If you can’t beat ’em…
Posted on March 1, 2012
Fresh Snow, Half Dome View, Yosemite
If it weren’t for Tunnel View on the Wawona Road, no doubt one of the most photographed vistas in the world, this view from Big Oak Flat Road, across the Merced River Canyon from Tunnel View, would probably be the Yosemite shot we all see. Visitors arriving from Highway 120 round a bend and are greeted with this view, their first inkling of Yosemite’s grandeur.
I’ve stopped here many times, but rarely photograph this view because it seems I always struggle with what to do with the foreground rocks and tree–composing wide enough to include them makes El Capitan, Half Dome, and Sentinel Dome quite small, and I just don’t think they’re interesting enough to occupy so much of the frame. But a couple of weeks ago, while guiding a private workshop student on a snowy morning, I found the entire scene etched in white and immediately saw the possibilities. Like magic, when adorned with a snowy veneer these foreground distractions became a worthy subject.
I moved as far back as the terrain would permit so I could increase my focal length and compress the distance separating the foreground and background. Even so, I was only able to go to 50mm, hardly a telephoto shot. Nevertheless, 50mm with subjects in my close foreground and distant background created depth of field problems. Whipping out my trusty iPhone hyperfocal app, I determined that I could make the scene work at 50mm and f16 if I was very careful with my focus point–focusing a little less than twenty feet away would give me sharpness from about eight feet to infinity. Because I had no way to measure the distance exactly (pacing it off would have ruined the pristine snow) and was more concerned about keeping the foreground sharp than I was about minor softness in El Capitan and Half Dome, I biased my estimate on the close side of twenty feet (making sure I focused between fifteen and twenty feet rather than between twenty and twenty-five feet).
All my previous images from this location have been telephoto shots the emphasize the strength of Half Dome, El Capitan, and Sentinel Dome. In fact, last May a rising crescent moon from this location gave me two of my favorite Yosemite images. But this time I was really happy for the opportunity to go wide and use these foreground features that had bothered me in the past, to come up with a fairly unique capture of Yosemite’s most frequently photographed monoliths.
Crescent Moon, El Capitan and Half Dome, Yosemite
Sunrise Trio, El Capitan and Half Dome, Yosemite
Watch your step
Posted on February 24, 2012
Reflection, El Capitan winter morning, Yosemite
Trouble brewing
I have many “favorite” photo locations in Yosemite Valley–some, like Tunnel View, are known to all; others, like this location along the Merced River, aren’t exactly secrets, but they’re far enough off the beaten path to be overlooked by the vacationing masses. While I used to count on being alone here, as often as not lately I share this shoreline with other photographers. While it’s nice to have a location to myself (so far I can still find a few of those spots in Yosemite Valley), I’m usually happy to share prime photographic real estate with a kindred spirit.
But. In recent years I’ve noticed more photographers abusing nature in ways that at best betrays their ignorance, and at worst reveals their indifference to the fragility of the very subjects that inspire them to click their shutters in the first place. Of course it’s impossible to have zero impact on the natural world: Starting from the time we leave home we consume energy that directly or indirectly pollutes the atmosphere and contributes greenhouse gases. Once we arrive at our destination, every footfall alters the world in ways ranging from subtle to dramatic–not only do our shoes crush rocks, plants, and small creatures, our noise clashes with the natural sounds that comfort humans and communicate to animals, and our vehicles and clothing scatter microscopic, non-indiginous flora and fauna.
For example
A certain amount of damage is an unavoidable consequence of keeping the natural world accessible to all who would like to appreciate it, a tightrope our National Park Service does an excellent job navigating. It’s even easy to believe that we’re not the problem–I mean, who’d have thought merely walking on “dirt” could impact the ecosystem for tens or hundreds of years? But before straying off the trail for that unique perspective of Delicate Arch, check out this admonition from Arches National Park.
Hawaii’s black sand beaches may appear unique and enduring, but the next time you consider scooping a sample to share with friends back on the mainland, know that Hawaii’s black sand is a finite, ephemeral phenomenon that will be replaced with “conventional” white sand as soon as its volcanic source is tapped–as evidenced by the direct correlation between the islands with the most black sands beaches and the islands with the most recent volcanic activity.
