If you ever fly from Mendoza, Argentina to Santiago, Chile, do this:
Ask for a window seat on the right side of the plane, near the very front or near the tail (so the wing doesn’t block the view).
Then, hope for the best.
Our plane was a full three hours late in taking off out of Mendoza, but that seemed to work out perfectly for the evening light. The huge thunderstorms were dissipating and the last rays of the sun were kissing the upper slopes of the “Giant of the South” as we cruised by just a few thousand feet higher than its 22,841′ (6,961m) summit.
NOTE: Shooting through a thick airplane window, though, doesn’t yield the best picture quality–especially if you are after a large print. For some tips on shooting through airliner plexiglas, see my post, “Aconcagua and Shooting Through Airplane Windows“, dated April 16, 2014.
–Layering in PS: Played a lot with the placement of the three images within one another as well as the opacity of each layer.
–Camera: Sony RX100iv. Awesome little street camera–although the files don’t have near the adjustability of my Nikon D800 files (of course!) they are still pretty darn good coming from such a small package.
They do have high winds in the Andes…and they have lots of monstrous landslides due to heavy erosion and high seismic activity.
So, which might be the explanation here?
Or, Example B:
Yes, I know that we have little bubble levels in our cameras and tripod heads, but…with single images, I tend to compose based on what I see in the viewfinder rather than whatever the real horizon might be. This can be especially funky in places where the landscape slopes up or downhill across your intended photograph (like our Front Range, for example).
Solution? Try a multitude of compositions with various horizon tilts and see what they look like later on your big screen at home. The LCD may be too tiny to be helpful in this circumstance.
Another idea is to leave extra space around your composition in case you need to tilt it a bit one way or t’other–this way you have room to tilt and crop.
Caveat: If you want to stitch together some images for a panorama, or you are an architectural photographer, then a bubble level might indeed be very useful for you.
Last Saturday was the grand wedding in Mendoza, Argentina–the principal reason we traveled down under to the southern hemisphere.
Felicitaciones, Emilio y Sol!!!
Above you see the novio and novia in a somewhat atypical pose–a pose that I kind of like. Could it be somewhat symbolic of how we all sort of launch ourselves into long-term relationships and, yes, marriage with our eyes metaphorically closed…our hearts bursting with tremendous joy, hope, and expectations–but not really knowing what might be in store for us?
I have to admit that I have stolen the eyes closed idea directly from Cole Thompson and his With Eyes Shut portfolio. Check out those links to see just how effective such portraits can be–very unique work by Cole.
Atahualpa Yupanqui (“ahtah-WALL-pah you-Pan-key”) was arguably the most important figure in the history of Argentine folklore music. You might think of this genre as Argentine “country music” but is more than that, being a form of yearning poetry when at its finest. On oral tradition, it has its original roots in indigenous and afro-hispanic colonial times, thereafter being filtered through the trials and tragedies of the gaucho experience.
I’m not completely sure why, but it was this late-afternoon cloud and sunburst over the pre-Cordillera above Mendoza that made me think of him and his music…his simple but lyrical refrains so very much tied to the expansive and often harsh landscape of the Argentine desert and pampas.
Atahualpa was of an earlier generation (b.1908 – d.1992), so he might best be considered a sort of “founding father” of this música folclórica argentina–much like Bill Monroe is considered by many to be the patriarch for bluegrass in the U.S. of A.
To animate my cloud-landscape photograph above, here is one Atahualpa example, along with my attempted translation of the essence (not the literal meaning) of the lyrics, and a music video:
El arriero (The gaucho)
En las arenas bailan los remolinos, (In the dry sands the dust devils dance,) El sol juega en el brillo del pedregal, (The hot sun plays in the shimmer of the rocky ground,) Y prendido a la magia de los caminos, (And bewitched by the magic of the trails,) El arriero va, el arriero va. (The gaucho rides, the gaucho rides.)
Es bandera de niebla su poncho al viento, (His poncho is a ghost banner in the wind,) Lo saludan las flautas del pajonal, (The waving grasses of the prairie greet him,) Y apurando a la tropa por esos cerros, (And hurrying his herd through the hills,) El arriero va, el arriero va. (The gaucho rides, the gaucho rides.)
Las penas y las vaquitas, (His sorrows and the little cows,) Se van por la misma senda, (They travel the same path,) Las penas y las vaquitas, (His sorrows and the little cows,) Se van por la misma senda, (They travel the same path,) Las penas son de nosotros, (The sorrows are for him,) Las vaquitas son ajenas, (The cows are for others,) Las penas son de nosotros, (The sorrows are for him,) Las vaquitas son ajenas… (The cows are for others…)
[NOTE: An “arriero” is often translated as a mule driver or drover, but I think “gaucho” works better in this context and it also hits the ears of the English speaker nicely, thus imbuing the song with the necessary Argentine flavor. This is just one of several liberties I have taken in the translation to try to communicate the spirit of the poem/song rather than a literal, but necessarily cumbersome, translation. Can you find my other major deviations from the purely literal?]
Also, what I have in bold print is a clear example of the author’s socialist tendencies and seems to be an obvious criticism of the political system of the time (1940s). Indeed, the words are still relevant today with extreme inequality in wealth distribution evident in many of the world’s countries, including our own.]
And, finally, the music video so you can hear Don Ata’s guitar and voice:
There is a whole world at our feet if we would just look closely…
2016 Black & White Magazine, Spotlight Award Winner! (Issue: June, 2017, #121)
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