a technique I came up with a few years ago: I told myself to photograph my subject by not photographing it.

In this case, I decided to focus on the nearby fence, use a large f/stop, and allow the horse to go out of focus. I think it worked. The emphasis is on the fence, and yet we recognize the bright object in the background for what it is, anyway.
Along Highway 182
Our first stop was along a colorful stretch of Highway 182, which leads from the little town of Bridgeport, California into Nevada. This was the place to warm up, even as threatening skies – and a few drops of rain – threatened to cool off the proceeding.

I like the white and yellow lines on the road that lead into the picture. A photograph of a road, after all, can be a metaphor for our lives, for the journeys well all make, from one end of life to the other.

Even though the overcast sky was dark, compared to the sky on a sunny day, it was still much, much brighter than the landscape. Rather than combine the sky above with the land below, by making multiple images to work with in the computer, I simply cut the sky out of the photograph by tilting my camera down.
Scroll To Top

Audio Mute
Privacy and cookie policy
This site uses cookies to enhance your browsing experience, serve personalized content, and analyze traffic. By continuing to use this site you agree to use of cookies and stewardship of your data.