Photo Cascadia Blog
Posts Tagged ‘mountains’
I am writing from a mountain lodge in the Italian Dolomites on a trip with Photo Cascadia teammate, Erin Babnik, so this article will be short and sweet. We spent a couple days before our winter workshop photographing at the end of a small valley with dramatic peaks all around. Our experience there reminded me of two things that are true about landscape photography that are well known but often difficult to remember and practice. First is that landscape photography is as much about the weather and the light as it is about the landscape. Second is that the weather and light is always changing. Every time weather and light change, they in turn change the landscape and our opportunities to see and tell visual stories about that landscape…as long as we are willing to be patient and keep coming back to the scene to see what it is offering us.
All the images below were taken with my phone except the last one, which is a raw file from my camera transferred to my phone. Record shots taken with my phone help me document and track the changes and help me visualize the potential for the images I took with my SLR that I will develop when I get home.
We arrived at the tail end of a winter storm that had coated the trees and peaks in a glorious blanket of new snow. On our first sunrise foray the remnants of the storm were still clinging to the peaks and the scene was moody and dark. Even though we couldn’t see the tops of the peaks there was enough to indicate their looming presence in the clouds above. In the moment it was easy to become disheartened that we didn’t get the dramatic sunrise light we pre-visualized. But looking back at this image I realize that the scene has a lot of character and mystery.
Later that day I noticed the clouds were beginning to lift. I shouldered my pack and headed back up into the hills. On this visit the mountain was playing with me. Intermittently it would reveal itself to me before the clouds would swirl in and hide it again. And it always stayed in the shadows, while the foreground came to life, brilliant in the full light of the sun.
At sunset we ventured out once again, this time to a higher vantage point right at the base of the peaks. The peaks were in full view but still capped by atmospheric plumes streaming from their summits. Although the sun was setting behind the mountains, the clouds captured the golden light and reflected it down, illuminating the cliff faces and snowy landscape in front of me.
The next morning we came back at sunrise a final time. Now the clouds had moved above the peaks and were soft and broken in the calm after the storm. Sunrise light lit their undersides and danced across the faces of the peaks, casting a warm glow across the winter scene.
I loved witnessing the changes and moods of this beautiful landscape over a the 24 hour period that I spent photographing it. It was also a good reminder of what I learned as a photographer long ago, but often lose site of in the rush of life…that it is often the weather and light that make a place special and wonderful visual experiences can unfold if we are willing to be patient and spend some quality time just watching and noticing.
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.
Late last year we were out as a Photo Cascadia group along the Oregon Coast when the idea was brought up to head to the Canadian Rockies for fall 2015. I was in! I had not been there while it sat on my list of must see places to visit for too long. Fast forward to the last week of September 2015 and we were off for a one week trip.
After the first 6 hour leg from my house in Portland, Oregon I met up with Chip in Spokane, Washington to finish out the next 6+ hours to our destination and meet up with Sean and Zack who had already been there a day. After a long day we arrived at Lake Louise Campground shortly after sunset. No sunset photos that night. We pulled in. Hung out with Zack and Sean for a bit while eating dinner then off to catch zzz’s for sunrise.
Getting up this time of year for sunrise feels like a treat after the droopy tired eyes of summer. We made our way to our first photo stop, sunrise at Moraine Lake. I expected busy. It was a little more than I expected. Far and away the most crowded location on this trip photographing with 100+ of my closest friends. Amazing to see yet it loses the appeal a little for me with that many photographers all jockeying for limited space. I kept setting up high in the trees, in the dark, only to find someone else eventually moving around already setup in my shot. One gal was getting aggressive when a photog got too close and he wasn’t moving. I was waiting for a fight but he eventually moved. I left the main viewing area on the top to join my peeps along the shore where I had a great rest of the morning with this splendid view!
This trip would not involve lollygagging around the same campsite for multiple nights. We had breakfast in town, back to camp to pick up Chip’s trailer and then off to the next location, Yoho National Park. A rather short drive away (~ 20 kilometers) we checked in at Kicking Horse Campground which was a good location in the middle of Yoho Park.
We spent the afternoon checking out Takakkaw Falls, walking part of Emerald Lake shoreline and then finishing with sunset at Emerald Lake. It’s only seconds after arriving here to know how it got it’s name. “Hiking” around the lake is more like an extended nature hike. At least the section we did was pretty flat yet very scenic. As we all know not all great scenic photos require long bouts of strenuous activity.
