Spring 2019 Road Trip – Bisti – Day 7 Sunrise

[Followers may have noted that there is no day 6 sunset post.  This is because it became very windy and dusty prior to time to go out for sunset photos that evening.  So we elected to skip the planned shoot for that evening].

For sunrise photos on day 7 in Bisti, my son and I returned to the area just outside the Bisti north area.

Sunrise Day 7 March2019
An interesting rock form silhouette at sunrise. Nikon D850, Nikon 24-70mm at 70mm, f/11, 4.0s, ISO 64, edited in Adobe Lightroom and DxO Nik Color Efex Pro 4.

I captured this early morning silhouette of a bird like hoodoo here.

Sunrise Day 7 March2019
The smaller rock feature in the upper left looks like a satellite dish. Nikon D850, Nikon 24-70mm at 31mm, f/11, 25s, ISO 64, edited in Adobe Lightroom and DxO Nik Color Efex Pro 4.

I shot this particular rock formation mainly due to the rock shape at the upper left that has a satellite dish look.

Sunrise Day 7 March2019
A row of rock forms with sunrise light. Nikon D850, Nikon 24-70mm at 56mm, f/11, 0.5s, ISO 64, edited in Adobe Lightroom and DxO Nik Color Efex Pro 4.

The sunrise light was very good today, but the sky was boring.

Sunrise Day 7 March2019
Rock forms in the BLM area near North Bisti. Nikon D850, Nikon 24-70mm at 56mm, f/11, 0.5s, ISO 64, edited in Adobe Lightroom and DxO Silver Efex Pro 2.

A monochrome conversion of the previously posted image.  Even though the sunrise light was good, I’m inclined to like the monochrome version better, maybe due to lack of interest in the background sky.

Sunrise Day 7 March2019
A hoodoo and other rock forms in the near North Bisti Area. Nikon D850, Nikon 24-70mm at 56mm, f/11, 1/6s, ISO 64, edited in Adobe Lightroom and DxO Nik Color Efex Pro 4.

The hoodoo cap on the left has features that make it look almost alive and it looks like it is displeased with the jumble of rocks on the right.

Sunrise Day 7 March2019
The smug rock from another view point. Nikon D850, Nikon 24-70mm at 36mm, f/11, 0.5s, ISO 64, edited in Adobe Lightroom and DxO Nik Color Efex Pro 4.

The smug looking rock, that readers will have seen in an earlier post, seems to be staring at the contrails in the sky.

Sunrise Day 7 March2019
Nikon D850, Nikon 24-70mm at 48mm, f/11, 1/4s, ISO 64, edited in Adobe Lightroom and DxO Nik Color Efex Pro 4.

I think this would be a really interesting photo, if only the sky was not so boring.  The light falls upon several features as if purposely spotlighted.

Sunrise Day 7 March2019
Black and White with spotlight effect. Nikon D850, Nikon 24-70mm at 48mm, f/11, 1/4s, ISO 64, edited in Adobe Lightroom and DxO Silver Efex Pro 2.

The black and white version looks even more dramatic; although, the image here looks muted.  Click on the photo to view it on Flickr, where it will look much better.

That is it for this post,

Ken

 

Spring 2019 Road Trip – Bisti Wilderness – Day 2 – Sunrise

Early in the morning of my second day in Bisti, I returned to the area that I had scouted the day before for sunrise and early morning photography.  In this area I had found rock forms similar to the Cracked Eggs of The Nursery, only not so many as in The Nursery.

This post will be long on photos and short on words.  I will make a few comments on the photos and maybe the editing, but there is not much else to say about the area that readers have not already heard.

An early morning scene in Bisti. Nikon D850, Nikon 24-70mm at 24mm, f/11, multiple exposures, ISO 64. Edited in Adobe LR and ?.

I began shooting just before sunrise, when the colors are muted due to minimal light on the subjects.

I attempted to make an HDR with multiple exposures of the scene above, but I ran into problems and now I do not recall exactly what edits were applied to get the image above, hence the ? in the image caption.

Feet like erosional patterns at the foot of a hill in Bisti. Nikon D850, Nikon 24-70mm at 32mm (before crop), f/11, 10s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

The image above is actually a crop from a much larger scene.  As I edited that image, zooming in to check details, I noted that the erosional patterns at the base of the hill far in the background looked like giant feet.  So I cropped that portion of the image to get the one above.  This has given me an idea of how to shoot such patterns at the base of these hills, rather than ignoring them as I had been.

An early morning scene in Bisti. Nikon D850, Nikon 24-70mm at 32mm (before crop), f/11, multiple exposures, ISO 64. Edited in Adobe LR and Skylum Aurora HDR software.

