Posted on December 30, 2018
I’ve always struggled with the “top-whatever” end-of-year countdown of my favorite images because the choices are so subjective and mood dependent, and so many images are favorites as much for their memories as they are for their aesthetic value. And coming up with a predetermined number is arbitrary, and inevitably requires choices I don’t want to make and will almost certainly regret later. One year I may have only seven or eight images that thrill me; the next year I might have two dozen. This year I chose 27, and I still have some left to process.
So rather than attempt to rate and rank my images at year’s end, I prefer using them as a catalyst for reflection. Each December I go through everything I’ve processed from the waning year (this year I know of several that would certainly qualify as a highlight but they’re as yet unprocessed) think about the circumstances of their capture.
I remember the New Year’s Eve solo drive to Yosemite to photograph the full moon rising behind, followed by a night drive to the other side of the Sierra (a six hour drive in winter) where I hoped to capture the full moon setting behind Mt. Whitney. The Yosemite part of that trip was spectacular, the Mt. Whitney half was a photography flop, but I enjoyed the entire journey.
I remember nearly a month in New Zealand, photographing the South Island’s unmatched beauty in its most beautiful season (hint: brrrrrrr). In New Zealand I hiked on a glacier, photographed the (far superior) Southern Hemisphere version of Milky Way, was chased through a fjord by leaping dolphins, witnessed one of the most vivid crimson sunrises I’ve ever seen, and logged hundreds of quality kilometers with a group of wonderful people.
I remember a solo drive to Yosemite to photograph fresh snow, never a sure thing regardless of the forecast. I approached Yosemite on the evening prior, I felt like a lone spawning salmon fighting up current against the continuous stream of headlights evacuating Yosemite in advance of the storm. I settled into my room in dark and dry Yosemite Valley, and woke to so much snow that I couldn’t find my car. I’m convinced there is nothing, nothing on Earth more beautiful than Yosemite Valley with fresh snow, and with the park mostly vacant and the noise-damping quality of powdery snow, for a few hours I felt like I had heaven all to myself.
I remember chasing lightning on the Grand Canyon’s North Rim, the thrill (and relief) when everyone in both workshop groups captured lightning, and an especially spectacular lightning storm that started in the telephoto distances and chased us to the cars. This year’s Grand Canyon workshops were altered by fires burning in and near the park and I feared that they’d spoil the photography—instead, in addition to all the lightning, we ended up with spectacular red-rubber-ball sunrises and sunsets that allowed genuinely unique images in this heavily photographed destination.
I remember arriving on the Big Island shortly after Kilauea had shut down after 35 years of continuous eruption, and discovering that between the just-concluded Kilauea eruption and the recently depart remnants of Hurricane Lane, I’d lost nearly half of my locations. Instead I ended up finding alternate photo spots that I like even better than the ones I lost. The high point (literally and figuratively) of that trip turned out to be a chilly, first-ever sunset and Milky Way shoot from atop 13,800 foot Mauna Kea.
I remember my Yosemite Fall Color workshop group finding Yosemite Valley at peak fall color, and three beautiful moonrises in my just concluded winter moon workshop. And while thousand of photographers jockeyed for position beneath bone dry Horsetail Fall in February, my workshop group set up elsewhere and photographed one of the most beautiful sunsets of the year.
I remember way back in January, along with my Death Valley workshop group, photographing my first-ever lunar eclipse (on the heals of my first-ever solar eclipse in August of 2017).
And I remember trudging through Grand Canyon sand by starlight to a spot that I’d decided before nightfall was probably not a good Milky Way candidate, and discovering that I was wrong. It turned out the level of the Colorado River level had changed in the night, replacing mushy sand with a swirling pool that rendered the Milky Way’s reflection as a luminous abstract.
I could go on and on about my memories of 2018, but all these great memories also remind me of the unknown highlights in store for 2019. Certainly the planned trips, which include my first-ever Iceland visit (with Don Smith in preparation for our 2020 workshop), my first-ever Oregon Coast workshop (with Don Smith), another raft trip through the Grand Canyon, a return visit to New Zealand, and on and on. But what excites me more than anything is the inevitable surprises, those special moments that dazzle when dazzling is the last thing you expect. Bring it on!
(Click an image for a bigger view, and to see a slide show)
Posted on May 25, 2016
A couple of weeks ago I blogged about shooting sans tripod on my recent Grand Canyon raft trip. My rationale for this sacrilege was that any shot without a tripod is better than no shot at all. I have no regrets, partly because I ended up with Grand Canyon perspectives I’d have never captured otherwise, but also because shooting hand-held reinforced for me all the reasons I’m so committed to tripod shooting.
Much of my tripod-centric approach is simply a product of the way I’m wired—I’m pretty deliberate in my approach to most things, relying on anticipation and careful consideration rather than cat-like reflexes as my path to action. That would probably explain why my sport of choice is baseball, I actually enjoy golf on TV, and would take chess or Scrabble over any video game (I’m pretty sure the last video game I played was Pong). It also explains, despite being an avid sports fan, my preference for photographing stationary landscapes.
