Desert Southwest Trip Report

by Adrian Klein
April 17th, 2017

Last Fall myself and a handful of my Photo Cascadia peeps headed down to the desert southwest region. I had only been down that way a couple times before, the only longish trip before I had the knowledge and desire to create art like I do today. Needless to say I was very eager for the trip not only to travel with great friends but also in hopes coming home with a few images for the portfolio and experiences to last a lifetime.

Although this time of year normally consists of chasing scenes with yellow, red and other similar hues that are planted in the ground, this was not that trip. In fact I came home after 9 days with over 2,300 files and no fall color in any of them. Beyond that it was likely one of my most productive trips of this length that I can recall. What I have in this post is a healthy dose from that trip yet it’s a series of folders I will dive into periodically to find more nuggets to process for years to come.

Day 1
David Cobb and I touch down in Las Vegas. Grabbed the rental car and headed to eat. I am always hungry for those that don’t know me well. David tells me if we were stranded on a boat in the middle of the ocean he would throw me over before he started to look like my next meal. I can’t blame him. We scarfed down lunch sitting outside right next to the sports car race track. Damn those cars are loud in this setting. After raising our voices just to talk over lunch we get on the highway, we leave behind Vegas in search of tranquil nature scenes.

We meet up with Chip Phillips and Zack Schnepf as they were just wrapping up a couple days in Zion National Park. After a quick pit stop for supplies in St George we decided to make our way to the North Rim of the Grand Canyon. We planned to camp on the back roads outside the park yet seeing many of the backroads with head lights for the likes of hunting season, we opted for the modern day comforts of a hotel. We will camp this trip, just not here.

Day 2
We head out before day break because well that is what we are here for. It’s a long haul from where we lodged to the rim but sunrise doesn’t disappoint. We stand along the edge at Cape Royal. I don’t really care how amazing the sky is or isn’t, it’s simply a great feeling to stand here. The warm light hitting the rocks and first time in over a decade to the area was a reminder why it was worth coming back to. After the sunrises we stop in a turn out along the road and eat a tailgating breakfast of champions.

After a few hours back at the hotel we cruise back to Cape Royal for sunset. This is a beautiful spot and conditions prime that evening with dappled light and showers rolling through. Complete with colorful rainbow and moody storm clouds, and of course among great friends. The light fades away into darkness; the photos will be here to keep the memories in the light.

Day 3
I am thankful for this time of year with less daylight and more opportunities for zzz’s between sunset and sunrise. This morning we head to Point Imperial. We pull in to a quiet parking lot. We are the only cars here. Any noise we hear is us and a gentle breeze.

As we setup the sky and steep jagged cliffs glow every shade of red I can remember seeing in nature over the years. We tell stories, we shoot, and we laugh. We shoot some more and more laughs. You don’t want it to end. Until for some reason while I am packing up I open my wallet and realize I am missing my credit card. Doh!

I didn’t mention it earlier but we are here for the last few days the North Rim is open for the season. The droves of tourists have long departed and the visitor center’s shelves look like a department store that had long been out of business, empty. It’s the right time to be here for photography, except the warm monsoon summer season which is too warm for me.

When we get back Zack walks out from the restaurant holding my credit card in the air. Whew! I had left it at the restaurant the night before. The cars are packed and it’s time to head to the next location.

After a decent drive we make it to a location of Grand Staircase Escalante that we had hoped to get to. There were a couple water crossings that fortunately were running low for David’s new favorite vehicle in the whole world could make it through, our rental Jeep Compass. And to think it didn’t even have a compass. Huh.

We do some scouting and find a good place to put our tents down to call home for the next couple nights. All we see is openness and desert cliffs from camp. It’s a great place to park it.
The next couple days here are an all you can eat buffet of scrumptious light, flavorful skies and delicious scenes. I told you my mind can revolve around food.

Day 4
This day brings more good times, good shots and good camp food. By the afternoon we see a trail of dust off in the distance slowly barreling our way. Erin has joined us for a few days of this desert adventure.


Day 5
We leave Grand Staircase Escalante behind for a bit to check out another spot. The Coal Mine. With no camping nearby we find a hotel to crash at after visting the location for sunset. We cross the street for dinner. Here we learn time is an hour forward from where we stood across the street. What?! It’s hard enough that Arizona doesn’t change their clocks for daylight savings yet some reservations do recognize it while others don’t. In this case the restaurant was on the reservation land and the hotel was not. We almost missed sunrise one day having our heads flopping back in this mini time warp.


Day 6
After peaceful and majestic sunrise at the Coal Mine, back at the hotel we say good-by to Chip and Zack who start their journey back to the Pacific Northwest. David and I had a few more days before heading back home via Sin City.

Erin, David and I make our way to one of many slot canyon options in Grand Staircase Escalante. The day is late and we know better than to hike miles upstream and come out in the dark. We explore enough to know it’s worth a full day.

Day 7
We come back to the same canyon from the prior day. We arrive just after sunrise. Spending all day exploring, photographing and crisscrossing the water with my water logged boots. We hike out and make back to the car just after sunset. The dim light almost calling for a headlamp, I enjoy dusk and let my eyes adjust instead.

Day 8
Erin needs to start her long drive back this morning. We part ways and now it’s down to David and me for the final couple days. Being in Page this day we decided to visit this little known place called Horseshoe Bend. Besides visiting The Grand Canyon during the off season with few people around, we have tried to avoid iconic landmarks. I don’t mind photographing them, and I will, yet I don’t seek out trips that I am simply trophy hunting. To me there is no fun in that. A sense of exploring places with few others around is part of the thrill of nature photography.

As you can imagine Horseshoe Bend was not a quiet spot. Mind you I have never been here and I show up in the dark before sunrise. I find what looks like a decent spot (can’t really tell) and setup more to enjoy the scene but do plan to take a photo or two. As dawn breaks on a gray day as if I brought it with me from Oregon, I hear another couple photographers pass behind me on the trail. One of them says “That guy is in my spot” and I turn to realize the only person he can be talking about is me since no one is next to me. Really!? This solidified why I am not drawn to visit the icons on a regular basis.

