“The Process” finally manifested for the Philadelphia 76ers on Wednesday night, as Ben Simmons and Markelle Fultz made their NBA debuts and Joel Embiid played 27 minutes despite the team’s stated intention of restricting his minutes.
It didn’t produce a victory, as the Sixers fell victim to some final-minute turnovers and missed shots in falling 120-115 to the Wizards in Washington, but it’s impossible to feel as discouraged by coach Brett Brown’s 254th career loss as the preceding 253.
Not only were Embiid’s 27 minutes a pleasant sign that perhaps the minutes restriction is more of a guideline than decree from the medical staff, but Simmons’ first game since going No. 1 overall in 2016 seemed worth the wait.
Simmons played 35 minutes and seemed to effortlessly commandeer an offense that shot 46 percent from the floor and 43 from behind the arc.
The 6-foot-10 Australian prodigy, who’s drawn comparisons to Magic Johnson for his rare size and ball-handling acumen and to Jason Kidd for his floor vision, didn’t play point-forward, as many national pundits projected he would.
Simmons played the true point guard, finding open teammates and facilitating the offense in Brown’s vision. Even the ESPN broadcast crew couldn’t help but marvel at Simmons’ natural abilities, with Jeff Van Gundy suggesting that Simmons might be the team’s best overall player unless Embiid can get his minutes up into the 30s.
Simmons used his size advantageously, posting up on Otto Porter and other Wizards defenders who give up 2 or more inches in the mismatch. With Simmons drawing small forwards, his 6-9 swingman Robert Covington capitalized on mismatches against Wizards frontcourt defenders.
Covington parked himself around the arc all night, burying seven of the 11 3-pointers he attempted and leading all scorers with 29 points, one more than Wizards All-Star guard John Wall.
Simmons, who missed all of his rookie season after breaking a bone in his right foot, finished with 18 points, 10 rebounds, five assists and one block. He found Covington at the top of the key for a 3 with 1:18 to play that narrowed the Wizards lead to two, but sloppy ball security by Jerryd Bayless and Covington resulted in turnovers on the Sixers’ next two possessions that helped the Wizards close out the win.
These are the kind of growing pains Brown’s team will confront this month as the Sixers open their season with five of their first seven games on the road and several teams that were top-five seeds in their conference last season.
The defending Eastern Conference finalist Boston Celtics are up next Friday night, followed by the Raptors in Toronto on Saturday. Next week, the Houston Rockets come to town.
Surely, Brown will need more from sixth man Dario Saric, last year’s Rookie of the Year finalist who made just one of his five attempts, and from newcomer Amir Johnson, who subbed for Embiid and made just two of his seven shots in 15 minutes and got worked underneath on a few occasions.
It was also a mixed bag for the debut of Fultz, this year’s No. 1 pick who came off the bench to score 10 points in 18 minutes on 5-of-9 shooting but continued to avoid perimeter shots and to look awkward at the foul line, where he back-rimmed his two attempts.
But the first sign of Simmons and extended minutes for Embiid overshadowed most of the negatives.
“The Process” played out Thursday night, finally.
— Geoff Mosher, a longtime Philadelphia sports reporter, is also a host on @975TheFanatic in Philadelphia. Follow him on Twitter @GeoffMosherNFL.
SUMMARY: A remarkable defensive effort sparked a mammoth 3rd quarter run that ultimately led the Utah Jazz to a 10-point win over the Denver Nuggets, 106-96.
The question tonight was this: What happens when a great defensive team plays a great offensive team? The Denver offense — which was #1 in the NBA for the last 30 games of last season — was dictating the game for most of the night and led 70-55 in the 3rd Then, the Jazz’s defense started to take hold by forcing turnovers and flustering the Nuggets’ offense, which whittled the Denver lead down to just five points by the end of the 3rd quarter. The clamps came down full force in the 4th quarter and the Jazz flipped the game entirely.
The Jazz trailed 70-55 and then led by 103-88 after starting the 4th quarter on a 25-5 run.
Defense and depth were the story for the Jazz. The Jazz bench’s plus-minus numbers were incredible: Thabo Sefolosha was +25, Ekpe Udoh was +24, Donovan Mitchell was +22 and Alec Burks was +16.
Alec Burks was terrific in the 4th He had 10 points in the 4th, hitting two major threes. On the first, the Nuggets went under a pick and Burks rose up and buried the three. He got another look in transition and buried it. Finally, he ball-faked a three on the right wing and drove down the baseline to hit a reverse flip to bring the arena to its feet and force the Nuggets into another timeout.
