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.