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Last Light in the Alabama Hills, Ca. – A New Image in my Upcoming Show at the City Meat Gallery in Winchester, Va.

 Alabama Hills, California, Death Valley, Death Valley National Park, Desert, Landscape, Landscape Photography, Moab Masters, Moab Paper, Mountains, Photography Trips, Robert H Clark Photography, sunset, The Alabama Hills, Twilight Photography  No Responses »
Sep 052012
 

Last Light in the Alabama Hills, Eastern Front of the Sierra Mountains, CA

Hi everyone and welcome to today’s post. I know some of you have been wondering if I might post again. My apologies but I have been getting ready for a one-man show at the City Meat Gallery in Winchester, Va. I have posted the Press Release for the show below. This is one of the images that will be featured and is a twilight shot taken in the Alabama Hills located along the Eastern Front of the Sierra Mountains in California. This wonderful place is playground of granite boulders that extends for miles above the town of Lone Pine, Ca. I made the trip with two of my shooting pals, Alec Johnson and Travis Bechtel. We had some wonderful light and clouds for the afternoon shoot.

My show will feature 20 images. Each one was developed from its RAW digital state in Lightroom and exported to Photoshop for the final work. All images were printed by myself using archival inks on an Epson 3880 Printer. I want to thank my sponsor MOAB Paper for their generous gift of the MOAB Somerset Museum Rag Paper. I consider this to be one of the finest Rag Content papers to print on. It renders exceptional tonality and depth of color and was the perfect choice for my photographs. If you are in the Winchester area and have the opportunity to stop by I would love to see you. Here is the Press Release for the show:

CITY MEAT GALLERY FIRST FRIDAY ARTIST ROBERT H. CLARK

Winchester, Va. – On Friday, October 5, City Meat Gallery will participate in downtown Winchester’s First Friday Celebration of the Arts with an exhibit by photographer Robert H. Clark.

Robert H. Clark is a fine art landscape photographer based in the United States. Born in North Carolina, he is a graduate of the University of Georgia School of Visual Design, and the School of Architecture at Georgia Institute of Technology. Robert is a photographer, graphic designer, architect, and a teacher. He currently works as a media designer for the National Park Service.

In this exhibition, “Chasing Light,” Robert features his new landscape work from recent trips to the West Virginia highlands, the Navajo lands of Arizona, Death Valley, and the Eastern Front of the Sierra Mountains, California. In these new photographs Robert takes viewers on a journey featuring the high alpine landscape of Dolly Sods Wilderness, the elegant waterfalls of Black Water Falls State Park, the multi-colored canyons of the Navajo Nation, and the intriguing rock formations of the Alabama Hills in California.

Robert’s work can be found in private collections, exhibits and publications, and internationally for corporate clients. The exhibit is open to the public on Friday, October 5, from 6:00–8:00 p.m., and through November 23 by appointment. For more information, visit the City Meat Gallery web site at: www.citymeatgallery.com. 

To view Robert Clark’s portfolios or learn more about his photography, visit his web site at: http://roberthclarkphotography.com/.

ABOUT City Meat Gallery
City Meat Gallery is located inside the The City Meat Building, home to Water Street Design, LLC and Reader & Swartz Architects, P.C. Exhibitors are by invitation only. City Meat Gallery participates in up to six First Fridays a year, with openings scheduled for February, April, June, August, October and December.

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“Fire on the Flats” – Salt Creek Flats, Death Valley National Park, CA

 Adobe Lightroom, Adobe Lightroom Workflow, California, Death Valley, Death Valley National Park, Death Valley Photography, Desert, Lightroom, National Parks, Photography Technique, Photography Trips, Reflections, Robert H Clark Photography, Salt Flats, Split Neutral Density Filters, sunset, Water  1 Response »
Jul 222012
 

Fire on the Flats • Salt Creek Flats, Death Valley National Park, CA

Hi everyone and welcome to today’s post. Today I am bringing you a little color and a little intensity. The image was shot on the Salt Creek Flats, a large expansive playa of heat tortured earth. Here in the summer the temperatures can reach well over 115 degrees. The heat leaches the salt and minerals from the soil which leaves the earth with a myriad of patterns, salt circles, ruptured soil, and the occasional pool of water. In the winter, when this shot was made, the temperature is more moderate and in fact very pleasant. Alec John, Travis Bechtel, and I spent several days exploring and shooting in the flats. It is a habit we have to shoot and scout locations multiple times in order to get to know the conditions and find interesting compositions. This was made on the evening of our second visit to this area. We had experienced amazing clouds through out the day and geared up for a potential “special event” for sunset. We were not disappointed. The clouds thinned along the western horizon and cleared the way for the sun to really light up the clouds moving in from the east. A large amorphous dragon-like cloud began to spread out over the playa and I began to look for a location to pick up a nice foreground and some water to capture the intense reflections of t he cloud. I found this beautiful round pool rimmed by puckered soil and a rime of salt. I began to shoot as the color started to happen. The intensity built till it looked as if the entire cloud was on fire. About fifteen minutes later it was all over as the flats entered the twilight zone of darkness.

