2015 was an exceptional year for me in terms of photography. Not just for the images, but for the experiences as well. I made an effort to be more adventurous, and spontaneous in my choice of subject matter. I also vowed to be more responsive to the images themselves when it came to post processing. In all, there are thirty-seven photographs, so I will present this post in two parts. I hope you enjoy viewing them as much as I enjoyed making them.
In late January we had a heavy snowfall which made it impossible for me to drive out of my driveway. So, I walked down to Soda Dam to photograph it in its winter splendor. This image seemed to be a black and white candidate from the start.
Nikon D800 with Nikkor 24-70 f2.8: 1.3 sec., f20, ISO 50
March took me to southern Arizona to photograph desert wildflowers. I didn’t find the showing I had hoped for, so I contented myself by pursuing Teddy Bear Chollas. When photographed in the right light, they have a luminous quality about them. I made this image at sunset in the Lost Dutchman State Park, east of Pheonix. The fabled Superstition Mountains lie on the horizon.
Nikon D800 with 24-70mm f2.8 lens: 1.3 sec, f16, ISO 50
I’ve been to Ah Shi Sle Pah Wash many times over the years, but I seldom explore along the southern edge. In April I decided to change that; I made this image looking northwest from the top of the southern rim. This is the section I call the Yellow Badlands. It’s like taking a look back through time.
Nikon D800 with Nikkor 24-70 f2.8: 1⁄8 sec, f18, ISO 50
In May while exploring a part of Ah Shi Sle Pah Wash I had never been to before, I came across this incredible hoodoo hidden in a small ravine along the northern edge of the main wash. I stayed and worked the area for nearly two hours. This is the first of many compositions using what I call the Neural Hoodoo as the main subject.
Nikon D800 with Nikkor 16-35mm f4 lens: 1⁄30 sec, f16, ISO 50
This black and white image was made from the opposite side of the Neural Hoodoo. If forced to choose a favorite, this would be it.
Nikon D800 with Nikkor 16-35mm f4 lens: 1⁄25 sec, f16, ISO 50
This final image of the Neural Hoodoo was made from the same general location as the first, but I zoomed in to capture a more intimate portrait.
Nikon D800 with Nikkor 16-35mm f4 lens: 1⁄15 sec, f16, ISO 50
At the same time I was exploring the far reaches of Ah Shi SlePah, I was discovering some of the amazing and convoluted drainages along the southern rim of the wash. I made this image on a stormy evening in late May. I could not have asked for more appropriate light for this scene.
Nikon D800 with Nikkor 24-70mm f2.8 lens: 1⁄60 sec, f18, ISO 50
In early June I went out to the Bisti Wilderness. At the far reaches of the southern drainage, I made this image of a multi-colored grouping of hoodoos. I had photographed this same group several times in the past, but I think this is my favorite. The clouds seem to reflect the lines of the caprocks.
Nikon D800 with Nikkor 24-70 mm f2.8 lens: 1⁄40 sec, f16, ISO 50
One morning in late June I noticed the chollas around my house were blooming. I set out the next morning for the Rio Puerto Valley to capture the splashes of color in that dramatic landscape. I made the first image (above) in the ghost town of Guadalupe. The return of life to the desert seemed coincidental to the ongoing decay of the adobe buildings.
Nikon D800 with Nikkor 24-70mm f2.8 lens: 1⁄6 sec, f16, ISO 50
In this image, a blossoming cholla stands at the head of a deep wash as a rain cloud passes over Cerro Cuate in the distance. Even the slightest precipitation sustains life in this environment.
Nikon D800 with Nikkor 24-70mm f2.8 lens: 1⁄10 sec, f16, ISO 50
Early on the morning of July 4th, before the road was closed for the parade, I slipped out of town and drove out into the San Juan Basin. I didn’t really have a plan other than to visit the Burnham Badlands, which lies to the west of the Bisti Wilderness, and covers a relatively small area as badlands go (about one mile by two miles). This graceful hoodoo sits smack in the center of it.
