I received notice of IStock acceptance of select photographs from my last posting, “Wilderness Textures”, was accepted. Click to view my IStock Portfolio, including photographs from today’s posting included in the acceptance notice.
In this post I move up the Reavis Creek canyon from where the last posting, “Wilderness Textures”, was sited to the foot of Reavis Falls. With the first photograph you look up at the falls from the head of the canyon carved by the creek over eons. The rock wall, the canyon “head”, is thick with microorganisms, fungi, mosses.
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In the foreground is a jumble of boulders, some washed down at flood time, spread wide at the bottom of the falls, piled to a jumbled height of 15 feet.
Talus is the geological term for this formation. Derived from the Latin word for slope (talutum) the definition, from the Oxford English Dictionary, is “A sloping mass of detritus lying at the base of a cliff or the like consisting of material fallen from its face.”
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The ankle bone is also called talus, from the French word for heel, I bring it up because climbing this chaotic, unstable jumble is a way to break your ankle. The route to Reavis Falls, a climb up one side of Lime Mountain then down the other on a non-existent (lightly marked) trail, is rated difficult and impossible with a broken leg or ankle. I was alone and very careful to check each rock for stability before putting my weight on it.
A climb of the talus pile was necessary to view the pool at the waterfall base, for this photograph.
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A more artistic vertical format version, below, captured with the Canon EF 100mm “macro” lens. All shots are using the Kodak DCS pro SLR-c (the “c” designated Canon lens compatibility) and a Manfrotto studio tripod with a hydrostatic ball head. The horizontal format shot was captured with a Canon EF 50mm f/1.4 USM lens. I prefer the vertical version, artistically, because the talus jumble is all but cropped out while the upper corner of the angular basalt boulder is left as an interesting focal point. The boulder, not being in the spray, is in focus to contrast with the basalt wall behind the water.
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I captured a series of shots from this precarious vantage point, working up from the pool to the brim of the waterfall.
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My goals was a composite photo of the falls. I have yet to succeed with this project. Maybe I will give it one more shot in spite of having learned the hard lesson the best photographs are a single moment captured in a single frame.
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I find in this series the vertical aspect is more artistic. The water volume, of the falls, at this time of year offers only the finest of sprays with most of the basalt rock wall only moist. The 100mm “macro” lens allowed me to include only the falling water with a bit of the moist wall for contrast.
In the following version I experimented with color, moving from the narrow range of hues, to more contrast.
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Here’s another of my Arizona wilderness adventures, “Racing the Sun.”
