I have spent a great deal of time over the last ten years photographing cranes, herons, and geese at Bosque del Apache National Wildlife Refuge. During that time, I have often thought of expanding my horizons to learn more about other birds, so I was delighted when the opportunity presented itself to photograph Brown Pelicans at La Jolla Cove near San Diego, California.
One of the first things that struck me about these ungainly creatures was their humorous behavior when they take a break from skimming the waves looking for dinner to rest on the bluffs along the shore. They can often be found in the company of cormorants and their interactions are sometimes pretty funny.
This one went through a series of gular gymnastics as a Double Breasted Cormorant looked on. The cormorant seemed unimpressed as the pelican turned himself nearly inside out.
Perhaps the most recognizable of the pelicans’ behavior is the stretching of their gular pouches in what has come to be termed the head toss. It’s not really a toss, but more of a steady extension of the neck until the bill is pointing straight up and the pouch is stretched. This is necessary to keep the pouch flexible and healthy. The trick in photographing this activity is catching a bird that is separate from all the others and in full view.
When you witness a head toss without knowing the reason behind it, you could be excused for believing these birds are a bit off kilter. Perhaps they’re howling at some unseen moon, or performing a weird pelican variation of the sun salutation.
Sleeping is a function that these birds perform with amusing inventiveness. The one-eye-open posture is one of my favorites. It’s as if they can’t quite trust that it’s safe for them to drift off. These two may have made a deal that they take turns napping and guarding each other.
And here is perhaps the most unique balancing act I witnessed over three days of watching these unpredictable creatures. He remained in this exact position for over an hour before standing to stretch his pouch.
One thing I have learned from all the time I have spent photographing birds is they are often synchronous in their movements and behavior, and pelicans are no different. These two were grooming on the bluff at La Jolla Cove. Even their feathers are in sync.
Four pelicans walk into a bar, one could care less, one thinks it’s all quite amusing, one is a bit embarrassed, and one is spoiling for a fight. Their antics endeared these birds to me. Watching them go about their daily routines had me smiling to myself almost constantly. I came away with a formative, but indelible image of these graceful, awkward, serious, comedic, eccentric birds.
I was recently interviewed by Outdoor Photographer magazine about Bosque del Apache National Wildlife Refuge as a Photography destination. It is my first time being published in a major publication, so I’m pretty psyched about it. To read the interview click this link.
Many of you probably know that I make a trip (pilgrimage is more like it) every year in November or December to photograph the cranes, herons, and other waterfowl that inhabit the refuge during the winter months.
Most of you have probably seen these images before too. But, I thought I would re-post some of my favorites that weren’t included in the article.
For those of you who would like to visit Bosque del Apache, it is located about twenty miles south of Socorro, New Mexico on state road 1. And, once again, if you would like to read the interview, click here.
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.
I am constantly on the lookout for new images. Even while I’m driving, one eye is searching for a photograph. But, to really see, it is important that I be present so I can delve into the potential image, dissect it and study the relationships between the elements. What is the best way to do this? What should I look for as I move through this process?
The first step is to ask myself: What was it that drew me to this scene? Usually it was a singular object, or a play of light over the landscape. The Soaptree Yuccas, the sidelit patterns, and the subtle light on the sand dunes at White Sands National Monument were what grabbed my attention and led to this first image. Understanding my motivation made it easier realize what I want to say with the photograph.
Next I had to frame the scene in a way that would tell the story in the best way possible. I placed the closest yucca up front, but a little off center, leaving little doubt that it was the main subject of the image. This placement also allowed me to separate it from the others in the middle ground and avoid a confusing and static composition. My choices for the exposure had to be based on the dynamic range of the scene, which, In this case, was pretty wide considering the bright highlights on the sand in the distance, and the dark tonality in the shadows near sunset.
The first technical requirement was that I capture a broad dynamic range, so I made a bracketed series of exposures that covered the entire spectrum of tonalities in the scene. Even though I didn’t need to use all the different exposures, it’s better to have them and not need them than it is to need them and…well you know. The next requirement was that the depth of field be wide enough to have sharp details front to rear. Because of the low light level at the time of day I was shooting this, the fact that I was shooting at the lowest possible ISO–to achieve the best possible image quality, and the small aperture needed to get the depth of field I required, my shutter speed was relatively slow–1/10th of a second. That meant that I needed to shoot with my camera mounted on a tripod (something I usually do anyway). It’s easy to see from this cause and effect chain how my creative workflow was based not only on composition and design elements, but also included technical considerations.
The second image of Sandhill Cranes at Bosque del Apache National Wildlife Refuge was made at twilight, that special time in the evening just after the sun set and the light is bouncing off the upper atmosphere. I was taken by the reflection of the colored sky and the reeds in the placid water of the foreground, and the transition from the smooth to the to the rough texture of the water, which created a layer-like effect because of the sudden change in color and texture. This layer is also where the action takes place: the cranes mingling, spreading their wings, foraging for dinner. There is then an abrupt transition to the golden reeds and the darker background before the final shift to the lighter tonality and magenta shades of the distant mountains and the sky.
I had my camera mounted on my tripod as usual, but I kept the bullhead swivel loose so I could easily pan to follow the movement of the birds. This image also relies on a wide depth of field to preserve sharpness in the details of all the layers mentioned above. I wanted to make the layering effect more obvious, so I boosted the saturation and contrast a little. Once again, the thought process kicks in and the decisions are made. The point of all this is to stress the importance of being involved in the making of an image. If you want a photograph to be yours, you need to put a little of yourself into it, and you need to be intentional throughout the process.
