Posted on July 20, 2019
The memory of Neil Armstrong’s first steps on the moon has personal significance to me. To honor the 50th anniversary of that achievement, I’m sharing an updated version of my story, first posted five years ago.
I had just turned 14. I was into baseball, chess, AM radio, astronomy, and girls—not necessarily in that order. Of particular interest to me in 1969 was the impending moon landing, a milestone I’d been anticipating since tales of American aerospace engineering ingenuity and our heroic astronauts started headlining the “Weekly Reader,” and my elementary school teachers began gathering the class around a portable TV to watch the latest Mercury, Gemini, or Apollo launch.
If you remember the 60s, you understand that the unifying buzz surrounding each of these missions provided a unifying distraction from the divisive tension spurred by headlines of Vietnam casualties, anti-war demonstrations, Civil Rights clashes, and Communist paranoia. When President Kennedy promised to land a man on the moon by the end of the decade, so far in the future was that goal that in my mind he may just as well have said infinity. But as the decade drew to a close and the promise approached reality, I couldn’t devour enough information on the impending mission.
Unfortunately, without checking NASA’s schedule or asking for my input, my parents and three other couples they knew from graduate school decided mid-July 1969 would be the ideal time for our four families to join forces on a camping trip in the remote, television-free redwoods of Northern California. (“What could we possibly need a television for?”)
Apollo 11 was halfway to the moon when the Locher and Hinshaw families pulled up to our home in Berkeley (the Hardings, coming down from Eastern Washington, would meet us at the campground a couple of days later). The warm greetings exchanged by the adults were balanced by the cool introductions forced on the unfamiliar children.
We departed the next morning, caravan style, our cars connected by woefully inadequate walkie-talkies that we’d almost certainly have been better off without (I’m sure it had seemed like such a good idea at the time). I remember my dad keeping a safe distance behind the Hinshaws, as he was convinced that their borrowed trailer that seemed to veer randomly and completely independently of their car, would surely break free and careen into the woods on the next curve.
Somehow our three-car parade pulled safely into Richardson’s Grove State Park late that afternoon. In true sixties style, the three dads went immediately to work setting up campsites, and the moms donned aprons and combined forces on a community spaghetti dinner. Meanwhile, while the younger kids scattered to explore, the four teens, having only recently met and being far too cool for exploration or anything remotely resembling play, disappeared into the woods, ostensibly on a firewood hunt. Instead, we ended up wandering pretty much aimlessly, kicking pinecones and occasionally stooping for a small branch or twig, lingering just far enough from camp to avoid being drafted into more productive (and closely supervised) labor by the adults.
But just about the time we teens ran out of things not to do, we were relieved to be distracted by my little brother Jim rushing back into camp, breathless, sheet-white, and alone. We couldn’t quite decipher his animated message to the adults, but when we saw our dads drop their tarps and tent poles and rush off in Jim’s tracks toward the nearby Eel River, we were (mildly) curious (to be interested in anything involving parents was also very not cool). So, with feigned indifference, the four of us started wandering in the general direction of the river. Our path was blocked by a 50 foot, nearly vertical cliff that provided a clear view into the vortex of all the excitement. It was the instant of that shared view when I think we all ceased being strangers.
The scene before us could have been from a bad slasher movie: Flat on the ground and unmoving was 11 year-old Paul Locher; sitting on a rock, stunned, with a stream of blood cascading from his forehead, was Paul’s 10 year-old brother John. As disturbing as this sight was, nothing could compare to seeing father Don Locher orbiting his injured sons, dazed and covered in blood. The rest of this memory is a blur of hysterics, sirens, rangers, and paramedics.
It wasn’t until the father and sons were whisked away by ambulance to the small hospital in Garberville, about 10 miles away, that we were able to piece together what had happened. Apparently Paul and John, trying to blaze a shortcut to the river, miscalculated risk and had tumbled down the cliff. My brother at first thought they were messing with him, but when John showed him a rock covered with blood, he sprinted back to fetch the parents.
Conferring at the point where the kids had gone over, the fathers made a quick plan: My dad and Larry Hinshaw would rush back to to summon help, and to see if they could find a safer path down to the accident scene. Don would stay put and keep an eye on his sons. But shortly after my dad and Larry left, John had looked down at his brother cried, “Daddy, I can see his brains!” Hearing those words, Don panicked and did what any father would do—attempt to reach his boys. Thinking that a small shrub a short distance down would make a viable handhold, Don took a small step in its direction, reached for and briefly grasped a branch, lost his grip, and tumbled head-over-heals down to the river.
