Photo Cascadia Blog
Archive for the ‘Photo Travel’ Category
There are a few photographers I have met that don’t have any immediate family, by this I mean no significant other and no children. The majority of us have at least one or both. If you are young maybe none of the above still applies yet give it time and it will likely change. I have heard the comment many times that you can’t mix family and photography very well into the same trip and if you want good photos you need to have a photography only trip. I used to think that was mostly true before changing my tune over the years.
Don’t misinterpret what I am saying, I understand it’s a completely different dynamic when you are out on your own or with a few friends photographing versus as a family trying to make time for photos. That said it can work with the right perspective. I am married with young children. I experience family trips in beautiful places working on balancing it all out. Landscape photography is certainly harder than other professions or hobbies that might be all at home or local, rather than requiring travel. Now I look back with quite a few photos in my portfolio from trips taken with my wife, just the kids or the whole family even if they are not carrying a camera or with their radar always on for photos like me.
There is one photo that for some reason sticks out in my mind which relates to this topic. It is from well-known Marc Muench, and I saw it a number of year’s back when he posted on Facebook. You can see more in the link, yet in short it’s about having a small window to get the shot before a child needs your attention or are playing in the middle of shot quite possibly changing the scene. The photo is beautiful storm sky scene and had he not made any comments about his children playing while photographing I would have seen only the serene scene in my head. Without additional context you simply don’t know what is happening outside the view of the lens.
Fortunately I have an amazing wife who is supportive of my photography, and kids that love being outdoors which certainly makes it easier to walk the balance beam of family and photography. That aside there are things to think about that can help balance out unreasonable expectations from reality to make everyone happy in the end.
1. Communicate what your intentions of a trip are ahead of time. If you have one thought and your family has another, these will collide during the trip and you don’t want that.
2. Don’t force a family trip into being 100% about the photos you want to capture. Be okay not getting every shot and moment. Your camera is not the only focus.
3. Support your significant other for their passion or hobby. Your intense burning desire to sprint out the door for photos may not be met with the same level of enthusiasm by your partner if it’s only one sided.
4. Don’t sulk about missing a great sunrise or sunset. Trust me this is not easy yet I am a little more at peace with this now than I used to be when I started photography.
5. Plan your photo trips and family trips (when possible) so it’s not always a surprise. We use a shared online calendar so my wife and I are always in the know of each other’s plans. For example if there is a low tide I want to hit on the coast I add it to our shared calendar so it’s visible to her what I am planning to do.
6. Realize you cannot take endless time scouting and photographing when on a family trip. Ask yourself if this scene is one you want to take or move on. It’s the difference between a scene that you clearly see a great composition vs one you know has good potential yet might take a while working it to get what you want.
7. Take photos of your family; then they won’t feel like it’s all about you. Sometimes they add to the scene for your landscape photos not to mention memories.
8. If you have a young child that still takes naps leverage this. Get up early on the trip for sunrise photography and then catch up on sleep later on during the kids nap time (assuming someone is there while he/she sleeps in). It’s a win-win with photo time and losing little family time.
9. Don’t think every trip needs to be a big multi-week production of thousands of miles on the road or multiple layovers. In many cases a 3 to 4 day trip just for photography allows you to focus without worrying about the balance for a long trip. The reverse can be said too.
10. Include your kids in your photography (hoping they have an interest). Let them take a photo with your camera and show it to them on the LCD. Show them what the buttons and settings do. Even if nothing ever happens to that file it’s the connection to what you’re doing that matters.
11. If you like to spend time with your photography outdoors for hiking, camping and the like don’t wait until your kids are older to expose them to that life. Start young and you will see there is a good chance they will grow to enjoy it making it easier and more fun for everyone later on.
12. If it’s a short single day trip and you have different camera systems bringing your smaller light weight system might be a better approach (ex: your mirror-less system). At least if you bring your larger camera system leave some of your arsenal of lenses and accessories behind so it doesn’t give the appearance you are taking over the day.
It’s been an internal tug-o-war for me since the relationship between photography and I became serious about a decade ago that only over the last couple years have I dealt with much better. Although I love taking photos of primarily nature it’s the photos I have of my family from these trips that I will remember as much or more decades from now. In a matter of days I am off to the Redwoods for 5 nights with my family. The plan is a blended trip of family and photography. Wish me luck on striking the right balance!
If you have stories to share on what works for you (or doesn’t) please feel free to share with a comment on this post.
Last week we introduced and welcomed Erin Babnik as a new contributor to the PhotoCascadia blog. This week we are proud to publish Erin’s first feature piece. Make sure to visit Erin’s website to learn more about her and explore her exhilarating photographs.
By Erin Babnik
The American conservationist Aldo Leopold famously said that, to people with imagination, the most valuable parts of a map are where it is “blank.” He was of course referring to wilderness areas, which most people never see and have to imagine in order to appreciate what is there, how it works, and why it matters. Although his message was aimed at the protection of these areas, he felt that humans should have firsthand experiences with them. It may seem counterintuitive for someone to encourage human presence in areas that need protection, but he believed that it was necessary for us to develop personal relationships with nature—after all, to quote one of Leopold’s contemporaries, “we can only love what we know” (Aldous Huxley). He therefore praised outdoor activities that imposed minimal impact on nature while fostering awareness and appreciation of it. Landscape photography at its best rises to the challenge of that noble goal, giving photographers at least one good reason to spread out and explore those blank places on the map. What about more artistic reasons, though? As I hope to explain here, the rewards of exploration and discovery can be well worth the extra effort that may go into approaching new horizons.