I love my Nikkor 80-400mm lens. On a crop sensor camera like my Nikon D300, I can get the effective reach of a much more expensive 600mm lens–albeit with a stop less light. The 80-400/D300 is my lens/camera combination of choice for photographing wildlife; I rarely use my full frame cameras and wide angle lenses while I’m at Bosque del Apache–at least not while photographing the birds. But, in a deliberate attempt to step out of my box, I have lately been making some wider angle photographs of birds, and I have been pleasantly surprised by the results.
My choice of the longer lens and crop sensor camera is driven by that combination’s ability to get in close and isolate the birds. By stepping back a little and capturing the wider view, I am trading the up close and personal frame for the more inclusive approach, which, I think, makes a more informative image. It puts the action in context.
Of course, this doesn’t mean that I will stop photographing these birds in an intimate context, the wider view is just a different way of approaching the subject, of telling the story.
If you were to go through this blog’s archives and read all the posts about Bosque del Apache, I doubt you would find very many, if any, of these kinds of photographs. So, it is my intention to give you a better overall idea of the scope of the experience.
One of my favorite things about a trip to the refuge is standing near a large flock of geese when they suddenly, in unison, explode into flight. The first image is my attempt to convey that feeling of synchronized confusion that accompanies these abrupt incidents. The geese will also land as a flock, but they are more relaxed in their approach so a few may land at one time, followed by a few more, until they have all touched down.
The Sandhill Cranes, on the other hand generally take off and land in pairs or small groups of two or three. Cranes are monogamous and will keep the same mate until one of them dies. They also move from one place to another in pairs or as an extended family group.
Before I began photographing them, I never paid much attention to the habits of birds, but the more I watch them, the more interested I have become in their habits and their lives. Some of these habits can be very useful to a photographer. For instance, when they lean forward with their gaze fixed, it means that take off is imminent, so an informed photographer can be ready when the action begins.
Cranes are gangly creatures. When they approach a landing, they look like marionettes dangling from a string. Their long, spindly legs are improbable supports for their frames and their activities. But there is a certain majestic aplomb and zen-like intensity with which they carry out these movements that negates the clumsiness.
Over the years I have developed a kind of schedule for photographing at the Bosque. I usually get to the pond early, just before sunrise and then spend several hours with the cranes as they awaken and fly off to the fields for the day. Afterwards, I drive around the tour loops in the refuge looking for anything that may catch my eye. This is usually when I catch a heron hunting for his breakfast. I realize that this image is a departure from the subject of this article, but this really is the best way to tell the story about the herons. They do nest in groups at night, but their daytime existence is a solitary one. They wade through the shallows looking for a meal, and then move on in search of the next one.
It’s also during these drives around the refuge that I come across scenes like this: hundreds of geese floating placidly in a pond, drowsing, or grooming themselves. Then suddenly and without warning they explode in a cacophony of sound and motion.
Of course, there are other kinds of wildlife besides birds to be found at the refuge. bobcats, coyotes, mountain lions, javelinas, and many others make Bosque del Apache their home. As we were driving toward the exit we came across this young mule deer buck calmly strolling through one of the ponds along the connector road. The two mallards swimming in the opposite direction seemed un-fazed, but stayed on their side of the road.
Bosque del Apache is located about twenty miles south of Socorro, New Mexico along the Rio Grande. I would highly recommend it as a stop on your next visit to New Mexico. If you are a photographer, and you want to isolate the birds, a long telephoto (at least 400mm) is recommend, but as this entry makes clear (I hope), you can make some great images with a shorter lens as well. The best time of year to visit if you want to see the cranes and geese is November through February, but the refuge is open year round and many of the birds and other wildlife make Bosque del Apache their home year-round.
Here we are again (already) celebrating another year and renewing the circle. In looking back on 2014, I realize that I didn’t spend as much time in the field as I would have liked to. If I made resolutions, which I don’t, I would resolve to get out with my cameras more in the coming year. That being said, I did manage a few keepers over the past twelve months, so here they are.
In March I made a drive up to Abiquiu in search of nesting eagles. I didn’t see a one. But, I did find this scene of the Chama River just north of the village of Abiquiu. The light was amazing and the way it lit the distant peaks was icing on the cake.
Regina, New Mexico is a small village north of Cuba. It has a sleepy feel to it even though New Mexico highway 97 passes through the middle of the town. This old cottonwood, barn, and Chevy flatbed were watching what little traffic was moving by on the road. It seemed a bit nostalgic to me so I made this image.
In May I made several trips to the Bisti Wilderness, but I concentrated my efforts on the northern area off Hunter Wash instead of the more popular southern section off Alamo Wash. I found this nest of emerging hoodoos in a small hollow in the surrounding hills. The skyline is populated with small stone wings which are more prevalent in the north section than in the south.
A little further along on the same day I made this image of Robin making her way across the rolling bentonite hills near the highest point in the wilderness. When these soft hills erode, the incipient hoodoos buried beneath them will be revealed–as illustrated in the preceding photograph. The process is slow, but relentless.
In August we returned to the Bisti Wilderness on my birthday and I made this portrait of Robin and me on a small sandstone throne. We were actually within fifty yards of the highway which cuts through a rocky outcrop downstream from where Hunter and Alamo Wash converge.
This image is a bit of a cliché, but I think it does a pretty good job of telling the story: these places should not be taken lightly. The badlands of the San Juan Basin, or any wilderness for that matter, can be deadly. I never venture forth without enough water and a GPS receiver.