After what seemed like days but was probably only an hour or two, we were relieved to learn that John needed no more than a few stitches; he was back in camp with us that night. Paul had faired slightly worse, with a concussion and a nasty cut behind his ear—the “brains” his brother had seen was ear cartilage. Paul spent the night in the hospital and was back with us by the time the Harding clan arrived the following afternoon. Don, however, wasn’t quite so fortunate. In addition to a severe concussion, he had opened up his head so completely that over 150 stitches were required to zip things back together. Though Don spent several days in the hospital, we were all consoled by the understanding that it could have been much worse.
By Sunday, Don was feeling much better but was still a day or two from release to the dirt and fish guts of our four family campsite. Most of us had visited the hospital at one time or another in small, brief waves that honored the hospital’s visiting rules. I can’t say who first recognized the opportunity, but I’m guessing that Larry Hinshaw had something to do with convincing the nursing staff to look the other way when Don was suddenly host to 20 simultaneous visitors that night. Whatever magic was worked, I’ll forever remember Sunday evening, July 20, 1969, when our entire group shoehorned into a tiny hospital room to witness history on a tiny, black-and-white television screen.
Besides my parents and two brothers, the rest of the crew that night I’d only met just a few days earlier, but I can still name every single one of them. The relationships formed that week continue to this day. And so do the stories, which, like this story, are filled with some of the greatest joy I’ve ever experienced, and also with some of the greatest tragedy. But it’s this story in particular, the catalyst for all the stories that follow, that explains why the words, “One small step for man, one giant leap for mankind,” have a very personal significance for me. Today it’s hard to look at the moon without remembering that hospital room and the emotional events that enabled me to witness Neil Armstrong’s historic first steps with those very special friends.
Click an image for a closer look, and a slide show
Posted on June 9, 2019
Let’s have a show of hands: How many of you have been advised at some point in the course of your photographic journey to “tell a story with your images”? Okay, now how many of you actually have a clue as to what that actually means? That’s what I thought. Many photographers, with the best of intentions, parrot the “tell a story” advice simply because it sounded good when they heard it, but when pressed further, are unable tell you what they mean.
Telling a story with a photo is easier when photographers can physically stage subjects and light to suit their objective (an art in itself), or in journalistic photography intended to distill the the essence of an instant with a connection to an easily inferred chronology: a homeless man feeding his dog, dead fish floating in the shadow of belching smokestacks, or a wide-receiver spiking a football in the end zone.
This isn’t to say that we landscape photographers can’t tell stories with our images, or that we shouldn’t try. Nor does it mean that one photographic form is inherently more or less creative than another. It just means that the rules, objectives, advantages, and limitations differ from form to form. Nevertheless, simply advising a landscape photographer to tell a story with her images is kind of like a coach telling a pitcher to throw strikes, or a teacher instructing a student to spell better. Okay, fine—now what?
Finding the narrative
First, let’s agree on a definition of “story.” A quick dictionary check reveals that a story is “a narrative, either true or fictitious … designed to interest, amuse, or instruct….” Okay, that works.
The narrative part is motion. Your pictures need it. Narrative motion isn’t simply the motion of the eyes through the frame (also important), it’s a connection that pulls a viewer into and through a frame, and compels him to stay. While narrative motion happens organically in media consumed over time, such as a song, novel, movie, or even a YouTube video, it can only be implied in a still photograph. And unlike the arranged or journalistic photography mentioned above, landscape photographers are tasked with reproducing a static world as we find it—another straightjacket on our narrative options. But without some form of narrative motion, we’re at a dead end story-wise. What’s a photographer to do?
Photography as art
Every art form succeeds more for what happens in the mind of its consumer’s (the viewer or listener) than for the literal experience it delivers to the consumer’s five senses. Again: Every art form succeeds more for what happens in the mind of its consumer’s (the viewer or listener) than for the literal experience it delivers to the consumer’s five senses. A song that doesn’t evoke emotion, or a novel that doesn’t paint mental pictures, it’s soon forgotten. And just as readers of fiction unconsciously fill-in the visual blanks with their own interpretation of a scene, viewers of a landscape image will fill-in the narrative blanks with the personal stories the image inspires. In other words, an image should offer a place for the viewer’s own story to unfold.
Of course the story we’re creating isn’t a literal, “Once upon a time” or “It was a dark and stormy night” (much more appealing in photography than literature, I might add) story. Instead, the image we make must connect with our viewers’ stories to touch an aspect of their world (real or imagined): revive a fond memory; generate fresh insight into a familiar subject; vicarious living—to name just a few possible connections. If we offer images that complete these connections, we’ve given our image’s viewers a reason to enter, a reason to stay, and a reason to return. And most important, we’ve given them a catalyst for their internal narrative.
