During my recent trip to Moab, Utah, one of the goals I had was do a sunrise shoot at Canyonlands National Park. I checked the weather forecast for the week, and there didn't appear to be one day that "stood out" as the best chance for a dramatic sunrise - a partially cloudy sky - so I chose to head out early on the morning of October 21. I also checked the sunrise time for that morning - dawn was at 7:07, with sunrise following at 7:34.
I knew the best vantage point for taking photos that early would be Grand View Point, which lies at the end of the Island in the Sky section of the park. On the morning of the 21st I got up early and drove 75 minutes to my destination, arriving just as there was enough light in the sky to walk a bit and get set up. Here's a quick iPhone snap of my setup that morning. I had a 16-85mm wide to mid-range zoom on, giving me some flexibility in terms of focal length. In addition to a tripod, I was using a cable release so I wouldn't have to touch the shutter, trying to minimize as much camera shake as possible since I was starting off shooting in low light.
This was taken at 7:32 AM, about two minutes before sunrise. Turning at about a 90 degree angle (turning south) from where the sun was going to come over the horizon, I could could see the morning sky lighting up, the clouds and the rim of the canyon starting to reflect the first of the sun's rays that were peeking over the horizon...
As the sun came over the horizon it was mostly obscured by the layer of clouds that hung low on the horizon. I took a few shots, but I had to wait until the sun rose above the clouds to get anything. Finally the sun made an appearance, and I stopped down my lens to f22 to incorporate a sunburst into the shot. Taken 7:47 AM.
After about five minutes of shooting, I switched out lenses to the fisheye, and took a few shots. I liked the look the fisheye lent to the scene, the slight curve of the horizon emphasizing the grand scale of the scene (and I'm always in love with the sunburst I get when using the fisheye). Later, when processing the shot in Adobe Lightroom, I cropped the scene into a narrower landscape look since this fitted the feeling I was trying to convey. Taken 7:52 AM.
After staying to take a few more shots, I packed up and started slowly driving back towards the park entrance. I stopped once or twice to look around, taking my time. Eventually I ended up at the Buck Canyon Overlook. I put my wide angle (10-24mm) lens on and took a few shots, but nothing was really "grabbing" me. I decided to put my fisheye lens on, and I scrambled down to the right a bit from the overlook until I was looking straight down the canyon. Quite often I'll crop photos taken with the fisheye lens to give them more of a "sweeping" look but this time I liked the shot as is. Taken 8:42 AM.
I then headed back down the road, thinking I was done with the morning's shoot. After a short drive I looked to my left and saw the shadows in the canyon as the sun spilled across the landscape, so I did a U-turn at the first spot I could find and pulled into the small parking area (which I later learned was the Candlestick Tower Overlook). Thinking I wanted to zoom in and try and capture a smaller piece of the landscape to show the light and shadows and colors present, I put my 16-85mm wide to mid-range zoom on, and started heading down to the canyon rim. Soon I was in position and spent several minutes firing away. Taken 9:01 AM.
The morning ended up having a longer window of good light to shoot in than I had anticipated, and I'm glad I lost a little sleep to make it happen...
Nikon D7000, Nikkor 16-85 DX VR (1, 2, 5), Nikkor 10.5 DX Fisheye (3,4)
You can view my online portfolio here
Last week I spent a couple of days visiting the area surrounding Moab, Utah. I had several "must do" activities in mind, one of them to spend time photographing Arches National Park. I had visited Arches National Park briefly last November, a quick drive through the park during my honeymoon that gave me enough of a taste to make me want to come back for more.
I researched the park to get a feel for what I wanted to see, and I knew from reading first-hand accounts from other photographers and from my visit to Natural Bridges National Monument last April that my fisheye lens would come in handy. Although I took my full complement of lenses with me to Moab, I decided to pare it down to three for when I was out in the field - the 16-85 DX VR wide to midrange zoom; a 10-24 DX ultra wide-angle zoom; and the 10.5 DX fisheye, carrying the extra lens in a Lowepro SlingShot backpack that had room for snacks and some odds and ends like extra battery, cleaning cloth, and filter brush.