The above image is also cropped from a much large scene and is an HDR made from multiple exposures.  The blackish hill in the upper left is one of the navigational markers that I use to get to this area.  It is visible from a long distance in the mostly flat desert here.

Cracked egg like rock form in Bisti, but not in The Nursery. Nikon D850, Nikon 24-70mm at 32mm, f/11, 1.0s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

This is one of the rocks that is shaped like those in “The Nursery”, where they are called “Cracked Eggs”.

Cracked egg like rock form in Bisti, but not in The Nursery. Nikon D850, Nikon 24-70mm at 48mm, f/11, 1.0s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

Another of the Cracked Egg like rocks with a rounded rock behind it.

Cracked egg like rock form in Bisti, but not in The Nursery. Nikon D850, Nikon 24-70mm at 48mm, f/11, 1.0s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

A monochrome version of the previous image.  I think monochrome works well with these type images.

Cracked egg like rock forms in Bisti, but not in The Nursery. Nikon D850, Nikon 24-70mm at 36mm, f/11, 0.8s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

Another view of the same two rocks as in the previous two images with a bit more background.

Bisti rock forms and early morning light on hill sides. Nikon D850, Nikon 24-70mm at 38mm, f/11, 0.4s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

More rocks in the miniature “nursery” area with colorful hills in the background just beginning to be illuminated by the early morning light.

A close up of a cartoonish rock form. Nikon D850, Nikon 24-70mm at 70mm, f/11, 1/8s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

I spotted these two small rocks as they were getting the first rays of early morning light and I was struck by how much the upper one looked liked a cartoonish animal character, maybe a bird or dinosaur.  With a bit of a change in the perspective, the closer rock can be made to look like a body for the upper “head” rock.

The small rock in the foreground looks like a cartoon character bird or maybe dinosaur. Nikon D850, Nikon 24-70mm at 30mm, f/11, 1/15s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

A larger view of the area with the cartoon face rock, providing a setting for the smaller rock features.  Note the long early morning shadows.  Many years ago this area was a lush green forest and there were dinosaurs roaming here, perhaps making the creature faced rock more pertinent.

Early morning scene in Bisti with rock forms casting long shadows. Nikon D850, Nikon 24-70mm at 30mm, f/11, 1/15s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

More rocks casting early morning shadows along with the cartoon faced rock with colorful hills in the background.

The rock form in the foreground has the appearance of a dog face or maybe some other animal like face. Nikon D850, Nikon 24-70mm at 40mm, f/11, 1/20s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

Another animal like faced rock casting early morning shadows.

Cracked Egg Rock Forms that are not in The Nursery area of Bisti. Nikon D850, Nikon 24-70mm at 30mm, f/11, 1/15s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

More of the “Cracked Eggs” like rocks with long early morning shadows.

A Cracked Egg Rock Form that is not in The Nursery area of Bisti. Nikon D850, Nikon 24-70mm at 30mm, f/11, 1/15s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

And even more of the “Cracked Egg” rock forms with long early morning shadows.

Bisti Rock Forms. Nikon D850, Nikon 24-70mm at 27mm, f/11, 1/15s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

The image above is cropped from a larger view that I did not think had sufficient sharpness over the entire range of the original image.  Anyway, that rock on the right has a unique shape and I am at a loss as to how to label it.  It does look like some sort of creature, I just do not know what.  Maybe you have an idea?

Cracked Egg like rocks, not in The Nursery area of Bisti. Nikon D850, Nikon 24-70mm at 35mm, f/11, 1/15s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

Cracked Egg or Hamburger Rock?

Cracked Egg like rocks, not in The Nursery area of Bisti. Nikon D850, Nikon 24-70mm at 35mm, f/11, 1/15s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

A monochrome version of the previous image.  In editing these type images for monochrome, I like to keep the shadows dark, so I might bring down the shadows and/or darks in the process.

Bisti Rock Forms in Black and White. Nikon D850, Nikon 24-70mm at 38mm, f/11, 1/10s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

Just a couple of interesting rock shapes with early morning light highlights and shadows.

The rock in the foreground has a dog or maybe a bear face appearance. Nikon D850, Nikon 24-70mm at 32mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

A closer view of the “Dog Face” rock.

The rock in the foreground has a dog or maybe a bear face appearance. Nikon D850, Nikon 24-70mm at 32mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

A monochrome version of the “Dog Face” rock.  Note how much darker I’ve made the shadows in the monochrome version.

This Bisti Rock looks a bit like a reclining bear. Nikon D850, Nikon 24-70mm at 36mm, f/11, 1/25s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

I’m calling the rock in the foreground “Reclining Bear”, since the upper left most portion looks like a bear face to me.