Shoot what you love (not what you think your audience will love)
Think about your favorite novels. While they might be quite different, I suspect one common denominator is a protagonist with whom you relate. I’m not suggesting that immediately upon finishing that book you hopped on a raft down the Mississippi River, or ran downtown to have a dragon tattooed on your back, but in some way you likely found some personal connection to Huck Finn or Lisbeth Salander that kept you engaged. And the better that connection, the faster the pages turned.
And so it is with photography: Our viewers are looking for a connection, a sense that there’s a piece of the photographer in the frame. Because we can’t possibly know what personal strings our images might tug in others, and because those strings will vary from viewer to viewer, our best opportunity for igniting their story comes when we share our own relationship with a scene and let viewers find their own connection.
What? Didn’t I just say that it’s the viewer’s story we’re after? Well, yes—but really what needs to happen is the viewers’ sense of connection between our story and theirs. If you focus on photographing the scenes that most move you, those scenes (large or small) that might prompt you to nudge a loved-one and say, “Oooh, look at that!,” the more you’ll see and the greater your chance of establishing each viewer’s feeling of connection. Whether you’re drawn to towering mountains, crashing surf, delicate wildflowers, or prickly cactus, that’s where you’ll find your best images.
Where did you get those shoes?
The cool thing is that your viewer doesn’t need to understand your story; she just needs to be confident that there is indeed a story. That’s usually accomplished by avoiding cliché and offering something fresh (I know, easier said than done). For some reason this makes me think of Steely Dan lyrics, which rarely made sense to me, but always felt fresh and I never for a second doubted that they did indeed (somehow) make sense to Donald Fagen and Walter Becker. In other words, rather than becoming a distraction, Steely Dan’s lyrics were a source of intrigue that pulled me in and held me. So when I hear:
I stepped up on the platform
The man gave me the news
He said, You must be joking son
Where did you get those shoes?
I’m not bewildered, I’m intrigued. Steely Dan’s lyrics aren’t trying to tap my truth, they simply reflect their truth (whatever it might be). And even though I have no idea what he’s talking about, the vivid mental picture those lyrics conjure (which may be entirely different, though no more or less valid, than your or his mental picture) allows me to feel a connection. You, on the other hand, may feel absolutely nothing listening to “Pretzel Logic,” while “I Want To Put On My My My My My Boogie Shoes” gives you goosebumps for KC and the Sunshine Band. Different strokes….
Returning from the abstract to put all this into photographic terms, the more your images are true to the world as it resonates with you, and the less you pander to what you think others want to see, the greater the chance your viewer’s story will connect with yours.
Few things in Nature get my heart racing more than the first sliver of silver light heralding the moon’s arrival. With the moon’s appearance comes a sudden release of building anticipation and the frantic
On this evening last March I knew about where the moon would appear, and about when that would be, but with the time approaching and my eyes locked on the anticipated spot, the doubts started to rise. Did I get the angle right? Is that ridgeline higher than I figured? Where did those clouds come from? (It goes like this every time.)
And then there it was. I’d pointed my Sony a6300 (1.5 crop sensor for extra magnification), mounted my Sony 100-400 GM lens and Sony 2x teleconverter, at the spot on the ridge I thought most likely for the moon to appear. I was pretty close, but this was not time for self congratulation. To juxtapose the moon with the two trees I’d picked for my foreground I had to shift about 20. My favorite big moon shots are when some part of the moon still touches some part of the horizon, so my window of opportunity was shrinking fast. And you ever want to appreciate how fast the moon moves across the sky, try photographing it with an extreme telephoto lens. By the time I was moved and recomposed, the moon was already half exposed and rising fast. I managed just a handful of frames before it crested the trees and I switched to a wider lens for a completely different shot.
My own story of this solitary, ridge-top tree involved a frantic rush to capture a beautiful but rapidly fading sunset. I was with my brother on a dirt road in the Eastern Sierra. I’d been on this road many times and knew this tree well. Despite its rather ordinary appearance, the tree’s solitary perch atop a barren, rocky ridge had always intrigued me. For as long as I can remember, I’ve dreamed of a home with a sweeping view, and envied this tree’s perpetual 360 view of the Sierra crest to the west, the White Mountains to the east, and Crowley Lake below.
As the sunset started to materialize that evening, I realized that we were close enough that I might be able to include the tree in the sunset shoot. We hustled my truck back down the road, pulling into to a wide spot beneath the ridge several minutes after the best color had faded. Jay, who had no personal connection to “my” tree, stayed in the truck while I sprinted along the road with my camera and tripod until my position aligned the tree with the final, rippled vestiges of sunset. I only clicked a couple of frames, slightly underexposed to hold the color. (The slight blue cast is the color of the twilight light.)
The humorous events leading up to this sunset at McWay Fall in Big Sur are nowhere to be found in the frame. Nevertheless, even after visiting this spot more times than I can count, I have a very personal connection to this moment in particular. There’s power in a plunging waterfall and crashing surf, and promise in the sun’s appearance above an infinite horizon.
