Corriente’ Cattle have been on the ranch since 2012. We have Black Angus too but these guys are much more photogenic. Something about the horns that gives them a western look.
Fully covered skies where I catch any animal that I can silhouette are automatically better by their inclusion. I would indicate that everybody was looking at this sunset that evening. I’m sure that even the glutton on the right took a few seconds between chews to enjoy this vision. It was hard not to notice this sky show. It stands out in all that I have seen as pretty impressive….
This can only happen during a totally overcast evening with thin / spotty enough clouds to allow the light to get under the canopy. A cool night, this particular evening was very moist with alpenglow rife to provide this colorcast to the show.
Bear in mind that this is a long range telephoto shot so the area of the sky wasn’t as big as this perspective would have you believe lol. Telephotos crush perspective and you never know how big an area of sky you are seeing. This frame covers an area of sky about the size of a postage stamp at arms length at the horizon. It’s a mind bender I think. This was a good night for images as this held on for 10 minutes anyway. That gave me plenty of time to get around… Click …
The horizon is a ridge 40 miles out. Those bumps are full grown pine trees making the saw teeth on the horizon. The perspective is deceiving. The area of the sky covered in this image is about the size of a postage stamp at arms length. Telescopic lenses literally give you a front row seat by crushing distance and thusly perspective you perceive. Such large celestial objects are possible. The relative apparent sizes mess with you… This actually makes the trees look HUGE relative as the sun. 863,000 miles across for that sphere, 50 feet for the tree. Based on that comparison, the sun must only be a few thousand feet tall. (shaking head side to side)…. Early Scientists/observers had it rough. They came up with the “Flat Earth” theories….
All the smoke in the atmosphere these days is good only for photography. Giving me crimson, yellow and black as my entire color pallet to capture. Three color, color schemes are fairly hard to find in nature typically. You have to narrow your search with the telephoto. There was a MUCH bigger sunset on going all around this close up. Many more colors started to appear. But when looking directly into the furnace, you only capture what light makes it to the camera. The smoke stopping ALL colors but Red/Yellow =Orange from making it to my photon traps. I can only record what is sent my way after all . I’m pretty sure that the time spent watching backcountry sunsets is not taken off your life’s timeline by the powers that be. It’s all free time….
This is the Sun…not the Moon. During the forest fire smoke Month of August 2020, I had “SOME” opportunity to play with the subdued / occluded sun under otherwise clear skies. Of course the smoke moderated the intensity of the light. That REALLY helped with the technical issues of taking a blurred windmill against a still very bright object. It’s easier to do with lens filters on the camera (Neutral Density) but I don’t use anything in front of my lenses 99.9 percent of the time. This is raw in the camera stuff.
There is a lens artifact in the sail of the windmill pointing from the sun to towards the center of the spinning dish. I left it in the image as I liked it lol. Lens artifacts are a result of light bouncing around inside the lens. Usually a lot of light. I’ve fought them before being too intense glaring out the whole image. The subdued sun makes all this possible.
The lighting through this smoke pall reminds me seriously of the total eclipse a few years back. I watched that total eclipse in Douglas Wyoming. There was an odd shading at first followed by a progressive “dusky” feeling. Life under this pall beside the breathing issues, is very similar to that odd eclipselighting both in illumination value and overall feeling.
Of course this is very dark. It looked like a refrigerator bulb across the yard. ONLY the red through yellow wavelengths were making it. Not many of those either. This reminded me of the Eclipse we witnessed down at Douglas Wyoming a few years back. The way the subdued lighting had everything awake but on hold. Almost like a pause before the curtain opens for the screen play to follow.
We’ve had smoke for two weeks now and I’ve worked every terminator crossing (look that up if you don’t know it) during that interval. Except this AM as I type this. A small cloud system came in and blocked my eastern view with nothing but a gray slate screen. Sort of like the internet was down in the denial. I was so used to getting up and about, shock to my system…. The nights are very short in the summer. It’s a good thing I don’t need much more than 4 hours of sleep. (as long as I get a nap during the day lol).
I’ve spent a good deal of time doing photography these days. This intense a smoke pall for so long is fortunately a rare event this severe. This plume(s) is equal or in excess of any I’ve experienced in my 20 years living in Wyotana. It’s been an interesting “disaster” year all around now with twin hurricanes landfalling on the Gulf Coast. I did some post-graduate marine biology teaching down at the Gulf Coast Marine Lab in Ocean Springs Mississippi. Those guy are getting clobbered as I type this. (Shaking head side to side).