Bisti rocks and early morning shadows. Nikon D850, Nikon 24-70mm at 38mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

I’m intrigued by the shapes of the shadows cast by the various rock shapes.  I’ve noted that using a Detail Extractor filter in DxO Nik Color Efex Pro 4 brings out details in the shadows, which sometimes is preferable, but sometimes I like to keep the shadows darker, so this filter might not be a good choice in those cases.

Bisti rocks and early morning shadows. Nikon D850, Nikon 24-70mm at 38mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

A monochrome version of the previous image.  Note how I’ve kept the shadows dark, not allowing any detail in the shadows.

Bisti rocks and early morning shadows. Nikon D850, Nikon 24-70mm at 36mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

More rocks and shadows.  The rock on the left is in the previous image.  I like the shapes of the shadows of the rocks on the left.  Shadows sometimes take on a shapes that are surprisingly different that one might expect.

Bisti rocks and early morning shadows. Nikon D850, Nikon 24-70mm at 36mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

A monochrome version of the previous image.  I’ve purposely kept the shadows deep and dark for a more dramatic appearance.

Bisti rocks and early morning shadows. Nikon D850, Nikon 24-70mm at 65mm, f/11, 1/25s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

A row of rocks and their shadows.  Note the uppermost rock shadow shapes and the middle rock jagged shadow shapes  that one might not expect by looking at the rocks from this perspective.

Bisti rocks and early morning shadows. Nikon D850, Nikon 24-70mm at 65mm, f/11, 1/25s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

A monochrome version of the previous post, emphasizing form, highlights and shadows.

A Bisti rock and its early morning shadow. Nikon D850, Nikon 24-70mm at 24mm, f/11, 1/30s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro4.

A “lumpy” rock and its mitten like shadow.

A Bisti rock and its early morning shadow. Nikon D850, Nikon 24-70mm at 24mm, f/11, 1/30s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

A monochrome version of the previous image again emphasizing shape, highlights and shadows.  Somehow the monochrome version seems more “artistic”  and “mysterious” than the color version.

A group of Bisti rocks casting long early morning shadows. Nikon D850, Nikon 24-70mm at 40mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

A group of rocks and their shadows.

A group of Bisti rocks casting long early morning shadows. Nikon D850, Nikon 24-70mm at 40mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

A monochrome version of the previous image, emphasizing shape, highlights and shadows.  Which is more appealing?  I like the monochrome version best.

Small rocks in Bisti Wilderness casting long early morning shadows. Nikon D850, Nikon 24-70mm at 27mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

Many small rocks and long, early morning shadows.

Small rocks in Bisti Wilderness casting long early morning shadows. Nikon D850, Nikon 24-70mm at 27mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

A monochrome version of the previous image.  Which image has more mystery?

Semicircle of rocks and early morning shadows. Nikon D850, Nikon 24-70mm at 36mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

A semi-circular pattern of rocks and their shadows.  I like the way the shallow wash passes to the right around these rocks with the empty space on the left.  The vignetting is added to focus the eye onto the main subject.

Semicircle of rocks and early morning shadows. Nikon D850, Nikon 24-70mm at 36mm, f/11, 1/40s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

A monochrome version of the previous image for comparison without vignetting.  I like the monochrome version best, but if I left off the vignetting in the color version, would that look better?

Jagged Shadow Rock. The shadow of the big rock has a Halloween like appearance. Nikon D850, Nikon 24-70mm at 45mm, f/11, 1/50s, ISO 64. Edited in Adobe LR and DxO Nik Color Efex Pro 4.

The only thing unusual about the large rock is its shadow, which has a “Halloweenish” appearance.

A large rock with a Halloween like shadow. Nikon D850, Nikon 24-70mm at 45mm, f/11, 1/50s, ISO 64. Edited in Adobe LR and DxO Nik Silver Efex Pro 2.

And Halloweenish should be monochrome, shouldn’t it?

Ok, I’ve beaten this topic to death.  I can’t promise that I won’t do it again, though.

Next up sunset photos on day 2 in Bisti, March 2019.

Ken

 

 

 

Hiking in Joshua Tree National Park – Part 3

In the spring of 2018, my oldest son and I visited Joshua Tree National Park in Southern California. We photographed in the park in the early morning, late afternoon and night. During the middle hours of the day we scouted for places to photograph and/or we hiked several of the easy to moderate trails within the park. This post is not really about hiking so much as just exploring an area along Geology Road with illustrations via iPhone photos.

