I started a long blog post about my experience shooting at Bosque del Apache National Wildlife Refuge over the last three years, years, the difference between the conditions this year and last, the reasons why I made various images, etc. Then I realized that the post was ponderous and boring. Instead, here is a simple gallery of the best images from my trip this winter, plus a so-so quail image that I included for sentimental reasons. Hopefully the images can speak for themselves. (Click on a thumbnail for a larger view and for a slideshow).
These are three very different landscape images that I shot in Rocky Mountain National Park this summer. The image above is a tight shot of a lodge-pole pine stand. This image is a bit serendipitous. I was standing around with my supertelephoto waiting for a pica to come out from under a rock when I noticed the cool-looking light playing on the trees across the valley. A few moments to find a pleasing arrangement of trees and light (and a little work on the black and white conversion in Photoshop) and voila. Though it’s not readily apparent in this images, several of the trees in this photo were killed by pine beetles. It will be a very different park in a few years without the lodge poles . As always click for a larger version/slide show.
This is a blended exposure of a sunrise near the Gore Range Overlook. I like the stacked ridges in this image.
This is the Gore Range from the Gore Range Overlook. Pretty, but I’m am ambivalent about the composition.
Shooting in Arches is a blessing and a curse. A blessing, because the Park has some of the most spectacular (and photogenic) landscapes around. A curse, because lots and lots of photographers have made images of said spectacular landscapes. It’s easy to make images of beautiful scenery, but hard to make something original. The image above is illustrates both points. Delicate Arch is beautiful and iconic. But when I shot this image, I had to wedge myself into a firing squad of other photographers — all making more or less the same image as here.
The second image, above, is an attempt to break out of the photographic cliches of making “straight” photos in the Park. This is balanced rock — another icon of the park. I used the hazy clouds to make silhouette. Not spectacular, but at least it’s not a cliche.
This is another attempt to break away from cliche. The departure here has more to do with the quality of the light (hard, mid-day light) rather than the composition or subject. This is in Courthouse Wash (a great, spectacular, and kid-friendly hike). Instead of shooting this in the sweet light early or late in the date, I tried capturing an image in mid-day light. It says at least a little bit about the heat and hash light of the desert. (It also says that my kids won’t get up before dawn to hike so that I can shoot the sweet light, but that’s another story).
This image (of Turret Arch looking through the north window) is even more of a cliche than Delicate Arch. All of the calendar shots you’ve seen of this image were all made from the same six-foot by eight-food ledge opposite the North Window. Every one. Most have better morning light than this one (as you can see, the sky was heavily overcast, and I never got the sweet light I was waiting for) but I like this image because the light is a little different than usual.
Full cliche warning here (Balanced Rock) but at least the clouds are interesting.
These images are from an evening side trip to Dead Horse Point State Park in Utah made while I was camping at Arches with my family in late spring. When I captured these image, I was a little disappointed with the light. I hoped for a spectacular sunset, but a late-day storm largely blocked the setting sun. After reviewing these images, though, I realize that the storm light was a blessing in disguise — I like how these images capture the feeling of the misty storm light.
Incidentally, I did not have time at Dead Horse Point to really do it justice. (One of the hazards of combining a family and photo trip). This is a spectacular park, perched on the edge of a cliff 2000 feed above the Colorado River. I could easily spend several days photographing there. Highly recommended if you’re in Moab.
These is a multi-image panorama of the Monitor and Merrimack buttes, located just outside Dead Horse Point. (By mult-image panorama, I mean that the image is stitched together from several frames in Phtosohop. This image would print 26″ wide at a reasonable resolution). Frankly, the thing I like best about this image is that the subject matter is not a cliche. So many talented photographers have worked the area around Moab that it’s hard to make an image that one hasn’t already seen a million times before. Compositionally, this image is nothing spectacular, but at least the subject matter is fresh.
This is a horizontal view of the same scene as the opening image above. I can’t quite decide if I like this better or if I prefer the monochrome image below.
This is a wider horizontal view of the same scene. I converted it to monochrome and toned it in Photoshop. By zooming out, I changed the focus from the ridge running into the distance to the wash beside the ridge. The image seems a tad bit busy or “unfocused” to me, I still like it.
 
A few months ago I was killing some time between the sweet morning and evening light browsing the Monte Vista Crane Festival. (The festival is really a big fair/craft show/small town event — both charming and odd at the same time). I stumbled across “Between Light and Shadow” by John Weller as I was leafing through books at the Great Sand Dunes National Park table. It stopped me in my tracks.
I can sum up this book by saying that it is easily the best book of outdoor photography that I’ve seen in the last five years. (And I’ve read, and purchased, many such photography in that time). Weller’s book has three virtues that set it apart from most of the outdoor photography books in my collection. First, he has a unique style. Rather than employing the contrasty and highly saturated only-in-sweet-light style that dominates landscape and wildlife photography, his photos are under-saturated, low contrast, even a little dark. He doesn’t rely on the “sweet light” but uses all sorts of different lighting — including, in particular, storm lighting — to great effect. Second, he lived in the dunes for several months over the space of a year. This manifests itself both in the quality of the images (you don’t get very many images this good on a week-long trip) and more importantly on Waller’s eye for the place. Finally unlike the prose in many photography books, Weller’s prose is engaging and well written.
If you like landscape photography even a little, and you don’t have this book in your library, you’re missing out.
This post on The Luminious Landscape is further proof that lanscape blur images are officially trendy. Even Alan Briot is shooting them!
(Not that I’m a critic. I really like a couple of Alan’s images, including the first one).
Intentionally blurred images certain are in vogue this year. Master landscape photographer Alain Briot has posted a lovely portfolio of intentionally blurred images on his website. Though the technique is largely the same, it is interesting to note just how different Alain’s images are from William Neil’s images that I blogged about previously.
While I am on the subject of Alain Briot, I must say just how depressing (and motivating) it is to view his work (and to read his essays). Every time I think I’m getting better at photography, I view his portfolios or read his essays on the Luminious Landscape and realize just how much further I can progress as a photographer. Not to copy Briot’s images or his style, but rather to have the technical control and aesthetic sense to make images that reflect my style and vison as effectively as he does.
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