A big Buck perfectly centered in front of a huge veiled sun provides an amazing visual image… Perfect for your wall.
Along that line of thinking… how about a silhouette theme for your wall? … Here an ALMOST silhouette (highlights on the hair) against the sun is a dramatic acquisition from one evening.
I actually had to maneuver over a mile to capture this moment.. I saw the deer on the other side of the ridge and realized the opportunity. Again topography, time of day and situational awareness prevailed. Circling around him without raising the worry level of the jumpy ungulate was paramount. Fortunately for me (an you) he didn’t really get concerned of my behavior which resembled hunting to me.. Hunting is sort of what I do when I pursue such images… Many similar skills are involved in the searching for such captures.
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 depth of the layer of smoke that gave me this apocalyptic image was early in the timeline that night. Keep this image in mind when I post an image of that sun setting into that mist. Here the sun is up high enough that the stepped gradient (natural not done in the digital darkroom). . Many stepped gradients from photographers are artifacts from improper digital darkroom technique. This is totally natural.
I don’t believe I have ever seen conditions worse than this. All sorts of backcountry outdoor activities are not occurring. Hard to cut wood when you can’t breath. Hard to do construction too. Some folks go about 70 percent effective under atmosphere such as this. Looks like fog, it’s choking, wood smelling smoke. 2020 is sure a mulligan year. Need to throw the ball out into the fairway and re-take the shot.
Of course, you couldn’t look into this to see it without a quality mirrorless camera. Just glancing at such a scene can do damage. I only look at scenes like this through my gear. Said camera moderates the intensity.
Disclaimer: I saw this scene on a live video screen within the view finder. I can adjust my settings real time accordingly. There is no direct light path to your eye in a mirrorless camera. DSLR cameras can blind you doing this kind of work so don’t. 🙂 Some cheaper small sensor cameras can’t take this either and doing it wrong is likely to burn your cameras sensor chip. With the full frame Sony A7 Series) I’ve taken thousands of directly into the sun images. No damage to your gear if you do it correctly. Getting your exposures too dark before you point at the sun is a good idea. Use highest f-stop and low ISO for this certainly. 1/3000th or so.
Close Far Perspectives are something I haven’t worked recently. The smoke plumes from western fires clogging up my horizons to anything but the sun. I get only a few terminator crossings a month any to photograph the rising lunar disk coterminous with the sun still being up (even a little like this). The dark blue you see here is seconds away from turning black in the camera. The is the edge of the envelope for what this technology can do. The silhouette would soon be fading into the black sky in minutes.
Wonderful smokey color that night though we weren’t particularly under Pall at that moment. Particulates in the higher air is likely to blame for this hue. Almost salmon but with just a tinge of red. Hard to find such things in archives of my travels.
Heads Up!… The Moon while on schedule for once a month, but October 2020 will have two. The first on October 1st, and the second on October 31st. That rarity is what coined the phrase “once in a blue moon” back in 1821, according to the Farmer’s Almanac. The “standardized” explanation of the blue moon wasn’t defined “officially” August 1937 or so the story goes… I will work both moons in October assuming the weather window to their light opens for me to capture in my photon capture boxes. Rule number 112 of photography is: no window, no images… That one is fixed in the rules of the universe I’m afraid lolol.
Random things happen all the time. Who would have thought I’d come upon two yearlings (1.5 year old buck anyway) playing hide and seek in the woods. They both carefully backed in behind the old pine to hide from me… Not seeing each other figured they were safe… What happened after this I leave to your imagination but I suspect someone or both got a startle when they bumped. I know but I’m not telling 🙂 I unfortunately did not get much more on camera as they weren’t cooperating with my mental wishes.
Back to my normal programming.
Well the twilight was spectacular anyway as par for the course of late. Magnificent skies are the rule rather than the exception when wispy clouds are overhead and there is a lot of smoke in the air. Long traveled sunshine colored the clouds with only the finest of displays that night.
Finding two deer on a ridge in front of the show was cool. Having them pose for me, priceless. The two caught in my cameras stare were frozen in time. Click. Who can argue with photographic evidence of hide and seek play lolol.
I see the light. Light has a tendency to travel in a straight line unless acted upon. Usually this is by passing through a change in media such as air to water. This refracts the light. As I was carefully wandering in the twilight dusk along a high ridge. I was scanning for imaginary faces in the silhouette. (This image having many for you Pareidoliacs out there).