My first morning in Moab, I drove into Arches and decided to stop at the pull-out for Sand Dune Arch and Broken Arch. I started down the trail to Broken Arch just as the sun was coming over the horizon, and after the short hike, I found myself at the arch's base. After taking a few shots with the ultra wide-angle lens, I switched out to the fisheye. With the fisheye I was able to get all of the arch into the frame. This shot was taken looking up through the arch.
I walked through the arch and took a few more shots with the fisheye, trying to keep the camera fairly level with the horizon so not too much curvature would be introduced into the scene. I also took a few shots with the lens stopped down to f22 to incorporate a sunburst into the frame.
After hiking back out I drove down the road a bit until I got to the parking area for the Windows and Double Arch. I headed up the path to check out the North and South Windows and Turret Arch. Of the three, the North Window presented the best opportunity to get a few shots, so I worked the scene for awhile using my ultra wide-angle lens before again switching to the fisheye, and I moved even closer to the arch. Again I stopped down the lens to f22 to incorporate a sunburst into the shot, placing the sun so it was just peeking around the lower curve of the arch.
I left the fisheye on the camera and walked down and over to Double Arch, two large arches that are joined together at one end. It's a massive, impressive structure, and the only way to get all of it into a single shot is with a fisheye lens. There were quite a few people in the area, so I had to be patient and wait a bit until I had a clear shot - which is not too hard to do in a setting like this.
In a nutshell, while the fisheye may not be an essential piece of equipment when photographing in Arches National Park, having one with you definitely gives you the opportunity to get some shots that you would otherwise miss.
Nikon D7000 camera body, Nikkor 10.5 DX Fisheye lens
View my online portfolio here
Recently I had the pleasure of finding out that two of my photos have been selected as finalists for "Your Best Shot(s)," the Albuquerque Photographers' Gallery's Annual Juried Photography Show. In light of that, I thought I'd do something a little different with this blog post and discuss how one of those photos came to be...
Last February my wife and I took a day trip up to Taos, New Mexico, and at one point we found ourselves driving along Taos Canyon Road. I didn't really notice this old home as we passed by the first time, but on the return leg of the trip, it caught my eye, and we pulled over so I could take in the scene. After a quick look I decided to take a few photos, starting with wide shots, walking back and forth. Finally this angle, one that looked down the long length of the decaying porch with the stormy sky in the background, was the one that grabbed me.
As I walked along the porch I came across this boot, sitting there, alone, its story lost to time...
I then took a few steps forward and zoomed in even closer to make the boot the definite emphasis of the photo...
When I shot each of these scenes, I decided to photograph them using bracketed shots, so I had the option of processing the scene using a technique called HDR, or High Dynamic Range photography. In a nutshell, HDR photography is the technique of combining multiple exposures of the same scene so that the full range of light present can be represented in the final image. Another advantage of using bracketed shots is that later, when processing images (I'm currently using Abobe Lightroom for the majority of my work), you have the option of choosing which exposure you feel best represents the scene or mood you were trying to capture.
When processing the first photo I used a single shot, going for a darker image with a moody sky...
When processing the middle photo I decided to combine three images using the HDR technique. First I merged the three photos using a a program called HDR Efex Pro 2, and did some minor work in that program before saving the photo and making some final adjustments in Lightroom. Doing so gave the photo the depth and tonal richness I was looking for...
When processing the last photo I used a single shot, making adjustments in Lightroom. I went with a high contrast look to "age" the scene a bit, trying to give the boot and wooden box in the background a weathered, sun bleached look...