The Jazz got great offensive balance tonight. Rudy Gobert led the Jazz with 18 points, Burks had 16, Favors had 14, Johnson had 13, Ingles had 11, Mitchell had 10, Rubio had 9 and Sefolosha had 7 points.
Each player had spurts in the game to keep the Jazz’s offense going. Ingles hit three 3-pointers in the first half, Favors scored eight straight points to open the 3rd quarter, Joe Johnson was the key late in the 3rd quarter and Alec Burks was a beast in the 4th quarter. Ricky Rubio had 10 assists.
The Jazz’s defense was incredible. They held a great offensive team to less than one point per possession, allowing just 35 points in the second half.
The Jazz did this very differently than they did it last year. Last season, the Jazz’s defense was a shell defense that forced bad shots and ran people into Rudy Gobert. Tonight, Utah forced 21% of Denver’s possession into turnovers. Last year, the Jazz were 25th in the NBA in forcing turnovers at 11%.
Denver is a tough match-up for the Jazz as Nikola Jokic pulls Gobert out of onto the floor and this caused the Jazz a ton of problems in the first half. Denver was knocking down shots and scoring at an alarming rate. The Jazz addressed this in the second half and shut down the Nuggets.
Rodney Hood was announced as a starter and was then unable to play due to gastric distress which forced rookie Donovan Mitchell into the starting lineup. Hood never got going and the Jazz were a -13 when he was on the floor. Hood went 2 of 4 from the field in 27 minutes.
The new timeout rules had a big impact on the game tonight. When the Jazz starting to blow the game open, Mike Malone called an early timeout in the 4th quarter but then was down to only two timeouts for the rest of the game. He tried to avoid calling another one as the run continued because he didn’t want to be down to one and the Jazz kept their momentum. Denver is a young team with inexperienced point guard play. The new rules could be very difficult for a team with this type of make up on the road. The veteran presence the Jazz added may turn out to be very valuable with the new timeout rules.
What an opening night. The first 30 minutes were every fan’s worst case scenario of what the Jazz might look like and the final 18 were beyond what Jazz fans could imagine.
The Chicago Cubs defeated the Los Angeles Dodgers, 3-2, in Game 4 of the NLCS on Wednesday night from Wrigley Field. With the win, Chicago staves off elimination, forcing yet another do-or-die contest on Thursday for the reigning World Series Champions.
It was a game of solo home run blasts on Wednesday, with five in total, accounting for all the runs.
Los Angeles’ blasts came from the meat of their order in Cody Bellinger and Justin Turner. Turner continues to make his case for NLCS MVP, having already walked off Game 2 back at Dodger Stadium.
In what may have been the final start of his Cubs career, Chicago ace Jake Arrieta pitched a whale of a game. He went 6.2 innings, allowing three hits and a single earned run, striking out nine batters before turning the game over to the bullpen.
Wade Davis locked down the final two innings of the game, throwing 48 pitches in order to keep the Dodgers off the board. Bellinger hit a frozen rope in the final at-bat of the game, but was doubled up on a slick turn of Baez-to-Russell-to-Rizzo.
Neither team has announced a starter for Game 5 on Thursday, although Clayton Kershaw and Jose Quintana took the mound for their respective clubs during Game 1.
The Utah Jazz used a stifling defensive performance to beat the Denver Nuggets in the 17-18 season opener. David Locke and Ron Boone talk about the defense and the balanced offense. The Utah Jazz radio postgame show on Locked on Jazz.
“And you may ask yourself, well … how did I get here?” –Talking Heads, “Once In A Lifetime”
I was talking to someone recently who asked me what kind of photographs I make. I paused for a moment to ponder this basic but critical question, then answered that I specialize in photographing the details of nature. Although I revel in capturing the majestic grand scene when the elements all come together, I prefer focusing on the intimate landscape. Rather than describing the wide scene in front of me, I zoom in tightly, attempting to imbue my images with magic and mystery by isolating unique details I discover. By creating photographs where the content or orientation is not immediately apparent, a magical, mystical feeling may come through. I would rather make an image that asks a question than answers one; that intrigues and arouses curiosity in the viewer.
Many of my “On Landscape” columns published in Outdoor Photographer have shared my thoughts on how best to develop thematic portfolios, a distinctive style and a career as a creative landscape photographer. Perhaps if I share some thoughts and stories about my career, they will help you with your own landscape photography.
