Hiking & Photographing Slot Canyons near Escalante, Utah – Part 1

Since, I do not have anything from a recent journey, I am reaching back into my mental and photographic archives for this post.  I have also revised the editing of the photos contained here.  The original edits were mostly very conservative.  Now that I have more time and getting more comfortable with advanced photo editing, I think I am able to extract better images from some of the original raw files that I initially ignored, considering them unworthy of sharing.

In March, 2014 two of my sons and I traveled to Escalante, Utah to explore and photograph in the Grand Staircase-Escalante National Monument.  We had a couple of interesting events associated with our hikes in two of the well known and popular slot canyons.

Upstream side of a small arch in Peek-A-Boo Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm at 12mm, f/11, 2.5s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.

On Monday, March 24 our first destinations were Peek-A-Boo and Spooky Slot Canyons which feed into the Dry Fork of Coyote Gulch.  We arrived at the parking area, after traveling down the very washboarded Hole In The Rock Road and a heavily rutted side road with signage  recommending high clearance and preferably 4-wheel drive vehicles.  We were in a high clearance Jeep, so no problem for us.  As we were gathering our gear from the Jeep, a rather low clearance, smallish crossover type vehicle, that we had passed on Hole In The Rock Road, pulled into the lot.  We were surprised that anyone in that type vehicle would travel the rutted, dirt road, especially after seeing the warning signs; but the road was not wet or muddy, at least, so a careful driver could navigate it.  We met the driver, a young Swiss man, at the trail head marker and chatted with him.  He told us that his rental vehicle was 4-wheel drive, but I expect it was the more typical All Wheel Drive rental vehicle.

As we all started the hike, which began on a slick rock slope, then transitioned to a steep, sandy slope down into the dry wash, we noted that the young Swiss man, who was using two hiking canes, had a physical handicap that did not allow him normal use of his legs.  Consequently, we soon outpaced him.

We arrived at the entrance to Peek-A-Boo slot and, just as one of our references describe, there was a shallow pool of water in front of a sheer drop off from the slot canyon.  Someone had put a few rocks across the pool, stacked a few at the base of the sheer wall and leaned a small tree trunk or maybe a large tree branch against the wall as aids for climbing the sheer wall.  There were also a few shallow toe holds cut into the sheer face of the rock wall.  After some consideration, we decided that with all of our gear, it would not be wise to attempt this entrance to the canyon.  We knew, from our reference for this hike, that one could hike up slope in the general direction from which the canyon came and eventually find a place to drop down into the canyon from above.  So we began hiking up away from the dry wash.  We were not always able to stick close to the canyon, but we were able to hike back in the direction of the slot and eventually found an entrance point at the upstream start of the canyon.  However, we were not sure that we would be able to climb back out at this point and we had no ropes with us.  We had cargo tie down straps back in our motel room, so we decided that the safest plan was to come back the next day with a few of those straps, which we could tie together and use, if necessary.

We hiked back to the dry wash on our way to the next slot, known as Spooky.  As we were passing the entrance to Peek-A-Boo, we were incredibly surprised to see that the young Swiss man, with his hiking canes, camera, tripod and day pack, had managed to ascend the sheer wall to the first level.  (There were two or three levels on the wall, where one could stand).  We were concerned that the young man might injury himself and we tried to talk him into coming down.  He insisted that he had to go ahead, so we stayed there to make sure that he got up safely.  As he tried to lift his leg to put his foot into the next foot hold, it became obvious that he was physically unable to raise his leg sufficiently to continue.  He then realized that he could not go on, but he seemed afraid of getting down from his perch.  We assured him that we would help him down.  He passed his gear down to us, asking us to please be careful with his camera.  My oldest son was quite helpful guiding his feet into the foot holds, while we were all making sure he did not fall.  He was obviously concerned about his safety during his descent and expressed his gratitude to us, when he was safely back in the wash.

We suggested that he walk along with us to Spooky.  He agreed, but said he would be slow and we assured him that we would stay with him.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm DX at 12mm, f/11, (three shots HDR at various shutter speeds) ISO 200. Edited in Adobe LR, Skylum Aurora 2019 and Nik Color Efex Pro 4

We arrive at Spooky after about a half mile of walking in the wash.  Spooky is a very narrow slot, frequently requiring one to walk sideways with arms outreached with backpack in one hand and tripod with camera in the other hand.  The walls are also rough and abrasive, which wore holes in our backpacks as these were pulled through the narrow passage.  I am not a big person and both my chest and back frequently scrapped against the walls.  Anyone much larger than me would not be able to squeeze through this slot.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm DX at 12mm, f/11, 3.0s, edited in Adobe LR and Nik Color Efex Pro 4.
Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm DX at 12mm, f/11 (several exposure HDR), ISO 200. Edited in Adobe LR, Skylum Aurora 2019 and Nik Color Efex Pro 4.

The best time for photography in the slots is when the sun is high enough for sunlight to penetrate into the dark, narrow canyon.  Light reflecting off of the sandstone walls can create interesting color, highlighting the texture of the rock.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm at 12mm, f/8, 1.3s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.

The low light within the canyon can also require larger apertures, slow shutter speeds and maybe even multiple exposures for creating HDR images.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm at 12mm, f/8 (two shots, 2.5s and 8.0s), ISO 400, edited in Adobe LR, Skylum Aurora 2019 and Nik Color Efex Pro 4.

Eventually, the slot opened up into a wide, sandy wash, which we used to walk back to the main trail.  The young Swiss man took off across country in the opposite direction.  He had a GPS and we never heard of anyone going missing here during our visit, so I am assuming he got back safely.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm DX at 12mm, f/11, 1.3s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.
Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm DX at 12mm, f/11, 1.3s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.

(On a subsequent trip in the hot summer, by two of my sons, they encountered a woman and her children in the parking lot, asking them to keep an eye out for her husband.  They had been hiking and got disoriented.  The husband hiked up to a higher elevation to try to see the way out and disappeared.  He eventually perished, before he could be found.  The environment here is deadly for those not sufficiently prepared).

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm at 12mm, f/11, 6.0s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4

One does not want to be in one of these slots, when there is any rain in the area.  Flash floods through these canyons will be deadly for anyone in these canyons during one.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm DX at 12mm, f/8, 4.0s, ISO 400, edited in Adobe LR and Nik Color Efex Pro 4
Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm DX at 12mm, f/8, two shots HDR at 2.0s and 5.0s), ISO 400, edited in Adobe LR, Skylum Aurora 2019 and Nik Color Efex Pro 4.

These canyons are beautiful and a joy to hike through, just make sure to use care in getting here.  Carry plenty of water, snacks, wear proper clothing and either know the area well or carry a GPS and/or map and compass.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm DX at 12mm, f/8, 6.0s, ISO 400, edited in Adobe LR and Nik Color Efex Pro 4

The rough texture of the canyon walls is clearly visible in the above photo.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm DX at 12mm, f/8, 0.6s, ISO 400, edited in Adobe LR and Nik Color Efex Pro 4.

And yet, some portions of the walls are rather smooth as shown in the above photo.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm at 12mm, f/8, (two shots HDR 3.0s and 2.0s), ISO 400, edited in Adobe LR, Skylum Aurora 2019 and Nik Color Efex Pro 4.

The sandstone looks purplish in low light and reddish in brighter light.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm DX at 12mm, f/8, 3.0s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.

The narrowness of most of the route is obvious in the above photo, which is just a slightly different angle of the same section as in the previous photo.

It is amazing how flowing water over many years has carved and sculpted the rock walls of these amazingly beautiful canyons.

Spooky Slot Canyon, Escalante, Utah. Nikon D90, Nikon 12-24mm at 12mm, f/8, (three shots HDR, 1.6s, 0.6s, 0.5s), ISO 200, edited in Adobe LR, Skylum Aurora 2019 and Color Efex Pro 4.

Part II of this blog will relate yet another significant experience involving a hiker in distress in our subsequent trip to Peek-A-Boo Slot on the following day.  So stay tuned for more in a week or so.

