View allAll Photos Tagged pullout
We stopped at this pullout that had a great view of the foothills and wildflowers. While we were looking around a couple told us that the oak tree had swallows nesting in knots of the tree. We found one that mama kept coming in and out of and I set up the tripod. It was kind of nice to bring out the big lens and get a nice capture. Mama came back a couple of times and this was probably my best shot. It was a nice break from the flower shooting to watch them swooping through the air in search of insects.
In Joshua Tree National Park at a roadside pullout looking to the south and across a snowy landscape with Joshua Trees and other desert plant-life. I liked the layered look of this national park landscape with the snow covered foreground, leading up to the hillside of rock formations that was itself also getting snow covered.
Our trip took us by coach from the rolling hills of Montana into some rugged country in Wyoming starting at Yellowstone. Our driver was mindful of scenic pullouts and frequently gave us opportunities to grab some pretty reminders of our trip.
A setting looking to the southwest while taking in views along the Going-to-the-Sun Road. The view beyond is with the western part of Glacier National Park with McDonald Creek in the image center and ridges and peaks with Mount Cannon, Stanton Mountain, Mount Vaught, and McPartland Mountain to the sides. My thought on composing this image was to align myself with the valley to my front as best as I could from the roadside pullout. The rest was metering the exposure given the bright afternoon sunlight that day. Almost like there was a slight haze but the ClearView Plus tool in DxO PhotoLab 6 helped to minimize that while also working with control points in to bring out the contrast, saturation and brightness I wanted for the final image.
A setting looking to the southeast while taking in views across a nearby forest and lake to the more distant ridges and peaks with Mount Rundle (Rundle Peaks). This is at a roadside pullout along Trans-Canada Highway 1 at the Vermilion Lakes Viewpoint in Banff National Park.
On our self drive safari to Serengeti this was the view from the pullout area at Ngorongoro where the main road descends into the crater, the cloud was beginning to break but we were heading out from Serengeti NP to Tarangire NP and didn't have time to wait for the sun to appear properly.
A 220° panorama from west (left) to east (right) of the bright aurora in a classic arc across the north, on April 19, 2018. This was from a roadside pullout on Highway 564 north of Strathmore, Alberta.
The waxing crescent Moon is setting at left in the northwest; Jupiter is rising at far right in the southeast. The lights of Calgary light the sky and clouds at far left.
This is a 10-section panorama stitched with Camera Raw. All 8-second exposures at f/2.8 with the Sigma 24mm Art lens and Nikon D750 at ISO 1600.
A setting looking to the southeast while taking in views to Mount Rundle and Sanson Peak. This is in Banff National Park while at a roadside pullout along Vermilion Lakes Road. In composing this image, I decided, as the caption noted, for a leveled-on view to the horizon that allowed for a balance between the mountain, with its ridges and peaks, and the reflections on the lake waters.
While along the Blue Ridge Parkway and roadside pullout with a view looking to the west-southwest. This is at the Rock Point Overlook with a distant view of the ridges and peaks of Kelley Mountain and Torry Mountain. In composing this image, I angled my Nikon Z8 Mirrorless Camera slightly downward to take advantage of the higher ground I was located on and bring about more of a sweeping view, looking down this ridge into the nearby valley below.
Here's your Sunday sunrise (since I'm uploading it on a Sunday) courtesy of Grand Teton National Park, in Wyoming.
I'd never visited this national park before, so I included it on my national park itinerary during my road trip move from Texas to Washington state.
Because I'd never visited this place, I had no idea what spot to choose to capture a sunrise shot. I had gotten up pre-dawn and checked out of my hotel, but knew as I was driving along that I'd have to figure out a place for photography soon, as I could see the pink glow of the sun beginning to peek above the horizon. So, I just parked in a pullout and took tripod and camera a few feet out into the sagebrush meadow and decided this was as good a place as any for a sunrise.
Copyright Rebecca L. Latson, all rights reserved.