It is easy to think of a map as a display of straightforward, factual information, but it is actually an interpretation of a place, just like a photograph is. A map picks out certain areas and omits others, telling us what is supposedly important to know. In general, any point of interest that features prominently on a map will have a correspondingly large corpus of photographs representing it; the more famous that a place becomes through photographs, the more likely it will be to appear prominently on a map, and vice versa. Just like a map, a large corpus of photographs will ultimately interpret a location, typically establishing a norm for it that repeats in photographs like a resounding echo. These patterns emerge for good reasons, usually because they do a particularly good job of communicating what is special about a place, but they also amount to a kind of conceptual baggage, both for photographers and for viewers of their photographs. Whether we like it or not, a norm will haunt a place, even if we attempt to avoid it—we can accept or reject a norm, but our efforts exist in relation to it either way. This predicament then extends to the viewer, since the process of viewing a photograph will involve whatever memories a viewer may have of existing imagery.
While preconceptions can complicate the creative process for a photographer, they certainly don’t condemn it, of course. On the contrary, representing a well known view comes with its own set of benefits, and those include more than just the tangible rewards of popular appeal, such as predictable print sales or image licensing. Some creative strategies actually depend upon familiarity to serve as a premise, allowing a photographer to expand upon existing ideas or to engage in visual storytelling in ways that might not be possible otherwise. For example, a photo of a blooming meadow will take on a new layer of meaning if its location is best known for a lake that filled the space before it evaporated. Similarly, a photo of a famous landmark may be particularly interesting or meaningful if it shows that landmark from an ‘unusual’ vantage point. In either case, the ‘different’ photos benefit from familiarity by creating a sort of dialogue with it.
So while the photographer who strives for creativity will find much of value in approaching those bold points of interest on the map, doing so can feel like an act of negotiation, of working within certain creative limits. To be sure, there is room for discovery at any location, but venturing out to relatively unknown territory can throw the creative doors wide open. Any view that we find independently becomes a blank canvas of sorts; it presents a whole range of wonderful creative ‘problems’ to solve. What is the character of this place? What is particularly special about it? What conditions might best bring out its character? Which features here are essential to communicating the experience of this location? How can those features be presented most legibly? Answering such questions gives a photographer the opportunity to ‘define’ the location and to do so with a greater reliance on personal intuition—the less that we have to ‘think away’ other interpretations of a place, the more able we are to have a visceral response to it.
Naturally, more remote locations tend to offer the most opportunity for discovering seldom seen views, but even very accessible places sometimes have areas that get overlooked simply because they lie in the blank place on the map. Operating with an explorer’s mentality can land us deep in the wilderness or right in our own local ‘neck of the woods,’ but either way, we will be invoking a creative process that can be incredibly rewarding. Indeed, researching lesser known areas raises numerous questions that can get the creative gears churning before we ever even leave home. What might I find there? What would I like to find there? How might this place differ from others with similar qualities? How might this place be affected by the seasons? Thinking through the possibilities at this stage becomes a prelude to the visualization process that takes place on location, priming the mind for seeing opportunities upon arrival. In this regard, the photographer is led more by imagination than by knowledge, which is arguably more conducive to creativity. Regardless of where our exploration may take us, we are bound to benefit from the creative exercise, even if we don’t strike pay dirt on every outing.
For anyone who is inclined to explore more remote locations for landscape photography, there are a number of resources that can aid in the process. Using Google Earth to explore an area virtually can be a great place to start, allowing the identification of potentially photogenic features and alignments. Topographical maps can also be very helpful in this regard, especially when researching areas where elevation varies a lot and can have a big effect on the types of terrain that might exist there. For example, for mountainous areas, it can be helpful to know if a location is below the tree line, where forests may obscure views. Satellite imagery is another digital resource that any explorer should consult, with the understanding that older satellite images can be quite inaccurate. It is always a good idea to check the date of a satellite image and to look for multiple sources of such imagery. There are companies that sell very high-resolution satellite images that could be worthwhile investments if the images are very current and can aid in the location of desirable features. When exploring on foot, it is immensely helpful to have a good topographical map app that supports offline maps and the creation of waypoints; being able to mark discoveries and to navigate towards areas of potential interest with ease will increase both efficiency and the overall enjoyment of the process.
Although venturing into the unknown is always a gamble, the rewards can be tremendous. There is nothing quite like the thrill of discovering a vantage point, feature, or composition that provides a sense of creative pioneering. Whether an act of exploration takes us to distant lands or to an overlooked niche in our own neighborhood, it always takes us to a creative space that is destined to pay dividends in our future creative efforts. The suggestions included here for finding areas of photographic potential are just some of the more practical ones; anyone who has other recommendations is very welcome to include them in the comments below.