While Yosemite’s durable granite may lull photographers into environmental complacency, its meadows and wetlands are quite fragile, hosting many plants and insects that are an integral part of the natural balance that makes Yosemite unique. Not only that, they’re also home to, and nesting places of, native mammals, birds, and reptiles that so many enjoy photographing. Despite all this, I can’t tell you how often I see people in Yosemite (photographers in particular) unnecessarily trampling meadows, either to get in position for a shot or as a shortcut.
Don’t be this person
Still not convinced? If I can’t appeal to your environmental conscience, consider that simply wandering about with a camera and/or tripod labels you, “Photographer.” In that role you represent the entire photography community: when you do harm as Photographer, most observers (the general public and decision makers) go no farther than applying the Photographer label and lumping all of us into the same offending group.
Like it or not, one photographer’s indiscretion affects the way every photographer is perceived, and potentially brings about restrictions that directly or indirectly impact all of us. If you like fences, permits, and rules, just keep going wherever you want to go, whenever you want to go there.
It’s not that difficult
Environmental responsibility doesn’t require joining Greenpeace or dropping off the grid (not that there’s anything wrong with that). Simply taking a few minutes to understand natural concerns specific to whatever area you visit is a good place to start. Most public lands have websites with information they’d love you to read before visiting. And most park officials are more than happy to share literature on the topic (you might in fact find useful information right there in that stack of papers you jammed into the center console as you drove away from the entrance station).
When you’re in the field, think before advancing. Train yourself to anticipate each future step with the understanding of its impact–believe it or not, this isn’t a particularly difficult habit to form. Whenever you see trash, please pick it up even if it isn’t yours. And don’t be shy about reminding other photographers whose actions risk soiling the reputation for all of us.
DEVELOP A “LEAVE NO TRACE” MINDSET
A few years ago, as a condition of my Death Valley workshop permit, I was guided to The Center for Outdoor Ethics and their “Leave No Trace” initiative. There’s great information here–much of it is just plain common sense, but I guarantee you’ll learn things too.
Now go out and enjoy nature–and please save it for the rest of us.
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A few words about this image
I captured this image while guiding a customer on a private workshop the day before last week’s Yosemite winter workshop. After months of clear skies, the sun rose on two inches of fresh snow in Yosemite Valley. As I did two days later when my workshop group was greeted with another dose of overnight snow, I shifted into hurry-up mode to get to as many spots as possible in the couple of hours we had before the snow would be gone–once the sun hits the trees, the snow disappears like magic.
After watching the storm clear from Tunnel View, we arrived here just in time to watch the day’s first light descend the surrounding granite walls. Our timing was ideal, as reflections are never better than when the reflective subject is in sun and the reflective surface in shade.
Shooting on a tripod (always!) enabled me to be at my camera’s ideal ISO 100 and select the f-stop the scene called for, without worrying about the resulting shutter speed. In this case I opted for a wide composition to include all of El Capitan and its reflection, which gave me lots of depth of field. Since the focus point for a reflection is the focus point of the reflective subject, not the reflective surface (that doesn’t mean that you shouldn’t focus on the reflection, it just means you should take care not to focus on something floating on or resting beneath the reflection), at 20mm everything in my frame was at infinity. With depth of field not a concern, I dialed in f11, my lens’s sharpest f-stop (lenses tend to be sharper in their middle f-stops). F11 brought the added benefit of reducing image-softening diffraction that happens at smaller f-stops–I’ll go smaller than f11 only when the composition calls for it (or if I forget to change it from a previous shot).
The dynamic range (the range of light from darkest shadow to brightest highlight) was too much for my camera to handle, but a two-stop hard-transition graduated neutral density filter subdued the brilliant sunlight, enabling enough exposure to reveal detail in the foreground shadows. Hiding the GND transition in the linear band of shoreline trees was easy, and simple dodging and burning in Photoshop brought out shadow detail and ensured that the sunlit El Capitan was brighter than its reflection (as it should be). Also in Photoshop I applied a light touch with Topaz noise reduction, desaturated the sky slightly to prevent it from overpowering the scene, and did selective sharpening (selecting only the areas containing detail).
(While I do take my groups to this quiet spot beside the Merced River, the fragile riverside setting that requires crossing a small meadow makes me reluctant to share it with the general public.)
Horsetail Fall: Yosemite’s natural firefall
Posted on February 19, 2012
Horsetail Fall, El Capitan, Yosemite (2008)
* * * *
This is the story of my 2012 Yosemite Winter workshop Horsetail Fall shoot. For more about when, where, and how to photograph Horsetail, read my Horsetail Fall Photo Tips article.
