Slickrock and Shadow

Tallest Grass  In the field, looking at the bland clouds and hazy grey skies, I had to decide how to make an interesting photograph of my dear little cabin.  I wasn't satisfied with my standard shots taken from 2 to 6 feet above the ground.  The ground cover wasn't interesting enough to shoot down.  The skies weren't good enough to shoot up.   So I changed perspective radically by inverting my tripod and getting very, very low to the ground . . . so low that my subject (the cabin) was mostly obscured.  It became a complimentary subject while the grass and yellow flowers became my new star.  Even so, this is a less saturated picture than most landscapes.  It feels grey/neutral in many ways and accurately represents the colors that day.

Barren Winter:  yellow stubble for grass and a hidden sun A winter visit to Montana afforded me an opportunity to shoot my little remote cabin in subzero temperatures.  Wind and rain made things cold indeed.  The large cloud did not however spoil the sunset because some golden yellow rays came down between the cloud and the mountains.  Grass was short, dead, awaiting summer temperatures to revive.  

ISO 400, f/11, Shutter speed 1/50 second ISO 50, f/16, Shutter speed 1/4 second Among the many things out of my control, the wind probably is mentioned the least.  We tend to talk about the light more than anything else.  Clouds certainly enhance a photograph and I love the beautiful partly cloudy sky.  Wind can only be seen in the effects it has on movable objects.  In a sandstorm, it can create dramatic effect on the sand dunes.  Usually wind is a foe to good photography because it makes for blurry moving objects. Wind is almost always present on the Montana prairie.  As I made my annual trip to photograph my favorite cabin, the wind was blowing moderately.  I decided to try a couple of different photographs to capture the wind.  I wasn't sure if I would like them more or less than the perfectly still shots.  To be truthful, I wasn't sure of my still shots would work at all because of the wind. On the left I chose a very slow s...

Wild Montana Increasingly seen these days, multiple-exposure photographs show off greater dynamic range of light and dark in a single scene.  The "old school" method was to use gradient neutral density filters.  I have those and they work well if the horizon is perfectly level. The "new school" method is to take multiple exposures and then blend them together manually in photoshop. There is also another method, which I'd call the "school dropout" method which uses an HDR program to create an automatic blend of these photos which the computer finds beautiful.  I own the most up-to-date HDR program and it does not create natural-looking shots. So, for this shot, I used the "new school" photoshop blending, relying heavily on the lightest shot to give this work a gorgeous luminance.  

Lupine Wildflowers and small Montana Cabin at sunset  I visit southwest Montana each year for one week.  Each years looks different depending on how much rain/snow they've had and how early/late in the summer I go.  This lonely cabin sits in a big valley and I've taken to shooting it each year.  Sometimes I try sunset, others at sunrise, others with different lenses, etc -- I want to get something NEW each year.  That's the challenge:  to get a quality shot that isn't a copy of prior years. This year the lupine wildflowers were out in force.  That's very exciting!  The last 5 minutes of direct sunlight shone on these flowers as the day ended.  I'd actually found this bunch of flowers an hour earlier as the best bunch in the area.  I'd picked a few stray grass blades out.  When I returned with a few minutes of dying light, I was so happy to find a perfect bouquet. This is the first time I've written about this 8-year projec...

Normally a photographer must account for the sun's position when composing a photograph.A basic rule or guideline says to keep the sun from directly shining into or across the lens. That is why lens hoods were invented in the first place:  they keep the sunlight from hitting the lens. Another rule, the most famous one, is the rule of thirds.  That states that the main subject of the photograph should be about one-third  and from the top and one-third in from the side of the photograph. I normally try to follow these rules but not on this occasion. On this afternoon  the position of the valley and the summer sun were such that I had to shoot with the sun in the upper corner of the lens to capture the golden moment.  The light is literally captured in spots of gold coming across the photograph in a diagonal from the upper left to the lower right.  Is that a flaw?  Some would say "yes" but breaking the rules works for me here because the light just el...