As I approached the previously mentioned ranch fence line that was decorated with boots and bicycles, I noted a police officer’s vehicle with the police officer chatting with someone in another vehicle. It appeared to be a friendly meeting and not a traffic stop. I pulled over onto the broad shoulder of the roadway near the corner of the fence line, maybe twenty yards or so, from the two. As I got out of my vehicle, and noted the police officer watching me, I waved and he began walking towards me, so I approached him. My friendly wave had apparently made the police officer think I needed to speak to him or had a problem. I explained that I wanted to photograph the fence line, but did not want to do anything forbidden. He assured me it was ok to photograph the fence decor and told me a little about the local ranch and their penchant for the fence decor.
So I retrieved my camera from my vehicle and began to walk along the fence shooting photos.
Bicycles and BootsBicycles and Boots
I wanted to show the fence in its entirety with its allure, but I found it impossible to get a good overall view with my camera. So I began to isolate smaller aspects of the decor.
Bicycles and BootsBicycles and Boots
I was soon joined at the fence by a ranch dog that vociferously objected to my presence.
Bicycle and Ranch Dog
This dog followed me along the fence line, maybe to make sure I did not cross over into his territory.
Bicycles and Boots
Soon a second ranch dog showed up.
Ranch Dogs
The second dog did not bark and seemed to have a calming effect upon the first. Thereafter, they seemed friendlier and just curious about me.
Ranch DogTexas Ranch Fence LineFence DecorBicycle and Stuffed Animal along a fence lineBoots on a fenceBicycles and Boots
Satisfied that I had sufficient photographs to illustrate this uniquely decorated fence line, I bade farewell to the ranch dogs and continued on my way.
In the late afternoon of September 17, as I lounged around a picnic table near my campsite in Ridgway State Park, Colorado, a park attendant stopped by, checking the occupancy of the sites and made a comment about my only staying one night. I struck up a conversation with him and asked if he had gotten any information about fall colors along Owl Creek Pass Road. He said no, but he knew the colors were good along Dallas Divide (Colorado Route 62, aka San Juan Skyway) between Ridgway and Telluride. I immediately changed my plans for early the next morning. I had planned to drive up Owl Creek Pass road the next morning, but I knew to do so would cost me one morning of photography, since I had no specific destination on that road for an early morning shoot and I thought it unlikely that I would be able to find a good spot on that route before late in the morning. So I decided to get up early and drive the San Juan Skyway route, taking a chance that I would find some place to pull off to shoot fall color scenes as the sun was rising, then drive the Owl Creek Pass road afterwards.
I’m not sure that I found the best place to shoot near the Dallas Divide, but I began to see the fall colors appearing as the darkness gave way to the early morning light as I drove along San Juan Skyway early on the morning of September 18 and I found a pull out near what I thought might be a suitable place just a few minutes before sunrise.
A ranch scene along the San Juan Skyway, Colorado. Nikon D850, Nikon 14-24mm at 24mm, f/11, 1/13s, ISO 64, edits in Lightroom and some sky polarization brushed in via Luminar software.
I used the fence line in this composition to lead into the Aspens in the background. I like the side lighting on the grasses, the fence and the shadows cast by the low angle, early morning light.
A ranch scene along the San Juan Skyway, Colorado. Nikon D850, Nikon 14-24mm at 24mm, f/11, 1/20s, edits in Lightroom.
I used the side light on the foreground grasses as a lead in to the large gate framing the Aspens in the background. I suppose one could say that the ranch road leads into the photo, but it is subdued in shadows. I especially liked the side light highlighting the fence line and gate.
A roadside fall scene along the San Juan Skyway. Nikon D850, Nikon 14-24mm at 24mm, f/11, 1/30s, ISO 64, edits in Lightroom.
In the composition above, I liked the early morning highlights on the foreground grasses, the fence and gate and the way the fence line and tree line seem to converge near the gate.
A fall scene along a national forest access road off of the San Juan Skyway, Colorado. Nikon D850, Nikon 14-24mm at 24mm, f/16, 1/15s, Lightroom edits.
Continuing along San Juan Skyway, I saw a number of national forest access roads and decided to explore one of them. I eventually stopped at one interesting looking spot and walked down an embankment into the edge of the forest. I could not go very far without trespassing, since there was a fence line that appeared to be electrified just a short distance from the roadway. I shot along and over that fence line. My main goal was to capture the backlit Aspens, which resulted in dark foregrounds that I had to bring out in Lightroom, but I did not want to overdo that adjustment, preferring to keep the shadows as a contrast to the bright background.
A fall scene along a national forest access road off of the San Juan Skyway, Colorado. Nikon D850, Nikon 14-24mm at 24mm, f/16, 1/40s, ISO 64, Sunday enhanced via Luminar software.
I’m always drawn to other photographers starburst effects, but I never have gotten a such an effect that I liked in my attempts. In these two shots I used Luminar software to add an artificial starburst effect over the real one.
A fall scene along a national forest access road off of the San Juan Skyway, Colorado. Nikon D850, Nikon 14-24mm at 14mm, f/16, 1/100s, ISO 64, starburst enhanced via Luminar software.
As a point of self criticism of these shots (and others, to be posted later), I might have gotten sharper images by raising the ISO and/or increasing the aperture to get a faster shutter speed to ensure that the foliage motion was frozen; but most of my attempts at that yielded otherwise poor results. I attempted to overcome this limitation by waiting for calm, prior to shooting, but there is nearly always some light breeze or residual motion in the foliage.