Up plenty before daylight and off to Bow Lake for sunrise. The drive was about 50 kilometers. The wind was whipping pretty good. I was not happy with any of my images from this morning yet we had a fun time regardless. The clouds rolled in and we could tell things would get wet later in the day. Back to Kicking Horse for breakfast at camp, fill up on water and off to the next campsite closer to the Bow Lake area.
Our next stop was Mosquito Creek Campground on Ice Fields Parkway. We filled up on water before arriving as this time of year it’s a dry campground because overnight lows dip below freezing. By the time we arrived the rain had already started dropping. We spent the afternoon chilling in our campers reading, listening to podcasts and napping. Having warm dry shelter was very welcome at that moment.
After getting bored we decided to drive and see if could find a place to have a beer. First stop was Bow Lake restaurant. The lady at the desk was indirectly kind in trying to say the restaurant was for guests only yet suggested we head a ways down the road for a bar. Mind you this is National Park with few places to stop and all tree lined roads. After driving another 40 km in the pouring rain at dusk we arrive at the mildly depressing oasis called Saskatchewan River Crossing. We were happy to have this place pretty much to ourselves sitting on couches drinking a beer and snacking on mediocre wings. Out into the rain and 50 km later we are back at camp. Rain still pouring outside we eat dinner in the camper then hit the hay.
I wake up shortly before dawn. I step outside the camper and can see nothing but endless grey with rain still coming down. Feels like home. We decide to bag sunrise and go back to bed. What seemed like 5 min later, in reality over an hour, I wake up and look out the window to see a huge patch of blue sky. Shorter than the click of a shutter I yell for Chip to wake up and jump out the camper. No courteous knock, I whip open the door to Sean’s camper and say “get up now, we need to leave!” Minutes later we are on the road. It did not take long to see this was going to be a fantastic morning. The snowline went down low overnight but only brought a dusting. With the sun coming over the horizon and quickly clearing skies we had to act fast. After pulling into Peyto Lake we made a short hike to an area with a perfect view and away from the main viewpoint.
While still on a morning high from the scene at Peyto Lake we make our way down to wander around Waterfowl Lakes. After breakfast back at camp we decide very early tomorrow is the time to make it up into Lake O’Hara with the slowly clearing weather pattern.
Midday we head back into Lake Louise Village for supplies. Mainly the $6 dollar bear spray rental since I left mine back home. I know now I can take it across the border next trip. As the kid in the store weighs the bear spray he proceeds to tell me that if I end up using it and the weight is not the same upon return I will have to buy it. My response “if I have to use this I have much bigger concerns than the retail price of a can of bear spray!”
That night we photographed sunset along Waterfowl Lakes. The partly cloudy skies made for a really nice scene. We don’t stick around long as we need to hit the sack early since wake up will be 3:15! No time for s’mores or kumbaya this trip.
My soothing alarm ring goes off at 3:15 am. Surprisingly I slept better than expected and feel pretty good. We eat a quick breakfast, as much as my body wants to eat this early in the morning and out into the morning cold crisp air we head as we start our trek to Lake O’Hara.
Spots in and around Lake O’Hara are amazingly scenic like out of Lord of the Rings or where you truly might find that pot of gold with a leprechaun. This is the reason it’s not easy to get there. For most normal people there are two options; camping or the lodge. Both options book up months in advance. Our plan would be to hike the 11 km gravel road in the dark to make it by sunrise. You can see why I rented bear spray. Although we were a group of four it’s prime bear country. With our head lamps moving around like the light in a lighthouse and plenty of “hey bear” shout outs we arrive at Lake O’Hara shortly before sunrise. I would not necessarily recommend this approach yet it worked for us.
We quickly find out the hiking is not over. We have at least a few more kilometers of all steep terrain to make it where we want to go. I am on a high and power through the next part. The sky starts getting lighter to slowly reveal this magical landscape. We spend a couple hours hiking around and taking photos. Honestly it’s a place you could stay all day with the perfect conditions we had yet we needed to ensure we could get a bus out. We leave it behind taking our photos as constant reminders for years to come.
We decide our next stop is Kananaskis. Kananskis Country is known for large photogenic groves of aspens. After the 160 km drive (about 2 hrs) we were pretty wiped considering the early morning wakeup call and long hike. We pull into a campground in Kananaskis area and take a long nap.