Having huge deep boulders on the skyline usually makes anthropomorphic imaginings easy. This scene froze me in my tracks. The spot of orange light in the black on the low right is actually showing THROUGH the boulder field. Talk about a gauntlet/light filter lol. I’m not used to seeing straight lines through rocks. My geologic background caused OCD kicks in lolol.
I was walking around with the wrong camera upon first happenstance to see this. “Clever Girl” was up the hill about 4 stories. Climbed up and traded cameras, climbed back down. (Got to stay in shape to do this stuff). I figured I was never going to find the exact same place in 3-D space again. I went back to roughly the same spot with this lens, found the “zone” and clicked. It was visible in a little window about 2 feet by 2 feet. Move outside that box and I couldn’t see it.
It’s an obvious metaphor. Simply put: “Seeing the light is looking at JUST the right angle at the right time. “
This is the pullback and image number 2 from this timeline. That is the original and official “pin hole camera”. We have a silhouette here of a local mountain top from another nearby peak. I was walking along the ridge to take maximum advantage of the Pareidolia I suffer from. There are at least two “easter island” faces in the silhouette. Suddenly as I’m walking along…..
I freeze. I really didn’t have the right camera with me, so after a trip to my truck. Consisting a few hundred feet of climbing, I figured I’d never find the window again. I couldn’t see it projecting a dot in the shadow on the landscape. The sky was too “lit up” throwing very bright diffuse light making that impossible. (What a sky).
It turns out that the “window” to this pinhole was about 2 feet by 2 feet at this distance (about 300 yards). I just by happenstance walked with my head at the right level. I’m amused by simple things these days.
I find looking at the world with the amazement of a child has done well for me over the decades. I attempt to view perspectives like a mouse and lighting as a youngin’. Try to moderate those with a dose of awareness though lol. Even though I’ve photographed thousands of sunsets/sunrises, each one is a new experience. Each different than any before. The spiffs of being a landscape photographer. 😎
Augusts full moon is commonly known as the “Sturgeon Moon” because the giant sturgeon of the Great Lakes and Lake Champlain were most readily caught during this part of summer. Moons seem to be named after significant feeding events in human history. Not quite how that happens.
More folk names of this moon include: The “Wheat Cut Moon”, “Moon When All Things Ripen, the “Full Green Corn Moon”, and the “BlueBerry Moon”. Publicity seeking of course, this Aermotor Windmill jumped in front of the bigger personality photobombing the scene. Hehas been around for 80-100 years anyway. In the 1930’s there was a homestead nearby and supposedly a log mill. I have yet to find ANY trace of a log mill on my ground. Prairie Paparazzis as myself am always keen on finding out who is hanging with what. 😜
As I type this narrative, we are under a “New Moon”. Half way through the 28 day moon cycle. Coming up in October of 2020, there will be a rare blue moon. The last blue moon was March 31’st 2018. They don’t come around too often thus the term “Once in a Blue Moon”. I pay a lot of attention to lunar cycles in chasing this photogenic fellow. There are only a few days a month I can do this kind of work. Then usually several of those windows get closed due to weather. The time for Orange Harvest Moons is afoot. All the forest fires are going to supplement the color shows this fall. That is until the snow come. I’m betting on a hard winter up here.
Funny how just about every little branch is pointing toward the sun. When I compose inside of the camera, I’m actively looking for the symmetry that is all around us, but not so obvious. I find looking is way different that seeing what is actually going on within the infinite angles we can imagine. Moving your head a few inches either way and the 8 or 9 leading lines to the sun focal point. Actually I’m all about that clump of needles on the lower left lol. My favorite way to do this is driving parallel to a treed ridge with a really long telephoto with high fstop. Way back from the trees. Distance is your friend. Look for the natural frames. I have some wonderful images doing that very thing.
I blurred the background on this one for a change. Just a little bit of distance perception and I’m playing for the next time I’m near this spot. With (at least mine) mirrorless cameras, you can see what is in focus and what isn’t. The parts of the image in focus are highlighted digitally so I can actually see where the lines of high contrast are and aren’t. I would never buy another DSLR camera. I’m horribly hooked on Mirrorless technology at this point.