As I pack up David and I connect again. I realize I lost one of the feet on my Gitzo tripod. I was sure I had it on when I was photographing that morning. I have no extras this trip and thankful we are near the end and I can make do. Hiking the ~1 mile trail out about half way up I just happen to look down and I see a dark object. I bend down and pick it up. It’s a foot that fits my tripod perfectly! Whether it truly fell off my tripod or I picked up someone else’s I can’t say for certain. Either ways it worked out.

David and I start our trek back in the morning. We settle on the last night camping at Valley of Fire. We make it there in time for some brief photography before the ranger comes barreling down the road at dusk ensuring everyone is out.

Day 9
Up at sunrise we head back into the prime area of the park that is closed at night. We photograph The Wave while exploring other areas until the light is harsh and photography at this point is small scenes requiring the use of my t-shirt as diffuser. It’s November and for my Pacific Northwest body is downright hot outside. How folks living down here deal with this in the summer I have no idea. I love it down here yet my body prefers cold over hot. It’s easier to layer up; you can only remove so many layers before it’s an issue in multiple ways.

We enjoy our nice little camping spot for the morning and head into the city that never sleeps. I know David as our main driver was sad to say goodbye to our gutless and compass-less Jeep Compass.

 

Leaving I already make plans in my head when I want to return, both for a family trip and photography. I can’t wait another decade without a decent trip down here. If you have not been and wonder why, just try reading the work of Edward Abbey or newer work from Guy Tal. There is much to ponder, dream and explore in this area to fill a lifetime.

“In my mind these experiences are a kind of retirement savings – the moments and memories I will someday recall with the same bittersweet joy and immense gratitude I felt experiencing them, and I will know that I truly lived”
– Guy Tal, More Than A Rock

“Wilderness is not a luxury but a necessity of the human spirit, and as vital to our lives as water and good bread. A civilization which destroys what little remains of the wild, the spare, the original, is cutting itself off from its origins and betraying the principle of civilization itself.”
― Edward Abbey, Desert Solitaire

Using a Telephoto Lens to Compress Garden Scenes

by David Cobb
April 10th, 2017

Using a Telephoto Lens to Compress Garden Scenes

Since gardens are beginning to blossom again after a long winter, I’m returning to the garden setting for this tip.

A telephoto lens is essential in garden photography for picking out pieces of a distant landscape or for macro work, and I often use one in conjunction with extension tubes or close-up filters. For landscape photography I use a zoom to pick out the garden details or to create a layering effect. On foggy days, I often look for how trees stack up with one another and how they lose detail as they recede into the mist; the layering on these days works exceptionally well.

Field of Poppies, grown for cutting near Silverton, Oregon in the summer

Field of Poppies, grown for cutting near Silverton, Oregon in the summer

When I spotted this field of poppies growing in the Willamette Valley of Oregon, I wanted to recreate the feeling I had of seeing such a multitude of flowers in one place. To do this, I chose a telephoto lens and crouched down a bit lower to overlap all the poppies. By using a zoom and compressing the scene, I was able to capture the feeling I had of seeing so many poppies in one place.

Wallflowers and grasses line the Willamette Valley in spring as a stately oak fills the background.

Wallflowers and grasses line the Willamette Valley in spring as a stately oak fills the background.

For this image of wallflowers in the Willamette Valley of Oregon, I used a telephoto lens to compress the scene for the multitude of flowers and also to keep the size of the tree large on the distant ridge. If I had used a wider-angle lens, the distant tree would only be a small pimple on the ridge face. A telephoto lens creates more drama in the scene.

Azaleas and rhododendrons at Beacon Hill Park in Victoria, Canada at sunset.

Azaleas and rhododendrons at Beacon Hill Park in Victoria, Canada at sunset.

While I was visiting Beacon Hill Park in Victoria, Canada I used my Canon 70-200mm telephoto lens to help frame the wonderfully lit tree with the yellow blossoms of the surrounding shrubs. The compression also created a layering effect for this image and compositionally a frame-within-a-frame which creates depth.

If you like this garden photography tip, I offer 99 more in my e-book “100 Tips to Improve Your Flower and Garden Photography.”

Look for my next garden book Visionary Landscapes due out this September on Tuttle Publishing.

My Favorite Filter For Photographing Wildflowers

by Kevin McNeal
April 4th, 2017

 

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Wildflower Meadows In The Goat Rocks Wilderness of Washington State

 

With the spring season arrival upon us and the emergence of wildlfowers approaching, I often get asked for tips when photographing wildflowers. In this article, I have updated some information from an older article with new tips and images. One of the most challenging aspects of nature photography is shooting the subject of wildflowers successfully. There are many aspects to learn and nothing is more rewarding when the outcome is positive. I have made many mistakes over the past few years shooting wildflowers and I hope to pass some of this wisdom down to other photographers. Having the right tools in your camera bag is essential to capturing impact in your images. The first goal when shooting wildflowers is to capture vibrancy and color in the wildflowers. When we look at images of wildflowers the first thing that captures our attention about these images is the color that seems to “pop “off the page. You especially want to have a lot of impact in the foreground to grab your viewer’s attention.

 

 

Images from Texas Hill Country from around Muleshoe Bend out of Spicewood, Texas

Bluebonnet Glory from Muleshoe Bend in Texas

Therefore producing wildflower images that contain good color rendition and vibrancy are vital to the overall goal. To make sure that you are able to reproduce the colors you need a filter that can realistically take advantage of the bold colors and then allow it to come through in the image. The filter I turn to in all my wildflower images is the LB ColorCombo Polarizer. The filter offers two successful qualities in an image that boost impact. The first aspect in the filter is the color intensifier so that images taken with the filter will consist of vibrant and bold colors. In many nature scenes this might not be vital but when shooting wildflowers this is critical.