When you shoot into the light as I did in this image, it is called contre-jour lighting. Actually this is not contra-jour in the strictest sense of the word; the sun was not directly behind the scene. But, the effect is pretty much the same. In this case, the backlighting lends a feeling of ephemeral mystery to the image.
This image was made one day after the previous one. In this case I was driving past a place that I see every day on the way home. I was struck by the intensity of the colors and by the uncertainty of the sky.
The last two images were both made at Bosque del Apache NWR. The landscape is a view looking northeast along the south tour loop. It is a peaceful image and the colors are a bit of an emotional contrast.
I hope you enjoyed viewing my images as much as I enjoyed making them, and I wish you all a happy and healthy new year.
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.
I am a photographer, I consider myself an artist. I don’t want to take pretty pictures. I strive to make moving images. A deep green reservoir and a late winter storm moving across distant mesas,
or a lone tree trapped in its winter slumber while light dances on a faraway butte, I had an emotional response to these encounters. As a photographer and an artist, I want to capture not just the way these things appear, but the way these things feel. For me, the making of an image does not stop after the shutter is released. I am not one of those photographers that proudly proclaim that they only strive to capture the image the way it was; total objectivity and nothing less.
Art is not objective. By its very nature, it must be more than that. The artist attempts to convey a certain feeling to those who view his work. This can only be achieved by making an image that is more than just a representation of a scene. To do this requires what some condescendingly call “manipulation”. I call it creating the image and I will make no apologies for that.
Imagine a watering hole miles from any village or human activity. Now imagine a bovine visitor that plods through the dry, cracked, yet still soft earth that lines the edges of the oasis. The sky is overcast and the light, while soft, still shapes the edges of the cracks and lends a beautiful glow to the surface of the moving water.
In order to make these things tangible within the constraints of a two dimensional photographic image, some work must be done beyond the framing, composition, and exposure that make up the original capture. There must be some intention to the final outcome
There are many circumstances where I am challenged to make an image that is different from those that came before. From an oft viewed roadside scene to a sudden ethereal display of atmospheric magnitude, the real challenge is not just to capture a technically acceptable representation of that scene or phenomena, or to use some cliche template to compose it, the challenge is to render it in a way that is unique to my vision.
By doing so, I hope to evoke some response to my work, to kindle in the viewer an appreciation of the world beyond the pavement where they may never have been, or where they may have been, but have never really seen.
In one of his contributions to Eliot Porter’s book “The Place No One Knew: Glen Canyon On The Colorado”, Frank Waters wrote: “We measure minutes, the river ignores millennia.” And, although he was referring to the Colorado River, we can still make the same statement about any river. They carve and shape the lands they flow through not judging or playing favorites, and at times they provide a striking contrast to the arid environment that borders their banks.
The Rio Chama is such a river. It makes its way through north-central New Mexico flowing past some remote, but memorable scenery along the journey to its confluence with the Rio Grande. If you throw in just the right amount of foreboding skies and ethereal light, the scene becomes magical. It is my job to capture that magic and to cause those who view my image to be drawn in by it, to wonder what may lie beyond that bend. I hope I have succeeded.
I live in a wondrous place. The problem I have is that, being surrounded by beauty has made me a little thick-skinned; I guess you could say that I take it all for granted. So, I am putting my thoughts down in words accompanied by images, not so much to convince anyone else, but to remind myself.
Fenton Lake is a small (less than 40 acres) manmade lake which was formed by construction of an earthen dam on the Rio Cebolla. The Cebolla itself is not really a river by most standards; it is, at most, three feet wide along most of its length. But, here in New Mexico, it qualifies. I made this image on a dark day. I was standing amongst the cattails at the north end of the lake. The ridge line to the southeast burned during the Lake Fire in 2002.
One of the most recognizable and well known features in the Jemez Valley is Battleship Rock. It is composed of rhyolite and was formed when the volcano that shaped the present-day Jemez Mountains erupted for the final (hopefully) time, the ash and lava flowed into a box canyon; when it cooled the rock filled the canyon and as the softer earth eroded away, the monolith was left exposed.
Jemez Springs is a small village (population: 250) that lies in the heart of San Antonio Canyon–the canyon formed by the Jemez River. Not much has changed, visually anyway, since I first came here in 1977. This is a typical mid-week, January evening.
New Mexico Highway 4 runs through San Antonio Canyon for about thirty miles before climbing onto the flanks of the Valle Grande and continuing across the mountain to Los Alamos (yes that Los Alamos: home of the atomic bomb). This stretch of the highway is about five miles south of Jemez Springs.
In the early years of the last century, there was an extensive logging operation in the Jemez Mountains. The logging company used a train to haul the logs to a mill in Gilman. They bored two tunnels through the solid granite that transects the Guadalupe Box and when the logging declined, the tracks were replaced by a road–New Mexico SR 485–which provides access to the Santa Fe National Forest. Some may recognize the tunnels from the role they played in the film “3:10 To Yuma”
The Jemez River cuts through Soda Dam, a large, seven thousand year old calcium carbonate formation left behind by a small, unassuming hot-spring next to Highway 4. It is located about three hundred yards from my door and is a huge tourist attraction as well as being the swimming hole for local youngsters.
The second image provides a better view of the river flowing through the “dam”, and of the swimming hole; the kids jump from the sides into the plunge pool. When the New Mexico Highway Department blasted through the formation to improve Highway 4, the building process was interrupted, and the dam has been eroding since then.
Wow! Another year fades into memory. I have spent the last couple weeks editing the images I’ve made in 2013 with the goal of culling my favorite dozen. Image editing for me is a labor of love; I have a connection to my work, so picking “the best” out of hundreds candidates is not an easy task.
