During one of our drives on US 550 between Ouray and Silverton, we noted an unmarked gravel road heading towards a mountainside, but it appeared to end after a short distance, so we initially ignored it. On a subsequent trip past it, we decided to check it out.
After driving a short distance, not being able to see the road ahead and concerned there might not be a place to turn around on the narrow road, we decide it might be best to park at a wider spot in the road and walk ahead. We did not have to walk far to the end of this road, but it was mostly uphill. Fortunately, it was not very steep.
We passed a small, cascading mountain stream, which crossed the roadway.
A small waterfall just off of US 550 in Colorado. Nikon D850, Nikon 24-70mm @ 24mm, f/11, 1/160s, ISO 200, edited in Adobe Lightroom and DxO Nik Modules.
Even though this was not a big stream, it was attractive and captivating as most such streams tend to be.
The road ended at what appeared to be a minor mine exploratory site. A mountain stream with a long section of it visible going up the mountain side ran past the site. I made a number of images shooting down onto the stream nearest the roadway, but I could not get any attractive compositions that way.
Scrambling down rocky ledges away from the roadway and up the stream, gave better views of the stream and the wildflowers along the stream edge.
Mountain stream cascades and wildflowers. Nikon D850, Nikon 24-70mm @ 70mm, f/11, 1/60s, ISO 200, edited in Adobe Lightroom and DxO Nik Modules.
The photo above is an example of including too much in an image. The stream acts as a leading line, but there is no center of interest in this photo. My eye goes to the most prominent part of the cascade in the lower left; but when my eye follows the stream towards the upper right, I do not see anything of great impact. I was zoomed in as much as possible with the 24-70mm lens, so I could not isolate anything any better from my view point. I could try cropping this image on portions of the image and maybe make a more interesting one; but the composition cannot be changed via cropping. Getting closer to a portion of the stream might have been the only way to get an impactful image here.
In the distance I could see a waterfall. I think the image below is better, but the waterfall in the upper right is maybe too distant to have real weight. Still I think this image has some intrigue, making one want to know more about what is in the distance down the stream.
A mountain stream with cascades and waterfalls. Nikon D850, Nikon 24-70mm @ 24mm, f/11, 1/25s, ISO 200, edited in Adobe Lightroom and DxO Nik Modules.
It was beginning to rain lightly and we were not wearing rain gear, so we decided to head back to the vehicle and save exploring along this stream up to the waterfall for another time. It began raining harder as we walked along. I put my hat over my camera to protect it, which resulted in my getting more wet. Fortunately, it was not a Texas type rainstorm.
I photographed a number of times in Yankee Boy Basin, near Ouray, Colorado during my July, 2020 summer visit to Colorado. The main reason for returning to this area several times, is a simple one. It just happened to be the closest, most easily accessible place for scenic landscape photography from the state park where my son, his wife, and I were staying.
Late day in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/22, 1.0s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
Navigating rocky, bouncy 4WD roads is required for access to many of the best places for landscape photography in this area and Yankee Boy Basin is one that my son felt most confident in being able to get to safely, early in the morning, then have time for other daytime exploration. In the evening, it was possible to photograph here at sunset and get back down the 4WD road before total darkness set in and we would get back to our campsites in time to get a reasonably good night’s sleep before getting up again in the early morning hours for a sunrise shoot.
There is a mountain stream with a number of waterfalls along it here. The middle two falls seem to be the most photogenic, so we spent much of our time in that area.
Early morning in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/5s, ISO 200. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
To get the image above, I stood right up against the closest part of the waterfall on the right side of the photo, backing into a bush, shooting downstream at 14mm to get the waterfall on my right into the shot.
Early morning in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/4s, ISO 200. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
There were wildflowers growing along the stream and I often included those in my images. The image above is made looking upstream at this waterfall, while standing in the edge of the stream bed. Even at 14mm from my position, I could only get a small portion of the waterfall in the photograph, while also including the wildflowers along the stream edge.
Early morning in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 0.4s, ISO 200. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
Standing a bit further back from the falls, on a rock ledge at the edge of the stream, I could get the entire waterfall in the image, while including the wildflowers and the rock outcrop on the right.