Erin divides her time between Cascadia’s Californian southern boundary and Slovenia, traveling and photographing extensively from home bases in both locations. Make sure to bookmark Erin’s site at www.erinbabnik.com. You can also follow her on Facebook, Twitter and 500px.
As our newsletter subscribers might know over the last last year we have taken turns pointing the lens on each of us to provide more insight to us personally. Since these were spread out among a half dozen newsletters we thought it would be good to post a recap that includes all of them. Besides we were not always good on following up to mention the myth found from a handful of truths of for the prior newsletter. Now we are rectifying that with all of them here.
If you did not receive the newsletter here is a speedy recap what we did. We published a listing of five things about one PC team member in a newsletter. One of the five is a myth, simply made up. four are true. The goal was to allow newsletter subscribers to guess which is the false one. If a person did respond correctly they would go in a drawing with others that guessed the same for a free 8×12 print of their choice. I don’t have a list of who all won yet I know some were guessed correctly by one or more viewers yet not that was not the case for all team members. Some are easier than others.
Without further rambling here they are for reading pleasure with a photo of each team member in their element… outdoors. Answers are separate at the bottom of the post for those that would like to take a stab at guessing.
- Failed the only photography course he ever took.
- Made ski movies when he was younger.
- Traveled around the world as a DJ.
- He likes to eat vegetables and seafood.
- Just out of high school bought a Porsche.
- Has performed onstage with Ray Charles, Natalie Cole, Ben Folds, Brandi Carlile, and Peter Cetera.
- One of his cars is a red 1988 VW Cabriolet.
- Has never used a traditional film darkroom
- Was a child actor and in a commercial for Burger King.
- He is not afraid of bees, but is of spiders.
- He reads 25-50 books per year on average.
- He grew up in the redwoods of northern California, but has never been back to photograph.
- In addition to photography, he enjoys surfing, mountain biking, snowboarding, and backcountry exploration.
- Has never used a traditional film darkroom.
- Owned cameras made by the following manufacturers: Sony, Canon, Nikon, Minolta, Apple, and GoPro.
- Did wedding and portrait photography full time for over a year before deciding to move back to landscape photography.
- Almost got blown off a mountain summit with his wife. The tent was sideways and he could not see where he was when he woke up. He ripped open a mesh window to get out.
- Has traveled to all the National Parks in the states of Oregon and Washington.
- First backpack experience felt a big adventure he embarked on. He now takes his young kids to the same location. It’s only 2 miles and 500 ft of elevation gain.
- Grew up at the mouth of the Columbia River Gorge playing in a creek on his property catching crawdads and hiking through the woods.
- He owned a music distribution company.
- He’s an avid guitar player.
- He’s held two state swimming records.
- He walked across the Yukon and NW Territories.
- He played in baseball’s Babe Ruth World Series.
- Pole vaulted in China.
- Reached the summit of Mt. McKinley on two separate expeditions.
- Lost a $5 bet with Galen Rowell when Galen successfully ran cross country at high altitude in time to capture his famous Rainbow Over the Potala Palace image in Tibet.
- Played in a 1990s bagpipe marching band, kilt and all.
- Partied with Woody Harrelson and his posse at a U2 concert.
Answers – the following are not true.
Kevin #4 – He likes to eat vegetables and seafood. Kevin does not like either of them. I know first hand from traveling with him.
Chip #5 – He is not afraid of bees, but is of spiders. Chip does not like bee’s at all but doesn’t mind spiders.
Zack #5 – Has never used a traditional film darkroom. Although he became an expert in Photoshop early in the DLSR age Zack has spent time in the darkroom.
Adrian #3 – Has traveled to all the National Parks in the states of Oregon and Washington. He has not been to the North Cascades NP yet.
David #2 – He’s an avid guitar player. David does not play the guitar.
Sean #3 – Lost a $5 bet with Galen Rowell when Galen successfully ran cross country at high altitude in time to capture his famous Rainbow Over the Potala Palace image in Tibet. He wishes he did but it’s not true.
With the latest interview and featured photographer spot on Photo Cascadia blog we bring you Marsel Van Oosten. Although based in The Netherlands, and area with little in the way of grand landscapes, he truly paints a picture of what it’s like to be a photographer leading adventures around the globe. I was first exposed to Marsel’s inspiring work about seven years ago on Nature Photographers Network (NPN). It was his great photos of Namibia that lured me in. Although I heard of the location before and seen photos, I realized he had some unique takes on the area. Along with photographing remarkable and exotic locales he has an exceptional wildlife portfolio. For years I have listed him on my website as a photographer that inspires. You will see why in this interview and his photographs.
1. Tell us about your life before photography or have you always been behind the camera?
I finished art school with a BA in art direction and graphic design, and then worked as an art director in advertising for 15 years. When I was in art school, I didn’t care much about photography. I could choose it as a major, but I couldn’t see myself messing around with chemicals in my bathroom all day to develop arty farty black and white prints. During my career as an art director, I worked with a great many professional photographers, and that’s when I really learned about the power of photography, how to look, how to select, how to work with light, and about post processing. Over the years it developed from a harmless hobby to a full blown obsession. My photographic style is greatly influenced by my graphic design education and my career as an art director.