Images from Mount Rainier in the Pacific Northwest Of Washington State

Beginning Of Wildflower Season from Reflections Lakes on Mt Rainier

The essential component to shooting flowers is color. While improving color saturation it also renders the image with a natural color balance so that what you see is what you get. I have tried other filters in the past and found I was getting unusual color casts when I used their filters. Not only did I receive the change in color with other filters but often the colors were also muted. With the Singh-Ray LB Color Combo the results are excellent when it comes to reproducing accurate results. The second component contained within the LB ColorCombo that gives it a huge advantage over other similar filters is that it contains a warming polarizer within the same filter. In the past, you would have to stack filters to get these same results. Shooting wildflowers there is always a certain mood you are looking to convey; I will always lean towards a warmer tone in the image as this really attracts more viewers to your image then cooler tones. So having a warmer within the polarizer I can really take advantage of this as well as gets the best of the warmer tones in the image like the reds and yellows. Thus, the color is accentuated yet remains natural in its overall tone.

Images from Mount Rainier in the Pacific Northwest Of Washington State

Sunset from Paradise Meadows On Mt Rainier

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Aster Sunrise Glory from below Mt Rainier

One of the arguments I often hear is that I can recapture that color in RAW images so why is it necessary to have this filter. And it always comes back to the notion that it is vital to render the image as close as possible to the original scene. You can add saturation and vibrancy later in post processing but the side effect to that is that you are pulling pixels from the image and thus destroying the image. This is especially prevalent in the shadow areas of an image. The effects become very visible when enlarging an image for larger print. When it comes to reproducing colors through RAW the images maintain their vibrancy without really having to increase the saturation past higher levels.

Images from Summerland Trail On Mount Rainier in the Pacific Northwest Of Washington State

Wildflowers along the Summerland Trail on Mt Rainier

Another advantage I have noticed with the LB ColorCombo polarizer is the image rendered from the filter remains sharp throughout. With other filters, I have noticed a dramatic reduction in quality pertaining to sharpness. This is critical when shooting something in the foreground close to the lens. Whenever shooting wildflowers there is always a fine balance between ISO and shutter speed. In the past, I have had to shoot without a filter to capture the flowers without movement. The use of other filters has decreased the shutter speed and not allowed me to capture sharpness and detail in the foreground flowers. Shooting wildflowers successfully is much easier now with the newer LB ColorCombo being one stop faster combined with newer cameras having the ability to shoot higher ISO’s with fewer noise pixels.
With the advantages of clarity, color rendition, and color saturation being natural and true to the subject when shooting wildflowers the use of the LB ColorCombo is a definite asset in your arsenal of photography tools.

Images from Mt St Helens in Washington State

Indian Paintbrush from Norway Pass and Mt St Helen

A Brief History of Grand Teton National Park’s Mormon Row

by Chip Phillips
March 29th, 2017

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Grand Teton National Park is a photographer’s dream, and one place in particular draws photographers from all over the world: Mormon Row.  It’s such a distinctly American vista: the craggy, dramatic Teton range looming majestically over a symbol of settlers’ dreams and tenacity in a harsh landscape. There’s such beauty in the simplicity, in the Moulton Barns in particular; the way the warm light hits the wooden beams, some vertical, some horizontal. I’ve wondered over my years of visiting the park about the history of the area, but I never knew much besides a vague idea.

Basically, the Homestead Act of 1862, signed by President Abraham Lincoln, said that people could migrate West and set up a homestead and get 160 acres of public land to own, free.  In the 1890s, Mormon settlers from Salt Lake set up homesteads in what is now called Mormon Row. They named the village Grovont, after the Gros Ventre river (which is actually named for the Indian tribe, and means “big belly” in French). All in all, there were 27 homesteads, clustered close together, unlike most Western homesteads, which tended to be quite isolated.  The closeness helped the people of Grovont share work duties and community. In addition to the ranches and homes, Grovont also had a schoolhouse and a church.

The land and the climate are harsh. The soil was sandy and rocky. Winters in the area are long and brutal, and farming season is relatively short. The people of Grovont dealt with these conditions by digging a network of ditches, to supply water to the community.  Water still flows in some of these ditches.

Probably the most famous structure in Grovont still standing is the John Moulton barn. Pictured above, it stands near the more modern, arguably less attractive, pink stucco house that belonged to John and Bertha Moulton.  The Moultons originally lived in a log cabin on the site, but replaced it with the distinctive pink house after living there for many years. I mean, who wouldn’t want to live in a pink house in the Tetons?

Nearby, John Moulton’s brother, T.A. Moulton, set up a homestead with his wife Lucille, and built a very similar barn. This barn looks a bit newer as it took T.A. Moulton over 30 years to build.

Several other barns and structures remain in the former village, which is basically a ghost town, if you think about it.

In the early 1900s, tourism in the Jackson Hole area began to take off, particularly “dude ranches.” Wealthy Easterners wanted to travel to the Tetons and have a taste of living the adventurous cowboy life. I had no idea that dude ranches were wildly popular in the 1910s and 1920s. But as tourism took off, so did people’s concerns about development and protecting the environment. Congress created Grand Teton National Park in 1929, much smaller than it is today. John D. Rockefeller Jr. in particular wanted to preserve the natural beauty of the area and began purchasing land, eventually buying 35,000 acres, which he donated to help expand Grand Teton National Park. Many former homesteads were donated or bought by the national park, some with agreements that the homesteaders or their descendents would continue to live there until their deaths. The former village of Grovont was acquired by the park in the mid-1900s, and was added to the National Register of Historic Places in 1997.

