Photo Cascadia Blog
Posts Tagged ‘National Parks’
Over 20 years and 300 visits, photographer and author, QT Luong, explored each of America’s 59 national parks. His decades-long project culminated in his book, Treasured Lands, A Photographic Odyssey Through America’s National Parks. Both an art book and a guidebook in one, it is a masterpiece and a fitting tribute to our most treasured landscapes. Released in the summer of 2016 in honor of the National Park Service’s centennial, it now is even more important and timely in light of the recent political environment which could put our national parks and other public lands at risk.
Reviewing books is not part of my typical skill set, but this book has made such an impression on me that I am honored to share it. Unfortunately, there may not be much value I can add considering the New York Times already declared it to be the “most glorious” book to come out of the centennial of the National Park Service and the accolades of Ken Burns already grace its cover.
I first became familiar with Luong’s photography while researching photo locations in the Western United States and Mexico more than a decade ago. Time and again, the most comprehensive photographic coverage and the most inspiring photos I found were in his collection. It seemed he had been everywhere and always under the most favorable conditions for photography. Later I had the pleasure of meeting Luong and attending one of his presentations at a North American Nature Photography Association summit. Over time we have corresponded on a variety of photography topics. His eye for light and composition is inspiring, his determination for finding exciting vantage points is remarkable and his appreciation and knowledge of our planet is heartening. However, nothing could be a more fitting testament to his artistry and tenacity as an explorer, scientist and photographer than this book. At over 450 pages, 500+ images, 130,000 words and 60 maps, it is definitive in its scope, content, and beauty.
The mind has a hard time grasping the enormity of such a project. To merely visit all 59 national parks in one’s lifetime would be an accomplishment to take note of. To spend the time, over multiple visits, to find and photograph so many locations in so many nuances of light, weather and season is remarkable. To do it with such quality, attention to detail and obvious admiration and love for the land is exceptional. The layout of this large format book is gorgeous. It is printed on heavy art paper with great attention to color and image quality. Each chapter begins with an overview of the particular park, followed by several stunning page-filling images, completely unfettered by text. At the end of each park’s chapter is additional information about the park as well as details for each image, a map, seasonal tips, locations, and suggestions for photography.
Tuan’s photography showcased in this format combined with the historical and ecological information, maps, visitor suggestions and photography tips truly make this an art book and a guidebook in one. But who is going to lug a seven-pound book along with them on their explorations of the parks? In order to make Treasured Lands “more useful than a coffee-table book, and more inspiring than a guidebook”, he has also created a companion e-book that is formatted specifically for mobile devices. This makes it possible to bring the guide aspect of the book along with you in your pocket. For a nominal price, book owners can access the e-book from a link found on page 13. If you only want the e-book version you can purchase it separately on the Treasured Lands website.
A sign of the times, purchasing large art books isn’t as common these days as it once was. But if there ever was an art book to have as your own or give to someone else, this would be the one. It is an important book on many levels; as a tribute to our national parks, as a tribute to a 20-year project of passion, as a monumental body of artwork, as inspiration to enjoy, admire and take care of our public lands, as a photography resource and a travel guide and perhaps most importantly as a reminder of what a treasure our National Parks are and how important it is that we fight to keep them safe.
You can find the book Treasured Lands at treasuredlandsbook.com.
QT Luong is a full-time photographer from California, known for being the first to photograph all 59 US National Parks – in large format. Ken Burns featured him in “The National Parks: America’s Best Idea” (2009). His photographs, published in dozens of countries around the world, have been the subject several magazine profiles, solo gallery and museum exhibits. You can see more of his work at www.terragalleria.com.
Sean Bagshaw is a full-time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.
In May of this year I had an opportunity to spend a few days in Acadia National Park. If you are not familiar with the area it’s in the state of Maine, one of the six states making up the New England region. When it comes to photography the area is certainly more known for visiting in fall season to capture vivid red, yellow and orange colors from the plethora of deciduous trees filling the landscape. Fall season aside there is still much to see and photograph during the other three seasons, including spring. In spring the trees and foliage are in full bloom with an array of green hues to fill up your camera lens.
While a few days allows for seeing the main sites I would overall recommend a couple more beyond that to check out more of the area and get on a couple more trails or kayaking. I will also say I am someone that typically researches quite a bit ahead of time for any trip of a few days or more. This one I pretty much winged it. I give that caveat ahead of my trip review for additional context.
