Painting in the Conejos River valley in southern CO

We returned yesterday evening from a 5-day camping trip - the last trip to the high country for the year - along the Conejos River in southern Colorado.  

Monsoon activity was particularly strong on this trip, with rain every day.  Summer is quickly drawing to a close, as evidenced by the yellowing of the grasses, faded flowers, and much colder temperatures at night at the 10,000' where we camped.  

Despite two solid days of clouds and/or rain, I managed to get in four paintings, including this one, which I started on Sunday and had to wait until yesterday morning to finish.  I'm able to post it now because I took this photo on location before disassembling it from the board to take home; it is rainy and cloudy today, precluding taking photos of the others.

Morning in the Conejos River Valley - 12x24", plein air
diptych, pastel on black cardstock

Honestly, though, this is really the only painting that's probably worth posting.  The others were, of course, worthwhile to do, and helped bring my plein air painting total for the year up to 85.  

This region of the southern San Juans is quite beautiful, especially the river itself.  This view was  a few hundred meters from our campsite area, down into the wide valley itself.  I knew as soon as I walked down Saturday morning and saw the shadows and light here that this would be a painting.  

This painting brings up two questions one might ask in regards to choices made for it:

Q:  Why a diptych?  

A:  Two reasons, really.  First is purely practical - when traveling, I carry standard sized papers, always 12x12", the 8x16" prepared boards, and 12x16".  If I want to do a bigger piece in a panorama format on location, a diptych (or triptych) allows that to happen easily.  Second, there is the possibility that you could end up with two paintings that work on their own, as in this case.  That wasn't my intent here, but it is certainly is a valid method for maximizing one's time at a given location!

Q:  Why the addition of the cattle?

A:  I actually debated about whether to add them or not.  The reality is that there were actually dozens of them present in the valley both times I painted, some only 20 yards from me, so they were not added as a figment of my imagination or to cutesy up the scene.  I did decide to add them, again, for two reasons:  they instantly provide a sense of scale for the viewer, and they add some interest to an area that is a bit empty.  Their small size, number, and simple forms keep them from dominating the composition.  I didn't know until I actually started putting them in whether they would make or break the painting.   The consensus thus far is that it was a good choice to add them.

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As attractive as the area was, I took far fewer photos on this trip than I usually do.  Part of that was because it was raining so often, and the other reason is that I am not sure I would use any for reference material for studio paintings - it's just hard to do that when you've painted on location and you know you'll be back next year.

But, here are a few from our 9.5 mile hike on Sunday, between rainfalls:

Conejos Falls along the middle fork of the river

Middle fork of the Conejos 

Fringed Gentian along the river looking upstream

Unusual horned cow - breed unknown

Two plein air landscapes - waterfall and clouds, and a studio sunset - pastel

Lime Creek Falls - 16x8", plein air
pastel on black cardstock

Today's painting, from our hike up Lime Creek.  I had this piece and a 6" square piece of paper taped to my board, and decided to try a vertical format for this set of falls, rather than my usual square.

Cumulonimbus to the North - 12x12", plein air
pastel on black cardstock

Yesterday's painting, from Pastorius.  The gray Unisons I used to do most of the cloud weren't really that keen on adhering to the surface, but what can you do?  It's an occasional consequence of working on smooth paper.

Monsoon Sunset - 12x12", studio
pastel on brown cardstock

I haven't done a studio painting in months.  But, on the late afternoon of the full moon, the monsoon clouds were spectacular, so I drove south of town to get reference photos.  This one I just couldn't resist painting, so I started it yesterday after I got home from painting at Pastorius.  

Sunsets are one of those subjects I don't have a problem painting from photos; to be honest, the light changes so rapidly from "wow" to "meh" that I'm not sure how effective it would be.  I do know other painters can do it successfully.

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Full moon, taken further up this road after it turns to the left (east) and goes up a hill:

View to the north along the same road:

Painting and hiking around Lizard Head Wilderness

Back from our trip.  I spent part of the afternoon doing finishing touches on two of the paintings, by which time a monsoon storm had moved in, forcing me to wait until today to photograph them.

From this trip, I learned how to work around heavy monsoon activity:  1) paint near the car; 2) wait for any window of opportunity, no matter how small, to head out with the easel; 3) be prepared to return at a different time when the weather is amenable, to finish; 4) small paintings at camp.