Musings on Smokey Summers:
Some of this summer’s evenings are taking a markedly red tint versus the so common golden evenings. I’m blaming the particulates in the air from the numerous forest fires up wind of our position. Just pick your wind direction for the smokes sources unfortunately. The 2018 fire season was a particularly bad one. Really seriously deeply filtered crimson sunsets were common. Right now we are starting to get more filtered light only in the longer wavelengths. The color dominates by the other colors total absence being absorbed by the atmosphere. I hope 2020 is nothing like 2018 forest fire wise.
I love using natural materials to filter out the glare from a setting sun such that the background colors appear. Between lens reflections and flares, the glare makes for a harsh photographic environment. Resultant in umber colored images unlike this blue sky to yellow transition. When I utilize something like this tree trunk to block, completely hide the sun, a different world emerges from the light overload. Almost nothing can look at the sun unfiltered. Modern Large sensor cameras do pretty well (fairly high end mirrorless NOT DSLR cameras) at not melting a spot in the sensor pointing into the nuclear furnace.
Chasing Gradients of color hue or saturation is a worthy use of my limited hands on camera time I feel. The yellow / golden light surviving the trip through the lower atmosphere making it to my photon capture device is dutifully recorded digitally. What ever software algorithm the camera settings impart to record the scene as a series of Ones and Zeros (I0III000I00)Billions of numbers long. It is my job to bring the digital file out of the camera and bring it into the digital darkroom.
It is my choice to finish them as I remember them. Everybody that actually is a photorealist must process the photo in some way or another. Cameras are terrible at getting it right. First of all I intentionally expose ONLY the highlights correctly. That way you can actually see detail in them. They are not all blown out as if you try to get dark detail. Blown out is lost information and bad photography.
Then you use the tools in a program like Photoshop™ or Lightroom™ to bring the dark areas back to reality. This process expands the dynamic range of the image. I brought the green out of the tree from pitch black. It’s a little thing but it’s exactly what Ansel Adams did with his contrasts and differential exposures. He did his in the chemical dark room and this would have taken him months to do this in black and white. Let alone the color thing. Technology has advanced a LOT in this field over the last century.
A few days a month I get a chance to get SOME light from the sun at the same time the full moon is rising. This is a little late in the timeline where there is still enough light to catch the outline of the ridge. The Full Sturgeon Moon slowly emerging from hiding behind this lone tree. IT turns out the moon is shy until it has no choice and has to be exposed. I mean it turns all sorts of shades of pink, orange and red so it MUST be shy. He might have been ducking behind that tree to relieve himself before he starts the night shift. I mean the man in the moon is obviously a gentleman trying to be proper after all.
Getting Details on Close objects and far objects in the same single photo…. A matter of high #f-stop setting which give you deep focus. It also steals light preventing it from getting in the camera. So a long shutter open time is a good thing. Not too long as it will over expose the moon, not too long as this hand held shot would be blurred. I find 1/30th freehand minimum for blur. A monopod will go 1/15th. Tripod you have to keep moving, not handy, a few seconds exposure on a moving moon. That’s not good. Basically, your walking over uneven ground, moving in opposition to the moons movements. It rises, I walk closer to the hill. It goes to the right, I move to the left. Set your ISO to get a visible image on your screen. Rule of photography 127 is “Get the photo” Damn the ISO…
I know this is a very dark image but it was very dark. Late Civil Twilight at dusk. What? You think T-rex only ate during the day? 😜 Yearning for some cheese I’m thinking.
Here the background narrative here is that we here on the Bliss Dinosaur Ranch use a “Way back Machine” (time travel) I acquired on e-bay. The estate of Mr. Peabody was disposing of it. (The 1960’s cartoon). So I sent a couple of pokes back to the end of the Cretaceous after tinkering with the machine for weeks. Got it working.. It’s hard to get all those old tubes and electrolytic’s they used back then. Lots of dust too… (Years old discussion)…👅
So we saved the moon 66 million years ago but I understand someone stepped on a butterfly. (You can be my friend if you know that reference. ). 🤘
The Plasma-Cut metal art over the Ranches “Gate 1” has been the cooperative subject of many a yarn woven into my art. It has been the subject of many a photographer over the decades since it’s inception. I created the image on my computer in photoshop (drawing). Then I had a file sent to someone who utilized computer controlled plasma-cutting of metal. This angle however is silly close to the previously mentioned foreground gate art. To have both objects in the same focal field takes some “manipulation” of the settings in manual mode. This was hand held as is most of my work. I’d say I use a tripod once a week for 5 minutes. I do use a truck window to steady a camera from the driver seat most the time. (Rested camera). I also use rocks to rest a camera. 📷
After watching these guys for 20 minutes, these twin fawns decided to walk up to the ridge line. They has a sunset show of a totally clear sky full of golden alpenglow. I know that deer watch beautiful sunsets. I’ve seen them stop eating to watch it for minutes at a time.