When I got into Acadia it was the Friday starting on Memorial Day weekend. I was certainly prepared for jammed roads, too many tourists and little space. Much to my surprise it was not bad at all with plenty of moments to take in the area without too much commotion.
There are many options just outside of park as well as some inside the park, including camping. Since lodging when I travel by myself literally means a decent place to sleep, and nothing more, I chose an inexpensive motel on the main highway just outside the main entrance of the park. It worked out well for me.
In the park options are limited. Just outside the park there places like Bar Harbor with plenty of options. As said before I was mainly there to see sites. I hit the local grocery store and used the fridge at the motel. Don’t forget to eat plenty of lobster, it’s pretty much everywhere.
You can actually fly into Bangor International which is only about a 45 mile drive to Acadia. I happened to already be in Portland (Portland, Maine that is not to be confused with my hometown Portland, Oregon) where it made sense for me to drive the 160 miles vs getting on another plane.
There is a little bit of everything here from small ponds to ocean waves and lush forests to mountain views. The Park Loop Rd is the main route in the east portion of the park. One thing I like about the setup of the main loop is the one-way two lane feature where the right lane doubles as a parking spot in most parts. For photography this is great. I see something I like and can literally stop the car in the middle of the road to get out and take photos. Yes this means that once you pass a spot the only way back to it is doing the full loop again but the pros outweigh the cons.
Whether you like rough rocky shores or small town boat harbors ANP has them as well. The iconic Bass Harbor Head Lighthouse is located outside the busiest part of the park and worth checking out. Truth be told I was looking forward to photographing the Portland Head Lighthouse more, yet on my visit it was dressed in scaffolding for maintenance, maybe next time.
The first afternoon and morning of my second day brought spells of fog which made for some great atmosphere to photograph. We often talk about national parks being too crowded and for the most part I agree with that. Yet on my first evening I was photographing this fine grove of ferns and I had wondered if the park was closed and I got locked in! I spent 15 to 20 minutes standing on the road photographing this scene in the early evening with not a single car coming by and it was on the main park loop. All I could hear was the sound of occasional water dripping and leaves waving when breezes came through. It was fantastic.
The next morning as the sun scorched it’s way through the fog there was fine scenes I encountered. On this foggy road I ‘parked’ my car just behind where I stood to take this photo. Only a couple cars and runners strolled through.
My good friend and fellow Photo Cascadia team member did tell me there are good options for photographing rocks. There certainly are some cool finds. While my hair got soaked to the point water was running down my face from the dense fog I found this neat rock formation. I am thinking boot yet I also see a dolphin. What do you see?
Perhaps the most fun to see and photograph rock wise was Little Hunters Beach. There is no big sign to show you the way; you can easily miss it if you aren’t looking for it. It’s like one gigantic bag of marbles were dumped on the shore. Can’t remember the last time I saw this many beautiful rocks in one spot.
Some of the best views are up on Cadillac Mountain; at just over 460 meters is the highest point which feels low until you remind yourself you are on the ocean. You can hike just a short ways and be away from the masses. If you are a curb side shooter this place works too. Don’t be fooled thinking that just because you are nearing summer and sunrise is before 5 am that it will be quiet. Boy was I in for a surprise. Hundreds were up there to watch the sunrise, most just to experience the scene not to photograph.
This sunrise was the best I had all trip and the sliver of sun poking through was all we saw before the clouds engulfed it. This foreground seemed fitting as the rocks look a little like lobster claws.
If you prefer a little more man made than pure nature there is very nice little Japanese one right outside the park called Asticou Azalea Garden that is free to visit.
Definitely cannot forget about getting down close to the rugged rocky ocean shoreline. I get mesmerized watching the waves slosh around. Thunderhole is a great place to see if you can time it right for waves. During my time there the water was too calm for much action according to one of the rangers. No worry for me plenty else to see.
All in all it was a pretty quick trip yet a fine place to spend a few days photographing and exploring. If you have never been it’s certainly one to add to your bucket list. I hope to make a trip back during fall in the future.