Finding Your Voice
Over the years, I have gained a sense of myself as a photographer, finding a certain clarity about what inspires me to photograph and what I wish to communicate. Fortunately, this clarity came early in my career. In my college years, I studied the works of landscape masters such as Eliot Porter and Paul Caponigro, who focused more on the details of nature rather than the broad, descriptive view. Just a few years after buying my first camera in 1974, I moved to Yosemite and never left. Living in or just outside the park continuously since 1977 has been key to my development as an artist. After a few summers working for the National Park Service, I was hired to be the photographer-in-residence at The Ansel Adams Gallery. I got to know Ansel and attended many of his summer workshop sessions, meeting other world-class photographers such as Ernst Haas, Joel Meyerowitz and Jerry Uelsmann. I started teaching photography to park visitors, taking them for daily “camera walks” in the meadow near the gallery. I learned to make my own color prints, ironically, in Ansel’s black-and-white darkroom. I listened to the photographers I met and explored this famous landscape.
Photographers find their voice when they discover what subjects move them most deeply. That passion, that emotion from within is the magic element. An excellent way to concentrate one’s attention is to develop thematic portfolios based on those emotional connections. The first phase of this development is to see what themes exist in your photographs and which of those are the most promising, and to start editing the images into a portfolio that exemplifies your best work.
Curating Your Photography
There are two main requirements for an exceptional collection: there must be a coherent theme that moves you and motivates you, and there should be consistent quality. In any situation where you show your work, great images are diluted when average images are included to “fill out” your presentation.
Learning to think in themes is an ongoing process that can continue for years or even decades. As you begin to assess the current level of your work, you also learn to maintain that standard of quality using your editing skills and become conscious of ways to improve your future efforts. There is no set way to do this, so we must learn to trust our own instincts and observations, and listen to the opinions of others we respect. Those instincts depend on how well we feel an image translates our vision, plus the equally subjective process of comparing our images to those of others.
With a long-term persistence and commitment to my portfolios, every year I’ve made a few new top level images, slowly building the depth of each theme. The payoff shows in a new book to be released this fall. The photographs are organized by those main themes: an in-depth look at my “Landscapes of the Spirit” work; my recent “Antarctic Dreams” series; a black-and-white portfolio entitled “Meditations in Monochrome;” my “By Nature’s Design” series of patterns in nature imagery; a portfolio of my ICM (intentional camera movement) work called “Impressions of Light;” and last, but not least, a collection of Yosemite photographs I call “Sanctuary in Stone.”
The titles are important because they encapsulate the ideas and passion for each theme, and guide the viewer toward those ideas. More importantly, a theme concept can inform your efforts in the field and subsequent editing sessions. When editing, you not only judge both technical and aesthetic aspects, but you consider whether the photograph adds depth and quality to your chosen theme.
Although the Antarctica photographs were made over only a five-day voyage with Luminous Landscape, my other themes are collections created over four decades. My black-and-white images offer an example of where the inspiration began. Although I’ve gravitated to working in color, early on I was more strongly influenced creatively by black-and-white masters Minor White, Edward and Brett Weston, Wynn Bullock and Paul Caponigro. Seeing the abstract, mysterious and less-literal landscape imagery these photographers often made, I was inspired to strive for the same effect in color. Many years passed as I pursued this goal. Digital technology eventually progressed to the point that allowed for high-quality black-and-white software conversions from digital capture and scans of my color film. When a corporate art project for black-and-white murals was presented to me, I happily dove into the editing and processing of images from my 4×5 film archive. The project led me to expand my initial selections into a full-fledged theme, transforming a long-latent passion for the black-and-white landscape.
Preparing For Presentation
I recently prepared an exhibit for The Ansel Adams Gallery in Yosemite. The gallery has been showing my prints since 1983, when Ansel himself approved of my representation there. Each exhibition there has taken on a different flavor depending on the curator, the season and what new images I have made. When deciding what to print, I have naturally focused on showing my most creative work, but the final choices are a collaboration between myself and the curator. Each gallery I work with has a different clientele and curatorial focus and knows their customers best.
