In this carefully composed study from Dillon Reservoir, the photographer employs extended exposure to transform a commonplace mountain scene into something approaching the transcendent. The image stands as a compelling entry within Chapter 3 of his Top 100 Journey, demonstrating a technical maturity and conceptual clarity that marks his evolving engagement with Colorado’s diverse landscapes.
The composition centers on a weathered dock extending into the reservoir’s calm waters, its wooden walkway and metal railings leading the viewer’s eye toward distant figures positioned at the structure’s terminus. By utilizing a 10-stop neutral density filter with his Sony A7II, the photographer has rendered the water as a glassy, almost ethereal surface—its texture smoothed into gradations of subtle color that suggest movement while paradoxically conveying absolute stillness. This temporal compression transforms fleeting moments into something more permanent, inviting contemplation of how we perceive and record the passage of time.
The technical execution reveals a photographer comfortable with his equipment’s capabilities and limitations. Working with the camera’s kit lens, he has extracted remarkable clarity across the frame, from the sandy foreground through the architectural elements of the dock to the snow-capped peaks beyond. The slight motion blur in the clouds—streaked horizontally across an impeccable blue sky—provides visual rhythm and suggests the duration of the exposure without overwhelming the image’s serene character.
What distinguishes this photograph within the Colorado landscapes chapter is its successful marriage of the state’s iconic mountain scenery with human infrastructure. Rather than presenting wilderness in isolation, the image acknowledges recreational use and accessibility, grounding the sublime natural setting in contemporary experience. The dock becomes a metaphor for our relationship with landscape—a point of interface, an invitation to venture further, a structure that both facilitates and frames our encounter with nature.
Compositionally, the photographer demonstrates sophisticated understanding of visual weight and balance. The curved railing in the immediate foreground creates dynamic entry into the frame, while the horizontal platforms and vertical posts establish geometric order against the organic forms of mountains and clouds. The small human figures at the dock’s end provide crucial scale, reminding viewers of the landscape’s monumentality while suggesting contemplative communion with place.
The color palette rewards close examination. Warm sandy tones in the foreground transition to the cool grays and blues of water and sky, punctuated by the brilliant whites of snow and cloud. This chromatic progression creates depth while maintaining overall tonal harmony. The long exposure has also produced subtle color shifts in the water, where reflected sky and submerged earth combine into something neither purely blue nor brown but somewhere beautifully between.
Within the broader context of his Top 100 Journey, this image represents a photographer increasingly confident in his technical command and artistic vision. The decision to work near Silverthorne—accessible from Interstate 70 rather than requiring backcountry expedition—suggests a mature understanding that compelling photographs need not emerge solely from remote locations. Instead, seeing becomes the essential act, recognizing potential in familiar places and applying technique to reveal what casual observation might miss.
This photograph ultimately asks viewers to pause, to consider how we move through landscape and how landscape moves through time. It is work that respects both craft and subject, offering neither mere technical display nor sentimental postcard but something more considered: a meditation on place, presence, and the strange alchemy of photography itself.
Greg Urbano 