I returned home late last night from my annual Yosemite winter workshop. I’m happy to report that weeks of snow-dances, incantation, prayer, and just plain crossed fingers seem to have done the trick, as Yosemite Valley’s winter-long dry spell ended with two doses of snow last week. Since the most beautiful place on Earth is never more beautiful than when it’s blanketed in fresh snow, that was definitely the highlight of the week, but it was also fun to share the Horsetail Fall phenomenon with my group.
For those who don’t know what I’m talking about, for eleven+ months Horsetail Fall is probably Yosemite’s most anonymous waterfall. Even at its best, this ephemeral cataract is barely visible as a thin white thread descending El Capitan’s east flank–we can be standing directly beneath it and I still have to guide my students’ eyes to it (“See that tall tree there? Follow it all the way to the top of El Capitan; now run your eye to the left until you get to the first tree….”). But for about two and a half weeks in February, the possibility that a fortuitous confluence of snowmelt, shadow, and sunset light might, for a few minutes, turn this unassuming trickle into a molten red stripe, draws photographers like cats to a can-opener.
The curtain rises more than an hour before sunset, when a vertical shadow begins its eastward march across El Capitan’s south-facing flank. As the shadow advances the sunlight warms; as the unseen sun reaches the horizon, the only part of El Capitan not in shadow is Horsetail Fall; for a few minutes when the stars align–water in the fall, no clouds blocking the sun’s path to El Capitan, and enough haze to scatter all but the sun’s red rays–the fall is bathed in a red glow that resembles flowing lava. (Some people mistakenly call the Horsetail spectacle the “Firefall,” but that altogether different but no less breathtaking, manmade Yosemite phenomenon was suspended by the National Park Service in 1968.)
Some years Horsetail delivers sunset after sunset; other years bring daily of frustration. Unfortunately, it’s impossible to predict when all the tumblers will click into place: For every tale of a seemingly perfect evening when the sunset light was doused by an unseen cloud on the western horizon mere seconds before showtime, there’s another story about a cloudy evening when the setting sun somehow found a gap just as tripods were being collapsed. I know photographers who nailed Horsetail on their first attempt, and others who have been chasing it for years.
It’s fun to circle Yosemite Valley on pretty much any mid- to late-February afternoon, just to watch the hordes of single-minded photographers setting up camp like baby-boomers queueing for Stones tickets, securing a vantage point to capture (fingers crossed) their version of Horsetail Fall’s sunset pyrotechnics. When I lead a group it’s a always a tough call whether to sacrifice a nice Yosemite sunset at a more reliable location, or go all-in for the fickle grand prize. Generally, when February skies are cloudless, I might take my groups to the Horsetail circus multiple evenings (until we get it), because that’s what most are there for.
This year (2012) we had fresh snow and great clouds on Tuesday and Wednesday, so I targeted Thursday evening for Horsetail. Because we detoured to photograph the daily rainbow on Bridalveil Fall, I was resigned to dropping my group off, parking down the road, and walking back to the El Capitan picnic area beneath the fall (the spot best suited to large groups). But I was pleasantly surprised to find the necessary three parking spaces still available not much more than an hour before sunset. After a brief orientation (that started with helping everyone locate the fall), we all set up in fairly close proximity, practiced compositions and exposure, and shadow-watched. I’ve reached the point where I spend as much time watching the photographers as I do watching El Capitan–Horsetail Fall in February really has become an Event, not unlike waiting for the next act on the lawn at a concert.
Flow in the fall this year was low (it was bone-dry when I arrived Sunday), even by Horsetail standards, but still enough to make a photograph. We all held our breath, pleaded, and cheered as the shadow approached the fall. Shortly before sunset the amber light acquired a distinct pink hue and the chat, laughter, and cajoling died quickly in favor of clicking shutters. Instead of intensifying to the hoped-for red, the pink held for a few minutes before fading. So while we didn’t hit a home run, I think this year’s group still managed a stand-up triple.
I haven’t had a chance to get to this year’s images, so I’m posting a (better) 2008 Horsetail capture from a different spot. Despite appearances to the contrary, I didn’t have to scale shear granite to achieve this vantage point–I was in fact securely planted on the valley floor, shivering atop a snowbank beside the Merced River. Also of note is that this image was captured on February 9, earlier than many people claim the angle is right. I actually got it like this on consecutive nights that year, leading two different groups.