 

Social Photography: Road Tripping With Friends

by Sean Bagshaw
March 22nd, 2017

(If you are reading this article via email subscription, make sure to click the title link to view the video on the blog)


In my opinion, photography is one of the most fun, healthy, enriching, energizing and positive pastimes a person can be involved in. It is a creative outlet and it also provides an ongoing source of learning and intellectual stimulation. It gets you outside and provides a pathway for greater appreciation of nature. It is accessible to people of all ages, interests, experience and ability. It teaches you to slow down and really notice the world around you. One of the greatest joys photography has brought me is the social aspect of it. While photography can certainly be private, introspective and deeply personal, it also offers wonderful opportunities to connect with other human beings. Many of my best friends and colleagues are people I met through photography and some of my most gratifying conversations, collaborations, adventures, and experiences are the result of hanging out with people who share my passion for photography. I have had the pleasure of meeting and communicating with photographers from all over the world, I have been a student and a teacher and I have been fortunate to travel with friends and lead workshops to all corners of the globe.

Frosty Yosemite Falls towers above the dark valley below.

Frosty Yosemite Falls towers above the dark valley below.

Back lit mist below Bridalveil Falls, Yosemite.

Backlit mist below Bridalveil Falls, Yosemite.

Perhaps my favorite social photography experiences is the “road trip”. I love the adventure and freedom of being out on the road; sleeping in a different place every night, seeing new sights and being able to simplify, focus and relax. Sharing the road trip experience with others only enhances it. I’ve enjoyed road tripping since college, although back then my road trips were rock climbing trips and the real adventure was finding out if my $600 car would break down in the middle of nowhere. My first photography dedicated road trip was in 2004. It was a solo trip and it left me with some great memories. But what was missing was the laughter, the collaboration, the camaraderie and the synergy.  The conversation certainly left something to be desired as well. And now I find I miss being able to reminisce with someone about that trip.

Abstract dune shapes at sunrise, Death Valley.

Abstract dune shapes at sunrise, Death Valley.

Alpen glow on the hills of Death Valley.

Alpenglow on the hills of Death Valley.

Since then I have been on at least a couple photo road trips each year, some of them solo, but most of them with friends, colleagues, and clients. Most recently I went tripping with two of my best friends and Photo Cascadia teammates, Zack Schnepf and David Cobb. All of these photos are from that trip. I have traveled with each of these swarthy gents many times and we have THE best time together. For this trip we had planned to search out winter conditions in the Tetons or the Canadian Rockies, but the day before we left the weather forecast indicated low cloud cover for days to come in those locales, so we redirected our plan to California just hours before departure. With the Millenium Falcon filled to the gills with camera gear, tripods, duffel bags, sleeping bags, snowshoes and plenty of tortillas and refried beans, we hit Interstate 5 south with the Louis CK Pandora station playing and scarcely a clue where we were going. The next seven days on the road took us to Yosemite National Park, where thousands were photographing the famous Horsetail Falls “firefall” but we opted to shoot in solitude along the Merced River instead, then to Joshua Tree in the rain, a couple of days in Death Valley and finally up the east side of the Sierra Nevada along the Owens River Valley.

"Tangerine Dream" - Twilight at Badwater, Death Valley.

“Tangerine Dream” – Twilight at Badwater, Death Valley.

"Red Racer" -Light painting Sailing Stones on the Racetrack under the stars. Death Valley.

“Red Racer” -Light painting Sailing Stones on the Racetrack under the stars. Death Valley.

Along the way and per usual we told bad jokes, ate junk food at truck stops, listened to audio books, solved the world’s problems and held snoring competitions sleeping in the Falcon’s tight quarters. The photography conditions were good but not great, but what we lacked in light we compensated for by regaling each other with tall tales of epic photo sessions of the past. We did manage to bring home a few passable images as well. At the end of the trip, I scraped together the images and video we had taken with our phones, added in some aerial footage I took while learning to fly my new drone, and put it together into the short behind the scenes video you’ll find at the beginning of this article. I think the video will give you a fun view into the spirit of this trip.  I hope you enjoy it.

We all photograph for different goals, reasons and rewards. We aren’t all cut out to be social photographers, at least not all the time. But if you do enjoy photo tripping with others consider contributing a thought, an experience, a road trip tip or a favorite route in the comments below. If you haven’t road tripped but want to and are just lacking companions, I would suggest joining your local photography club, becoming active in online photography communities such as Flickr or Facebook groups or signing up for photography workshops or photography tours.

"Sierra Sunset" - Last light on the Owens River.

“Sierra Sunset” – Last light on the Owens River.

Sean is a full-time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.

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LIGHT AND TEXTURE

by Zack Schnepf
March 20th, 2017

Light and texture are two of my favorite elements in landscape photography. Some of my personal favorite images are studies in light and texture.  Many of the photos that I choose to print and hang in my own home are these types of images.  They never get old to me and are always interesting to view and appreciate. In this article I’ll go over a few of my favorite images that showcase interesting light texture.

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Mud tile textures are fascinating to me. Here on the playa in the Alvord Desert, I was fortunate to visit during a particularly wet spring. The desert had been flooded and was drying out creating a truly wonderful mud tile texture. The light of sunrise really helped the texture come alive. The combination of backlight and the interesting textures in the mud and grass are what make this photograph successful to me.

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Slot canyons are a study in light and texture.  They are also a lot of fun to photograph.  Antelope canyon and other slot canyons are a wonderful place to focus on light and texture. The first slot canyon photo was captured back in 2008 before Antelope Canyon was quite so popular. I had the freedom to take my time and I only saw a few other people the entire time I was there. The second slot canyon image was captured in Zebra Slot Canyon. This was a tough canyon to access, there was about four feet of standing water in the canyon leading to this spot. It was challenging to make my way to this point, but what a spectacular canyon! The combination of the warm sunlight and cool light coming from the open sky creates a wonderful color contrast. The incredible texture and form of the canyon really come alive with the contrasting color of light.

