My son and I were out early again in Bisti waiting for sunrise. We had to hike about 2 miles to get to our destinations each day of our visit, so for sunrise we were initially hiking in the dark on the way out. After sunset photos, we could sometime hike all the way back to the parking lot without light, but sometimes we needed our headlamps for at least a portion of the hike back.
Pre-Sunrise, Bisti, June 8, 2021, AMPre-Sunrise, Bisti, June 8, 2021, AM
We were back in the area of the “Michelin Tire/Nefertiti Crown” and “Shark or “Surfboard” (our nicknames) hoodoos and I managed to get a few decent compositions here, while waiting for sunrise.
Bisti Jumble, Pre-Sunrise in Bisti, June 8, 2021, AM
I usually try to compose photos with multiple objects, such as those in the above photo, so that there is separation between all the objects, but sometime I could find no way to completely separate them.
Behind the Shark, Pre-Sunrise, Bisti, June 8, 2021, AMNefertiti’s Crown Hoodoo, Bisti, June 8, 2021, AM
I shot the Nefertiti Crown hoodoo again in sunrise light, but with a wider angle view this time. Nefertiti’s shadow is still falling on the “Shark”.
Bisti, June 8, 2021, AM
From the point of view in the above photo, I got the shadow from the low, tilted hoodoo in the foreground that it cast upon the base of the Shark Hoodoo. Note that Nefertiti’s Crown Hoodoo looks completely different from this point of view, hence my initial nickname of “Lumpy Hoodoo”.
Morning Breaks, Bisti, June 8, 2021, AM
“Morning Breaks” is my favorite from this batch and I had to use multiple exposures blended via HDR software to get this one. Although, “Behind the Shark” is a close second and “Bisti Jumble” comes in close behind that.
The first image in this post is an HDR made from multiple exposures, since it would be impossible to get a single exposure with detail in the foreground and background here.
Nefertiti Crown, Bisti, June 6, 2021, AM
My son called this the Michelin Tire Hoodoo, but one of my Flickr friends and former work colleague said this looked like Nefertiti’s crown and I like that description. We referred to the flat wing like hoodoo in the background as either a shark or a surf board.
Shark Hoodoo, Bisti, June 6, 2021, AM
The shark hoodoo was difficult to photograph and it was always partially in the shadow of the Nefertiti Crown Hoodoo.
Lumpy Hoodoo, Bisti, June 6, 2021, AM
From a distance, seeing this hoodoo for the first time, I named it Lumpy, but a closer view makes it look more like some big mouth creature and it is actually the same as Nefertiti’s Crown from a different side. The features here can take on very different aspects, depending upon the view point.
Bisti, June 7, 2021, AM
A group of distinct hoodoos in pre-sunrise light (above). The feature on the far right looks like an alien creature and near the middle are those we called the Triplets. We photographed around this location multiple times from various view points at different time of the day.
Bisti, June 7, 2021, AMBisti, June 7, 2021, AM
Another view of the Alien and the Triplets. I like the foreground in this view.
Sunrise Light, Bisti, June 4, 2021, AMLight and Shadow, Bisti, June 4, 2021, AMEarly Morning in Bisti, June 4, 2021, AMLight Beam, Bisti, June 4, 2021, AMBisti, June 4, 2021, AM
As the sun gets a little higher in the morning sky, the colors begin to wash out.
Long Hoodoo Shadow, Bisti, June 4, 2021, AM
Even in the brighter light, there can be interesting shadows cast by the hoodoos.
Most of the rocks and geological features in the Bisti Wilderness are dull under bright sunlight, but in the early morning and late day light these features seem to come alive with color. At these times one can get landscape photographs with soft pastels or bright, golden hues.
Golden Hour Begins, Bisti, June 4, 2021, AMGolden Hour, Bisti, June 4, 2021, AMSunrise Light, Bisti, June 4, 2021, AMSunrise Light, Bisti, June 4, 2021, AMSunrise Light, Bisti, June 4, 2021, AMSunrise Light, Bisti, June 4, 2021, AM
We were in the sand dunes before sunrise of the first morning of our March 2021 visit. Hiking in sand requires some effort, but at least during the winter, some of the sand is frozen on the surface, making it a little easier to walk on.
Photographing the dunes in the early morning has the advantage of overnight winds wiping away or muting the footprints of the previous days’ visitors. Still one might have to hunt for places to avoid remaining footprints. Caution is also required in approaching an area to photograph, so one’s own footprints are not ruining the scene.
Great Sand Dunes, Colorado, March 2021
Those lumpy looking features in the left center of the image above are frozen parts of the sand dunes and make good foreground objects in the vastness of the dunes.
Great Sand Dunes, Colorado, March 2021
These dunes cover a vast area and we are barely in the edge of the dunes and well below the highest peak.