Late day in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 0.4s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
Since I’ve photographed in this area a number of times, I tried not to duplicate compositions from other shoots, which is not easily avoided. It takes some work to avoid the most common compositions here. I had some reservations about the composition in the above image, thinking it is too complex, but I have gotten some positive feedback on it, so I guess it worked better than I anticipated.
Early morning in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/3s, ISO 200. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
Readers will note the heavily overcast sky in most of these images. I always like to have clouds to give the sky more interest, but heavy overcast can limit or eliminate the “golden” hour light at sunrise and/or sunset.
Early morning in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/4s, ISO 200. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
The image above is taken a few yards downstream from a waterfall, looking downstream at the mountainside in the distance. During one similar photo shoot one afternoon, there was a family of three or four (man, wife and one or two young boys) in the area. I kept trying to avoid them and had to wait several times as they walked into and out of my compositions. If you are a purist landscape photographer, you know we try to avoid people in our shots most of the time. Some tourists know this and try to minimize their interference with photographers, while others are totally unconcerned about walking directly in front of a photographer. While composing an image similar to the one above, something hit the graduated neutral density filter mounted on the front of my lens, startling me, and I immediately heard the father, standing above me on the stream’s bank, scolding one of the boys. It turned out that the boy was throwing rocks in an indiscriminate manner and it was one of those rocks that struck my camera. If not for the flexibility of the filter, it would have shattered rather than just get scratched. If not for the filter, the lens would have most likely had significant damage. Neither of the parents said a word to me about this event. I had expected one would have at least inquired about damage and apologized for the kid’s action, which might have resulted in an injury and/or significant camera gear damage. The scratches on the filter sometimes result in light streaks in my images. Fortunately, I had the filter and much of my more expensive camera gear insured via scheduled property on my homeowner’s insurance policy, so I recuperated much of the replacement cost of the filter.
Early morning in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/4s, ISO 200. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2. Looking downstream at the base of a waterfall.
Yankee Boy Basin is popular with hikers and a good campsite for those that want to get the necessary early morning start on a hike up Mount Sneffels. Still we saw only a few people during our early morning and late day visits here.
It is common to get afternoon thunderstorms in the upper elevations of the Rocky Mountains, but during the time we were here, there were more than the usual storms. Some days were rainy for much of the day, which limited the time interval with our favorite light at sunrise and/or sunset. We had to sometimes cut short our photography time to avoid the rain and get back down the mountainside before getting caught in a storm.
Of all the photos that I shot here, the one below is my favorite.
Sunset light in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 24mm, f/11, 1/3s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
This image has so much of what landscape photographers look for in an image, late day sunlight highlighting the mountain tops, light beams in the clouds, silky smooth, flowing water and a sinuous stream leading the eye from the waterfall into the image. More prominent wildflowers would have made this even better.
Since we visited here multiple times, there will be at least one more post of photos from this area. Please click on the images to view them in higher resolution on my Flickr page.
There is a remote playa in Death Valley National Park nicknamed “The Racetrack“. On this broad, flat, mud playa rocks move and leave trails in the mud. I visited The Racetrack with two of my sons in March, 2013. At that time no one knew how the rocks moved and no one had ever seen them move. I often wondered why someone had not put up video cameras to monitor the playa and observe the movement. I suppose the remoteness of the area, the lack of continuous power for a camera system and park regulations had prevented this. But, eventually, researchers did just that and finally discovered the secret of how the rocks moved in December, 2013, two years after the study began.
The most prevailing theory of how the rocks moved, prior to that research, was that strong winds moved these heavy rocks across the playa, when it was wet, since the mud is very slippery after a rain. This seemed like a stretch, but winds can be very strong in the wide open valley where the playa is located.
The details of the experiment that revealed the secret of the rocks’ movement can be found on the NPS website.
The experiment also revealed why there are track with no rocks at their ends. Previously, everyone thought that rocks had been removed by visitors from such tracks. Be sure to visit the NPS website via the link above to read about this experiment and the discovery of the real way the rocks move. This might serve to illustrate that scientific theories are not always correct and have to be verified by actual experimentation and observation. So whenever you hear those famous words “scientific consensus is that…”, please bear in mind that until there is actual proof, a theory or consensus of thought is just speculation.