Ken

My First Big Bend National Park Visit – An Ill Fated Adventure

This post goes back a few years and some of you may have heard this story before.  My first visit to Big Bend National Park remains one of the most memorable, though unsuccessful, trips that I have taken, so I’m revisiting it here, since I will not have anything new to blog about for awhile.
Frosty Sotol and other vegetation along Basin Road in Big Bend NP, Texas. Nikon D90, Nikon 24-70mm at 24mm, f/11, 1/100s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.
This trip to Big Bend was supposed to cover a total of 10 days (Dec 30 – Jan 8), two for travel and the rest in the park; but our plans went considerably awry due to circumstances beyond our control. It was a bit like those comedy vacation movies you have probably all seen.
Heavy frost on Big Bend NP vegetation along Basin Road. Nikon D90, Nikon 24-70mm at 32mm, f/11, 1/100s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.
This is a bit of a long story, so I apologize in advance and will understand, if you elect not to read all the details.
When we (myself and three of my four sons) planned the trip, there were no available rooms in the lodge in the park until Jan 4; but we were able to get lodging in Terlinqua Dec. 30 to Jan 4 and the park lodge from Jan 4 until Jan 8.
A winter storm was forecast for the initial day of our trip and we drove through rain, freezing weather, sleet and snow showers on the way to Terlingua.  Ice accumulated on the vehicle and windshield, but the roadways did not ice over during our journey.  Fortunately, we got into Terlingua, prior to the really bad freezing rain and icy road conditions over most of southwest Texas that day and night.
For the best photography, we wanted good early morning and late day light.  Instead, we got heavily overcast skies for most of our useable time there. Consequently, we spent the first day Dec. 31, driving around the park and checking out the area in general.  We did hike about .8 miles into Santa Elena Canyon and hoped to come back when the weather cleared.  I made a few shots in the canyon, but they were just blah.
The evening of Dec. 31, we had dinner in a local restaurant/bar and watched a football bowl game (Oregon beat Florida State to our enjoyment).  When we got in our vehicle, after dinner, (a 2014 Nissan Rogue, that one of my sons, who was supposed to go with us, but backed out due to his business considerations, had let us use), we had low air pressure indications in one tire.  The tires were run flat, so there was no spare.  We had sufficient air to drive the short distance back to the motel.  The next morning (Jan 1) the tire was completely flat.  We were able to inflate the tire, using our little air compressor and we could drive the vehicle; but we were afraid to get far away from the motel for fear of getting stranded somewhere and no way to call for help (there is very scant and weak cell phone coverage in the area).  Being New Years Day, there was no way to get the tire repaired that day and there was only one place in Terlingua to fix the tire.  I was at that place before it opened the morning of Jan 2 and got the tire repaired; although they could not reset the low tire indicator.
While we were considering our options for that day, the power went out, due to a truck reportedly taking out numerous power poles somewhere to the north of us.  The local motel restaurant/gas station employed a large portable generator to continue operating, so we could at least eat; but since the roads were iced over north of us, no gasoline deliveries were being made.  The one and only gas station in Terlingua at our motel ran out of gas.  We were able to get gas at one of the two stations in the park that had a generator, shortly before it ran out of gas.   Some portions of the roads in the park were icy, requiring great care driving on them.
Frosty Sotol and other vegetation along the icy Basin Road in Big Bend NP, Texas. Nikon D90, Nikon 24-70mm at 24mm, f/10, 1/250s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.
Heavy frost on Big Bend NP vegetation along Basin Road. Nikon D90, Nikon 24-70mm at 70mm, f/11, 1/80s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.
It is a long drive into and out of the park, so by the time we got back to our lodging in Terlingua, our gas level was down a bit.  We heard there was gas at a small store in Lajitas, 17 miles from Terlingua, so we drove over there to top off our tank, arriving there just before the store closed.  They were also running out of gas; but we were able to top off our tank.
Frosty vegetation along Basin Road in Big Bend NP, Texas. Nikon D90, Nikon 24-70mm at 24mm, f/11, 1/160s, ISO 200, edited in Adobe LR and Nike Color Efex Pro 4.
Heavy frost on Big Bend NP vegetation along Basin Road. Nikon D90, Nikon 24-70mm at 38mm, f/11, 1/100s, ISO 200, edited in Adobe LR and Nike Color Efex Pro 4.
With gasoline in short supply and uncertainty on when delivery of additional supplies would resume, we were reluctant to get out and about.  So we hung around our lodging, hoping to get updates on road conditions, fuel deliveries and weighing our options.
{I had purchased the last 8-D cell Coleman lantern with detachable, rechargeable lights on it and batteries in the motel store, so we had light for our room.  The detachable LED lights’ batteries were charged via the 8 D cell batteries, so we could detach one of those smaller lights to take into the bathroom.  I now take this lantern with me in the Sportsmobile, just in case I need it, and maintain its batteries here in case of a power outage in our home}.
On Saturday, Jan 3, our motel was running out of water, due to no power for the well pump.  The motel managers were asking all that had enough gas to get to Alpine to leave.  The local cell phone tower was out and the local phone lines did not work, so no one  could call anywhere to check on anything.  We decided to go to the park lodge and check on conditions there.  We had already been there on our trip into the park to get gas and knew they had no power; but we did not know what their water situation was.  The park lodge had rooms available, due to cancellations, and they had water (and hot water), so we decided to stay there.
Frosty vegetation along icy Basin Road in Big Bend NP, Texas. Nikon D90, Nikon 24-70mm at 24mm, f/11, 1/80s, ISO 64, edited in Adobe LR and Nik Color Efex Pro 4.
{An aside about the hot water system in the park lodge:  Before we decided to stay, I asked at the lodge check in desk about hot water for showers.  No one there had any idea about what kind of water heating system they had or whether they even had hot water.  They said they would find out, but we decided to stay anyway, not having any other good choice, other than to drive somewhere else.  We never got an answer to our question from the front desk, but we had hot water, so apparently they had gas water heaters}.
The lodge restaurant had no power, were not getting food deliveries due to road conditions, but they were operating with a reduced menu, so we were able to eat.
There is a trail from the lodge area that follows a drainage down to a place referred to as “The Window”, where there is a drop off into the valley below and a view through the canyon window of the valley.  We only ventured a short distance along that trail, shooting a few moon light photos that night.
A moon light shot from the upper portion of The Window Trail, Chisos Mountains, Big Bend NP, Texas. Nikon D90, Nikon 24-70mm at 24mm, f/11, 377s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.
Sunset silhouette in the Chios Mountains, Big Bend NP, Texas. Nikon D90, Nikon 24-70mm at 70mm, f/11, 1/25s, ISO 200, edited in Adobe LR and Nike Color Efex Pro 4.
The next day, Sunday, Jan. 4, the report had not changed. No one really knew when gasoline would arrive and power was not expected to be restored until Tuesday.  We might have been able to do a bit in a limited area around the lodge; but we were reluctant to use our gasoline to get around in the park, so we decided that since we had more than enough gas to get to Fort Stockton, that it was worth the risk to try to make it there.  We did not really know what the conditions were in Fort Stockton.  We had heard mixed reports about power,  gasoline availability and road conditions.
Heavy frost on Big Bend National Park vegetation along the Basin Road. Nikon D90, Nikon 24-70mm @ 38mm, f/11, 1/160s, ISO 200, edited in Adobe LR and Nike Silver Efex Pro 2.
We passed through Marathon, which had no power and hence no gasoline.  We passed several stations in Fort Stockton that had no gas, began to worry,  but we found a convenience store station with gas. We filled up and were on our way, thinking we would be back in Rockwall that day.
A few miles (about 30, I think) north of Fort Stockton on route 18, as I was driving, the auto engine died.  I coasted off of the roadway and tried to restart the engine with no success.  My older son, who had pumped the gas, began to worry that he might have put the wrong gasoline or even diesel in the engine.  Fortunately, we had cell service (earlier portions of this road did not) so I called AAA and learned that the nearest place they could find that had an auto shop that could service our vehicle was in Midland/Odessa, 60+ miles away and the nearest tow services they had were also in Midland/Odessa.  Since there was a Nissan dealer in Odessa, I arranged to have the vehicle towed there.  I was also able to find a motel a couple of blocks down the street from the dealer and was able to get a room reserved there.  There were three of us and normally, the tow trucks have room for only two passengers; but AAA checked with the tow service and they said they could accommodate all of us, since we did not have a child seat to deal with.
The tow truck arrived a couple of hours after the initial call to AAA.  Needless, to say the front seat of the tow truck was a bit crowded with the driver plus the three of us.   I let the kids use the two available passenger seat belts and I sat forward on the edge of the seat with no seat belt, leaning on the dash.  The driver told us to not bother with the seat belts, saying “We never use those”, and he was not using one.  He was also doing paper work, texting and other things while driving.  My older son later told me he was sure we were going to die in that truck.
As we neared Odessa, my phone buzzed.  I check it and had a recorded message from the reservation system for the lodge in Big Bend, informing me they were canceling my reservation due to weather conditions, lack of power, etc.  No doubt that message had gone out to my phone, when I had no service and I was receiving it much too late, when it no longer mattered.
The tow truck driver stopped by the motel and let us unload our luggage, then I rode with the driver to the dealership.  Due to ice on the drive in front of the service entrance, it was a chore to unload the vehicle and I had to help the driver work the vehicle off of the flatbed.  Of course, being Sunday the dealership was not open.  I filled out the drop off form, etc.  I had planned to walk back to the motel; but the tow truck driver was going back that way, so he dropped me off.
We walked a few blocks from the motel to a bar/restaurant, had a late lunch and watched an NFL playoff game.  Back at the motel, we settled in for the night.  I began to have the initial indications of getting a cold that Sunday afternoon; but I initially though it was just a dry cough from the cold weather.  The cough and sinus drainage was enough that I had considerable trouble sleeping.  My two kids like it quite, when they sleep and were using ear plugs.   My older son likes it dark, so he was wearing an eye mask, too.
Sometime between 11:00PM and midnight, the room entry way light came on.  Turning over,  I saw someone in a dark coat leaving the room.  I could see one son still in bed, so I though my older son might have gone to the lobby for a snack or something to drink.  I lay in bed for a few minutes, but being a little concerned, I got up, went to the bathroom and sipped warm water to sooth my throat.  When I came out, I saw that both of my sons were still sleeping.  I thought maybe the older one had come back, while I was in the bathroom.  I noted that the safety latch on the door was not closed, so I closed it.  Just to be sure, I looked around and did not see anything missing (we had a considerable quantity of camera gear about the room).  I turned out the light and went back to bed.  Shortly afterwards the room phone rang, waking the two kids.  I fumbled in the dark for the phone; but did not get to it in time.  Since the kids were awake, I told them what I had seen.  They were sure that I had dreamed it and were sure the light had not come on, until I turned it on after the phone range.  The phone rang again as we were talking and it was the front desk, apologizing for calling, but asking if there were any belonging in the room when we moved in.  I told them there weren’t anyone else’s belonging in the room and I reported that someone had just been in my room.  They confirmed that, telling me that someone from the electric power transmission repair company had been checked into our room.  I did not really understand how this was possible and did not get more details until the next morning.
I stopped at the front desk before I went out to the Nissan dealership early Monday morning.  The night person who had called in the middle of the night was still there and was briefing the day shift about what had happened.  Apparently, the Oncor repair person had a room there with his belonging in it and was being reassigned to another room, where his belongings were to be moved.  Apparently, he had been given our room number by the crew changing his room assignment, then we were given that room, when we checked in.  The day shift did not pass the correct information to the night shift, which had no clue into which room his belonging had been moved and apparently took his word for the room that he was to be assigned to, not checking to see that that room was already taken.  When the Oncor person came in, he was given new key cards to our room, which wiped out our key cards.  I got new keys while at the desk.  I, also, explained our situation to the front desk people, telling them that we might need the room for a few days.  I was assured that that was not a problem.
I walked to the Nissan dealership to be there at opening time, to find that it was still locked up and no one around.  I stood outside in the cold, until someone finally showed up late to open the dealership.   I got to, at least, talk to the master technician, who opened the place, about the vehicle symptoms and, explaining our situation, asked that he expedite the repair, if possible.  I asked that he call me as soon as possible after the diagnosis, since we needed to make a decision about our motel situation.  Getting no call prior to the motel check out time,  I called and was informed that the fuel pump was the culprit and they would have to order it; but at least the part was covered under the warranty.  They thought they might get it on Tuesday; but were not sure, because of the weather issues.  At least we had a place to stay that night.
An hour before check out time on Tuesday morning, I began calling the Nissan dealership to get an update.  I had to leave a message with the phone receptionist, who promised a call back.  Thirty minutes later, having received no return call, I called again, was put on hold and after more than 10 minutes on hold, I hung up and called again. It took several renditions to finally get to talk to someone, who knew anything.  The fuel pump had arrived and the best we could get out of them was that the repair would be completed by 6pm.  Just to be sure, that we would still have a room that night, I called the front desk to make sure our stay was still extended.  The very same person who told me that he would extend the room for three days, told me they had no capacity for extending our stay.  They, at least, agreed to call around to help us find another room.  There were other motels very nearby, but none of those had rooms available.  We walked to the dealership to try to get a better idea of when the vehicle would actually be ready and learned it would be ready around 3pm.  So we decided that was early enough to safely (we were still concerned about road icing late at night) drive home that day.
To end of a long story, we made it back home safely around 9:45PM.
We did see much of the park from the roadways.  There was one stretch of the basin road with heavy frost cover, from the mist hanging over it, that was absolutely beautiful.
Frosty Sotol and other vegetation along Basin Road in Big Bend NP, Texas. Nikon D90, Nikon 24-70 at 24mm, f/10, 1/250s, ISO 200, edited in Adobe LR and Nik Silver Efex Pro 2.
Frosty vegetation along Basin Road in Big Bend NP, Texas. Nikon D90, Nikon 24-70mm at 24mm, f/11, 1/160s, ISO 200, edited in Adobe LR and Nik Silver Efex Pro 2.
Frosty vegetation along Basin Road in Big Bend NP, Texas. Nikon D90, Nikon 24-70mm at 60mm, f/11, 1/160s, ISO 200, edited in Adobe LR and Nik Color Efex Pro 4.
Please remember to always fasten the safety latch on your public lodging room.
But wait, there is more.  Some weeks later, prior to going on another trip, I could not find my Nikon 24-70mm lens.  I knew I had loaned it to one of my sons and I knew he had returned it.  I thought maybe I had loaned it to another one, but they all confirmed that they did not have the lens.  I thought that it might turn up somewhere.  Months went by and I had not found it.  Finally, resolved to having lost the lens, I purchased the newer version of that lens, which cost $1000 more than the one that I lost and which I had only purchased less than two year prior.  A few weeks later, I was informed by the son whose vehicle we had used for the Big Bend trip, that he had found my lens in an inconspicuous place in his vehicle!  (He had checked his vehicle for the lens, after I reported it missing and not found it).  Now having two Nikon 24-70mm lens, I gifted the older one to one of my sons, who also shoots with Nikon cameras.  So at least he got a positive outcome to this trip.  (His manager, overhearing him tell a colleague about this trip, told him “I’m giving you your vacation days back”).