Some of the coolest pink lighting the next morning after the same color pink moon 7. The same conditions filtering the light occurred in the same air mass as the night before for. I noted the unusual pink color in a recent post with that colored moon rising. Next morning, there it was again. This is not the first time I’ve seen the same atmospheric conditions cause similar photographs from evening to the next morning. This pink that is literally touching the horizon closely matches the color of moon in that timeline the previous night. I will never forget that color. Surprised me it did lol.
To facilitate a long dark drive up on the ridges to get a good view of the east horizon, I have to prepare and travel early. I generally do not work perfectly clear sky sunrises but I can see colors like this very early. The recent hail storm messed up my sunrise camera beyond repair. It totally destroyed it’s protective housing. Then it got flooded. . A replacement for it and a few others is yet to be ordered. I now have some insurance money to replace that tool in my tool chest. It enables me to see over “Ridge One” before sunrise and get a better idea on whether to go our or now. It’s a fairly high priority item for me to work on after all the damage as I used to use it literally every morning.
Location: Bliss Dinosaur Ranch, Wyoming / Montana borderlands (Wyotana) (The left side of the photo is Montana, the right side is Wyoming).
When looking at a bright Crimson Sunset, one has to take it in perspective. Look how large the sun is relative to how you normally see it. This is zoomed WAY into just a little small area of the sky. Which by the way, is a big area of sky if you were out there under it lolol. So perspective is important to understanding these images. Hold your thumb out at an arms length toward the horizon. Your thumb would cover this entire frame. Postage stamp sized at arm’s length.
Skies banded are best. Or something close to best. I’m all about color, cloud and landscape gradients. I chase them incessantly. Both in the real world and in my dreams. The perfect banded sunset would be a bucket list item. The term perfect of course is up for debate.
You couldn’t look at this for more than a glance. The mirrorless cameras looks well into the bright Not as well into the dark without a time exposure. I think the same is true of the human mind.🤔
Our eyes however aren’t good at the really dark or really bright either. They are generalists sensors we use to deal with most of the events in our world. Apparently there was no survival benefit in our developmental past to look directly at the sun. This is why we invented hats with brims and sunglasses. Now why we don’t have night vision like canids or feline is a good question. In a weapons race, humans gave up an edge there to be functional generalists. 📷
Mayan Pyramids on the Montana border…. Perhaps but the geologist in my pulls my imagination back in lol. Timing and position is a critical factor in this kind of image. The hill top is over a mile away with me watching the sun slowly rise while climbing up its left side. You see the sun moves up yet but it always moves to the right horizontally as well. More “Diagonally” up the sky than straight up.
So I started vividly imagining this unfolding stage play of the Mayan King awaiting the mounting of the sun god on the great pyramid. This “pyramid” is literally located 1/2 way between the Equator and the North Pole. 45 degrees North Latitude about where that tree stump is on the left. This must be a far northern suburb of the Chacchoben, Place of the Red Corn in Yucatec. But wait, the Hill seems to have fossil turtle remains, and dinosaurian parts and pieces in consistently sandstone/mudstone sequences. It is/was not built by stacking man made blocks as ancient cultures were so adept at constructing. Shape is a poor indicator of what things are. As we Pariedoliacs well know eh? The substance has to be there…
The area around the sun is VERY bright. You will need a mirrorless camera as looking into the sun through a DSLR camera could blind you. It’s a direct light path from the sun to your eye. I look at a video screen inside my camera so it’s impossible to blind yourself with one of the mirrorless cameras out there. However I suggest you check with the manufacturer to see if your particular camera can take this kind of abuse. A good use of negative space I think…. 😜
Crimson Sunsets with a boulder field acting as a sun moderating filter. Otherwise the glare is such it makes it very difficult to catch the detail in the clouds above. I point out that cloud frame is a Pariedoliac’s dream with a dozen faces, figures, creatures and imaginary anthropomorphic shapes. I’ve got horses, dolphins humans faces. I swear I did not put those shapes there or add dots for eyes or any of those cheating activities. This is a totally natural image with a pretty much closed down camera to light. That sun is bright. The human eye could not look into this scene.
Taken at the top local top of the world with a hard boulder covered butte top protecting the sandstone below from erosion. Most buttes are built by cap rock protecting the softer sediments below from being removed. Ridges are formed because everything softer was carried away by water moving one grain of sand at a time. Just lots of time.