We decided on Wedge Pond for sunset, a short jaunt from camp. The golden aspens line the pond and do not disappoint. Not only did we have a beautiful view yet on the other side of the pond were what appeared to be two female yoga instructors doing poses in a wildly colorful yoga pants while a male photographer taking the shots was cheering them on. They were the only people there besides us.
Up the next morning and fortunately another not too far away drive which allowed for a more normal wake up time. It was a nice little marshy pond area not far from the road with a perfect view of Mount Kidd. A thin layer of ice continued growing on the small ponds as we photographed which was all we needed to tell us the temperature outside.
After that we spent the next few hours chasing around different aspen groves before the light got too harsh. Daytime photos are beautiful with golden aspens mixed with blue skies yet we had other plans in mind given it was our last day.
A late breakfast and on the road to the town Banff we go. There is a campground just outside of town where we setup camp. After “roughing” it for the week we decide an evening on the town is in order to finish this phenomenal trip. I highly recommend a soak in Banff Hot Springs and grabbing a beer with dinner at Banff Brewing Company. The next morning before dawn we head home.
If you have not been it’s a must add to your bucket list. In my home state of Oregon I feel lucky to live near mountains to play and photograph yet in all honesty they feel less dramatic in scale and size when comparing the endless large mountains around every turn in the Canadian Rockies.
Timing: The first part of any fall color foliage trip is timing. We all had it Sharpied in our calendars many months in advance and while peak fall colors certainly change every year none of us had much wiggle room. Fortunately our timing could not have been better. Normal peak for this area is middle to late September. As a side note you can easily spend a couple weeks in the Canadian Rockies and still feel like you are only scratching the surface.
Transportation: Living in the Pacific Northwest we are in reasonable driving distance. I only lug all my camping or backpacking equipment at 30,000 feet when necessary. The drive was about 12 hours, pushing the envelope to do it one day. Flying you will likely need to come through Calgary, the closest International airport at 120 kilometers from Banff.
Weather: This time of year you need everything from t-shirts to thick down jackets. We experienced snow, rain, wind and bright blue sky mild days. Be prepared for it all. Our coldest morning was about -3 degrees and our sunny warmest day about 15 degrees Celsius.
Lodging: There are plenty of options from budget camping to deluxe pampering hotels. We would be camping the whole time which made it very cost effective. Campgrounds we stayed at in Yoho and Banff ranged from $18 to $27 Canadian a night with additional $8 if you want to have a campfire. Beautiful Lake O’Hara I mentioned, lodging is a mere $600 to $900 CA a night for two.
Locations: Overall there many different parks and places that are part of Canadian Rockies yet we had no problem filling the days with our focus on three of them…Kananaskis, Banff and Yoho National Parks.
Physical Activity Level: You can make it as adventurous as you want from photographing out the window of your resort room to backpacking deep into the mountains. If money is no object then the best of both by staying at mountain lodges in the back country. Given we had only a week most of our locations were short hikes to nature walks with one long strenuous hike.
This week on the PhotoCascadia blog we are very excited to welcome a new blog contributor, the talented and esteemed Erin Babnik. We became acquainted with Erin’s photography a couple of years ago. At the time she was doing a lot of work in the Julianne Alps of Slovenia and the Dolomites of Italy. To say we were inspired and moved by her elegant compositions and captivating visual storytelling would be an understatement. We also enjoyed how closely she shares our own love of adventure and exploration of wilderness. In addition to being an accomplished outdoor photographer, Erin is a scholar and talented writer. She has a deep background in art history and is a master Photoshop user and educator. We are ecstatic to add Erin to the PhotoCascadia blog lineup. Her articles will add a valuable new dimension of ideas, knowledge and perspective that we can share with our audience. Erin will be a regular contributor so watch for her articles in the weeks and months to come. Our goal for this first Q&A article is to let her share some details about her background and photography interests, as well as showcase some of her wonderful imagery so you could become acquainted with her. In addition to her photographs, Erin offers instruction and leads workshops. We know you will want to check out more of her work and follow her on the web. Make sure to bookmark her site at www.erinbabnik.com. You can also follow her on Facebook and 500px.
1. You have a background in art history and archaeology. How did those two fields come together for you, and how did you evolve from there into a career as a full-time landscape photographer?
