Simianshan Photography 2026: Shoot Forest Waterfalls and Sandstone Lakes, Don't Book a Photo Tour

Yes. Simianshan (四面山) is a landscape photography destination for people who want forested sandstone mountains, a tall waterfall in a broad gorge, red cliff walls, lake reflections, wet rock, humid mountain light, and enough time to wait for the landscape to become coherent.

I am Frank Zhang, founder of LocalKey Travel. I live in Suzhou. I build China trips around the actual rhythm of a landscape: first light when it helps, weather when it changes the scene, a route that fits your camera weight, and enough time to change focal length or return to a viewpoint after the visitor wave has passed.

This is an English-first guide for independent foreign photographers planning a 2026 Self-Guided or Tailor-Made trip. The subject is landscape only: forest, sandstone, waterfalls, lakes, cliffs, ridges, canyon light, and seasonal conditions.

A commercial group photo tour can deliver a standard waterfall frame and a quick lake stop. It cannot guarantee a quiet deck, a clear reflection, a useful mist interval, or the extra time needed to photograph the same cliff with both a wide lens and a telephoto.

LocalKey sells Self-Guided Adventures and Tailor-Made Trips only. We do not sell commercial group photo tours, couple-waterfall packages, staged check-in products, or fixed scenic-stop photography.

Landscape Lock vs Photo-Tour SKU

The first decision is whether you want to photograph a connected mountain landscape or collect a sequence of recognizable stops.

The strongest edit may contain fewer locations and more work at each one. Give yourself time to establish a wide frame, remove distracting railings, switch to a telephoto for cliff texture, lower the tripod for wet foreground rock, and wait for the water and mist to separate.

This kind of landscape rewards patience more than speed. A waterfall can look ordinary when the gorge is evenly bright, then become graphic when a cloud edge darkens the forest behind it. A lake can look flat under hard midday glare, then hold a clean reflection after wind drops. A red sandstone wall can appear as a block of color from far away, but reveal layers, fractures, and small vegetation pockets when compressed with a longer lens.

Why This Landscape Looks Like This

Simianshan sits in Chongqing’s Jiangjin District, in a mountain corridor associated softly with the transition between the Yunnan–Guizhou Plateau and the Sichuan Basin. The terrain is forested, humid, and broken by sandstone ridges, river valleys, waterfalls, lake basins, and cliff sections.

This is not a single summit photograph. It is a connected landscape system:

• forested sandstone mountains rising above narrow valleys;
• abundant rainfall feeding waterfalls and wet rock surfaces;
• a main waterfall amphitheatre with a tall vertical drop;
• smaller falls and multi-tier water courses along the wider corridor;
• barrier and mountain lakes that hold red cliff and forest reflections;
• red sandstone and Danxia-style cliff faces used here as geological description;
• ridge overlooks that compress layered forest and valley terrain;
• humid subtropical light that can turn a plain scene into a sequence of tonal layers.

The geology should stay in its proper place. Red sandstone and Danxia-style forms help explain the cliff color, bedding, and erosion patterns. They do not make this landscape a component of the China Danxia serial World Heritage property. Simianshan is not being presented here as a UNESCO World Heritage site or UNESCO Global Geopark.

The practical landscape thesis is therefore:

• a humid forest and sandstone mountain corridor rather than an open dry-land cliff park;
• waterfalls and lake basins working together rather than one isolated cascade;
• red cliff walls framed by deep green forest rather than bare multicolor hills;
• mid-elevation mountain scenery with changing moisture and cloud;
• a route where canyon, lake, ridge, and waterfall frames can all belong to one photographic story;
• a place where the best image may come from a secondary angle after the obvious viewpoint has filled.

Simianshan has been treated softly in reference material as a National Key Scenic Area from 1994 and as a National 5A scenic area from October 2015. These designations help explain the developed scenic corridor, but they do not remove the need to confirm current access, shuttle arrangements, trail conditions, or day-of management notices.

Quick Facts for Landscape Photographers

Reading the figures correctly

The area, elevation, and distance figures are orientation figures rather than promises about one day’s route. A scenic-area boundary, a core scenic section, a lake corridor, and a mapped mountain footprint do not necessarily measure the same thing.

The waterfall height is intentionally hedged at about 150 m. English reference material gives a height of approximately 150 m and a width of about 40 m, while other descriptions use a slightly different figure. The photographic point is the scale of the vertical drop and its relationship to the amphitheatre, not a marketing number that should be repeated without qualification.