I knew from the time I made this photo of a bull elk in my yard on January 3rd that I was setting a high standard for the rest of the year. Also, not only was it serendipitous, but the image was a departure from my usual wide angle landscapes. I had been feeling for some time that my work had been stagnating, so I resolved then and there to take it in a new direction.
In early February, I ventured into an area along US 550 that I had been looking at as a shooting location for some time. I was drawn by some red sandstone pinnacles that were visible from the highway. As I walked toward them, I came across this old section of road that is slowly eroding, being reclaimed by natural forces. The scene made me realize how impermanent our impact on nature really is. In the end, this is the image that stood out above the others I made that day. Again: serendipity.
As the year progressed, I found myself revisiting some places I had been before. The image of the church on San Ildefonso Pueblo (a scene I had driven past countless times before) is more about the light than the subject matter. It is also a more visually compressed image than is usual for me due to my use of a longer focal length lens.
Every year at the end of May–Memorial Day Weekend to be exact–the Pueblo of Jemez hosts the Starfeather Pow Wow. Hundreds of native dancers from across the country come to dance and compete. I made hundreds of images that weekend, but this portrait of two brothers stood out. They are dressed in “dog soldier” head-dresses, hair-pipe breastplates, and feather bustles, all made by their father. Just before I released the shutter, I told them to give me some attitude. I think they did a pretty good job.
Anyone who is familiar with my work, knows that I spend a great deal of time in the Rio Puerco Valley. It was near the middle of July and the rains had just started after several months of searing heat and cloudless skies when I made this image. There are many possible causes for this animal’s demise, but the location of its desiccated remains along a now rain-filled wash and the rain falling from a heavy sky tells an ironic story about the uncertainty of life in this harsh environment.
And speaking of harsh environments, the Bisti Wilderness in July can be a sobering place. The temperatures can soar to well over 100°F. I usually try to discourage clients from booking a photo tour during this time, but if the monsoons have started, it can be relatively pleasant and the cloudy skies lend a sense of drama to the scene. I made this image of one of my clients pondering the maze in the Brown Hoodoos section of the wilderness.
From a land of parched earth to a place where water is omni-present; my travels took me to Wisconsin in August. On a day-trip to Olbricht Botanical Gardens with my daughter, I made this image of the Thai Pagoda. Normally I steer clear of this kind of symmetry in a photograph, but the structure, and the entire environment seemed to demand it.
Autumn is the best time to be in the badlands, especially if the atmosphere cooperates. Even though the ground was soft and the washes were running from the rain, there were still cracks in the earth. It was as though the soil had a memory of the scorching it normally receives and refused to let go. After processing this image, I realized that it was best to convert it to black and white.
During the months of September and October I spent a great deal of time photographing the trains of the Cumbres-Toltec narrow-gauge railroad which runs from Chama, New Mexico to Antonito, Colorado. I spent every weekend for nearly a month chasing the trains and the fall colors. In the end, my favorite image had nothing to do with color and everything to do with the train, the track and the trestle.
To most people, in the US anyway, November means thanksgiving. For me it is my annual trip to Bosque del Apache National Wildlife Refuge. Over the years, I have come to relish my time with the cranes, herons, geese, and other waterfowl that call the Bosque home during the winter months. Even though I have thousands of images of the birds flying, taking wing, landing, wading, eating, and doing whatever else it is that they do, I still managed to make two of my favorites there in 2013.
This first is obvious and familiar: a crane in the process of taking off from one of the ponds to fly to the fields where he will spend the day foraging. The second is a departure from my normal Bosque images, but one that illustrates the reason that I keep returning year after year.
In December I travelled by train to visit my oldest daughter (an adventure I wrote about in my previous blog entry). Chicago’s Union Station was a surprise to me. I made several images inside the station and when I wandered out the doors to Canal Street, I found this scene. I was immediately drawn by the fact that while some of the elements had symmetry–there’s that word again–some didn’t. And of course the cherry-on-top: the wet pavement reflecting the lights and columns.
I have lived in the desert southwest for nearly forty years. So, when I suddenly find myself in an environment where water is plentiful, I am taken a little by surprise at the seemingly extravagant abundance.
Such was the case when I recently travelled to Wisconsin to visit my daughter and her husband. We spent a great deal of time exploring the natural wonders in and around Madison where they live. While visiting Olbricht Gardens, I was especially impressed by the Thai Garden and Pavilion. There are several reflecting pools and a fountain which has a gravel bottom. The contrast between the smooth surface of the water and the rough texture of the gravel provides a nice touch to the image of the pavilion below.
The Thai Pavilion is constructed of plantation grown teak and finished with gold leaf. It was built in Thailand, then de-constructed, transported to Madison and re-constructed on-site by Thai craftsmen. There are no nails or screws in the entire structure.
Not to be outdone by a fountain, Lake Superior, the largest body of fresh water in the world, made a lasting impression on me. It covers over thirty two thousand, eight hundred square miles. We paddled twelve of those miles in kayaks while exploring the sea caves at Apostle Island National Lakeshore.
I made this image from my kayak while my daughter’s friend Karin was paddling through a sea stack about half way through the trip. Lauren and Prasanna, her husband, can be seen to the right of the stack. In the image below, Karin’s kayak rests on a remote beach where we stopped for lunch.
After lunch and a short break, we began the trip back. I made this image of my daughter and her husband paddling their kayak with Karin and the expanse of Lake Superior beyond them. I kept my camera in a water-proof bag, so each time I wanted to make a photograph, I had to take it out of the bag and then put it back in being careful not to drop it in the lake.
