It seems that every autumn, I comment on the lack of fall color in the Pacific Northwest and the need to know where to look for it (for example, see this post from last year, or this one from 2014). Last month I spent a long weekend in northeastern Washington looking for autumn colors, and I came away very impressed with how beautiful fall is there. Northeastern Washington does not get a lot of attention from nature photographers in the state. With Mount Rainier, the Olympics, the Pacific coast, the Columbia Gorge, and the Palouse, who has time for northeastern Washington? Well, if you want some great autumn scenery, make time. And as a bonus, you won’t have to fight for a spot for your tripod; in the 2 1/2 days I spent photographing there, I didn’t see anyone else with a camera.
I booked a room for a Friday night in Colville, Washington. Despite an early start from home, the drive (in the rain the whole way, except for at the top of Snoqualmie Pass, where it was snowing) took most the day. Though I only made a few stops on the way for photos, I got to the Colville region with less than an hour’s daylight left, which didn’t leave much time for scouting photo locations. So I headed to the one spot I knew I could get a good shot – Crystal Falls. This pretty little waterfall is 14 miles east of Colville on the Little Pend Oreille River. Though there wasn’t a lot of color at the waterfall, it made a pleasant stop before heading to town for the night.
The next day, I decided to explore the region between Colville and the Pend Oreille River, an area recommended by my photographer friend, Greg Vaughn, in his book Photographing Washington. I headed back east on Highway 20, continuing past Crystal Falls, to a series of small lakes along the upper reaches of the Little Pend Oreille River (the featured photo above is at one of these small lakes, Frater Lake). The previous day’s rain was gone, leaving a wonderful blue sky with scattered clouds and a dusting of snow on the ground in places. The forest around the lakes are thick with western larch, which made the forest a patchwork of bright yellow and dark green. Larch, one of the few deciduous conifers, turn bright yellow in fall and are fairly rare elsewhere in the state, but plentiful here. They are best photographed with back or side lighting.
Continuing past the lakes, the highway goes by Tiger Meadow, which has several aspen groves along its edges. I spent several hours there roaming the meadow, photographing the aspens and larch, and enjoying the crisp air and solitude (the image in my previous post is from Tiger Meadow). From there, I drove along the Pend Oreille River for a while where I found some colorful cottonwoods. Then I headed back to Colville via South Fork Mill Creek Road, with some beautiful aspen groves along it as well as larch on the hillsides.
I needed to get to the town of Republic where I planned on spending the night. This took me over Sherman Pass in the late afternoon. The larch are thick along Sherman Pass, and the late afternoon sun lit up the forests.
The following morning, I spent a short while photographing cottonwoods along the highway south of Republic (again recommended by Greg Vaughn), but the went off on my own without advice from Greg’s book. I headed west, then north, looking for the ghost town of Bodie, Washington. Along the way, I found more aspens and larch begging to be photographed. At Bodie, the aspens had already nearly lost all their leaves, but it was still fun to photograph the old buildings. From there, I decided to explore another ghost town, Molson, which is up near the Canadian border. The route took plenty of back roads, past some secluded scenery. Unlike Bodie, which is just falling apart with age, the Molson ghost town is actually an outdoors museum, with buildings and equipment moved to the current site and maintained by a historical society. There was plenty to explore there, and I could have easily spent more time doing so. However, I had promised my son, who lives in Yakima, I’d visit him and his girlfriend for dinner, so I put away the camera and headed south.
I’m happy with the shots I brought home with me, and the area is on my list as a place to visit again in the future when October colors come again to Washington.
Adobe recently updated Lightroom, in the process creating a new version of the program. They renamed the old version Lightroom Classic CC, while the new version took the previous name of the old version: Lightroom CC. Confused yet?
If you have the photography CC subscription service (currently at $10/month), either version is available to download – but you can only have both if you fork out an extra $10 per month. The new Lightroom CC is the wave of the future. It’s main feature is that your Lightroom catalog and all your photos are saved to the Adobe cloud so that you can work on them in Lightroom from anywhere with a internet connection. Sounds like a great idea. The service comes with 1 TB of storage on the cloud. Unfortunately, I would need about 4 times as much space to upload all my photo files. And while I’m sure I could rent extra cloud space, I’m not sure I ready to give Adobe more money yet.
I have my own somewhat convoluted way of working in Lightroom on multiple computers. I export selected portions of my Lightroom catalog with smart previews to the 20GB of cloud storage that comes with the old Lightroom (and the Lightroom Classic), then work with that catalog when away from my main desktop computer. When finished, I import the catalog back into my main catalog. So, for now, I’m sticking with Lightroom Classic.
Plus, Lightroom Classic received a nice upgrade. Reportedly its speed performance has improved, but what I really like is the addition of range masking. Now, any mask made by the adjustment brush, gradient filter, or radial filter can be modified by color or luminance. Simply first create a rough mask using one of the three tools. Then, at the bottom of the Mask dialog, there’s a new setting labeled “Range Mask” with the default setting of off. Change the setting to color, and you get an amount slider and a color picker tool. Only want your blue sky to be selected, use your mouse to select the color picker, move it to the blue sky and click – the other colors are deleted from the rough mask. You can shift and click to select multiple colors and click and drag to define a “box” of colors. It helps to have the Mask Overlay selected to see how your mask changes.