Photographic Musings. High F-stop for the deep focus plus loosing some light. (you’ve got an overabundance of light here). Low ISO because you sure as heck don’t need a sensitive camera here. Shutter speed is going to be fast but the boulder filter can lengthen that out a bit. Each of the Manual settings is a double edge sword. If you want deep focus, you need a lot of light. F-stop is your iris size inside the lens. A pin hole gives you very deep focus fields. But a pin hole doesn’t let in much light. Manual is all about balancing light.
Summer sunsets happen early. This one at 5:31AM. The ridge I wanted to work for this had a good view of the crescent moon. Working the crescent moon from 5 AM until it was lost in the haze. Keeping busy with cameras is a good thing. I was loving the roiling distortion around the edge of the solar disk. It’s a result of the atmosphere distorting the shape and the details. The sun is ACTUALLY below the line of sight (below the horizon). The atmosphere is bending it’s image around the corner for a few minutes at the rise.
I have Sirius XM radio plus a reasonable audio system in the Raptor. This has been a good thing up here. I went out doing backcountry photography for years on an open ATV with my cameras in a open basket. No tunes…. I’ve work open ATV’s to -30. Having had cameras literally not work from the cold…. I put 3500 miles on that ATV one year doing backcountry photography only in this area.
This year, I’ve accumulated 1300 miles of only backcountry driving. In the Ford Raptor’s first 6 months. The Raptor is an all weather, all terrain, comfortable photographic studio for me to work from. There are not many places it would not go within reason up in this region if I asked it to. Think of it as a “Free Runner” which is a truck built for racing courses like the Baja 500. So far, it will do anything I ask of it that I’m not afraid to do. 📸 🤘 More hail dents than I like on it though….. ☹️
This is the second image from this timeline I am publishing. Each has it’s own merits. I worked this wonderful scene moving around for the different compositions that are hiding from us. Our perspective is “where we are”. The goal of photography is to see past where we are actively moving to the “optimal” perspective possible for the scene at hand. There are an infinite number of options available here only limited by the topography I’m positioned on. There have been so many times I wish for a ladder of just a few feet to change the angle ever so slightly. This is of course why I drive along parallel ridges to work terminator crossings. I can move up and down the opposite ridge as it is my metaphorical ladder.
Terminator: This is the dividing line between night and day as seen from outer space. It’s a good way for me to describe EITHER sunrise or sunset to you if you understand what it is. That visible shadow/light line moves around a globe that is 24000 miles around in circumference one time a day. That is, the shadow of night moves in at 1000 miles per hour over us as the sun rises or sets. Likewise sunrise moves over the earth at 1000 miles per hour likewise. Terminator is an interesting google search… You see it on the moon all the time….
I hadn’t been to this particular location for a while, it’s SORT of off the beaten two track. Anyone notice the photobomber? There are no cattle in this pasture yet so lazy me tends to stay out of pastures I have to open and close gates to enter. I’m getting lazy in my old age… 😜 📸
The Poetry of the moment is often hard to quantify but as poetry it does qualify. The color of the scene is a result of the cold hard physics of the world. The light proceeds on it’s path until some substance acts either to block or bend the dual nature of particles and waves. (This is a wonderful concept and worthy of an extended google search this AM). Light acts sometimes as a particle but also has wave like properties. Scientific wisdom everyone needs in their daily life but is beyond the scope of this narrative 😝 🤘
Turtle Butte from this angle is often confused with a volcanic cone (and even volcanic during a few of my journeys into satire). Maybe it’s just me. Impersonators are everywhere in geology. Things that “look like”. I can’t tell you how many people have asked me about those volcano’s. FYI, they are sedimentary remnants. Hard Cap Rocks protect the sediment below… . It’s all in the details, not the shape.
Humans are generalists. We miss details but do gather a wide interpretation of scenes at first. Shape! Then we slowly start focusing on details like composition and color. The color here is spot on to the original scene. I take great care in this exposing the highlights such that detail is still visible in them. If you’ve never spent twilights in Wyoming or Montana, you’ve never seen skies like we have. My job is to climb the 300 foot high ridges in the dark to get into position before this amazing show of artistry by mother nature. My photography is resultant of the various to and fro journeys pursuing those dual nature particles. (Photons).👀 🤔 📷
Twilight captures in June tend to be a very early morning rise for me. I’m thinking the night is just right at 8 hours long between sunrise and sunset these days. That makes for relatively short nights by the time I maintain my cameras for the next morning. Get up, get the dogs on patrol and something in my gut for breakfast. Then grab cam and go.