An early arrival allowed lots of time to connect with the scene, enabling me to anticipate the moment the sun burst from the clouds and balance it in the frame with McWay Fall. The position of the leading wave is no accident either—had I allowed it to reach the bottom of the frame before I clicked my shutter, it would have created a white line exiting the frame, taking your eyes right with it. That small strip of sand at the bottom of the image becomes a virtual frame that holds you in the scene. The rest is up to you.
* * * *
Those are my stories, and while they’re personally satisfying, I have no illusions that all of that comes across to the viewer. I’ve displayed these prints in many shows and watched people walk right by without breaking stride. But I’ve also been delighted each time someone stops, peers closer, lingers, and ersometimes returns lat. While I have no idea what “story” my images tap in those people, I don’t believe it really matters.
Click an image for a closer look, and a slide show. Refresh the screen to reorder the display.
Posted on March 3, 2019
As aggressively as I seek creative ways to express nature with my camera, and as important as I think that is, sometimes a scene is so beautiful that it’s best to just get out of the way and let the scene speak for itself. I had one of those experiences last month at Tunnel View in Yosemite.
There’s a reason Tunnel View is one of the most photographed vistas in the world: El Capitan, Half Dome, Cathedral Rocks, Bridalveil Fall—each would be a landscape icon by itself; put them all together in one view and, well…. But the view this evening was truly transcendent, even by Yosemite standards. In Yosemite Valley below, trees and granite still glazed with the snowy vestiges of a departing storm seemed to throb with their own luminance. And above Half Dome a full moon rose through a sky that had been cleansed of all impurities by the departing storm, an otherworldly canvas of indigo, violet, and magenta.
On these crystal-clear, winter-twilight moonrises, the beauty rises with the moon, reaching a crescendo about 20 minutes after sunset, after which the color quickly fades and the landscape darkens. Unfortunately, a some point before the crescendo, the dynamic range becomes so extreme that no camera (not even the dynamic range monster Sony a7RIII) can simultaneously extract usable detail from a daylight-bright moon and dark landscape.
I’d driven to Yosemite solely to photograph this moonrise, an eight hour roundtrip for 40-minutes of photography. Starting with the moon’s arrival about 20 minutes before sunset, I’d juggled three camera bodies and two tripods, first shooting ultra long, then gradually widening to include more of the snowy landscape. Already my captures had more than justified the time and miles the trip would cost me, but watching the moon traverse the deepening hues of Earth’s shadow, I wasn’t ready to stop.
I’ve learned that with a scene this spectacular, conveying the majesty doesn’t require me to pursue the ideal foreground, or do creative things with motion, light, or depth of field. In fact, I’ve come to realize that sometimes a scene can be so beautiful that creative interpretations can dilute or distract from the very beauty that moves me. On this evening in particular, I didn’t want to inject myself into that breathtaking moment, I just wanted to share it.
To simply my images, I opted for a series of frames that used tried-and-true compositions that I’d accumulated after years (decades) of photographing here, the compositions I suggest as “starters” for people who are new to Yosemite, or use myself to jump-start my inspiration: relatively tight horizontal and vertical frames of El Capitan, Half Dome, Bridalveil Fall; El Capitan and Half Dome; or Half Dome and Bridalveil Fall. In the image I share above I concentrated on Half Dome and Bridalveil Fall, capping my frame with the wispy fringes of a large cloud that hovered above Yosemite Valley.
Simplifying my compositions had the added benefit of freeing all of my (limited) brain cells to concentrate on the very difficult exposure. The margin for error when photographing a moon this far after sunset is minuscule—if you don’t get the exposure just right, there’s no fixing it in Photoshop later: too dark and there’s too much noise in the shadows; too bright and lunar detail is permanently erased. The problem starts with the understandable inclination to expose the scene to make the landscape look good on the LCD, pretty much guaranteeing that the moon will be toast. Compounding this problem is the histogram, which most of us have justifiably come to trust as the final arbiter for all exposures. But when a twilight moon (bright moon, dark sky) is involved, even the histogram will fail you because the moon is such a small part of the scene, it barely (if at all) registers on the histogram.
Rather than the histogram, for these dark sky moon images I monitor my LCD’s highlight alert (“blinking highlights”), which is usually the only way to to tell that the moon has been overexposed. If the moon is flashing, I know I’ve given the scene too much light and need to back off until the flashing stops—no matter how dark the foreground looks. This is where it’s essential to know your camera, and how far you can push its exposure beyond where the histogram and highlight alert warn you that you’ve gone too far.