Nikon D800 with Nikkor 24-70mm f2.8 lens: 1⁄20 sec, f16, ISO 50
After completing my exploration of the Burnham Badlands, I drove west through the heart of the Navajo Reservation and arrived at Shiprock in the early evening. I drove one of the dirt roads that runs along the lava dike until I found a spot I liked. I set up my camera and tripod then waited for the light. Over the next two and a half hours, I made almost a hundred exposures as the light changed and the sun crept toward the horizon. This is my pick.
Nikon D800 with Nikkor 24-70mm f2.8 lens: 1⁄6 sec, f16, ISO 50
Hidden in plain sight, just a few miles north of Ah Shi Sle Pah is the Fossil Forest. At the end of a low ridge which runs east to west, you can just make out the telltale signs from the county road: the striated color, and the deep cut drainages where geologic treasures lie exposed. I went there with an agenda: to find a fossilized tree stump. I’ve related the whole story in an earlier post, so I’ll just say here that we were able to locate the stump after some scrambling and sleuthing.
Nikon D700 with Nikkor 16-35mm f4 lens: 1⁄25 sec, f16, ISO 100
In July, I made a trip to visit my daughter Lauren in Madison, Wisconsin. She accompanied me on the return trip. Early on the second morning, somewhere in central Kansas, she mentioned the large birds roosting on the fence. I had driven past and hadn’t noticed them, so I backtracked until we found them. The birds turned out to be a committee of turkey vultures sunning themselves and drying their wings. I was able to get pretty close to them without distressing them, and I managed to capture quite a few exposures. This is my favorite.
Nikon D700 with Nikkor 24-120mm f4 lens: 1⁄640 sec, f9, ISO 500
In August we set out on the high road to Taos. The way passes through many small villages: Chimayo, Truchas, Las Trampas, and Picuris Pueblo to name but a few. At Picuris, we visited the plaza, and there, I noticed the shapes and texture of the adobe walls of a small church. This is the result of my efforts there.
Nikon D700 with Nikkor 24-120mm f4 lens: 1⁄400 sec, f14, ISO 1600
Farther up the road, we took a fork to visit the village of Tres Ritos. There, in a meadow by the side of the road, was a spray of mountain asters with a small wetland full of cattails just beyond it. The dark foreboding sky intensified the saturation of the colors and was the perfect backdrop for the scene.
Nikon D700 with Nikkor 24-70mm f2.8 lens: 1⁄640 sec, f16, ISO 1600
In late August on a trip to Denver, I drove up highway 285 instead of using the interstate. Late in the day, the clouds were hanging in tatters from the peaks of the Sangre de Cristos to the east. The grasses were just beginning to turn and the colors filled the spectrum. When I came across the trees, it all came together.
Nikon D700 with Nikkor 24-70mm f2.8 lens: 1⁄5 sec, f11, ISO 50
On my return from Denver, I was driving across the Taos Plateau and the nearly full moon was climbing through the clouds above the Sangres. The Chamisa was in bloom and all I needed to do was find the right combination.
Nikon D700 with Nikkor 80-200mm f2.8 lens: 1⁄500 sec, f13, ISO 800
Still on the Taos Plateau. The texture and colors in the grasses and sage, along with the rays of sunlight piercing the dark clouds caused me to pull over again (at this rate, I would never get home). The lonesome Ponderosa Pine anchors this image, but the thing that really ties it all together is the thin strip of light colored ground below the mountains.
Nikon D700 with Nikkor 80-200mm f2.8 lens: 1⁄500 sec, f11, ISO 800
From the north, you can see it coming from a long way off. The spires and monoliths peek above the horizon to give you a preview of the awe inspiring landscape you are about to encounter. Monument Valley: the quintessential western landscape.
From the campground located near the entrance to the valley, the well known Mittens and Merrick Butte are front and center. As we made camp, my attention was continuously drawn to the expansive landscape; I felt like I had fallen into an old TV western.
One hundred and ninety million years ago this area was covered by sand dunes much the same as the Great Sand Dunes in south-eastern Colorado. Over the intervening time, the dunes were compressed, hardened, and finally eroded until they formed the sandstone buttes, mesas, and pinnacles we see today.
The landscape here is unique. Perhaps not geologically, but visually it is different from any where else on earth. And, it is recognizable due to its connection to the movie industry. So, making images of the valley that are fresh can be a challenge.
