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A challenging but rewarding journey into Bryce Canyon's heart with views that feel like another world
🐦 El tordo sargento (Agelaius phoeniceus), también conocido como Sargento Alirrojo, Tordo Alirrojo, Tordo Capitán o Turpial Alirrojo, es una especie de ave paseriforme de la familia Icteridae. Es un pájaro de hábitos migratorios que habita en zonas húmedas y terrenos de cultivo de América del Norte y Central.
Y que rol tienen esos vistosos listones rojos en los hombros?Estas manchas son vitales en la defensa del territorio. Los machos con las manchas más grandes son más efectivos al ahuyentar a sus rivales no territoriales y tienen mayor éxito en contiendas dentro de aviarios.
⚠️ Quizá sea el ave nativa más abundante de América del Norte, con una población estimada de ciento noventa millones de individuos para 1974 solo en Estados Unidos, por lo que ha sido clasificado como especie bajo preocupación menor. Sus poblaciones crecieron enormemente a mediados del siglo XX
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Nestled between dramatic cliffs and the incessant roar of the Atlantic, Praia da Ursa is an unspoilt corner of natural beauty. Here the sea meets the land in an eternal dance, sculpting monumental cliffs that stand like guardians of an ancient sanctuary.
Legend has it that its name comes from a rock formation that once resembled the figure of a bear and her cub. This landscape is not only a gift of geography, but also the wild and untamed spirit of a coast where silence is broken only by the sound of the waves and the whisper of the wind.
Looking at this landscape is an invitation to introspection, to connect with the essence of the natural world and to contemplate the sublime power of nature.
***
Aninhada entre falésias dramáticas e o rugir incessante do Atlântico, a Praia da Ursa emerge como um recanto intocado de beleza natural. Aqui, o mar encontra a terra em uma dança eterna, esculpindo rochedos monumentais que se erguem como guardiões de um santuário ancestral.
A lenda conta que o nome deriva de uma formação rochosa que, em tempos, lembrava a figura de uma ursa com o seu filhote. Este cenário, além de ser uma dádiva da geografia, guarda em si o espírito selvagem e indomável de uma costa onde o silêncio só é quebrado pelo som das ondas e pelo sussurro do vento.
Contemplar esta paisagem é um convite à introspeção, à conexão com a essência do mundo natural, e à contemplação da força sublime da natureza.
Dave had a very clear plan. He’d looked closely at the map, done a bit of research on some stock images, and picked his spot before we’d set off. On arrival he planted his tripod at the cliff edge, halfway along the beach far below and stayed there until after sunset. Later he told us he’d only taken one shot that was worth the effort of putting through the editing suite. The others were all very slightly blurred. While Lee and I are both now disciples of the rather wonderful magnetic Kase filters, Dave continues to use big square pieces of glass. Similarly effective of course, albeit with the exception that they do tend to act like sails if there’s anything more than the merest of zephyrs beating across the air. Not that it mattered though. Dave’s inimitable editing style delivered a very satisfactory entry into the Explore page the day afterwards. I say inimitable because I’ve tried without success to replicate it more than once, before remembering that it would be better to continue to work on my own process and forget about his degree in Fine Art. Imitation is the sincerest form of irritation after all.
I also had a very clear plan. Ever since the steps were closed off to the general public, my philosophy on the place we should henceforth really just refer to as “Bedruthan” has remained consistent. For a start, only shoot here on a high tide when there’s water around the base of the stacks and all of the rocky debris distractions on the beach are concealed. Once that initial qualification has been fulfilled I either perch on a clifftop at the south end of the beach, or I hover over the edge of the one on the northern side. The latter offers what I think is usually a more pleasing view, the big stacks lining up like three enormous anvils, with the smaller rocks that I’ve come to think of as “the witch’s hat” and “the shoemaker’s last” in the foreground. On a windy midwinter afternoon on a high tide with the low sun just about dropping into the frame, it’s quite a magnificent scene to behold, as long as you’re very careful around the crumbling clifftops that led to those steps being closed three years ago. In the middle of summer the sun sets far enough across the beach to feature in shots taken from the southern side, once famously throwing a vivid pink sky at us seemingly out of nowhere. I hadn’t yet imposed the high tide rule upon myself at that stage. In that shot the sky was one of the best under which I’ve taken pictures. It’s just a shame that the beach was a shambles.
So while Dave decisively planted his tripod at position A, and Lee waited for the arguing couple to finish their takeaway pizza and depart position B so that he could concentrate on the view that had grabbed his attention, I hurried over the coastal path to position C in the north, before scratching my head and moving on to position D, even further north, where almost immediately I engaged full on headless chicken mode. Position E in the south was a total non-starter, and while position F to the faintly south east had the best of the light behind it, the rhomboid of a stack that featured there wasn’t really riveting enough to warrant much effort. As I trotted back along the path and looked again at Dave’s viewpoint I declared I didn’t like the shape of the stack from this angle. By now, Pizza Couple had decided to continue their dispute in position Z at the newly appeared campsite behind us, so I joined Lee at position B for all of 15 seconds before moving yet again. Back at position C I tinkered about and decided that I still didn’t like the light from here. In fact I’d just missed the sun briefly appearing and throwing a bit of tasty side light onto the anvils. I didn’t even bother with position D again.
