The sub-zero morning I took this out on a flat covered by geothermal steam. The Hoar frost covered ANYTHING that was exposed to the wind. Freezing fog grew monster ice feathers off every surface that disrupted smooth air flow. Long shadows and red light dominate this scene …
Here on the Montana/Wyoming border, the snow is usually as deep as the backcountry is big. Just a few plowed paths are about to provide access to the high ground. The wind here moves a lot of snow from ridges to the surrounding slopes so if your on the ridge, DON’T get off the ridge. You loose the traction of “position” off the top. The snow on the flats is unpredictable.
Given the opportunity, I will set up for a Close/Far perspective capture when ever a fence “of interest” is around. This was a sunrise session that started in early twilight and worked for several hours. It’s not every day I see this kind of hoar frost plus red morning light. It does happen but not necessarily every year up here. The highest ridges are 4000 feet in elevation. This is around 3700 feet. Thus creating a fantastic environment for hoar frost growth to prodigious proportions.
Woven Wire Fence: When you absolutely don’t want smaller livestock going from pasture to pasture. It makes a wonderful nucleation spot for ice crystals to grow from. The low angle light was still awesome. Working backcountry has it’s little areas of zen. We just have to slow down and see them. Capture their photons. The ironically, hurry on to the next little spot of zen lololol. Such is the life of “working” a scene with cameras…. 📸🤔
Hoar Frost Red Light (Full Screen is really a nice way to view with this image).
RIght at sunrise when the light from the sun is colorcast markedly red, any scene with hoar frost reacts vividly. Here on this high ridge with an infinite view to the horizon 100 miles away. This, the same light that makes the Pink “Belt of Venus”. Also responsible for the Red lIghting on distant hills these long traveled rays. Ultimately reflected to my lens. All pink is sky images are reflecting this very light. Those long red rays are going through the most atmosphere. The really bound off the bright white frost flowers and crystals. Catching it digitally is another thing 📷🤔
This scene is produced here to the same colors I experienced that morning. It’s as close as I can do it. Note how the snow in the shadows is grey/white .(natural) While the sunlit pure white frost turns into a nearly fiber optic pink projector screen.
Exposed surfaces to the wind were coated here by 3/4 of an inch of hoar frost. The north side of trees, grass interrupted the air flow of moisture laden air. This changed the “Triple Point” (good google word along water vapor). The Hoar frost growth is ice forming simply by moist air flowing over objects where a SLIGHT pressure change from the turbulence causes deposition of the ice. It’s crystal growth live real time that I’ve watched happening real time during several trips up on the ridges. I have gone up in terrible foggy cold weather to work the flat light before a time or two lol.
It’s not magic using a 12 inch Meade LX 200 at 3200mm, I need to take 6 images of the moon to mosaic together a full image. This top 1/3rd of a D moon (first quarter). I took this in infra-red so the color is artificial. Infra-red comes out pretty and pink raw out of the camera. This is more like it was at the time I took it not far from the horizon. The seeing was good that night. That was the mystical part….
The joy of “Mirrorless” removable lens cameras is that you get what you see in the eyepiece (or backLCD) BEFORE you click the shutter. Working in manual mode on a Mirrorless, you instantly know what your settings are doing, you watch it live on the screen. This is NOT a DSLR camera routine where you approximate the settings, take a photo, check the image on the LCD. Then you reset your setting better….. Rinse and Repeat until you get the shot.
I wouldn’t even consider buying the best possible DSLR versus a 1500 dollar mirrorless removable lens camera. Not even close. Mirrorless allows you instant feed back to your actions. If you are gear shopping, I strongly suggest you find out about mirrorless camera bodies that take removable lenses. As with anything else, you get what you pay for. I use Sony Alpha 7R series extensively though I have a couple of consumer level Canon M series cameras. I’m currently using the smaller chip cameras (not full frame like the Sony) for astro/big telescope as this image.