I often travel miles over two track backcountry roads to get to various locations I like to work terminator crossings. Some highpoint/ridgelines I frequent more than others but it depends on the time of year. That time of year of course controls which direction the sun is rising and setting. The sun is very far north at the moment and 2 days from the Summer Solstice as this posts (about a week after it was written on June 10th).
I get to have the sun rise and set over landscape features this time of year that I only see align for about 2 weeks. Similar short lived opportunities occur around the winter solstice as the sun rise and sets are furthest to the south. This celestial dance happens year after year. I just adjust my planning for where the “next photoshoot” is going to be based on the calendar. I run into most of the wildlife I photograph either on the way to work a sunset or after a sunrise on the way home. I’ve given up photographing wildlife in too dark an environment. Fully a waste of electrons as wildlife moves too much for low light work. The ones I do capture are rare. The wheel continues to turn if you watch.. 👀🤘
There was a lot of complexity to this evenings sky up here in Wyotana. The wind was indeed blowing hard and spinning ol’ “Sneaky Pete” a good bit. I have no idea how many times those bearings have rotated but it’s millions…. many I suspect. As I type this we had a 43 mph gust and the storms that moved through last week gave us an 84 mph gust on my weather station. I now have my weather reporting station back on line. Do a search for DW1087 for my weather station live here on ranch.
From a technical standpoint, doing this in camera with no Neutral Density filter in front of your lens is rare. The conditions must be JUST right. Anytime I point a camera into the bright sun, I’m mostly turning off the all the light valves. This gives me either crimson or burnt umber colorations. Who am I to argue with the camera. No human eye could stare at this live and work later.
I wanted to blur the windmill sail. A fast shutter speed will freeze it in it’s track and reduce light (less light is good here into the camera). It’s all about balancing these three things. But to blur such a thing, means 1/15th of a second which is VERY LONG in bright light. OVERPOWERING BRIGHT = hard to do right. Balance……3 things…..Shutter and:
Camera Sensitivity to ISO 100. Faster shutter speeds reduce the light coming in too. (you need to)
Leaving F-stop (aperture/iris size) to consider. I want a close far focus with this telephoto so I’m using F-36 (a high setting for a 400 mm lens). Higher the F-stop, = less light BUT deeper focal field. That means the depth of focus will have both the windmill and the distant sky/horizon in focus). Sort of a requirement but not a problem here. I only use 1 of maybe 10 of these I take….. Hard to do.
Driving two track roads during Nautical twilight up high in the backcountry is easier when there is no snow or mud on the ridges. It still takes me 10 to 15 minutes to drive up to this location I call sunrise ridge. By the time I arrived this morning, it was still Nautical Twilight with maybe 30 minutes to go till sunrise. The sky starts to light up quickly from here on. , the air is crisp, the smell of sage and pine are rife.
There is little wind this morning which is uncommon. I start to feel the sunrise coming on. It’s something you can feel akin to a quickening. 👀
This was taken in early May. Dry year so far but mud is my current nemesis because I loath to leave tracks. I have a new vehicle now with excellent capabilities so I should be a productive spring up on the ridge tops. Looking up this hill for proper perspective, no lower yellow band yet. The yellow hasn’t made it this far yet.. The red from rays of the sun that made it through the gauntlet of hundreds of miles of atmospheres and moisture. The cloud bottoms were wave troughs dropping into the light and turning red as a result. As bright as the highlights are, the over all scene was dark. This you can see by the darkness of the foreground where I was sitting. It’s below the camera’s threshold of Dynamic Range. My eye’s could see landscape here. Not the camera though… 👀👀📸
When ever I point a really long lens directly into the sun, I’m going to get either Burnt Umber or Crimson colors. The latter was gifted to me here. You have to realize that no one knows what this would look like because you would be blinded to stare into such a scene. Using a 28 inch long lens to crush the perspective of about a mile distance from the tree pair. Shutting the camera down to light leads to all sorts of interesting effects. (mostly diffractions).
Obviously those two trees (Ents) were up to no good. Catching the sun like that trying to keep it all to themselves. Fortunately the sun had the state of mind to sneak out the back and disappear behind the ridge. The two didn’t have a clue how it got away but no matter how many times they try this, it never seems to slow down the sun very much. IT still rises more or less on time every day. Imagine if a whole forest did this at one time… think it might slow it down?