Writing an artist’s statement is an excellent way to give voice to a thematic concept and guide the viewer to understand your point of view, whether for a book, exhibition or online portfolio. Of course, photographs are visual communications and should speak to us directly without verbal definition. However, writing can add important depth to the impact of images for any project. Words matter. Ideas matter. For an exhibit there a few years back, I entitled it “Sanctuary,” and I wrote the following artist’s statement for the exhibition:
“The theme of Sanctuary provides the foundation of my exhibit selection. Preserves of nature such as Yosemite offer a sense of protection from outside forces, much as do the walls of a church or temple. From within the protected walls, the peacefulness and beauty of Nature, its quality of sanctuary, gives comfort and calm. Given this sense of Sanctuary, the creative energies of an individual are given the freedom to express what one feels, to express the connection between the soul and the beauty of Creation. I can’t speak for others but this is what I have experienced.”
Although not entirely based on the new book, my Yosemite exhibit was a retrospective drawn from my 40 years living in and next to the park. In writing a statement for the exhibit, I wrote the following words to describe my creative process.
“Seeing and feeling beauty is more vital to me than any resulting imagery. When the key elements of photography—light, composition, and emotion—are before me, I am fully engaged, yet detached, without expectations. The magic of my discoveries—whether the dramatic light of a clearing storm or an intimate detail on the forest floor—recharges my spirit with a sense of wonder. The intensity of the experience makes me feel vibrant and alive, the necessary first step to creating a transcendent image.”
I’ve had the good fortune of having my photographs exhibited and published over many years. The first book I illustrated was The Sense of Wonder by nature writer Rachel Carson, published in 1990 by The Nature Company. The success of this book, reprinted in nine editions, led to 10 subsequent books. Flash forward to 2017, and I have a new retrospective book being published by Triplekite Publishing of the United Kingdom. Four decades as a fine art landscape photographer are represented within.
I have been working on the book since the beginning of 2017, but the idea started to come together three years ago, when I contacted Triplekite Publishing. The book of theirs that caught my eye was Iceland, Above & Below by Hans Strand. I could quickly tell from the sample page layouts on their website that I shared the publisher’s sense of book design, specializing in fine art landscape photography, as well as their focus on high-quality reproduction, clean design and large format for their books.
The collection, entitled William Neill, Photographer: A Retrospective features 151 images, many never before published. Included are images taken with a 35mm film camera from the 1970s and 1980s, through to my current digital captures. A significant number are photographs made with a 4×5 film camera. It is an amazing feeling as I pulled together 40 years of photography, but there is also great tension as we entered the final stretch of the book building process. Writing my essays, used to introduce each theme, was a challenge, requiring I be both concise and poignant. Essays by Art Wolfe and John Weller supplement my writings in the book. With 151 images in six chapters highlighting my themes, I hope that a sense of my artist’s journey comes through.
Learn to focus on your greatest sources of inspiration. Commit to seeking your own creative vision. Consider what style or themes drive your passion to photograph, and follow that path even if it is “the long road” to success. Good luck and good light.
At MAX 2017, Adobe’s Creativity Conference in Las Vegas, the company announced new products and big updates. Lightroom CC was introduced, and Lightroom Classic CC, Lightroom mobile and Lightroom.adobe.com updates were detailed, in addition to Creative Cloud Photography plan changes and a new Lightroom CC plan.
The company is rebranding the current version of Lightroom CC as “Lightroom Classic CC” and is launching a new Lightroom CC, which is a cloud-based workflow. With a “streamlined” interface, the new Lightroom CC is designed to provide easy access to images on any platform across the company’s range of products, but has a completely different, minimalist look.
Adobe is also changing their pricing for the products, which we outline below. There will be a variety of ways to get access to Lightroom CC, including the standard Creative Cloud Photography plan, one with more storage and one with more storage but fewer bundled apps.
Now, here’s all the news we have about the new changes to Adobe Lightroom CC and other new products and updates.
Lightroom CC + Lightroom Classic CC
Adobe has rebranded one product as it introduces another. Lightroom becomes Lightroom Classic CC, with the launch of Lightroom CC, which Adobe says “is designed to be a cloud-based ecosystem of apps that are deeply integrated and work together seamlessly across desktop, mobile, and web. Lightroom Classic CC is designed for desktop-based (file/folder) digital photography workflows. It’s a well-established workflow solution that is distinct and separate from our new cloud-native service. By separating the two products, we’re allowing Lightroom Classic to focus on the strengths of a file/folder based workflow that many of you enjoy today, while Lightroom CC addresses the cloud/mobile-oriented workflow.”
Adobe says its Lightroom Classic CC changes were based on user experience issues. They include:
Application launch time
Import selection workflow with Embedded & Sidecar preview option
Switching between Library and Develop Module
Moving from photo to photo in the Develop Module
New tools to make precise color and tone-based selections for local adjustments
As for the new Lightroom CC, it’s designed and built upon three principles, according to Adobe: Powerful, but simple, seamless workflow across all devices—desktop, mobile and web—and cloud-based.