2. You have some amazing nature and wildlife photos, which is your focus. What draws you to those subjects over everything else?
Thank you. I love nature, I love animals, I love being outdoors – always have. In advertising, everything was fake. At first, nature photography was a way for me to escape from the pressure and hectic life at an ad agency. The peace and quiet was therapeutic and it was nice to work with real stuff – trees, rivers, skies, animals. The creative challenge was interesting as well. Nature is chaos, and I liked trying to create some order. In many ways nature photography is like graphic design – you have a whole bunch of elements that need to be organized so that it makes sense and looks attractive. For me this is still one the most interesting creative aspects of what I do.
Working with animals is both amazing and frustrating. If you’re a landscape photographer, you have all the time in the world – you walk around, pick a good spot, wait for the magic light, and click. And if the weather does not cooperate, you return the next day – the landscape will still be there. With wildlife it’s completely different. I have no influence over my subject, all I can do is wait and hope for the best. When the light is perfect, the animal doesn’t show up, or when the animal is doing something amazing, it’s usually too dark, facing away from the camera, or hiding behind a tree. It’s very rare to get everything just perfect. And that’s exactly what makes it so addictive – there is always room for improvement and you never know what you’re going to get. It’s the anticipation. You’re looking at a scene, you see the light is perfect, you’ve already figured out the composition, the animal is walking into the right direction, and you’re hoping for those few extra steps to get the perfect shot. It can be really exciting. And when something interesting does happen, it’s usually over before you know it. You have to work fast, make the right decisions in a split second. It’s a lot of fun.
3. Speaking of subjects you have one of the best collections of Namibia photos I have seen. How do you continue find ways to push yourself creatively and come back with different and unique images after visiting the same place many times?
As a nature photographer you have basically two options: you photograph an unfamiliar subject, or you photograph a familiar subject. The first option is by far the easiest – if you subject is unfamiliar, you’re bound to end up with an original photograph. The second option can be very difficult from a creative point of view, especially when you’re photographing iconic places or subjects. I really like the creative challenge that places that have been shot to death give me. You really have to push yourself to your artistic limits to come up with something that feels original, even though the subject matter really isn’t.
When I first visited Deadvlei many years ago, there were hardly any photographs of it anywhere. People could not believe these places were real – they thought it was all photoshopped. After we set up the world’s first photo tour to Namibia, things started to change. More and more photographers visited the country and photographed the same subjects that I had. Every year it became more difficult to return with something original, but every year it became more interesting for me as an artist.
Nobody knows these places better than I do. When I see a photograph taken in Deadvlei for instance, I can show you on Google Earth which trees they are exactly, and at what time of the day the shot was taken – it’s pretty scary. I like visiting a place multiple times, you have to get to know a location to be able to fully understand the creative potential. But the most important thing you have to do is: think. Most of the photographs that I shoot in Namibia I have already pre-visualized at home. I don’t want to waste time walking around, thinking about what I’m going to do if I already know the location. Before each visit, I analyze the shots that I’ve taken there on previous visits, and decide what can be improved upon, or I try to come up with something that’s never been done there before. That’s how I decided to create the first time-lapse from Namibia that was shot entirely at night. Later this year we will visit Namibia probably for the 20th time or so, and I’m still looking forward to it again.
4. If you had to pick your three favorite images, what are they and why? (they are the three in this post)
Resurrection: I’m very proud of this image, because it was the result of creative vision. I had pre-visualized this image years before I was finally able to shoot it, and at a time when all landscape photographers told me that it would be impossible to shoot anything new there anymore – it had been shot to death. It is so difficult to shoot original images at iconic places, but it is extremely rewarding when you pull it off. So many photographers are obsessed about their gear and processing technique, but in the end the only thing that really matters is creative vision. As a matter of fact, this image won an award in the Creative Visions category of the Wildlife Photographer Of The Year Awards. That was a real bonus.
Brave Elephant: Victoria Falls is yet another icon that has been photographed by millions. On my first visit there, I almost decided to leave my camera at the hotel, thinking about the kazillion images that had already been shot there. When I heard from the locals that an bull elephant had been spotted the day before in the vicinity of the falls, I decided to stay a few extra days and try my luck.
Photography is all about making decisions. Anyone could have made this shot, but very few people would have made that same decision. This is the only photograph in the world, apart from the horizontal version that was featured in National Geographic, that features an elephant this close to the edge of Vic Falls. It is also the perfect example of my ideal photograph: a spectacular landscape image with an animal in it.
Invasion Of The Dunes: Another one from Namibia. My first publication in National Geographic – a double page spread, 10 million copies worldwide. I was ecstatic. This was shot at a time when few people knew this place existed. Daniella and I were the only people here for days. The sand was pristine everywhere, which is no longer the case unfortunately. You can only get this light at a very specific time of the year, as the sun needs to rise at a certain spot to shine directly into the middle room. This room is difficult to find, but it’s the first one that people start looking for when they go here. It is by far my most copied shot ever.