I’m always on the way to set up a landscape somewhere at sunset So along the way….. . I am after all a landscape photographer who likes to specialize in close/far perspectives from the viewpoint of a mouse. But…. Being an opportunist and stingy with my time, I pursue animal photography only as it occurs. This is in contrast to trying to make it happen. Now I have at times known where herds were and with definitely intent drove carefully/slowly into the center of the herds. It takes a little previous experience with that herd getting them used to my rig. These two Whitetail Fawns are definitely getting used to me.
I haven’t seen as many Mule Deer up in this country this summer. The Muley’s must have moved on to lusher pastures with WhiteTail Deer moving into the area filling the vacuum. Certainly we hope this is me not noticing where the Mule Deer hang this year. I way prefer to have Mule Deer about rather than just Whitetail.
(Maybe a little silly satire). We are pretty green up here on the Bliss Dinosaur Ranch. I believe there are 24 big solar panels up and running things like water wells up here. Wind generators 2. Underground and above ground green house. Big windmills 2.
I can only align this the 28th of July and May 15 when the sun rises in a certain position. Otherwise the spacing is all off and nothing is aligned throwing off my OCD (I have it bad) Compositional requirements all amok. There is no alternative to turning the camera mostly off to light pointing a telephoto into the sun. (NO DSLR’s). The background ALWAYS goes to some shade of burnt umber and the sun goes yellow. I must point out that with a telephoto a close / far perspective like this with 4 layers of objects.
“Sneaky Pete” the windmill is 200 yards out. The smaller wind electric generator is 100 yards out. The Hand water pump about 120 yards along with the vent pipe the sun is sitting on. Re: vent pipe, I seriously overbuild my infrastructure up on ranch to support the mass of celestial objects as the sun. Bought that pipe years ago. My comment is they don’t make things like they used to. 😜 📷
I have a habit of catching both the sun and moon being lazy sitting down on the job like this. For all I know the sun is management (sitting around) and the other guys are out there pumping water… Oh wait, that is sort of how business works isn’t it? lololol. The sun provides the power for all these devices, human made (machinations) to run water pumps. Windmills (wind engines) can be used to pump water/air or circulate fluids, the wind is powered by the sun.
The smaller windmill charges a batter bank which is about 10 years old currently and holds a charge well. Still good batteries maintained by that. Runs a small water pump from a cistern Vented with a hand operated cast iron water pump. Good old man power also initially powered by the sun. 🤔 Getting all these actors to line up is like herding cats. The pipe is leaning from all that weight….. 👅
It takes a drive “up the backcountry ridge” for a view of the western sky. After the sun has set. I see scenes like this every other day up here sans overcast skies. I find myself so used to the lighting I’m exposed to, overlooking a beautiful image that needs to be finished is a real thing. Scrolling through hundreds of captures after working any one particular sunrise or sunset timeline is a tough job. I usually under-expose everything so sometimes seeing it raw out of the camera is difficult. That mountain/ the far ridge is 50 miles distance. There are no yard lights visible over that distance. This is big empty country.
Photographic Musings: No over-exposure allowed. Only expose the highlights correctly. I adjust the image’s dark area back to reality later. Having found that over exposing twilight skies JUST to get some landscape detail is just improper. The best way is to capture a proper twilight sky without blowing out fine/intricate details. Some clouds are smooth, others have amazing patterns. THe detail lost in an overexposure is gone. Same thing happens when a beginning artist turns up the volume on color saturation or intensity. IT blows out the detail. There is a HUGE amount of detail in this properly exposed alpenglow colorcast sky.
Without the digital dark room, you would have a just black silhouette on the bottom. Here you have two ridges clearly visible with some detail present. If your purist and don’t like “changing” what came out of the camera, your ignoring the fact the camera by itself can’t capture the real scene. My eyes could clearly see the ridges in the distance. I had to coax it out of the digital file though. Photorealism. There wasn’t a silhouette there to my eyes. I produce images as I experienced them.