Below is one last image of Karin who is an experienced kayaker as she makes her way through the deep waters of the lake with Sand Island, one of twenty-two islands in the Apostle Islands archipelago, in the distance.
Herons are solitary birds. Unlike cranes that go about their business in large flocks, herons are found on the edge of things: walking slowly and quietly along a canal, drainage ditch or river, hunting for their dinner. Although they are monogamous, they are rarely seen out together in public.
When I make my annual pilgrimage to Bosque del Apache National Wildlife Refuge, the skies and the ponds are filled with raucous, gangly, yet somehow graceful cranes–thousands of them. The typical heron count is three or four. So, I spend a fair amount of time cruising slowly along the drainage canals looking for these elusive birds.
Sometimes, when I’m patient, I’m rewarded with a capture like the one above. I had followed this guy (girl?) for close to half an hour, moving when he moved, but giving him plenty of room. When I saw him extend his neck, I fired a continuous burst of about five exposures and this is the result.
There are other times when patience has nothing to do with it. Robin and I came across this heron standing along the edge of a canal on the south side of the Flight Deck Pond. We were easily within twenty-five yards of him and he acted like we weren’t even there.
Every once in a while, he would close his eyes as if napping. After about thirty minutes we had gotten all the exposures we wanted and drove off leaving him standing there.
I made this last image while my daughter Lauren and I were walking her dog at a dog park in Madison, Wisconsin. Luckily, I was a little ahead of them and had time to warn her off. Otherwise, her dog would have been after the bird and this capture would have been lost.
When I go on a photo expedition or lead a tour, I take two cameras and all the lenses I could possibly need, all packed into my Lowepro AW 300 Trekker backpack with my tripod strapped to the outside. It’s a load and can sometimes become a bit much after trekking through the desert all day. But, I do it because I know I’ll have whatever I need to capture the images that I see.
Recently, I flew to Madison, Wisconsin to visit my lovely daughter Lauren. The baggage and carry-on restrictions prevented me from bringing along all of my gear, so I made the trip with one camera, two lenses, and a flash packed into a shoulder bag. As a result, I was forced to look at my photography in a whole new way, and I am quite pleased with the images I brought home.
I made this portrait of Lauren on one of our early morning dog walks. If you knew Lauren as I do, you would also know that this is the perfect setting for a portrait of her.
I made this image at Lake Mendota, the bigger of the two lakes which border Madison on the north and south. This gull was walking up and down the pier like a miniature Charley Chaplin. It was pretty comical and I made close to forty exposures of him, but when he stopped and looked over the edge, he provided the perfect counterpoint to the fisherman.
Believe it or not, this image was made in one of Madison’s many dog parks. This one has its own wetlands complete with a green heron. Luckily, I spotted the bird before Lauren’s dog did.
This last image is of a lotus flower and lily pads in the Japanese Garden at House On The Rock in southwestern Wisconsin. House On The Rock is an amazing place and deserves more than just a nod in a photography blog. If you’re ever in that part of the world, I highly recommend the tour.
So, aside from spending a wonderful week with one of my favorite people, this trip also forced me to look at my work in a different way. Art, like anything else in life, needs to evolve; otherwise it stagnates and looses its appeal.
Bosque del Apache National Wildlife Refuge is one of those places that keeps drawing me back. I make an annual pilgrimage there in November (the weekend after Thanksgiving to be exact) to pay homage to the cranes, and of course to photograph them. OK, so why am I writing about this in June? Well, it’s at about this time that I start to look forward to this year’s trip. I’ve posted about the last one, but I have since found some images that were not included in the post that (I think) deserve to see the light of day.
Sandhill Cranes have very specific habits related to their behavior. The first image shows a crane readying himself for take-off. He leans forward into the wind perhaps to get a feel for the speed, direction, etc. This serves as a great heads-up for onlookers, passers-by, and frozen photographers that the action is about to start.
I caught this pair right after they took off from the Chupadera Pond. Robin and I (along with about twenty other photographers) had been waiting since sun-up for this. There were about five hundred cranes in this particular group. They went through their rituals for nearly three hours before they had all left the pond. At times they would take wing only to land again and start the whole process over.
These last two images are my favorites from that trip. The trio above was captured at sunset. Cranes usually fly in a group. These three were landing at the Flight Deck Pond. They were coming back from a day of foraging to roost in the pond where they are relatively safe from predators.
I found this Great Blue Heron wading along one of the ditches on the refuge. Unlike cranes, herons are solitary creatures. This one didn’t seem to mind when I set up my tripod (at a reasonable distance) and followed him up the channel. At one point, he stopped and became very focused; I knew he was about to strike, so I was able to anticipate this moment successfully.
To those of you who are close by, or who may be traveling in this part of the world, I recommend a visit to Bosque del Apache. The best time to catch the cranes is November-February.
I spend a great deal of time wandering the badlands of the San Juan Basin and beyond in search of images. I have an unquenchable thirst for desert landscapes. Some people might consider me a little off kilter, especially since I live right in the middle of a place so full of natural beauty and geologic wonders that it draws visitors from around the world.
The first image is of Soda Dam, a large calcium carbonate formation that has been deposited over the ages by a small warm spring which is right on the shoulder of New Mexico state road 4. This naturally formed dam is pierced by the Jemez River which cascades over a small drop in elevation into a plunge pool which is a popular swimming hole for both locals and visitors from Germany, Japan, Russia… I can hear their squeals as they jump into the cold water on a hot summer day. Soda Dam is about two hundred yards from my door.