The definition of breathtaking
Posted on February 11, 2012
Moonlight and Big Dipper, Badwater, Death Valley
Death Valley is notorious for blue skies–great for tourists, but a scourge for photographers. Clouds add interest to a scene, and filtering harsh sunlight through clouds reduces contrast to a range a camera can capture. To mitigate harsh sky problems, I schedule my annual Death Valley workshop for winter to maximize the chance for clouds. And hedging my bets further, I time each workshop to coincide with a full moon–that way, if we don’t get clouds, careful location planning allows me to include a full moon in many of our sunrise and sunset shoots, and allows us to photograph Death Valley’s stark beauty by moonlight.
I returned last night from my 2012 workshop. Not only did we have a creative, enthusiastic group, we also were blessed with a wonderful blend of conditions. On our first two days we were treated to lots of clouds (and even a few snow flurries during a sunset shoot at Aguereberry Point) and beautiful sunrise color on the dunes. But by day three the Death Valley sky was back to business as usual and it was time to plug in a moonlight shoot.
I usually opt for moonlight on the Mesquite Flat Dunes near Stovepipe Wells, but during a pre-workshop visit to Badwater it occurred to me that the salt flat’s white surface was tailor made for the light of a full moon. Since the sky didn’t clear until our third day (the moon rises later every day), I was concerned that the moonlight wouldn’t reach Badwater, 282 feet below sea level and in the shadow of 5,700 foot Dante’s Peak, early enough. I briefly considered returning to the more exposed dunes, but finally decided that I could make Badwater work by simply leading the group out onto the salt flat until we reached the moonlight.
Sure enough, we arrived at Badwater a little after 8:00 p.m. to find ourselves in deep moonshadow. But across the valley, Telescope Peak and Badwater’s west fringe already basked in the light of the rising moon. So off we went to meet the advancing moonlight, following our headlamps through the darkness for about a half mile before reaching the advancing moonlight. With headlamps doused we paused in silence to take in our surroundings: Venus was just disappearing behind Telescope Peak and Jupiter sparkled high overhead; Orion and Sirius decorated the southern sky, while Cassiopeia and the Big Dipper straddled Polaris to the north. And rising above the mountains to the east, the moon painted the playa’s jigsaw surface with its silvery glow. Overuse has reduced “breathtaking” to cliché status, but I can’t help think it’s these moments the adjective was intended for.
After sharing exposure settings, a quick refresher on focus in moonlight, and some composition suggestions, I let the group get to work. We found compositions in all directions except due east, where the moon was simply too bright to include in the frame. With everyone working within a 100 foot radius, it was easy (and gratifying) to hear exclamations of delight as images popped onto LCD screens.
So amazing was the experience that we stayed far later than I’d planned. If I’d have been there by myself I’d have probably stayed out much longer, but I wanted to make sure no one was too tired for the sunrise moonset I had planned (also at Badwater) the following morning. The above image of the Big Dipper was captured toward the end of our shoot, when the entire playa was illuminated, but the moonlight hadn’t quite reached the Black Mountains. I used ISO 800, f5.6, and 30 seconds.
My 2013 Death Valley Winter Moon photo workshop is January 25-29–it’s already nearly full.
Color in nature
Posted on February 3, 2012
Red Sky, Oak at Sunset, Sierra Foothills
On consecutive nights last week the post-sunset sky featured a conjunction between the waxing crescent moon and Venus. This event had been on my calendar for a while, so when the first date arrived I was a little concerned to see thin clouds assembling in the west. Nevertheless, my camera and I headed to the foothills south and east of home, hoping to catch the celestial show above silhouetted oaks.
While the moon was too thin to penetrate the clouds that evening, the crimson sunset made my drive absolutely worthwhile. Here I used my 100-400 lens to isolate a hilltop oak (it shares this perch with a mate just out of the frame to the left) against the sunset. To hold the color and ensure that the tree and hillside remained in silhouette (totally black), I spot-metered the sky and set my exposure to +2/3 (above a middle tone).
