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.
I recently was completing some long over due editing from shots I took in 2013 and came upon this image. I had not touched it since importing it into my Lightroom catalog nearly two years ago. I decided to see what I could do with it. Below is the original file as imported into Lightroom and the version after processing in Lightroom. The feature image is the finished product out of Photoshop.
I was originally attracted to the image because of the pattern of the yellow grass and the scattering of the red leaves. The scene was in shade on the afternoon of a late fall day in November – there was not much available light. I can’t remember if I was without my tripod, or just too lazy to use it, but I took the shot handheld. To have a fast enough shutter speed to not have camera shake, I upped the ISO to 1600, which resulted in a shutter speed of 1/60th of a second. It wasn’t enough. Viewing at 100% in Lightroom showed the image was not sharp.
I thought it might be saved with the shake-reduction filter in Photoshop, so I opened up PS. Indeed, the shake-reduction filter seemed to work wonders. My workflow is normally not to bring an image into Photoshop until I’m done with it in Lightroom, but rather than go back to Lightroom, I opened up the camera-raw filter and attempted to do my “Lightroom” processing there. (Adobe Camera Raw and Lightroom reportedly have the same capabilities.) I was quickly reminded why I like Lightroom better than Adobe Camera Raw and scrapped the image and started fresh again in Lightroom.
In Lightroom, I started, as I normally do, by doing a default lens correction and adding noise reduction to counteract the high ISO noise. Following my normal workflow, I went to the Basic menu and worked on the tone and presence. I started by reducing the exposure by about 1/2 a stop, warmed up the temperature to rid the image of blue tones from the blue sky reflection and adjusted the tint to add a bit of green. I then adjusted the clarity (to the mid 20s) and vibrance (to the mid 30s) sliders to punch up the colors a bit. That’s a bit more vibrance than I normally use, but it seemed like it needed it. The vibrance wasn’t helping the reds enough, so I also added a small amount of saturation.
I then set the white point with the white slider and adjusted the highlights slider down. I normally set the white point, usually increasing it, as a way to improve contrast. It often results in the highlights being lighter than I want; such was the case here – thus the reduction of the highlights slider. It took several iterations to get it where I liked. I then set the black point with the black slider (and thus finish the contrast improvement without using the contrast slider, which I normally leave set at zero – as I did here).
At this point, there was one leaf in the upper half of the photo that was too bright and distracting. So I used the brush tool to dim it down a bit. With that bright leaf now dimmer, I made one final adjustment to the white and highlights sliders. Made a final adjustment to the temperature slider, and punched up the image a bit more by using the dehazing slider and added just a touch of vignette to help focus the eye into the image. The result is the second image below.
At that point, I exported to Photoshop and re-accomplished the sharpness fix with the shake-reduction filter. After working that shake-reduction magic, I followed my normal Photoshop workflow for nature/landscape shots by working Tony Kuper’s triple play actions on the lights and darks (these actions use luminosity masks to affect the contrast, brightness and detail definition – in this case I was most interested in the detail definition).
From there I worked on targeted adjustment to bring my final vision out for the image. I wanted to yellow grass to really stand out, so I made mask for the yellows and used it on a levels adjustment layer to make them brighter. I only wanted this effect on the yellow grass in the center of the image, so I placed the levels adjustment layer in a group and masked the group, allowing only the center portion to be affected.
Next, I thought the greens were too bright, so I again made a mask from the greens and used it on another levels adjustment layer to darken them up a bit.
In looking at the image, I still wasn’t happy with the reds, so I added a hue/saturation layer and bumped up the saturation just a bit on the reds only.
I finished it off by adding a dodging/burning layer, and painting black to darken, I darkened approximately the upper 1/4 of the image as well as a bit on the sides and bottom. This improved upon the vignette I had placed in Lightroom. The result – the image you see above.
It took much longer to write this than to do the actual work in Lightroom and Photoshop. I think, in total, it took about 20 minutes. In looking at it now, I think I may have overdone darkening of the shadows. But that is the beauty of Lightroom, I can easily open the PSD file made by Photoshop and lighten up the shadows a little. Maybe I’ll do that if I ever decide to print it, but otherwise, it is ready to print now.
As always, your thoughts and comments are most welcome.