My degrees are in art history, but with a specialty in the art of ancient Greece. Working with ancient art necessitates a strong familiarity with the contexts in which ancient artworks were created, put to use, and later discovered, and it also requires a good understanding of archaeological field technique in order to make critical use of excavation reports about those discoveries. I therefore participated in archaeological expeditions in Israel for four years in order to gain experience with fieldwork. During that time, I began photographing artifacts and archaeological contexts in order to produce my own archive of photos for research and teaching. I started out by documenting the small finds and architectural remains where I was excavating and ultimately visited museums and sites throughout Europe and in the Middle East to round out my archives.
Those photographic pursuits quickly expanded into assignment work since I had a rare combination of subject knowledge and a passion for photography that produced unique results, and those projects in turn led to a lot of licensing of my photos. So before long, I was very much a ‘working’ photographer, and the idea of making photography a larger part of my professional life became increasingly appealing. My focus on landscapes grew directly out of the years that I spent photographing ancient ruins; trying to make compelling images of beautifully-sited temples and sprawling architectural foundations greatly developed my understanding of outdoor photography and piqued my interest in capturing natural ephemera. It also caused me to seek out locations where I could be free of the access limitations that are imposed at most archaeological sites. That desire to find both beauty and freedom soon had me exploring the Alps and venturing to increasingly remote and obscure locations. For a long while I clung on to my academic career because I so enjoyed teaching, but I finally decided that teaching landscape photography workshops would satisfy that passion nicely.
2. Do you feel as though your experience as an archaeologist has benefited you as a landscape photographer?
Yes, absolutely. There is a great amount of overlap between the two activities. An archaeologist must travel to remote locations, start work before sunrise, spend a large amount of time outdoors, work in challenging conditions, endure physical hardship, exercise great patience, and be willing to get very, very dirty. Anyone who has spent much time doing landscape photography will be quite familiar with those realities of the art! My time spent excavating in the Middle East toughened me up considerably and exposed me to a lot of travel situations that made me better able face the challenges of working in extreme conditions and in foreign countries. Archaeology also instilled in me an enthusiasm for discovery, which helps drive me to find new views and compositions when I’m out with my camera.
3. You obviously put a lot of care into the processing of your images. At what point did you begin to learn post-processing, and what philosophy, if any, guides you in your approach to it?
My first experiences with image editing actually preceded my interest in photography. I even taught Photoshop classes at a couple of art institutes for years before I ever even thought about using a camera for any serious purpose. It all started when my father began writing for a computer magazine and had to review new hardware and software as it came out. He also wrote books on various software programs and asked me to collaborate with him. It was my job to figure out how to use the software and to create example images that could serve as content for his tutorials. That experience landed me a job at a young age in the prepress department of a large newspaper, right when digital prepress solutions were just emerging. Adobe took an interest in the experiments of our department and sent representatives to teach us this new program called Photoshop, so we pioneered its use alongside the continuation of traditional prepress methods. Therefore, without ever having produced any serious photographs of my own, I became quite proficient at both traditional darkroom work and digital image editing. Learning Photoshop from the first version onward made it relatively easy to master the program and then stay on top of it as new features came out, so I subsequently had no problem acquiring work as a Photoshop instructor.
My philosophy about processing my own photographs did not quite grow out of those experiences, however. It was more so the years that I spent in art school to study studio art and then in graduate school to study art history that really influenced my particular approach to processing. Being exposed to so much art and to the history of it all has made me value personal expression and interpretation above most other goals. Although I do not indulge in the creation of pure fantasy scenes, I also do not think of my landscape photographs as reflections of some absolute reality. I aim to communicate my own experiences of a place, which may mean subtly altering spatial relationships, tones, or colors in order to impart a sense of perspective or a certain mood. It may mean combining different exposures to achieve a certain field of view, depth of field, or a combination of photographic effects that a camera cannot pack into a single frame on its own. These techniques come together in post–processing, but they usually require a deliberate approach at the moment of capture—so in a sense, my approach to processing a photo often begins well before I’ve taken any exposures for it.