How I Made the Shot: As a matter of photographic practice I often use a series of graduated split neutral density filters in my work. The filters allow me to balance the exposure in high contrast scenes such as this shot. Here the sky was well over 4 stops brighter than the foreground. So a split would allow me to expose for the foreground and hold back the sky creating a balance exposure. But on this trip I was experimenting without using filters. To capture the full range of light I made bracketed exposures-usually 5 stops but sometime 7, in the following increments: -2/-1/0/+1/+2 or -3/-2/-1/0/+1/+2/+3. In this way I was assured of having the data I needed to make blended exposures in Photoshop. I have found on recent shoots that I prefer this method as I not so intent on fumbling with the filters and instead looking at the light and watching it unfold. I can set the bracket sets on the camera and freely shoot. Back in the digital darkroom I can process the RAW files and bring them into Photoshop for blending. In this case I only needed two RAW files, one for the sky and one for the foreground, to make the final master.

Thanks for stopping by today.

Bob

ers allow me to balance

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Liquid Light No. 3 – Salt Creek Flats, Death Valley National Park, Ca.

 Badwater, California, Death Valley, Death Valley National Park, Death Valley Photography, Desert, Landscape, Landscape Photography, Mountains, National Parks, Photography Trips, sunset, Twilight Photography  2 Responses »
Jun 162012
 

"Liquid Light No. 3" • Salt Creek Flats, Death Valley National Park, Ca.

Hi everyone and welcome to today’s post. This shot was made on a winter trip to Death Valley with my shooting pals Alec Johnson and Travis Bechtel. The trip was singularly marked by some of the most amazing weather I have ever experienced on a trip. Amazing clouds, light, and color greeted our eager eyes every morning and evening. As a matter of practice for this trip we opted to focus our shooting time for the week on just a few areas. For most photographers Death Valley can impart upon you the “kid in the candy store” syndrome. The desire to hit every spot or slam on the brakes to scout all the interesting landforms is certainly understandable. But in my experience it leads to a kind shooting madness without focus and direction. The best way to experience big places is to reduce the macro scale of the landscape to the micro. Micro in this case, at least for the way I think, is a search for intimacy within the grandness. It takes some discipline but the end results are better. Except for a side trip to the Alabama Hills we concentrated our shooting to Badwater Basin, Zabriskie Point, and the Salt Creek Flats. We revisited each of these places more than once exploring morning and evening light. Make no mistake these landscapes are grand and vast, macro in every sense of the word, spreading for mile after mile as far as the eye can see. We were able to reduce the macro to the micro because we stopped and simply spent time there. We were not there to “get THE shot”, rush back to the car, and move on to something else. If you do this you will open up to the landscape and it will open up to you.

I saw these crusty upheavals several days before and became fascinated with their architecture. Why here? What forces of time and temperature converged to lift them above the white salt flats. Like small islands they seemed to float on a white tide, separate but yet anchored by their own roots into the soil. On this incredible evening I found myself back at the formations and a composition that had yet eluded me came to fruition. Stretching overhead, tendrils of sunlit fire draped the sky in a curtain of red, orange, and magenta. The Panamint Mountains were shrouded in the cool blue tones of twilight, their size dwarfed by the immense cloud formation moving overhead. The white salt glowed in the dying light. All of this became the perfect backdrop for the “crusty islands”. Here I could reveal something intimate about the landscape and layer it into a story about the place. Micro in this case meets macro.

Technical Details: This image is a composite of three separate exposures. Each exposure was processed in Adobe Lightroom 4.0 and then exported to Adobe Photoshop where the exposures were hand blended into a starting file. From there it followed a workflow that included Smart Sharpening, Luminosity Curve Adjustments, Selective Color Layers, and Dodging and Burning.

Thanks for stopping by today.