The luminance setting for the Range Mask works similarly, but with brightness instead of color. It does not including a picking tool, but has a “two-handled” slider for defining a brightness range and a smoothness slider. With your mask overlay on, it is easy to play around with these two sliders to see the effect.
The photo above, that I took in mid-October in northeastern Washington, provides an example of the usefulness of the new range masking. I actually first tried developing the image without the new range masking tools. And while the result was nice, it did have problems. Specifically there was some haloing around the aspen trees, I couldn’t get the brightness of the leaves and tree trunks to what I wanted, and the sky color was not totally natural. I probably could have corrected these issues with Photoshop, but thought I’d try the range masking tools in Lightroom to see if they could help.
Below is a progression of how I developed the image in Lightroom Classic starting with the original image with default Lightroom settings.
This is the post I was preparing when my friend Gary died. I had hoped to post this while it was still possible to hike to Ingalls Lake, but it is quite possible it is snowed-in for the season by now. I took the hike on October 10th, hoping to find good fall colors.
As I’ve mentioned in a previous post, to find good autumn colors in Washington State, you need to know where to look and have good timing. My goal for the hike to Ingalls Lake was to see some of those fall colors – specifically the subalpine larch trees. Larch trees are conifers, but unlike other conifers, they are not evergreens. The needles on larch trees turn a beautiful yellow then fall off in autumn. What makes them extra special is their setting. In Washington State, they are only found high in the mountains, which can create some incredible autumn scenery.
Even without the nearby larch trees, Ingalls Lake is spectacular. An alpine lake set in a rocky bowl at the base of Ingalls Peak with a view of the spectacular Mount Stuart that just won’t quit. The conditions were nearly perfect for my hike. It was partly sunny after a rainy weekend – at least it was rainy in the lowlands. At Ingalls Lake there was fresh snow, which just enhanced the scenery.
This nine-mile roundtrip hike immediately starts uphill from the parking lot as the trail switchbacks up to Ingalls Pass where it enters the Alpine Lakes Wilderness Area. The lower part of this portion of the trail is through forest, but the later part is not and has great views of the Esmeralda Peaks and Fortune Pass to the southwest. Once Ingalls Pass is reached, the view expands dramatically to include Ingalls Peaks and all the Stewart Range, anchored by Mount Stewart directly across the valley.
Ingalls Lake is not visible from the pass and is separated from it by the lovely Headlight Basin. The southern side of Headlight Basin has impressive groves of larch trees. The basin also includes many small streams, meadows, bare rock slopes, and boulder fields.
Just past the pass, the trail splits. The more direct route to the lake cuts downhill then uphill again through Headlight Basin. The main trail circles around the west side of the basin, not gaining or losing much elevation. The trails meet up again about 1/4 mile from the lake. From there, the trail scrambles uphill to the lake.
Since I was searching for fall colors, in particular the larch trees, the lake was a secondary objective. But what a secondary objective! I think you’ll agree from the images I’ve included here that the lake is spectacular. And neither was I disappointed by the larch trees.
I had hoped to stay in the basin until sunset, but as the afternoon wore on, more and more clouds were moving in and I thought the sunset might be a bust. So instead, I headed back downhill, stopping in the forested section of the trail to take more images of autumn color in the forest underbrush (the trees here are evergreens). As it turned out, the sun did break out again at sunset. Being back down low, I didn’t get much in the way of sunset shots, but I can’t complain, overall it was one of my best photo hikes in years. Perhaps, based on the images above and below, you will agree.
On my trip several weeks ago, besides visiting Silver Falls State Park, I drove through some of the Oregon Cascades. It was, perhaps, not the height of autumn color in the Cascade Mountains, but it was close. Prime time may have been last week, or maybe this one. Regardless, now is the time to be out there; the mountains in Oregon, and here in Washington, only surrender some of their green for a short time each year.
I hoped I’d have more time to write a post about the Oregon Cascades, but unfortunately I don’t. I will say they do seem more accessible than the Washington Cascades, with more and better access roads. After just a couple of days there this fall, I know I’d like to go back for at least a week, if not longer. So with that, I’ll just post a few images I captured in the mountains (and one in the Columbia Gorge, as well), and let the images speak for themselves about autumn in the Oregon Cascades.
Tanya and I spent three days in Oregon last week. We stayed in Silverton, and I made several trips to Silver Falls State Park as well as a couple drives up into the Cascades looking for autumn color. Due to the drought we’ve had in the Pacific Northwest, there wasn’t much water in the falls at Silver Falls State Park, but the color was nice. It was a great time to be out enjoying the outdoors. I’ll post a few more shots from the trip later, but for now, I give you this early morning shot of North Falls in Silver Falls State Park. Enjoy.