Archive for the ‘National Parks and Monuments’ Category

Along the Jackson Hole Highway: Antelope Flats

Call it US 26, US, 89, US 191, or the more colorful Jackson Hole Highway, the main line that leads north from Jackson through Grand Teton National Park to the Moran Junction is among the great scenic roads on the planet.  The Jackson Hole Highway (JHH) starts at the north edge of Jackson, WY (yeah, the area is known as Jackson Hole, the town is simply Jackson), and runs north along the western boarder of the National Elk Refuge and through the length of Grand Teton National Park.

Soon after entering the park, the road crosses the Gros Ventres River and intersects the Gros Ventre Road (providing access to the Gros Ventre Campground, Kelly, Atherton Creek, and the Lower Slide Lake).  Following the JHH a bit further north bring you toMoose Junction, which is a major intersection in the park.  Heading northwest out of  Moose Junction on the Teton Park Road, one can explore the center of the park, which passes closers to the Tetons, and also provides access to park highlights such as Jenny Lake, Leigh Lake, and Jackson Lake.  Staying on the main line of the JHH leads to a series of excellent overlooks, the first of which is the Blacktail Ponds Overlook (above).

The images above of the Grand Tetons from the Blacktail Lakes Overlook, in color and  BW, were recorded at 08:00 on August 8, 2010, using the Nikon D3s and the AF-S NIKKOR 24-70mm f/2.8G ED lens at 38mm.  Exposure was f/16 and 1/50s (+0.33 EV, normalized in ACR), ISO 200.  Coordinates of the Blacktail Pond Overlook site are 40 40.004N, 110 41.8716W.  Image converted to BW using Nik Silver Efex Pro 2.

A bit further north along the JHH brings you to the Schwabacher Landing Road, which leads down to the Snake River.  The spot provides an excellent view of the Grand Tetons with a minor branch of the Snake running across the foreground.  A short walks brings you to a beaver pond, which likewise provides an excellent foreground element for the Tetons.

The image above was recorded at around 08:35 on August 8, 2010, using the Nikon D2s and the AF-S NIKKOR 24-70mm f/2.8G ED lens at 34mm.  Exposure was f/16 and 1/80s (+0.33 EV, normalized in ACR), ISO at 200.

Of course no visit to Grand Teton NP can be complete without a stop at the Ansel Adams fan Mecca that is the Snake River Overlook  (see below).  This location can be extremely crowded (preposterously crowded even), yet at other times, as on this morning, you will have the place to yourself.

The image of the Grand tetons from the Snake River Overlook was recorded at 10:00 on August 8, 2010, using the Nikon D3s and the AF-S NIKKOR 24-70mm f/2.8G ED lens at 70mm.  Exposure was f/11 and 1/160s, ISO 200.  The image was converted to BW using Nik Silver Efex Pro 2.  Coordinates for the site are unnecessary – if you are reading this blog, you will know how to find the place…

The final stop on the Jackson Hole Highway tour will be the Cunningham Cabin site.  The cabin itself is pretty photogenic (didn’t make this cut though), as are the horses that are grazed nearby.  The key shot here is the lovely meadow with Buck-and-rail fences running through it with the Tetons in the background (see below in color and BW).

The image of the Grand Tetons was recorded at 11:10 on August 8, 2010, using the Nikon D3s and the AF-S NIKKOR 24-70mm f/2.8G Ed lens at 62mm.  Exposure was f/16 and 1/100s (+0.33 EV, normalized in ACR), ISO 200.  The BW version was generated using Nik Silver Efex Pro2.

The JHH through Antelope Flats in Grand Teton National Park is undoubtedly one of the most spectacular 25 mile sections of roadway found anywhere.  It is also at times one of the busiest roads in any National Park.  In addition to the myriad visitors to Grand Teton, the Rockefeller Memorial Parkway, and Yellowstone National Parks, commercial traffic to and from Yellowstone and Gardner (MT), also makes use of the road.  Add to this, the air traffic that flies overhead (Jackson Hole Airport is literally in the park!), and at times the place can seem pretty crazy.  Pick your time carefully though, and you’ll find the magic.

Copyright 2011 Peter F. Flynn. No usage permitted without prior written consent. All rights reserved.

 

Color and Contrast: Biscuit Basin, YNP

I’m often of two minds when it comes to processing images…  Is this a color image, or is this a BW image with a color veneer?  Only one way to decide, which is to work the image up both ways.  Fortunately, most of the processing decisions are independent of the color/BW question.  The BW is generated from the final color image as I’ll describe in detail below.

The images above and below are of Black Opal Pool, in Biscuit Basin, Yellowstone National Park.  The source image was recorded at noon (MDT) on September 20, 2010, using the Nikon D700 and the NIKKOR AF-S VR Zoom 16-35mm f/4G IF-ED at 35mm.  Exposure was f/16 and 1/640s, ISO 500.  Nikon circular polarized used.  Handheld.