One of the rocks and its trail left in the playa at Death Valley’s Racetrack.A large rock and its trail on the playa at Death Valley’s Racetrack.Another view of rocks and their trails in the playa at Death Valley’s Racetrack.A long exposure night image of intersecting trails of moving rocks on the playa at Death Valley’s Racetrack.
If you visit this area, please heed the warning on the NPS website, regarding the long drive to get here, safety precautions and do not venture onto the playa when it is muddy. We saw evidence of people disregarding these warnings and prohibitions. There were footprints and tire trails, obviously made when it was muddy, in the playa. These defacing scars will last for a very long time in the desert, ruining the natural appeal of this area.
The destination for a final sunset shoot on the last day of my May 2019 visit to the Bisti Wilderness was the same as yesterday’s, since yesterday’s sunset light was obscured by heavy clouds on the western horizon. I really liked my chosen location and this was my last chance to shoot here on this visit. There were some clouds today, but not so heavy as yesterday.
The light turned out to be good at sunset, but not great. The clouds on the western horizon blocked the light until just a few minutes before sunset. Even after the sun dropped below the denser clouds, there were still wispy clouds defusing the light. However, I think I got a few good images.
North Bisti hoodoos and vista at sunset. Nikon D850, Nikon 24-70mm @ 48mm, f/16, 1.0s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules.North Bisti hoodoos and vista at sunset. Nikon D850, Nikon 24-70mm @ 70mm, f/16, 1.0s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules.
As yesterday, I had to navigate carefully getting into position for various compositions, being careful about where and how I walked, where I stood near steep drop offs and using care in setting the tripod. This was not a place in which to get careless or make sudden, unplanned moves.
North Bisti hoodoos and vista at sunset. Nikon D850, Nikon 24-70mm @ 52mm, f/16, 1.0s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules.North Bisti hoodoos and vista at sunset. Nikon D850, Nikon 24-70mm @ 55mm, f/16, 0.6s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules.North Bisti hoodoos and vista at sunset. Nikon D850, Nikon 24-70mm @ 42mm, f/16, 0.6s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules.North Bisti hoodoos and vista at sunset. Nikon D850, Nikon 24-70mm @ 42mm, f/16, 0.6s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules.
This post wraps up my May 2019 visit to the Bisti Wilderness. There is still much that I have not seen or photographed here, so I expect that I will return sometime in the future.
I hope that my readers have enjoyed following along with my experiences and photography here.
I am reluctant to get out of my sleeping bag this morning. I linger there for 10 more minutes after the alarm, considering whether to sleep in or go out for a morning shoot. Eventually, I convince myself to face the morning. After all, this is my last morning to shoot here.
This morning I will make up for yesterday’s mistake. In route to my planned destination, I stop to shoot a blue hour silhouette. One that caught my eye yesterday morning; but I hastened by then, mistakenly thinking I did not have time to linger. I am a little later at this location today. The scene does not look as good as it did yesterday. Mistake made and likely to be repeated, even though I am reminding myself to take the shot, whenever the opportunity presents itself.
Guardian of the Pass. Large Bisti Hoodoo at blue hour. Nikon D850, Nikon 24-70mm @ 60mm, f/16, 30s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules.
After shooting the silhouette, I proceed towards my intended destination, the place high up on a hill at the end of a canyon, where I shot under a heavily overcast, morning sky early in the week. I am anticipating excellent sunrise light at that location this morning. As I hike, I become concerned about getting there sufficiently early and I am not enthusiastic about my choice of location today, either. The Conversing Hoodoos are along my route, so I decide to check those for possible morning shots, since I am not satisfied with the results of my sunset shoots of those features.
Arriving at the Conversing Hoodoos and looking around, I conclude that there is a high probability of excellent golden hour morning light on the most interesting features, so I abandon my original plan in favor of shooting here.
I plan several compositions, shooting test shots in the pre-sunrise light as I await the sunrise. The sky is clear with no obstructions. There are hills to the east, which may limit some light on the lower portions of my compositions and maybe block the very first sunrise rays from my subjects. As the sunrise light strikes the hoodoos, I am elated that my change of plan is working out well.