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The Cholla Garden in Joshua Tree National Park is a fascinating place. On my recent trip with David Cobb, and Sean Bagshaw I was finally able to visit this incredible location. I’ve seen images from this location, but it’s one those places that was very different in person. It ended up being even more rewarding than I imagined as well. It’s hard to convey how incredible it is to watch the spines of the cactus light up as the back light of dawn illuminates them. It’s the texture of the spines and the way they glow in the backlight that makes this one of my all time favorite images already, even though it was only captured less than a month ago.

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This photo of Mt Hood is an interesting one. I think it’s a really strong composition, but it’s the soft light and texture in the snow, foreground trees, middle ground trees and sky that really send it to the top of my favorites list.

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This last photo is all about light and texture for me. The first light glancing across the sage, willows and other foliage is so pleasing. It is especially nice in print. This is one of my all time favorite images to print. When I look at it, I love to drink in all the detail in the various layers of texture.

These kinds of scenes, studies in light and texture are something I’m appreciating more and more. I always have my eye out for interesting textures that might come alive in interesting light.

You can learn more about me and find my video tutorials covering the post processing techniques used to create these images on my website: http://www.zschnepf.com

Photography Documentaries I’ve Liked

by David Cobb
February 20th, 2017

Photography Documentaries I’ve Liked

By David Cobb

 

It’s been a long time since the days of the boring and staid documentary. We’re now in the “Golden Age” of this genre, and there have been a number of good photography documentaries released over the past few years. I find that sometimes it’s difficult to make a decision on a film when I love the images, but the quality of the documentary is not great. (Maybe there are poor production values, or the film needed an editor, or it’s just not that interesting. When that happens, I prefer to look at a book of the photographer’s images.)

All the films on this list are easily accessible for viewing, and for the purposes of this list I haven’t included any television series. What follows are a few photography documentaries that I’ve liked from the many I’ve watched.

  1. The Salt of the Earth – (2014, Director Wim Wenders) This film relives the career of Sebastiao Salgado and covers his major body of work and exhibitions. From the opening scene of images at the gold mines of Serra Pelada to his work on his most recent project Genesis, the film leaves no doubt that Salgado is one of the greatest photographers ever.
  2. What Remains: The Life and Work of Sally Mann – (2005, Director Steven Cantor) An exploration into the creative mind of an artist. Sally Mann discusses her work through her successes, failures, her influences, and disappointments. There is something for every photographer to relate to in this film.
  3. Finding Vivian Maier – (2013, Directors John Maloof, Charlie Siskel) Possibly the most famous of all films on this list, Finding Vivian Maier is a movie about a woman who blended in and surreptitiously photographed non-stop for years with no one really knowing she was amassing a large catalogue of images. After her death her work was recently discovered, and the documentary pieces together her life from clues, photographs, and conversations with (now adult) children she looked after while fulfilling her job as a nanny. Her life is a bit of a mystery, but her outstanding photographic work shines a light into her spirit.
  4. Ai Weiwei: Never Sorry – (2012, Director Alison Klayman) Ai Weiwei is a multi-media artist and dissident with homes in the U.S. and China. He’s known in photography for his “giving the finger” images and also his selfies. He might be described as Warhol, Picasso, Calder, and Banksy, rolled into one. This isn’t truly a photography documentary, but it’s fascinating and thought-provoking.
  5. Black White + Gray: A Portrait of Sam Wagstaff and Robert Mapplethorpe – (2007, Director James Crump) A thoughtful film which brings to life the professional and personal relationship between Robert Mapplethorpe and his benefactor Sam Wagstaff.
  6. Gregory Crewdson: Brief Encounters – (2012, Director Ben Shapiro) The incredible production value, difficulty, and creativity of Gregory Crewdson’s photographs is on display in this mesmerizing documentary. The filming follows him during his work on his Beneath the Roses concept.
  7. Meru – (2015, Jimmy Chin, Chai Vasarhelyi) Ok, it’s not really a photography documentary, but photographer and videographer Jimmy Chin does a spectacular job of filming this first ascent. Teamed with Conrad Anker and Renan Ozturk, the climb of the imposing shark fin of India’s Mount Meru gave me the willies just watching. There is a section of this film which showcases some of the climbing photography techniques that Jimmy Chin uses when on assignment.
  8. War Photographer – (2001, Director Christian Frei) A documentary of photojournalist James Nachtwey who lets his images do the talking. He’s won numerous awards and the highest honors in his profession, and this documentary captures him on assignment in Kosovo, Indonesia, Africa, and the West Bank. The film opens with an adage from Robert Capa, “If your pictures aren’t good enough, you’re not close enough,” and Nachtwey lives by these words. His photographic records of war, famine, and poverty are devastating, and his philosophy on why he’s a war photographer is fascinating. 
  9. Bill Cunningham New York – (2010, Director Richard Press) A delightful film which follows photographer Bill Cunningham snapping fashion images on the streets of New York. Cunningham carries this documentary with his outlook on life, simple lifestyle, fashion eye, dedication, and his infectious exuberance. If you’re ever down in the dumps or want to get out of a photography rut, this film is a dandy pick-me-up.
  10. Annie Leibovitz: Life Through a Lens – (2008, Director Barbara Leibovitz) This study in the life and career of Annie Leibovitz from her early days at the Rolling Stone to her work for Vanity Fair, Vogue, and her more personal work shows that even someone at the top of the photography world can still make mistakes and grow from them. Her work is astounding and her creative passion is an inspiration. The film is less in-depth than I would have liked, as some major portions of her life are discussed only on the surface.
  11. Inside Out: The People’s Art Project – (2013, Alastair Siddons) Street photographer JR takes his TED Talks Prize and gives it back to the people to create their own art. His world photography project helps humanize the disenfranchised from Pakistan to South Dakota as they produce giant portraits to post on the streets. They can no longer be ignored and must be seen, as they create their own power through imagery. The film is truly an inspiration to witness the influence of photography changing the common man on the street.

