#1, "Buckskin Gulch at the confluence"
3-image vertical stitch using a tilt-shift lens, shifted.
Central Utah was an odd mix of cold weather and grey light through most of January and February, which meant that I didn't get out to shoot landscapes at all for over two months. Motivation aside, I did reserve a permit for backpacking down into Paria Canyon, though, and once spring break rolled around, I headed down there. I entered and exited via White Horse trailhead, hiking with a full pack down to the confluence with lower Buckskin Gulch. I made camp there and stayed three nights, heading up Buckskin Gulch and then farther down Paria Canyon before heading out. From there, I spent the night in Page, shot Horseshoe Bend, home briefly, and headed back down to Zion for a few days before finishing.
(EDITED: not Antelope; Horseshoe. I need more sleep.)
I'd be happy to talk about technique like stitching to anyone who's interested, but I'd appreciate comments on the aesthetics of the images.
Here, the lowest section of Buckskin Gulch right before it opens up near the confluence with Paria Canyon.
#2, "Buckskin Gulch Glow"
3-image vertical stitch using a tilt-shift lens, shifted.
The glow on the walls of lower Buckskin Gulch and Paria Canyon is amazing -- the sandstone is a strong orange color, and picks up a brilliant color from the reflected light.
Buckskin Gulch was remarkably dry, by the way -- two groups who had hiked down from Wire Pass said that they didn't encounter any pools through the entire narrows. That makes some sense; Central and Southern Utah had very little snow this year. Unfortunately, that meant that the beautiful mud ripples and curls were hard to find and mostly hiked-over.
#4, "Ephemeral Ripples"
3-image panorama, tilted and shifted.
Although Buckskin was dry, the Paria was still flowing -- although lower than other times I've been down there. The mud ripples were hard to find, and a number of times I set up a shot only to find that the water level had risen an inch or two and drowned the interesting features. This one, at least, gave me the time to collect it before disappearing.
I had dinner with this group the night before. Just nice to see some "scale" every once in a while... I don't really consider this an artistic photograph, but it's a nice documentary image, so to speak. Heavily processed to keep the lit wall from blowing out yet maintain some detail in the left and right hand walls. Hopefully it doesn't look overdone.
#7, "Horseshoe Bend and Spring Storm"
12-image stitch, 3-shots per row by 4 rows.
I headed down to Page after finishing the backpack (as much to stock up on some Oak Creek Amber beer as any other reason...) and heard a weather report for a massive storm system coming into the area -- the same storm that a number of people posted some great work from Sedona and the South Rim. Page didn't get hit, but this was the sunrise on Horseshoe bend.
#8, "Towers of the Virgin"
11-image stitch of vertical images.
EDITED: Link to a larger version here, if you want.
Honestly, after Page, I wimped out. I'd been cold for four days down in Paria, and I felt shot. I headed home to wait out the storm, at exactly the time I should have been out shooting. I did come back down to Zion and try to explore some of the Checkerboard Mesa area, but got blanked on my navigation. So I got in some scouting, at least...
I know this is a standard shot, but I'd appreciate hearing your opinions on the light, color, and brightness/contrast. I know it lacks the clouds/snow/etc. to make a great shot, but I pushed the processing pretty hard (for me) while trying to keep it "natural". I'd appreciate hearing your opinions.
Thanks for looking.
Posted by Todd Caudle on April 4, 2012 at 11:16 AM
What a wonderful collection! I love the backpackers shot.
Posted by Doug Koepsel on April 4, 2012 at 11:54 AM
Mark, sounds like a nice way to spend the break and decompress a little from school.
#1 gives me strong sense of left lean, although it is undoubtedly vertically straight.
#2 is my favorite of this set with its strong glow between the dark border walls. It seems to have more depth with more wall layers.
#8. It is hard to tell with this small version, but maybe increase the overall brightness about 3 points, and give it a 10/50/0 USM treatment.
I really like all the glow shots you came away with. Looks like all of these can be printed huge! The only one that really doesn't do much for me is #3.
A fine series, Mark! This is one of the premier backpacking trips on earth, IMO. It's hard for me to imagine Buckskin Gulch completely dry.
As far as aesthetics, I think you did very well here.
I do prefer #2 over #3 as the light is so much better in the latter.
I happen to like the bed of leaves quite a bit. Seems like it could use a touch more contrast, but it's just fine as a softer and gentler.scene.