Lightroom CC on the desktop is a new app for Mac and Windows. Featuring a new interface, it’s intended to let creatives have access to their original images, edits and metadata, synced and stored in the cloud. What’s called Adobe Sensei, Adobe’s version of Artificial Intelligence, lets users automatically tag photos for search capability and much more.
As for mobile, Lightroom also adds new tag and search functionality, and it has been optimized to work with iOS 11 and Android O, the latest version of the Android OS.
For web, Lightroom CC gets additional sharing tools and the new Tech Preview (experiment with new Adobe technologies and provide feedback) and a new Lightroom CC Gallery, among other features.
Also, Lightroom for Apple TV has been updated with new features to make sharing photos easier.
Creatives also should note that Lightroom 6 is the last stand-alone version of Lightroom that can be purchased outside of a Creative Cloud membership, though there will be no camera support updates or bug fixes after 2017. However, Lightroom 6.13 with support for the Nikon D850 will be released on October 26, 2017.
Adobe also made announced and updated these products:
Dimension CC—a new product powered by Adobe Sensei that enables creatives to design in 3D
KyleBrushe.com—CC members now have access to Kyle T. Webster’s brush collection
Photoshop CC—a huge list of new features, including easier access to your photos, a simplified Pen tool, in-product learning and more
Adobe Camera Raw improvements
As for Adobe’s cloud plans, the new Lightroom CC is available in three photography plans:
The Creative Cloud Photography plan with 1 TB includes Lightroom CC, Lightroom for mobile/web, Photoshop CC, Adobe Spark with premium features, Adobe Portfolio and 1 TB of cloud storage ($19.99/month; $14.99/month for the first year for existing Creative Cloud Photography users)
Lightroom CC has been added to the existing Creative Cloud Photography plan with an additional 20 GB of storage. The plan remains at $9.99/month and includes Lightroom CC, Lightroom for mobile/web, Lightroom Classic, Photoshop CC, Adobe Spark with premium features, Adobe Portfolio, and 20 GB of cloud storage. Creative Cloud All Apps members also have access to the new Lightroom CC service.
Lightroom CC, Lightroom for mobile/web, Adobe Spark with premium features, Adobe Portfolio and 1 TB of cloud storage for $9.99/month
The Lightroom Mobile plan for iOS and Android is available with 100 GB, at $4.99/mont
Adobe Introduces New Lightroom CC Cloud Photography Service Integrated Cloud-based Service Enables Easy Editing, Organizing, Storing, and Sharing of Photography From Anywhere
LAS VEGAS, Nev. — Oct. 18, 2017 —Adobe (Nasdaq:ADBE) today announced the all-new Adobe Photoshop Lightroom CC cloud-based photography service. Launched over a decade ago, Lightroom became the industry’s leading desktop application for editing and organizing photography. Now in an increasingly mobile-centric world, and with major improvements in smartphone cameras, Lightroom is transforming digital photography again. Built for professionals and enthusiasts, the new Lightroom CC fulfills the demands of today’s photographers for a more accessible, cloud-based photography service for editing, organizing, storing and sharing their photos from wherever they are.
Featuring a streamlined user interface, Lightroom CC enables powerful editing in full resolution across mobile, desktop, and the web. With Lightroom CC, photographers can make edits on one device and automatically synchronize their changes everywhere. Lightroom CC makes organizing photography collections easier with features like searchable keywords that are automatically applied without the hassle of tagging. And Lightroom CC makes it simple to share photos on social media.
“As the leader in digital photography, today Adobe is unveiling Lightroom CC, our next generation photography service,” said Bryan Lamkin, executive vice president and general manager, Digital Media at Adobe. “Lightroom CC answers photographers’ demand for a deeply integrated, intelligent, cloud-based photography solution.”
Key Lightroom CC capabilities include:
The most powerful image editing technology: Built on the same imaging technology that powers Photoshop and Lightroom, Lightroom CC offers a new streamlined interface with easy-to-use sliders, presets, and quick adjustment tools.
Edit anywhere: Lightroom CC allows photographers to edit full-resolution photos anywhere – on mobile devices, desktop, or the web. Edits made on one device are automatically synced across devices for anywhere access.
Worry free back-up, cloud storage: Lightroom CC has scalable storage options for safe and secure back up of full resolution photos – including raw files.