4. What do you find most challenging and most rewarding about landscape photography?
The challenges of landscape photography are many, but chief among them is probably the necessity to think on your feet when unpredictable situations occur, which is often. I prefer to have the luxury of thinking through a composition at my leisure, refining it, and then waiting for a great display of ephemera to go with it. Those sorts of outings are wonderful, but all too often a mad dash and/or extemporaneous composition is necessary to come away with anything worthwhile when nature decides to be uncooperative. I always agonize over the decision to abandon a composition that excites me when it looks like opportunity will be knocking elsewhere, and I dislike feeling rushed when I’m composing a photograph. Then again, it can be a real thrill when an act of compositional triage forces me into a gamble that pays off in the end.
As far as rewards go, I suppose it is a toss-up between the experience of enjoying a magnificent view while photographing it and the experience of making a final photograph that communicates the essence of that experience. I enjoy both ends of the process immensely. Although I am probably happiest when I am out in nature, those moments can continue to pay dividends through photographs that successfully register something special about a particular place and time. I love that moment when I’m processing a photo and it starts to ‘speak’ to me, expressing whatever it is that I feel is worth sharing. Moreover, seeing other people deriving enjoyment from what I was able to express in a photograph is incredibly gratifying.
5. Your style of photography is quite adventurous, involving a significant amount of backpacking and wilderness camping. How do you typically go about choosing these types of destinations?
I usually choose my destinations after poring over topographical maps to identify potentially photogenic features and alignments. I find that I can get the basic sense for an area most quickly by looking at maps of it. Once I find an area that looks promising on paper, I then explore it ‘virtually’ using satellite imagery and Google Earth, and I look for snapshots that might provide more detailed information about a location or about terrain at an elevation that I’m targeting. Working in this manner usually means that I’m setting myself up for some surprises, and they don’t always work out in my favor. One time I planned a backpacking trip to photograph a glacial tarn that ceased to exist the year that I went to find it. It wasn’t until I had driven seven hours and hiked up nearly four thousand feet of steep terrain that I learned that there was no tarn because the glacier had finally become too small to produce enough runoff to fill the basin below it with water.
I also end up in a lot of interesting places simply because I enjoy the company of likeminded photographers who share my interests in exploring obscure locations. For years I resisted shooting with other people because I wanted to minimize distractions and complications, but lately I have swung the other direction. I have been lucky to make friends with some very intrepid photographers who have introduced me to locations that they have researched. Sharing the experience of exploration and discovery with inspiring photographers is possibly the greatest fun that I have ever known, and doing so has expanded my wanderings to areas that I may never have found by following my own nose.
6. How would you describe the qualities that are typical of your work?
The one thread that probably runs through most of what I produce is an interest in seldom seen locations and compositions. I think it’s my love of discovery and of solving puzzles that drives me to experiment with new locations and vantage points. While I marvel at familiar scenes as much as anyone else, I always have this urge to find out what lies beyond them. As far as basic aesthetics go, I tend to gravitate towards scenes that provide a strong sense of visual hierarchy and of timing. Although I enjoy images that do a compelling job of featuring all-over patterning or of eschewing temporal specificity, I don’t tend to produce them myself. Counterbalance, atmospheric effects, and dynamism all feature quite regularly in my images, and despite having a great amount of respect for black-and-white photography, I prefer to work in color.
7. When you are not photographing or processing images, what do you like to do?
I like to stay active as much as possible, so I do a lot of running and enthusiastically seize opportunities to go swimming when they arise. I really do enjoy the whole range of outdoor activities associated with photography, including hiking and camping, and I sometimes like to indulge in them without any photographic agenda governing my time. In addition to keeping my body active, I like to exercise my mind as well, so I regularly get out to museums and galleries, and I love to read philosophical musings about photography wherever I can find them. Judging photography competitions also provides me with an outlet for exercising my eyes and mind in ways that producing photographs cannot, so I accept a number of invitations to commentate and judge at competitions around the Bay Area each year.
8. What photographic projects do you have planned for the future?
At the moment I have a workshop in the Dolomites with co-leader Enrico Fossati scheduled for July 5–11 and several private workshops planned in the summer and Fall. I also have been invited to write a feature article for a magazine to recount my adventures on a month-long trip through the southwest that I recently completed. Those projects and my usual photography travels will keep me quite busy, but I hope to make plenty of time this year to finish an e-Book on photographic expression that I have been plugging away at for years now.
Winter is a special time for photographers who enjoy the challenges and the rewards that come with winter photography. Dedication comes to mind, when we think of photographers that enjoy adventures in subzero temperatures, to capture images that other photographers would not be willing to even consider.