Recently I wrote a post about how to capture time in your photographs. Not mentioned in that post was to visit locations at different times of year (as well as different years), as I’m sure many of you already do. That is a great way to show the effect of time and seasons in your photography.
I’ve had a personal project in the back of my mind for some time that fits perfectly with the concept of changing times and seasons. I want to photograph the exact same scene from the exact same spot at the exact same time once a month for a year. However, I have yet to find the right spot. If I ever do this project, I’ll be sure to post the results (but don’t hold your breath, if I start it tomorrow, it will be a year before its done!).
One spot that would be great to do that is Kubota Garden in Seattle. In late October, Tanya and I stopped at Kubota Garden for an hour while on the way home from an event in Seattle. I had never been there in autumn, and it was a wonderfully different place than it is in the spring. Just compare this shot of the Moon Bridge taken a week ago last Saturday with a similar image taken from the same spot in May (of 2012).
Here are some additional shots from Kubota Garden taken last month. To see two more photos taken in spring time, see my previous blog from May 2012 (which also includes a few photos from Washington Park Arboretum and also describes an amusing encounter with a naked man).
Washington, being the Evergreen State, doesn’t have a lot to show when it comes to fall colors. Roughly speaking, evergreen trees cover more than half the state; sagebrush covers the rest. Further, many of the deciduous trees that do grow in the state don’t have particularly colorful leaves in the fall (such as alders). However, there are some good spots for autumn color if you know where to look. Most are high in the mountains, such as Heather Meadows up by Mount Baker (which I blogged about last year). Unfortunately for color seekers this year, it snowed in the high country a couple of weeks ago. While some spots are still accessible (often with snowshoes), others are probably snowed in until next spring. With sunny weather forecast for this week, we may get a second chance, but I wouldn’t bet on it. To make matters worse, the US government shutdown has closed the national parks, making access to fall color even worse.
With the high country covered in snow, the options are few for good fall color. However, I did find a hidden autumn jewel last Friday – a small desert canyon full of beautiful aspen trees starting to turn yellow. Black Canyon, located in eastern Washington, is about midway between Ellensburg and Naches (west of Yakima). At first glance, this seems like an odd area to find fall color. The hills between Ellensburg and Yakima are mostly treeless. Even in the Yakima River canyon, which runs through the area, there aren’t that many trees. But if you drive some of the back roads through the region, you will find hidden groves of trees in valleys and canyons and along some of the water courses. Even more surprising is that some of these trees are aspens – not exactly the tree I think of when I think of the Evergreen State.
Black Canyon is one grove, hidden in the mostly barren eastern foothills of the Cascade Mountains. It is hidden in several aspects. First, it is not a well known spot. I had never heard of it before about two weeks ago (and I know about a great many places in Washington). Second, from the start of the trail into the canyon, it doesn’t look like much. The mouth of the canyon (actually more of a valley than a canyon), where the trail starts, is rather plan and dry. But as you hike up the valley, the underbrush in the canyon bottom gets thicker and more colorful, until about a half mile from the start, you start seeing aspens. While the aspens are confined to the center of the valley, near a tiny stream, the grove gets thicker and taller as you continue up the valley. At about one mile from the trail head, there is an old wooden cabin nestled in the aspen grove. The trail continues another couple of miles, and the aspens eventually give way to pine trees as the trail climbs to the top of the ridge (reportedly with views of Mount Rainier). More about the hike can be found here.
When Tanya, Carson and I made the hike last week, the color was truly amazing, particularly in stark contrast to dry, sagebrush covered valley walls above. Besides the aspens, much of the underbrush was also various shades of yellow, orange and red. This is the perfect time of year to go.
What is nice about Black Canyon, besides its obvious beauty, it is on accessible public land. A Washington State Discovery Pass is required to park at the trail head (or anywhere along the road to the trail head). The trail head (46°51’1.07″N, 120°42’5.05″W) is at the end of 1.2 miles of very rough unpaved road. We were glad to in 4-wheel drive; I doubt our passenger car could have made it. Other hikers (we saw two other couples) parked at the start of the road, and had an couple miles (roundtrip) to hike. If you go, also be aware that the area is shared by hunters this time of year (though we did not see or hear any).
Black Canyon is definitely a jewel worth visiting. When we were there, the aspens were not yet at their peak, so you may still have time to visit for the color. Do you know any other hidden jewels of autumn color? If so, please feel free to share yours by leaving a comment.