Conversing Hoodoos at sunrise. Nikon D850, Nikon 24-70mm @ 32mm, f/16, 1/6s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules.Conversing Hoodoos at sunrise. Nikon D850, Nikon 24-70mm @ 34mm, f/16, 1/5s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules.
After the golden sunrise light passes, I continue shooting with fully lit subjects for a few minutes. I am not excited by any of the pre-sunrise nor post sunrise shots, so I am not sharing those.
Finishing my early morning shoot, I walk at a leisurely pace back towards the parking lot, looking for other places to shoot along the way. Maybe I chose an uninteresting route to the parking lot. I’m not finding interesting compositions in the later morning light; but I take time to make a few images anyway, hoping something jumps out at me. I decide that none of these attempts produce any interesting results. My lack of energy this morning might be relevant to my failure to get interesting shots in the post sunrise hour. Frame of mind matters in artistic pursuits.
This is my last day here. I have one more sunset shoot, weather permitting. Until then,
As usual, I was all alone in the north Bisti parking area overnight. After returning from my early morning shoot, a few people came and went during the mid-day hours.
A young German couple, Tobias and Daniela, parked next to me and we chatted for a few minutes before they headed out into the wilderness area. They were in the US for 4 weeks, traveling via automobile from Phoenix to Pittsburg, seeing sites along the way. The couple returned before 6PM, stopping by to show me a few photos of various places that they had visited so far on their current trip to the US, giving me ideas of other places to visit. Daniela’s blog site is Daniela’s Urlaubs Blog.
I am always amazed at how much international travel the Europeans do. I know traveling between countries in Europe is easy, but many travel outside Europe on a regular basis. I have met numerous Europeans who are on extended vacations, spanning weeks. I know that their labor laws assure their citizens of liberal holiday time, but they must budget a lot for their travels, even if they take advantage of cheap airfare, motels, car rentals, etc. Still, it makes sense to me that if one is traveling so far, taking a long vacation is justified.
During the afternoon, there were dark, heavy clouds all around the area and I could see distant rainfall in numerous directions. Some of those rainfall events seemed to be heading directly towards my location, but it did not rain on me.
Bisti Panorama with storm clouds. iPhone photograph with edits in Adobe Lightroom and DxO Nik modules.
I made the panoramic shot above with my iPhone from atop a hill just inside the Bisti Wilderness and just north of the parking area. This hilltop is the nearest place, where I could get a weak cell signal for making calls, getting e-mails and checking the weather, if the weak, intermittent signal lasted long enough to do so. This shot is to the south, showing the massive cloud cover, which might not bode well for a sunset shoot. The Sportsmobile is just a little rectangular blob near the center left edge of this image.
I made preparations to go out for sunset photography, although it was very cloudy in the west and the wind was increasing in intensity. I stuffed my rain shell into my backpack before heading out, just in case of rain.
I hiked to a place, which I had previously scouted for sunset photography, high up on a hard rock platform, overlooking a large array of hoodoos with a wide vista over the desert area.
North Bisti Hoodoos. iPhone photo, edited in Adobe Lightroom and DxO Nik modules.
I made a number of test shots with my iPhone and DSLR of several compositions about an hour before sunset, as I waited and prepared for the warm sunset light. These shots and my observations of the light indicated that the golden sunset light would be very limited today. With this in mind, I carefully walked around on top of my perch area to determine how and where to quickly set up the tripod and camera, during the brief time that I would have to shoot at sunset. Some of my chosen setup locations required carefully planned steps to safely get into position and care in setting the tripod, so I wanted to practice my moves.
North Bisti Hoodoos. iPhone photo, edited in Adobe Lightroom and DxO Nik modules.North Bisti Hoodoos. iPhone photo, edited in Adobe Lightroom and DxO Nik modules.North Bisti Hoodoos. iPhone photo with edits in Adobe Lightroom and DxO Nik modules.