The middle photo was the one I decided to submit to the Albuquerque Photographers' Gallery's photo contest and which became a finalist in the contest. Ultimately, I think that in addition to "working the scene" and moving around and trying different compositions, you must be open to trying different things in the digital darkroom in order to achieve the end result that you're looking for. It's all an ongoing process, and I'm always striving to get better, from the initial capture with the camera to the finishing touches in the digital darkroom...
Nikon D7000, Nikkor 18-55 DX
View my online gallery and order prints (and other merchandise) here
Last month during my Alaska trip, I went to Denali National Park, where I had the good fortune of being able to drive my own vehicle (which in this case was a rental car) into the park. With the exception of four days every fall, private vehicles aren't allowed past a certain point in the park, so being able to explore and look around at my own pace was an opportunity I was looking forward to. If you're interested in this opportunity you can get the scoop here - I highly recommend it.
Denali, home to North America's highest peak, Mount McKinley, is an expansive, beautiful, mythical place. So much has been written about it and so many photos have been taken of the park, that I don't know if there's much I can add to the conversation. What I can do is share a few photos, a glimpse of what that day was like for me...
"Your landscape pictures shouldn't say 'I was here,' they need to say 'you need to be here.'" ~ Moose Peterson
A tall order, trying to live up to Moose's statement, and I don't know if I've accomplished that, but it's not for lack of trying...
This photo was taken at the first pullout where Mt. McKinley - weather permitting - can typically be seen. A great vantage point...
When I took this photo my thought behind it was to capture as much of the sweeping view of the mountain range and river bed as possible. I cropped some of the foreground out and went with a landscape orientation to emphasize that feel even more...
Similar to the photo above, standing in the same spot, I zoomed in to capture a smaller portion of the scene...
This photo was taken a little way past the Eielson Visitor Center...
The Denali Road Lottery provides viewing opportunities like this, opportunities for photographers to accept Moose Peterson's challenge and try to take photos that make people think "I need to be there."
Nikon D7000, Nikkor 16-85 DX VR
View photos from my Alaska gallery here
A couple of weeks ago I made the trip north to Alaska, returning to my former home for a brief visit. While there, one of several road trips I made was to Seward, a small town nestled along the shores of Resurrection Bay.
I drove to Seward early in the morning as I wanted to be there before the sun rose. A few miles outside Seward, I was driving past Bear Lake when I saw the reflection of the mountains in the water, and I quickly pulled over to the parking area on the south side of the shore. Normally, I don't compose a photo with the horizon line in the middle of the frame, but here I wanted to give equal weight to the mountains and their reflection...
Once I got into town, I started the morning by walking the docks of the boat harbor. As the light filled the sky, reflections began to fall across the early morning's still water. Soon the reflection of this boat and the clouds in the water caught my eye. I composed the shot so the frame would essentially be divided into thirds - the boat, the reflection of the boat, and the reflection of the sky in the water.
Soon the sun started to break the horizon. I stopped to take this photo, crouching down to emphasize the metallic reflection in the water...
At the corner of the harbor I noticed this seawall and was immediately attracted to the textures and patterns, light and reflections that were present...
Soon after, I saw this and carefully composed this scene so the blue reflection of the top boat would meet the the grey strip on the bottom boat...
I then took another shot of the harbor, this time emphasizing the sweeping look of the clouds in the sky...
After leaving the harbor I drove down Lowell Point Road, stopping to spend some time at a small boat launch. Soon the sun started to break through the cloud, casting Crepuscular (God) rays towards the sea...
I worked the scene for awhile, and here again I wanted to emphasize the sky and the sense of wide open space...
Nikon D7000, Nikkor 16-85 DX VR
You can view my website here
A couple of weeks ago I went back to Alaska, where I lived for over 30 odd years (mostly consecutive) before moving to Santa Fe, New Mexico. Like any trip back to a place where you spent a considerable amount of time, you notice things you miss, things you definitely don't miss, or stumble across things you didn't appreciate or experience when you lived there...
For this first blog post about the trip up north (there will be others in the coming weeks as I sort through photos I took and themes and thoughts come together), rather than write about something grand - like my drive into Denali National Park - I thought I'd write about something smaller, more intimate.