Abandoned Houses and Other Buildings

On road trips, I am always amazed and intrigued by the many abandoned, deteriorating houses and business building that I see, especially in rural areas.  I’ve taken more note of these on my most recent trips through northwestern Texas and portions of Colorado, Oklahoma, Kentucky and Tennessee.

An abandoned farm house along US 287 in northwestern Texas. iPhone photo, edited in Adobe LR and Nike Silver Efex Pro 2.

It has occurred to me that an interesting photographic project would be to seek out, photograph and document many of the more prominent and interesting abandoned buildings, perhaps, even documenting the history of those structures, the ownership and the stories behind how these came to be abandoned.  One would also need to get permission from the appropriate people to photograph those that require getting onto private property to do so and this would take time and effort.  A project of this magnitude would be a major undertaking and one that I am not likely to have sufficient time to pursue.  However, I might try to take more time to photograph some of those easily accessible ones that I encounter on my journeys.

An abandoned house in rural Texas along US 287 with a newer farm house in the background. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

On the last leg of my most recent trip, between Amarillo and DFW, I eventually decided to take time to photograph a few, after passing up many other interesting looking abandoned houses.  I only shot a few of these dilapidated structures, as I had a travel schedule and I could not take too much time stopping frequently for photos.

An abandoned farm house along US 287 in northwestern Texas. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Abandoned house along US 287 in northwestern Texas. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
An abandoned business type building in northwestern Texas. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
An abandoned house in northwestern Texas. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 2.

A dedicated project to photograph these abandoned structures could take much time, especially, if one were to try to get the photographs from early morning to about mid-morning or middle to late afternoon.  Photographing during various seasons would also be good, maybe getting fall color or spring flowering plants into the compositions, where possible, and maybe winter photos with snow on and around the old homes.

Abandoned farm buildings in northwestern Texas. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.

I will keep this idea in the back of my mind and maybe take a trip just to photograph these nostalgic buildings.  I’m sure there are many of these scattered throughout the countryside near me; but those might take much exploring to find.  On the other hand, there are many visible along major US and State highways throughout rural areas near many small towns, where changing economic conditions result in the displacement of people and businesses.

I will welcome readers’ suggestions on this topic.  Maybe some of you are aware of interesting, abandoned houses and can share information about those.

Ken

 

 

Bisti Wilderness Area – Fall 2018 – Afternoon Day 2

I rested during the day, after my early morning shoot, and spent some time studying the photographs in the book gifted to me by John Eric Hawkins.  John Eric went out a bit earlier than I did that afternoon and I headed out again around 5PM.

My destination for sunset photos was again The Nursery, where I would shoot with my Nikon 24mm PC-E lens.  I do not have much experience with this lens, but I thought this would be a good place to use it.  In my morning conversation with John Eric Hawkins, I asked him what he thought of my idea of using the tilt/shift lens in The Nursery.  He agreed that would be a good place to make use of this type lens.