Great Sand Dunes, Colorado, March 2021
It was good to have early morning clouds over the mountains to the east of the dunes.
Great Sand Dunes, Colorado, March 2021
I varied my compositions by moving around slightly or carefully approaching foreground objects, so as not to trample the natural patterns in the sand as the sunrise light progressed over the dunes.
Great Sand Dunes, Colorado, March 2021
The photo above is nearly the same composition as the first image of this post, but the light has changed with the rising sun and the shadows are longer and more pronounced.
Great Sand Dunes, Colorado, March 2021
Moving just a few feet can make a dramatic difference in an image in the dunes, as does the changing light conditions.
We arose early on the morning of July 30 to get out and into position before the sunrise. I again went to the south side of the volcanic ridge, but this time just a little below the crest to await the sunrise.
My first composition here included a little too much of the scrubby vegetation in the lower right corner of the image. So I changed the composition a little and then cropped the image more to get this out of the photograph.
This is a continuation of my photography effort in Yankee Boy Basin near Ouray, Colorado in July, 2020.
On a couple of our visits to this area, we drove past the waterfalls to try our luck with photographing variations in the local landscape. The images in this post are all from one morning’s shoot.
Pre-Sunrise light in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/11, 13s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
This first image is a long exposure made before sunrise, but it is evident that the mountain peaks are already getting some early morning light. Even though it was a calm morning, there may be some foliage motion apparent in the long exposure.
Sunrise light in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/11, 0.8s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
As the sun began to come up, I made a series of images, capturing the early morning golden light on the mountaintops, using the deep canyon, created by the many years of the stream flowing down the mountain side, with accompanying erosion, as a leading line into the image.
One of the subtle details that I like in these images is the shadow of another mountain peak that is superimposed upon the prominent, highlighted peak. I wish that I could say that I planned for this, but it was just an unexpected bonus.
Sunrise light in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/11, 0.6s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
I experimented with variations on this general composition, trying to determine the most satisfying one. For the one above, I moved past the tree that was on my left and rotated to the right to include the single tree on the right and more of the area along the right of the canyon. For the one below, I included a clump of rocks in the lower right and rotated to the left a little. I like this composition better than any of the previous ones.
Sunrise light in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 16mm, f/11, 0.8s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
The image below is a variation of the one above. I like this composition, too, but I still like the one above more, perhaps because the left side of the canyon stands out better in that image, as does the mountain peak at the top right, and the stream and canyon are leading more directly to that peak.
One might note that I edited out that dead tree limb in the lower left in the very first image in this post. I do not like that element in the other images, but removing it leaves some traces of the edit that might not be apparent to others that do not know that something was removed, but I know that the edit artifacts are there.
Sunrise light in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 15mm, f/11, 0.6s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
I moved back near my initial position to include the tree on the left in the image below. One can see a hint of the golden hour glow on the far left peak coming through the top of that tree. That effect looked better in real life than it does in this image.
Sunrise light in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 14mm, f/11, 0.5s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
I’ve highlighted the rapids in the stream a little in the editing process to emphasis its function as a leading line. I could probably improve the canyon’s and stream’s leading line function by a little more lightening along those, but I think the dark red rock along the canyon wall is sufficient and I do not want to take too much of the viewers eye off of that highlighted mountain peak.
Moving even more downstream along the canyon, I used a large boulder as a foreground object.
Sunrise light in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 16mm, f/11, 2.0s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
To me, that boulder looks too close to the far wall of the canyon to be pleasing. I may take another look at the edit of this photo to see if I can create more separation here. The leading line of the far canyon wall with the trees along the top edge is still effective in this image, leading the eye to the highlighted peak at the top left. There is an additional leading line behind the trees, formed by another drainage, leading the eye up towards the highlighted peak near the center of the image. Maybe the greenery in that leading line could be lightened a little more to improve its function.
Sunrise light in Yankee Boy Basin, July 2020. Nikon D850, Nikon 14-24mm @ 20mm, f/11, 1/3s, ISO 64. Edited in Adobe Lightroom and DxO Nik Color Efex Pro 2.
My initial impression as I composed the above image was that it was not very interesting. But now that I’ve had more time to think about why I selected this composition, I like it more and maybe even more than any of the other compositions from this shoot. I like the light and color variation across the image and the leading line of the stream at the bottom left, intersecting with the drainage that goes diagonally across the image to the highlighted peaks at the top right. Maybe a little more editing might emphasize the leading lines better and maybe I could create more depth to separate that boulder in the right corner from the canyon wall.
The sky is rather dull in all of the images from this shoot. Clouds might have made all of these images more striking, but we have to work with what we have, when we only get to visit such beautiful places infrequently.
Higher resolution images can be viewed on my Flickr page by clicking upon the images. The images also look much better, when viewed on a computer screen, rather than the tiny screen of a phone.
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.
