We all all have different hot/cold comfort thresholds, a temperature above or below which it’s just too hot or cold to feel human. Of course wind and moisture can move the needle a little bit, but let me just say that regardless of the other factors, after spending a few days in Bryce Canyon NP co-teaching a workshop with Don Smith, I’ve determined that the comfort threshold for my California bones is somewhere north of 20 degrees.
That Bryce is cold in November wasn’t really a revelation because couple of Novembers ago I experienced one of the coldest shoots of my life there, a sunrise at Rainbow Point (9,000 feet) where the temperature was 10F and the wind was a constant 35 MPH. Informed by that experience, I showed up this year with full body armor that included multiple layers of silk, wool, down, fleece, and pretty much every other insulation material known to humankind. This visit wasn’t nearly as cold as I experienced a couple of years ago, but layers or not, cold finds exposed skin like a hungry mosquito and virtually ever minute outdoors tested my comfort threshold.
But despite appearances to the contrary, I’m not complaining. Discomfort is part of being a nature photographer, and miserable conditions definitely keep the crowds at bay. These thoughts bring to mind a phenomenon I’ve been aware of my entire photography life: when the shooting is good, the conditions just don’t matter. I’m not saying that I’m not aware that it’s cold, or hot, or wet, I’m saying that good photography somehow turns off the part of my brain that registers discomfort.
On this year’s Bryce visit we had low temperatures in the teens and low twenties, with a little wind. We also had quite a few clouds, but on our last night, when the skies cleared and the stars appeared, Don and I took the group to Thor’s Hammer for a night shoot. With a 95% moon rising more than 90 minutes after sunset, we knew we’d have about an hour or so of quality dark sky photography. The air that night was wonderfully clear, but without the cloud’s insulation, the temperature plummeted as soon as the sun went down and we found ourselves shooting in the coldest temperatures of the trip—somewhere in the teens, I’m certain.
I was well bundled head-to-toe, but gloves and photography don’t mix, especially night photography when you need to locate and adjust all the camera’s controls by feel. So I spent most of the evening with my delicate digits exposed to the elements, full commando. Of course adjusting camera settings with finger-shaped ice cubes is only marginally better than the gloved alternative, but somehow I managed.
It didn’t hurt that the pristine air and remote, moonless darkness made for a dazzling sky. I positioned myself to align Thor’s Hammer with the faint, outward-facing part of the Milky Way in Cassiopeia, trying both vertical and horizontal compositions. Without moonlight, the faint-to-the-eye Milky Way seemed to leap from the blackness on my LCD. Especially exciting were my vertical frames, which revealed near the top the fuzzy disk of the Andromeda Galaxy, our sister galaxy, a mere two-and-a-half million light-years away.
I was having so much fun that I completely forgot how cold I was, and I think that goes for the rest of the group as well. About the time we thought we’d accomplished all there was to accomplish, the clouds on the eastern horizon came alive with the glow of the approaching moon. Everyone seemed to be having such a good time that Don and I decided we should stick around long enough to catch the first rays of moonlight on the red hoodoos.
Most of my full(-ish) moon photography takes place when there’s enough ambient daylight to capture both landscape and lunar detail in a single frame. But since daylight was long gone well before the moon arrived, my exposures that night had been all about maximizing the amount of light reaching my sensor to bring out the foreground. So when the moon showed up my original exposure became far too much and I needed a different plan. I had a couple of options: either find a composition that didn’t include the moon, or figure out a way include the moon in my frame without ruining the picture.
Since the moon was above the best part of the scene, I decided to try for a “moonstar” and repositioned myself to balance it with Thor’s Hammer. Letting the moonlight do the heavy lifting on the hoodoos, I was able to get all the foreground detail I needed, with enough light left over to enhance my moonstar by stopping down to f/8. When we were finished the walk up from Thor’s Hammer is short but steep, perfect for warming my frigid blood, but despited my frozen digits, I honestly have no memory of discomfort.
This was a truly exceptional experience I’ll never forget, a perfect memory to highlight on the eve of Thanksgiving here in America.
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I was on that 2014 workshop and thought both Don and Gary to be sadists to have us shooting in that “big chill!”
We’d have stayed out longer if you hadn’t started crying.