I work in a wondrous world of parallel ridges that when very mobile, allows me to find events like this to point my camera toward. By being able to move up and down topography quickly extends my ability to find such scenes. It is a truism that topography is my master. 10 feet lower, and the sun would be below the horizon, 20 feet higher and it wouldn’t be in the trees but above. Location, Location, Location…
I call this kind of sunset with divergent crepuscular rays a “Crown Sky”. The rays reminding me of a royal crown but it is also suggestive of a massive cathedral with a starburst at the focal point. I really don’t see too many of these. Considering the nature the particular environmental conditions necessary to create this.
OK here’s how it work. The light from the sun is passing under the lowest cloud bank just on top of the white disk. That light is stopped by the shape of the puffy bottom of the cloud surface. This creates shadows on the clouds/ice toward the camera. The “Rays’ you are seeing are the opposite of the shadow lineson the foreground of the effect. The lit up parts of the rays are illuminated by the light passing under that lower cloud bank. So that clouds bumpy surface profile is reflecting off the cloud deck. As a final “nice tough” here of course also has to be some falling ice crystals (hexagonal plates falling oriented like parachutes) to light up to really make it pop like this. So several things have to be happening at just the right time for this phenomena to occur.
I’ve seen these rays pointing upward like this capture as well as in a down facing divergent crown. I watch a lot of sunset/sunrises and I’d say these occur at a 1 in 500 rate or so. I have a handful of Crown Sky Captures over my travels.
My job is to be aware of the sunset the a sunrise each day. I check the light all the time deciding whether to take out from my homestead with a ” box o cameras”.
Sometimes clouds trap all the light, the actors of the stage show have no spot to perform in. Sometimes I get to watch dramatic plays happening overhead taking over an hour from start to finish. I have a tough job watching entire sunsets and sunrises as they mutate from second to second. I might take 800 photos of a particular sunrise as this. 3 or 4 images of those images from the twilight will be finished. More images later from after sunrise of this morning with different frames. They were equally as dramatic.
Skies as above are rare but the high ridges I work have their share. My studied perspective/understanding of this place is totally incapable of comprehensively navigating the complexities of the workings of this, my local “universe”. (for lack of a better word). There is no way to gather the information needed in our own limited memory of our short travels/experiences here on earth. . Ironic, the complexity of our thoughts the local “universe” can not conceive, but the perspective it has is beyond our comprehension.
All of us has ultimately a figurative and literal connection to the land lol. We will all end up there with all that came before. Some in our society are multiple generations removed from it. Meat comes from the grocery store for them. Not me. I grew up on a farm on the Prairie. Lived on a remote ranch in Northeastern Wyoming/Southeastern Montana for the last 2 decades.
I’m a geologist after all…. I would like to think my connection to nature here it is deeper than most. There is much more connectivity between living things and the environment than we give credit for occurs I feel. Even disconnected to nature by nurture human/me, can feel things happening an orderly manner here in the highlands. It’s probably my own psyche settling into the cycles, the yearly natural events of this place in space and time.
A tripod can come in handy in this lower light civil twilight sky. Long exposures are hard to do without them….
Crimson Cloud Roll Sunrise Driving two track roads during Nautical twilight up high in the backcountry is easier when there is only this much snow on the ridges. It still takes me 10 to 15 minutes to drive up to this location I call sunrise ridge. By the time I arrive, it’s already into Civil Twilight with maybe 15 minutes to go till sunrise.
The sky starts to light up quickly, the air is crisp, the smell of sage and pine are rife. There is little wind this morning which is uncommon. I start to feel the sunrise coming on. It’s something you can feel akin to a quickening. 👀
This was taken over a month ago in early March. We had light snow then, none now…. Dry year but mud is my current nemesis because I loath to leave tracks. I have a new vehicle now with excellent capabilities so I should be a productive spring up on the ridge tops.
Looking up this hill for proper perspective, the lower yellow band is bright alpenglow. The red from rays of the sun that made it through the gauntlet of hundreds of miles of atmospheres and moisture. The cloud bottoms were wave troughs dropping into the light and turning red as a result. As bright as the highlights are, the over all scene was dark. This you can see by the darkness of the foreground where I was sitting.
Some of the pre-sunrise drives out into the backcountry are silly amazing sometimes. It takes me a minute to get set up for this kind of location. I usually have photographed the sight a different day . This fully involved twilight sky was colorful icing on the cake from that morning’s long timeline.
The term “Twilight” means 3 different things: Civil Twilight begins about 28 minutes before sunrise or ends 28 minutes after sunset. It is that period from when the sun is about 6 degrees below the horizon. On clear days you can do normal outside activities that require light. That solar elevation angle below the horizon defines each twilight phase. CIvil Twilight is by far the brightest of the three twilights.