My first morning in Anchorage I grabbed the rental car and headed south along Turnagain Arm with no real agenda other than getting out of the hotel and back into Alaska. I drove, watched Beluga whales roll in the early morning sun, and eventually ended up in Girdwood, a small town mostly known for Alyeska, a world class ski resort. Slowly driving through Girdwood, enjoying the sunny morning, I spotted the sign for Crow Creek Mine and veered down that way. Having never explored the mine, I decided to give it a look.
After paying a small fee, I started walking around, scanning the area, taking it all in. Soon I spotted this truck, 1929 Model A Ford. The morning dew melting off the truck, the flower box under the front bumper, the wooden shack in the background made for a nice composition...
I loved the look of this small building (I left the site map in the rental car so I can't say for sure what it is). Moose antlers, lanterns, wagon wheel, flowers, moss growing on the roof, a staged scene but still one that pulled me in...
Walking into the building, one of the first things I noticed was the morning sun pouring through the dirt and grit on the window. As I've written previously, I can't resist stopping and taking photos when there's a dirty, dusty, gritty window; the character it can give light, especially light captured early in the morning or later in the day, is a character I find photographically irresistible...
In a small bedroom off the main room, I spotted this bag sitting on the table. The bag and the bottles on the dresser were kissed by the morning light, softened by the lace curtain. I stood there looking at the bag, imagining it was the bag of an old country doctor making a house call...
Looking out the front door, the door framing the wagon wheel, light coming through the door, forest in the background, tools hanging on the wall to left, I liked the rustic look of the scene. If there's a door or a window with any character, I'm going to stop, look, and shoot...
Walking back towards the parking area, I stopped and took a few more pictures of the old Ford truck. At one point I noticed the reflection and melting frost in the back of the Ford's headlight...
I ended up staying longer and taking more photos than I could have imagined. Partially a step back in time, partially staged kitsch for the tourist, Crow Creek Mine is a stop I would recommend if you find yourself in Girdwood. Next time, I'll grab a gold pan and spend even more time there...
Nikon D7000, Nikkor 16-85 DX VR
You can view my online portfolio here
In July I made the trek to Kansas to visit family. I ended up spending a couple of days in Ottawa, a small town in America's bread basket, indistinguishable from many others like it across the midwest. While there I did get the chance to visit the Old Depot Museum, a small museum in an old railroad depot that pays homage to small town America and the history of the surrounding area. The museum consists of small rooms throughout the two buildings, each with a different theme or focus on a period of time. One of the first rooms to really catch my eye, that had some flair to it, was this recreation of a 1950s era malt shop.
Across the hall from the "malt shop" was a recreation of an old country school house, complete with the American flag, bell, and an apple for the teacher. You can't see it from this angle, but the room was complete with an old pot belly stove and rows of old wooden desk with ink wells.
I spent a considerable amount of time exploring the building and taking photos, but ultimately it was these two rooms that I kept coming back to when looking through the day's photos...
On the way back to New Mexico I saw these old buildings as I passed through the outskirts of Strong City. I don't know what they were used for - my guess would be grain storage - but I liked the look of them, once proud, still standing...
Later that day we passed through Ellinwood in central Kansas, and the main intersection in town was the setting for this building that caught my eye, with a weathervane and lightning rod perched on top.
Looking down Ellinwood's North Main Street I saw these shocks of wheat, made of metal, mounted to the light poles. This street, lined with utility poles sporting the shocks of wheat with the flag flying below, screamed small town Americana...
As I always do when driving through Kansas, I stopped in Liebenthal, population 102, where my parents were born and my mother was raised. Over the years this small store has changed hands numerous times, and it appears to be waiting patiently for its next incarnation...
All photos taken with a Nikon D7000, and a Nikkor 16-85 DX VR lens
View my online gallery and order prints (and other merchandise) here