In contrast to my previous post (a dawn moonset on the Big Sur coast), this image required virtually no processing. While I may have spent close to an hour preparing the Big Sur moonset image, this oak tree at sunset probably required less than five minutes from opening the raw file to saving a completed version, ready for output–and the bulk of that time was (tedious) cloning to remove sensor dust. No layers, no levels, curves, or saturation adjustments, no dodging and burning–nothing. But I know what you’re thinking: How do you get color like that without processing? I thought you’d never ask.
I’m convinced people forget how vivid color is in nature. How else to explain the skeptical looks and cynical questions when I post an image like this? To these people my brain thinks, “You don’t get outside enough,” but my mouth politely suggest that soon, very soon (tonight?), they install themselves on a vantage point with a good view of the western horizon about 30 minutes before sunset, and not take their eyes off the horizon until at least 30 minutes after sunset. No camera allowed. Just focus on the color, and I don’t think you’ll ever doubt sunset color again.
Does this mean that nobody exaggerates color in Photoshop? Of course not. I love color, and actively look for it when I shoot, and do certain things at capture to ensure that I get it. But I’m pretty sensitive to the difference between natural and manufactured (manipulated, enhanced, or whatever you want to call it) color. I find manufactured color is usually incongruous with the rest of the scene. For example, I’ve noticed that many HDR images often have an impossible combination of vivid reds and greens.
One of the most common causes of “lost” color is overexposure–not necessarily blown highlights, but hues washed out by sunlight. Left to its own devices, your camera’s meter might attempt to extract some detail from the hillside and tree, which of course would add exposure to the entire scene and dilute the red in the sky. Which is exactly why I never let my camera make decisions for me.
Digital photography the old fashioned way
Posted on January 29, 2012
Moonlight, Garrapata Beach, Big Sur
Canon EOS-1Ds Mark III
4 seconds
F/8
ISO 400
35 mm
Photoshop processing sometimes gets a bad rap. There’s nothing inherently pure about a jpeg file, and because a jpeg is processed by the camera, it’s actually less pure than a raw file. As a general rule, the less processing an image needs, the better, but sometimes raw capture followed by Lightroom/Photoshop processing is the only way to a successful image.
I’ve always considered myself a film shooter with a digital camera. But that doesn’t mean that I’m opposed to processing an image—in fact, processing is an essential part of every image. But just as Ansel Adams visualized the finished print long before he clicked the shutter, success today requires understanding before capture a scene’s potential, and the steps necessary to extract it later Lightroom/Photoshop.
For example
A couple of weeks ago, while co-leading Don Smith’s Big Sur photo workshop, our group had an early morning shoot that was equal parts difficult and glorious. The plan was a Garrapata Beach sunrise featuring the moon, one day past full, dropping into the Pacific at sunrise. But high tide and violent surf banished us to about 500 square feet of sheltered sand, and the cliffs above the beach (it’s bad for business when workshop participants get swept out to sea). Compounding the difficulty, the most striking aspect of the scene, a nearly full moon, was too bright for the rest of the scene. But despite the morning’s difficulties, I set to work trying to make an image because, well, that’s what photographers do.
As much as I wanted to be on the sand, aligning the moon with the the best foreground from down there would have made me a sitting duck for the waves. So I made my way along the cliff to an off-trail spot above a group of surf-swept rocks. It turns out the higher perspective was perfect for emphasizing the reflected moonlight that stretched all the way to the horizon.
With long exposures on a tripod, photographing the moonlight and beach wasn’t a problem. But adding the daylight-bright moon burning through the pre-dawn darkness made capturing the entire range of light in a single frame (a personal requirement) difficult, and perhaps impossible. Nevertheless, I spot-metered on the moon to determine the maximum exposure that would retain the ability to recover overexposed lunar detail later in the Lightroom raw processor. But even after maximizing the moon’s exposure, I didn’t have nearly enough light for the rest of the scene without first darkening the sky further using five stops of graduated neutral density (stacking my Singh-Ray three-stop reverse and two-stop hard GND filters). So far so good.
Satisfied that I could make the exposure work, but with very little margin for error, my next concern was finding a shutter speed that allowed enough light without risking motion blur in the moon. Because I needed sharpness throughout the frame, from the beach right below me all the way out to the moon, I couldn’t open all my aperture all the way. Whipping out my DOF app, I computed that focusing twenty feet away at f8 would give me sharpness from ten feet to infinity. Bumping to ISO 400 at f8 brought my shutter speed to four seconds, a value I was confident would freeze the moon enough. I clicked several frames to get a variety of wave effects, ultimately choosing this one for the implicit motion in foreground wave’s gentle arc.