I was excited about the possibilities for shooting here. Unfortunately, a large mass of clouds on the western horizon obscured the sun at sunset time. This is such a great place to shoot sunset that I will have to try again tomorrow evening, which will be my final chance to shoot here on this trip. At least I have a few iPhone and DSLR images, just in case tomorrow’s sunset light is no better.
North Bisti Scene near sunset. Nikon D850, Nikon 24-70mm @ 52mm, f/16, 8.0s, ISO 64, edited in Adobe Lightroom and DxO modules.North Bisti Hoodoos and Valley near sunset. Nikon D850, Nikon 24-70mm @ 48mm, f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO Nik modules. Helicon focus stack of 9 images.North Bisti scene near sunset. Nikon D850, Nikon 24-70mm @ 70mm, f/16, 1/4s, ISO 64, edited in Adobe Lightroom and DxO modules.
At the time I made these shots, there would have been golden hour light on the two large features on the left of the above image and on the mass of hoodoos in the image below, if the clouds on the western horizon had not blocked the direct rays of sunlight.
North Bisti Scene. Nikon D850, Nikon 24-70mm @ 42mm, f/16, 0.4s, ISO 64, edited in Adobe Lightroom and DxO modules.North Bisti Hoodoos near sunset. Nikon D850, Nikon 24-70mm @ 52mm, f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Helicon focus stack of 9 images.
The DSLR images in this post have embedded links to the photos on Flickr, where these can be viewed in higher resolution.
I like these compositions and views, but the light that I had anticipated was not realized. Hopefully, tomorrow will be better.
I hiked to The Seal to shoot pre-sunrise and sunrise shots at this large well known hoodoo in the northern portion of Bisti on the morning of my 6th day here in late May of 2019. The sunrise light was not great, but it was still good.
The Seal, Bisti Wilderness, Pre-Sunrise. Nikon D850, Nikon 24-70mm @ 52mm, f/16, 8.0s, ISO 64, edited in Adobe Lightroom and DxO modules.
I made a few exposures from below The Seal in the pre-sunrise light. Then climbed further up the hillside to shoot from just below the hoodoos and from a location that gave me a view from just above The Seal and other adjacent features. The pre-sunrise, dim light required long exposures.
A large Bisti Hoodoo adjacent to The Seal. Nikon D850, Nikon 24-70mm @ 50mm, f/16, 8.0s, ISO 64, edited in Adobe Lightroom and DxO modules.Large Bisti Hoodoo near The Seal. Nikon D850, Nikon 24-70mm @ 34mm, f/16, multiple long exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Focus stack of 5 images in Helicon software.
This iPhone shot shows the DSLR shooting location, overlooking The Seal and adjacent rock features and the westerly view with the first sunrise rays highlighting the features on the horizon:
Waiting for the light. iPhone photo edited in Adobe Lightroom and DxO Nik modules.
One of the long exposure pre-sunrise shots with the DSLR:
Eye Level with The Seal. Nikon D850, Nikon 24-70mm @ 45mm, f/16, 6.0s, ISO 64, edited in Adobe Lightroom and DxO modules.
I think most photographers shoot The Seal from below, since that is the view that lets one see the seal shape of the hoodoo cap. I’m sure others have walked around, viewing these in the same manner as shown above, but I do not recall having seen any photos from this viewpoint. I’m hoping that I captured images here that are less common, if not unique.
When the sun rose over the horizon, I began to see the highlights on my primary subjects.
Eye level at The Seal. Nikon D850, Nikon 24-70mm @ 45mm, f/16, 1/3s, ISO 64, edited in Adobe Lightroom and DxO modules.Large Bisti Hoodoo near The Seal. Sunrise light, Nikon D850, Nikon 24-70mm @ 24mm, f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Focus stack of 6 images in Helicon software.
I then moved back down the slope to shoot The Seal from below in the early morning sunlight.
The Seal near sunrise. Nikon D850, Nikon 24-70mm @ 38mm, f/16, 1/5s, ISO 64, edited in Adobe Lightroom and DxO modules.
Finishing my shoot at The Seal, I went back down into the wash and proceeded to another nearby location that I had previously scouted.