If there are other films you think I might be leaving off this list, let me know. Fellow Photo Cascadia members Adrian Klein and Erin Babnik shared films they liked such as Salt and The Quest for Inspiration. I haven’t seen them yet, but I’m on the lookout for these two. I hope you enjoy the films I’ve listed; many are available on Netflix so they’re easy to find and most have shorter run times. Now curl up with a bowl of popcorn and learn from the masters.

20 Quick Tips For Photographing Abraham Lake In The Winter

by Kevin McNeal
February 16th, 2017

Images from Preachers Point on Abraham Lake near the town of Nordegg in the Kootney Plains

Abraham Lake is an artificial lake found in the Canadian Rockies. It can be reached by taking the David Thompson Highway off the Icefields Parkway and driving North for around 20 minutes. On the right, you will see a pullout parking lot called Preachers Point. This pullout is a great place to access the lake. From here, you can easily walk down to the lake. Once on the lake, there are many opportunities to photograph within a short distance of your car.

Over the past few years, I have had the chance to visit Abraham Lake in different seasons. By far my favorite season is winter because of the unique conditions that occur due to the colder temperatures. It can reach as low as -30 in the Abraham Lake area. These frigid temperatures create conditions to develop on the lake that is one of the most unusual natural phenomena of the world. The decomposing plants on the lake bed release methane gas which freezes as it gets closer to the much colder surface causing “Frozen Bubbles.” As the temperature drops the bubbles start to stack below each other forming a pretty incredible and unique sight.

Photographers from all over the world come to Abraham Lake to capture this unique occurrence. I’ve written this article to list some of my most essential tips for successful images when photographing Abraham Lake.

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  1. Abraham Lake is often very windy and cold. Due to its geographic location, the wind channels through the valley. Winter temperatures can be extremely frigid with the windchill. Prepare to bring more clothes than normal to stay warm. Bring a balaclava or facemask to keep your face warm. Bring fingerless gloves so you can operate your camera while keeping your gloves on. I combined fingerless gloves with a second layer of gloves that are known as touchscreen gloves. I have included a link below for what I believe to be the best on the market.
  1. Give yourself lots of time to find compositions that will interest your viewer. The first comment that most people say to me on a workshop is how overwhelming it can be when you first see the lake. Due to its size and vastness, there can be many choices to photograph, which may seem at first very daunting. I arrive several hours early to explore several different compositions. I research ahead of time some of the images that appeal to me. I then work up a theory and pre-visualize the story I would like to translate through my image.
  1. Bring several camera batteries with you as the colder temperatures shorten how long a battery will work. It is not unusual to go through two or three batteries in one hour when photographing during the winter on Abraham Lake. It is helpful when trying to conserve battery life to keep a couple of spare batteries in a jacket. Finding a way to storing the extra batteries continually in a warm place will go a long way to extending the battery life while photographing.
  1. Related to the previous tip, bring hand warmers and feet warmers. I can’t stress the importance of using some accessory to keep warm. It can make the difference between a pleasurable time and a challenging one. With the combination of a good warm winter boot and gloves, you are ready for any conditions on the lake.
  1. Bring a good heavy duty tripod. Having a good sturdy tripod will help immensely in keeping your tripod from slipping on the ice. Place the tripod low to the ground to avoid vibrations from the windy conditions. As mentioned before, winds can get very active on the lake. It does not take much to make your tripod shake. The wind and camera shake will cause your image to go soft and blurry.
  1. In windy conditions, raise the ISO of the camera to 800 or even 1600. The faster shutter speed will help prevent camera shake and blurry images.
  1. Don’t be afraid to try several different types of compositions as you continue to look for ways to piece together elements within a scene. I will often try to keep the camera low to the ground at roughly a 45° angle. As I continue to try different compositions throughout my scouting, I develop a story of how I want to approach the final image.
  1. Bring a very wide-angle lens with you to capture the bubbles and enhance the size of the textures that are nearest to the camera. When using a wide-angle lens on the lake and photographing very close to the bubbles within the ice, the wide angle lens will accentuate elements that are near the lens and make objects in the distance appear smaller. The placement of the lens and camera near to the ground gives the image the appearance of three-dimensional depth throughout the scene.
  1. Have a microfiber lens cloth close at hand to keep the lens as clean as possible. Watch for any condensation that might build up on the front of the lens in colder conditions. Also, avoid changing lenses on the lake when winter conditions are present.
  1. It’s a good idea to bring a medium telephoto to photograph some of the distant mountain peaks in closer detail. The look of the longer lens will offer a different look than the wide-angle images that are often seen at Abraham Lake. I like to try different lenses at Abraham Lake to give the viewer several different looks. Also, don’t be afraid to bring a macro lens to photograph the unique textures of the bubbles found just underneath the ice.
  1. When exposing for the scene, I will often exposure bracket my images depending on the tonal range. In extreme conditions, I have bracketed my images all the way from three images to nine images for one scene. The highlights of the ice can be very bright as well as the snowcapped peaks. It is essential to capture several exposures of negative value to avoid blowing out the highlights. I will then use post processing methods to combine these images into one image with all tonal values combined.
  1. It is critical in winter to bring an apparatus that can be placed on the bottom of the boot. It can be any accessory such as spikes, crampons, or any other device that provides traction on the ice. Abraham Lake is very slippery and can cause serious damage if you try to maneuver without some sort of traction on your boot. I like to use spikes that I wrap around the bottom of my snow boot which allows me to walk comfortably and safely on the ice.
  1. Dress in layers, as you will find yourself quickly heating up while actively walking around looking for compositions but losing heat quickly once stationary in one spot. I use several layers of winter clothing that can easily be taken on or off depending on my activity at the time. For example, while actively searching for compositions I will expend energy and thus create sweat while walking around on the ice. Once I find something regarding composition I’m happy with, I might be stationary for time periods of several minutes or more. Having access to changing or removing clothing is critical to keeping at a comfortable temperature while photographing on the lake.
  1. Don’t be afraid to lie on the ice and try creative framing and pairing of elements. I often will find myself trying to explore new possibilities when composing images on Abraham Lake. Don’t hesitate to try new things, and photograph the lake in new creative ways. For example, I tried placing my camera on remote focusing at infinity and putting it on a timer or a remote to capture an image from inside the ice shelves to create the look of ice caves.
  1. Make sure to photograph during the twilight hours before sunrise and after sunset to expand the variety of images you capture. Shooting during the twilight hours will give many different moods to the overall look of the lake.
  1. Make sure on your LCD monitor to frequently check the detail of each image. I will often go in at 100% on the back of the camera to check that all elements are sharp and focused. Because of the wind, movement of the tripod can occur in small increments but enough to cause the image to move. Without going in all the way on the back of your camera LCD, it is hard to see whether it is sharp all the way through the image
  1. Use caution when exploring on the lake. The lake can be several layers thick with ice, use common sense if areas that appear to look less safe. For example, during warmer periods, melting and instability can occur.
  1. Bring snacks and meals with you in your bag. There is nothing very close to the lake regarding food. You will find your body, needs the extra carbs from the colder conditions. Having a snack in your bag that is easy to grab will help keep your body energized and prevent you from wasting time going back to your vehicle.
  1. Give yourself several days including sunrises and sunsets to maximize your opportunity of capturing several different images. Capture the lake in as many different settings as possible. One option is to rent a camper or RV so that you can be situated next to the lake. The other alternative is to look into accommodation near the lake.
  1. Try to remember to have fun and take the time to enjoy the experience.