On the subject of national parks I will get on my soap box ever so briefly. With the staggering increase volume of visitors each year to some of the major parks in the United States it’s no wonder we are seeing the many headlines of a small number of people making poor decisions negatively impacting a park landscape or wildlife. I would say mostly I have seen stories from Yellowstone this year yet that park is not alone. Others may not agree with me yet I feel the most popular parks are approaching a crisis. If we don’t effectively manage through the high visitor rate that appears to be continuing upward I fear a system of national parks we know today may be a lot less enjoyable 30 to 50 years from now. Although I don’t love permitting systems or limiting access to what we deem ‘our national parks’ I am beginning to wonder if the peak seasons at large popular parks need to entertain new ideas to effectively limit traffic, both number of people and vehicles. I won’t dive into a deep debate here, simply something to ponder. On that note get out there and enjoy your parks as I will be doing the same this summer with my family.
By Kevin McNeal
The 2015 Yosemite in Spring photo tour began with expectations of lush green landscapes, spring-fed waterfalls and endless bloom of dogwoods—and Yosemite did not disappoint. After meeting my group at the Fresno airport we made the journey north through Wawona and into Yosemite National Park. En route we took the opportunity to look at a few of the anticipated highlights of the park. Our accommodation for the week at Yosemite Lodge was nestled right in the heart of the valley, so we would have access to many locations that were a short distance away.
Our first photo session was special as it was a night with a full moon and the anticipation of moonbow photography. This event occurs as a full moon in spring or early summer shines directly on a rushing waterfall to create a nighttime lunar rainbow. Mist from the waterfall, a dark sky, bright moonlight and the right “rainbow geometry” must all come together. Following dinner, our group was at Lower Yosemite Falls to see the rainbow and get good images of this spectacular event.
The following morning we were at Ahwahnee Lodge for breakfast and enjoyed some time to photograph the classic lodge in its stunning setting among blooming dogwoods. Photographing the interior of the lodge gave us a chance to practice some creative photo techniques. Later, returning to Yosemite Falls, we found some unique compositions and practiced our skills using a neutral density filter to photograph long exposures on the waterfall to create a different mood. Following lunch, El Capitan Bridge provided many opportunities for shooting reflections in the Merced River. The river was running very nicely considering California’s drought conditions. The lush green vegetation was better than expected and provided some nice backgrounds. At sunset we continued our exploration of reflections by shooting images of Half Dome in the Merced River near Chapel Meadow.
Starting out very early the next morning we drove to Tahiti Beach, a special spot along the Merced. It was a good morning for reflections in the river and in spring-fed pools and we were treated to stunning light on the Three Brothers and iconic El Capitan.
After a well-deserved late breakfast, we took a park shuttle bus—exciting for everyone as it was reminiscent of summer camp—to Mirror Lake. Taking our time hiking the 2-mile trip to the lake and back, we stopped along the way to photograph waterfall cascades. The lake provided some of the best photographic opportunities we had, including numerous unique reflections.
After dinner that day we headed out to the stone arch of Pohono Bridge to photograph spring dogwoods and sun stars. This gave us some good practice using creative techniques. We focused on both the dogwoods and a sun star to really capture both in the same image. We were even able to shoot some stunning late light under the Pohono Bridge. In the last two days we had found some incredible photographic compositions along the Merced River.
Still excited from the night before and the images we shot, the following day we looked for more interesting compositions at the Swinging Bridge which spans both sides of the Merced River. Here, the sunrise light hits Upper Yosemite Falls and reflects nicely in the river, making everything around it look lusciously green. We took the morning to shoot at a spot we found where we could photograph in all directions—and had something different to shoot every time.
After spending the last few days in Yosemite Valley we got news that Tioga Pass and the Upper Yosemite Road had opened. This was a nice surprise as the pass does not usually open up until late May. We spent the rest of the day on the journey over Tioga Pass, traveling to Lee Vining for dinner. Along the way, we found many places to shoot, including an out-of-the-way lake that was perfect for reflections. A stop at Olmstead Point provided one of the most stunning vistas of Half Dome, where we focused on finding unique compositions and using some of the photogenic solo trees in the image. We returned to Yosemite Valley for a sunset shoot at Tunnel View where some dramatic clouds made the breathtaking scenics even better. After a great day of shooting we headed back to our lodge for some well-deserved rest.
The next morning we woke to some very atmospheric mist and fog in the valley, making for interesting images at El Capitan Meadow, including some early wildflowers. After hearing news of overnight snow in the upper elevations of the park we drove to Tuolumne Grove for some forest scenes with snow falling around the giant sequoias.