So finally, here I was, with most of my daily step count requirement having been registered in the last hour or so, back at position A, facing west and out to sea, where Lee had now joined Dave, his tripod frighteningly close to a cliff edge that makes a lump of Wensleydale Cheese look stable. I stared doubtfully at the view from here again, thinking how strange it was that the angle one views a big chunk of rock from alters its appearance so dramatically. A hundred yards along the path I’d noticed for the first time ever that the anvil has a hole in its middle. From here it looked like a wandering giant had lost his boot on the beach. Look, you can even see the toes being tickled by the tide. By now the sun had disappeared, a patch of soft peachy glow just about painting the horizon. At least the light was now in the frame, and a gang of gulls littered the base of the boot, settling down for the night. A series of exposures of varying lengths followed, the calm summer ocean offering a flat glassy surface at thirty seconds of shutter time. Finally the high cloud delivered an element of texture to the sky and the deal with position A was secured. Dave had been right all along. Flipping fine art graduates.
And there lies the rub with Bedruthan. The two opposite ends of the beach can bring rewarding results behind the camera, but with the best of the light far out to sea in the middle of August, shooting straight across the beach from north to south or vice versa becomes a challenge. At least here was a subject that offered a minimalist view, with the light we so often look for on show. The stack, with its new appearance from the unfamiliar angle had gradually grown on me, offering an alternative composition above the beach that may forever be out of bounds. An alternative composition for now at least; who knows how long for when each winter’s sequence of storms and gales brings cliffsides crashing down onto beaches around here. Good job one of us had done his homework in any case.
When sunrise is so good you hit three different spots because you're greedy;-)
We started up in magnolia to catch the early burn. After seeing that Rainier was fully out we rushed over to Kerry park to collect a quick burn and say "Hi" to the other hopefuls. After the burn started to fade from the East, we decided to head East and shoot West looking towards the olympics.
Let's just say we bowled a turkey that day;-)
Seattle, WA
I think that each of us makes our own line in the sand. There are those for whom anything goes, while others are content to bend things very slightly. While many want their image to tell the world what they saw, others want to share how they felt. "Photograph what you feel, not what you see," I read somewhere recently. Of course there are also people who refuse to use the editing suite, or filters. Personally I'm in favour of whatever it is that makes you happy. We each get to decide where our boundaries are. I was reminded just yesterday that Mads Peter Iversen, a landscape photographer I much admire and respect isn't averse to adding a completely alien sky to an image - he has an aurora that he quite happily adds over whatever sub-arctic landscape he's set his viewfinder on. His prerogative of course, and in his honesty he makes no apology on the subject and knows it will divide opinions; it's not something I've ever been tempted to do. Perhaps you have - nobody's judging who's right and who's wrong. It's all about choice after all.
I think I probably fall into the category of wanting to share how a view I took a picture of (or some pictures of) made me feel. So while for me personally, a sky that wasn't there is going to remain in the "Add Unicorns Menu," I'm no stranger to the practice of combining a few images taken within a short space of time to pull together the elements I wanted. Living in an area where the sea is the obvious and ever changing subject, I'm quite relaxed about taking the greatest hits from a series of incoming waves and blending them into a single frame. Ironically Mads taught me this through his Photoshop editing course, the first few chapters of which very quickly reminded me how little I knew, having always resorted to its easier to use cousin in Lightroom. I still do, but Photoshop grabs a lot more of the action than in the days when I knew what the spot removal tool was for, but the rest of the screen was just a magical hinterland of unexplained buttons. In fact most of the rest of the screen remains a strange and mysterious place to me, but gradually I'm making use of the bits I've begun to make sense of.
In this example, I'd recently happened across a sea stack at Gwithian I'd never noticed before, largely because I'm usually somewhere on that headland across the water waiting for the sky to change. But on this occasion I'd decided I needed brighter light to catch the flight of the gulls without resorting to an ISO setting of about two hundred gazillion, even though the courses they plotted were slowed by a strong cold northerly that was making the day a challenge for us all. I was glad I had a warm van with a gas stove, a kettle and a diesel heater waiting for me just a couple of hundred yards away. Two days earlier I'd stood here on the dunes above a receding tide and taken another composite, before deciding that what I really wanted was an incoming surge wrapped around the base of the stack. A tempestuous sky would have been more to my taste, so I'll probably end up going again when the conditions combine in my favour - preferably with a bit of side light to illuminate the gulls against a big black cloud. I'd better have my waterproofs handy that day.