First up, is my favorite from the trip.  Started Sunday afternoon during a short break in the weather, and finished up yesterday morning before we headed home, it was a "two-for-one", so to speak:

San Miguel Colors - 8x16", plein air
pastel on board with Golden pumice ground + black acrylic
© S.Johnson

This is painted from the area I mentioned in my last post:  "the meadows".  The meadows themselves were striking, with a variety of summer grasses and small meandering stream passing through.  Hills with scattered groups of spruce/fir, and aspen lead up to the base of the southern edge of the San Miguel range.

I'm always struck by the colors of the mountains within the southern San Juans (of which the San Miguels are part of).  A geology query of the San Miguel range tells me that the colorful purples, greens reds and yellows are due to the sandstones, breccias, tuffs and claystones of the San Juan Formation and Telluride Conglomerate.  Volcanic intrusions into these sedimentary layers, referred to as "stock", are what form the mountains themselves.

So, having the colorful southern edge of the mountains combined with the meadows was like being handed a gift as a painter.  But, I had to work fast:  less than 40 minutes after I set up my easel and began painting, rain started suddenly, and I was thankful I was set up 2 feet from the car...and not painting on LaCarte paper.

view from the driver's seat...two minutes earlier, I had been painting

Earlier in the day, I'd painted just down the road from this rainy view - a cabin complex situated at the end of the meadows.  I got most of it finished on location before the rain started, and pulled it out later at the campsite to work on it more between rains.

 Morgan Cabin and Dolores Peak - 12x12", plein air
pastel on black cardstock

I didn't take any photos of this cabin, but at some point (as we will be returning to this area - a new favorite for everyone), I plan to revisit this building complex from a different compositional approach.

Finally, two small pieces done from the seated comfort of our campsite yesterday morning - fun and fast, while I chatted with Sarah, and before I headed out to finish the San Miguel Colors painting:

Mountain Morning - 6x6", plein air
pastel on black cardstock

Morning Sky - 6x6", plein air
pastel on brown cardstock

Saturday was spent hiking (and dodging lightning storms).  The Kilpacker trailhead was a mile up the road from our camp, so the four of us headed out on our chosen methods of transportation:  foot and horseback.

Morning along the trail

falls along Kilpacker Creek

Sarah and Jypsi in the meadow near the Navajo Lakes trail junction

Ominous skies and tree appropriate to the mood along the steep switchback section of the trail (Sarah and Todd opted to turn back before this section, thinking it might be too narrow and of loose scree)

Navajo Lake, from the basin, almost 6.5 miles from the trailhead.  Mt. Wilson,
one of CO's fourteeners, is visible from the saddle 

We were lucky that the thunder and hailstorm we got caught in on the way back didn't last more than about 25 minutes before fading off to the west.  Lightning flashing overhead, followed by immediate loud cracks of thunder, were a reminder that hiking in the high country during monsoon season is not to be taken lightly.

Approaching the trailhead (cars in stand of trees to right), with another storm over the Yellow Mountains.  Thankfully, we were back to the RV by the time this 3-hour rainstorm hit us.

More photos from the campsite:

Saturday sunrise 

Dramatic afternoon light over the Yellow Mountains (the same in the small paintings above)

Painting around Silverton, CO

We got back yesterday from our three-night trip to Silverton, which was centered around the 4CPAP paint-out on Tuesday.

In terms of painting, it was the most productive time I've had on any trip this year:  five paintings, four of which were completed.  I decided to take on some more challenging subjects that tested my ability to correctly (or not) handle two-point perspective, and an old truck - something detailed that I've never tried to paint on location.

Here they are, in the order painted.

From Monday evening, done at Molas Lake, which is near where we spent the first night:

Clearing Skies Over the Grenadiers - 12x12", plein air
pastel on black cardstock

 On Tuesday, in town.  If you want to paint old buildings and attractive buildings, there are probably few better places than Silverton.  There were fancier houses, for sure, but for some reason I was drawn to this modest red house with corrugated siding and roof.  And, the weathered facade of the historical building to its left.

West 13th Street, Silverton - 12x12", plein air
pastel on black cardstock

Despite spending a significant amount of time to make sure the perspective was accurate, guess what:  there are still areas that were off.  It was helpful to have people look at this during the critique session because errors, even small ones, are more apparent to fresh set of eyes.

