View allAll Photos Tagged pullout
It was our next to last day and the forecast called for colder temps to usher into the region and there was a chance for rain/snow in higher elevations. I had my fingers crossed for some snow. We woke up early to photograph a few areas of the park and when I walked out of our hotel and saw a nearby mountain with snow covering it, my face lit up with joy. We scraped the car off and away we went to a few spots I had mapped out for us to visit. This was shot around 8am even though it looks like mid afternoon.
This spot has a pullout for cars to park and take in the scenery and while those spots are fine, I chose to scale down the short hill to the river's edge. It was here that I was able to get a better reflection of the water that morning. The clouds curling over the mountains added that special touch.
Mike D.
In Joshua Tree National Park with a view looking to the south-southwest across a mountain desert landscape with Joshua Trees and other plant-life present. This was at a roadside pullout. My thought of composing this image was to have the foreground filled with Joshua Trees and have that continue as part of the landscape leading up to the more distant ridges and peaks.
Driving through Arkansas and stopped at a pullout on the road. Pretty sure I could never find this place again since we were going down roads that according to the GPS didn't exist! Anyhow, we stopped and had a really nice lunch next to this pond.
There's some beautiful spots in Arkansas but you'll need a real sense of adventure to find them!
At a roadside pullout along Montana Highway 17 with a view looking to the west to ridges and peaks of the Northern Lewis Range with Bear Mountain, Mount Cleveland, and Kaina Mountain (as identified using the PeakVisor app on my iPhone). This is in Glacier National Park not far from the US-Canadian border.
Looking east along a rain wet Going-to-the-Sun Highway in Glacier National Park on an August afternoon. Completed in 1932, the spectacular, 50 mile long Going-to-the-Sun Road bisects the park east to west. The paved two-lane highway spans the width of Glacier National Park and crosses the Continental Divide at 6,646-foot-high Logan Pass. It passes large glacial lakes and cedar forests in the lower valleys; canyons and cliffs; culminating at the windswept alpine tundra atop the pass. Scenic viewpoints and pullouts line the road offering dramatic views and photo opportunities. One thing I found interesting is that the view from the road varies depending on the direction you are traveling.
The road is nationally significant for its design and monumental engineering accomplishments. The original roadbed, bridges, tunnels, culverts, retaining walls, and guard walls were built in the “NPS Rustic” style. Individually, these structures are often significant examples of period engineering and design philosophy; collectively, they comprise a vital, integral component of the road’s unique character. Most of these structures were designed to harmonize with the roadway setting by using native materials and by blending with landforms as much as possible.The Going-To-The-Sun Road is a National Historic Landmark, is included in the National Register of Historic Places and is a National Historic Civil Engineering Landmark.
On a roadside pullout on the Basin Road into the Chisos Mountains with a view looking to the southeast. My thinking in composing this image was a layered approach with nearby plant-life in the foreground and then the mountainside, eroded volcanic remnants and peaks with blue skies above. The latter would be a color contrast to complement the more earth-tone present in the lower part of the image.
Along the Pacific Rim Hwy and on the way toward Sproat Lake is the Sproat River. This delivered a great deal of fun albeit a very challenging situation. It was raining but the opportunity to achieve some different work was in front of my lens. We parked at a pullout and I made my way toward the river.
A waterfalls is cascading to the right but this was my first look at the area. The wet slippery rock made it far too dangerous to sit on the edge for a waterfalls shot, so instead this one illustrates how the rock and forest blend with a mountain in the distance.
When the danger of the shot outweighs returning to the car, I find solace that tomorrow will deliver an equally beautiful opportunity. I just have to be there
At a roadside pullout just off Nevada Hwy 50 with a view looking to the southwest and the mountains in Great Basin National Park. This was one of several images I captured using the LCD screen on my Nikon SLR camera to line up the center stripe and road with the more distant ridges and peaks. It was as I began working on the image in post production that I then decided to once again try out the sky replacement setting in Photoshop with this image. The sunset and colors with the clouds seemed appropriate for this national park setting. So the skies are part of the Adobe stock images in Photoshop but all else is captured with my Nikon D850 SLR camera. I later worked with control points in DxO PhotoLab 5 and then made some adjustments to bring out the contrast, saturation and brightness I wanted for the final image.
A setting looking to the north from a roadside pullout along the main Scenic Drive in this part of Capitol Reef National Park. My thinking in composing this image was to focus on this one section of monocline cliff wall off in the distance and angle my Nikon SLR camera slightly downward to bring that higher into the image and create more of a sense of grandeur with it. I couldn't avoid including the asphalt road, but it did kind of add a leading line feel to draw the viewer into the image.