When I’m photographing a full moon rising into a darkening sky, I push the exposure to the point where my highlight alert just starts blinking (only the brightest parts of the moon, not the entire disk, are flashing), then I give it just a little more exposure. I know my Sony a7RIII well enough to know that I can still give it a full stop of light beyond this initial flash point and still recover the highlights later. The shadows? In a scene like this they’ll look nearly black, a reality my histogram will confirm, but I never cease to be amazed by how much detail I can pull out of my a7RIII’s shadows in Lightroom and Photoshop.
I continued shooting for several minutes after this frame, and discovered later that even my final capture contained usable highlights and shadows. I chose this image, captured nearly five minutes before I quit, because it contained the best combination of color, lunar detail, and clean (relatively noise-free) Yosemite Valley.
Posted on February 24, 2019
Roll over, Ansel
Several years ago, while thumbing through an old issue of “Outdoor Photographer” magazine, I came across an article on Lightroom processing. It started with the words:
“Being able to affect one part of the image compared to another, such as balancing the brightness of a photograph so the scene looks more like the way we saw it rather than being restricted by the artificial limitations of the camera and film is the major reason why photographers like Ansel Adams and LIFE photographer W. Eugene Smith spent so much time in the darkroom.”
While it’s true that Ansel Adams and W. Eugene Smith were indeed darkroom masters, statements like this only perpetuate the myth that the photographer’s job is to reproduce the scene “the way we saw it.” And because I imagine that using Ansel Adams himself to peddle this notion must send Ansel rolling in his grave, I’ll start by quoting the Master himself:
Do these sound like the thoughts of someone lamenting the camera’s “artificial limitations” and photography’s inability to duplicate the world the “way we saw it”? Take a look at just a few of Ansel Adams’ images and ask yourself how many duplicate the world as we see it: nearly black skies, exaggerated shadows and/or highlights, and skewed perspectives that intentionally emphasize one subject over another, and on and on. And no color! (Not to mention the fact that every image is a two-dimensional rendering of a three-dimensional world.) Ansel Adams wasn’t trying to replicate scenes more like he saw them, he was trying to use his camera’s unique (not “artificial”) vision to show us aspects of the world he wanted us to see, qualities we might otherwise miss or fail to appreciate.
The rest of the OP article contained solid, practical information for anyone wanting to come closer to replicating Ansel Adams’ traditional darkroom techniques in the contemporary digital darkroom. But the assertion that photographers are obligated to photograph the world as they saw it baffles me.
You’ve heard me say this before
The camera’s vision isn’t artificial, it’s different. Dynamic range, focus, motion, and depth are all rendered differently in a camera than they are to the human eye. And while the human experience of any scene is 360 degrees, a still images is constrained by a rectangular box. Forcing images to be more human-like doesn’t just deny the camera’s unique ability to expand viewers’ perception of the world, it’s literally impossible. Which is why I’ve always felt that the best photographers are the ones who embrace their camera’s vision rather than trying to “fix” it.
For example, limiting dynamic range allows us to emphasize color and shapes that get lost in the clutter of human vision; a narrow range of focus can guide the eye and draw attention to particular elements of interest and away from distractions; and the ability to accumulate light over a photographer-controlled interval exposes color and detail hidden by darkness, and conveys motion in an otherwise static medium.
But what about that rectangular box that constrains the world of a still image? I can think of no better way to excise distractions and laser-focus viewers’ attention on the target subject than taking advantage of the camera’s finite world. While many nature photographers default to their wide angle lenses to expand the visual box surrounding their landscape images and save their long lenses for wildlife, a telephoto lens is an essential landscape tool. The world can be a busy place—in even the most spectacular of vistas, so much is happening visually that going wide in a still photo to include as much beauty as possible introduces many extraneous features, and risks shrinking the scene’s most compelling elements to virtual insignificance.
The best way to overcome wide angle scene dilution is to forego the conventional view (the first thing everyone sees), identify the aspects of the scene that make it special, and isolate them with a telephoto lens. Whether it’s a striking mountain or tree, backlit poppy, or rising moon, isolation enlarges the target subject and removes any ambiguity about what the image is about. And an intimate, up-close perspective of a subject more commonly seen from a distance can be truly mesmerizing.
About this image
I stood atop two feet of packed snow at Tunnel View, more than eight miles from Half Dome, and ten miles from the ridge that would be ground zero for the moonrise that had drawn me in the first place. Along with two other photographers who also seemed aware of the moon’s plans, I had the best (least obstructed) Tunnel View vantage point to myself. Rising full moon or not, before me the table was set for a spectacular Yosemite feast: Brand new snow glazed every exposed surface, and in the pristine winter air, Tunnel View’s veritable who’s who of Yosemite landmarks—El Capitan, Cloud’s Rest, Half Dome, Sentinel Rock, Sentinel Dome, Cathedral Rocks, and Bridalveil Fall—seemed etched into the scene. Above, dark clouds boiled atop El Capitan, while wispy fog radiated from the valley floor.