5. You lead workshops around the globe from Namibia to Antarctica. What can one expect on a workshop with you?
We know the locations that we visit very well, so you can expect to be at the right place at the right time, fully briefed on all the creative challenges and possibilities. People that travel with us, usually do so because they like my work and they want to learn from me, see me at work. I like to help people to improve their photography, and teach them to analyze a scene. I have a very specific way of looking at spaces and dealing with shapes, so I try to bring that across. Composition is very important for me, more so than light, so I always give a presentation on that.
Also, part of every Squiver tour is image reviews – each participant selects up to three images from the previous day(s), and I analyze them in front of the group. These sessions are incredibly interesting and educational, also for me. We get people of all experience levels, which is great. We all learn from each other, also from the beginners.
But the main reason that people keep traveling with us, is the fact that we are a husband and wife company – we always lead our tours together. It’s a completely different group dynamic. Photography is a very male dominated thing, but we tend to get relatively more women than other companies because of that. The result is that there is less tech talk, which is good – I don’t like to talk about buttons and sensors all the time.
6. Is there any artist, photographer or otherwise, that has been a big influence on how you photograph or your creative process?
The one artist that has inspired me most, is German landscape painter Caspar David Friedrich (1774-1840). His paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that directs the viewer’s gaze towards their metaphysical dimension. When I first saw his work back in art school, it made a big impression on me, and it’s been a source of inspiration ever since.
But there are so many other great artists around – the internet is filled with talent. I don’t look at much of it, only when I’m going to photograph something specific – I like to know what’s already been done so I can at least try to do it differently.
7. I notice you have entered (and won) a number of photo contests over the years. What are your thoughts on them; are they still a good avenue to stand out? And what contest gave you the biggest exposure?
Most photography competitions are only in it for the money, or to get their hands on your photographs for free. There are many contests out there, and most of them are completely useless. However, I do believe that contests can be helpful.
Photography is an art form, and art is subjective. If you’re a marathon runner, you can tell how good you are by looking at your best time. If you’re a photographer, you can’t. Family and friends always think your photographs are amazing, but they can not be trusted. When I was still working in advertising, I struggled with this phenomenon. I wanted to know whether my images were any good, so I decided to enter a couple of competitions to see what would happen. After I won prizes in several major contests, I knew that my images were good enough to stand out from the millions of others – in the end this was what gave me the confidence to switch careers.
I still participate, primarily because it’s nice to know whether other people certain images are as good as I think they are, and because it looks good on my cv. I know that I’m a good photographer, so I don’t need the ego boost – I hardly ever visit the award ceremonies. If you want to become a professional photographer, participating in any of the major contests is a good way to find out if your images stand out from the rest. There are already so many photographers out there, so if you want to make it, you need to be better than most of the others.
As a nature photographer, there are only five contests in the world that I think matter; Wildlife Photographer Of The Year, European Wildlife Photographer Of The Year, Travel Photographer Of The Year, International Photography Awards, and Nature’s Best Awards. Those are the competitions that publishers, galleries and stock agents look at. My recent win in the Wildlife Photographer Of The Year gave me the most exposure, mostly because the picture (of a snow monkey holding an iPhone) appealed to many people and because the contest has a big reach.
8. When you are not photographing or leading a tour what do you like to do?
I like to watch tv series like Game Of Thrones, The Walking Dead, Homeland, and House Of Cards, and I like to listen to Death Metal. Septicflesh rules.
9. Quick questions:
- Nikon or Canon? Nikon
- Apple or PC? Apple, never worked with a PC
- Photoshop or Lightroom? Photoshop
- Favorite book photography related? Before They Pass Away, by Jimmy Nelson
- Where do you want to photograph that you haven’t? Niger
10. Lastly what is one mistake you made early on whether it was with the photos itself or the business side that you really learned from, and others can learn from as well?
The biggest mistake I have made, is that I haven’t made the switch to photography earlier. I had been thinking about it for years before I finally took the plunge. Making a living with nature photography used to be a lot easier, and it’s virtually impossible now. If you really want something, follow your heart and don’t wait too long. Life is short, and you should do the things that you’re passionate about. Nothing else matters.
I would like to thank Marsel for his time to do this interview with me. To see more of his work and workshop listing visit http://www.squiver.com
Once again another year is coming to a close for all of us which brings time to look back on the past and what might lie ahead for the new year. This year marks the 5 year milestone since Photo Cascadia was born. Surviving the toddler years we are feeling strong with a continued united mission “learn, explore, create” as we intended from the early days. It’s pretty amazing how well we all get along. Some of us knew nothing more than the name and associated photos of each other when Photo Cascadia started. That said Photo Cascadia would not be where it is today without you. Thank you to all of our subscribers and viewers to the newsletter, blog, social media and everywhere else!
Looking back at the photos each of us from Photo Cascadia captured this year and the places we visited, we feel truly fortunate. Wherever 2014 took you with your photography adventures we hope you enjoy looking back at what it brought for you. For us viewing this slideshow is fresh reminder of the beauty that surrounds us on this planet. Regardless of politics, religion and other beliefs we all enjoy what earth has to offer us from grand landscapes to intimate scenes. A great quote that sums it up best.