Nautical Twilight starts when the sun is 12 degrees below the horizon technically. Both the Horizon AND brighter stars/planets are visible in this twilight. It is the “middle” of the three twilights. At the beginning of Nautical twilight, it’s about one hour to sunrise.
Rule of thumb which varies with your position on the globe, is 28 minutes each twilight. In Astronomical Twilight, If you live in the city, you have probably never noticed astronomic twilight. The are NO shimmers of daylight at the beginning of Astronomic Twilight a full hour and a half before sunrise. .
Away from the lights of population centers, we see Astronomic Twilight regularly where there is just a slight greying of the black totally dark sky mid night. It gets as dark here on our ranch in remote northeastern Wyoming as the North Atlantic Ocean according to NASA.
This is a 2 feet x 3 feet image at full size. Now I know this is out of season .I’m reposting some images refinished to current specs from this last summer. I think it’s an interesting break from the late winter weather we’ve been having.
It was raining on me at the time about 10 minutes after sunset. This was our version of twilight that late summer 2019 evening. I was in my Jeep Grand Cherokee on a large flat ridge top right in the middle of lightning flashes all around me. One of the better places to be during a lightning storm is in a car. That is as long as your not touching metal. It also helps if you don’t have long camera lenses sticking outside your open window….. oh wait lolol..
There are two ways of doing this. If it is very dark, set your camera on a stabile tripod in a dry area. Take 25 second time exposures at ISO 200 and f11 to start with… You will have to tweek some to see what comes out. Or use an external “lightning trigger” to snap the camera as the bolt touches off. Set your camera near or at ISO 200 F11 and 1/4 second. Your setting s may vary but now too far out. The trick here to get a full frame (not a crop) image was to watch the storm and figure out where the bolts were consistently hitting. Then you just point the camera into that area and wait lolol.
View from up on Ridge one here on ranch. The window to the Big Horns is IFFY this time of year from this far away. My truck/tripod is 130 miles out for this capture off the highest point around the place. The timing on this was a few minutes before sunset. Full Screen is a good choice for this. Twilight over the BigHorns this night was so obviously gorgeous. I had to resort to a short time exposure to catch it. The timing on this sunset is very late in Civil Twilight.
Civil Twilight after sunset ends about 28 minutes after the sun goes down 8 degrees under the horizon. It’s usually the best time to get those crimson and yellow skies. The yellow is Alpenglow. Atmospheric Ice causes this phenomena caused by refracted light passing through. Only the red wavelengths which have survived through hundreds of miles of atmosphere light the cloud deck. Orange as this is a mixture of the two effects.
The long lenses I use crush the perspective of distance. I’m almost always using telephotos to bring in just the BigHorn Mountains filing the whole frame. It takes about a 800 mm long focal length to fill the camera frame side to side with the tallest part of the range. The black ridge at the bottom is 40 miles out. The clouds behind the range are around 200 miles out I would suspect. The distance is hard to put into proper frame. Those 13000 feet high mountains appear smaller than the thumb on my outstretched arm from here from my eyes unaided perspective.
Forest Fires hundreds of miles away accentuate and attenuated this image. Various levels of smoke from burning forests give western photographers opportunities. I am not ashamed to take advantage of it though my heart goes out to those that the fires impact.
I’ve physically fought my share of grass fires living surrounded by a sea of grass. Fires used to burn here from their start to the first snows putting them out. I’ve seen some tremendous sunsets as a benefit to natures actions cleaning up the dead fall that we have allowed to accumulate to dangerous levels. I’ve said many times before that I don’t use glass filters in front of my lenses.
When shooting directly into the sun, the best filters have lefts a ghost of the sun in my images. Offset artifacts are not generally welcome to a photographer that tries really hard to be a photorealist. I will occasionally wander using lens reflections/flares in my work, but not here lol. 📷
Big Long Telephoto lenses have a tendency to CRUSH perspective like a compressed accordion . Getting topography, Windmill and Sun all to line up at the same time while at the same elevation as the sail…..not that regular an occurrence lol. I know the topography I work pretty well after ‘working it’ for decades. Knowing the direction the sun is going to rise is a matter of looking it up on google. Get a compass, a map (in my head by now) and figure out “what two or three things” can line up. I never know WHAT the show is going to be when I go out with cameras. I do usually know WHERE it is going to take place though. 😄
The stripe of orange Alpenglow under the Crimson Cloud Deck is what the sun light is passing through. A fully involved twilight sky is the result of that red/orange light making it through to the cloud deck This image was taken ON the border line of Montana / Wyoming.