In Lightroom, I cooled the light temperature slightly to restore the night-like feel. Using five GND stops at capture required significant Photoshop brightening of the sky to return it to a reasonable range. A few years ago this would have introduced far too much noise, but the latest noise reduction software (I use Topaz) is amazing. As expected, even after all my exposure and processing machinations, I still needed to process the raw file a second time to recover the highlights in the moon. Because the two versions were the same capture, combining them in Photoshop was a piece of cake.
A Gallery of Favorite Seascapes
Click an image for a closer look, and a slide show. Refresh your screen to reorder the display.
Alpenglow: Nature’s paintbrush
Posted on January 24, 2012
Red Dawn, Mt. Whitney and the Alabama Hills, Eastern Sierra
Canon EOS-1Ds Mark III
168 mm
.8 seconds
F/11
ISO 100
The foreground for Mt. Whitney is the rugged Alabama Hills, a disorganized jumble of rounded granite boulders, familiar to many as the setting for hundreds of movies, TV shows, and commercials. These weathered rocks make wonderful subjects without the looming east face of the southern Sierra. What makes this scene particularly special is the fortuitous convergence of topography and light that rewards early risers with a skyline dipped in pink–add a few clouds and it’s a photography trifecta.
We’ve all seen the pink band above the horizon opposite the sun shortly before sunrise or after sunset. Sometimes called “the belt of Venus,” this glow happens because sunlight that skims the Earth’s surface just before sunrise (or shortly after sunset) has to battle its way through the thickest part of the atmosphere, which scatters the shorter wavelengths (those toward the blue end of the visible spectrum), leaving just the longer, red wavelengths capping the horizon. When mountains jut high enough to reach into this region of pink light, we get “alpenglow.” Towering above the terrain to the east, the precipitous Sierra crest, anchored by 14,500 foot Mt. Whitney (the highest point in the contiguous 48 states) and 13,000 foot Lone Pine Peak, is ideally located to receive this sunrise treatment.
The image above was captured on a frigid January morning. While the best light on the Sierra crest usually starts a couple of minutes before the “official” (flat horizon) sunrise, this morning Mt. Whitney hid behind the clouds until the alpenglow was well underway. Like a piece of art waiting for its spotlight, the cloudy shroud was pulled back just as the sunlight struck Mt. Whitney, and for a couple of minutes it appeared as if a giant paintbrush had dabbed the swirling canvas with pink.
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A Mt. Whitney Gallery
Click an image for a closer look, and to view a slide show.
Trust your instincts
Posted on January 20, 2012
Emergence, Half Dome from Olmsted Point, Yosemite
Canon EOS-1Ds Mark III
70-200L F4
3.2 seconds
F/16
ISO 400
This week I’ve spent some time going through past images that I just haven’t had time to get to. Unlike many of the images I uncover by returning to old shoots, this one from the final night of my October 2010 Eastern Sierra workshop wasn’t a surprise–the sky over Half Dome that night was magic, something I’ll never forget. Shortly after returning home I selected and processed one, but in conditions like that I always shoot enough variety of compositions that I knew there must be more there. While I have a general rule to only select one image of any scene from a single shoot, this is a perfect example of why I refuse to be bound by rules.
From the Clouds, Half Dome from Olmsted Point, Yosemite
Canon EOS-1Ds Mark III
24-105L F4
5 seconds
F/16
ISO 400
Comparing the two images from that night, what strikes me most isn’t the similarity, but the differences. Despite being captured less than a minute apart, they illustrate creative choices that underscore a point I keep hammering on: Photographers are under no obligation to reproduce human “reality” (because it can’t be done). Because photographic reality is an impossible moving target, my obligation as a photographer is to my camera’s reality. And if I do things right, I can use my camera’s reality to transcend visual reality and convey some of the emotion of the moment.
So, in the “Emergence” (tight vertical) composition, I chose to emphasize Half Dome’s power and nothing else. I centered Half Dome and exposed for its granite face, letting the swirling clouds darken and the foreground go completely black. The dark clouds above Half Dome cap the top of the scene–there’s really nowhere else for your eye to go than Half Dome.
Today’s “From the Clouds” composition is more about the moment’s grandeur. I widened the perspective considerably and brightened my exposure enough to encourage your eye to wander about the frame a bit. There’s no question as to where your eye will end up, it just takes a little longer to get there. In other words, expanding the perspective and providing more light invites you to leave and return to Half Dome at your leisure.