Night two was spent at the Mineral Creek campground, about 8 miles west of town.  It's also where the trail to Ice Lakes begins.  The area right around the campground is scenic, but not for painting purposes.  But, following the dirt road west brings you to this open view:

Last Light Along the Road to Rico - 12x12", plein air
pastel on black cardstock

This was one of those many times my pastels just weren't cutting it, in terms of value and temperature needed.  That conifer-covered slope to the left?  The top part is in sun, while the meadowy slope on the right was in shade.   It was the best I could do with what I've got to work with.

Wednesday morning, we headed back into Silverton so Wayne could work and I decided to try and paint one of these fabulous old trucks that I'd seen Sharon painting on Tuesday.  Her painting, in oils, turned out great, and I was inspired to try it myself.

Not finished, but I wanted to share it anyway.  And, I got photos of the rest of the trucks, and I'm thinking they will be great to paint in the studio this winter.

Retired Workhorse - 8x16"
pastel on board with Golden pumice ground + black acrylic

For night three, we headed east of town to an area known as Cunningham Gulch.  It's popular with everyone:  hikers, equestrians, trail runners and those who prefer to use gasoline-powered vehicles.

We hiked up the trail towards Highland Mary Lakes, which are above timberline and not something we were enthusiastic about doing with the threat of a monsoon storm, but it was a great hike anyway.  I brought my tripod and ND filter, and got some good waterfall photos.

After we got back, I decided this view a few meters down from our campsite warranted a painting:

Cunningham Gulch - 12x12", plein air
pastel on black cardstock

Silverton is so named for all the mining that took place in the area.  Some of the orange areas along the side of the mountain are from mine tailings.  The mountain itself presented an interesting challenge to paint, to balance detail with the need to simplify things.

These paintings, along with a few others that are finished, nearly finished and not posted, brings my total to 60 so far!  So, I'm well on my way to my 100-painting goal for this year.

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Photos from the trip:

Rare pink version of the Colorado columbine

Two of the old trucks in town

Falls #1 - Cunningham Creek, along the trail to Highland Mary Lakes

Falls #2 - Cunningham Creek

Gathering of Coronis Fritillaries

Final falls on Cunningham creek, just below timberline

View of Cunningham Gulch from the creek near the trail

Painting along the Rio Grande, and Treasure Falls in photos

Another long weekend trip in the mountains, this time crossing the Continental Divide.

Destination:  the Rio Grande Reservoir area, located about 25 miles west of Creed, CO.  Friends Sarah and Todd left last Tuesday and secured a primo spot about 30' away from the Rio Grande river, and we met them there on Thursday.

My goal was to do four paintings while there; I ended up completing two and getting maybe half way through a third that I probably won't finish, but may try later as a studio painting.  

The three issues that put a damper on an otherwise great trip were:  1) smoke from the 6-week old Little Sand fire, burning in a canyon near the Piedra river near Pagosa Springs that ranged from minor haze to headache-causing; 2) the massive die-off of spruce and fir due to bark beetles; 3) ants...but not like any ants I've ever dealt with.  These were everywhere, and literally dictated the few places I could paint.  These were large black and red ants, aggressive and territorial.  Stand anywhere near where they were, and within seconds, they were on your shoes, socks, clothing, skin - immediately biting.  Thankfully, no stingers on these, but good grief - it was a major hassle to try and paint!   

On to the paintings.  This first one, done the day we got to the camp, is one I'm quite pleased with.  I loved the view immediately, and that pair of trees - a blue spruce and Douglas fir behind - were the perfect accompaniment to the curving braid of the Rio Grande.

Rio Grande View - 12x12"
pastel on sanded black cardstock
© S.Johnson

The next morning, I decided to do a morning painting to take advantage of the lack of wind to do reflections.  I'm almost out of my 12x18" Artagain, so I've been sticking with the 12x12" or the 8.5x11" (which I managed to forget to bring on this trip), or occasionally, the 8x16" handmade boards with Golden pumice grit.  