A setting looking to the north while taking in views across the northern New Mexico high desert with a distant view to the Shiprock formation. This is at a parking area pullout along Indian Service Rte 13.
Schooner Creek pullout, Lincoln County, OR. 12-3-16.
Continuing bird in Siletz Bay at the Schooner Creek pullout.
2nd ABA record and 1st state record. Fun seeing this bird especially after arriving at Crescent City a day too late last year.
A setting looking to the south while taking in views across eroded formations and sandstone buttes in this southern Utah high desert landscape. This is at a roadside pullout along U.S. Highway 163 with a view looking to Brighams Tomb, Stagecoach, and King-on-his-Throne.
I spent a few days up on the Blue Ridge Parkway last week. We missed the Rodadenrums by a week. The weather was so much cooler than here in Florida. It was really nice but we did have a lot of fog, which moves in quickly and was very thick. I'm not really used to driving in those weather conditions and found it challenging. It can add a great element if you are in the right place at the right time.
This is the Tanawha Trail Foot Bridge at the Rough Ridge pullout on the Blue RidgeParkway outside of Boone, N.C./Grandfather Mountain.
A mini stop on our explorations last Sunday. Just a small pullout at this gate and initially it was to get a better look at a small barn standing alone out in this huge field with the backdrop of a mountain. But in the end I was more impressed by this view which is looking to the right of the barn. A glorious day weather wise and in all other respects!
BN 7159 and 3 others start their eastbound trip out of Northtown Yard on an October afternoon. Still looks pretty much like a late BN scene here at 35th with all the power here including the BN SD9s resting between Pullout duties. The only thing that points to BNSF is headlight on the 7159. Some BN engines got the Santa Fe influenced nose headlight pretty quickly after the merger, before paint or patching.
At a roadside pullout along the Everitt Memorial Highway in Shasta-Trinity National Forest with a view looking to the northeast. Mount Shasta is the backdrop for this picturesque setting with a forest of pines and evergreen trees nearby.
A trio ex-GN SD9s are the power on a BNCP Transfer on a morning in June 1995. BN 6121, 6117, 6119 are in charge of the train on this day as they depart Northtown Yard using the South Runner up to University to access the mainline. The BN 6121 had this primitive Operation Lifesaver banner on the railings in the 1990s as it worked around Northtown.
The power on this transfer to St. Paul and back was set up both ways long hood forward. Most of the SD9s around Northtown were ex-GN and ran long hood forward into the BNSF era, just as Rocky intended. These ex-GN high hoods sure sounded great either in singles on Pullout Jobs or in trios on transfers.
A setting looking to the west while taking in views of Red Canyon Arch at a roadside pullout along Utah Scenic Byway 12. My thinking in composing this image was to pull back on the focal length to include some of the nearby landscape with hillsides and evergreen trees and use the blue skies with clouds as a backdrop.
The drive from Flagstaff to Sedona along Arizona 89A is breathtaking in more ways than one with steep descents and hairpin turns through a canyon following the rushing water of Oak Creek. The distance is only 30 miles but if you make it in less than an hour you are going too fast to appreciate the scenery. It took me more than two hours as I stopped at almost every pullout along the way with a path down to the water. This stop featured a cooperative Steller's Jay (an oxymoron in my experience), perhaps taking pleasure in my struggle with the harsh noonday light.
While at a roadside pullout along the Alpine Loop Scenic Backway with a view looking down and across American Fork Canyon. This view is a look to west and is in Uinta-Wasatch-Cache National Forest. My thought on composing this image was to take advantage of the canyon with its steep sides coming off the mountainsides as a leading line into the image. My other thought was how the ridges and spurs coming off those mountainside helped to create a layered look with one coming after the other. The rest was later making adjustments with control points in DxO PhotoLab 5 to bring out the contrast, saturation and brightness I wanted for the final image.
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After a beautiful morning at Shipwreck Beach, what could possibly be better? If you are on Kauai the supply of breathtaking experiences and views is endless and so it was on this day. Even roadside attraction that require absolutely no effort can steal your heart. Just look at the view from a very low-key roadside pullout on Kaumualii Highway (or Hwy 50) ... #etbtsy
How do you not stop and gaze in awe every time you pass by?
While at a roadside pullout along the Akamina Parkway in Waterton Lakes National Park. The setting is with a view looking to the southwest to a small waterfall with Cameron Creek.