The atmospheric conditions that prevailed throughout our trip ensured some dramatic, and at times forboding, skies. The low hanging clouds shrouded the monoliths and helped lend a bit of mystery to an already awe inspiring landscape.
One of the best ways to assure that your images are different is to move away from the proscribed “scenic views”. For this image I made of the North Window, I walked away from the area where all the photographers were and found this weather beaten, dead juniper by the side of the road.
But sometimes, you just need to go with the flow and make a photograph that’s been made a thousand times before. This is one of several photographs I made at John Ford’s Point. The first one showing a horse and rider moving away from the point under low clouds is more spontaneous.
It seems that everywhere you look there is a photograph to be made. The expansive views, the weathered junipers, and the unique rock formations are an image maker’s dream come true. It is no wonder this place has become a mecca for film makers and photographers.
Ansel Adams was one of my very early inspirations to become a photographer. In 1957 he made an image in Monument Valley and I could not resist the chance to pay homage to the man by making my own version. Standing there and seeing this same view that he recorded all those years ago was a moving experience for me.
There are times when everything just seems to come together; serendipity is a beautiful thing. When I noticed the raven perched in the juniper with the West Mitten as a backdrop, I rushed to get into position to capture the moment. Luckily, the bird seemed to be in no hurry to leave his perch and I was able to work the scene until I found the right composition.
This trip is now a fond memory, but I know I will be returning soon to this magical place where time (and the birds) stand still.
We have had two major wildfires here in the Jemez Mountains over the last four years. Each destroyed well over 100,000 acres leaving large tracts of forest scarred with the burned skeletons of once majestic conifer trees. After a while, you get used to the desolation. It can even have its own kind of harsh beauty.
Winter can be especially beautiful in a burn. The tonal contrast between the white snow and the black, charred trees is striking. The textural contrast between the trees on a burned ridge and a lowering storm cloud provide strong elements and tell a story of loss reconciled by time and weather. We can use such conditions to make more compelling images.
When conditions are right, the bones of the dead trees become coated with hoarfrost and are transformed into fragile, crystalline structures. You can almost hear the tinkling of their branches as they sag under the weight of the frost.
When the sun breaks through a low-hanging bank of clouds, the light is transformed; it becomes, in a way, magical. The shadows and the mist of the clouds create a kind of frame that surround and isolate the area which is lit, making it the focal point of the composition.
Otherwise unremarkable elements of the landscape become worthy of attention when they are enhanced by a coat of frost.
They come front and center when the rest of the scene is obscured by cloud cover. Such conditions reduce the clutter that would, under normal conditions, draw our attention away from them.
The last two images are successful only because of the low clouds which block the view of a conifer covered hillside. If we could see the entire scene, the trees in the foreground would become lost in the background of similar shapes and patterns. By using the softness and the simplicity of winter conditions, we can imbue otherwise unattractive or unworkable scenes with qualities that make them stand out, and render them more recognizable and appealing to the eye of a viewer.
The title of this post has nothing to do with color correction, or the temperature and tint of images. It has to do with the feeling that comes over me when I find myself enveloped in a cloud, surrounded by a world of white.
A good snow has become a rare thing here in the Jemez Mountains. So, it was a pleasure to wake up to nearly six inches of wet, white stuff recently. I dug my snow boots out of the back of my closet and ventured out into the white.
Growing things become dormant during the winter, but they are still an integral part of the landscape. I found these elongated clusters of seed pods and I was struck by both the contrast between and the similarity to the cottonwood trees in the background. The snow on the branches and on the ground served to intensify the graphic elements of the scene.
This scene of a snow covered bridge over the Jemez River needed only one element to make it complete: a human figure. Since I was the only one around, I volunteered myself. I set the timer on the shutter release and walked across the bridge.
These snow covered cholla cacti caught my eye; their prickly spines covered with a fresh coat of soft snow provided a conceptual as well as visual contrast.
The spring run-off usually happens in late April to mid-May. This is the earliest I have ever seen the river running this high and murky. I used a 3 stop neutral density filter to slow the shutter to 2.5 seconds in order to render the water as a smooth, chocolate colored flow with vanilla streaks. The background is lacking the rincon (a curved cliff face) which is normally visible from this vantage, but it is obscured by the low-hanging clouds.