What I'd also decided I needed was the sea to be moving at the right speed, and in my world there are only three of them; "forever," "just enough to blur the motion" and "really very fast." "Forever," is my go to setting when the sea can't be bothered to do very much, while "really very fast" only comes into play when it's ferocious - something I never seem to get quite right - I usually just come home with six hundred nondescript grainy white splodges on the memory card and end up deleting the lot. "Just enough to blur" entails the happy deployment of the six stop and a shutter speed usually somewhere between half a second and two seconds, and that's where I wanted to be for the sea itself. The gulls arrived within quick succession of one another - very good of them to be so obliging as that cloud was shifting towards us all at quite a pace and the blend might otherwise have been a lot more tricky to deliver. Have you spotted the fourth gull yet? Neat eh? I had to wait for it to be in that exact spot for it to have any chance of joining the party. The overall result isn't the sharpest picture I've ever delivered - I'm going to blame the wind and the fact that my tripod needs to acquire some spikes. Bad workman, tools, you know the rest of the proverb. Still, the picture does carry me back to that windy afternoon on the clifftop in the dunes, watching the gulls forever flying eastward - exactly what it's supposed to do.
So there's my confession, although you'd have worked it out for yourself anyway. I do composites from time to time, but only when I haven't travelled too far from reality. After all, those gulls had probably arranged themselves in far more interesting attitudes together across this scene at different times throughout the day. Obviously they'd have got a lot further in 1.3 seconds than the lie I've tried to sell here suggests, even against that last icy blast of winter, but the textures in the water wouldn't have been quite so much fun. And that line in the sand I drew for myself - it's hidden there somewhere under all that water, probably moving all the time.
And whether you're a purist or a fantasist, or somewhere in between like most of us, I hope you've got a plentiful supply of chocolate to get you through the weekend. Have a good one.
This small lake lies just beyond Baisse du Basto, in the heart of the Mercantour National Park. Surrounded by jagged rocks and patches of alpine grass, the lake reflects the cloudy sky above, creating a calm and mysterious atmosphere. The rugged terrain and quiet water give the scene a wild, untouched feeling—perfect for hikers seeking solitude and raw beauty in the high mountains.
Adventures in Tup Mor, islands Krabi, Thailand
This experience is led by a traditional Thai longtail boat, offering an authentic and scenic way to explore the beauty of Krabi’s islands — a true cultural touch that connects you to the local way of life.
Tried to catch it with a simple mobile phone
Kanchenjunga mountain range , is the third highest mountain in the world. The range is often referred to as the "Sleeping Buddha" due to its appearance when viewed from certain locations in the Darjeeling and Sikkim region
Somewhere around 9:20pm yesterday I found myself scraping my jaw off the sand. I've witnessed some quite wonderful sunsets along this coast and on this beach in particular in my time, but this was something else. It won't be the only photo I'll be sharing from this adventure as 82 RAW files, all of them competing for attention were downloaded from my camera onto the computer this morning. In truth I'm as lost for where to start as I was for words as I stood gazing at the sky in total awe last night. At least with online storage it's possible to keep them all these days, although that may just keep me confused. It's like staring at a menu when you want to order everything on it.
I'd been toying with the idea of whether to go out at all. Based on the previous evening, I had a feeling the sky was going to do something exciting, but the sun was shining warmly where I was slumped in my garden chair and I was dozing happily after taking advantage of the chancellor's "Eat out to help out" initiative. You might need to google that if you're not in the UK, but suffice to say it's been well received in this household at least.
We'd had a long outing the previous day and there were plenty of photos to work through from the last few days. With the sky clearing and perversely looking less promising than earlier, it took a considerable effort to convince myself that it was going to be worth the journey. But with time starting to make the decision more urgent the adventurer in me prevailed over the indolent sloth and I dragged myself from the garden chair and very nearly left without my camera battery, which I'd recharged earlier in the day and not yet reinstalled.
As I arrived I wondered whether I should have stayed at home. Some low key pastel shades looked like a possibility and at least I could enjoy just being there if nothing else. I do sometimes need to remember that it isn't compulsory to take photos everywhere I go. But gradually the sky behind the lighthouse turned pink and the wonderful stripes in the clouds became more pronounced.
What this image doesn't show is the fierce pink and orange tones to the west as the entire bay from St Ives to Godrevy Lighthouse was illuminated by the post sunset glow. But as I mentioned above, this won't be the only picture I share from this adventure. Thank goodness I remembered to put the battery back into the camera..........
Der Buchenkreisling kann im Spätherbst relativ häufig auf Buchentotholz gefunden werden.
Stack aus 16 Einzelbildern.
Every step through these ancient walls feels like stepping back in time, with stories whispered in every stone. Who else loves exploring hidden gems like this? ️♂️👣
📍 Monte Sant’Angelo, Italy
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