Did I consciously plot this that night? Nope. Honestly, I’m rarely this analytical when I shoot–I just don’t want my left (logical) brain to distract my right (creative) brain. But I do believe that if you cultivate (and trust!) your intuition, creative decisions like this will happen organically. (But learn metering and exposure until it becomes automatic!)
So while I had no conscious thought of how to control your experience of this scene, I’ve done this long enough to know that these creative choices don’t just happen by accident. Without getting into the divine intervention claims trumpeted by some photographers (label it what you will), I believe everyone can access untapped creative potential that takes them far beyond what can be accomplished with the conscious mind. And it starts with trust.
BTW—I prefer the first one (Emergence).
There’s no whining in photography
Posted on January 14, 2012
Moonset, Soberanes Point, Big Sur
Canon EOS-1Ds Mark III
10 seconds
F/16
ISO 50
28 mm
January 2012
I just wrapped up a long week that underscores the best and worst of my life as a landscape photographer. In the plus column I’ll put visits to Big Sur and Yosemite and the opportunity to spend quality time with a great bunch of photographers; in the negative column goes long days, dull weather, and lots of solo miles.
Sunday morning I left for Big Sur to co-lead Don Smith’s winter workshop, where we spent three-and-a-half days yo-yoing up and down one of the most beautiful coasts in the world. Wednesday night, after photographing sunset with the group at Point Lobos, I made the long trip home, arriving with barely enough time to repack my suitcase and gas-up before hitting the road for Yosemite Thursday afternoon. Following a sunrise to sunset day guiding two photographers from the Netherlands around Yosemite, I drove home late Friday.
But when a long week includes scenes like today’s image, you can see I have little to complain about. I’m extremely fortunate to live where I do, less than four hours drive from locations people travel around the world to visit: Yosemite, Big Sur, San Francisco, Point Reyes, Muir Woods, the Sonoma and Mendocino coasts, the Napa and Sonoma Wine Country, Mt. Shasta, Mt. Lassen, Lake Tahoe, and Mono Lake.
As has become California’s norm this winter, Big Sur delivered mild temperatures and cloudless skies. But, since poor conditions should never be an excuse for staying inside, here’s a little secret for dealing with bland skies: the best light for photography comes before the morning sun reaches the scene, and after the evening sun leaves. Without direct light, the entire landscape is bathed in even, contrast-smoothing light reflected from the sky, and the pastel hues of the Earth’s shadow colors the sky and paints the horizon. All you need to capture the magic is a decent camera (any digital SLR will do) and sturdy tripod.
I time all of my moonrise/moonset shoots for the small window when the moon is in this day-night transition zone—often, the more clear the sky, the better the twilight color on the horizon opposite the sun (and right where the full moon sets/rises). But adding a full moon in limited light like this can be tricky—the moon is daylight bright, while the rest of the scene is in deep shade. Some photographers blend multiple images to handle the extreme contrast; I prefer graduated neutral density filters. For example, to capture the above image of the moon setting into the Pacific at Big Sur’s Sobranes Point, I used a Singh-Ray three-stop reverse GND filter to subdue the moon and hold the sky’s color during an exposure that had to be long enough to reveal the foreground detail.
It was more night than day when Don and I got the group to Sobranes Point for our sunrise shoot. A white strike of moonlight reflected on the black Pacific, and nearby sea stacks, mere shapes in the dark, were under continuous assault from the violent surf. Following a brief orientation, everyone spread out along the cliffs—Don led some of the group southward along the cliffs; I guided the rest northward toward a not yet visible arch. When my eyes adjusted and the light came up, I wound my way along a narrow path that ended on a granite prominence jutting thirty feet or so above the ocean. While most of the waves crashed harmlessly beneath me, every few minutes a particularly large surge would strike at just the right angle, obliterating my view with spray that rose twenty feet above my head (see below). Had the generally prevailing onshore wind not been absent that morning, I’d have been thoroughly drenched. After the first wave explosion I was a bit uneasy about my location, but once I realized I was out of range I kind of enjoyed the ride.
