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

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.