Perhaps the most popular waterfall in Mount Rainier National Park, Narada Falls has an ever-present following of visitors. Veiling over a wall of basalt, the Paradise River slides and plunges 17 feet into a small pool then spreads out and veils 159 feet in a lacy display that can stretch to 75 feet wide at peak flow. When the river is running high, be prepared to get soaked at the viewpoint - the spray is always funneled straight at the trail. While the commonly enjoyed viewpoint provides the best views of the falls, a second, less developed viewpoint further downstream yields a side view of the falls from below, which has been used for some of the more famous pictures of this waterfall. The falls can also be partially viewed from the side of SR 706 near a large pullout about ½ a mile east of the bridge over the Paradise River. During the winter, the falls freeze and become 150 feet of Icicles, which attract ice climbers from afar.
Source: www.waterfallsnorthwest.com/waterfall/Narada-Falls-5227
While at a roadside pullout along the Akamina Parkway in Waterton Lakes National Park. The setting is with a view looking to the west. My thought on composing this image was to pull back on the focal length so that I could capture the full height of the trees in the forest to my front and also include some of the ridges and peaks with Mount Rowe and others in the Clark Range. I didn't want to blow any of the highlights in the overcast skies above as I felt there was still some details present, so I slightly underexposed the image. I knew I could pull out the more shadowed areas later in post-production.
A Conrail local passes through the “other” side of East Penn Junction in Allentown, Pennsylvania. The more commonly known East Penn Junction was near the end of the Reading’s East Penn Branch at Auburn Street in Allentown, more commonly known as “Burn”. At one time the Reading maintained a small yard and engine facility there, and locals served area customers as well CNJ and LV interchange traffic. The Lehigh Valley maintained a small yard of the same name along its main line, about ¼ mile away from the Reading facility.
With the 1971 CNJ pullout from Pennsylvania, the LV took over Allentown yard, and the East Penn Junction connection between the LV and RDG was no longer necessary. The advent of Conrail did nothing to change that, but the little-used connecting track took on new importance. With the Allentown corridor becoming the main east-west route through eastern Pennsylvania, Conrail upgraded the connector, which remains a heavily-used piece of trackage for all trains that have no work in Allentown. This scene is at LV’s East Penn Junction, known locally as “in the hole”, due to its lower elevation.
A colorful formation in contrast to the gray cliffs that follow the Hole-in-the-Rock Road, Devil’s Garden is a unique, easily-accessible natural play park. After driving 12 miles down the graded road, there is a signed pullout for this spot designated as an “Outstanding Natural Area.”
As part of the Grand Staircase–Escalante National Monument, this desert destination features hoodoos, natural arches, and various sandstone formations—some are reminiscent, on a smaller scale, to areas such as Goblin Valley.
Devil’s Garden is a maze of sandstone formations formed by, and continuously shaped by, erosion. Nature’s hand has been at work since the Jurassic Period more than 166 million years ago. Presently, Devil’s Garden boasts hoodoos, arches, and other rock protrusions from the sandy, desert landscape.
Source: Visit Utah
My Love Poem to the Mountains:
When I'm with you, I am happy!
At a roadside pullout along the main park road in the Many Glacier area with a view looking wot the west-southwest across a nearby grassy field with the ridges and peaks of Grinnell Point as a backdrop. This is in Glacier National Park. I had wanted to capture a view from a low point I was on looking across and above the nearby grassy meadow but the focus would be on the trees and mountains backdrop. That’s what I set the focus on for this image. I later worked with control points in DxO PhotoLab 6 and then made some adjustments to bring out the contrast, saturation and brightness I wanted for the final image.
The fins at Arches are great for exploring and taking pics of. These are between the main parking lots from a pullout.
A setting looking to the east while taking in views across ridges and peaks of the Northern Blue Ridge while at a roadside pullout along the Blue Ridge Parkway. This is located at the Three Ridges Overlook. My thought in composing this image was to take advantage of the two lone trees to my front and then have a backdrop of the more distant ridges and peaks. I didn't want to have them in the image center, so I put them a little off-center and figured I could balance those with the mountains as a backdrop.
Taken from a short stop at a pullout near the East entrance of Zion National Park, which ended being about a 2-1/2 hour exploration of this amazing terrain.
Driving along the U.S. 441 Scenic way through the Great Smokey Mountains, just outside of Pigeon Forge, Tennessee, you get glimpses of the white water of the Walker Camp Prong flowing beside you. Luckily there is a parking pullout or two where you can get closer to water and even dip in your toes if you'd like. As I sat here and listened to the water flow over the rocks, I felt any tension I had flow away with the water.