Location: Bliss Dinosaur ranch, Wyoming / Just a Beautiful Twilight
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….. ☹️
As with most of my work finished on a big computer monitor, full screen is preferred. Click the image to enlarge.
I’m always trying to experiment with different lighting when I do night time exposures. Here I used my yellow flashing light on the top of my Raptor (I often block backcountry roads for 10’s of minutes at a time so I like a warming strobe). So the flashing strobe is like a flash bulb but in yellow. Of course we are in a drought and the grass is brown anyway. The color cast added to the scene I thought for the Close/far perspective. I have another version of this with LED white light. Just as this, the suffuse foreground lighting diminished up the hill. Stay tuned for that image.
The star field is just about properly exposed, sharp and well populated. Interestingly, the longer you leave open the shutter, the more stars that keep appearing. Our sky here on the Montana/Wyoming border 70 miles from the nearest bright city is as dark as the North Atlantic Ocean according to NASA. One of the darkest skies in the United States. If you have a sensitive camera and a steady surface you can just about fill the frame with stars. There is close to 1000 visible in this photo alone.
When you are leaving the shutter open for 10-15 seconds at a time, ANY movement of the truck the camera is mounted on will ruin the image. It was periodically gusty during this shoot. Therefore MOST of the images I took during this timeline were ruined by the movement. No fixing 1000 stars with blur tails. Ground tripods with really long lenses are better than vehicles due to the smaller wind profile.
Radiance: (Websters) : the quality or state of being radiant 2 : a deep pink : the flux density of radiant energy per unit solid angle and per unit projected area of radiating surface. (1 and 3 nailed this) I’m thinking that I’m digging the Flux Density here but maybe it’s just me. Of course totally square natural frames and visual tunnels always are a nice hero or two to add to the images mix.
All images are combinations of light, angle and the subject(s) of the composition. My job is to bring them together into a coherent mass… jumble if you will. Coherent being the key word. Chaos is the tendency of the world but bringing order to chaos is what I often pursue. Those are the images that somehow bring a semblance of logic to the disorganization that is so prevalent in our universe. They make sense to our minds sense of balance and proportion. Leading they eye naturally as the masters of the 16th century figured out toward the focal point of the image. Here is a sunburst as the center. Ago old technique, modern technology to look into the eye of the furnace that keeps us warm.
This “Golden Hour” capture is classic to the intensity of the sunsets in air full of ice. Alpenglow glow colors the air golden. Only the hour after sunrise and the hour before sunset qualify as the “Golden Hour”.
I find the Moon to be quite a character of note here in the highlands. Seems I’m always finding him sitting down on the job. OK, give it a short break before the climb. I’m sure he belongs to some union giving him 5 minutes ever 30 minutes for a rest. He obviously is not a rancher.
Heck, It’s a LOT of work to climb up with all that cheese to the zenith of it’s orbit. Think of the huge mass that has to be “lifted” over our heads. Yet Again, I caught it sitting down on the job, playing “king of the hill”. This is not the first time I have images of this kind of on the job sitting around. Who am I to question how the moon does his job.
I bet there is quite a view up there. This being a telephoto image of a hill top 400 feet higher than my location on and adjacent ridge. This can be mountain goat country. If there were only mountain goats that lived here. Instead I have celestial objects summiting hillocks holding prime overlook territory.
Wyotana is indeed a magical place. There are many ways to look at any scene, each angle has it’s own story.
Factoid. To determine if it is a rising or a setting moon. :
If the three small craters at 2 oclock are pointing up, it’s a rising moon. If those lined up three craters point to 3 o’clock, then the moon image is a setting moon.
That HUGE butte in silhouette(called “W” butte) is a southeastern Montana Landmark. Seen here from across the Montana/Wyoming border 35 miles distant. I’m standing in Wyoming. You can actually see the communications towers that are up there. An 18 inch wide tower at 35 miles is what is called “resolution”. I love how 1200 mm telephotos CRUSH perspective. Really high end camera backs give you very high megapixel count plus high dynamic range. The higher the megapixel count, the bigger you can print the image.
I seldom see naturally totally oversaturated clouds without me setting my camera incorrectly but the sky really was this color. I mention that because it’s looks very harlequin and un natural/odd to me. This is indeed what was down range of my lens that morning. I work very hard to get scenes to be a reproduction of what I experienced live real time. Looking back and forth between my video screen and the actual scene on almost every landscape/sunrise image is a good habit.