Powered by Adobe Sensei: Adobe Sensei uses machine learning to automatically apply searchable keywords to objects in photographs – making organization in Lightroom CC effortless.
Built-in sharing tools: Lightroom CC makes it easy to share photos directly via social media and to create custom Lightroom web galleries that can be shared via link. Photographers can also share their work through new Adobe Portfolio integration with Lightroom CC.
Updated award-winning mobile and web experiences
Lightroom CC for mobile on iOS: Built-in search functionality powered by Adobe Sensei, keyword support, hierarchical album support, an enhanced iPad app layout, and iOS 11 files support.
Lightroom CC for mobile on Android: Tablet support and a local adjustments brush, along with the same built-in search functionality, keyword support, and hierarchical album support as seen in the iOS app.
Updates to Adobe Photoshop Lightroom Classic CC
Previously known as Lightroom CC, major updates to Lightroom Classic CC include an enhanced Embedded Preview workflow that enables users to scroll through large sets of photos to select a subset of images significantly faster than before. Lightroom Classic CC also features new editing capabilities, including a new Color Range and Luminance Masking functionality that enables users to apply precise edits. As contrasted with the cloud-centric, anywhere workflows of Lightroom CC, the new Lightroom Classic CC continues to focus on a more traditional desktop-first workflow with local storage and file and folder control.
Availability, Plans, and Pricing
The all new Lightroom CC is available across three photography plans:
For photographers that want an all-in-one plan that offers the full benefits of the Lightroom CC service plus the transformative power of Photoshop, the Creative Cloud Photography plan with 1 TB includes Lightroom CC, Lightroom for mobile and web, Photoshop CC, Adobe Spark with premium features, Adobe Portfolio, and 1 TB of cloud storage ($19.99/month, but available at $14.99/month for the first year for existing Creative Cloud Photography customers)
Lightroom CC has also been added to the existing Creative Cloud Photography plan with an additional 20 GB of storage to help users get started on the new service. This plan remains at $9.99/month and includes Lightroom CC, Lightroom for mobile and web, Lightroom Classic, Photoshop CC, Adobe Spark with premium features, Adobe Portfolio, and 20 GB of cloud storage. Creative Cloud All Apps members also have access to the new Lightroom CC service.
The all new Lightroom CC plan addresses the needs of photographers who want a cloud-based photography service for editing, organizing, storing and sharing their photos from wherever they are, and includes Lightroom CC, Lightroom for mobile and web, Adobe Spark with premium features, Adobe Portfolio, and 1 TB of cloud storage ($9.99/month)
For those who are truly mobile and don’t require a desktop photography solution, the Lightroom Mobile plan for iOS and Android is available with 100 GB ($4.99/month).
Today’s Photo Of The Day is “Figures in the Landscape” by Scott Stulberg. Location: Death Valley National Park, California.
“These are the sand dunes of Death Valley National Park and on this day with my long lens, I captured what appeared to me women lying together,” says Stulberg. “With the angle of the sun this morning and the glistening of the tiny rocks on the sand, this was an angle I had never seen before. This place is pure magic.”
Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
Congratulations to Christopher Mills for winning the recent Summer Road Trips Assignment with his image, “The Bubbles.”
“Over the past weekend, we ended up camping under the stars in Acadia National Park and roamed around with the camera for a few days,” explains Mills. “Sunday night was clear and we made our way into Jordan Pond and set up facing the Bubbles under clear skies. The Northern Lights were active just enough to give a little color low on the horizon and the Big Dipper shined brightly almost directly over the Bubble Mountains. Then I got lucky and caught an Iridium Flare just to the right of the Big Dipper! Sitting there on the rocks enjoying the night sky and counting shooting stars, we were getting ready to make the short hike back to the vehicle when we heard feet coming down the trail towards us in the dark! Now you can’t see your hand in front of your face at this point and whatever it was, it was in a hurry! It stopped about where we had left the trail to come out onto the rocks and all was quiet except my heart pounding. We just sat as quiet as we could, listening to see if we could hear any movement at all out of whatever it was. After about 20 minutes (which seemed like forever) we decided to shine some lights on the trail behind us and if we saw nothing we would high tail it back to the vehicle. After a good look around with the flashlights, we hurried down the trail around Jordan Pond and back to the vehicle. I don’t know what it was but it made for an interesting adventure and a good feeling to be back at the tent site safe and sound! Always an adventure under the big Maine skies!”