The chiseled geology of Soda Dam is softened somewhat by the snow. There is never a lot of snow around it due to the warmth of the ground. Soda Dam is formed by a small warm spring that has laid down the calcium-carbonate deposit over thousands of years. The small waterfall was in deep shadow, so I made two exposures, one for the scene, and one for the waterfall. I then blended the two in Photoshop using a layer mask.
This final image was made in my driveway. I love the contrast of the trees against the nearly featureless, white…ish background. The normal view includes a ponderosa pine covered ridge.
By mid-afternoon, the world was back to normal, and most of the snow was melting. These ephemeral transformations are short-lived, but they serve to emphasize the things that I love about the place I chose to make my home.
As photographers, it is our job to discover beauty in the commonplace, everyday subjects or interactions that we encounter. Usually, it is a challenge; rarely it is serendipitous. A change in the quality of the light, or a change in the relationship of the elements can make a dull, uninspiring view come to life. It is important that we remain vigilant or we will miss the fleeting opportunities that appear, seemingly, out of nowhere and then disappear just as suddenly.
I came upon this scene while driving the south loop at Bosque del Apache NWR. At first glance, I was not certain that it would make a compelling image, but the longer I studied it, the more potential I saw. The textural contrast was striking, and the color palette pleasing.
If you analyze the image, several things should be obvious: the reflection of the trees is somewhat blurred by the moving water, but there is still a feeling of quiet calm. The texture of the grasses and smaller trees add a subtle counterpoint to the tranquility, the color triad: blue, yellow, and red unify the composition, and the brooding sky lends a natural vignette to the scene.
Paying attention to these elements and emphasizing them during post-processing resulted in the image you see. Your interpretation of a scene and the way it looks in the final outcome, is subjective and is only limited by your own imagination and creativity.
This is actually old news; the images in this post were made in November. Other things have come and intervened and gone, so I am catching up with the past. One thing about photographing at Bosque del Apache: you never know what you’ll come away with.
Last year (2012) it was cold at sunrise; it took nearly four hours for all the birds to leave the pond. This year was different, with the temperatures barely below freezing, they were off the pond in less than two hours. So, things were happening pretty fast. These two sandhill cranes are in the process of taking off from the Chupadera Pond.
On the first evening, we photographed the fly in from the Flight Deck Pond. While we were waiting for the birds to arrive, I noticed these trees near the pond being lit by the setting sun. The water was still and smooth as glass. Another rorschach image.
I am a creature of habit I suppose. I have a routine that I follow while at the Bosque. When the morning fly out is over, I take a leisurely drive around both tour loops just to see what I can see. It’s on this drive that I usually find the herons, and this year I was not disappointed. I made this image of one catching his morning meal in the diversion channel on the west side of the refuge.
After crossing to the east side at the southern end of the loop, we came across this idyllic scene. The San Mateo Mountains provided just the right background the heron in the foreground was an added bonus.
These final images pretty much sum up the reasons I make my annual sojourn to Bosque del Apache: sandhill cranes and great blue herons.
They live in the wild, but at places like the Bosque where they are protected, we can rub elbows with them and catch a glimpse into their lives. I can’t imagine a life without a connection to such untamed beauty.
Sometimes the best thing about Autumn is the anticipation of the first snowfall, which often happens in early October. Well, no snow yet this year, but we have had some intense skies, and along with the falling temperatures, it sure looks and feels like we could have an early winter.
Fast forward a couple days and the temperature is back up in the 70s, normal for this time of year. I took a drive through Lake Fork Canyon to capture the aspens in their autumn coats. I made the second image at the entrance to Fogon Canyon which is a side canyon from Lake Fork. There is an old abandoned corral built up against the rock walls. I think the weathered wood compliments the color in the trees nicely.
As the sun sank lower in the sky, I reached the head of the canyon. There, on a small side road that winds through the aspen groves, I made this image of the setting sun shining through the red/yellow leaves creating a soft golden glow.
Autumn in the high country is a fleeting thing. Peak color only last for a day or two, but that’s one of the things that make it special.