If I head in the opposite direction from Soda Dam on Hwy.4, it’s only a five minute drive to Battleship Rock, another geologic attraction that is visible from the highway. It was formed during the last volcanic eruption in these parts-around one million years ago. Lava from the eruption flowed into a narrow dead end canyon and hardened. Over time the softer material which made up the canyon walls eroded away, leaving the volcanic rock exposed.
If I continue up Hwy. 4, I will eventually come to the crowning jewel of the Jemez Mountains; the Valle Grande. Actually only one of several valles which were formed when a huge volcano exploded and collapsed to form a caldera about 1.6 million years ago. The Valle Grande was, until 2000, a privately owned ranch. It is now public land, administered by a trust. This is the view from a turn out on Hwy. 4 looking north.
So, you see, I really need not travel all that far to find a photogenic landscape, but I am in love with the desert; I am in love with the stark, naked, truthful beauty of the earth laid bare. The mountains, rivers, and alpine meadows are fine, but they do not speak to me in the way that the desert badlands do.
If you’ve never been to the desert southwest, you may not be aware of the importance of water to the landscape. Not only is it the source of life for the many hardy species that call this arid environment home, but is also one of the main forces by which the landscape came to be what it is.
These first three images were made in Blue Canyon on the Hopi reservation in northeastern Arizona. Over eons, a small stream and countless windstorms have sculpted the soft sandstone leaving a wonderland of deep chasms and etching the stone with amazing textures.
Just in case you have the idea that this small stream doesn’t have its moments of glory, here is an image of a car that was carried away while the rivulet was in flood. It is now wedged firmly between the walls of the water cave.
This is the place where the stream plunges into the chasm it has carved out over the course over millions of years. I had posted this image in a previous blog about my trip to Blue Canyon, but that was a color image. I made this black and white conversion using Silver Efex Pro and put some emphasis on the structure and texture to show the wrinkles time has etched into the face of this desert landscape
And just so you know that we have our fair share of “Erosion Art” in New Mexico, here is an image I made recently in the Mesa de Cuba badlands in the northwest corner of the “Land of Enchantment”.
These places can mean different things to different people: Some may look at such a place with a mix of wonder (wonder that anyone could find beauty there) and fear-fear of the unknown, fear of what may be lurking around that next bend, and fear that somehow they may, as I did, develop a deep sense of love and respect for such a harsh, unforgiving environment. One thing is certain if you take the time to look around you and think about how things work in a desert ecosystem, you will come away looking at life a little differently from the way you did before your visit.
Happy wandering! Oh, bring a GPS and plenty of H2O.
Blue Canyon is a very special place. Of course it’s special to landscape photographers because of the incredible sandstone formations. But, beyond that, it holds a special place in the hearts and minds of the Hopi people. Blue Canyon sits in the northwestern corner of the Hopi reservation and aside from being a remarkably beautiful place, it also contains the only perennial, riparian ecosystem on Hopi land
I recently spent a day with Leigh Kuwanwisiwma, the director of the Office of Cultural Preservation for the Hopi tribe. We spent a lot of time exploring the area that contains the sculpted, layered formations which draw thousands of photographers to this place. It has been closed by the tribe because they fear that the fragile area will be harmed by too much traffic. I was there to photograph the canyon for a book about the Hopis’ sacred places Leigh hopes to publish.
Most of the sandstone formations are clustered in one relatively small area just off the main road, but I think I could spend a week there and never have to photograph the same formation twice. As I wandered, I recognized several places I had seen as images on some landscape photographers website. I made the obligatory exposures, but I wasn’t there to copy someone else’s work, so you will not see any of those images here. Instead, I tried to get a feel for the place as seen through the eyes of my guide, the people with whom this landscape resonates on an entirely different level.
I mentioned that this place is sacred to the Hopi because it holds the only perennial, riparian ecosystem on their reservation. That can mean many different things depending on a person’s experience. In this arid land where water is scarce, it means a small trickle that brings life to this otherwise harsh environment.
I made this image at the place where the water collects in a small pool before plunging into the deep sandstone slot that it has carved over the millennia. As the stream moves down the canyon it disappears into its sandy bed in places-never far below the surface-and then reappears farther downstream, a constant reminder of the fragile balance between life and death in this hauntingly beautiful place.
My trip to Bosque del Apache NWR the weekend after Thanksgiving has become a tradition. This year’s outing was particularly rewarding, both because of the number of birds which were present and the number of high-quality images I was able to capture through a combination of tenacity and serendipity. This is an image of Snow and Ross’s Geese on Chupadera Pond which greeted us on Friday evening as we were entering the refuge. It represents just a small section of the expanse of birds that covered the water.
By the time we drove around the Farm Loop to the Flight Deck, close to fifty people-mostly photographers-were squeezed onto the platform. I jockeyed for position and began shooting. The cranes were landing at the northernmost end of the pond. I made this image as the sun was setting. I was struck by the bands of pastel colors which seemed to divide the scene into layers. Soon after the light was gone and we headed back to the motel for the night.
The next day, Saturday, we took a leisurely drive around both the Marsh Loop and the Farm Loop. At the north end of the latter, we found several hundred of the more than fourteen-thousand Sandhill Cranes that were estimated to be at the refuge that weekend. The two below are “dancing”; such posturing is practiced from an early age to improve co-ordination, train flight muscles, and share emotions. Dancing is a form of social bonding in a family unit and is also a prelude to mating. For obvious reasons, this posture is called: “the jump”.