My process is to expose ONLY the highlights properly so as not to loose detail in them. I can worry about shadow detail in the digital darkroom. Interestingly, there was no detail in those crimsons back/bottom clouds to begin with. Nature doing the oversaturation is not that common in my experience. These cameras can usually look right through it to the detail hidden in the saturated area. IT wasn’t there to see from where I was…
When I see high contrast scenes I hunker down and try to bring it in. High F-stop diffractions and silhouettes dominate the scene on a remote ridge line. The backcountry is full of an infinite number of little zen like scenes at any one time. I find that all I have to do is be there and mother nature will provide. Smoke in the atmosphere is a wonderful thing for photography.
I walk miles in the backcountry as it keeps me in shape. Well it might be the 20 pounds of gear I’m hauling on deer trails😜…. I have to do something to make up for the computer time I sit on my tail lolol. Working parallel ridges with riding or walking a shadow line is the way to set up compositions that I’m using here. Look for opportunities to walk and follow shadow lines.
Here in the backcountry I run into random opportunities to use the landscape for illusion and crushing perspective. If your buying gear soon…. Mirrorless Cameras: I’m not blind now because I look through the a Mirrorless cameras eyepiece which has a video screen behind the glass so no direct path of light to blind you. Newer mirrorless cameras do this video thing. Older Designed DSLR’s don’t show you your image until AFTER YOU CLICK. Mirrorless Cameras show you your settings changes live on screen and you get what you see when you click not after.
If your shopping for cameras, I would tell you to buy mirrorless. Particularly if you work outside with cameras. Studio it’s not critical either way. Don’t look into the sun with a DSLR camera.
This is landscape close/far perspective version of a similar image I have in portrait image aspect. It was taken at a different place in the timeline. These skies morph by the minute. I call this backcountry ridge “Sunset Ridge” for it’s awe inspiring views of the eastern horizon covering the Big Skies of BOTH Montana and Wyoming. There is even a little South AND North Dakota there in the lower Golden Alpenglow.
Created is a classic Alpenglow Gradient with a fully involved complex cloud deck. I watched this Saturday the 20th’s morning with 3PM Mountain time roughly being the actual solstice. That is when the sun was over directly head of the Tropic of Cancer at 23.5 degrees north Latitude. This location is for all intents and purposes exactly at 45 degrees North Latitude. This was the longest day of the year.
It was a beautiful morning. Left early mid-nautical twilight as it takes a while to get to this spot. It’s a civilized drive with a little over a mile of fairly smooth two track trail. A few miles of county gravel to start. It was cool this am in the 40’s with a stiff breeze. This kind of capture is handheld walking a ridge line I could park “Clever Girl” within walking distance of.
I am NOT used to 40 degree windy weather. There is this thing called windchill that works it’s way into the “hoodie” I had on. Just for your minds eye, I am usually in full camo dress as if I was hunting wildlife. As technically I am with the cameras lol. I would rather blend in than not.
I call this backcountry ridge “Sunset Ridge” for it’s awe inspiring views of the eastern horizon covering the Big Skies of BOTH Montana and Wyoming. There is even a little South AND North Dakota there in the lower Golden Alpenglow. A classic Alpenglow Gradient with a fully involved complex cloud deck. I watched this Saturday the 20th’s morning with 3PM Mountain time roughly being the actual solstice. That is when the sun is over directly head of the Tropic of Cancer at 23.5 degrees north Latitude. This location is for all intents and purposes exactly at 45 degrees North Latitude. This will be the longest day of the year. It was a beautiful morning.
Left early mid-nautical twilight as it takes a while to get to this spot. It’s a civilized drive with a little over a mile of fairly smooth two track trail. A few miles of county gravel to start. It was cool this am in the 40’s with a stiff breeze. This kind of capture is handheld walking a ridge line I could park “Clever Girl” within walking distance of. I am NOT used to 40 degree windy weather. There is this thing called windchill that works it’s way into the “hoodie” I had on. Just for your minds eye, I am usually in full camo dress as if I was hunting wildlife. As technically I am with the cameras lol. I would rather blend in than not.
A neighbors ranch gate to their main entry nicely ornate with a plasma cut piece of soft steel. Rusted to a nice tan patina during the day. The gateway having stood for around 20 years to my recollection. Ranches take great pride in their entrances.