I have been to the Bisti Wilderness more times than I can count; I lead Photo Tours out there, but there are so many nooks and crannies I doubt that I will ever be able to say I’ve seen all of it. Last week we made a quick one day trip just because we hadn’t been there in a while. We visited some of our favorite spots, including the Egg Garden and the Bisti Arch.
Here is a view of the Egg Garden that I haven’t done before and below is a look at the Arch from a wider perspective–it’s in the multicolored formation in the middle ground. Breaking habits (in both subject matter and perspective) is an important step in growing as an artist; you have to keep it fresh.
Next we wandered into an area I hadn’t been to before and in the space of about thirty minutes, we found at least five intact petrified logs; some partially unearthed like the one in the image above and some completely exposed like the one shown below. After who knows how many millennia buried in a sandstone tomb, the fossilized remains of these old trees are once again exposed under the same sun that set on their demise.
Apart from the intact petrified remains, there are also many fractured and broken remnants scattered about. The next image shows several smaller logs lying close together as if placed there in preparation for a petrified campfire.
Not only is this area rich in fossils, it is also home to a large number of hoodoos and eroded rock forms similar to the ones in the Egg Garden. I’m sure that others have been to this part of the Bisti, but I don’t recall ever having seen images of these logs or of the landscapes I have recorded here.
This last image is of Robin and me resting against the large tree with a view to the east. In two weeks I will be back out there leading a tour for a couple from Germany. The best parts of what I do are exploring new places and making new friends from around the world. These things help me realize that we, as people, are not so different from one another, and that we, as a species, are not so powerful or important as we might like to think we are.
I recently read a comment thread on a well known social media site in which the person who originated the thread was trying to make the point that shooting in RAW format is not for everyone. Well, the lines were drawn and the battle ensued. Most of those involved seemed to be missing the point that the author was trying to make. One fellow went so far as to say that shooting jpeg was more demanding because you need to get your exposure right in camera. That’s true, but he seemed to skip over the part where a good deal of the image data is thrown away when the file is compressed, while a RAW file preserves all of the image data to be developed later in the digital darkroom. He then went on to say that–I’m paraphrasing here–shooting RAW is for geeks who would rather spend time in front of their computers than be out shooting images.
Well, I never considered myself a geek, but I do spend a fair amount of time post–processing my RAW files. And, I get a great deal of satisfaction from the act of finessing the image and taking it from its RAW state to a final polished image that can be printed on a wide format printer without loss of detail. There was another photographer, somewhat more well known than I am, by the name of Ansel Adams who spent a great deal of time in the darkroom–a darkroom geek I suppose. Adams was famous for his virtuosity with not only the camera, but for his manipulation of his images in the darkroom, where he would spend hours printing images that would go on to stir the souls of many.
Now, I’m certainly no Ansel Adams, but I do realize what he knew all those years ago. The process of making a remarkable, print-worthy image does not stop after the shutter is released. That’s where the photographer’s vision is captured surely, but bringing that vision to its fully realized state requires some post camera work in the darkroom whether it be a film, or digital capture. If spending time in front of my computer to make my images speak to the viewers in the way that I first visualized them makes me a geek, then so be it. I’m in good company.
Here is yet another image from Ricketts Glen. Murray Reynolds Falls is the last waterfall going downstream on Kitchen Creek in the main part of the park. Adams Falls is a couple of miles downstream on the other side of Hwy 118, but is usually accessed from a parking area just off the highway. I would say this is the most idyllic of the waterfalls in Ricketts Glen. The emerald pool and the trees which surround it create a sense of calm contentment.
Despite the idyllic feel of Murray Reynolds, it was one of the more challenging places to make an acceptable image. The light breezes had begun to kick up by the time we reached here, and the many overhanging leaves were constantly in motion. Normally this would not be a huge problem, but when you use a slow shutter speed to convey the motion of the falls, you also get the motion of the leaves. I have a few other images of these falls that I think are better than this, but this is the only one in which the leaves are not motion-blurred.
Again, this is a five exposure blend, Initial processing was done in Lightroom, and then blended using the Exposure Fusion module of Photomatix Pro, final adjustments were done in Photoshop
An aspen grove in the snow! An iconic photographic scene captured by the greats: Ansel Adams, John Shaw, Art Wolfe to name but a few. This is my humble contribution.