A setting looking up and to the northeast while taking in views of nearby coastal redwoods at a roadside pullout at the Mahan Plaque parking area along the Avenue of the Giants (California 254) in Humboldt Redwoods State Park. What I wanted to capture with this image was the look of the redwood trees as the road cut through the forest, I focused on the lower portions with the tree and used the road as a leading line into the image.
A setting looking to the southeast while taking in views across a nearby forest to the more distant ridges and peaks with Mount Rundle (Rundle Peaks). This is at a roadside pullout along Trans-Canada Highway 1at the Vermilion Lakes Viewpoint in Banff National Park.
On Hwy 5A there is a pullout at Napier lake. This is the view from there except don't be disappointed if the rocks don't have holes in them.
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I just returned from a 10 day shoot in the Lofoten Islands, centered on the spring equinox. The spring and autumnal equinoxes are supposedly the most active times for the aurora, and that certainly played out during my trip.
One of the things you don't really think about until you're out shooting is how much some foreground light can really help a night scene, be it the Milky Way or the Aurora. A completely black sky can make the foreground elements extremely noisy, if not impossible to see. I took this shot from a pullout on the very edge of the village of Ramberg (pop. 350), which provided a nice glow on the mountains on this calm moonless night.
Doug Harrop Photography • August 9, 1974
Utah Railway 304, 306, and 305 pull a coal train through the gooseneck curves east of Kyune, Utah in Price Canyon. A pair of Alcos were shoving on the rear of the train, ahead of the caboose.
First time visitors to Price Canyon are surprised to see how easily accessible this location is. In fact, when the highway was repaved a few years ago, and new guardrails were installed, a short pullout was built right there.
The spectacular beauty of these shoreline rock formations outside Sainte-Félicité, Quebec, hides the sad history of this area during WW2. German submarines launched deadly attacks against Allied merchant ships in the summer of 1942 along this shore, in the Gulf of St. Lawrence. To keep shipping safe, at all times from sunset to sunrise, a strict blackout was applied from the village of Isle-Verte along this shoreline to Gaspé. Every light source including windows of homes, vehicle headlights and streetlight visible from the St. Lawrence had to be blacked out. In addition, during the summer of 1943 a series of Secret Radar Stations seeking to detect enemy submarines were set up along this stretch of shoreline. A brand-new radar technology was introduced; GL MARKIII microwave radar was able to detect submarine conning towers in the waters of the St. Lawrence.
This historical account is found along the roadside pullout’s interpretation boards of Hwy 132.
- Confucius.
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While I had heard about the painted desert of Arizona, I had no idea where exactly it was located until we took an impromptu tour of the beautiful Petrified Forest National Park. We decided to drive from the park's northern entrance to the south and passed through the Painted Desert's southern parts. To see it for the first time, even under the horrible midday sun, took our breath away.
As I stopped at pullout after pullout, I was kicking myself for not allocating more time at the park, but some hope lingered in the form of clouds. Even in the desert, the clouds give you a chance at good light when they hide the sun for a few minutes. Finally, I got my wish after waiting around and wasting a couple of opportunities to get my settings right. This is one of the images that I felt happy about, and to add the cherry on the top I had a bird fly through the frame just as it took the image.
Leaving Yarmouth for a moment, this road side wonder required a momentary pullout. The light on a field off a secondary road caught my attention, as it danced like a whirling dervish. I set my tripod down and watched as this dance of light continued to move about on nature's stage. When I was better able to predict its movement because of the clouds, my tripod was set accordingly. Now waiting on this dancer to land in place, the moment of truth was seconds away.
When it landed on the distant trees, they changed color and became the main subject. No longer just a contributing element, instead they were under the "spot light" and the "Sufi Man", or dancer of the Dervish. As well, today is post #4,000 and I thank you for the many visits,
While at a roadside pullout along Tioga Road with a view looking to the south to ridges and peaks of the Sierra Nevada mountains in this part of the Inyo National Forest. Tioga Peak is the prominent peak off in the upper image right.
At a roadside pullout along the Montana Highway 17/ Chief Mountain Hwy with a view looking to the namesake peak and west. This is in the unincorporated area of Babb, Montana. My thinking in composing this image was to focus on the portion of the peak rising above a nearby ridge and hillside. Given the overcast skies that day, I exposed for the peak itself, not wanting to loose any details present. I knew I could later use the ClearView Plus in DxO PhotoLab 7 to bring that out in the final image.