No ticket price, shuttle price, parking price, boat price, permanent opening-hours statement, or drone-permit statement is included. Confirm these details on current official boards and notices before leaving your accommodation.

Viewpoint Frames Worth Building Around

A strong Simianshan edit should give each viewpoint a distinct photographic job. Do not collect several nearly identical waterfall photographs simply because each platform has a different sign.

1. Wangxiangtai waterfall amphitheatre

The main waterfall frame is about more than the falling water. The surrounding forest, gorge walls, damp air, and red sandstone context are what give the cascade its scale.

Start with a wide lens from a stable viewing position. Look for:

• the full vertical drop with enough breathing room above and below;
• dark forest framing the water rather than empty bright sky;
• a foreground ledge, wet rock, or railing-free edge that gives depth;
• mist gathering below the fall;
• a small natural figure only when someone enters the scene without being directed;
• layers of gorge wall that keep the image from becoming a simple white stripe.

Do not automatically use the widest lens. A very broad view can make a tall waterfall appear small. A normal zoom may preserve the sense of height while keeping the forest and amphitheatre readable.

A telephoto can isolate a section of the fall, especially when wind breaks the water into separate strands or when side light catches spray. Try a second composition that removes the full drop and concentrates on water against dark rock.

Mist and rainbow conditions are variable. Treat them as possible light events, not permanent features. The useful moment may be a soft tonal separation between water and gorge rather than a dramatic atmospheric effect.

2. Red sandstone cliff wall

The Tudiyan corridor is useful for a different visual language: long red cliff, bedding, erosion, wet streaks, and forest scale.

Use side light where possible. Front light can flatten the wall into a single red plane, while angled light can reveal:

• horizontal or diagonal bedding;
• darker channels where water has moved over the rock;
• small trees rooted in ledges;
• shadowed recesses beneath an overhang;
• repeated planes that become abstract when compressed;
• one natural tree or person providing scale.

A medium telephoto is often more useful than an ultra-wide lens. It lets you isolate the cleanest wall section and remove service structures, signs, and visual clutter. If the whole cliff is important, step back and use the forest edge as a frame.

Keep the geology precise. Call the rock red sandstone or Danxia-style when describing its visual form. Do not turn the cliff into an unsupported heritage claim.

3. Longtan Lake reflections

Longtan Lake can provide the quietest contrast to the vertical waterfall. The frame should show the relationship between water, red cliff, forest, and reflected light.

The best reflection is not guaranteed at a particular hour. Wind, passing visitors, weather, and local conditions can break the surface. Arrive with several options:

• a broad shoreline frame with the reflected cliff;
• a telephoto compression of red rock and dark forest;
• a low composition in which water occupies more of the image;
• a broken reflection where ripples become part of the subject;
• a layered view with near trees, lake, cliff, and ridge behind.

A polarizer can reduce glare, but do not rotate it blindly to maximum effect. Sometimes the surface reflection is the photograph. Sometimes the goal is to see through the water to submerged rock and shoreline texture. Make the decision frame by frame.

Overcast light can be useful here. It lowers contrast on the cliff and makes the reflected color easier to control. In hard sun, look for a narrow band of reflected wall rather than forcing a full-lake composition.

4. Honghai or Great Red Sea lake basin

Honghai is a larger-scale lake and valley subject. Use it to move away from the intimate reflection photograph and toward a sense of basin, ridge, and distance.

From a ridge or elevated overlook, try:

• a broad lake shape surrounded by forested slopes;
• a telephoto stack of water, red cliff, and layered ridges;
• a shore curve leading toward a distant forest wall;
• a cloud shadow moving across the basin;
• a high-key overcast frame in which water and sky nearly meet;
• a small foreground tree or rock to establish the height of the viewpoint.

The wider basin may reward a longer lens more than a wide lens. Compression can make the relationship between separate ridge lines legible and can reduce the visual noise of access roads or service buildings.

Do not assume every day will provide clear distant separation. Humidity can soften the background. Use that softness as depth, place the nearest shoreline strongly in the frame, and let the distant ridge fall into tone.

5. Pearl Lake shoreline

Pearl Lake is a smaller, more intimate shoreline subject. The value is the edge between water, forest, and rock rather than a grand vista.