The color version of the image certainly has much to recommend it, e.g., the deep blue sky, the unlikely pale blue of the pool, and the dark green of the tree in the background.  Still, I think  that the BW version is something one could learn to like as much or more.  Slight edge to the color version.

Before moving on to other comparative images, let me discuss my current workflow.  My workflow is a dynamic entity, which is constantly changing as my skills evolve, and as new software is released.  I currently favor Nikon NX2 for RAW conversion.  Although the effects are subtle, I believe that NX2 produces consistently better initial images than does ACR 6.3 .  I believe that this is true even with very conservative conversion settings in NX2, e.g.,using *only* white balance adjustment, exposure adjustment, color aberration compensation, and distortion control.  The image is subsequently opened in Photoshop CS5.  Capture sharpening is applied using the new version of Photokit Sharpener (2.0) – the 2.0 version is a big improvement over an already very useful sharpening package.  Depending on the image, I will then apply an Overlay/Darken pass to enhance clouds or high frequency foreground, followed by curves adjustment, followed by creative sharpening to enhance midtone contrast, and finally output sharpening using Photokit.  The BW conversion is accomplished using Nik Silver Efex Pro, version 1.007 – 7979 (note that an updated version, 2.0, of the software has just been announced).  I’ve worked with all sorts of color-BW conversion routines, and have found nothing that can compete with Silver Efex Pro.

Anyway, back to the images, and below we have a color/BW pair of images of Jewel Geyser in Biscuit Basin.  The source image was recorded using the Nikon D700 and the NIKKOR AF-S VR Zoom 16-35mm f/4G IF-ED at 35mm.  Exposure was f/11 and 1/1000s (+0.33 EV, corrected in RAW conversion), ISO 200.  Nikon circular polarized used.   Handheld.  The comparison here is challenging because the image has a very different impact in the small size posted here.  In full size the contrast present in the BW version works well.  Edge to the BW version.

The next pair of images was recorded for Shell Spring.  The source image was recorded using the Nikon D700 and the NIKKOR AF-S VR Zoom 16-35mm f/4G IF-ED at 25mm.  Exposure was f/11 and 1/400s (+0.33 EV, corrected in RAW conversion), ISO 200.  Nikon circular polarized used.   Handheld.  The source image is practically monochrome, so the BW has the natural advantage.  Nevertheless, the yellow color  in the core of the spring and the slight warm tint of the sand definitely influence the perception of the scene – note that the WB is bang-on here.  Dead heat.

And finally a pair of versions for East Mustard Spring.  Wait, is there really a West Mustard Spring?  Of course, but it is lame.  The source image was recorded using the Nikon D700 and the NIKKOR AF-S VR Zoom 16-35mm f/4G IF-ED at 29mm.  Exposure was f/11 and 1/500s (+0.33 EV, corrected in RAW conversion), ISO 200.  Nikon circular polarized used.   Handheld.  Anyway, no question here – the color version provides the key impact.

I hope that you have enjoyed this entry.  I encourage you to continue to experiment with BW conversion.  I have found that working with such images provides new avenues of expression (BW), and also reinforces basic strategies focused on the standard color workflow.

Copyright 2011 Peter F. Flynn. No usage permitted without prior written consent. All rights reserved.

Elk Riot in Mammoth Hot Springs

Elk inhabit Mammoth Hot Springs in Yellowstone National Park all year long.  Not just on the edges of the village, but every nook and cranny in the place.  In the fall, during the rut, these normally docile creatures engage in a hormone-fueled riot that can halt traffic and can make it downright hazardous to be about.

Most of the craziness occurs about the central field that lies west of the Albright Visitors Center and south of the hotel and dining hall.  Here, a herd of Elk will congregate, and the dominant bull will make every effort to control their harem of cows.  The cows themselves don’t seem too keen at all, and challenge the resolve of the bull to keep them in a group.  Of course all of this plays out in one of the busiest traffic intersections in the park.

The rangers are charged with trying to maintain order during the Elk hijinks.  The do a pretty good job, and generally manage to maintain good humor in the face of wild animals running amok and humans being just plain silly.

Nah, Mr. Ranger is not attacking the Elk with shovels, though perhaps…  Instead he clanks them together in an effort to move the cows away from the road.

And one final image:  Below I include a rather frank image of a common bull behavior – yep, urinating on the ole antlers.  Impressive, I must say.

Images in this entry were recorded at around 19:00 MDT on September 22, 2010, using the Nikon D3s and the AF-S Zoom-NIKKOR 200-400mm f/4G VR lens at 400mm.  Exposure was in the neighborhood of f/9 and 1/320s, ISO 12800.  RAW conversion, noise reduction, and capture sharpening conducted using Nikon NX2.  Further processing, including contrast enhancement (curves), local contrast enhancement (USM), and output sharpening (USM)  conducted using Photoshop CS5.

*Elk refers to the Rocky Mountain subspecies, C. canadensis nelsoni.

Copyright 2011 Peter F. Flynn. No usage permitted without prior written consent. All rights reserved.