I first visited Dead Man's Cove, a little inlet of the Loch Raven Reservoir just outside of Baltimore, over a year ago now. Its trailhead is a tiny dirt shoulder off Dulaney Valley Road, and the trail is a short stroll along a fire road that cuts through mixed oak and pine forest. No more than a mile from roadside to lakeside, it's an easy place to catch a glorious sunrise by the water. Ever since my colorful autumn visit there on the morning of Halloween, I've wanted to complete a seasonal series in this little stretch of woodland, and I've been waiting patiently for an opportunity to capture winter landscapes. By mid-March, between the relative scarcity of good snowstorms here in Maryland, the temperate climes (snow doesn't stick), and the time demands of residency training, I'd all but given up hope of getting any photos this year, taking solace in the fact that we'll spend at least one more calendar year in Baltimore. Surely, I thought, there will eventually come a nice, juicy Mid-Atlantic blizzard (rare); that will fling enough precipitation at the Chesapeake to cover its forests at least overnight (rarer); on a day before a day that I'm off hospital duty (rarest of all) and can hit the trail before daybreak.
Then came Winter Storm Toby, which clobbered the Atlantic seaboard and poured nearly 8 inches of snow onto central Maryland in less than 16 hours on March 21st (the first day of spring, of all godforsaken things). Working from home on academic time, I watched the snow pour out of the sky all afternoon, mentally salivating at the prospect.
The next morning, I hit the trail shortly after sunrise, braving the Baltimore beltway and its fleet of moving hazards to get there (what makes Maryland drivers assume they can do freeway speeds while rocking a 50-pound snow mattress on their roofs, and viewing the road through little ice periscopes carved out of their windshield, I'll never know). Leaving the car on what is essentially a snowbank, I trudge into the calf-deep snow with my bugout boots, leaving the first set of footprints through a forest covered by virgin snow. The storm is gone and the sky is crisp and clear, but every gust and gentle breeze shakes a curtain of snow from the barren trees, The result is photographic magic - a misty forest landscape backlit by the soft glow of golden sunlight; lighting to die for.
I walk the mile to the cove, setting my tripod on the water's edge where it stood five months ago. The little rock that I sat on previously is now submerged beneath the lake, so I perch precariously, ankle deep in the water, grateful that I wore my waterproofs and not my usual, 4-year-old hiking shoes. I use a one-second exposure to smooth the ripples on the brilliant lake surface; the subject is a barren promontory covered by white snow and empty trees - a pleasant contrast to the fiery, dense foliage of late October. One more composition to go (I'm envisioning a lush, green forest, laden with life and heat, at the height of summer) before I complete the triptych of canvas hangings in our upstairs bedroom. For now, returning to the car, it takes me nearly an hour to dig it out of the snowbank, but I eventually am home, relaxing with a hot cup of tea, by the late morning.