I made this image while driving home from Los Alamos. Coyote Call is a trail on the “open” side of the Valles Caldera NP. This stand of aspens is just a short distance from the trailhead. Normally, I would avoid making this type of photograph in this kind of light, but I think the long shadows in this case give the image more depth.
I captured this photo in color, but did a B&W conversion in Adobe Camera Raw, and I like the result better than the color version.
Equipment: Nikon D200, Nikon 17–35 mm zoom lens, Bogen tripod
Camera Settings: f 36, 1/15th sec., ISO 100
I was driving up to the Valles Caldera to take some photos when I spied this Redtail Hawk perched in the top of a blue spruce by the side of the road. I quickly changed lenses and started shooting from inside my truck. The bird just sat there surveying his domain; every so often he would cast an inquisitive glance my way. I slowly got out of the truck, and grabbed my tripod, the bird remained in his perch. I continued to move closer happily snapping away. I took 47 exposures before my subject turned his back to me, stretched his legs and his wings, and flew off into a side canyon. This is my favorite out of all the images I made that day.
Equipment: Nikon D200. Nikon 80–400 mm zoom lens, Bogen tripod.
Camera Settings: f 5.6, 1/800th sec., !SO 400
I made this image a couple days ago. I was just past the Valles Caldera when I spied this pair of aspen tress growing side by side, and knee deep in snow. Aspens are like an extended family in that they share a common root system with other aspens that are nearby. So, these two really are siblings.
I was striving for simplicity in this image, so I framed it tight to exclude any other extraneous physical features. I had visualized it as a black and white image when I was setting up the shot, so one of the first things I did after importing it into Lightroom was convert it to greyscale.
Equipment: Nikon D200, Nikon 80–200 mm f 2.8 lens, Bogen tripod.
Camera Settings: f 6.3, 1/400th sec., ISO 100
Processing: Greyscale conversion, contrast, and clarity adjustments in Lightroom, curves adjustments in Photoshop.
This image was made in the Ojitos Wilderness, which is less than a one hour drive from my front door. It is an extraordinary place: hoodoos, petroglyphs, incredible vistas, and a forest of dwarf Ponderosa Pines at the lowest altitude they can be found…anywhere. There is also an abundance of piñon and juniper trees. I found this juniper just begging to be photographed on our last hike in Ojitos.
We had passed it on the way into what’s called The Hoodoo Pines hike, and i made a couple of exposures, but the light wasn’t right. On our way out, the sun was low, and the light much better, so I made one more exposure, and this is the result. Sometimes being patient and waiting for the light to change can reward you with a much stronger image.
Equipment: Nikon D300, Nikkor 17–35 mm f2.8 zoom lens, circular polarizer, Bogen tripod.
Camera Settings: f 16, 1/80th sec., ISO 400
Processing: Contrast, clarity, vibrance, and saturation adjustments in Adobe Lightroom, curves adjustment and RAW conversion in Photoshop.
This image was made on our last day at the Bosque. We were on the farm loop just north of the connector when we spied this group of Canada Geese. They were fun to watch, it was as if they were on stage putting on a show for an audience (which they were actually). I made about twenty exposures, most of them more tightly framed than this one, but this is my favorite.
Equipment: Nikon D200, Nikon 80–400 mm zoom lens, 81A warming filter.
Camera settungs: f 22, 1/25th sec., ISO 400.
Processing: Contrast, clarity, vibrance, and saturation adjustments in Lightroom, curves adjustment in Photoshop.
Lake Fire Rainbow
We were out just driving around one day, and I decided to head out onto Lake Fork Mesa. This area had been ravaged by the Lake Fire several years before, and I had not been there since before the fire. The desolation was complete; from the point where the fire had burned, not a single tree remained unscathed.
The sky was heavy with the possibility of rain. As the dark clouds gathered, giving the charred landscape a sinister look, the sun broke through, and the most amazing rainbow I had ever seen appeared in Lake Fork Canyon. I felt as though I could reach out and touch it; it became a tangible presence.
The contrast between the devastated treescape and the vibrant colors painted across the sky is what makes this image work for me. I made the usual curves, vibrance, clarity, and saturation adjustments in Lightroom and Photoshop.