While at a roadside pullout along the Blue Ridge Parkway with a view looking up and to the east-southeast. This location is at the Virginia and North Carolina State Line. What I wanted to capture with this look was the trees caught in the light of the morning sun and the backdrop of blue skies and clouds. Both the light and the backdrop seemed to bring out vibrant colors in the trees.
While at a roadside pullout along Utah Scenic Byway 12 with a view looking to the southwest across the high desert of Grand Staircase-Escalante National Monument. My thinking in composing this image was to take advantage of the nearby foreground to create a layered look with some nearby canyons and eroded gullies leading up to more distant colorful slickrock. I felt including some shrubbery and small trees helped to add to that look of the American West in the image captured.
While wandering around the Lower Otter Creek Overlook with a view looking to the northwest. This is at a roadside pullout along the Blue Ridge Parkway. What drew me into the setting was the lone tree in the center of this parking area that had blue skies as a backdrop. I also liked the way the contrail was cutting across the sky, adding to the setting for this image captured.
We were in the park very early last week when we saw a wolf out across a meadow. We stopped in a pullout to watch it, and when we did, it started trotting toward us. It went into the road and checked us out through the window. This is a highly cropped image from a long lens.
While at a roadside pullout area along Alberta Highway 93A with a view looking to the south-southwest across the waters of Leach Lake to Mount Fryatt and Whirlpool Mountain. This is in Jasper National Park.
While at a roadside pullout along the Blue Ridge Parkway. The view is looking to the northwest at the Raven Rock Overlook. In composing this image, I angled my Nikon SLR camera slightly downward, so that I could bring out more of a sweeping view across this mountain landscape. That would in turn allow me to raise the horizon and bring out more of a sense of grandeur present in the image.
Oct 27-30, 2007
The Great Smoky Mountain
A very beautiful place to shoot
Cades Cove is a lush valley surrounded by mountains and one of the most popular destinations in the Great Smokies. Deer are almost always sighted in the fields, and observations of other wildlife, including bear, Wild Turkey, and fox are possible. Please use pullouts when viewing wildlife and never approach or feed animals.
A wide array of historic buildings dating back to the late 19th and early 20th centuries is scattered through-out the cove. These include a grist mill, a variety of barns, three churches, and a marvelous collection of log homes and outbuildings.
An 11-mile one-way loop road takes you around the cove. Traffic will be heavy during the tourist season in summer and fall and on weekends year-round.
A visitor center (open daily), restrooms, and the Cable Mill historic area are located half-way around the loop road.
Numerous trails originate in the cove, including the five-mile roundtrip trail to Abrams Falls and the short Cades Cove Nature Trail. Longer hikes to Thunderhead Mountain and Rocky Top (made famous by the popular song) also begin in the cove.
Several designated backcountry campsites (camping by permit only) are located along trails.
Only bicycle and foot traffic are allowed on the loop road from sunrise until 10:00 a.m. every Saturday and Wednesday morning from early May until late September
TGIF: Painted Rock pit against setting sun in Black Canyon of Gunnison National Park.
This is a easy drive to spot and perhaps a best spot to the park to photograph sunset.
If you are planning a trip to this area, check out Curecanti point. while scouting the area, I thought it is a great spot for sunrise. Didn't have time to return for sunrise the following morning. Curecanti point is nearby, but not within the boundary of the national park. There are two view points at Curecanti pullout, be sure to go the one to your right. Thats the one I liked.
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In the past week, Yosemite has suffered from fires caused by dry-season lightning. So here is a spring time view to recall greener times. The rainy season will not come for a few more months so let's hope the fires subside! No HDR.
Free wallpaper for over 100 of my images in 6 different screen sizes is now available!
See the 1200 pixel version!
www.flickr.com/photos/patrick-smith-photography/386733837...
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Settings etc.:
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Canon 5D Mark II
Canon 17-40L @ 30
2-second exposure @F18 (pushing the limits of diffraction!)
2 hours before sunset when the light is still on the cliff face.