A trip to the park in summer means hot weather, overcrowding, and congestion. On the other hand, winter is the perfect time to try shooting some unique perspectives of your favorite places. The solitude and peacefulness of a winter scene takes on a new persona and allows the photographer to see it in a whole new light. What really makes winter special for the photographer is the chance to be out in nature on a more intimate level. This time alone in nature makes one really think about what it is they are to trying to capture, and how they are going to relate this to their audience. Winter photography can be very rewarding if one prepares themselves for the challenges of colder temperature. There are a few simple tips that will make your winter adventures more enjoyable.
The following three concepts are equally important to the enjoyment and longevity of winter photography: 1) clothing; 2) camera equipment, and 3) the picture-making process.
Common among these elements is the notion of preparation for all winter conditions you may encounter. An absence of planning in winter can deter any photographer from further experiencing the true beauty of winter.
When it comes to shooting in the winter, weather can be unpredictable. The best way to prepare for weather is to expect anything in the winter. Therefore, dressing appropriate for the situation is fundamental for winter photography. When it comes to dressing, it is necessary to plan ahead for situations of changing weather. Preparing the body for winter includes wearing something light and loose, so the body can regulate the escape of body heat.
Shooting in colder temperatures, the body temperature changes dramatically between hot and cold depending on the activity. As photographers are well aware of, photography can vary in terms of activity levels. Anticipating this level of activity means wearing clothing that can be easily opened with zippers in specific areas of the body for fresh ventilation and not wearing multiple layers that cause the body to overheat. For a photographer who already carries heavy camera equipment, dressing in layers is not ideal. The kind of clothing recommended is some form of loose fitting, breathable jacket that has zippers, allowing the photographer to quickly open and close depending on the level of activity. Also, it is important to wear clothes that leave no area of the body exposed to the colder temperatures. Always wear a warm hat to avoid excessive heat loss through the head. Research shows that seventy percent of one’s body heat can be lost by not wearing a hat in colder climates. In addition to a warm hat, wear pants that are fully waterproof, yet comfortable so that different types of shooting can occur. For example, photographers sometimes like to kneel in the snow to get closer to the subject. The ability for a photographer to move around comfortably and stay dry is critical. In terms of footgear, boots need to be waterproof, insulated, and high enough around the ankles to prevent leakage of snow. Gators, which are water resistant equipment that goes around footgear from the ankle to the knee, and keeps the snow from getting inside the boots are Recommended.
The one piece of equipment that most photographers wear incorrectly is gloves. Although most photographers wear some form of warm lining or gloves, most will wear gloves that do not have fingertips. They believe that fingerless gloves can help the photographer manipulate easier the camera controls. The truth is, most winter conditions are cold enough that exposed fingertips will hinder any finer control movements of the camera, thus being unable to operate the camera properly. The better option is to wear gloves that have removable fingertips that are held by strings from the body of the glove to the fingertips. Depending on the activity the fingertips can be easily removed or put back on. When it comes to enjoying your time in winter, the right type of clothing can make all the difference between a good and bad day. What about the ‘Tech Gloves’ that have a special end on the first and index fingers for working camera controls? I bought a pair at REI yesterday.
The most neglected area of winter shooting is winterizing camera equipment. What do you mean ‘winterizing camera equipment’? As I understand it, the modern digital cameras do not need to be winterized like the old film cameras. There are a few important considerations to be aware of when preparing camera equipment for winter. Keeping batteries warm should be separate from any winterizing. Do you find that batteries recover when warmed up? Depending on how cold the temperature is, one common problem prevalent among photographers is short-term camera battery life. Results vary on temperature and camera model, but it is safe to assume that batteries might only last a few minutes in cold weather. Do you ever put one of those hand warmers on the camera to keep battery area warm? Therefore, always carry extra batteries in the winter. Carry the extra set in a warm area like a pocket close to the body. This keeps the spare batteries warm and ready to switch out when the current batteries lose their power. Throughout the day continue to switch out the cold batteries with the warm ones for longer shooting.
Another common problem with camera equipment in winter is the condensation that occurs on a camera from changes in environments. Very cold air has very little water vapor, it is dry. When a camera comes from a cold outside environment to a warmer and more humid environment area like a heated vehicle, water vapor can condense on the outside and inside of the camera. Water inside the camera can cause the electrical components to malfunction and corrode. To avoid this, bring a large Ziploc or large trash bag to keep the camera inside until the temperature inside the bag is roughly the same as room temperature.