As I neared my destination, I saw John Eric shooting in an area with small features, that I had scouted the previous day.  I recognized that area as a good place to shoot and I had thought that I might get back there at some point during my visit, so I was intrigued that John Eric was shooting there.  We chatted for brief while.  He really liked that little area for shooting and contrasted it to The Nursery.  As we were chatting, he told me that the 85mm 1.8 lens was a good one for shooting here.  I had recently seen other landscape photos taken with that lens and I could easily see that he was correct in his assertion.  I had a Nikon 85mm 1.8 lens back in my vehicle and I had hoped to get a chance to try it out for landscape shots somewhere on this particular trip, but I never had time to do so. Not wanting to distract John Eric for very long from his shoot, I continued on to The Nursery, which John Eric pointed to from our location, indicating that I could walk more directly to it than the route that I had set up on my GPS via a satellite map view.

Arriving in The Nursery, there was no one else around and I had the place completely to myself for the duration of my shoot.  Again the late day light was very good.

I began experimenting with the PC lens before the golden hour, just to get comfortable with the technique of using this unique lens.  I’ve blogged about this lens and technique previously, but here is a brief description of how to use this type lens.  The general procedure that I use, after setting my composition and determining a starting point for an exposure,  is to focus on the nearest object in the composition, using a large aperture, then tilt the lens to bring distant objects in the composition into focus.  At least with large apertures, the focus on the very nearest point in the composition tends to fall out of focus as those in the distance come into focus.  Decreasing the aperture a little helps with this problem.

I found shooting with the PC lens was a challenge, especially determining when I had proper focus on distant objects, as I tilted the lens.  It appeared that only a very small tilt on the order of 1-2 degrees was required to bring distant objects into focus and it was very difficult to determine when the focus was optimum. The PC-E 24mm is an entirely manual lens, with the exception of metering prior to tilting or shifting the lens.  I was also trying to use large apertures with the tilt and still get good depth of field, since this is one of the capabilities with this lens.

I had what I considered good compositions, with the “cracked eggs” in the foreground and the hillsides in the background or an array of the “cracked eggs” and the focus looked good to me in the field.  However, after reviewing my photos on a large screen, I was very disappointed.  Nearly all of the images were poorly focused or had very shallow DOF.

So what went wrong on this shoot?  There may be several possibilities.  Firstly, the very slight tilt range with very slight changes affecting the focus made it difficult to fine tune the focus.  It is also possible that the tilt might have moved slightly after it was set, even if I locked down the tilt mechanism or maybe locking the mechanism might have resulted in a slight tilt.  Secondly, maybe my eyes can no longer properly detect sharp focus.  Thirdly, maybe I expected too much DOF from this lens with large apertures in landscape photos with lots of depth and maybe I should have shot f/11 to f/16.  In hindsight, I certainly should have made each image with a range of apertures, since I had so little experience with this lens.

On the positive side, this was an experiment, which even though, it was mostly a failure, I can at least learn from the poor results and hopefully get better results with the next trial with this lens and I must practice more with the lens before depending upon it in a shoot of this type.

If any readers have experience with using the PC-E 24mm (or any other tilt/shift lens) for landscape photography, I would appreciate your feedback on this topic.

I only deemed 4 (or parts of 4, cropping some of the images to remove out of focus portions) of the 70+ images that I made on this shoot to be presentable and those are included here.

Bisti “Cracked Eggs”. Nikon D850, Nikon PC-E 24mm, f/8, 1/125s, ISO 64, edited in Adobe LR and Nik Silver Efex Pro 2.
Bisti “Cracked Eggs” in “The Nursery”. Nikon D850, Nikon PC-E 24mm, f/8, 1/160s, ISO 64. Edited in Adobe LR and Nik Silver Efex Pro 2.
Bisti “Cracked Egg” Texture. Nikon D850, Nikon PC-E 24mm (severe crop), f/3.5, 1/500s, ISO 64. Edited in Adobe LR and Nik Silver Efex Pro 2.
Bisti “Cracked Eggs” in “The Nursery”. Nikon D850, Nikon PC-E 24mm, f/3.5, 1/50s, ISO 64. Edited in Adobe LR and Nik Color Efex Pro 4.
Bisti “Cracked Eggs” in “The Nursery”. Nikon D850, Nikon PC-E 24mm, f/3.5, 1/50s, ISO 64. Edited in Adobe LR and Nik Silver Efex Pro 2.

As usual, these images are posted to my Flickr page, where they may be more easily viewed.

I had planned to get up early the next morning and shoot again at sunrise in the area with the many wing like hoodoos with the Nikon 14-24mm wide angle, which is easier to get more DOF with than the 24-70mm; however, as I walked back to the parking area with the desert rapidly going into darkness, feeling the tiredness setting in, I realized that with a long drive ahead the next day, that it would not be a good idea to start that drive after a short night of sleep and after hiking into and out of Bisti again.  A morning shoot would have resulted in a late start on my long drive, so I slept in until just prior to sunrise Monday morning.  When I peeked out the window, just after awaking, I saw that it was going to be a glorious sunrise with colorful clouds in the eastern sky and I immediately regretted my decision not to do the early morning shoot.

After getting everything packed away and ready for the road trip, I wrote a note to John Eric, since I had not seen any activity from his RV.  As I was about to leave the note on the driver’s side door of John’s RV, he called to me from inside, telling me to come around to the sliding door side.  He and Jean were just finishing breakfast and they were planning to leave that morning, too.  He commented that I must have had a very good morning for shooting and I had to inform him that I had not gone out.  I thanked John again for the book and we chatted for a few minutes before I got underway.

It was only late in the day, as I approached Amarillo, that I realized that my decision not to shoot that morning was for the best.  Otherwise, I would have probably been driving after dark, tired, and less alert, resulting in less safe driving.

There may be only one more minor post related to this fall trip.  I do not know when I will get time for another photo trip.  I expect it will be in the New Year before I get time for another trip, so either there will be an extended break in these posts or, maybe, I might blog about much earlier trips, as I do have several interesting stories and photos that I could share from past years.

Here’s hoping and wishing that you all have a happy end of the year holiday season!

Ken

Bisti Badlands Fall 2018, Day 2, Early Morning

I got up early Sunday morning, September 23, left the Bisti south parking area about 5AM and headed out into the dark wilderness area.  I started out with a headlamp, but soon switched to a brighter flashlight, as the normally bright headlamp just did not seem bright enough this morning.  It is one of those headlamps with multiple functions and it would not switch to the brightest mode.  This is a good reason to have backup light sources, when hiking in the dark.  I had another headlamp in my Camelbak, but the flashlight was easier to get to.

There are landmarks that are an aid to navigation during the daylight hours, but in the dark it is not possible to see those landmarks from a distance.  Fortunately, my GPS device, linked to my iPhone via Bluetooth, with a preset route made it quite easy to navigate towards my destination in the dark.  Before I got to my destination, an area with many hoodoos of various sizes and wing like or fanciful shapes, it became light enough that I no longer needed the flashlight.

I scouted the area for awhile before it got very light, looking for a good place to begin the early morning shoot.  I made a number of photos prior to the sunrise.  Since the light was still dim, getting good images was a challenge and those images required more extreme editing to bring out the details and produce more attractive images.

Early dawn in Bisti. This is an HDR image created from 6 images in Skylum Aurora2019. Nikon D850, Nikon 24-70mm at 48mm, f/11 at various exposures.
Early dawn in Bisti. This is an HDR created from three images, using Skylum Aurora2019, with final edits in Nik Color Efex Pro 4. Nikon D850, Nikon 24-70mm at 24mm, f/11, various exposures.
Pre-dawn in Bisti. Converted to monochrome in Nik Silver Efex Pro 2. Nikon D850, Nikon 24-70mm at 44mm, f/11, 1/5s, ISO 250.
Pre-dawn in Bisti. Nikon D850, Nikon 24-70mm at 31mm, f/11, 1/4s, ISO100. Edited in Adobe Lightroom and Nik Color Efex Pro4.

I am never really satisfied with these low light images in which the heavy handed editing often produces unnatural results and, even though, it is an artistic expression, being artistically handicapped, I’ve never felt completely comfortable with the results.

When the sun rose above the eastern horizon, there was magnificent light on many of the hoodoos.