North Bisti Hoodoos and Wings. Nikon D850, Nikon 24-70mm @ 35mm, f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Focus stack of 6 images in Helicon software.North Bisti Rocks and Hoodoos. Nikon D850, Nikon 24-70mm @ 40mm, f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Focus stack of 3 images in Helicon software.
As is my normal practice, I continued to wander around after the golden hour, looking for other interesting features to shoot before the sun got too high in the sky. I climbed up out of the deep wash onto the high plateau in the area where I had shot on other occasions and found these two curious looking rocks and their shadows:
Kissing Bisti Rocks. Nikon D850, Nikon 24-70mm @ 56mm, f/16, 1/25s, ISO 64, edited in Adobe Lightroom and DxO modules.
The low angle sun cast interesting shadows from a number of small hoodoos.
North Bisti Small Hoodoo and Shadow. Nikon D850, Nikon 24-70mm @ 60mm, f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Focus stack of 3 images.Long neck (bird like) hoodoo and shadow. Nikon D850, Nikon 24-70mm @ 70mm (before crop), f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Helicon focus stack of 6 images.Bisti Hoodoo and Shadow. Nikon D850, Nikon 24-70mm @ 44mm, f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Helicon focus stack of 6 images.
The brighter sunlight and long shadows are good for obtaining monochrome images.
Bisti Wash and Hoodoos. Nikon D850, Nikon 24-70mm @ 70mm, f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Helicon focus stack of 7 images.
Little hoodoo that appears to be looking up to a bigger one:
Bisti Hoodoos and Shadows. Nikon D850, Nikon 24-70mm @ 70mm (before crop), f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Helicon focus stack of 7 images.
An array of short hoodoos with flat, elongated rock caps in monochrome:
Fading Away. Bisti Short and Flat Top Hoodoos. Nikon D850, Nikon 24-70mm @ 50mm, f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Helicon focus stack of 5 images.
These elongated, flat rocks are remnants of an originally continuous rock layer. Weathering and erosion has created these individual rock sections. In time these will disappear entirely.
A monochrome with selective colorization (bringing out some of the original color in a monochrome image):
Bisti Short and Flat Top Hoodoos. Nikon D850, Nikon 24-70mm @ 48mm (before crop), f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Helicon focus stack of 7 images.
I think the black and white version, which can be found on my Flickr page, of the above image is more appealing than the selectively colorized version.
Bisti Flat Rock Hoodoo Tops. Nikon D850, Nikon 24-70mm @ 28mm (before crop), f/16, multiple exposures, ISO 64, edited in Adobe Lightroom and DxO modules. Helicon focus stack of 8 images.
My son and I return to the area near our sunrise shoot and go down a steep bank into the river channel, crossing a narrow, mucky interval near the bank, balancing on a narrow, short tree branch and rocks, avoiding as much mud and water as possible, trying not to fall, wading through shallow water on the edge of a broad bar, before getting onto the dry portion of the rocky bar in the river channel. We are just east of the confluence of the Yampa and Green Rivers. The river is broad and maybe not deep, but we do not test the waters; even though, there is a large driftwood tree on the bar on the opposite side that would make a great foreground object.
Yampa River Reflection, Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/13s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
The river surface provides good reflections of the canyon walls, as we make numerous photos, while waiting for the sunset light. The river and a good portion of the canyon walls are already in shadow. A high wall to the west, will prevent full sunset light illumination of the entire canyon walls; but we expect golden light on the upper portion of these walls.
Yampa River Reflection, Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/25s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
I experiment with different compositions with the 14-24mm lens at various focal lengths, while waiting for the golden hour. I use a 3 stop, soft, graduated neutral density filter to balance the exposure of the sky and the river.
Yampa River Reflection, Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 17mm, f/16, 1/25s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
The first of the golden hour rays are apparent in the image below and the light is already far up the canyon walls.
Yampa River Reflection, Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/5s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
I make a series of images as the light changes in its move up the walls. Short, fractions of a second, shutter speeds make the river current ripples apparent in the images above. The images below are made with long shutter speeds, using a 7 stop neutral density filter, smoothing out the ripples.
Yampa River Reflection, Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 30s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
The light is going away faster on the north wall than on the south wall, creating an asymmetrically lit image.
Yampa River Reflection, Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 25s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
Blurring of the reflections by the river current is more apparent in the longer exposures.