As we drove through the refuge, the cacophony of cries, hoots and wails from the birds reminded us that we were in an extraordinary place. As I mentioned earlier, there were more than fourteen-thousand cranes at the refuge at the time we were there, but there were also: eighty-seven-thousand ducks, fifty-seven-thousand geese, and a number of other avian creatures too numerous to count. Once again, as we had the night before, we found ourselves at the “Flight Deck” as sunset approached. This evening, however, we found a less crowded place from which to view and photograph the flight: a small, flat area at the north end of the pond, right at the water’s edge, where a couple of other photographers had already assembled. From this vantage point, we had an unobstructed view of the incoming cranes and, as most of them were favoring the north end of the pond, we were much closer to the action than we would have been on the deck. I made this image of a Sandhill crane as he stretched his wings shortly after landing. The sun was low and the light subtle.
Of all the times to photograph the birds at the Bosque, I think the best (and the most difficult) is at sunrise. On Sunday morning, we were at Chupadera Pond just before the sun came over the Oscura Mountains to the east. The cranes were beginning to stir, and as they performed their morning rituals, they had to pull their feet through a skim of ice on the pond. All the grooming, squabbling, dancing, and posturing is preparation for the morning flight when the cranes leave their watery roosts and take to the skies in search of food.
These two are exhibiting a behavior which signals an imminent take-off. They stretch their necks, leaning forward as if to test the wind before they pull the trigger and take wing. Usually the birds will then fly off to the fields, but sometimes, they will fly only a short distance and then return to the pond.
I captured this male as he was landing during one of these turn-arounds. There were several hundred birds at the Chupadera Pond that morning. We stayed and photographed their comings and goings for nearly three hours before the last of them finally flew off. As we left the pond, we decided to make one last drive around the entire loop, which includes both the Marsh Loop and the Farm Loop. Near the southern end of the marsh, I noticed movement in the diversion channel and pulled over. It was there that I found this Great Blue Heron hunting for his breakfast. I carefully got out of the car and set up my tripod and camera. As he moved up the channel, I followed him. Finally, we were both rewarded as he darted forward and came up with his morning meal.
As a photographer, I gain a great deal of satisfaction from images such as these. The ability to capture a fleeting moment and preserve it for others to enjoy is perhaps the ultimate reward.
This is Part 2 of a two part post on Ricketts Glen. See A Stroll Through Ricketts Glen (Part 1).
After spending some time at Waters Meet, we crossed the bridge and began the climb up through Glen Leigh. This leg of the hike was a true test of my stamina–a seven hundred foot elevation gain in a little over a mile. The beauty of the place fortified me though and we had barely gotten started when we came upon Wyandot Falls.
And a little farther on we discovered this beautiful unnamed cascade which I dubbed Tranquility Falls.
I had the sense that Glen Leigh was much narrower and steeper than Ganoga Glen, but after studying a topo map of the area I discovered that they are both about the same near the bottom, but Ganoga does flatten out a little near the top. As we continued up the deep green canyon, we passed B. Reynolds and R.B. Ricketts Falls, and then came to Ozone Falls which, at sixty feet, is the highest waterfall in Glen Leigh. It cuts a graceful curve as it descends over the many layers which define its classic form.
After passing Ozone Falls the trail became noticeably steeper and narrower for a short distance. We stopped at Huron and Shawnee Falls and then continued up through the seemingly endless world of green and rushing water. When we finally made F.L. Ricketts Falls I was looking forward to the end of the trek. I set up a shot and then stepped back to look at my framing options when I saw movement out of the corner of my eye. I turned to see my camera on the tripod fall over and land lens down on the rock. I frantically picked it up to survey the damage. My heart sank when I saw that the Neutral Density filter was shattered. I tried to unscrew the filter to determine if my lens was damaged, but it was stuck, the outer edge of the filter was bent from the impact. I finally managed to loosen the filter and was relieved to see that the lens was undamaged other than some minor scuffs on the filter threads.
I replaced the ND filter and made the above image of the falls. Then I packed up my gear and we headed up the trail to the last waterfall in Glen Leigh, Onondaga Falls.
Onondaga resembles Sheldon Reynolds Falls in its shape and the way the plunge pool is formed. As I made this final image, I remember being exhilarated by the experience and although we were both physically drained, we made our way back to the car with a smiles on our faces, talking about the day’s adventure.
This was the scene at the farm fields at the north end of the Bosque del Apache NWR on Saturday morning. It is fairly typical for this time of year. Most of the birds have arrived for their winter stay at the refuge. On this particular morning there were 9,527 sandhill cranes, over 40,000 snow and Ross’s geese, 3 bald eagles, and over 300,000 ducks of various species. There were also innumerable LBBs (little brown birds), and an unknown number of deer, coyotes, bear, and other mammals. Oh yeah, and at least one mountain lion (one trail was closed due to recent lion sightings). All in all, a pretty respectable showing.
We had arrived the previous evening, and spent a couple hours on the “Flight Deck” watching and photographing the cranes flying back from the fields which surround the refuge to spend the night in the ponds where they are relatively safe from the predators (mostly coyotes) which are numerous in the Bosque. We were up and out the door at 5:30 in order to make it to the reserve for sunrise. It was cold–around 10°F, but there were at least twenty other photographers gathered at the edge of the Chupadera pond. I set up my tripod, and joined in the fun. As the sun rose, the cranes began to stir, and the cameras began to whir. I was suddenly reminded of the cold when my camera began to respond sluggishly, then stopped working. The shutter had frozen. I stood there helplessly while the birds took off and everyone around me continued to shoot. I’m not sure why mine was the only camera to succumb to the frigid temperatures, but I stubbornly tried, and tried again, to get the thing working even though I had another camera in the car not fifty yards away. I’ll have to work on that!