LEE soft ND grad (100x150mm) 0.9 + 0.75
Lee foundation kit filter holder with Lee 77mm adapter ring
No polarizer. I wanted reflections in the water
ISO 50 (for the long-ish exposure)
RAW file processed with Capture One by Phase One
TIFF file processed with Photoshop
Bridal Veil falls in Yosemite flows year-round, but in the spring it flows at its maximum rate as the high elevation snow melts. I moved around to find an opening in the trees to show as much of the falls as possible. Even though this was taken at the touristy 'Valley View' side-of-the-road pullout, you can still be creative and move around to get the best composition that you can. I've seen literally thousands of pictures taken from within 50 feet of this spot and have not seen this sort of image made. Also there were other photographers there with expensive tripods taking shots from vantage points that barely showed the waterfall at all. Did they even notice what they were shooting? They also had long lenses and were not including much if any of the water. But the water was an important part of the scene.
I waited for the last rays of the sun to light up the cliffs and waterfall. Then I made many exposures ranging from 1/4-second to 30 seconds with a dark filter to try to get the best effect in the water. I settled on this 2-second exposure because it showed the most reflectivity and still have nice texture so the viewer can visualize the water flowing by. I always try to adjust the exposure time to add realism. Sometimes the best is short and sometimes long.
The map shows exactly where this is. It is a 20-foot hike from the nearest road. lol!
See my Flickr profile for a link to my newly designed website.
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A setting looking to the west while taking in views across a grassy meadow with a backdrop of evergreen trees in Jasper National Park. This was at a roadside pullout along Alberta Highway 93A near Leach Lake.
Taken from a short stop at a pullout near the East entrance of Zion National Park, which ended being about a 2-1/2 hour exploration of this amazing terrain.
While at a roadside pullout along Kelbaker Rd with a view looking to the south. The setting is looking down the road in this portion of the Mojave Desert while using the road and center stripe as a leading line to more distant views of ridges and peaks of the Central Mojave Ranges and Bristol Mountains. In composing this image, I walked around until I could align myself properly with the center line and bring out a straight ahead of view, without distortions left or right as I held the camera. I then squatted down low and picked a focal point about midway down the road, so that I could have more of the distant portions of the road in focus. The nearby road and gravel weren't as important in my mind to keep in focus. I later cropped portions of the foreground and a little of the skies to create a wide-angle, panoramic view with this image.
While along the Blue Ridge Parkway and roadside pullout with a view looking to the west-northwest. This is at the Irish Creek Valley Overlook with Coates Mountain and Whites Peak being the most prominent peaks present (based on PeakVisor app on my iPhone). I took advantage of the higher ground I was located on and angled my Nikon Z8 Mirrorless Camera slightly downward, so I could create more of a sweeping view down this ridge leading off to the valley below and then more distant views of mountains along the horizon.
While at the Molas Overlook and roadside pullout along US Route 550 (San Juan Skyway Scenic and Historic Byway) with a view looking to the northeast across the grassy meadow with ponds and lakes to more distant peaks and ridges of the East-Central and North-Central San Juan Mountains. This is in San Juan National Forest with a setting including Kendall Peak, Mount Rhoda, Storm Peak, Tower Mountain, and Dome Mountain based on the PeakVisor app on my iPhone.
PCC 1515, which represents the El Paso City Lines era of the 1950s, is lined up behind the carbarn November 9, 2018. © 2018 Peter Ehrlich
Clouds streak over the top of El Capitan as the Merced river flows by. No HDR! In an hour or two, I'll send out my newsletter and reply to my stack of emails.
Free wallpaper for over 100 of my images in 6 different screen sizes is now available!
See the 1200 pixel version!
www.flickr.com/photos/patrick-smith-photography/375438556...
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Settings etc.:
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Canon 5D Mark II
Canon 17-40L @ 17 (very wide to get it all into the frame)
30-second exposure @F13 (to show the cloud movement)
LEE soft ND grad (100x150mm) 0.75
Lee foundation kit filter holder with Lee 77mm adapter ring
No polarizer.