“A landscape image cuts across all political and national boundaries, it transcends the constraints of language and culture.” – Charlie Waite
We invite you to take a few minutes (3:35 if I have to be exact) to see a few of our favorites from the team this past year. Slide show is best viewed full screen at 1080p resolution.
We will take a holiday break from blog posts until sometime in January. After that we should be posting again and look forward to engaging with all of you as we do throughout the year. We hope this holiday season brings you memorable experiences and quality time with family and friends.
Happy Holidays and New Year from the crew at Photo Cascadia!
Adrian Klein, Chip Phillips, David M Cobb, Kevin McNeal, Zack Schnepf and Sean Bagshaw
By David Cobb
A decade ago I traveled through Iceland exploring and planning for my 2006 walk across the island. I marveled at the stark scenery and the long hours of beautiful light-a photographer’s paradise. Today, you can’t fling a spoonful of Slátur (blood pudding) in Iceland without hitting a photographer. Those early feelings in an earlier day I had for Iceland rose again on a recent trip to Slovenia, but on this trip I felt I had barely scratched the surface of discovering the beauty of Slovenia.
The Slovenian photo opportunities are much more than the beautiful Church of Assumption atop an island of Lake Bled–waterfalls abound, gorges seemingly are everywhere, the Julian Alps are spectacular, and the countryside is filled with vineyards farms, and picturesque landscapes.
My trip began in the capital city of Ljubljana (a place I joked was the only city with more coffee shops and bicycle riders than my hometown of many years Portland, Oregon). The streets of old town are attractive and easy to wander with a camera and tripod, and at night they truly become alive with lights reflecting onto the river below. And like many European cities, Ljubljana is topped with a castle that you must explore.
Next on the list was a trip to Lake Bled which is truly in a fairyland setting. From here short trips can be made to the popular sites of Lake Bohinj, Vintgar Gorge, Savica Falls, and other parts of Triglav National Park. I’m sure there are more than a million places to discover, explore, and photograph here, but I only had time for a few as we moved on to our next destination east to the town of Ptuj which is surrounded by rolling hills and vineyards that reminded me a bit of Tuscany or even the Palouse. The rural countryside, green grasses, and fall color combined with the soft light to make for some enjoyable photography. The small city streets are also quite photogenic, and the morning city fog adds an air of mystery to it all. From here we left to explore the northern section of Croatia, a country I’ve visited in the past but wanted to see more. We returned to Slovenia along its small coastline and stayed in the town of Piran–a lively coastal city and photogenic along the harbor.
A two-hour drive brought us back to Ljubljana and completed our loop of the country. The people here were always friendly and knew English well. The food ranged from very good to excellent, so I never had a bad meal. Like I said, I barely scratched the surface of this country’s photo opportunities. Fellow Photo Cascadia member Sean Bagshaw also vacationed here in 2014 and we’re planning to conduct a fall color photo tour of this country with Slovenian photographer Luka Esenko in 2017, so stay tuned for updates.
I often get asked which is the best time to visit the Oregon Coast and why. Most people believe that would be the summertime when the sun is out and the days are filled with blue skies. But as a photographer we don’t want the clear blue skies that most ordinary people would want. This could not be more true for the Oregon Coast as the summers are usually filled with no clouds and just boring blue skies. In the winter is when you get the best sunrises and sunsets which make for great dramatic photos. Yes it is true this is when you get the most rain as well but it as the tail end of these weather systems that you are likely to get these amazing weather patterns that make for great photos. So when choosing a time to hit the Oregon Coast it is best to allow some extra time in the vacation to ensure you allow for some bad days. I usually like to go at durations of week or more to ensure I allow for all kinds of weather.
The motto as most photographers know is that the more unstable the weather is the more likely the sunrises and sunsets will be good. So next time the rest of the world takes cover from the rain this is the time to be ready to capture the best photos especially along the Oregon Coast.
Another advantage to shooting on the Oregon Coast in the winter is the extra amount of rain which makes for better reflections and tide pools. This is especially true after a recent rainfall that make for great reflections of the clouds in the tide pools. I time these with low tides where the beach is more likely to be exposed and add a variety of tide pools and beach patterns. The tide pools really add another dimension to the coastal images along the Oregon Coast.
The tide pools add foreground interest which really pulls your viewer into the image. That immediate draw tells a story by combining a foreground with the background through juxtaposition of elements. The tide pools also add a natural mirror to the scene and double the color and beauty of the scene.
This also adds depth to the image and really enhances the illusion of the 3-D in your images. Another advantage to photographing right after a rainfall is the sand and rain together create nice patterns in the sand. I looks for these patterns in the sand in relation to sand ripples and the way the lines lead through the image. I compose my images so that the ripples and patterns lead to the subject I am trying to highlight in the image. If you carefully compose your images at certain angles you can really take advantage of reflective color off the side of ripples that really draw converging lines toward the subject.
With so many images from the Oregon Coast you really need to think carefully how you are composing your images and making them stand out from other images from the coast.The rain adds a great reflective element to the beach and makes for great reflections. By using the weather elements of winter to your advantage you can really create unique compositions that stand out.