A setting looking to the north while taking in views across the northern New Mexico high desert with a distant view to the Shiprock formation. This is at a parking area pullout along Indian Service Rte 13. My thought on composing this image was to find a balance on the focal length in pulling it back to include some of the nearby surrounding landscape to add to the image captured while also having the Shiprock formation itself fill most of the image.
The crew. Pullout at Alaska Hwy just north of MP 1252.
Tetlin National Wildlife Refuge. Plus 2F with a stiff wind.
December 10, 2018.
9 Days, 4 Dogs, 2,558 Miles. Day 2 (Tok AK to Haines Jct YT).
This was my first effort with the D7ii while driving to Moab for three days of shooting. I wasn't expecting this kind of a view or drive to Moab. I decided to go this route instead of a Southern one and wasn't sure if I made the right choice. I was driving above snow level without chains and the first thing that you see coming out of the tunnel at the top of the mountain is: Watch out for patches of ice.
Luckily, there weren't any icy patches while I was driving in the middle of the day and I made it through ok. I drove through Silverthorne and saw this amazing view with a pullout. This is Dillon Reservoir and it was a nice sight to see after driving slowly through the pass. I dropped down in elevation after this stop and the desert plains took over.
An incredible moment of amazing cloud formation along with a fiery sunset came while driving through Sedona to our hotel. We just found the first pullout on the road to try and grab some quick photos.
While at a roadside pullout along Artists Dr with a view looking to the northeast to one of the many multi-colored mountainsides around the Artist Palette Peak area. This is in Death Valley National Park. My thought on composing this image was a more or less leveled-on view of the mountainside with that many colors, while using the blues of the skies above as a color contrast to complement the earth-tones on the mountainside.
While at a roadside pullout along the Alpine Loop Scenic Backway in the Uinta-Wasatch-Cache National Forest. The view is looking to the south-southeast at a nearby aspen forest. My thought on composing this image was to zoom in with the focal length and have that forest fill the image from edge to edge.
A setting looking to the southwest while taking in views across a forest and hillsides leading up to more distant mountains. This is along a roadside pullout along the Alpine Loop Scenic Backway in Uinta-Wasatch-Cache National Forest. The rest of my thoughts were composing an image with a sweeping view from the higher ground I was on and across this national forest landscape leading up to the ridges and peaks. I later worked with control points in DxO PhotoLab 5 and then made some adjustments to bring out the contrast, saturation and brightness I wanted for the final image.
While at a roadside pullout along Texas State Highway 54 with a view looking to the southwest with the upper peaks and ridges caught in sunlight. This is mid-morning but the sun had only just broke through low clouds to the east from the more recent rain storms.
A view looking to the southeast from a roadside pullout along the Akamina Parkway. This is in Waterton Lakes National Park but the distant peaks are in the US in Glacier National Park. In composing this image, I liked how the two nearby mountainsides formed a V and helped to frame a look beyond to the more distant peaks.
A setting looking to the southwest to a nearby creek with some rapids from s set of small waterfalls. This is at a roadside pullout along the Akamina Parkway in Waterton Lakes National Park. My thought on composing this image was to use the creek and the water is flowing by as a leading line into the image and forest. I wanted to balance both sides of the grassy meadow and have the forest just above the waterfalls which I placed more or less centered in the image. For post-processing, I chose to work with Aurora HDR Pro to better bring that complete color setting in the image. I later exported a TIFF image to DxO PhotoLab 6 where I did some final adjustments with contrast, saturation and brightness for the final image.
This was taken from a pullout looking North towards the Green River. The point on the right is the Green River Overlook and the Candlestick Tower is in the distance. This view also gives you a sense of how much erosion has occurred here over the centuries. After this stop, I continued down the Island in the Sky Road to the Grand View Overlook.
While at a roadside pullout along Donaldson Rd with a view looking south and down the dirt road to more distant snowcapped ridges and peaks of the San Bernardino Mountain. The blues of the skies and whites on the mountainside, I felt, helped to create a color contrast to compliment the more earth-tones in the lower portion of the image. After doing some post-production work with control points in DxO PhotoLab 6 and making some adjustments to bring out the contrast, saturation and brightness I wanted, I cropped a portion of the foreground to create a wide-angle and panoramic feel to the image.
From a roadside pullout along Texas State Highway 118 with a view looking north. My thinking in composing this image was to capture a look to a far off point with the highway and center strip as a leading line into the image. By getting down low and also using LiveView with the swiveled-out screen, I was able to capture a more sweeping view across this West Texas landscape. I later worked with control points in DxO PhotoLab 5 and then made some adjustments to bring out the contrast, saturation and brightness I wanted for the final image.