Look for:

• a quiet bend in the shoreline;
• dark trunks or branches framing the water;
• pale reflected sky under a forest canopy;
• wet stones at the waterline;
• a single red or warm-toned rock against green water;
• a mist-softened background;
• a narrow opening in the forest that reveals the lake.

A normal zoom is a practical choice here. The scene may change from a broad lake photograph to a detail of shoreline texture within a few steps. Keep the tripod low if the foreground is clean, but avoid placing equipment where spray or foot traffic can damage it.

6. Shuikoushi and secondary waterfall corridors

The secondary falls matter because they give the day a different pace. They may be smaller, multi-tiered, or less visually complete than the main waterfall, but they can offer better detail frames when the headline viewpoint is crowded.

Use:

• a telephoto crop of separate water tiers;
• wet sandstone with a thin stream crossing it;
• leaves, moss, and dark rock around a small drop;
• a longer exposure where several rivulets become one tonal path;
• a side-lit section of gorge;
• a vertical frame that treats the fall as a line through forest.

The exact condition of a secondary fall depends on recent rain and seasonal flow. Do not promise a fixed appearance. Check the local conditions and treat the corridor as a flexible subject.

7. Forested sandstone ridge overlooks

The ridge frames connect the waterfall and lake chapters. From higher ground, look for the broad relationship between wooded slopes, cliff bands, valley openings, and distant mountain layers.

A wide lens works when the sky carries useful cloud structure. A telephoto is often stronger when haze separates the ridges into tonal layers.

Try three versions:

• a low foreground of forest canopy with a cliff wall beyond;
• several compressed ridge bands in alternating greens;
• a single red sandstone exposure breaking through an otherwise wooded slope.

Avoid filling the frame with every ridge available. The photograph needs a hierarchy. Let one line, one color, or one cliff exposure lead.

8. Canyon light shafts

Humid forest and narrow gorge geometry can produce brief shafts of light. They are not a scheduled attraction and should not be treated as a guaranteed daily event.

When a light shaft appears, work quickly but carefully:

• expose for the bright water or rock rather than the deepest forest;
• use a telephoto to isolate the beam crossing mist;
• keep the composition simple;
• let dark leaves act as a natural edge;
• watch for bright gaps that pull the eye away from the waterfall;
• bracket only when the contrast exceeds the sensor’s comfortable range.

A shaft may last for minutes or disappear when cloud moves. Keep your tripod position practical and leave enough space for other visitors.

9. Wet rock after rain

Rain is not automatically a failed photography day. Wet rock deepens color, reduces surface dust, and can connect small water courses that are otherwise visually separate.

Look for:

• red sandstone darkened by water;
• narrow white channels crossing a cliff;
• reflections on a wet deck or path only when safe;
• small falls joining a larger corridor;
• forest color compressed by low cloud;
• droplets on leaves used as foreground texture rather than a macro subject.

Protect the camera and lens from sudden rain. Use a cover or a simple working system that lets you keep shooting without repeatedly opening a large bag.

10. Crowded platforms and quiet alternatives

The main 5A scenic sections can produce visitor pulses, especially around the headline waterfall and the most legible lake overlooks. A crowd is a planning condition, not a reason to force a bad frame.

When a platform fills:

• wait for people to clear the strongest sightline;
• change from wide to telephoto;
• photograph the cliff or water detail instead of the whole view;
• move to a secondary deck if access allows;
• use natural visitors as scale only when they enter the frame without staging;
• return later if the light is likely to improve.

Independent pacing is especially valuable because the quiet interval may come after the group has moved on, not before it arrives.

Seasons and Light

Simianshan has a humid subtropical mountain climate. Rainfall, cloud, moisture, and seasonal vegetation are part of the photographic subject. Plan around tendencies, not guarantees.

Summer: deep green and strong waterfall flow

Summer generally offers saturated forest, active water, and a strong sense of humidity. The waterfall corridor can feel more complete when recent rain feeds secondary streams and wet rock.

The trade-offs are:

• bright green can become visually heavy under flat cloud;
• high humidity may reduce distant ridge separation;
• wet decks and steps require careful footwear;
• hard breaks in cloud can create difficult contrast;
• popular viewpoints may receive stronger visitor pulses.