 

Book Review: Treasured Lands by QT Luong

by Sean Bagshaw
February 2nd, 2017

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Over 20 years and 300 visits, photographer and author, QT Luong, explored each of America’s 59 national parks. His decades-long project culminated in his book, Treasured Lands, A Photographic Odyssey Through America’s National Parks. Both an art book and a guidebook in one, it is a masterpiece and a fitting tribute to our most treasured landscapes. Released in the summer of 2016 in honor of the National Park Service’s centennial, it now is even more important and timely in light of the recent political environment which could put our national parks and other public lands at risk.

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Reviewing books is not part of my typical skill set, but this book has made such an impression on me that I am honored to share it. Unfortunately, there may not be much value I can add considering the New York Times already declared it to be the “most glorious” book to come out of the centennial of the National Park Service and the accolades of Ken Burns already grace its cover.

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I first became familiar with Luong’s photography while researching photo locations in the Western United States and Mexico more than a decade ago. Time and again, the most comprehensive photographic coverage and the most inspiring photos I found were in his collection. It seemed he had been everywhere and always under the most favorable conditions for photography. Later I had the pleasure of meeting Luong and attending one of his presentations at a North American Nature Photography Association summit. Over time we have corresponded on a variety of photography topics. His eye for light and composition is inspiring, his determination for finding exciting vantage points is remarkable and his appreciation and knowledge of our planet is heartening. However, nothing could be a more fitting testament to his artistry and tenacity as an explorer, scientist and photographer than this book. At over 450 pages, 500+ images, 130,000 words and 60 maps, it is definitive in its scope, content, and beauty.

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The mind has a hard time grasping the enormity of such a project. To merely visit all 59 national parks in one’s lifetime would be an accomplishment to take note of. To spend the time, over multiple visits, to find and photograph so many locations in so many nuances of light, weather and season is remarkable. To do it with such quality, attention to detail and obvious admiration and love for the land is exceptional. The layout of this large format book is gorgeous. It is printed on heavy art paper with great attention to color and image quality. Each chapter begins with an overview of the particular park, followed by several stunning page-filling images, completely unfettered by text. At the end of each park’s chapter is additional information about the park as well as details for each image, a map, seasonal tips, locations, and suggestions for photography.

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Tuan’s photography showcased in this format combined with the historical and ecological information, maps, visitor suggestions and photography tips truly make this an art book and a guidebook in one. But who is going to lug a seven-pound book along with them on their explorations of the parks? In order to make Treasured Lands “more useful than a coffee-table book, and more inspiring than a guidebook”, he has also created a companion e-book that is formatted specifically for mobile devices. This makes it possible to bring the guide aspect of the book along with you in your pocket. For a nominal price, book owners can access the e-book from a link found on page 13. If you only want the e-book version you can purchase it separately on the Treasured Lands website.

A sign of the times, purchasing large art books isn’t as common these days as it once was. But if there ever was an art book to have as your own or give to someone else, this would be the one. It is an important book on many levels; as a tribute to our national parks, as a tribute to a 20-year project of passion, as a monumental body of artwork, as inspiration to enjoy, admire and take care of our public lands, as a photography resource and a travel guide and perhaps most importantly as a reminder of what a treasure our National Parks are and how important it is that we fight to keep them safe.

You can find the book Treasured Lands at treasuredlandsbook.com.

QT Luong is a full-time photographer from California, known for being the first to photograph all 59 US National Parks – in large format. Ken Burns featured him in “The National Parks: America’s Best Idea” (2009). His photographs, published in dozens of countries around the world, have been the subject several magazine profiles, solo gallery and museum exhibits. You can see more of his work at www.terragalleria.com.

Sean Bagshaw is a full-time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.

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5 ESSENTIAL TIPS WHEN PREPARING IMAGES FOR PRINT

by Zack Schnepf
January 24th, 2017

My favorite way to experience photography is through print.  It’s hard to describe the tremendous satisfaction I get when viewing my own prints, or prints from a photographer I admire.  I’ve always enjoyed printing myself.  I learned to print in the darkroom in my college photography classes and when I moved to digital I taught myself how to make my own prints at home.  As my photography progressed people started to ask if they could buy prints of my images.  Eventually, I started doing art festivals and gallery shows to share my work and make more print sales.  Whether you plan to print yourself, or have prints made by a dedicated print shop it’s essential that you understand a few basic concepts about color management and preparing images for print.