Another advantage to photographing the Oregon Coast in the winter is there is the number of people are much fewer. To photographers this is important as nature can best be viewed when one admires nature in solitude. I am a firm believer in this and that whenever I can get somewhere and be with myself I can connect with nature more. It is important to really figure out what each scene is telling you and then try to convey that in the story of the image. The absence of people also means the lack of footprints in the sand around your composition which is almost impossible in the summertime. I like the fact that when shooting after a rainfall the beach is again in pristine condition and lacking footprints.
Winter photography along the Oregon Coast also allows for the change of ratio and rule of thirds when composing images. To be more specific when i shoot during the summer months along the coast I am forced to compose an image where I try to not include much sky. Because there is never anything much interesting going in terms of just blue skies it forces me to compose the image to be one-third sky or even less and two-thirds foreground (beach). This really limits what I can do in terms of compositions and really hinders my creativity. In winter, with dramatic skies I can change my ratio to either emphasize the sky or foreground and that choice is mine. Using the mood of the sky I can really add creativity to the images with long exposures, reflective ripples, reflecting tide pools, and mirror reflections off the sand.
With so many advantages to shooting coastal images along the Oregon Coast with winter weather conditions make it a priority this winter to get out and do some shooting.
When I am getting ready to head out for a hike or take my camera gear I normally don’t travel very light, except of course when I am backpacking. One of F-stop Gear’s smaller packs forces me to travel lighter than I normally would and this pack is the Kenti, the smallest in their Mountain series and the one that has the built-in ICU. I really like what it has to offer, some of what differs from other packs I have used whether F-stop or other brands.
Basic Specs – 25 liters, 3.4 lbs (1.54 kgs), 17” tall, 11” wide and 8.5” deep. Exterior is DWR-treated, 330D Double Ripstop Nylon with 1500mm Polyurethane coating. Can carry your DSLR, a few lenses, accessories and some others small items like a snack and light jacket.
Feel – When I first put it on I felt like I was ready to hit the trail for a run, not a hike. Because of it’s size the Kenti sits high which I was not used to but really like as it feels more out of the way around my lower back. When I have this loaded with little room to spare I am pleasantly surprised how well the bag holds with little to no sagging feel.
Build – Every generation of F-stop bags honestly gets better and better, this one is no exception. My first one from them I still have from years ago and I love it because it’s bright red and in great shape but you can see the difference in materials and overall build compared to their newer packs. I see no reason this won’t last through heavy use from the mountain trails to the urban back alley.
Hydration – Something I have asked for and I see is integrated in this pack is a place to put a hydration bladder that is outside of the pack with drain at bottom should it leak. A bladder inside the pack and thousands of dollars in gear is not a good combo. I had no issues putting a couple liters of water in my Camelbak bladder and getting it to fit in the hydration slot.
There are few things to note about hydration for this pack. 1) Although I got the bladder to fit fine I could not make use of the H2O hose outlet as seen in the photos. It’s simply too tight of a squeeze for the front of my hose. That said I had no issues letting it sit between the zippers, they stayed firmly in place. 2) Although my backpacking pack I use is similar in that the hydration bladder sits behind my back it has more of an arch to keep it from my pack. That said even though this area is directly touching your back when wearing the pack it felt fine without feeling the shape of the bladder with water. 3) Unless you want to keep your water bottle in your pack with gear this pack lacks an outside water bottle option.
External Straps – You can carry the tripod on the side which I did a few times yet I would suggest getting the Gatekeeper Straps as this allows for carrying it on the back center area. This would also allow you to carry other items here such as snowboard or crampons if desired. I have a feeling I will be using this pack for that purpose this winter.
Main Body Access – Admittedly I am not used to side access compartments for my camera backpacks. That said once you get used to using it nice to swing it onto one should or the other to get access to your gear without putting your bag down. Top access is roll-down for expandability as needed which is pretty cool (reminds me of my Ortlieb panniers that I use for biking). For side access I notice I don’t always remember which side I have my camera and which has my extra lenses. A trick to remember is referencing your hip belt and knowing which gear is in the side with the hip belt pocket and what gear is in the side without. If you have a mirror-less camera system or something similar in size you could put most of your gear on one side and leave the other for clothes or other items.
Pockets – There is plenty! I still remember a trip many years ago to Europe traveling on the bus talking to some climbers from England. They commented on my pack (and American’s in general) how we have so many pockets and compartments in most of our packs. I can’t deny that is me 100% whether it’s a photo bag or not. You will find plenty of places to put small and medium sized items like filters, batteries and cards.
Weather Resistance – One thing I need is something that is built to hold up to the elements and has a rain cover that you can get as an add on. It’s wet in the Northwest so I need this. Although I use the rain cover when it’s raining I have gone without it for short distances in light rain and the DWR-treated exterior repels water quite well. Don’t forget if you use the rain cover and end up tucking it in the bottom compartment to remove it later so it can fully dry out. I have come close a couple times to leaving a damp cover in there which wouldn’t smell nice weeks later!
Overall I really like this pack and for now will be my go to when I want to travel light with less gear. What is your pack of choice for travel light with your photo gear?
Disclosure Note: I am on the F-stop Gear pro team.