It is imperative to realize that mistakes are common when you are new to winter photography and every individual will have different things that work for them. Success comes with perseverance, and learning from mistakes is the key to continued involvement in shooting. Try different things by experimenting with different types of adventures, varying length, weight load, and locations. Take some early trips near home and figure what works for your style. These starter trips also give the body a chance to acclimatize to the colder conditions and build tolerance over time. Once everything is ready to go with your clothing and equipment, the only thing is to reward the winter experience with some great images.
Photography in the winter is a lot different than any other time for a variety of reasons. The main obstacle in the picture making process is the challenge of exposure. When evaluating exposure, the camera meter cannot give an accurate reading for white subjects like snow or ice. This is because snow fools the camera meter in trying to average out the luminosity of the snow, and ends up turning the snow grey rather than white. To get around this exposure challenge you must open up one or two stops on the camera to retain the highlights. Proper exposure varies depending on the light available. It is recommended to bracket images whenever the camera’s meter cannot give an accurate reading. Bracketing in one-stop increments beginning at an even exposure bias (0) and extend the exposure bias by plus/minus two stops at either end. A common solution to this exposure challenge is to take an average reading with your camera’s spot meter of a subject such the base trunk of a tree.
The single most important element in improving winter photography is working with the light. In wintertime, the light quality is unique, as frequent changes in weather take place. These weather changes make the clouds susceptible to more movement, thus more opportunities to capture the transient light. Transient light can be described as changing light that occurs as clouds interact with the sun’s luminosity. This diffused light at sunrise or sunset can lead to dramatic lighting that is accentuated by the contrast of the white snow. As well, in winter, light at sunrise or sunset lasts longer allowing the opportunity for longer periods of shooting. To capitalize on this opportunity look for situations that allow for side lightning that pronounces a subject’s features. Side lighting not only enhances the contours and shapes of the subject but it gives the image depth. Depth to an image draws a viewer into an image and makes it more interesting.
To make the most of winter weather, track weather systems in your local area and be present when these weather changes occur. Snow is a natural reflector of light so incorporate subjects into your composition that will reflect color into the image. Subjects that can improve compositions in winter situations are icicles, ice rim, frosted subjects, and natural shapes outlined in the snow. Capturing light in winter can lead to very dramatic images that stand out. Impact is important in pleasing images, and balancing composition with stunning colors is the way to achieve this. Rewarding winter images are possible when you learn to read and understand the light. Preparation is essential and visualizing your subject beforehand and how it will react with the light is important. Once you learn how to control the light you can use the combination of winter elements to make available light work to your advantage.
In conclusion, preparation is the unifying concept that ties all these recommendations together. It’s the combination of successful planning that makes it even more pleasurable when everything comes together out in the field. Success follows those that prepare and envision what they are trying to capture. Winter is a great time to get out and try something new. Take time to enjoy what you are doing and make sure to come back with some great images.
Photographing in the Wallowa Range
By David Cobb
They’re called the Alps of Oregon and lie in the northeast corner of the state, bordered by deep canyons, glacial moraines, and a few scattered picturesque barns. Near the town of Joseph you can photograph the mountains with a red barn in the foreground and maybe a few stray mares or you can use the crescent-shaped Wallowa Lake as a foreground leading into your mountain setting. I prefer to backpack into these mountains for the harder to get to wilderness view.
I’ve entered the 358,461 acre Eagle Cap Wilderness from different starting points and the easiest is just outside of the town of Joseph. I’ve hiked in from the west for a longer approach up the flower-filled broad valleys for a more gradual climb, but my favorite is from the more rugged south, catching a few views of the south’s craggy peaks and the handful of waterfalls that dot the area. After topping a pass or two you descend into the heavily visited lakes basin area for the stunning views of the namesake peak Eagle Cap. Pick one of the lakes for a base camp and photograph the Eagle Cap reflections from different points around the wilderness. Spend a few days at the higher elevation Glacier Lake for high-country views of Glacier Peak and Eagle Cap. An easy climb to the Eagle Cap mountaintop allows a stunning 360 vista of the wilderness and the outlying valleys and canyons.
