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Image 1 of 1
Image 1 of 1
Image 1 of 1
Half Dome from Glacier Point, six frames stitched into one panorama. I came up for the sky as much as the granite — high cirrus was raking across in long streaks, and in black and white that becomes the whole top half of the frame. Below it the Merced drops over Nevada Fall, buckbrush was in full bloom across the foreground, and the High Sierra crest held the horizon. The colour version never worked; monochrome let the cloud, the dome and the falling water carry it.
Half Dome is granodiorite, and shape is its striking feature. The common belief is that a glacier sheared the dome in half — but the ice never overtopped it, and geologists reckon only about a fifth of the original rock is actually missing. What you’re seeing was built by two slower processes. The rounded back is exfoliation: as the granite that once buried this rock was stripped away, the release of pressure let the dome shed curved sheets like the layers of an onion. The sheer face is fracture: the rock split along a set of near-vertical joints, and rockfall carried the missing portion away piece by piece. To the right the Merced drops over Nevada Fall, one step of the Giant Staircase the river takes down from the high country, and beyond it the Sierra crest closes the horizon. Stripped of colour, the scene resolves into structure — cloud, granite and falling water.
A note on presentation: black-and-white landscape has traditionally lived on a matte surface, where tone and texture do the work. On a glossy surface the same image becomes something else — dimensional, luminous, contemporary. Both surfaces are available here; they are different objects rather than better and worse.
Gallery Metal — The next generation of the metal print: printed with Canon LUCIA PRO pigment inks and bonded to a rigid aluminium panel beneath a protective laminate, resolving finer detail and holding colour longer than dye-sublimation can. The modern process for images that reward close viewing. Here that holds three scales of texture at once — the raked grain of the cloud, the sheeting on Half Dome’s face, and the flowering buckbrush in the foreground. Glossy adds a hard coat for scratch resistance along with the fuller colour and depth; matte is anti-glare and holds sharp detail without softening it. Both are UV-protected for long-term display.
Also available in: Standard Acrylic version · TruLife Acrylic version · ChromaLuxe Metal version · Fine Art Paper version
Made to order · Allow 2–3 weeks for production and delivery · Shipping charged at cost, never marked up · Shipping & Returns
The watermark shown here protects the online image only. Your print arrives clean.
Half Dome from Glacier Point, six frames stitched into one panorama. I came up for the sky as much as the granite — high cirrus was raking across in long streaks, and in black and white that becomes the whole top half of the frame. Below it the Merced drops over Nevada Fall, buckbrush was in full bloom across the foreground, and the High Sierra crest held the horizon. The colour version never worked; monochrome let the cloud, the dome and the falling water carry it.
Half Dome is granodiorite, and shape is its striking feature. The common belief is that a glacier sheared the dome in half — but the ice never overtopped it, and geologists reckon only about a fifth of the original rock is actually missing. What you’re seeing was built by two slower processes. The rounded back is exfoliation: as the granite that once buried this rock was stripped away, the release of pressure let the dome shed curved sheets like the layers of an onion. The sheer face is fracture: the rock split along a set of near-vertical joints, and rockfall carried the missing portion away piece by piece. To the right the Merced drops over Nevada Fall, one step of the Giant Staircase the river takes down from the high country, and beyond it the Sierra crest closes the horizon. Stripped of colour, the scene resolves into structure — cloud, granite and falling water.
A note on presentation: black-and-white landscape has traditionally lived on a matte surface, where tone and texture do the work. On a glossy surface the same image becomes something else — dimensional, luminous, contemporary. Both surfaces are available here; they are different objects rather than better and worse.
Gallery Metal — The next generation of the metal print: printed with Canon LUCIA PRO pigment inks and bonded to a rigid aluminium panel beneath a protective laminate, resolving finer detail and holding colour longer than dye-sublimation can. The modern process for images that reward close viewing. Here that holds three scales of texture at once — the raked grain of the cloud, the sheeting on Half Dome’s face, and the flowering buckbrush in the foreground. Glossy adds a hard coat for scratch resistance along with the fuller colour and depth; matte is anti-glare and holds sharp detail without softening it. Both are UV-protected for long-term display.
Also available in: Standard Acrylic version · TruLife Acrylic version · ChromaLuxe Metal version · Fine Art Paper version
Made to order · Allow 2–3 weeks for production and delivery · Shipping charged at cost, never marked up · Shipping & Returns
The watermark shown here protects the online image only. Your print arrives clean.