Yampa River Reflection, Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 15mm, f/16, 25s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
Finally, as the light disappears on the canyon walls to the east, I turn to check out possible compositions to the west.
Yampa River, Echo Park, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/4s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
The sun is below the western rock face, the sky is bright and the river is in shadow, making it difficult to get a balanced exposure. While this is not a great photograph, I still like the leading line of the river with its current ripples, reflected skylight, fuzzy reflections of the bordering walls, the bars on each side of the channel and the soft streaky clouds in the sky. This view might be good in early morning sunrise light.
While waiting for the golden hour, I made a few iPhone images just to see what I can do with those and to show those who might use such a device to capture photographs, the possibilities for such images.
Yampa River at its confluence with the Green River. iPhone photograph edited in Adobe Lightroom and DxO modules.
I can brighten the lower portion of the image above, but I think this looks more natural.
The Yampa River and Canyon in Echo Park. iPhone photograph edited in Adobe Lightroom and DxO modules.Yampa River and canyon walls near sunset. iPhone photograph edited in Adobe Lightroom and DxO modules.
That is it for this shoot. We have one more sunrise in Echo Park before ending this trip. Some of the images in this blog are posted to my Flickr page, where one can view them in higher resolution and viewing on a large screen will be best.
My son and I are in an open grassy area near the confluence of the Yampa and Green Rivers in Dinosaur National Monument for our first sunrise shoot in Echo Park. The grassy area has a number of large rocks scattered around, which we think will be good foreground objects with the canyon walls in the background.
Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 24mm, f/11, 30s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
As we wait for the sunrise light to illuminate the cliff faces, I am surprised to see how the pre-sunrise, indirect light gives such a warm red glow to the rocks. In fact, that indirect light might be best for photography here. I note that the foreground rocks receive reflected light from the high rock walls, taking on a pinkish red color.
Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 24mm, f/11, 4s, ISO 200, edited in Adobe Lightroom and DxO Nik modules.
I make numerous images with various exposures, while waiting for the direct light.
Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 24mm, f/11, 1.6s, ISO 100, edited in Adobe Lightroom and DxO Nik modules.Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 19mm, f/11, 6s, ISO 100, edited in Adobe Lightroom and DxO Nik modules.
These images do not adequately convey the unspoiled beauty of this location.
Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/11, 4s, ISO 100, edited in Adobe Lightroom and DxO Nik modules.Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 24mm, f/11, 3s, ISO 100, edited in Adobe Lightroom and DxO Nik modules.Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/11, 1.6s, ISO 100, edited in Adobe Lightroom and DxO Nik modules.Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/11, 1.6s, ISO 100, edited in Adobe Lightroom and DxO Nik modules.Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/11, 1s, ISO 100, edited in Adobe Lightroom and DxO Nik modules.
Just as the first rays of direct sunrise light touch the top of the canyon wall to the west, the setting moon appears in my compositions.
Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 19mm, f/11, 1/4s, ISO 200, edited in Adobe Lightroom and DxO Nik modules.
Shooting with the wide angle lens, the moon barely shows up in these images, but it is more apparent in the higher resolution images posted to my Flickr page.
Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 17mm, f/16, 1/3s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
Soon the first rays of direct light begin to light up the canyon wall at the confluence of the rivers.
Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 17mm, f/16, 1/3s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
Turning around, I see the light on the large cliff face just east of my position.
Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 17mm, f/16, 0.5s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/6s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
Looking back to the west, the sunrise light is advancing quickly down and across the canyon wall and the moon is still in the gap between the two large rock faces.
Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/5s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/5s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
I continue to capture images from various view points as the sunlight advances on the western rock face.
Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 14mm, f/16, 1/4s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.Echo Park, DNM, Colorado. Nikon D850, Nikon 14-24mm @ 16mm, f/16, 1/6s, ISO 64, edited in Adobe Lightroom and DxO Nik modules.
Comparing the first image in this post to the last ones, it is my opinion that the pre-direct, diffused light gives a more pleasing color to the rock than the direct sunrise light here. The sun is already fairly high in the sky before the rock face to the west receives the direct light, so the sunrise golden light is not seen on the west canyon wall.