Use a polarizer carefully on leaves, wet rock, and lake water. For waterfalls, carry a tripod and neutral-density filter if you want longer exposures in daylight, but also make faster exposures that preserve individual water strands. Do not make every frame a smooth white curtain.

Autumn: canopy structure and more restrained color

Autumn can give the forest more separation, especially when leaves turn at different rates across elevation and exposure. The most useful frame may not be a broad color display. It may be a red cliff wall behind a mixed canopy, a lake edge with muted foliage, or a telephoto stack of green, ochre, and red rock.

Check conditions close to the visit. Timing varies by year, elevation, rainfall, and aspect. Build a route that still works if the canopy remains mostly green.

Winter and shoulder periods: clearer air when conditions cooperate

Cooler and drier intervals may provide clearer distant air and thinner visitor pressure, but neither is guaranteed. A shoulder-season day can offer strong ridge separation, quieter lake edges, and cleaner composition around the main waterfall.

The trade-offs may include:

• lower water flow in smaller falls;
• bare or less dense sections of canopy;
• colder wet surfaces;
• cloud or rain that changes access;
• shorter useful light windows.

Use the shoulder season for layered ridge frames, red cliff texture, and quieter lake work. Keep a rain and mist plan available.

Dawn, morning, afternoon, and overcast light

Early morning is useful for quieter platforms, calmer water, and lower contrast. It is not automatically the best time for every subject. A waterfall hidden in shadow may need later light, while a lake reflection may disappear after wind increases.

Late morning can be good for cliff texture when side light reaches the rock. Afternoon may offer a more useful angle on a gorge wall or a stronger contrast between lit water and dark forest. Overcast days can make red sandstone and wet foliage easier to manage.

A practical light plan is:

• start with the lake if calm water matters;
• move to the waterfall when the gorge has useful separation;
• use mid-day or flat cloud for cliff texture and wet-rock details;
• reserve ridge overlooks for any clearing or late light;
• return to the strongest frame rather than treating every viewpoint as one-time only.

Gear and Pacing

The best kit is the one you can carry across wet decks, uneven paths, viewpoint stairs, and shuttle transitions without rushing.

Lenses

A practical landscape set is:

• a wide lens for the waterfall amphitheatre, gorge, and broad ridge;
• a normal zoom for lake shorelines, forest openings, and flexible compositions;
• a telephoto for cliff bedding, compressed ridges, distant water, and waterfall detail.

A very wide lens can make the waterfall appear small and can include distracting railings or bright sky. Start wider than normal, then tighten the frame until the landscape has a clear hierarchy.

The telephoto is particularly important here. It can turn a distant red wall into a graphic study, compress a lake against forested ridges, and isolate water against dark gorge rock.

Polarizer

A polarizer can help control glare on lake surfaces, wet sandstone, and foliage. It can also remove reflections that are part of the image. Rotate it while watching the water and sky, rather than treating maximum polarization as the default.

On a wide lens, the sky may polarize unevenly. Check the frame edges before committing to a strong effect.

Tripod and neutral-density filter

A tripod helps with:

• long waterfall exposures;
• low-light forest and lake work;
• focus and composition changes between frames;
• controlled bracketing in high-contrast gorge light;
• low camera positions near shorelines.

A neutral-density filter is useful when you want to extend a waterfall exposure in daylight. Carry a range that allows both moderate and longer exposures. Water should retain some structure in the final edit; a smooth exposure is one option, not the entire visual language.

Use a stable stance on wet decks. Keep tripod feet away from visitor paths and do not block a narrow viewing position.

Wet-deck footwear and protection

Waterfall corridors and lake edges can be damp. Wear footwear with reliable grip and use a simple rain cover for the camera bag. Keep a cloth accessible for spray and condensation.

Do not step onto an attractive wet rock simply to gain a lower angle unless the surface and access are clearly safe. The photograph is not worth a fall or damaged equipment.

Filters and cleaning

A polarizer, neutral-density filter, microfiber cloths, and a lens hood cover most of the practical needs. Spray and fine moisture can reduce contrast without being obvious in the viewfinder. Check the front element regularly, especially after working close to the main fall.

Drone note

No drone permit or operating rule is stated in this guide. Confirm current restrictions directly with the relevant scenic-area management and local aviation authorities before carrying out any flight. Do not assume that an open-looking lake basin is automatically available for drone use.