ISO 50
Small Slik tripod with Manfrotto pistol grip ball head
RAW file processed with Capture One by Phase One
TIFF file processed with Photoshop
Topping out at more than 3,000 feet above the 4,000 ft elevation Valley floor, El Capitan it is the largest vertical monolith of granite in the world. There are a few monoliths that are bigger on the sides of the Andes and Himalaya, but they are not pure granite. There are even larger cliffs of granite in Yosemite but they are not completely vertical. El Capitan is opposite Bridalveil Fall and is best seen from the roads in western Yosemite Valley, including Tunnel View, Bridalveil Fall area, and El Capitan Meadow.
This is a bend in the river near the meadow. I had the lens as wide as I could get it with my 10-stop dark filter on to get a very long exposure to show the clouds streaking ofer the top. This view is huge!
I waited for some clouds to streak over the top and just as they appeared, I began the exposure so they would move across the clear blue sky. I also waited for the sun to be at a near 90-degree angle to the cliff face to show more detail.
The map shows exactly where this is. It is an easy 0.5-mile hike from the nearest road. The road is actually nearby but the nearest pullout is down the road a bit. And if you miss it, you have to drive all the way around the valley on the one-way road to get back!
See my Flickr profile for a link to my newly designed website.
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© 2010 Jerry T Patterson - All Rights Reserved - No Unauthorized Use
During my Jackson Hole September 2010 fall photo shoot, I started driving around to a few areas I had scouted out earlier during the day.
By late afternoon the cottonwood and aspen trees were really starting to light up and along this drive there were many pullouts with views like this.
This is the time of year you'll notice a lot of burning as the park service in the Jackson Hole area as well as across the Tetons in eastern Idaho begin their fall burning schedule. As you can see here, the smoke flowing east from Idaho was covering the Tetons and Mt. Moran to the north.
I will be visiting this area again during my late September Jackson Hole fall photo shoot this year.
Thanks for stopping by.
While at a roadside pullout along the Icefields Parkway with a view looking to the southeast to ridges and peaks around the Columbia Icefield area. This is in Jasper National Park.
I should have taken a closer look at this one (but see the water!). Color suggest a serpentinite, as does the glossy "horn". Has to be an erosion feature, but why the saddle? Thoughts? It's near the surf-line, roughly below a scenic view pullout a short ways north of Little Pico creek. There's a rough scramble down from CA-1 that fishermen use, almost directly above this rock.
A setting looking to the south while taking in views at a roadside pullout along the Icefields Parkway in Banff National Park. Which room into the setting was the way the peaks and ridges seemingly rose high above all the nearby forest around me. I decided to zoom in with the focal length and have as much of the visible mountains and nearby forest fill the image. A little bit of the roadway was included to add a sense of perspective for the setting.
In Joshua Tree National Park at a roadside pullout with a view looking to the north-northwest across this open desert plain with Joshua Trees. What I wanted to capture with this image was to include the sage brush and patches of snow as a detailed foreground to add to the setting with the two Joshua Trees in the image center, more or less. The blue skies would then be that color contrast to complement the image with earth-tones present in the lower portion.
I followed the unmarked trail from an unmarked pullout and arrived at this vista. The view was nice but the fence was too far back for my photographic tastes, so I climbed over the fence and slowly ("very", I'm not really a risk taker) crept to the edge with visions of falling off the ledge never to be found again flashing through my head Well I finally managed to compose a frame and snap a few exposures before I skittered back to solid terra firma and could breathe again. Enjoy.
While at a roadside pullout along the Icefields Parkway with a view looking to the southeast and Mount Wilson. This is in Banff National Park. I thought on composing this image was to zoom in to focus only on the mountainside with its details and folds. I also liked how the nearby evergreen trees helped to add interest across that mountainside.
A setting looking to the northwest while taking in views across a mountain desert landscape to sandstone peaks and other formations. This was at a roadside pullout in the Red Rock Canyon National Conservation Area. With this image, I decided to focus on one of the more prominent formations of Bridge Mountain with its quite distinct colors in the rock layers. Given the high ground I was located on, I was able to capture a more leveled-on look but still have a foreground to add interest to this Mojave Desert in Nevada. Kind of a balanced view between the flatter areas to my front with the ridges and peaks off in the distance. I later worked with control points in DxO PhotoLab 6 and then made some adjustments to bring out the contrast, saturation and brightness I wanted for the final image.