Bob

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The Witches Hat – Bandon Beach, Oregon

 Coastal Photography, Landscape, Landscape Photography, Oregon, Oregon Coast, Pacific Ocean, Photography Trips, sunset, Twilight Photography  4 Responses »
May 082012
 

The Witches Hat • Bandon Beach, Oregon

Hi everyone and welcome to today’s post. I freely admit that I have been absent from my usual, and consistent, blog posts. Several things in my schedule have conspired to keep from my regular postings. Some of you know that as a side activity I coach pole vault at our local high school. For the past four years I have had the pleasure to coach my daughter in this difficult event and this is now her senior year. The time I have been able to spend with her is priceless and in this last year I have concentrated most of my time to get her to the state meet. I am sure most you will understand the importance of this commitment. On top of all this is the planning and details for her graduation, prom, senior trip, preparing for college in the fall, and, well the list goes on. It is just a busy time and I am wearing many hats as the summer approaches. I have also been hard at photography for quite some time and quite frankly I needed a small break and an opportunity to recharge my batteries. As they say “to much of a good thing…..”

So for this post please enjoy a twilight shot of the Witches Hat from Bandon Beach. The shot represents the many hats I am wearing right now. I do have several photography trips lined up for the early summer including a return trip to White Sands and a visit to Carlsbad Caverns. I am really excited to visit Carlsbad as I will be able to see the twilight exodus of the Brazilian Free-Tail Bats. It promises to be a unique experience.

I hope all of you are well and I appreciate your visits to the site.

Bob

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The Nameless Canyon – Navajo Lands, Arizona

 Adobe Lightroom, Adobe Lightroom Workflow, Arizona, Grand Circle, Landscape, Landscape Photography, Navajo Lands, Photography Trips, Robert H Clark Photography, sunset  3 Responses »
Apr 092012
 

The Nameless Canyon • Navajo Lands, Arizona.

Hi everyone and welcome to today’s post. It has been a little while since my last post but I have been up to my neck in various alligators. I have processed many images but just have not had time to get out a post. So to that end I will try and catch up a bit. This image was shot on a recent winter trip out to the Grand Canyon. While I was there I had the chance to connect up with Tony Kuyper for several days of shooting and exploration. This image was shot out in the Painted Desert on the Navajo Reservation. The rolling plains east of the Grand Canyon give way to a series of incredible canyons that fall steeply away into a maze of spires and hoodoos. Tony and I spent most of the early morning in another canyon before ending up here for the afternoon shoot. I can say it was not a disappointment. Not only were the canyons jaw-dropping but we were witness to a series of fast moving storms that rolled across the distant plains. As the sun set I was treated to a beautiful set of crepuscular rays, or “God Rays”, as they are sometimes called. These rays of light can appear as holes in the clouds funnel sunlight down to earth or upward, like beacons, as in this image. However the rays appear, they can add a dramatic and dynamic energy to a photograph. The effect is generally short-lived however and I found I had to scramble to frame the shot before they faded. It was one of the last images I made that day. Sometimes the best is saved until the end.

Technical: This final photograph is a composite of two images. One shot was made of the sky and another for the foreground/midground. I did not use a split neutral density. The two images were processed in Lightroom 4 and the files merged in Photoshop.

Thanks for stopping by today!

Bob

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Twilight over the Sinking Ship – Grand Canyon National Park, AZ

 Arizona, Colorado Plateau, Desert, Grand Canyon, Grand Canyon National Park, Grand Canyon Photography, Grand Circle, High Dynamic Range, Landscape, Landscape Photography, Lightroom, National Parks, Photography Composition, Photography Technique, Photography Trips, sunset, Twilight Photography, Wide Angle Photography  1 Response »
Mar 102012
 

Twilight over the Sinking Ship • Grand Canyon National Park, AZ.

Hi everyone and welcome to today’s post. Just a short post today featuring a recent image from a February trip to the South of the Grand Canyon. I was there for some NPS work but got out for a little photography in between meetings and surveys. To say I had some incredible weather would be an understatement. I have been to the canyon many times but I have never had the sustained atmospheric conditions I witnessed on this trip. On successive days clouds rolled over the canyon creating dynamic and dramatic light. Clouds passed over the buttes and also dropped into below the rim to drift in and out of the formations. In the evening the clouds moved up allowing beautiful twilight shooting conditions.