The Butte actually sits directly on the border which coincidentally is precisely 1/2 way between the Equator and the North Pole. Some bright guy in the past decided that a kilometer would be based on the distance from the Equator to the North Pole. That distance is10,000 kilometers between the geographic characteristics on the globe. There is actually a difference in distance to the south versus the north pole from the equator. That is something you’ll need to google for yourself 👀🤔😀
I must climb several hundred feet of topography to get this eastern view. It’s a several mile drive over two track roads. This spring time image from from May of 2019. I’m about tired of spotty snow and mud patches in the backcountry and am waiting patiently for mid may to open this magical world back to me. I do miss unlimited access to the ranch’s high ground. The views are spectacular up there. I consider the east west view from certain high points around here to be 180 miles from horizon to horizon. The Big Sky of Montana merges seamlessly with the Wonderful Wyoming Skies right over my place.
I attend virtually every interesting sunrise/sunset that occurs up here on the high ridges along the Wyoming/Montana border. The Bliss Dinosaur Ranch has about an equal amount of land in each state. Most of my images have parts of the scene either the sky or the ground of each or the other state. (now that’s a sentence lololol_😜
I see a lot of heavily saturated sunsets on forums and I see them too occasionally. I record them accurately. What I’m saying is.: This is the actual scene as it occurred without any highlight/color tomfoolery. I love this image as it is with detail in the colored areas, not solid color. My technique is all about exposing the highlights correctly. I’ll worry about the shadows in the digital darkroom. I left the landscape silhouette without bringing out what detail exists there. I seldom molest highlights.
Recording then presenting them exactly as I experienced them. I about said “Catch them on Film”. ……. I paused and considered the accurate replacement phrase. What exactly am I doing with this Mirrorless Digital Camera. No film here. These things use a digital chip inside to record the image in Red/Green/Blue dots. Technically it’s recording a series of 1’s and 0’s in sequence that when run through first Sony then Apple’s machinations via software. Of course Adobe had a hand. Then Facebook attacked what I uploaded with a compression process. The resultant jpeg/file quality drives me crazy sometimes. The full sized files are amazing. Full screen is a must here for sure as this is an image that needs to spread around your field of vision. 📸👀
Boy I miss summer. I will say that there were some mosquitos out at this shooting. Some crimson to purple to blue gradients pop up each year but not many. I got a good one here though. The alpenglow ice that gives you summer crimson blends in like an acrylic paint into blue higher in the sky forging purple out of the mix. It’s a natural rare gradient that I see a few times a year. Real purple is much rarer in the world than you would think looking at forums. Beware of the electric blue images you see but this is a real color mix showing purple.
The grass was high, the hay bales in the distance attest to an expenditure of diesel fuel to gather each 1 ton bale. The big tree just across the inlet has a landing below it that I have several game trail cameras. They have taken hundreds of creatures from coyotes to Herons walking right in front of that wonderful cotton wood. This lake is literally miles from the nearest gravel county maintained road. I can’t tell you how many little places of zen like this exist in and around my ranch. I’m pretty sure infinity comes to mind for the time I have to spend here in my short human existence. Cowboys 100 years ago built the dam across this spring. It watered generations of cattle walking the Miles City Montana to Newcastle Wyoming Trail on the way to Texas.
View from up on Ridge one here on ranch. The window to the Big Horns is IFFY this time of year from this far away. My truck/tripod is 130 miles out for this capture off the highest point around the place. The timing on this was mid-Civil Twilight
Full Screen is a good choice for this. Twilight over the BigHorns this night was so obviously gorgeous. I had to resort to a short time exposure to catch it. The lighting for this was subdued to say the least.
Civil Twilight after sunset ends about 28 minutes after the sun goes down 8 degrees under the horizon. It’s usually the best time to get those crimson and yellow skies. The yellow is Alpenglow. Atmospheric Ice causes this phenomena caused by refracted light passing through. Only the red wavelengths which have survived through hundreds of miles of atmosphere light the cloud deck.
The long lenses I use crush the perspective of distance. I’m almost always using telephotos to bring in just the BigHorn Mountains filing the whole frame. It takes about a 800 mm long focal length to fill the camera frame side to side with the tallest part of the range. The black ridge at the bottom is 40 miles out. The clouds behind the range are around 200 miles out I would suspect. The distance is hard to put into proper frame. The width of those 13000 feet high mountains appear smaller than the thumb on my outstretched arm from here. You are quite zoomed in here. 👀📷
I bit out of season… I need summer, right at sunset….