We live in an increasingly screen based culture.  The majority of photography I see is on some sort of screen.  A lot of photographers I meet who are starting photography exist almost exclusively in the digital universe.  Eventually though, you, or someone you know might want a print made of your photos.  Photographic printing can be daunting at first, but it’s very satisfying to see your own images in print, and you will be a better photographer if you understand the fundamentals of color management and print preparation.  In this article, I’ll share five essential tips for getting you and your images ready to print.

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Surrounded by my prints at the Sunriver Art Festival 2016

    1. CALIBRATE YOUR MONITOR:
      It’s hard to stress how important this is.  There is no point spending hours processing your photos for print if you haven’t calibrated your monitor.  It’s the foundation of color management, and brings everyone into a common color standard.  I remember when I got started in photography many years ago, I read on some forums about the importance of calibrating my monitor.  At the time I was more concerned with acquiring more lenses and gear and didn’t see why it was a big deal.  When I started printing I learned a hard and expensive lesson.  The first prints I made were a huge disappointment.  They didn’t look like what I saw on my monitor at all, the colors were off and it came out really dark.  With a little more friendly advise I finally invested in a decent calibrations package.  Once I calibrated my monitor I realized two important things.  One, it’s really helpful when everyone is using the same color standards and profiles, otherwise what may look red on my screen could look orange, or purple on another.  Two, I had my monitor set way too bright.  Reflected light from a print will never look as bright as transmitted light from a screen.  Lowering screen brightness much better reflects how an image will print.  Here is a link to the colormunki screen calibrator I use now.  Very easy to use and profiles really accurately.  All of their products work really well, but I like the customization options with the colormunki display model: http://xritephoto.com/colormunki-display
    2. UNDERSTAND BASIC COLOR MANAGEMENT:
      Whether you are printing yourself, sending your files to a dedicated print shop, or preparing an image for a publisher, you will get much better results if you understand the basics of color management.  There are two basic concepts to understand when managing color on your computer. The first is using the correct color space when exporting from Lightroom, or Adobe Camera Raw and the right color setting in Photoshop.  I always use the Pro Photo RGB color space as it has the widest color gamut, I prefer to start my editing with as many colors as possible especially if I will be printing the image.  The second concept is using the right printing profile.  If you’re having someone else print for you, it’s still important to understand printer profiles.  You can use a printer profile to soft proof your image and get a preview of how it will look when printed with the specific printer and paper they use.  Printer profiles are scripts used by the printer to adhere to color standards, they help the printer produce an image that looks as close to what you see on your screen as possible.  I’ll talk more about soft proofing in the next section.

      Export settings in Lightroom Preferences

    3. SOFT PROOFING AND HARD PROOFING:
      Soft proofing is using software such as Lightroom, or Photoshop to preview a printer profile.  Soft proofing attempts to simulate what the image will look like when printed on a specific print paper with a specific printer.  I think soft proofing is useful to get you in the right ballpark, but I don’t trust soft proofing completely. It is still pretty unreliable when trying preview exactly what a print will look like.  I use soft proofing to get me close and then I order a test print which is called a hard proof.  Once the test print is made, or arrives from a print shop, I can evaluate it and make any adjustments that I think it needs.  This method is what I rely on when making prints for customers, art shows and galleries.  The videos below help explain soft proofing in Lightroom and Photoshop.
      Great video on soft proofing in Lightroom:  https://www.youtube.com/watch?v=8M9B8ABOb9U
      Another video about basic soft proofing in Photoshop: https://www.youtube.com/watch?v=Y47uoKE_dAs
    4. SHARPEN APPROPRIATELY FOR EACH PRINT MEDIUM AND SIZE.
      Each print medium I use requires different levels of sharpening to look it’s best.  For instance, noise from over sharpening shows up easier on metal prints.  Both acrylic and traditional inkjet prints are more forgiving and hide minor noise and digital artifacts better.  Canvas is the most forgiving.  Print size is also something to consider.  What does this mean in practical terms for my workflow?  I’ve adopted a simple and flexible approach to sharpening.  I do normal output sharpening in Lightroom or ACR to correct for softness introduced by camera, lens, and the RAW format.  The amount varies for each image.  I continue with my workflow in photoshop to produce a master file with all layers and adjustments preserved if possible.  If I’m going to make a print, I save a flattened copy of the master file and sharpen it specifically for that print size and medium.  Sometimes it doesn’t need additional sharpening, but if it does it’s usually the last adjustment I make before sending it to print.  As a general guideline, I sharpen more for smaller prints, and less for larger prints.  The is counter intuitive for many people, but I’ve found that smaller prints need more because they lose sharpness when they are scaled down, and large prints tend to show any unwanted effects that might arise from over sharpening.  This is my personal preference and there are other factors to consider including the view distance.
    5. ADJUST LUMINANCE FOR SPECIFIC PRINT MEDIUMS.
      Each print medium has it’s own perceptual brightness and ambient reflectivity.  Like I described in the sharpening section, I save a flattened copy of my master file for each specific size and print medium I print on.  Aluminum prints and lumachrome acrylic prints have high ambient reflectivity and perceptual brightness, therefore they require very little, if any brightness adjustment. Traditional inkjet prints and canvas require a lot more brightness adjustments if you want to replicate the look you see on your screen.

I’ve been printing a long time, and I’ve learned several important lessons from printing over the years.  I’ve noticed that my processing workflow has evolved to accommodate printing.  I now tend to process with printing in mind first, and make specific changes to the file later when posting to the web.  I also have evolved to process in the most editable and non destructive way to preserve the image quality.  I think printing has made me a better photographer and has helped me improve my image quality.

Old video blog about basic printing from Photoshop:  http://www.photocascadia.com/blog/intro-to-photoshop-printing-video/#.WIT_MrGZMUE

Recommended printing companies:  These are the two print companies that I use.  I’ve tried a lot print shops, and these guys both produce incredible, quality prints.  I get my Aluminum prints from: http://www.hdaluminumprints.com and acrylic prints from http://www.nevadaartprinters.com