Early morning light in Bisti. This is a composite of three images focus-stacked in Photoshop with edits in Adobe Lightroom and Color Efex Pro 4. Nikon D850, Nikon 24-70mm at 65mm, f/11, 1/10s, ISO 64.
Early morning in Bisti. Nikon D850, Nikon 24-70mm at 40mm, f/11, 1/13s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4.
Early morning in Bisti. Nikon D850, Nikon 24-70mm at 24mm, f/11, 1/15s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4.
Early morning in Bisti. Nikon D850, Nikon 24-70mm at 70mm, f/11, 1/25s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4
Early morning in Bisti. Several images focus stacked in Adobe Photoshop with edits in Adobe Lightroom and Nik Color Efex Pro 4. Nikon D850, Nikon 24-70mm, at 62mm, f/11, 1/25s, ISO 64.

 

Early morning in Bisti. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Color Efex Pro 4.
Early morning in Bisti. Nikon D850, Nikon 24-70mm at 48mm, f/11, 1/40s, ISO 64. Edits in Adobe Lightroom and Nik Color Efex Pro 4.
Early morning in Bisti. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Color Efex Pro 4. Nikon D850, Nikon 24-70mm at 45mm, f/11, 1/40s, ISO 64.

Note that I focus stacked images to extend the depth of field in many of my photos here.  This requires a bit more work in capturing sufficient images and much more time in the editing process, especially on my old, slow iMac.

I continued to shoot even after the “golden” hour, which is very limited in duration and I wanted to make the most of the limited time that I had for shooting here.  I felt that the contrast and shadows would still allow for the making of good images.

Early morning in Bisti. Nikon D850, Nikon 24-70mm at 70mm, f/11, 1/40s, ISO 64. Edits in Adobe Lightroom and Nik Silver Efex Pro 2.
Early morning in Bisti. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Color Efex Pro 4. Nikon D850, Nikon 24-70mm at 70mm, f/11, 1/30s, ISO 64.
Early morning in Bisti. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Silver Efex Pro 2. Nikon D850, Nikon 24-70mm at 52mm, f/11, 1/30s, ISO 64.
A small Bisti Hoodoo and its shadow in early morning light. Focus Stack of two images in Adobe Photoshop with edits in Adobe Lightroom and Nik Silver Efex Pro 2.

I am becoming more interested in monochrome photography and this area is superb for this, since the colors are mostly muted, but the contrast, textures and shadows make for interesting monochrome compositions.

An unavoidable progression. Three small Bisti Hoodoos and their shadows in early morning. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nike Silver Efex Pro 2. Nikon D850, Nikon 24-70mm at 42mm, f/11, 1/40s, ISO 64.
Three small Bisti Hoodoos and early morning shadows. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Silver Efex Pro 2.
Bisti Hoodoos and early morning shadows. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Silver Efex Pro 2. Nikon D850, Nikon 24-70mm at 40mm, f/11, 1/40s, ISO 64.
Early morning in Bisti. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Color Efex Pro 4. Nikon D850, Nikon 24-70mm at 46mm, f/11, 1/60s, ISO 64.
Small Bisti Hoodoos. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nike Color Efex Pro 4. Nikon D850, Nikon 24-70mm at 62mm, f/11, 1/30s, ISO 64

As the morning wore on, I meandered around the area looking for additional subjects and for ideas for shooting at another more appropriate time of the day.

Alien Woman? Nikon D850, Nikon 24-70mm at 56mm (prior to crop), f/11, 1/10s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4.

I had spotted the above hoodoo on the previous day’s scouting.  I think it may be one that I saw referred to as an “alien woman” in someone else’s post, but the GPS coordinates of that post do not coincide with this hoodoo.  So either there are  more than one of these or the coordinates in the other’s post were incorrect, which I think may be the case, since in that post the photographer commented that he could not find the “alien woman” in a subsequent visit to Bisti.  Of course, these hoodoos are temporary and one of this sort might disappear over a relatively short time interval.

This “alien woman” hoodoo is in a difficult place to photograph at anytime of the day, but it is probably best shot in the afternoon, rather than the morning.  I did not think I would get back here again on this trip, so I shot it anyway, if for nothing more than a record of it’s existence and location, recording its GPS coordinates on my InReach Explorer.

Bisti Hoodoos. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Color Efex Pro 4. Nikon D850, Nikon 24-70mm at 38mm, f/11, 1/50s, ISO 64.

The above hoodoos are in the vicinity of the “alien woman”, just a bit more to the east.  These are moderately sized ones and would probably be best photographed earlier in the morning.  One can see that these are fragile and easily damaged.  I have seen photographs of people standing on some of the larger hoodoos in Bisti, which is not a good thing to do, it is not only dangerous, but could result in injury to oneself and possibly destroy or damage the hoodoos.

Hoodoo Window. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Silver Efex Pro 2. Nikon D850, Nikon 24-70mm at 48mm, f/11, 1/60s, ISO 64.

The “elephant head” like hoodoo above bridges a gap in the supporting structure, making a window in the rock.

The Seal Hoodoo? Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Silver Efex Pro 2. Nikon D850, Nikon 24-70mm at 56mm, f/11, 1/50s, ISO 64.

The smaller hoodoo in the background (above) looks like one that I have seen referred to as “The Seal”; although, I thought “The Seal” was located more to the west, so maybe this is not “The Seal”.

The aquarium/fish face hoodoos. Focus stack of several images in Adobe Photoshop with edits in Adobe Lightroom and Nik Color Efex Pro 4. Nikon D850, Nikon 24-70mm at 58mm, f/11, 1/60s, ISO 64.

I can imagine that the caps on these hoodoos look like fish faces, so I am calling this the “Aquarium” or “Fish Face Hoodoos”.

Dark Tower. Nikon D850, Nikon 24-70mm at 26mm (prior to crop), f/11, 1/30s, ISO 64. Edited in Adobe Lightroom and Nik Silver Efex Pro 2.

I made numerous images of the features above with the intention of focus stacking them; but when I looked at those photos, they just did not measure up to what I thought I saw when making them.  Consequently, I cropped one image to include the major features on top of this hill.  Since the back side of the tallest feature is in shadow, converting to black and white, makes it look like a “dark tower”, surrounded by guardian hoodoos.  (The one on the far left looks somewhat like a shark).  This image contains a view of “The Seal” from another angle, just to the left of the dark tower.

Finally realizing that the best of the morning light was gone, I headed back to the parking lot.  Just as I approached my vehicle, the photographer, whom I had met at The Nursery the previous afternoon, came out from his RV to greet me, saying “I knew when I saw you leaving at 5AM that you were serious about photography”.  Standing in the parking lot between our vehicles, we chatted for quite a while.  I was entranced as he talked much about his background and experiences as a photographer and as he offered suggestions on photographic topics that I questioned him about.  Near the end of this impromptu discussion, he said, “If you don’t mind, I have copies of a book that I offer to those I find with a serious interest in photography and I would like to give you one”.  Of course, I accepted and he autographed the book for me.  The book, The Ancient Shape of Man, is filled with beautiful, very sharp, large format monochrome images.

The gift from John Eric Hawkins, whom I chanced upon in Bisti.

Meeting and conversing with John Eric Hawkins and receiving his book as a gift was the highlight of this trip.  I found his website listed in the book, which he told me he has not updated for awhile;  nevertheless, his website has beautiful images and more information about John Eric.  His website is worth a visit for those of you interested in fine art photography.

Be sure to check out the images in this post on Flickr, where these appear in higher resolution and in a larger size.

Thanks for following and please feel free to offer comments, suggestions and critiques of the images and the writing within this blog.

 

Bisti Wilderness – Fall 2018 – Day 1

I left Ridgeway Colorado Saturday morning, September 22, via the San Juan Skyway, deciding to take that route to the south towards New Mexico, rather than travel the most direct route via US550, AKA The Million Dollar Highway, which I had just been on in July.  I wanted to see some different scenery and I was not disappointed, even though, I know US550 from Ouray to Durango would have been a great, if somewhat scary with its hairpin switch back turns on a mountain roadway with steep drop offs with no guard rails, route, too.

There were some really good fall colors, more reds than I had seen in the past few days, along the chosen route in southern Colorado.  I pulled over at one scenic pull out, needing a snack and to stretch my legs for a few minutes.  Others pulled in and out of this area, to take a look around, while I was there.  Before I got out of my vehicle, I saw, via my side mirror, the driver of a van behind me taking photos of my vehicle through his windshield.  After my snack, I got out and walked back past that van. The driver was just coming back and he commented that he really liked my vehicle.  The Sportsmobile does get a lot of attention, so it is not one to travel in inconspicuously.