The Meadowlark on this 2:1 image aspect capture was VERY cooperative. I kept thinking he would fly away as I did adjust my position a few times. Movement after you stop is not well tolerated by Meadowlarks. They take flight (usually) as you try to adjust your position for a proper composition. This time it was not so flighty. I figure it was watching the sunset with the rest of us. I’m thinking he was unaware of the stampede occurring right under his nose.
This image meant as a diptych work of course. The timing for sunset at this particular point in space and time was a matter of just being there with a camera capable of working in this high light environment. It’s hard to understand but this light envelope was a bright sun behind a thick cloud veil. All taking place at sunset. It was an amazing occurrence to have a meadowlark sit for me to light up a composition like this lol. I’m sure it’s something “Sneaky Pete” arranges but I may never know….😜🤘
Location: Entrance to the ranch “next door” of the Bliss Dinosaur Ranch, Wyoming / Montana borderlands. (Wyotana)
If I go out for sunset to work the light with a box-o-cameras, I’m pretty much serious about the process. I maintain a high operational tempo all day but go into overdrive with cameras chasing fleeting light.
So I just spent a few hours out in the backcountry trying to work this sunset. I finally give up on the light and head back to the ranch. A few miles of two tracks later I get to our driveway. A few hundred feet of gravel to home to a reclining chair. But no, I saw this apparition backed by Alpenglow occurring before my eyes. Thusly the involvement of a photon trap in the capture. Picking the right gear for the situation is of course the “game here. The cowboys had T-rex’s tail totally held back by a lariat firmly set into the saddle (just off frame right), that line was sure holding back the T-rex’s charge. The helpless bird was clueless it was about to get eaten of course. The second ropin’ hand on the left was going for a leg to stretch him out.
I didn’t stick around long enough to see the hog tie but I’m pretty sure those horses know what they are doing. The cowboys around these parts are versatile. Here at the Bliss Dinosaur Ranch, there have been dinosaur encounters of many kinds.😜 Here, the chapped ones saved the day yet again. 🤘
These are silhouettes from the Ranches Main Gate Entry. I did the art years ago and had a plasma table cut the design out. The bird was serendipity as of course is most opportunistic photography 📸 .
Driving toward the Montana / Wyoming border to work a high spot for a veiled sunset. Rapidly developing, light conditions change by the second. I’m trying to get somewhere to photograph the “sunsets” timeline when I saw this developing. From inside my truck on a remote county road at sunset, a meadowlark was enjoying the sunset. Famous for their vocalizations, they are a challenge to just get a photo of in my experience. Lining one up with a veiled sun is a bucket list item. Now if I can only get an American Eagle to do this….. 🤔 😀 📸
In small bird photography, there is a goal of eyebrow close, feather detail photos. Then there is having celestial objects cooperate AND cloud cover just so to let the shape without all the glare into the frame. Being hard to get close to is the game, getting sol to cooperate is just amazingly cool in my world. But then I like to point cameras into the sun. (Disclaimer: Professional Mirrorless Cameras that can take it. No DSLR’s please….
It is very hard to get finished images without a rim around the silhouette of some other color. It’s a diffraction artifact from a high f-stop setting. . This amazing capture has no trace of a color rim. Sharp as heck. I’m still trying to figure that one out. If I do I’ll share it with you. Color rims around objects against bright light is a problem I’ve been trying to solve for years. I have a clue… perhaps… 👀 🤔
Let me start by saying that I did nothing to the colors in this image. I also did no shadows/highlight work to this. Essentially it is a raw image from the camera. It’s naturally colored exactly as it occurred as I saw it in the lens. Of a VERY small part of the sky on the horizon. The 1200 mm lens I’m using to take this images a postage stamp sized area at arm’s length of the horizon here. The ridge here is 40 miles distant from my camera. Full sized pine trees top the ridge which is effectively the horizon. I suspect the total ridge line captured here is a mile long in the frame. Attracted I was to this capture by two things. :
So the first thing to stand out to me in this beside the Harlequin color scheme are the tremendous shadows of the apparent printing in the sky. I’m still trying to read what it says as it looks as much like a block of text as any cloud formation I’ve seen in my travels. Then there are the shadows of the “letters” in the clouds which are making letters themselves. The condition called Pareidolia : seeing shapes of common things / people / faces in clouds. I love graphic presentations by mother nature. There is a message there in text in my humble opinion. We’re just not smart enough to understand it. … I thought I was seeing smoke signals….