Be sure to check out the higher resolution images on my Flickr page.
I’m hoping that someday I will visit Echo Park in the early fall to see trees with fall foliage.
I am feeling the effects of insufficient sleep, after yesterday’s early and late day shoots with an extended hike sandwiched into the mid day hours, followed by today’s early morning sunrise shoot. I try to nap for awhile, after Daniel’s departure, but a strong wind discourages sleep. Looking out the Penthouse window, I see dark clouds to the west. Fearing a rain will turn the clay surface parking lot into a muddy mess, I put the Sportsmobile top down and drive to a less clayey area near the parking area entrance, from which I can quickly exit the parking area in case of a downpour. I see rain falling in the distance in several directions. Walking up a hill to get a cell signal, I check the weather report, which does not mention rain at the two closest weather stations available. I then check the weather forecast for my specific location via my GPS unit, which shows only 10% probability of rain in the area.
After lunch, the weather and clouds approaching from the west do not look as threatening, so I drive back to my favored parking spot, adjacent to the barbed wire fence at the boundary of the Bisti Wilderness area.
I am hesitant go out at sunset, seeing heavy clouds covering the western horizon and a half dozen distant rain showers in various directions. I decide to go anyway, hoping to get some good sunset light and not get rained on.
I target the plateau area again, thinking that sunset light will be good there. Arriving early enough prior to sunset to wander around looking for interesting subjects, I make a few images in the late day light before choosing sunset compositions.
Small Bisti Arch and Shadow. Nikon D850, Nikon 24-70mm at 50mm, f/16, 1/25s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules.
I find this interestingly shaped, small, natural bridge, casting a long shadow, among the many rock features in the wash area adjacent to the plateau.
North Bisti Rocks and Hoodoos. Nikon D850, Nikon 24-70mm at 35mm, f/16, 1/5-1/8s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules. Helicon focus stack of 5 images.Hoodoo Wash_Shark Tank. Nikon D850, Nikon 24-70mm at 35mm, f/16, 1/6-1/8s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules. Helicon focus stack of 10 images.North Bisti Golden Hour Sunset Scene. Nikon D850, Nikon 24-70mm at 36mm, f/16, multiple exposures, ISO 64. Edited in Adobe Lightroom and DxO Nik modules. Helicon focus stack of 10 images.
A number of these images are created via a technique called focus stacking, in which a number of images, focused at different distances from the camera, are combined into one image, creating better sharpness throughout the image. I tend to acquire more images than necessary for this method, but better too many than not enough. I’ve given up on using Photoshop for focus stacking, since the Photoshop processing is slow and not accurate. I’m testing Helicon software for this and I’m impressed with its speed, accuracy and editing feature.
The late day light is good, but I am concerned about the clouds low on the western horizon. I get lucky as the sun drops below the cloud cover just before setting, briefly providing warm light.
North Bisti Plateau Sunset Golden Hour. Nikon D850, Nikon 24-70mm at 65mm, f/16, 0.5s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules. Helicon focus stack of 6 images.
I make a number of images of this composition as the sunset light, limited by cloud cover and shadows, moves down the rock features.
North Bisti Plateau Sunset Golden Hour. Nikon D850, Nikon 24-70mm at 64mm, f/16, 0.4s, ISO 64. Edited in Adobe Lightroom and DxO Nik modules. Helicon focus stack of 7 images.
And finally, I take a few shots of the sunset with rock features in the foreground.
Sunset scene on a North Bisti plateau. Nikon D850, Nikon 24-70mm at 44mm, f/16, multiple exposures, ISO 64. HDR image created in DxO Nik HDR Pro.North Bisti Plateau Sunset Scene. Nikon D850, Nikon 24-70mm at 46mm, f/16, multiple exposures, ISO 64. HDR image created in DxO Nik HDR Pro.
These last two are HDR images, created from multiple exposures, using DxO Nik HDR Pro. Such processing is required, when shooting a scene with strong light contrast, since camera sensors do not have a sufficiently wide dynamic range to capture the entire light range in one exposure.
I hope you enjoy this post. Click on the photographs to view higher resolution images on my Flickr page.
