It always amazes me how fast the seasons seem to change this time of year. Feels like summer was just here and already fall is giving way to winter. By most accounts it was an unusual year for fall color with mother nature not quiet sure what she wanted to do in many parts of the country.  The Sierra Nevada provided another bounty for us in the west although not quite as dramatic as last year. I hope everyone got out to enjoy the colors in your local woods and maybe preserved a few visions of your own from this most colorful season.

As another Thanksgiving approaches I’m reminded of how much we have to be grateful for. In this often crazy world, nature provides a constant source of inspiration and renewal (photographically and in life), and is often as close as our own backyard. I’m looking forward to gathering with friends and family in the days ahead - then exploring the great, white wonderland of winter as soon as the snow starts to fall. Have a safe and fun holiday weekend everyone.

Fall color and fresh snow, Sierra Nevada Mountains, California (click to view larger)

Making great images of fall color obviously starts with the seasonal changing of the leaves. Where and how this happens is dependent upon elevation and temperature and no two years are ever the same. The higher mountains of the west begin in mid-September, eastern hardwoods in October, and the lower red-rock country of the southwest in early November. Once you’ve settled on a destination and found that great grove of trees the next step is to consider the light.

It might seem like the vibrant reds or yellows before you would be faithfully reproduced by your sensor no matter what time of day, but understanding the quality of the light can go along way towards guaranteeing your success. Using backlight or sidelight when the sun is low on the horizon and illuminates the leaves from behind creates a wonderful warm glow, especially when set against a dark background. Softlight is another great light source (illustrated above) that occurs when the sky is overcast and acts like a giant studio softbox. Under these conditions, it doesn’t matter what time of day you’re shooting as the shadows are eliminated and the uniform light both reduces the contrast while intensifying the colors.

So when the scene presents itself, consider the light and don’t be too quick to trip the shutter. A slight change in position or a little patience could make the difference between a good image and a great one.

Fall aspens at South Lake, Inyo National Forest, Sierra Nevada Mountains, California

It’s September 1st – the days are getting shorter, and there is a crispness in the air that definitely signals the close of summer. This is my favorite time of year when the crowds give way to the colors of fall, and the natural world seems to come alive once again with a riot of color.

It’s always hard to predict just when the peak of autumn will occur, and temperature changes play a large part in this. Higher elevations in the western mountains tend to peak late September to early October, the eastern hardwoods around mid-October, while desert canyons such as Zion typically show their full colors in early November.

Indications are that 2011 will be another big winter, which means the season may be cut short as early snows cause the leaves to turn brown or drop prematurely. But if your timing is right, you can have the best of both worlds with one season visually ushering in another.

Fall aspens along Bishop Creek, Sierra Nevada Mountains, California

The digital age has opened up a whole new realm of possible solutions from HDR (High Dynamic Range) to stitched panoramas, and filters have always been invaluable in controlling and shaping the light just as much in the digital realm as in the days of film.

With all of these techniques available it’s easy to lose focus, to put the cart before the horse so to speak, and attempt to “shoot for HDR” or push a filter to its limits. As with the constant temptation to buy the latest camera or software, we need to remember that it’s not about the gear or the technique, but the vision. That’s the essence of creative photography and yet often misplaced amid all of the many possibilities.

No matter what the future may bring our most important tool as photographers will always be our mind’s eye, and the equipment in our bag or on our desktop is just a means of  helping the viewer connect with what we felt emotionally when we made the image.

There’s been an online discussion lately about art and copying, the process of creating images that are not the photographer’s personal vision so much as an attempt to duplicate the work of others. In extreme cases some would argue this isn’t art at all, but rather a mechanized form of duplication. The unfortunate result is that many photographers are no longer willing to share information about specific locations, and those photographers involved are missing the opportunity to show the world their own unique vision.

This trend is ironic given that we’re a country born of rugged individualism, and photography above all is a form of personal expression. But it’s no surprise when we are surrounded by such a lack of creativity in society today - movie remakes of 70′s television shows; advertisements using surprisingly similar images; even politicians repeating the same words as if they are uniquely their own. Perhaps this lack of originality is due to tight deadlines and too little time in our fast-paced world, or simply a fear of the unknown.

Before I head off on a shoot (especially if it’s a location I’ve never been to before) I thoroughly research the area geographically and geologically and I’ll also review images of the area as a reference point to get a sense of place. But then after immersing myself in the details at home, I use the travel time to clear my head and fine tune my receptors to soak in whatever the location may offer.

Instead of previsualizing, I prefer to see a place through a child’s eye as if I’m the first ever to experience it. I’ll often avoid the obvious viewpoint whenever possible in favor of an angle that combines the key elements of the scene in a fresh, new way. When that’s a challenge, I’ll try a different lens or shutter speed or perhaps just wait for the light or weather to change.

So dare to be different and embrass the unknown. Find your own unique vision and enjoy the rewards of the path less travelled.

The transition from summer to fall can be a sudden explosion of color or a subtle change in hues depending on how quickly the temperature drops as the autumnal equinox approaches. Equally dramatic is the first snowfall signaling the coming of winter. It might be a light dusting on leaves and branches adding a new dimension to the autumn landscape, or a large storm that blankets the slopes at higher elevations in stark contrast to the bold colors below. This image from the San Juan Mountains in Colorado exemplifies the later and is a prime example of seasons competing for attention – and for the photographer’s eye.

Autumn is one of my favorite times of year. The crisp air and shorter days stimulate the senses, and the light takes on a magical quality. Throughout the country the deciduous trees from aspen to maple are a visual reminder that summer has passed and that winter is not far off. And for the photographer, this transition is literally a golden opportunity to capture the landscape in its finest hour.

When many people think of fall color the hardwood forests of the eastern United States immediately come to mind, but the aspen groves of the western states and the Sierra Nevada Mountains of California in particular can rival even the sugar maples of Vermont. Photographing aspens is often best on overcast days when the light is soft and harsh shadows are minimized or late in the day when the sky is clear and the warm back-light makes them glow from within. This image was made along Rush Creek near June Lake just moments before the sun dropped behind the Sierra peaks.

Autumn is one of my favorite times of year. Everything in the natural world is in a state of flux and the woods of both coasts are a patchwork of color. Mention fall color though and many people naturally think only of New England and its glowing maples, but the quaking aspen of the west are equally vibrant especially when back lit.

This image was made in the San Juan Mountains of Colorado shortly before an early snow fall blanketed the landscape. A 180mm lens compressed the scene across this narrow valley and emphasized the contrast of aspen and evergreens.