As I was standing by the guardrail, looking out over the roadside mountain view, a group of motorcyclists, decked out in their riding apparel, pulled into the parking area.  Most of the bikes appeared to be Harleys, but I noted one near the middle of the pack that looked different.  I walked over to it to get a better look and commented to one of the nearby riders that I had never seen one like it before.  He pointed out that it was a Spyder, a three wheel motorbike, and the rider was a “middle age” (not sure what this is now) female, who was really chatty about her tricycle and pointed out another “sportier, more powerful” model near the back of the pack, also ridden by a female.  I asked one of the riders, if they were members of a particular club and he said they were just friends out for a ride.  Most were from Wyoming, but a couple, he said, were “Idaho Potatoes”.  He then held up his phone, asking if I would take a group photo.  So of course, I did.  Afterwards, I wished that I had had the presence of mind to ask their permission to get a shot of the group for my blog,

Nothing else of note happened along the route, but it was an enjoyable ride through countryside that I had not seen before.

I arrived at the south parking lot for Bisti access early Saturday afternoon, which, as expected on a weekend, had a number of vehicles in it, including a full size tour bus.  I parked near the entrance of the lot between the bus and a long wheel base Mercedes Sprinter RV.  After setting up, having lunch, gathering my selected photo gear for sunset photos, checking my Camelbak and InReach Explorer GPS device with previously set routes across the wilderness area, I relaxed a bit.  Later, seeing the tour bus driver, I went over and chatted a bit with him.  He turned out to be a very talkative person.  He was originally from the northeastern US, but had moved to Colorado years ago, as had other member of his family.  I learned that the tourists he was driving around were Latvian.  It was a small group, too small to be profitable, he said, but the tour company had to host them, nonetheless.  They had a guide to conduct them around Bisti, which was fortunate, otherwise they would, most likely, have no idea how to navigate to any of the interesting sites within Bisti.  I was surprised that they were out there during the heat of the day.

Around 5PM, I set out into the wilderness, heading to an area referred to as the “Nursery” or “Cracked Eggs”, to which I had not yet been on either of my other two trips to Bisti.  I loosely followed a pre-determined route that I sketched out via a satellite map view of the area with points of interest marked as waypoints, using GPS coordinates gleaned from online searches and a few from earlier photos that I had taken with GPS coordinates recorded via a device attached to my Nikon D90 some years ago.  The one way distance to my destination was about 2 miles.  So the resulting hiking distance was a bit longer, since I scouted a few interesting looking areas just off of my route for future possible destinations, recording a few new waypoints on my GPS device and getting a few reference photos with my iPhone.  My Garmin InReach Explorer connects via Bluetooth to an app on my iPhone, which has an easier to use interface than that of the GPS device itself.

Routes that I set up prior to my visit. I only had time for portions of the south (red route) on this trip. The waypoints shown as 2011 photos were where I had shot in 2011 during my first visit here.
A satellite map view of my possible south area routes. My first day destination was “The Nursery” or “Cracked Eggs”.

Along the way, I encountered a few of the Latvian tourists heading back to the parking area.  They were not youngsters, mostly female, all looked a bit bedraggled and did not respond to my greetings.  Maybe they did not understand English very well or were just too tired, hot and thirsty to speak.

When I arrived at The Nursery, I was pleased to see that there was only one photographer there, since it is a relatively small area and multiple photographers there could easily get into each others way.  I chatted with him for a few minutes, then left him alone to finish his shooting, while I scouted the area, being careful to stay out of his way.  It was still a while before the “golden” hour prior to sunset and I was a bit surprised that he was shooting prior to that time, since he was obviously a professional.  However, he appeared to be shooting close ups of details in the “cracked eggs”, so I think he only needed the shadows and the contrasts.  When he finished shooting, he hailed me, saying “It is all yours”.  We chatted a bit more about gear, cameras, photography, etc. before he began his trek back to the parking lot.  In our conversation, I learned that the long wheel base Mercedes Sprinter RV in the parking lot was his.

The Nursery.  Nikon D850, Nikon 20-70mm @ 35mm, f/16, 1/15s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4.

Soon afterwards, I proceeded to shoot a few compositions, even though it was still a bit early.   I noted a small Z shaped hoodoo and, as I looked it over, I thought that one edge of it had a facial shape and I could imagine the top of it as long hair streaming back from the head.   So I’ve dubbed this the Bisti Automobile Hood Ornament Hoodoo.  To shoot it from the most interesting direction and angle, I could not isolate it against the sky and I could see that the hillside in the background was going to be problematic, unless I just left the background blurry, which would be ok; but I did not want a blurry background.   To bring out the hoodoo from the background, I made a couple of images to focus stack in Photoshop, then played around with a couple of ideas for merging the images.  I decided that the best looking result was a color background with a monotone image of the hoodoo, blended in Photoshop.  I selected “seamless color and tones” for the blending during the focus stacking process, which muted the color in the background, but I still think it contrasts well with the black and white hoodoo image in the foreground.

Bisti Automobile Hood Ornament Hoodoo. Nikon D850, Nikon 24-70mm at 70mm, f/16, 0.6s, ISO 64. This is a composite of two shots focus stacked in Adobe Photoshop, with prior edits in Adobe Lightroom and Nik Silver Efex Pro 2.

As I was shooting, a couple of more people showed up and we greeted each other.  Recognizing a German accent, I struck up a conversation.  The man (Wiener) and his daughter (Anna), who was a student (university, I surmise), were on a tour around the western US, having started in Los Angeles.  He and his family had visited the US on numerous occasions and he commented on how crowded the National Parks are now as compared to his first visits.

As the sun went low on the horizon, we each went about our shooting, being careful to keep both ourselves and our shadows out of the other’s shots.  Weiner did most of the shooting, but occasionally shared his camera with Anna.  Both shot hand holding the camera, as most tourist tend to do and I expect they were shooting with their camera in Auto mode.  There were clouds on the horizon, which intermittently blocked the best sun rays, so we would stop shooting and chat a bit, then resume shooting when the clouds moved away.

The Nursery. Nikon D850, Nikon 24-70mm at 70mm, f/16, 0.8s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4.
Cracked Egg. Nikon D850, Nikon 24-70mm at 46mm, f/16, 0.8s, ISO 64. Edited in Adobe Lightroom and Nik Silver Efex Pro 2.
The Nursery. Nikon D850, Nikon 24-70mm at 70mm, f/16, 1/5s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4
Cracked Eggs. Nikon D850, Nikon 24-70mm at 70mm, f/16, 1/10s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4.
The Nursery. Nikon D850, Nikon 24-70mm at 70mm, f/16, 0.6s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4.
The hillside, with emerging hoodoos, to the east of The Nursery with moonrise. Nikon D850, Nikon 24-70mm at 70mm, f/16, 1/6s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4.
Cracked Eggs. Nikon D850, Nikon 24-70mm at 48mm, f/16, 0.5s, ISO 64. Edited in Adobe Lightroom and Nik Silver Efex Pro 2.
Cracked Eggs. Nikon D850, Nikon 24-70mm at 52mm, f/16, 1/6s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4.
Cracked Eggs. Nikon D850, Nikon 24-70mm at 70mm, f/16, 1/3s, ISO 64. Edited in Adobe Lightroom and Nik Color Efex Pro 4.

There was a beautiful sunset that afternoon, which we both shot, before heading back to the parking lot.  When I put a reverse graduated neutral density filter into the filter holder attached to my camera lens, Anna was intrigued, as she was not familiar with the use of filters.  I explained to Anna why that particular filter was useful for photographing sunsets; but I gathered that Weiner knew about the use of neutral density filters.

Bisti sunset silhouette at The Nursery. Nikon D850, Nikon 24-70mm at 70mm, f/11, 1/4s, ISO 64, Progrey 0.9 Reverse Graduated Neutral Density Filter. Edited in Adobe Lightroom and Nik Color Efex Pro 4.

There was nothing of interest in the foreground for this sunset shot, so I was satisfied with a silhouette shot.

Anna, learning that I lived in Texas, asked if I had been to Big Bend NP.  So I told them about my first disastrous visit there, as we hiked back to the parking area.  (I should write a blog about that trip sometime.  It was a very memorable experience, although not a really successful photography trip).

We arrived back in the parking lot, where Weiner and Anna were tent camping, just before it got really dark.  They were planning to go out again in the morning, but not prior to sunrise, as I was.  We said goodnight and I did not see them again, other than from a far distance the next morning, so I did not get a chance to learn more about them.

The photo compositional possibilities here are only limited by one’s imagination.  I have so many photos that I like from this photo session that it is not practical to include them all in this post, so I have selected only a few to include here, but others will be put onto my Flickr page.

2018 Colorado Fall Color Road Trip – Day 4

The last night camping along Owl Creek Pass Road was the coldest night I experienced on this trip.  When I awoke in the pre-dawn hours the temperature inside the Sportsmobile was 45 degrees F.  I turned on the furnace to bring the temperature up to a more pleasant 55 degF, as I dressed and prepared coffee.  As I was preparing to leave the campsite for the final day of photography, I noted a patch of frost on the inside of the windshield and a bit of frost on the exterior.  The frost quickly disappeared after starting the van and putting the heater setting on defrost.