All the visual activity makes this a tricky scene to photograph—I’ve shot here a number of times, but until now have never come away with anything that completely satisfies me here. With most of the action is on the right side of the frame, I’ve always found wide, horizontal compositions unbalanced. Going for a tighter vertical orientation to emphasize the strong coastline, I never find a left edge that doesn’t cut the sea stacks awkwardly. And horizontal or vertical, with a host of smaller rocks protruding from the nearby surf, I struggle placing the bottom of my frame. But adding the moon’s significant visual weight to the left of the frame gave me the horizontal balance I wanted, and hiding the protruding foreground rocks behind the weathered granite cliff gave a solid base for my composition.
When I finally found a composition that worked, I needed to find the focus point that would maximize the depth of field. A quick check of the hyperfocal app on my iPhone told me that f16 at 28mm would give me sharpness from 2 1/2 feet to infinity if I focused on the foreground granite about five feet away. To ensure correct focus, I used my camera’s live view and magnified my focus point 10x. There wasn’t enough light to even think about freezing the surf at a useable ISO, so I just went with a long exposure that smoothed the water.
When photographing waves, many photographers fail to account for the change from one frame to the next. So, knowing my composition was locked securely in place on my tripod, I stood back and monitored the waves closely, clicking about a dozen frames to capture a range of surf action, from placid to violent. This ten second exposure included a single moderate wave and several minor swells.
I was probably cold, damp, and sleepy, but I don’t remember. And it would have been easy to complain about the boring skies, or feel sorry for myself during my many lonely hours behind the wheel, but mornings like this one are exactly why I do this, and a perfect example of why there really is no whining in photography.
The coast is clear
Posted on January 6, 2012
Out to Sea, Garrapata Beach, Big Sur
California is in the midst of the strangest winter I’ve ever experienced: a rainy season without a drop for nearly two months, daytime highs consistently in the sixties, and a virtually non-existent snowpack in the Sierra. January days in the Central Valley are usually wall-to-wall gray; nights are an opaque muck. But this year it’s been an endless cycle of blue skies and twinkling stars. Mornings have been just chilly enough to fool me into donning my winter flannel or wool; by noon I’m rummaging the back of the closet for a polo shirt I haven’t worn since October.
If I sound bitter about this eternal spring, it’s because I feel cheated–winter is for nature photographers. Not only does dramatic weather make great photography, winter’s frigid temperatures, biting wind, and monotonous rain drive the general public inside, leaving the landscape to us photographers. But this winter the most productive thing I’ve done so far is pack my camera off to Canon for some long postponed TLC. Sigh.
Okay, enough whining. Honestly, every photographer needs conditions to throw a curve from time to time, a reminder that nature photography isn’t all sunsets, rainbows, and shafting light. True creativity rarely comes when Mother Nature smacks you between the eyes with something spectacular, it’s usually best when she forces you outside your box to see the things you miss when the sky lights up or a rainbow arcs.
With that in mind, I head off to Big Sur to co-lead Don Smith’s winter workshop next week. The forecast is for more of the same, but I’m looking forward to the challenge. I do about 80 percent of my photography in the mountains and foothills, so what better location to stretch myself than Big Sur–and what better conditions than blank skies?
Last year Don and I guided the group to Garrapata Beach for sunset. There’s a lot happening here and everyone quickly scattered–some stayed on the cliffs above, some moved up to the creek and calla lilies on the north end of the beach, and others stayed down among the rocks on the south end. To those who stayed near me, I demonstrated some shutter techniques to get different effects from the surf.
When it became clear that the sky wasn’t going to do anything special, I turned my attention to the sand and waves at my feet. To emphasize the textured sand, I opted for an extremely wide, vertical composition, using rocks protruding from the surf a couple of hundred yards distant to frame the upper portion the scene. The bland sky I relegated to a thin stripe at the extreme top of the frame. I decided that f16 gave gave me the best combination depth of field and minimal diffraction–a larger aperture would have risked loss of sharpness throughout the sand; a smaller aperture would have risked loss of sharpness due to diffraction.
When photographing waves, once I get my composition set I click many frames, carefully timing them for various effects. On this evening I added a variable neutral density filter, dialing in a variety of shutter speeds by adjusting the amount of light. Watching my LCD, I decided that my favorite effect was a one second (or so) exposure of a receding wave, and managed several frames like the one above.
I look at this image as the start of a process–it may very well never become particularly “successful” (whatever that means), but I learned a few things that I’m looking forward to applying next week. Stay tuned….
Eloquent Images by Gary Hart 