Our final full day of the tour began with photography along the low-lying mist-draped Merced River. Then, as the fog began to lift, rolling in and out of the valley, Yosemite’s dramatic rock formations covered with the fresh snow rose out of the mist. I think we photographed just about every spot in Yosemite Valley when we saw those amazing conditions! While we were shooting in Cook’s Meadow we even had the rare opportunity to see two coyotes playing with each other for almost an hour—all while the surrounding peaks were providing some unforgettable moments. That evening we celebrated our day of success at our final group dinner.
In one week, we had experienced enough drama in the Yosemite’s springtime weather conditions and created stunning images to last us a long time.
On our final morning of the tour we were ready for an early start back to the Fresno airport, but rather than stopping for breakfast, we decided to take our last opportunity to look for the early morning fog which had made for some spectacular shooting conditions. Within minutes we knew we had made the right decision. Cook’s Meadow was lit up with beautiful morning light mixed with the low-lying fog—making it the best morning we had yet. We got some great shots and even made it to the airport in time!
We had captured Yosemite’s expected iconic landscapes, cascading waterfalls and creamy-blossomed dogwoods, but we also left with images of rare moonbows, unique “reflectionscapes,” unanticipated vistas, sequoias in a snowfall, playful coyotes, and dramatic low-lying tendrils of fog in Yosemite’s deep valley beneath towering rock peaks. Saying our good-byes we were already looking forward to reliving the week through our images.
One of the most challenging aspects of nature photography is shooting the subject of wildflowers successfully. There are many aspects to learn and nothing is more rewarding when the outcome is positive. I have made many mistakes over the past few years shooting wildflowers and I hope to pass some of this wisdom down to other photographers. Having the right tools in your camera bag is essential to capturing impact in your images. The first goal when shooting wildflowers is to capture vibrancy and color in the wildflowers. When we look at images of wildflowers the first thing that captures our attention about these images is the color that seems to “pop “off the page. You especially want to have a lot of impact in the foreground to grab your viewer’s attention.
Therefore producing wildflower images that contain good color rendition and vibrancy are vital to the overall goal. To make sure that you are able to reproduce the colors you need a filter that can realistically take advantage of the bold colors and then allow it to come through in the image. The filter I turn to in all my wildflower images is the LB ColorCombo Polarizer. The filter offers two successful qualities in an image that boost impact. The first aspect in the filter is the color intensifier so that images taken with the filter will consist of vibrant and bold colors. In many nature scenes this might not be vital but when shooting wildflowers this is critical.
The essential component to shooting flowers is color. While improving color saturation it also renders the image with a natural color balance so that what you see is what you get. I have tried other filters in the past and found I was getting unusual colorcasts when I used their filters. Not only did I receive a colorcast with other filters but often the colors were also muted. With the Singh-Ray LB ColorCombo the results are excellent when it comes to reproducing accurate results. The second component contained within the LB ColorCombo that gives it a huge advantage over other similar filters is that it contains a warming polarizer within the same filter. In the past you would have to stack filters to get these same results. Shooting wildflowers there is always a certain mood you are looking to convey; I will always lean towards a warmer tone in the image as this really attracts more viewers to your image then cooler tones. So having a warmer within the polarizer I can really take advantage of this as well as gets the best of the warmer tones in the image like the reds and yellows. Thus, the color is accentuated yet remains natural in its overall tone.
One of the arguments I often hear is that I can recapture that color in RAW images so why is it necessary to have this filter. And it always comes back to the notion that it is vital to render the image as close as possible to how the scene was originally. You can add saturation and vibrancy later in post processing but the side effect to that is that you are pulling pixels from the image and thus destroying the image. This is especially prevalent in the shadow areas of an image. The effects become very visible when enlarging an image for larger print. When it comes to reproducing colors through RAW the images maintain their vibrancy without really having to increase the saturation past higher levels.
Another advantage I have noticed with the LB ColorCombo polarizer is the image rendered from the filter remains sharp throughout. With other filters I have noticed a dramatic reduction in quality pertaining to sharpness. This is critical when shooting something in the foreground close to the lens. Whenever shooting wildflowers there is always a fine balance between ISO and shutter speed. In the past I have had to shoot without a filter to capture the flowers without movement. The use of other filters has decreased the shutter speed and not allowed me to capture sharpness and detail in the foreground flowers. Shooting wildflowers with success is much easier now with the newer LB ColorCombo being one stop faster combined with newer cameras having the ability to shoot higher ISO’s with fewer noise pixels.
With the advantages of clarity, color rendition, and color saturation being natural and true to the subject when shooting wildflowers the use of the LB ColorCombo is a definite asset in your arsenal of photography tools.