I’ve brought a whole array of lenses into the Wallowas. I’m always packing my wide and medium-wide angle, but also a macro for flower photography, and I’ve packed my 70-200mm zoom in for more intimate scenes around the lake country. You can read more about backpacking with camera gear in my previous blog “Tips for Backpacking with Camera Gear (ultralight).”
Late July and early August are my favorite months to photograph here because snow still lingers in the mountains, but September is also nice for the bug-free air. If you decide on the earlier season, bring an ample amount of bug spray for the mosquito hoards. And if you’d rather not carry your gear on your back, stock or llama packing can be rented in the town of Joseph. If you forgot something at home, last-minute supplies can usually be found in Joseph or the larger town of Enterprise a few miles away.
So if you’re looking for a great backcountry experience with fantastic photographic opportunities this summer, the Alps of Oregon is the place to go.
Excitement always comes over me when I hear snow will be coming my way. For me there is something magical about winter that is hard to describe in words and only can be summed up in an image. The single most challenge to winter photography has to be the preparation. Not having the right essentials can lead to life-threating situations. Learning these lessons can really go a long ways to having fun while out in the snow as well as your safety. The following article is a list of the top ten things I have learned to prepare for winter photography.
Top Ten Things To Prepare For Winter Photography
1) Learn to read and understand snow reports. There are many reasons for this but the most important is to avoid avalanches while out in the backcountry. Avalanches are always imminent after a sizeable amount of snow falling on frozen snow. The frozen snow below acts as a buffer and escalates chances of avalanches.
2) Make sure to try all equipment beforehand to make sure it fits. Nothing is worse then when you are stuck in the snow and the equipment doesn’t fit or will not work. Lets admit sometimes we put on a lot of weight and we are not the same anymore. If you are like me and your weight yo-yo’s do yourself the favor of trying everything on the day before. This is especially true for the first outing of the season.
3) Be honest with yourself about your physical condition and what you are capable of. It’s easy to get carried away with the getting to a certain destination without planning on getting back. Exercise in the snow is a whole new ball game and what you might be capable of on dry land is a different story for snow. The fact is making your way through snow is not as easy as it looks; your body will use different muscles then it is use to and before you know it you are hurting in areas you did not know even existed.
4) This is common sense and partly goes with the above point but make sure to stretch before and after for a period for ten to fifteen minutes to really warm up the muscles and avoid any cramps.
5) Bring a friend if you can and always tell me people where you are going to be and when they can expect you back. Travelling during the winter in the backcountry can be exciting but it also can be very dangerous. Many of us are impatient to get out there to photograph but it is worth it to wait for a buddy to come.
6) Research the areas you are going to see if there are any snowshoe routes laid down or where you might go in case of an emergency. Books that are great for us in the Pacific Northwest are snowshoe routes of Washington and Oregon that specifically lay out the best routes to go, when, and far they are. It also prepares you for what is ahead and what you can expect in terms of physical exercise. When starting out or a lack of knowledge about the backcountry the best plans are to stick to the routes or tracks that have already been laid out. This way if you notify someone of the area and route it makes emergency services reaching you a lot more possible.
7) Make sure to prepare camera equipment for winter. For some people this might seem foreign but the winter weather can really take a toll on your camera and cease the camera from working; I would sure hate to hike all the way in the snow to find out my camera was not working. So what can you do to prepare for this; bring a couple extra batteries, leave a set of batteries in your pocket that stay warm, bring a Ziploc bag to prevent condensation in the camera when taking it from hot to cold environments or vice versa. Another thing to be aware of is the tripod and protecting your hands from colder temperatures; these temperatures can cause your hand to stick to the tripod along the metal outer parts if not insulated. Lastly, bring snow baskets for your tripod to avoid your tripod sinking into the snow.
8) Allow more time that you think to plan for your route; especially if you are trying to make it somewhere for sunrise or sunset. Preparing to photograph in winter takes a lot more time then in other seasons so factor this in to your allotted time.
9) Dress in layers! When exercising in the snow all the clothing one wears can become awfully hot fast causing a lot of sweat that later turns to cold dampness when idle and photographing. It is important that you can shed layers easily and quickly when needed during the physical portion of winter photography. I also look for clothes that are dry-wick and light; I want to have these clothes easily accessible when taking them off and on.
10) Have fun with the outing and don’t get to dependent on getting to the destination but enjoy the journey!