Shuttle-day pacing

A scenic-area shuttle can make it possible to connect waterfall, lake, and ridge sections, but it also introduces waiting and transfer time. Confirm current shuttle corridors, operating periods, boarding points, and day-of notices before building a shot list around them.

A useful rhythm is to assign each day:

• one primary frame;
• one secondary landscape;
• one detail study;
• one weather alternative;
• a return window if the first attempt is blocked by crowds or light.

Trying to photograph every named location can produce a large but repetitive file set. A smaller number of carefully worked frames will give the final sequence more structure.

A Sample Independent Photography Rhythm

This is a planning rhythm, not a commercial tour script. Adjust it to your arrival point, current access, weather, shuttle operation, walking tolerance, and priority subjects.

Arrival and orientation

Use the first practical period to confirm:

• current scenic-area access;
• gate and shuttle information;
• weather and recent rainfall;
• lake or waterfall conditions;
• walking surfaces and any temporary closures;
• the most useful position for the next morning.

Do not spend the first hours trying to complete every viewpoint. Walk enough to understand the scale of the corridor and identify one strong opening frame.

First full photography window

Begin with the subject most sensitive to changing conditions:

• a lake reflection if calm water matters;
• the main waterfall if you want lower visitor pressure;
• a ridge overlook if clear air is forecast only as a short window.

Make a wide, normal, and telephoto version before moving. Compare the files later. The strongest composition may not be the widest one.

Midday transition

Use the harder light for subjects that benefit from texture rather than atmosphere:

• red cliff bedding;
• wet sandstone;
• secondary waterfalls;
• forest paths and canyon edges;
• compressed ridge studies.

This is also the sensible time to move between scenic sections, confirm the next shuttle, and protect the camera from heat, rain, or condensation.

Afternoon return

Return to the waterfall or lake if the light has changed. A second attempt is often more valuable than a new location.

At the waterfall, look for:

• mist separation;
• a darker forest background;
• side light on one edge of the drop;
• a smaller water strand that was invisible earlier.

At the lake, check whether the wind has dropped or whether ripples now create a better abstract surface. Do not insist on a mirror reflection if the water is moving; use the movement as texture.

Final light and file review

A ridge or cliff overlook may work late in the day if the light is soft. Avoid forcing a sunset image when the landscape has no clear foreground or when the view is dominated by access infrastructure.

Review files for:

• clipped waterfall highlights;
• distracting railings;
• excessive polarizer effect;
• repeated compositions;
• weak foregrounds;
• red rock that has shifted into oversaturated orange;
• mist or moisture reducing contrast.

The next day should begin with the frame that almost worked, not automatically with a new location.

How Simianshan Differs from Nearby Photography Routes

Simianshan belongs in a different folder from several well-known China landscape routes. The distinction matters when choosing the right trip.

The most important distinction is between forested red sandstone and exposed red-landform country. Simianshan should be photographed as a wet, layered mountain system. If your brief is bare Danxia forms under dry open light, another destination may fit better. If your brief is a tall fall framed by forest, a red cliff reflected in a lake, and shifting canyon moisture, Simianshan has a clear identity.

Practical Access and Day-of Checks

The broad route is Chongqing municipality to Jiangjin District to Simianshan Town and the scenic corridor. Distance figures are soft planning references. Confirm current road, rail, bus, transfer, gate, and shuttle information close to the visit.

Before setting out, check:

• current scenic-area access;
• gate and shuttle operation;
• weather and recent rainfall;
• lake and waterfall conditions;
• temporary trail or deck closures;
• local parking and transfer arrangements;
• current photography or drone restrictions;
• whether the viewpoint you want is open at the time you plan to use it.

Do not build a plan around an invented ticket price or a permanent opening-hours claim. Day-of boards and current official notices should control.

For a foreign photographer, the practical benefit of a Self-Guided plan is not simply independence. It is the ability to preserve margin. A late road arrival, a rain shower, a full platform, or a broken reflection should change the order of the day without destroying the entire photographic plan.

Frequently Asked Questions

Is Simianshan the same kind of landscape as Wulong Karst?

No. Wulong is associated with limestone karst, tiankengs, and natural bridges. Simianshan is a forested sandstone mountain corridor organized around waterfalls, lake basins, red cliff walls, and humid valley light.

Do I need a commercial photo tour?