#4 doesn't do much for me at all.
Great composition with #5.. Really leads my eye to the towering walls and makes me wonder, which is always a good sign.
While I appreciate the pastel-like qualities, I feel that a bump in contrast would be an asset. This one is right up there with #2 in my book. You came away from this trek with some superb images. Wouldn't mind seeing what you came away with from Antelope Canyon.
Posted by Darren Huski on April 4, 2012 at 7:10 PM
Nice series Mark. Sounds like a good trip into some neat areas.
Stan, if you're interested, I put up a page with a larger version of the Zion shot here.
John, I was so surprised by hearing that Buckskin was dry that I though about going right back to hike it... Despite being in Page, I didn't do Antelope Canyon -- I misspoke -- it was Horseshoe Bend that I meant. For Antelope, It was solidly overcast the whole day, and that tends to destroy the bounce light, so I held off. I'm sure I'll be back at some point! I will definitely consider adding some more contrast to #5. Right now, I wanted to keep a delicate touch with it. I'll probably go back and use curves on each portion, just touching up by a couple of points up and down. I might use a global unsharp mask to add some local contrast, too.
Guy, no harm there. #3 is the weakest, or at least the quietest, but I like keeping my eyes open for smaller details alongside the big views. Beautiful work down at Grand Canyon, by the way -- makes me feel like I should have sucked it up and driven south that Saturday. I tried for a second morning at Horseshoe and got nothing; no light at all. Your Isis Temple shot is portfolio-worthy.
Doug, I'll keep in mind that USM idea for some more local contrast. Honestly, the lens I shot it with wasn't that sharp, so it's not a keeper image. If it were, though, I appreciate the feedback.
Darren, it's an amazing area. I can't wait for summer to roll around, put the teaching on hold, and get back out there.
It's interesting to me that no one's mentioned #4, the ripples. I like that one a lot, but perhaps that's just my tastes. I'm not saying you have to share that opinion...
"It's interesting to me that no one's mentioned #4, the ripples. I like that one a lot, but perhaps that's just my tastes. I'm not saying you have to share that opinion...
I didn't. Re-read my reply.
Posted by Bill Pelzmann on April 4, 2012 at 11:44 PM
I really like the vertical panos. The strong contrast and color in #2 really make it stand out for me.
I'm certain #8 will have wonderful detail when printed large, but from the standpoint of composition, I'm left with a feeling it is truncated at the bottom. I'd like to see another row added, or a slightly wider focal length.
Here's another try at #5, "Paria Canyon". Large version with black background here.
Thanks for the comments. I brought up the foreground/river a touch, pushed each of the curves layers a point or two more, and took out some of the blue on the back wall. Slight local contrast USM overall (10/25/0). I do think this is better, but I'm reluctant to go much farther.
I like the choice of vertical panos, since it's not seen too much. The one with the hikers adds some nice perspective. The first two might have been nice with people in them too.
Posted by Dan Walters on April 9, 2012 at 10:25 PM
Discussion
23 replies3-image vertical stitch using a tilt-shift lens, shifted.
Central Utah was an odd mix of cold weather and grey light through most of January and February, which meant that I didn't get out to shoot landscapes at all for over two months. Motivation aside, I did reserve a permit for backpacking down into Paria Canyon, though, and once spring break rolled around, I headed down there. I entered and exited via White Horse trailhead, hiking with a full pack down to the confluence with lower Buckskin Gulch. I made camp there and stayed three nights, heading up Buckskin Gulch and then farther down Paria Canyon before heading out. From there, I spent the night in Page, shot Horseshoe Bend, home briefly, and headed back down to Zion for a few days before finishing.
(EDITED: not Antelope; Horseshoe. I need more sleep.)
I'd be happy to talk about technique like stitching to anyone who's interested, but I'd appreciate comments on the aesthetics of the images.
Here, the lowest section of Buckskin Gulch right before it opens up near the confluence with Paria Canyon.
3-image vertical stitch using a tilt-shift lens, shifted.
The glow on the walls of lower Buckskin Gulch and Paria Canyon is amazing -- the sandstone is a strong orange color, and picks up a brilliant color from the reflected light.
Buckskin Gulch was remarkably dry, by the way -- two groups who had hiked down from Wire Pass said that they didn't encounter any pools through the entire narrows. That makes some sense; Central and Southern Utah had very little snow this year. Unfortunately, that meant that the beautiful mud ripples and curls were hard to find and mostly hiked-over.