This image was shot at one of my “secret”, favorite shooting locations along the South Rim. A short little off-trail scramble brings you to a series of rocky ledges that affords eastern and western views within the canyon. Looking east you can see the giant mass of Coronado Butte, and west affords incredible views of the Sinking Ship formation, aptly named as it appears to be an ocean liner sinking into the water. This image of the Sinking Ship was shot about 10 minutes into civil twilight. The clouds had begun to lift and some subtle re-lighting illuminated the foreground rocks and large buttress to the right. I used these elements to frame the vista to the Sinking Ship.

Technical Details: This image is a composite of two exposures, one for the sky and one for the foreground. The two files were processed in Lightroom and opened as layers in Photoshop. The two files were hand blended using a luminosity layer mask before completing the usual contrast and color layers I typically employ.

Thanks for stopping by today.

Bob

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Fins at Water Holes Canyon – Navajo Lands, Arizona

 Arizona, Desert, Grand Circle, Landscape, Landscape Photography, Navajo Lands, Photography Trips, Robert H Clark Photography, Slot Canyon, Slot Canyon Photography, sunset, Twilight Photography, Water Holes CAnyon, Wide Angle Photography  8 Responses »
Feb 202012
 

Wave Formation at Water Holes Canyon • Navajo Lands, Arizona

Hi everyone and welcome to today’s post. I am back from my recent trip to Arizona which included photography at the Grand Canyon, Glen Canyon, and some special areas on Navajo Lands with Tony Kuyper. I have so many images to go through that it will take quite a while to go through them and make selections for processing. As a teaser today’s post is from an area on Navajo Lands just outside of Page, Arizona. The shot was made in the vicinity of Water Holes Canyon. Water Holes is a slot canyon but the surrounding area is a fascinating landscape of sculpted sandstone, many that resemble waves. This wave-like formation was shot just as the setting sun hit the horizon giving me a nice soft light to accentuate the layered edges of the sandstone.

Technical: The image was shot in two exposures, one for the sky and one for the foreground, and hand blended in Photoshop.

Thanks for stopping by today.

Bob

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Liquid Light • Salt Creek, Death Valley National Park, California

 Adobe Lightroom, Adobe Lightroom Workflow, Badwater, Death Valley, Death Valley National Park, Death Valley Photography, Desert, High Dynamic Range, Landscape, Landscape Photography, Lightroom, National Parks, Photography Composition, Photography Technique, Photography Trips, Robert H Clark Photography, Salt Flats, sunset, Twilight Photography  4 Responses »
Jan 202012
 

Liquid Light • Salt Creek, Death Valley National Park, Ca.

Hi everyone and welcome to today’s post. This will be my last post for about a week or so. I am heading out to the Grand Canyon for a combination work and shooting trip. I will be at the South Rim for a few days and then heading up to Page for a trip into Canyon X and some photo exploration with Tony Kuyper. The 10-day weather forecast looks promising to finally get into Canyon X. I was thwarted on my last attempt when a large front moved over the Page area killing off all the light. Tony and I are planning a little exploration of the Painted Desert and a jaunt through Cathedral Wash down to the Colorado River.

Today’s image is affectionately named “Liquid Light”. This was shot on my recent trip to Death Valley with my pals Alec Johnson and Travis Bechtel. As you may have noticed from recent posts we were blessed with incredible shooting conditions, amazing light, and clouds. Epic clouds to be more exact. This image, shot at Salt Creek, was made in the late afternoon as the sun was setting over the Panamint Range, just behind my camera position. The sky event was happening on both sides and it was difficult to choose where to shoot. There were just so many options. The three of us must have looked like ants after a picnic basket as we scurried about framing compositions. The clouds sent long tendrils over the salt flats. Driven by upper level winds the clouds resembled a liquid spill in the sky. As the sun moved lower reflected light illuminated the clouds and carried their reflection in the water below. Sky and earth seemed to meld into one. We continued to shoot well into Civil Twilight just enjoying the light show.

Technical Details: This image is a blend of two bracketed exposures. One for the foreground and one for the sky. Each image was processed in Adobe Lightroom and opened as layers in Photoshop for final work. I created a Channel Mask to seamlessly blend the two exposures before applying my final curves and color adjustments.

Thanks for stopping by. I’ll see you back here soon.