Occasionally a tourist would wander up and request help identifying Horsetail’s microscopic filament on El Capitan’s vast granite; one or two even pointed at Bridalveil Fall and asked if that was Horsetail Fall. A couple of people, blissfully oblivious to the Horsetail Fall phenomenon, simply wanted their picture taken with this iconic Yosemite backdrop.
About 150 feet down the wall to my right, at least two-dozen photographers on tripods were inexplicably crammed into a significantly less desirable view. While that vantage point gave them an acceptable sightline to Horsetail Fall (as did my own), the rest of the magnificent Tunnel View vista was partially obscured by trees. The only explanation I could muster for their odd choice was that the first to arrive for some reason set up there, and each subsequent photographer assumed that since others have set up here, this must be the spot.
While Horsetail Fall was irrelevant to my objective this evening, the overnight snow still clinging to the trees was undeniable bonus. Getting to Tunnel View had been an adventure, worse even than I’d expected, and I was glad that I’d allowed ample time. The difficulty started with a 30-minute (Horsetail Fall gawker infused) queue at the Arch Rock entrance station. My suspicion that these were mostly inexperienced photographers and tourists (who’d just read an article or seen a news segment and decided to check it out) was confirmed when I was forced to navigate a slalom course of slipping, sliding, spinning cars that had ignored the very clearly communicated chain controls. The serious photographers, those who had photographed Horsetail Fall before, or who had the sense to research the phenomenon well in advance, had been in position for the five-minute show for hours.
With the moon’s imminent arrival upon a scene that already bordered on visual overload, my plan to ensure that the main purpose of my visit didn’t get swallowed by Tunnel View’s conventional post-storm majesty was to start, while the moon was still right on the horizon, with extremely tight compositions. As the moon rose, I planned to widen my focal length, gradually including more scene and turning the moon into more of an accent.
To achieve this, I was flanked by two tripods, and had three camera bodies fired up and ready for action: my Sony a7RIII, a7RII, and a6300. Atop my Really Right Stuff TVC-24L tripod was my a6300 loaded with my Sony 100-400 GM and Sony 2X teleconverter. This combination gave me a 600-1200mm full-frame equivalent focal range (because the a6300 is a 1.5-crop APS-C sensor). When including the rising moon required reducing my focal length below 800mm, I’d switch to my higher resolution, full frame Sony a7RII. And because the moon would rise just about 20 minutes before sunset, I also had to be aware of the possibility that Horsetail Fall would fire up. To handle that possibility, and to cover all my general wide composition needs, mounted on my RRS TQC-14 tripod was my Sony a7RIII and Sony 24-105 f/4 lens.
I pointed my a6300/100-400 at the point where I expected the moon to appear about 20 minutes before sunset, zoomed all the way out to 800mm (1200mm full-frame equivalent), metered, focused, and waited. I started clicking almost immediately after seeing the moon’s leading edge nudge through the trees, refining my composition slightly after each click until I had the right balance of moon and Half Dome. It always surprises me how quickly the moon moves, speed that’s magnified tremendously at such an extreme focal length. Spending the next 40 minutes frantically changing focal lengths, switching lenses and camera bodies, re-metering and re-focusing, and bouncing between tripods, I felt like the percussionist in a jazz band.
When the moon climbed far above Yosemite Valley and the dynamic range between the daylight-bright moon and nighttime landscape made photography impossible, I paused before packing up my gear and just marveled at the beauty. Horsetail Fall had caught a few late rays of sunlight but never did completely light up. I thought about the disappointment of frigid photographers who had waited patiently in the valley below for a show that didn’t happen, and counted my blessings.
Click an image for a closer look and slide show. Refresh the window to reorder the display.
Posted on December 23, 2018
With a wide variety of spectacular and diverse east-facing views, I can think of no better place to photograph a moonrise than Yosemite. I especially like the December full moon because it aligns so well with Half Dome, not just on the night it’s full, but on the nights leading up to the full moon.
When I realized that this year’s December full moon was so close to Christmas, I almost didn’t schedule my annual Yosemite Winter Moon workshop, but then I figured that since I’ll be there anyway, I may as well. I’m so glad I did—the workshop filled, and the skies were clear enough (never a sure thing in December) that we photographed the moon on three of the workshop’s four nights, culminating in a very special moonrise to wrap up the workshop (a topic for a future blog post).
The closer it is to full, the closer to sunset the moon rises, arriving several hours before sunset a few days before it’s full, then a little later each evening before rising right around sunset on the full moon day. Since a waxing (increasing in fullness) moon is always higher at sunset than it will be the next day, with a little planning, it’s possible to time several consecutive days’ shoots to coincide with the moon rising right around sunset. For this year’s workshop I’d planned three sunset moonrises for my group, each (more or less) aligning the moon and Half Dome, getting farther from Half Dome each day.