3-image panorama.
Skeletal leaves from the previous autumn, down in Buckskin Gulch.
3-image panorama, tilted and shifted.
Although Buckskin was dry, the Paria was still flowing -- although lower than other times I've been down there. The mud ripples were hard to find, and a number of times I set up a shot only to find that the water level had risen an inch or two and drowned the interesting features. This one, at least, gave me the time to collect it before disappearing.
15-image stitch; 3 shots per row and 5 rows.
Again, the glow was remarkable.
I had dinner with this group the night before. Just nice to see some "scale" every once in a while... I don't really consider this an artistic photograph, but it's a nice documentary image, so to speak. Heavily processed to keep the lit wall from blowing out yet maintain some detail in the left and right hand walls. Hopefully it doesn't look overdone.
12-image stitch, 3-shots per row by 4 rows.
I headed down to Page after finishing the backpack (as much to stock up on some Oak Creek Amber beer as any other reason...) and heard a weather report for a massive storm system coming into the area -- the same storm that a number of people posted some great work from Sedona and the South Rim. Page didn't get hit, but this was the sunrise on Horseshoe bend.
11-image stitch of vertical images.
EDITED: Link to a larger version here, if you want.
Honestly, after Page, I wimped out.
I know this is a standard shot, but I'd appreciate hearing your opinions on the light, color, and brightness/contrast. I know it lacks the clouds/snow/etc. to make a great shot, but I pushed the processing pretty hard (for me) while trying to keep it "natural". I'd appreciate hearing your opinions.
Thanks for looking.
#1 gives me strong sense of left lean, although it is undoubtedly vertically straight.
#2 is my favorite of this set with its strong glow between the dark border walls. It seems to have more depth with more wall layers.
#8. It is hard to tell with this small version, but maybe increase the overall brightness about 3 points, and give it a 10/50/0 USM treatment.
As far as aesthetics, I think you did very well here.
I do prefer #2 over #3 as the light is so much better in the latter.
I happen to like the bed of leaves quite a bit. Seems like it could use a touch more contrast, but it's just fine as a softer and gentler.scene.
#4 doesn't do much for me at all.
Great composition with #5.. Really leads my eye to the towering walls and makes me wonder, which is always a good sign.
While I appreciate the pastel-like qualities, I feel that a bump in contrast would be an asset. This one is right up there with #2 in my book. You came away from this trek with some superb images. Wouldn't mind seeing what you came away with from Antelope Canyon.
Stan, if you're interested, I put up a page with a larger version of the Zion shot here.
John, I was so surprised by hearing that Buckskin was dry that I though about going right back to hike it... Despite being in Page, I didn't do Antelope Canyon -- I misspoke -- it was Horseshoe Bend that I meant. For Antelope, It was solidly overcast the whole day, and that tends to destroy the bounce light, so I held off. I'm sure I'll be back at some point! I will definitely consider adding some more contrast to #5. Right now, I wanted to keep a delicate touch with it. I'll probably go back and use curves on each portion, just touching up by a couple of points up and down. I might use a global unsharp mask to add some local contrast, too.
Guy, no harm there. #3 is the weakest, or at least the quietest, but I like keeping my eyes open for smaller details alongside the big views. Beautiful work down at Grand Canyon, by the way -- makes me feel like I should have sucked it up and driven south that Saturday. I tried for a second morning at Horseshoe and got nothing; no light at all. Your Isis Temple shot is portfolio-worthy.
Doug, I'll keep in mind that USM idea for some more local contrast. Honestly, the lens I shot it with wasn't that sharp, so it's not a keeper image. If it were, though, I appreciate the feedback.
Darren, it's an amazing area. I can't wait for summer to roll around, put the teaching on hold, and get back out there.
It's interesting to me that no one's mentioned #4, the ripples. I like that one a lot, but perhaps that's just my tastes. I'm not saying you have to share that opinion...
I'm certain #8 will have wonderful detail when printed large, but from the standpoint of composition, I'm left with a feeling it is truncated at the bottom. I'd like to see another row added, or a slightly wider focal length.
Thanks for the comments. I brought up the foreground/river a touch, pushed each of the curves layers a point or two more, and took out some of the blue on the back wall. Slight local contrast USM overall (10/25/0). I do think this is better, but I'm reluctant to go much farther.