Death Valley 1999

January 13, 2009 ·

Michael Reichmann

NewThis subject is featured inIssue #1of The Luminous Landscape Video Journal 

Death Valley Moonrise, 1999

We had planned this trip to coincide not only with the peak of the fall colours in the Sierras but also a full moon which would rise at sunset on Sunday, October 24th. We decided that the place to be would be the dunes area ofDeath Valleynear Stovepipe Wells. We were not disappointed.

Taken with a 300mm Schneider Apo-Tele-Xenar lens. The atmosphere’s magnifying effect on the moon while so close to the horizon can be clearly seen.

Also have a look atthis perspectiveon the same scene taken by photographer Steve Kossack.

Layered Sky – Black Mountains, 1999

Aquerberry Point is located on the west side of Death Valley, opposite Zabriskie Point and Dante’s View. It’s in the Panamint Range, which are the mountains that you see across the valley from those east-side points. It’s about a 45 minute drive, much of it over narrow dirt roads and to be there for sunrise you need to leave Stovepipe Wells at least an hour or more before first light. This isn’t a well know tourist spot so you’ll likely have it to yourself.

Not digitally enhanced, not filtered ….. just the real deal in a Death Valley sunrise as seen by Fuji Provia 100 film.

Striped Dunes, 1999

No matter where you go on the dunes near Stovepipe Wells in Death Valley there are footprints. But, as with aphotographthat I took in the same place 2 years before, with a bit of work one can make the footprints an effective part of the composition.

It’s worth noting that the only time of day worth shooting in the dunes is either early morning or just before sunset. During the daytime they are simply boring, while the strong shadows of a rising or setting sun add tremendous texture and detail.

Taken with 300mm Schneider Apo-Tele-Xenar lens.

Footprints, 1999

Footprints, footprints and more footprints in the sand. This image was shot about a half-hour before the one above, when the light wasn’t quite as warm but the shadows were already strong. I like the strong graphic statement created by the footprints as well as the texture of the sand itself. In this case the footprints become the composition. Again, this was taken with the 300mm Schneider Apo-Tele-Xenar lens.

NewThis subject is now featured inVolume 1,  Number 1of The Luminous Landscape Video Journal

For a more complete write-up on photography and travel in Death Valley please visithere.

Michael Reichmann

Michael Reichmann is the founder of the Luminous Landscape. Michael passed away in May 2016. Since its inception in 1999 LuLa has become the world's largest site devoted to the art, craft, and technology of photography. Each month more than one million people from every country on the globe visit LuLa.

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