I drove on Owl Creek Pass Road towards Silver Jack Reservoir and pulled into a wide pull out just before a cattle guard just south of an access road to Silver Jack Reservoir.  This area was a mile or so further north of the area where I had shot the morning before.  I gathered my gear, including knit hat and gloves, since it was still a bit frosty prior to sunrise.  I walked down a slope in a pasture towards the broad drainage into Silver Jack Reservoir, looking for a good vantage point from which to shoot the mountainside to the west, dodging cow patties as I went along.

A frosty cow pie. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

I set up the tripod and camera in a place where I thought the view was best and one that allowed me to move around a bit, if necessary, then waited for the sunrise, choosing initial compositions and taking a few test shots.

The sky was clear, much different than the previous morning.  I made a number of photos, as the morning light moved from the top of the mountainside downward towards the drainage, from a couple of slightly different vantage points.

A fall scene off of Owl Creek Pass Road near Silver Jack Reservoir, Colorado. Nikon D850, Nikon 24-70mm at 32mm, f/11, 1/6s, ISO 64, edited in Adobe LR and Skylum Luminar 2018.
An early morning fall scene near Silver Jack Reservoir, Owl Creek Pass Road, Colorado. Nikon D850, Nikon 24-70mm at 32mm, f/11, 1/5s, ISO 64, edited in Adobe LR and Nik Color Efex Pro 4.

The compositions from my chosen location were a bit limited.  It was difficult to avoid the foreground clutter, with the 24-70mm lens that I had elected to use this morning, and many of the shots looked so similar or otherwise just did not turn out as I wanted, that I am posting only a couple that I liked best.  I chose to shoot with the 24-70mm, since I was rather sure that the 14-24mm wide angle lens, that I had used the previous morning, would be too wide for what I wanted to shoot today.  It is possible that the 80-400mm lens might have been a better choice in this location for shooting beyond the foreground clutter and I certainly could have gotten some good shots of the mountain peaks with that big lens.

Finished shooting here, I drove north on Owl Creek Pass Road, exploring the area and looking for favorable places to maybe get mid-morning shots of the colorful Aspens.  I walked around in an Aspen forest, shooting with the wide angle 14-24mm, which I found to be a bit difficult to work with in the woods.  Nearly all of the shots that I had high hopes for, turned out poorly, but I do like the one below with the long shadows cast by the trees.

Fall forest shadows. Nikon D850, Nikon 14-24mm at 15mm, f/11, 1/100s, ISO 64, edited in Adobe LR and Nik Color Efex Pro 4.

After shooting in the forest, I continued driving along Owl Creek Road, enjoying the great fall day and the scenery, stopping occasionally to shoot with my iPhone.

A scene in one of the Silver Jack camp grounds that are run by the forest service. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
A side road off of Owl Creek Pass Road, Colorado. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
A mid-morning fall scene along Owl Creek Pass Road, Colorado. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Along the roadway, I encountered a lone cow that stood in the middle of the road, staring at me.  I stopped to wait for it to move along.  As it continued to look at me, I picked up the iPhone with the intention of getting a photo of it.  As soon as I did this, it turned and started to walk away down the road.  I followed, slowly.  Eventually, it moved to the edge of the roadway and I pulled up beside it, stopped and it stared up at me.  Again I picked up the iPhone, aimed it at the cow and it immediately turned and walked away.  Again it stopped in the middle of the road to stare back at me.  Again I started to shoot it with the iPhone and again it began to walk away.  I can only surmise that it was a camera shy cow.  I really wanted a shot into its eyes as it stared, but I only got shots of it walking away.

The camera shy cow. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
Owl Creek Pass Road near Silver Jack Reservoir, Colorado. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
Aspens in fall color and evergreens along Owl Creek Pass Road, Colorado. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

I began to make my way along Owl Creek Pass Road towards highway 550 and Ridgway, where I would spend the night in Ridgway State Park before heading to Bisti in New Mexico the following morning.

Along the way, I was hailed by someone driving a jeep coming up the road in the opposite direction.  I stopped to see what was going on, thinking that they might be wanting to warn me about road conditions ahead.  It turned out to be the couple that had visited my first campsite (the ones that wanted to use my campsite the following day).  They easily recognized my vehicle since it was the only one like it in the area and they just wanted to chat.  We only had time for a brief conversation, since other vehicles began to accumulate behind them.  I also had conversations with others (campers, tourist, photographers, hunters) that I encountered at various locations in this area.  It is always interesting to learn about others and their backgrounds, experiences, etc.  and surprising how many times we find people with similar backgrounds, who are familiar with seemingly unusual places we or our family members have lived.

Future posts will cover the couple of days that I spent shooting in the Bisti Wilderness area in New Mexico, which is becoming one of my favorite places for photography.

2018 Colorado Fall Color Road Trip – Day 3 – Sunset – Supplement

After the previous post, I realized that I had forgotten to include a few iPhone photos of my final campsite along Owl Creek Pass Road.  So this is just a brief post to add those photos.  Thanks for your indulgence.

The final campsite along Owl Creek Pass Road, Colorado. Fall 2018, iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
A panorama at the last campsite along Owl Creek Pass Road, Colorado. Fall 2018, iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
Panorama of last campsite along Owl Creek Pass Road, Colorado, Fall 2018. iPhone Photo, edited in Adobe LR and Nik Color Efex Pro 4.

2018 Colorado Fall Color Road Trip – Day 3 – Sunset

After early and mid-morning photos on day 3 along Owl Creek Pass Road, I drove around exploring other areas and spur roads off of the main forest road, looking for another suitable campsite that would put me near a place for sunset photos.  Many of the best campsites were already taken and I ended up across the creek from my first night’s campsite, where I saw a couple of hunters breaking camp.  I pulled into the site, struck up a conversation with the hunters, the younger one a chemical engineer from Missouri and son-in law of the older one from Arkansas.  The older hunter has been coming to this area since the 1970s.  They had been elk hunting, unsuccessfully; but they had an antler shed, which they offered to me.  Having no desire for the shed, I left it at the campsite for someone else to find.  After they finished loading their considerable camping and hunting equipment, including an OHV, onto a trailer and into their pickup trucks, they headed out and I moved into the flattest area of the site.  This campsite was very open and it was a sunny day, so I put out the solar panels and allowed them to charge the Sportsmobile batteries, until about an hour before sunset, then I packed those away, since I did not want to pack them up after dark and I expected it would be dark soon after my sunset shots.

The views from this site were very similar to those on my first night and first morning of camping, but with more trees and the creek between me and the mountainside.  I walked around the area and down along the creek, looking for suitable places from which to shoot, then had a sandwich, potato chips and Gatorade for dinner, while waiting for the late afternoon light.

The photos from this site were so similar to those from the first day of shooting and with more clutter in the foreground, that I initially thought about not including any in this blog; but as I looked at them a second time, I thought some might look better, if converted to monotone or edited with one of my other image editors, in addition to Lightroom adjustments to the raw images.  So I did just that, experimenting with Nik Silver Effects Pro and Color Effects 4 and Skylum Luminar 2018 software.

The photos posted here are also posted to Flickr (just click on an image), where the images will be sharper and brighter than in this post.