One can drive much of Geology Road in an ordinary passenger vehicle; but there are portions where a high clearance 4 wheel drive vehicle is recommended.

We drove much of the easier part of the road, including some of the rougher portions, stopping to explore around one boulder area.

A boulder field along Geology Road, Joshua Tree NP, California. iPhone photo edited in Adobe LR and Nik Silver Efex Pro 2.
A boulder field along Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

There were some clouds to add interest to the photos and I am again contrasting color processing and monochrome processing.

A boulder field along Geology Road, Joshua Tree NP, California. iPhone Photo, edited in Adobe LR and Nik Color Efex Pro 4.

My son standing on one of the rocks in the above photo gives one a sense of scale here.

A boulder field along Geology Road, Joshua Tree NP, California. iPhone photo edited in Adobe LR and Nik Silver Efex Pro 2.
A boulder field along Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

One can always find interesting features within the boulder fields. In the preceding photos, note the window near the center of the photos.

The rock at the center of this image looks like a modern sculpture in the shape of a bear. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.

Climbing around on the boulders, my son spotted what he referred to as a “bear” rock, nestled down within an opening between other large boulders. It looks like a modern art sculpture of a bear cub to me; but maybe others see something else.

The rock nestled within these big boulders looks like a bear sculpture. iPhone photo, edited in Adobe LR and Color Efex Pro 4.

 

A boulder field along Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.

The boulders (of which there are many scattered through out the park) are produced by weathering of plutonic intrusions.

Flowering bush amid the boulders, Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Plants seemingly find a place to grow in the most unlikely places.

A panorama within a boulder field along Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

This panoramic image give one a sense of the openness of the area, even though there are large boulder piles and mountain peaks apparent in this vast desert area.

Boulder field, Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Boulder field, Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
Boulder Field, Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Fittingly, there are a few Joshua Trees scattered around within the boulder field.

A scene along Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Other desert type scrubby vegetation also populates the area.

A view from within a boulder field, Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
A gnarly tree trunk within a boulder field, Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.

A remnant of an old tree found within the boulder field.

A gnarly tree trunk within a boulder field, Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Even a few California Barrel Cacti are present. A couple can be seen in the background of the gnarly tree trunk.

A colorful California Barrel Cactus within a boulder field, Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
A colorful California Barrel Cactus within a boulder field, Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

My son had found an outcrop of quartz in the desert opposite this boulder field on an earlier visit and he recalled how to hike to it again on this visit to the park. It is quite an impressive amount of quartz.

A quartz rock outcrop in the desert along Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
A quartz rock outcrop in the desert along Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4
A quartz rock outcrop in the desert along Geology Road, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.

This post is short on words and maybe a bit long in photos; but at least that makes for a fast scan of the blog.

Until next time,

Ken

Hiking in Joshua Tree National Park – Part 2

In the spring of 2018, my oldest son and I visited Joshua Tree National Park in Southern California. We photographed in the park in the early morning, late afternoon and night. During the middle hours of the day we scouted for places to photograph and/or we hiked several of the easy to moderate trails within the park. This post is about the Lost Horse Mine Trail with illustrations via iPhone photos.

A view of a portion of Lost Horse Mine Trail, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

In the early history of this area there were numerous mining operations, which have since been abandoned. Remnants of equipment and/or facilities remain at some of the mine sites. Hiking trails to the abandoned mines often follow the original roads made to access the mines.

Some of the equipment remaining at Lost Horse Mine, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Lost Horse Mine Trail is an easy trail about a 4 mile round trip and only 480 feet elevation gain from the parking lot to the mine site. One can do a longer version, resulting in about a 6 mile hike, climbing a steeper, narrower loop from the mine back to the parking area. A long interval of the trail is visible in the photo above.

A view of a portion of Lost Horse Mine Trail, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

The trail is through a desert area with wide views of the local area with typical desert vegetation.

A blooming Yucca along Lost Horse Mine Trail, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
A blooming Yucca along Lost Horse Mine Trail, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Bees were swarming around the Yucca blooms. Looking closely (maybe zoom in on the above photo) and at least one bee is visible on the left hand side of the bloom about half way down the photo. Another photo had more obvious bees in it, but I did not like that photo.

The remains of a winch at Lost Horse Mine, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.

As in the first part about hiking in Joshua Tree NP, I’m including a couple of duplicate photos, except for the processing (color and monochrome). I like the monochrome treatment best here; but I would like to hear reader preferences.

The remains of a winch at Lost Horse Mine, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

The old mill is largely intact, but it is fenced off, so one cannot get close enough to get detailed photos of the milling machinery.

Remains of a mill at Lost Horse Mine, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
A view from Lost Horse Mine Trail near the mine area. iPhone photo edited in Adobe LR and Nik Color Efex Pro 4.

