I attempted one Fourteener in mid-May of 2008,
Quandary Peak, but failed to reach the summit before sunrise. Not that it mattered ‒ a dense band of clouds blocked
the sunrise light. Photographically speaking, I came back almost empty-handed. Then, in early June, after 14 active
months with no symptoms whatsoever, my herniated disc problems resurfaced. By July 1, the initial twinges had progressed
to real pain. I started intensive physical therapy and began making excruciatingly slow progress. In early August,
however, I suffered a major setback that reset the healing clock back to zero. It became clear to me that I was unlikely
to beat the problem on my own a second time. In late August I underwent back surgery, reherniated the disc three days
later despite taking utmost care to prevent just such a catastrophe, and had to go through the whole surgical procedure again.
Shooting sunrise from a Fourteener that fall was obviously out of the question. During the fall and winter I gradually
rebuilt my strength, flexibility and endurance and by the time the summer flower season rolled around in mid-July, I was ready
to go. My first stop was a repeat visit to Chicago
Basin, where I had spent five days three years earlier, in the summer of 2006. On that trip, I was working with a 4x5
field camera, and shot only images composed in the traditional rectangular format. In the three years since, advancing
age, advancing technology and two back surgeries had finally persuaded me to switch to digital capture, and I was now working
with Canon's flagship DSLR, a 21-megapixel EOS 1Ds Mark III. Although not light, the camera system was much lighter
than my 4x5 setup. The switch to digital had opened up a new possibility for a Fourteener sunrise shoot: a 180-degree
panorama from sunrise to moonset, stitched together from multiple, overlapping frames. I had first started exploring
this idea the previous November, studying maps in search of suitable vantage points and trying to visualize the best way to
compose such a long and skinny panorama. Each full moon for the last six months, I had tried to shoot some variation
of this idea, but had always been defeated by dense clouds that hid the moon, or sun, or both. I was itching to get
my first crack at shooting such a panorama in summer, when I hoped the weather would be more cooperative.
Digital capture had a further advantage: it would allow me to shoot three frames at each camera position and use HDR
(high dynamic range) software to combine the three exposures into one image with the best shadow and highlight detail possible.
After merging the three frames shot from each camera position in Photomatix, the HDR software I use, I could use Photoshop's
Photomerge utility to stitch the merged frames together and create a seamless, 180-degree panorama with excellent shadow and
highlight detail despite the extreme range in brightness across the scene.
Before doing any of that, however, I first had to climb Windom again in the dark. Significant snowfields were still
draped over portions of the summer climbing route. Fortunately, I had hauled an ice axe and crampons in with me, because
the snowfields at 13,000 feet at 4 am were rock-hard, and there was no way to kick a step. Properly equipped, however,
the climb was easy. I had timed my shoot, of course, to coincide with the full moon. On my first try the moon
was just barely above the horizon at sunrise, and its pale white disc was almost lost against the bright white sky near the
horizon. I tried again the next day, when the moon was higher in the sky at sunrise, and was rewarded with this image,
which shows, from right to left, sunrise over the valley of Vallecito Creek, then Sunlight Spire, Sunlight, North Eolus and
Eolus, followed by moonset over Chicago Basin. This is the first successful sunrise-to-moonset panorama I have ever
shot. Read about my next Fourteener shoot, on Handies Peak
Windom Peak Panorama is available as a 9.5x30, 12.5x40, 19x60
and 22.75x72 inch print. The 9.5x30 and 12.5x40 prints are available loose, matted-only and framed. The 19x60
and 22.75x72 inch prints are available loose and framed. (They are too big to be matted.)
To order any of the loose sizes, or to order a 9.5x30
inch matted-only or 9.5x30 framed piece, please visit my product catalog by clicking the link beneath the appropriate
thumbnail. These prints are available to order online.
Important note on shipping: All matted-only and framed prints
larger than 9.5x30 are too big to be shipped via FedEx ground and too big to fit in any standard-size art box. While
these prints can be shipped, they require a custom-made crate and the cost is exorbitant ($300+). I strongly suggest
that all customers who live outside the Denver metro area and who wish to purchase a print larger than 9.5x30 buy the loose
version and take it to the custom frame shop of their choosing. I will glady provide detailed instructions to the framer
on the moulding I use and my preferred method of mounting and framing the piece.
For customers who live in the Denver
metro area, I will personally deliver any matted-only or framed print larger than 9.5x30 for a delivery charge of $1.50
per mile based on round-trip mileage. Alternatively, Denver-area customers can arrange to pick up their print at
my home office in south Boulder. For more information, please call 303 499-3009 or email me.
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12.5x40 matted-only print of Windom Peak Panorama. To order, call 303 499-3009 or email me.
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12.5x40 framed print of Windom Peak Panorama. To order, call 303 499-3009 or email me.
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19x60 loose print of Windom Peak Panorama
22.75x72 loose print of Windom Peak Panorama
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19x60 framed print of Windom Peak Panorama.
To order, call 303 499-3009 or email me.
22.75x72 framed print of Windom Peak Panorama. To order, call 303 499-3009
or email me.
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