I’ve been a little bit out of the loop for a while now tending to my baby who’s now almost 5 months old. Those who say it gets easier after the first 3 months must have had better luck. He is a real sweet guy, doesn’t cry much, and we are having a great time with him, but boy is he a challenge to get to sleep! Unfortunately his sleep has regressed for now. He was sleeping 7-9 hrs straight at night, and for the past month he has been at about 3 hr stretches at first, then less until morning. I know this is better than some, but it is sure hard to get used to when he was doing so much better. He has been diagnosed with acid reflux so we are pretty sure this has been part of the challenge.
I apologize to the people who have been waiting so long to get in on a workshop, but plan to start getting busy soon-things just take a bit longer with the new one around!
I have contacted most of you who wanted a workshop last season and gave you first grabs at my schedule for this year. I have filled up one workshop, and some private spots, and am tentatively scheduling another for May 29-31st. Cost would be $495/person and I am keeping it at 5 people max. This workshop would start a bit before sunset on the 29th, and end after a sunrise shoot/early morning shooting on Sun. This would be in addition to any private or small groups I can fit in as well around the same timeframe.
I am also accepting clients for other times of the year as well if my schedule permits.
More information on my workshops can be found here.
Feel free to fill out a contact form on my website if you are interested in setting something up and I will try my best to accommodate you best I can.
If you are just interested in finding out a bit about my editing tips and tricks, my set of image editing videos can be purchased here.
I grew up backpacking in the California Sierra and Oregon Cascades with my family and have continued to explore the back country and high mountain wilderness ever since. In my twenties and thirties I spent most of my time in the wilderness climbing, carrying ridiculously heavy packs and taking the most direct path to whatever summit was close by. These days I prefer to take more leisurely trips into the wilderness to photograph mountains instead of climbing them. My most rewarding outdoor experiences come from spending a few days with the camera, far away from more crowded roadside landscapes. When I first began going into the wilderness to photograph I simply traded out my climbing gear for camera gear, convinced that a heavy pack was the hallmark of a burly woodsman. Now that I have both hiking boots planted firmly in middle age I find that carrying too much weight has become painful, demoralizing and potentially injury inducing.
In the past few years I have made it a priority to lighten my backpack so I can get up in the hills with a minimum of suffering and maximum of comfort and mobility. It is a work in progress, but I now have a set-up that seems to be working well for me. I figured some people would be interested to know what my back country kit is composed of and that was the motivation for this article. Fellow PhotoCascadian, David Cobb, also an avid back country photographer, previously wrote an article detailing his lightweight backpacking set up. Most of my gear choices are based on suggestions from friends and some basic Internet research and comparison. I don’t have any personal or financial stake in the companies or gear on my list. I genuinely like and endorse all the gear I’m using. However, there are many other options out there which would work equally well or even better.
My main goal is to keep my total fixed pack weight (not including clothes, food and water, which varies day by day and season by season) under 15-18 pounds.
Pack – I use an Osprey pack that is closest to the current Xenith 75 Model: 5.4 lbs. This is the one place where I am willing to go a little heavier for better comfort and load distribution. I find that a good pack can make a heavy load feel lighter than it would with a less able but lighter pack.
Tent – Big Agnes Copper Spur UL1 : 2.5 lbs. Super roomy single person for the weight and very weather proof for a three season tent. I love the big side entry door and high ceiling.
Sleeping bag -Three season – Mountain Hardwear Phantom 45: 1.2 lbs. Good for me down to about 35 degrees F. Cold weather – Marmot Helium: 2.4 lbs. Good for temps down into the low teens or even colder if I wear layers. Both of these down bags are super comfy and light.
Pad – Big Agnes Q-Core SL: 1.1 lbs. I’m getting older and stiffer so the 3.5 inches of air cushion really helps me get a good night’s rest. It also keeps me warm down into the low teens.
Stove – MSR Pocket Rocket: 0.2 lbs. Super light, super small, super fast, super reliable.
Kitchen Kit – MSR Quick Solo Pot: .5 lbs. It’s a pot.
Water treatment – Katadyn Hiker: 0.75 lbs. Basic and reliable, although not the lightest out there.
This puts my basic kit at 11.65 or 12.85 lbs depending on which sleeping bag I take. I have another couple of pounds of odds and ends like first aid kit, head lamp, 10 essentials kit, fuel, mug, etc. That brings me up to about 15 pounds total. This leaves about 20 pounds for extra clothing layers, food and camera gear to stay under my 35 pound limit. For camera gear I choose from the following options.
Camera – Canon EOS 5D mark III or Sony NEX-7
Lenses – 24-105mm or similar. 16-35mm and/or 70-200mm if essential.
Tripod – MeFoto Road Trip or Gitzo Mountaineer.
Camera clip – Peak Design Capture Pro Camera Clip. I hike with my camera outside my pack so I’m ready to shoot at any time without needing to take off the pack and unload it. I find the Peak Design clip an excellent way to carry the camera outside the pack in easy reach.
Depending on how light I want to go will determine which camera, tripod and lenses I take. For the most lightweight rig I’ll take the Sony NEX-7, single 16-55mm lens (roughly 24-82mm equivalent) and the MeFoto Road Trip tripod.