Colorado landscapes: Black Canyon of the Gunnison

 

I introduce our next destination in Colorado with some lines that I found in the National Park brochure.

“Some are longer, some are deeper, some are narrower, and a few have walls as steep, but no other canyon in North America combines the depth, narrowness, sheerness, and somber countenance of the Black Canyon of the Gunnison”,     Wallace Hansen, Geologist

It is indeed an awesome canyon, carved by the Gunnison River. The river loses more elevation within the 48 miles of the Black Canyon than the 1,500-mile Mississippi River from Minnesota to New Orleans.  The gorge is over 800 meters deep and very little sunlight reaches the bottom. The only things that give a sense of scale in my first image are the border stones of the view point on the other side of the canyon, which are about a kilometer away (5/8 of a mile).

Yes, someone may find a little light in every little crack in these rocks by employing multiple exposures and merging them to a High Dynamic Range photo. I personally prefer to expose strictly for the highlights and use the shadows as an element in the composition of my photo. But that is just me…:-)   The setting sun reveals the structure of these step walls and I consider us very lucky to have such great light the first evening after our arrival in the National Park. More to come...

Vintage cars, great subject for having some fun...

 

Are you tired of seeing wildlife photos? Well, I'll never be but I still like to work other subjects in my photography ones in a while. Yesterday I crossed the bridge over the Mississippi into Illinois. During the summer every Thursday the owners and drivers of cars, built before 1972, meet in East Dubuque and enjoy to display their cars and socialize with each other.

I have a strong technical background and may understand most of the technical talk I heard yesterday but the reason I'm drawn into an event like this is the sheer beauty of some of the old cars on display. I enjoy watching people that have passion for the things they do and that was definitely the case yesterday evening.

Nobody complained about the bare blue sky and sun, except for the photographer. ;-) Our vision can differentiate, according to a Stanford study, up to 15 stops of light in one glance but most digital cameras are only able to handle a five-stop-range. My friend Dave Updegraff has a Nikon D4 and this great camera is able to handle six f-stops. Well, no matter what digital camera you hold in your hands, it  doesn't solve the light challenge we were facing yesterday evening. How can we handle it and bring some images home that look halfway decent? I looked for the cars that were parked on the westside of Main Street in the shade of the buildings and just tried to keep the sky out of the frame for my detail shots. The third image is an HDR, made from five different exposures that were merged in NIK HDR Efex Pro. Two different ways to go but even if I'm not a big fan of HDR processing, (mostly useless in wildlife photography), I do not exclude it from my tool box and see it as a valid tool for light situations that are hard to overcome.

As I said, I do stuff like this only occasionally, ones in a while, but my photography friend Brian over in Germany has a "led sled" that would be allowed to park in an event like yesterday without any doubt. In addition he is a very talented photographer who has some great car images in his blog. Check it out HERE!

Digging into history using 32-BIT HDR

 

The photo I show you today was made April 18, 2008. You can't make the same picture anymore, not even if you go to exactly the same place at Arches National Park in Utah. This was Wall Arch, one of the numerous arches that gave the park its name. Wall Arch collapsed 109 days after I made the image. So what you see here is history.

We had only two days in the National Park and not every photograph was made during a time with good quality light. Any time after 8:30AM we had to deal with high contrast scenes and harsh light. I shot many images with five different exposures in order to overcome the limitations of the dynamic range in the digital camera, at that time my Nikon D200. Back home it was a time consuming process to layer the pictures on top of each other and paint with layer masks to reveal only the parts of each photo that I wanted in the final image. I remember it took me at least three nights to do that, partly due to the fact that my Photoshop skills were still very limited. Needless to say that I was very proud about my accomplishment. High Dynamic Range (HDR) software was not available or at least was not known to me at that time. The photo below was the result.

Because of its historic value, that it has at least for me, I wanted to redo this image with today's software and better technology. This time I used a 32-BIT HDR method that I learned a little while ago in Matt Kloskowski's blog "Lightroom Killer Tips" (see the link for this blog in the side bar on the left hand side). Starting in Adobe Lightroom I merged my five original RAW files into HDR Pro in Photoshop. From there I just saved the picture as a 32-BIT tiff-file back into Lightroom. What you will find is that the range of the Exposure slider has changed from ±5 to ±10, giving you a much wider range to work with shadows and highlights in your picture. The 32-BIT tiff-file gives you a humongous dynamic range to work with in comparison to the usual 16-BIT or 8-BIT we have at our hands.

I prefer a very natural look in my images and this method, without any ton mapping, works very well for my style of photography. But here is the best, it only took me about five minutes to create the final image from my five bracketed shots and can still use the tonal range of all five shots together.

As you can see, I cropped the new picture slightly just because I like it now better this way. Can't really say anymore, "I will do it right in camera next time I'm there".... ;-)