Anyway, I can make many things work with a square composition, but this wasn't one of them.   I think you can see the appeal of this:

Side Creek Reflections

I've cropped this to a 16x12" format, and like it much better.  This is an offshoot creek of the Rio Grand that has lots of still water, these fabulous reflections, and surprisingly, many large cutthroat trout.  I enjoyed watching them dash around grabbing whatever insects made landings in the water while I painted.  They have surely tempted many an angler with their size and abundance (I counted 14, most over 8"), but they didn't get that big by biting on flies and lures.

Later in the afternoon, I went back down to the same area I'd painted the first day, this time to capture the view upstream.  This was one of those paintings that fell short of expectations, for various reasons.  The hardest part was trying to paint that whole mid-ground of dead spruce.

Riverside Spruce - 16x8"
pastel on board with Golden pumice ground + black acrylic
© S.Johnson

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Some of the few photos I ended up keeping from the trip:

Shooting Star - the first time I've seen this flower in 35 years

Wayne fishing along the Rio Grande above the reservoir

 Series of photos of Treasure Falls, located along Hwy 160, about 3 miles west of Wolf Creek Pass:

Capturing whitewater - plein air and photos, plus DIY ND filter

Today's painting was apropos to my plan, as promised, photos of moving water taken with an inexpensive, homemade ND filter.

Low Water Riffles - 12x12"
pastel on black cardstock
© S.Johnson

Titled for the fact that our river is at record lows for this time of the year, thanks to a lower than average snowpack.  The result is more river rocks exposed and lots more whitewater.  Made for a somewhat complex and busy painting, but as always, the process was valuable.  New location for this painting - near Rotary Park and north of the downtown area.

Now, on to the photography part of the post.  As much as I enjoyed doing the paintings along Cascade, I was almost more excited to indulge in a photography bender using this ND filter I mentioned, so I carried my tripod, both camera lenses and the streamlined plein air get-up on our Friday hike, specifically so I could take photos of the falls we'd seen the week before.

For those who aren't familiar with this particular piece of equipment, this Wikipedia entry explains it better than I can.  When photographing moving water in normal sunlight conditions, you need an ND filter in order to obtain the soft water effect:

Limestone Steps
1/50 sec @ f/22 - no filter

Limestone Steps, Cascade Creek
0.5 sec @ f/22 + filter

Maybe not everyone likes the soft water effect in photos, but I love it.  Always have.

As you can see, even stopped down to the smallest aperture (like other gauges, the larger the f-stop #, the smaller the aperture; for my 18-70mm lens, f/22 is as small as it gets), the shutter speed is still to fast to produce that effect.

Enter the ND filter.  Why make your own?  Because they can be pricy - most run $50+.  On the outdoor forum I read, someone posted about making one that cost less than $10, and I was all about that.

Here's all you need:

L to R:  cement, step-up ring for your camera lens ($3.47 - amazon.com),
duct tape, piece of welding mask glass, Shade 5 (~$6.00, from local welding supply shop)
It's shown on this log because I bought the tape and cement on my way out of town, and assembled it in the RV at the campsite.

Here's what the filter looks like before I added the tape.  You can't tell from this photo, but the glass is actually green - it's like looking through a dark pair of Ray Ban wayfarer sunglasses :).  It screws right on to the end of my lens:

Do-it-yourself Neutral Density filter

I used it to shoot Engine Falls on our hike up the trail, but after I'd finished, I discovered a better compositional location, and taking advantage of a cloud covering the sun on the way back, I slipped back up the spur trail and shot this photo without the filter - I won't use it if I don't have to!

Engine Falls
f/22 @ 0.625 sec

Here are some other favorites, all shot on Saturday when it was too cloudy to paint, at various locations along the trail and right where Hwy 550 crosses the creek, and all with the filter, at a variety of shutter speeds (all chosen by the camera's internal meter - I always shoot Aperture Priority for these types of shots):

f/22 @ 0.4 sec

f/22 @ 0.5 sec

f/20 @ 3.6 sec.

f/20 @ 6 seconds

Here's a shot from our campsite late in the afternoon, also without the filter:

Orange lichen and the green pool
f/22 @ 0.4 sec

As someone who appreciates others sharing their "how-to" and "DIY" tips and techniques, I wanted to do the same for anyone reading who might be interested, or knows anyone else that is.  Another thing important to note:  as this is not technically a "neutral" density filter, but a green one, the images will have a strong green tint to them.  Shoot in RAW format, and use any editing software to adjust the hue and temperature as needed, and it's not an issue.