Chasing lIghtning is not for the faint at heart. Being in a vehicle “reduces” your exposure. It’s also possible for the vehicle to be struck. This can destroy the vehicles wiring or it’s computer. You also don’t want to be touching metal when that goes down lolol. I’ve been very close to bolts before. They are also VERY loud I point out lolol.
I was driving up in Montana where my son and I watched a bolt hit the dirt 30 feet off the road on the drivers side. It hit in front of us so we had a clear view of it. I can still see the scene perfectly in my mind just as if I actually took the photo. The truck was all closed up so the sound was muffled. I’ve heard some pretty loud bolts but with a window open… a close bolt is going to leave some “ringing” in my ears lolol.
I usually work scenes like this with 2 cameras sitting in the vehicles passenger window on window clamp tripods. Using Lightning Triggers allow you to set your camera to click with the bolt flash. My Sony Mirrorless respond within a few milli-seconds to the initial start of the flash. I usually use about 1/4 second exposure which you adjust to the brightest part of the image. (expose the highlights properly). If you set the ISO too high, you will have the bolts too bright which tends to grow them larger than they are. This is about as perfect an exposure as you can get for as dark as it was for this scene.
All these backcountry Lamp Posts have defective photocell switches. They never work more than a few minutes plus never at night. I need to talk to the management about this issue. I bet they have the parts at home depot to fix them…. Just saying 🤔😜😜 High Contrast eh?
Working/driving backcountry parallel Ridges in the winter is an exercise in getting home without pulling out the snow shovel. This is miles off the nearest county road. If you travel on the ridge tops, I find I don’t find deep snow too much. It tend to blow off the ridge into the surrounding lower areas. Found some deep snow the other day with my new rig. I did manage to drive out of it without having to dig it out. Took a few minutes of trying though…. Close….Because the snow tends to blow off of the ridge tops providing potentially miles of clear travel. Of course someone thought to put fences up. There never seems to be a gate on the ridge line. Thusly I’m forced to travel between ridges through the deeper snow regularly to travel any distance. . This is the most likely areas to stick you.
We’ve had a light snow winter though some of the local mountain ranges are 100 percent pack or there about. I can only hope we get a series of regular and not too severe snows over the next few months. Winter ends here in May.
(Crimson Alpenglow Close far Perspective #2 in this Yucca series)
Working the shadow line of parallel ridges with telephoto lenses has it’s rewards. I find that it’s the simple compositions that carry the most interest as complex misleads/distracts the viewer. Detail yes, but the time and space moment should place you in that continuum in your mind. The human eye might be able to resolve this but only for the briefest of moments. The reflexive look away followed by the ghost of the too bright scene on your retina. A quick thought of eye damage, you blink. Over a minute later, your vision probably would come back.
Yucca make for big speed bumps in the backcountry. Some of the clumps can get 2 feet high. In the winter they catch a snow drift behind the clumps big time. It looks like a sand dune field after a good snow and blow in the backcountry where Yucca is about.
I look at a lot of sunsets but seldom do I do much looking at the sun. Without the benefit of a mirrorless camera set up I’d be blind by now. I watch scenes like this develop live on video. The setting changes I make to the camera show up in real time as I spin the adjustment dials. With a mirrorless camera in my hands, I know what the image is going to look like before I click the shutter. Compare to a standard DSLR where you click and then see what you did on the back LCD. Just my 2 cents on that debate. Click!
About 6 months off season, the forest fires to the far west. This is a VERY bright scene but the sun was indeed markedly yellow and the sky crimson on this tiny portion of the sky placed in the same focal plane as this tree. If you hold your thumb out at the end of your outstretched arm, it would cover this image area. Positioned where I thought the bulb should screw into this rare backcountry lamp. When taking such images, movement of your head fractions of an inch makes a REALLY big difference. The lens is an 18 inch 600 mm optic. I’m working hand held for this kind of capture. About 300 yards distant from the snag. The sun is out a bit further. 🤔
Being so bright a scene, it had some interesting light effects on the sensor. The particulates in the air as well as the clouds below it’s line of sight enabling only the longest red rays access to me. The bright yellow light from the sun made it to me though. The pall of smoke trapped all the shorter wavelengths of light from getting to me. I never know how these are going to come out when taking photos way outside the sane photographic envelope looking into the sun as this capture. Settings you must consider looking it a scene is a fast shutter so going freehand is easy. You need ISO low numbers and fstop as high as you need to enable both snag/sun to be in the same focal field.. The higher f – stop will give you a deep depth of field.