Bob

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A Thin Line of Light – Salt Creek, Death Valley National Park, Ca

 California, Death Valley, Death Valley National Park, Death Valley Photography, Desert, Landscape, Landscape Photography, Lightroom, Photography Trips, Robert H Clark Photography, Split Neutral Density Filters, sunset, Twilight Photography  2 Responses »
Jan 152012
 

A Thin Line of Light, Death Valley National Park, Ca

Hi everyone and welcome to today’s post. The other day I glanced at the image count in the Lightroom Database for all the shots I took on my recent Death Valley trip. Alec, Travis and I had 8 total shooting sessions. The amount of time we shot during each session varied based on the quality of the light. In general though we shoot early morning sunrise and late afternoon to evening sunset. During the day we scouted, ate, downloaded and backed up images, and other housekeeping details. So the final image count which included brackets of the same shot to ensure I had all the data needed to process the RAW files was 1795 shots. That works out to an average of 224.375 shots per shooting session. I am still scratching my head on this one. The numbers from the camera do not lie. But I for the life of me just do not remember shooting that much. But in a recent discussion with Alec we did conclude that the overall quality of light and shooting conditions we encountered was extraordinary. In addition Death Valley offers so many compositional possibilities. The end result we surmise was a perfect storm of shooting conditions.

Of course this does not mean that every shot I took was a winner. This is far from possible. But there were a lot. And Alec and Travis and I do agree that pound for pound we all got more keepers than we normally would get on an average shooting trip. The trip was also a bit of a departure for me in terms of how I shot. I began to look beyond just the shot and consider the processing possibilities. In the past, and this is based largely on my days with a 4 x 5 camera, I would seek to capture intact the shot I saw. I used whatever filters and other conventional means at the time to effect that capture. In Death Valley, save for occasional use of my trusty Warming Polarizer, I left all my filters in the bag. I did not employ a single Split Neutral Density. Instead of fumbling with the filters I was free to really shoot and explore potential compositions. And apparently shoot I did. The door opened and a thin line of light led me down a different path. I set my camera to record bracket sets in one-stop, and on occasion 2/3-stop, increments, composed and shot. The freedom allowed me time to watch the light and react to changing conditions. Quite honestly it was liberating.

Today’s image came from one of my bracket sets. I passed this over several times before returning to process the RAW files. Here I was drawn to the convergence of lines of water into a single flow that disappeared into the horizon. The water was beautifully illuminated by the rising sun, and for me, came to represent my new path. I do not know how long I will be here. Such is the nature of photography. But for now I will just follow the light.

Thanks for stopping by today.

Bob

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Sunset in the Alabama Hills – Lone Pine, Ca

 Adobe Lightroom, Alabama Hills, California, Death Valley, Desert, High Dynamic Range, Landscape, Landscape Photography, Lightroom, Mountains, Photography Technique, Robert H Clark Photography, sunset, The Alabama Hills, Twilight Photography, Wide Angle Photography  1 Response »
Jan 102012
 

Sunset in the Alabama Hills, Lone Pine, Ca.

Hi everyone and welcome to today’s post. On my recent trip to Death Valley my intrepid friends Alec Johnson, Travis Bechtel and I were kindly treated to some amazing sunrise and sunset conditions. This is the kind of light and cloud cover you hope to have for at least one shooting session. We had it everyday save for one, and that was the last morning we shot at Zabriske Point. Today’s image defines some of the incredible skies we had during our shooting excursions. The image was made in the Alabama Hills, a collection of rock monoliths and boulder fields, situated above the town of Lone, Pine, Ca. The area is known as the Gateway to Mount Whitney, the highest peak in the lower 48 states. On the trip over from Death Valley we saw the clouds build up and once we dropped into the valley on the eastern side of the Sierra’s we knew we might be in for another treat. Well, we were not disappointed. The show ramped up in the late afternoon and soon went into overload as the sun disappeared behind the massive Sierra Range. For a very brief period of time the light flattened out on the landscape but within 10 minutes into Civil Twilight the scene re-lighted and the rocks glowed with the reflected light from the sky. By this time all of us had spread out to compose and shoot. Even after an afternoon of scouting it was a hectic time as we were scrambling to create memorable images. To give you a sense of scale if you look between the “crab claw” formation you will just make out the silhouette of my buddy Travis. We only had one afternoon to spend here and for all of us it was not enough. But we left invigorated by the experience and the place.

Technical Details: As you might imagine the dynamic range of this scene was pretty intense. To compensate I made a five shot bracket at 1 stop intervals and chose two images from the set to process. The two RAW files, one for the foreground and one for the sky, were processed in Lightroom and combined in Photoshop using a Channel Mask for blending. From there it followed my usual workflow of masks, color corrections, and sharpening.

Thanks for stopping by today.

Bob

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