No. Independent photographers can use a Self-Guided plan if they are comfortable checking current access, transfers, weather, and equipment needs. A Tailor-Made plan is useful when you want help shaping the route around specific light windows, walking limits, camera weight, or a wider China itinerary.

Does LocalKey sell group photo tours?

No. LocalKey sells Self-Guided Adventures and Tailor-Made Trips only. We do not sell commercial group photo tours, fixed photo-stop schedules, or couple-waterfall packages.

What are the ticket and shuttle prices?

This guide does not state ticket, shuttle, parking, or boat prices. Confirm current figures and operating arrangements on official boards, scenic-area notices, or park desks close to the visit.

What is the best season for photography?

Summer generally offers deep green forest and strong waterfall conditions. Autumn may provide more canopy structure and restrained color. Winter and shoulder periods can offer clearer air or thinner crowds when conditions cooperate. No season guarantees a particular forecast, reflection, mist effect, or visitor level.

Is the main waterfall always surrounded by mist or a rainbow?

No. Mist and rainbow effects depend on water flow, sun angle, moisture, cloud, and viewing position. Plan the waterfall around its vertical drop, gorge, forest, and red-rock context, with atmospheric effects treated as a bonus.

Should I bring a tripod?

Usually, yes, if long exposures, lake reflections, low-light forest, or careful composition are priorities. A tripod adds weight on wet decks and scenic paths, so match its size and stability to the route.

Do I need a polarizer?

A polarizer is useful for controlling glare on water, wet sandstone, and foliage. It can also remove reflections that you may want to keep. Rotate it while watching the scene instead of using maximum polarization automatically.

Can I fly a drone?

This guide does not provide a drone permit or operating rule. Confirm current restrictions directly with scenic-area management and relevant aviation authorities before flying. Do not assume that a wide lake basin is available for drone use.

Is Simianshan a UNESCO World Heritage site or part of China Danxia?

No. The red sandstone and Danxia-style wording in this article is geological and visual description. Simianshan is not described here as a UNESCO World Heritage property, a UNESCO Global Geopark, or a component of the China Danxia serial World Heritage inscription.

Is this guide about local food or ethnic culture?

No. This is a landscape photography guide only. The subject is forest, sandstone, waterfalls, lakes, ridges, light, weather, gear, and pacing.

How far should I walk each day?

That depends on the viewpoints you choose, current shuttle operation, wet surfaces, elevation changes, and the weight of your camera kit. A useful approach is to choose one primary landscape, one secondary frame, and one weather alternative instead of trying to complete every named stop.

Should I choose Self-Guided or Tailor-Made?

Choose Self-Guided when you want maximum control and are comfortable confirming practical details yourself. Choose Tailor-Made when you want a private route shaped around your camera system, dates, walking pace, preferred subjects, and wider China itinerary.

Plan a Self-Guided or Tailor-Made Simianshan Photography Trip

A good Simianshan plan starts with the image you actually want to make:

• a full waterfall amphitheatre;
• a compressed red cliff wall;
• a calm lake reflection;
• a broad forested basin;
• a wet-rock detail sequence;
• a ridge layered by humid mountain air;
• a seasonal forest and sandstone study.

From there, build the practical route around light, weather, access, shuttle timing, and the amount of equipment you want to carry. Keep a secondary subject ready so rain or crowds change the day without ending it.

LocalKey Travel / Guangdong Xingcheng International Travel Agency was established in 2009. We can help you choose between a Self-Guided Adventure and a Tailor-Made Trip, connect Simianshan with a wider China landscape route, and keep the itinerary focused on the photography rather than a generic scenic checklist.

Explore Self-Guided Adventures, review Tailor-Made Trips, or Contact LocalKey to discuss dates, lenses, walking pace, and the landscape frames you want to bring home.

Official and Reference Sources

• Simian Mountain — English Wikipedia — geography, forested mountain context, waterfall reference, lake corridor, and valley landscape.
• Jiangjin District — English Wikipedia — district and Chongqing orientation.
• Chongqing — English Wikipedia — municipality context.
• Simianshan — Chinese-language Wikipedia — soft area, elevation, designation, and scenic-core reference figures. Use the current page as a reference and confirm day-of management information independently.
• Wangxiangtai waterfall — GoWesternChina — secondary English photography pacing notes for the waterfall amphitheatre and changing light.
• Longtan Lake — GoWesternChina — secondary English notes for lake reflections and seasonal landscape conditions.