A magical “Belt of Venus” morning up on the Montana/Wyoming border waaaaaay out in the backcountry. The sunrise is still 10 minutes away behind my shoulder as the blue stripe on the horizon shows. That blue is the shadow of the opposite horizon blocking the long red light from the sun just over the lip. The pink projected onto the Ice suspended in the atmosphere are the reflections from the long wavelengths make it to my camera lens. This high rolling backcountry is very remote and relatively easy to get to in the summer. It is NOT so easy to get to this time of year. This was taken late fall 2019 before the snow pack started to form this high up.
Close / Far perspectives are a complex photographic challenge for all of you. An automatic setting on your camera is not going to do this image.
I’ve gone through the basics a few times and will entertain questions below for photographic solutions to your working on manual mode aversion. (Kind of like fear of swimming). You just have to jump in and turn that top dial to M. Then you figure out which control wheel controls each of the three settings you change in manual mode. ISO (Camera Sensitivity), f-stop (size of the aperture/pupil in the lens), finally Shutter Speed.
You only need to understand those three things to run on Manual mode. Their relationship to each other and how messing with one, requires you to mess with the others a tad to compensate the amount of light coming into the camera. Your riding a three way light teeter totter trying to balance those settings.
A little Backcountry Magic for you moon lovers out there.
The Atmospheric Lensing was in full blown effect for this. The moon distorted by the mirage lines. Remember that this moon is actually below the line of sight to the horizon at this moment. The moons image here has been bent around the planet over the horizon by the differences in air density/temperature. Without atmosphere in the way, you wouldn’t see it yet. It’s actually below the horizon which is dropping to expose it. (You realize the horizon is dropping NOT the moon is rising right??) The times of sunrise and sunset are always off a minute or so because of this phenomena for objects (the sun too) near the horizon.
In a nutshell, you need a 400mm or longer lens, distance, timing, topography and a full moon. Distance from the foreground object is your friend. So is a HIGH f-stop number (f22 or higher). High f-stop gives you a deep field of focus that extends foreground object to infinity (moon). Being the double edged sword that f-stop is, by turning it up, you reduce the already low light level in the camera. A short 3 second time exposure if you have a tripod would be nice to compensate. Longer exposure means more light into the camera.. I did this handheld at about 1/30th second. Your ISO (camera sensitivity) is your wildcard. Change it to get an image as rule one is get the image…damn the graininess (which high ISO will give you). There are only three things you have to adjust to use your camera on manual mode after all.
The sub-zero morning I took this up on a high ridge, the Hoar frost covered ANYTHING that was exposed to the wind. Freezing fog grew monster ice feathers off every surface that disrupted smooth air flow. I have many images yet to finish from that morning.
Here on the Montana/Wyoming border, the snow is as deep as the backcountry is big with just a few plowed paths to provide access to the high ground. The wind here moves a lot of snow from ridges to the surrounding slopes so if your on the ridge, DON’T get off the ridge. You loose the traction of “position” off the top.
Given the opportunity, I will set up for a Close/Far perspective capture when ever a fence “of interest” is around. This was a very early morning session that started in early twilight and worked for several hours. It’s not every day I see this kind of hoar frost. It does happen but not necessarily every year up here. The highest ridges are 4000 feet in elevation. With valley fog being pushed over higher elevations. Thus creating a fantastic environment for hoar frost growth to prodigious proportions.
Woven Wire Fence: When you absolutely don’t want smaller livestock going from pasture to pasture. It makes a wonderful nucleation spot for ice crystals to grow from. The low angle light was still very spotty. I had to find a “Slit” through the trees to catch this. Working backcountry has it’s little areas of zen. Millions of them actually. We just have to slow down and see them. Capture their photons. The ironically, hurry on to the next little spot of zen lololol. Such is the life of “working” a scene with cameras…. 📸🤔
With a Very Low to the horizon Bright Full Moon, I use “Filters” where ever possible to moderate the bright glare. Here a windmill filter (“Sneaky Pete” the photobombing windmill who I have no control over. He randomly jumps into my landscapes. Keeps odd hours apparently too. That’s another story though. It’s a years long narrative about the “Pete bros” windmills that “live” up here.