About this image
While the first of my planned moonrise shoots was Wednesday, when the moon rose above the flat horizon about two hours before sunset, the horizon in Yosemite is anything but flat. I took my group to a favorite location beside the Merced River on Yosemite Valley’s east side, less than three miles from Half Dome, where the relatively steep view angle to the top of Half Dome means that it takes the moon a couple of hours to climb into view here.
Though not labeled on the map, this spot isn’t a secret to photographers, so I arrived about 45 minutes early, partly to allow everyone time to prepare, but also to ensure that we wouldn’t need to battle anyone else for position. I told everyone that the moon would appear at around 4:30 from directly above the top of Half Dome, and suggested that they be ready with their compositions beforehand.
My own composition had been planned long in advance—having photographed more than my share of moonrises from this wide angle location, I decided on an extreme telephoto approach this time. I added my Sony 2X teleconverter to my Sony 100-400 GM lens, mounted the pair on my tripod, and attached my (full frame) Sony a7RIII. I pointed my 800mm of focal length at Half Dome’s summit and waited. <Continues below>
I never tire of seeing the glow of the moon’s leading edge peak above the horizon, and this evening was no exception. When the moon nudged into view, the sounds of chatter and laughter were instantly replaced by clicking shutters. Watching the moon grow in my viewfinder, I adjusted my composition slightly before each click. When the moon gained separation from the granite to become fully visible, I panned slowly to the right and saw that with the right framing it would appear nestled into a subtle bowl-shaped curve atop Half Dome and locked in a composition that would last for a few minutes as the moon continued its ascent. A thin wisp of cloud scooted through the scene as I clicked this frame, lit by the day’s final rays.
One more thing
Looking at the distant world at 800mm reveals previous invisible detail. So once I’d settled on a composition that I could stick with for a few clicks, I allowed my eye wander the frame and noticed dangling icicles lining Half Dome’s rim. I continue to be blown away by the sharpness of the Sony 100-400; not only is this lens unbelievably sharp, I literally cannot tell a difference when I pair it with the Sony 2X teleconverter.
Posted on February 4, 2018
Much of my photography is about juxtaposition of elements with the landscape. Sometimes that’s simply combining static terrestrial features, but when possible I try to add something more dynamic, such as meteorological subjects like lightning or a rainbow, or celestial objects like the Milky Way or the Moon. The challenge with dynamic juxtapositions is timing—while the meteorological juxtapositions are usually a matter of playing the odds, celestial juxtapositions are gloriously precise.
Just as the Earth revolves around the Sun, the Moon revolves around Earth; at any point in this celestial dance, half of Earth is daylight and half is night, while half of the Moon is lit and half is dark. The amount of the Moon we see (its phase) depends on the relative position of the Sun, Moon, and Earth in this dance, and once each month all of the sunlit side of the Moon faces the dark side of Earth, and we Earthlings enjoy a full Moon.
This alignment of three or more orbiting celestial bodies necessary for a full (and new) Moon is called ‘syzygy.’ Due to the Moon’s orbit around Earth, the Sun, Earth, and Moon achieve syzygy twice each lunar month: once when the Moon is between the Sun and Earth (a new Moon), and again when Earth is between the Sun and Moon (a full Moon).
The Moon completes its trip around Earth every 27.3 days, but it takes 29.5 days to cycle through all its phases, from new to full and back to new again. The Moon’s phases need that extra 2+ days because as the Moon circles Earth, Earth also circles the Sun, taking the syzygy point with it—imagine a race with a moving finish line.
Viewed from Earth, the Sun and Moon are on opposite sides of the sky when the Moon is full, so a full Moon rises in the east at sunset and sets in the west at sunrise. We rarely see a full Moon rising exactly as the Sun sets (or setting as the Sun rises) because: 1) the point of maximum fullness (when the Sun, Earth, and Moon align perfectly) only happens at one instant on the full Moon day—at every other instant of each month’s full Moon day, the Moon is merely almost full (but still full enough to appear full); 2) published Sun/Moon rise/set times assume a flat horizon—if you have mountains between you and the horizon, your view of the true Sun/Moon rise/set is blocked; and 3) The more extreme your latitude (angular distance from the equator), the more skewed the Sun/Moon alignment appears.
Knowing this, it should make sense that the closer the Moon is to full, the longer it’s in the night sky, and a full Moon is in the sky all night long. Less intuitive but very important for lunar photographers to know, each day the Moon rises an average of 50 minutes later (between 30-70 minutes) than it rose the previous day—I usually mentally round to an hour for quick figuring.