If one looks very closely, a hiker is visible on the trail in the above photo. The hiker is on the right at the jog in the trail, where it appears to go from the wider close up to the narrow looking distant part.

As a reminder, all the photos in this post are via an iPhone. We elected not to carry our heavy DSLR gear along, since the lighting was not optimal at the time of day that we hiked this trail.

Till next time,

Ken

Hiking In Joshua Tree National Park – Part 1

In the spring of 2018, my oldest son and I visited Joshua Tree National Park in Southern California. We photographed in the park in the early morning, late afternoon and night. During the middle hours of the day we scouted for places to photograph and/or we hiked several of the easy to moderate trails within the park. This post is about the Contact Mine Trail with illustrations via iPhone photos.

The Contact Mine Trail is an easy one, with a gentle slope, gaining only 700 feet in just under two miles. As we hiked along the trail we began to notice a barrel type cactus with red spines.

A colorful California Barrel Cactus along the Contact Mine Trail, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Later research revealed that this cactus is referred to by its obvious common name “California Barrel Cactus”. As we hiked along, it became obvious that this area had many of these attractive red cactus, some with yellow blooms. My iPhone shots of blooms near the bottom of one such cactus did not turn out well, so none are posted here. I have seen other images with blooms on the top, but I do not recall seeing any with blooms on the top and most did not have blooms.

A close up of the spines on a California Barrel Cactus along the Contact Mine Trail, Joshua Tree NP. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

In the early history of this area there were numerous mining operations, which have since been abandoned. Remnants of equipment and or housing remain at some of the mine sites.

The Contact Mine Site has remains of old mining equipment, other rusty evidence of human activity and mine shafts that have been covered with steel cages to prevent people from entering.

The remains of an engine at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.

Neither of us carried our heavy camera gear on this hike and I shot a number of iPhone photos just to record the scenes and the experience. I’ve edited the iPhone (jpg) images with some minor adjustments in Adobe LR, followed by edits in Nik software.

Rusty engine at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

I’m including duplicates of some images to show the variations between color edits and monochrome edits.

Remains of machinery at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Rusty old mining equipment at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Edits can bring out texture, contrasts and colors. I tend to like the monochrome versions better than the color versions. The monochrome versions depend mostly upon the composition, texture, contrast and shadows. While it is possible to manipulate the monochrome images in many ways to achieve artistic effects, these type edits just seem more appropriate to me, than the color software edits.

Mine equipment remains, Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Rusty engine components at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Color editing software can allow one to emulate the effects of the “Golden Light Hours” in photos taken outside these magical times of the day; but the emulation is never quite the same as the real light effects, getting into the more artistic edits of the images, about which there can be much philosophical discussion.

Mine equipment remains, Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Rusty mine equipment at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

I’m not getting into the debate over photo editing, since that is a subjective matter. I used to be of the opinion that one could only get good images during the Golden Light Hours of sunrise or sunset and, while I prefer to photograph during those magic light hours, sometimes it is not possible to do so. Rather than pass up photographic opportunities in places, where I know I will never be during the golden light hours, I’ve reconciled to working with whatever light I have at the time, then editing to get an image that I find pleasing from an artistic point of view.

Mine equipment remains, Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Rusty gear at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

I do still feel that the color editing is more unreal than the monochrome edits; but maybe that is just because monochrome images have been in existence in photography for many more years and we study the works of the early pioneers in photography, whose work was entirely in monochrome.

Mine equipment remains, Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Rusty mine equipment at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

Anyway, the early photographers manipulated the monochrome images in the dark room, just as modern digital photographers manipulate the images via computer software.

Mine equipment remains, Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Rusty gear box at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

I would like to hear readers’ opinions on this matter as well as critiques of any of my images (composition and/or edits).

Beaver Tail Prickly Pear in bloom, Contact Mine Trail, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
Remains of a winch at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Remains of a winch at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.
Equipment remains at the Contact Mine Site, Joshua Tree NP, California. iPhone Photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Contact Mine winch remains, Joshua Tree NP, California. iPhone Photo, edited in Adobe LR and Nik Silver Efex Pro 2.
Old mine cart rails at the Contact Mine Site, Joshua Tree NP, California. iPhone photo, edited in Adobe LR and Nik Color Efex Pro 4.

A final note:  I reverted to an older version of the WordPress editor for this post, since I could find no way to insert links into photos with the “improved” editor.  Verifying that the links were correct, even with the classic editor, proved more awkward than previously.  Please let me know if links do not work or are not correct.

Until next time,

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”).

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.

 

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.