So, while I was busy trying to keep my camera working, Robin was next to me happily snapping away. She made this image just as the sun was starting to warm the scene with it’s golden light. Cranes go through a ritual before taking off. This one was stretching his wings in preparation for his first flight of the day.. The two birds on the right are just beginning the next stage: they face into the wind and stretch their necks, leaning forward. I think what they are doing is testing the wind, getting an idea of how they will get themselves into the air. This behavior is a signal to a photographer to be ready because take off is imminent. Well, any photographer with a working camera.
Next we headed into the refuge and turned south to drive the marsh loop. I was still toying with my camera and was happy to find that it was working again after thawing out. I had heard horror stories about shutters breaking after being frozen. It was shortly after this that Robin spotted this Great Blue Heron in the ditch on the west side of the road.
We stopped and spent about twenty minutes photographing him. He just stayed where he was, going about his business while keeping one eye on us. He finally spread his wings and flew off, and we packed up our gear and drove off, but we didn’t go far. About two hundred yards down the road, we came across hundreds of geese. They were in the marsh, and they would fly across the road to the field on the opposite side to eat, and then fly back across the road to the marsh. We spent quite a while watching them. Robin got the best photo.
The four geese on the left are Snow Geese, and the highest one is a Ross’s Goose. Collectively they are referred to as Light Geese. These five were flying to the field from the marsh.
We continued around the marsh loop, and on to the farm loop. We had just passed the Coyote Deck when we spotted several cranes flying low. We pulled over just as they landed on a berm between us and the flooded field beyond. This is one of them that seemed intent on watching us while the others went about their business. Perhaps he was the designated sentinel for the day.
Before we completed the farm loop, we made a stop at the Flight Deck to see if there was any activity there. Not surprisingly, there were no cranes or geese in evidence. There was, however, a lone bald eagle perched in “the tree” which stands out in the large pond in front of the Flight Deck. He spent quite a long time surveying his domain before taking wing to patrol the remainder of the refuge.
Bosque del Apache is undoubtedly a special place. I never tire of going there. The scenery combined with the thrill of seeing thousands of waterfowl and numerous raptors in one place at one time makes for a memorable trip.
Here is another image that, for some reason, I overlooked on the first edit of my Ricketts Glen photos. I always make it a habit to go back after a month or so and take another look at files I have archived. In this case, I found four images that should have been picks the first time around, but had gotten lost in the shuffle.
This small waterfall is in Glen Leigh. It probably has a name, but I neglected to note it if it does. I named it Tranquility Falls for what I think are obvious reasons. The falls themselves have a very calm and peaceful look, and the plunge pool is so inviting. I couldn’t imagine a more perfect spot to sit and meditate on the beauty of the natural world.
Equipment: Nikon D700, nikon 17-35 mm f2.8 zoom lens, 3 stop neutral density filter, Bogen tripod.
Camera Settings: f 22, 2 sec., ISO 100
This is an image of Harrison Wright Falls in Ricketts Glen State Park. Wright was a friend of R. B. Ricketts for whom the park is named. It, along with Adams Falls, is considered to be the most photogenic of all the waterfalls in Ricketts Glen.
Photographing the waterfalls in Ricketts Glen can be a challenge: the canopy of old growth hardwood trees can be as thick as a jungle in places, but elsewhere, the cover opens up allowing the sunlight to penetrate and illuminate the scene. Such is the case at Harrison Wright Falls, and as any photographer knows, this combination of highlights and shadows can make it difficult to make a good exposure.
While photographing this scene, I used a 3 stop neutral density filter to darken things enough to allow me to use a slow shutter speed. This renders the moving water as a silky blur, and in this case causes the falls to look almost like a sheer curtain. All of these measures achieved my goal of capturing the waterfall in an aesthetically pleasing way, but the shadows were almost totally blocked up, and there were several hot spots on the falls. Here is the image as initially processed in Lightroom and Photoshop.
I decided that this image would be a good candidate for an HDR image (I had bracketed at least three exposures for each photo I took on this trip). I used Photomatix Pro, and tone mapped one using the details enhancer feature, and made another using the exposure fusion tool. I still could not get what I was looking for, so, starting with the original image, I created a second layer in Photoshop, and copied the exposure fusion HDR image to it, and then I adjusted the opacity of the new layer until I found what I was looking for. The result is the first image seen above.
There are many photographers out there who say that this kind of manipulation is not real photography, that it does not render an image that is true to the scene that the eye beheld. But, the eye has the ability to see detail in highlights and shadows, a dynamic range, that is far greater than the that of a camera. So, is this kind of processing really cheating, or is it just another tool in the photographer’s arsenal that will enable him to more effectively capture the scene before him, and share his vision with the world?
Equipment: Nikon D700, Nikon 17-35 mm f2.8 zoom lens, 3 stop ND filter, Bogen tripod.
Camera Settings: f 22, 1, 2, 4 sec., ISO 100
At ninety seven feet, Ganoga Falls is the tallest waterfall in Ricketts Glen. It is a classic example of a “wedding cake” waterfall, so named because of the tiered structure. Wedding cake falls typically consist of numerous small cascades that spread the flow giving the water a diaphanous glow.
Once again, due to the high dynamic range of the scene, I blended four source images into this final image using the exposure fusion workflow in Photomatix Pro. I then made the usual curves adjustments in Photoshop.
Equipment: Nikon D700, Nikon 17-35 mm f 2.8 zoom lens, 2 stop neutral density filter, Bogen tripod.
Camera Settings: f22, 1/2, 1, 2, and 4 sec., ISO 250.