One of only two color photos chosen to post from this shoot. I’m not really enthralled by this composition and in particular the bland sky, but I think it might be the best of the color images that I captured during this shoot. I processed the raw image in Lightroom and Luminar 2018. Nikon D850, Nikon 24-70mm at 46mm, f/11, 0.4s, ISO 160.
This is the best sunset light that I saw on this feature. I might have brought out the colors in the foreground a bit more, but I wanted the emphasis to be on the rocks in the mountainside.  Raw image processed in Lightroom and Nik Color Effects Pro 4. Nikon D850, Nikon 24-70mm at 70mm, f/11, 1/20s, ISO 160.
I really wanted to see the cliff face in this image appear colorful in the setting sunlight, but it never got as much light on it as I wanted. At least, the color bands, shadows and highlight along the rock face add interest in this version. The trees in the foreground are colorful, with contrasting color and shapes, but just did not seem to work as well in the color image.
This large cliff face was just south of my campsite. The rock is not colorful and the setting sun did not produce a colorful glow at any time as the sun went low on the horizon, so this and all the other color photos of this feature were bland. In this B&W conversion, I wanted to emphasize the rock along the edge and top of the mountainside, while keeping hints of the trees in fall color in the foreground. The sky was mostly bland, adding minimal interest, other than the cloud along the right side, so I made the sky go mostly dark, making the cliffside look as if it had been purposely light painted. Nikon D850, Nikon 24-70mm at 70mm, f/11, 1/10s, ISO 64.
Those of you who have viewed the photos from my first blog about this photo trip will recognize this feature.  In this B&W version,  I like the contrasts produced by variations in the tree foliage color and the shape of the trees in the foreground, as well as the highlight on the rock outcrops. Nikon D850, Nikon 24-70mm at 70mm, f/11, 1/13s, ISO 160.
This is a similar view to that in the above photo, with more sky, less of the trees in the foreground and more of the mountainside.  The sky was bland, so I let it go black to emphasize the rock along the skyline, while retaining the hints of fall color in the deciduous trees. Nikon D850, Nikon 24-70mm at 70mm, f/11, 1/15s, ISO 64.
The rock face in the original color photo is very colorful in the setting sunlight; but the foreground is distracting in the color photo. I have kept a hint of the foreground color in the trees in this image, while highlighting the rocks with its texture and shadows. I like the way the two tall evergreen trees appear to be pointing towards the rising moon and the diagonal lines formed by the tree lines and the jagged, horizontal line of the top of the mountainside, both converging near the rising moon. Nikon D850, Nikon 24-70mm at 70mm, f/11, 1/15s, IDO 64.
I was trying to capture the reflection of color in the sky in the branch of the creek near the center of this image, but it just did not fit well with the rest of the image. I like this B&W conversion with the fall color in the trees, showing up brightly against the dark evergreens. I do not like the tree along the left edge, but I could not find a pleasing composition of this scene that excluded that tree. There is also a halo effect, produced by the Nik Silver Effects Pro software, that is quite noticeable along the top of the peak on the right side of the image. I do not really like this effect; but I currently do not know how to eliminate it. I’m sure there must be a way to tone this down. Nikon D850, Nikon 24-70mm at 30mm, f/11, 1/3s, ISO 160.

The opinions expressed about the images here are my subjective ones.  I welcome your feedback, opinions and critiques, as I can always use those to improve my work.

2018 Colorado Fall Color Road Trip – Day 3 – Part 2

After the early morning photo shoot, I continued along Owl Creek Pass Road, enjoying the fall scenery and looking for a place for mid-morning photography and some experimentation with PC (Perspective Control in Nikon terms) lenses, commonly referred to as tilt/shift lenses.

Tilt/Shift lenses are typically used in product and architectural photography.  The shift allows one to make vertical objects, like buildings, look vertical, rather than tilted, as they do with ordinary lenses.  The tilt function of the lenses allows one to get a deeper depth of field with a large aperture, rather than having to go to a small aperture for a deep DOF.

Within the past twelve months I purchased a couple of used PC lenses from local photographers.  The lenses are quite expensive, if purchased new and not cheap, when a good used one is found.  The first one that I purchased was a Nikon PC-E 24mm.  The photographer that I acquired it from had used it for wedding photography, a surprising use of this lens, I thought; but one can get some special effects with it that makes for unique photographs.

The second tilt/shift lens that I acquired was an older Nikon PC85mm.  The photographer from which I purchased it had used it for product photography.  I had seen some interesting landscape photos taken with such a lens,  so I wanted to experiment with one and not wanting to spend a fortune on a lens that I might not use often, I knew it would be more economical and practical to get a good used lens.

These lenses are all manual focus, which can be a challenge for us older folks as our eye sight becomes less sharp.  The metering is also manual with PC lenses.  The PC-E (E designating electronic) will meter with the lens in the non-tilt, non-shift mode, so the exposure needs to be determined prior to shifting or tilting or one might shoot test shots and adjust the exposure by trial and error.  I found it best to estimate the exposure prior to tilting, shoot a test shot after tilting and tweak the exposure as appropriate.

Thinking that a forest might be a suitable place for experimentation, I found a couple of places near Silver Jack Reservoir where I could walk into an Aspen forest just off of a roadway.  A few of the test shots are posted below.

Experimenting with a tilt-shift lens, Nikon PC85mm. Note the line of focus in the upper third horizontal portion of the image with blurring to either side. Nikon D850, Nikon PC85mm, f5.6, 1/125s, ISO 64. Note the large aperture. It is possible to get a large depth of field with large apertures with tilt-shift lenses.

Many of the Aspen trees along the roadway into a parking area at Silver Jack Reservoir had initials or names, etc. carved into the trunks.  I happened to note that the tree on the left of the above image had my initials on it.  (No, I did not put them there).  Your eyes are ok, the image is blurry except along a horizontal band in the upper 1/3 of the photo.  The technique for getting such an image is to focus on a nearby subject, then tilt the lens to bring more distant subjects into focus.  You will notice that the large f/5.6 aperture gives a good depth of field through a portion of the image.

Experimenting with a tilt-shift lens. Nikon D850, Nikon PC 85mm, f/8, 1/125s, ISO 64. Moving to smaller apertures gives a broader area of focus through the central portion of images.

The photo above is also taken with the PC 85mm, but with an f/8 aperture.  Moving to a smaller apertures seems to widen the area of focus, as it increases the DOF.

A PC-E 24mm image in an Aspen forest. Nikon D850, Nikon PC-E 24mm, f/8, 1/125s, ISO 64.

The 24mm PC-E is a bit easier to work with than the PC 85mm.  It seems to give more leeway in acquiring focus while tilting than does the PC85mm.  In the above photo, I first focused on the rough bark on the tree on the left, then tilted the lens to increase the DOF.  Tilting the lens also affects the near focus a bit, so that a portion of the near object goes out of focus as the more distant objects come into focus.

Nikon D850, PC-E 24mm, f/6.7, 1/125s, ISO 64.

The lower photo above is the same composition as the previous one, but with a larger aperture.

Nikon D850, Nikon PC-E 24mm, f/11, 1/125s, ISO 64.

The same composition as previously, but at f/11.  I think the wider focus area is apparent.  The lighting changed, as well as the aperture, so the exposure is a bit different.

Perhaps these are not the best images for illustrating the effects obtained by these lenses, but I’m thinking the tilt function can be useful for emphasizing certain aspects in an image, perhaps with a “tunnel” vision effect.

These lenses also rotate, so one can put the tilt and shift at various angles.  So far, I’ve only experimented with vertical tilts; but I think tilting at various angles to the camera will be appropriate in some situations.

These lenses all are configured by the manufacturer with the tilt and shift at 90 degrees to each other; but, as I have learned in my research on these lenses, these can be easily reconfigured to have the tilt and shift aligned in the same direction, making it possible to keep vertical objects vertical, while also increasing the DOF with the tilt function.  I have not yet tried this, but I am thinking that I might.  One might pay Nikon or a professional camera shop to reconfigure a lens, but it is an easy do-it-yourself operation, just be careful with the E versions, since there is wiring within these lenses and one cannot rotate the lens parts more than 90 degrees or damage to the wiring is probable.  Information on how to modify these lenses (Nikon and Canon) can be found via an online search.  Here is one link that describes the procedure for Nikon PC lenses http://www.achim-sieger.de/en/axis-change-pc-e-nikkor-24mm/

The 24mm PC-E is a very sharp lens and can be used in a non-tilt, non-shift mode as an ordinary 24mm prime.  While shooting with no tilt and no shift, I noted that occasional breezes shook loose leaves and I thought shooting them as they fell might make interesting photos and maybe brief time lapse videos.  I could not use the built in time lapse function of the D850 very easily, since the breezes were not predictable, so I elected to just shoot a series of shots using the remote release, whenever the leaves began to fall.  I did not even take time to set the camera to continuous mode, I just used the remote release to shoot as quickly as I could press the shutter release button.  It is best to view the following photos and time lapse videos on a large screen, otherwise the falling leaves are not easily observed, in this very brief video.  To make a longer video, would have taken much more time and many more shots and I did not think it worthwhile to expend that much effort to do so. (This video is also posted to my Flickr page).

Falling Aspen Leaves. Nikon D850, PC-E 24mm (cropped), f/11, 1/125s, ISO 64.

The falling leaves are fairly easily seen in this cropped version (just above) of one of my images.

Look for very brief yellow spots within the video to see the falling leaves.  If nothing else were moving, I might have made gotten leaf trail type images (similar to star trails); but if nothing else were moving, there would be no falling leaves, either.

I got feedback from one of my blog followers regarding the video format (mp4).  Apparently, not everyone can view these formats.  While I can convert an mp4 to an avi and other video formats, I cannot view an avi on my MAC computer, so I have no idea how the avi looks or even if it will work in this post.  I tried to insert an avi into this post, but I’m rather sure that it would not be visible, so I removed it.  At this time I have no solution for this problem.

I later used the PC-E 24mm to photograph at Bisti in New Mexico and I will post photos from that shoot in a later post.  I’ve not yet had time to review those photos in detail, so I hope I have suitable ones to share from that shoot.