If the Moon orbited Earth on the same plane Earth orbits the Sun, we’d have an eclipse with each syzygy: every new Moon, Earth would pass through the Moon’s shadow and somewhere on Earth would experience a solar eclipse; every full Moon the night side of Earth would witness a lunar eclipse as the Moon passes into Earth’s shadow. But the Moon’s orbit is tilted about 5 degrees from Earth’s orbit, making the perfect alignment an eclipse requires relatively rare.
It turns out that the alignment of the Sun, Earth, and Moon necessary for a lunar eclipse happens from two to four times each year. Of these, about one-third are total eclipses, when Earth’s shadow completely covers the Moon. At totality, most of the sunlight illuminating the Moon is blocked by Earth, and the only light to reach the Moon has passed through Earth’s atmosphere, which filters out all but the long, red wavelengths. For the same reason sunsets are red, during a total lunar eclipse we see a red or “blood” Moon.
Putting it all together
As frequent and familiar as the rise and set of the Moon is, the opportunity to witness the beauty of an eclipse is rare. But in the last six months, after being shut out by schedule or weather for many years, I’ve managed to photograph my first total solar and lunar eclipses. I wasn’t able to juxtapose the August solar eclipse with a favorite landscape, but I wasn’t going to let that happen again for last week’s lunar eclipse.
Viewed from Death Valley’s Zabriskie Point in winter, the setting full Moon’s azimuth aligns nicely with Manly Beacon, one of the park’s most recognizable features. Though this year’s alignment was particularly good, the morning of the eclipse was a day earlier than I’d normally photograph the Zabriskie Point moonset—the next day the Moon would be setting about 45 minutes later, providing ample time to photograph the landscape in the warm early light before the Moon descended behind the Panamints. Nevertheless, I decided that a total lunar eclipse trumps everything, and since Zabriskie was the best place for the eclipse, that’s where we were.
We started with telephoto compositions of the beautiful “blood Moon” phase because there wasn’t enough light to include the eclipsed Moon with the landscape without compositing two exposures. Composites are fine, but I prefer capturing scenes with one click. For wider images that included the landscape I waited until totality had passed, shortly before the Moon set, and switched to the Sony/Zeiss 24-70 with my Sony a7RIII, moving my Sony 100-400 GM to my Sony a7RII.
I captured this image about 25 minutes before sunrise, normally too early to capture landscape detail without over exposing the Moon. But this morning, following the total eclipse, the lit portion of the moon was still darkened by Earth’s penumbral shadow, which reduced the dynamic range to something my cameras could handle.
To enlarge the Moon and emphasize its juxtaposition with Manly Beacon, I went with the 100-400. With my composition and focus set, I slowly dialed up the shutter speed until I saw my a7RII’s pre-capture “zebra” highlight alert. After clicking I magnified my image preview and examined the moon to confirm that I did indeed still have detail. The foreground was quite dark on my LCD, but my histogram indicated the shadows were recoverable, something I later confirmed in Lightroom.
Click an image for a closer look and slide show. Refresh the window to reorder the display.
Posted on February 1, 2018
Since everyone else seems to be doing it, I thought I’d join the party….
I always schedule my Death Valley workshop to coincide with the January (or early February) full Moon, so it was just a coincidence that North America’s first super (a full Moon that’s within 90 percent of its closest approach to Earth), blue (the second full moon of a given month), blood (a lunar eclipse: a full Moon that passes into the Earth’s shadow and is bathed in light stripped of all but its red wavelengths by Earth’s atmosphere) Moon in 150 years coincided with my workshop. But since we were already there….
I got my group up to Zabriskie Point at around 4:30, well into the eclipse but before totality. Unlike most group photo events I’ve experienced, this morning’s crowd at Zabriskie was a little subdued—I suspect due to the early hour. Compared to the solar eclipse I photographed last August, a lunar eclipse moves with the speed of a glacier. While it was underway, I was able to assist my workshop students, set up my own equipment, switch lenses and camera bodies, experiment with exposure, gawk at the spectacle, and still had plenty of time to chat, laugh, and marvel with the rest of my group.
Starting with my Sony a7RIII, Sony 100-400 f/4 GM, and Sony 2x teleconverter, I cranked my focal length all the way out to 800mm and started clicking. After a while I pulled out my Sony/Zeiss 24-70 f/4, putting it on the a7RIII and switching the telephoto setup to my a7RII. Since time wasn’t a concern, I only used one tripod, switching the two bodies back and forth as my needs dictated.
Throughout the eclipse the Moon was softened by a thin layer of cirrus clouds. This image is among my first of the morning, before the Moon reached a band of denser clouds close to the horizon. I ended up with more creative captures, but those will need to wait for another day.