Despite this preference, for the last three years my camera and I have embarked on a one week raft trip through Grand Canyon, where the scenery is almost always in motion (relatively speaking, of course). And after three years, I’ve grown to appreciate how much floating Grand Canyon is like reading a great novel, with every bend a new page that offers potential for sublime reflection or heart pounding action. And just as I prefer savoring a novel, lingering on or returning to passages that resonate with me, I’d love to navigate Grand Canyon at my own pace. But alas….
The rock in this image was a random obstacle separated from the surrounding cliffs at some time in the distant past, falling victim to millennia of dogged assault by rain, wind, heat, cold, and ultimately, gravity. Understanding that the river is about 50 feet deep here makes it easier to appreciate the size of this rock, and the magnitude of the explosion its demise must have set off.
Unfortunately, viewing my subject at eight miles per hour precludes the realtime analysis and consideration its story merits, and I was forced to act now and think later. In this case I barely had time to rise, wobble toward the front of the raft, balance, brace, meter, compose, focus, and click. One click. Then the rock was behind me and it was time to turn the page.
Posted on May 23, 2016
Who knew there could be so much intimate beauty in a location known for its horizon stretching panoramas? In fact, there are so many of these little gems that I run out of unique adjectives to describe them. Springing from a narrow slot in the red sandstone to plummet 180 feet to river level, Deer Creek Fall is probably the most dramatic of the many waterfalls we see on the raft trip.
Last year we stayed at Deer Creek Fall long enough to photograph it, but not long enough to explore. The prior year, on my first trip, we spent a couple of hours here; with temperatures in the 90s, most of the group photographed from the bottom, then cooled off in the emerald pool at its base. But a few of us took the relatively short, fairly grueling, completely unnerving trail to the top. Grueling because the route is carved into the sun-exposed sheer wall just downstream from the fall; unnerving because just as you’re catching your breath atop the slot canyon feeding the fall, you realize that continuing requires navigating about 20 feet of 18 inch wide ledge in the otherwise vertical sandstone. With no handhold and a 75 foot drop to the creek that may as well be 750 or 7500 feet (the outcome would be the same), I studied it for about five minutes. Watching the guides stride boldly across without hesitation, in flip-flops, did little to quell my anxiety. I finally sucked it up and made it to the other side, but once was enough.
This year, thanks to some deft planning by our lead guide, we scored the campsite directly across the river from the fall. He deposited the group at the fall, then motored across the river with another guide to get the camp started. The two other guides led a hearty group up the trail to the top, while the rest of us explored with our cameras at river level.
Already familiar with scenes down there, I scaled a boulder-strewn notch in the rocks just upstream to an elevated platform with great top-to-bottom view of the fall. Up here I found enough foreground options to keep me happy for the duration of our stay, and was so engrossed that I was completely unfazed by the verticality of my surroundings.
As I worked the scene, I eventually honed in on a vivid green shrub that stood out against the red sandstone, ultimately landing on variations of the composition you see here. Working this scene I dealt with intermittent showers, a fickle wind that ranged from nearly calm to frustratingly persistent, and a real desire for depth of field throughout my frame. After a number of frames at f16, I magnified an image on my LCD enough to see that the shrub was sharp, but the background was just nearly sharp. As much as I try to avoid anything smaller than f16, I stopped down to f20 and refocused a little farther back, about three feet behind my shrub. Another check of my LCD confirmed that everything from the nearby rocks to the background plants was sharp.
Our campsite that night was less than spacious (think compact condo living as opposed to sprawling suburban subdivisions), but definitely worth the close confines for the view alone. This stay across from Deer Creek Fall turned out to be memorable for one other event that happened later that evening, but that’s a story for another day….
Posted on May 19, 2016
Every once in a while an image so perfectly captures my emotions at the moment of capture that I just can’t stop looking at it. This is one of those images.
After two relatively benign days of peaceful floating punctuated with occasional mild riffles and only a small handful of moderate-at-best rapids, the group was feeling pretty comfortable on the river. But our guides had made it pretty clear that we hadn’t really encountered anything serious yet, and most in the group were a little anxious about what was in store for day-three—”rapid day.”
Our second night’s camp was a few miles downstream from the Little Colorado River, just ten minutes upstream from Unkar, our first major rapid. I could tell people were getting a little anxious because, as the only person on the trip to have done it before (this was my third trip in three years), I spent much of the evening reassuring people that while the rapids were indeed an E Ticket ride (on that scale, we’d so far navigated no more than two C Tickets), they were more thrilling than threatening. Of course I had to qualify my reassurance with the disclaimer that last year Unkar, tomorrow’s very first rapid, had tossed me from the raft and into the Colorado.
With 28 rafters and 4 guides, my group filled two J-Rig rafts— massive, motorize floating beasts with room for 15+ people and more than a week’s worth of supplies and equipment. When we’re just floating with the current, J-rig rafters can stand and stretch, and even wander around the rafts with relative ease. But when a rapid approaches, we have to hunker down and lock onto the designated hand-holds in one of the raft’s three three riding zones:
The next morning we pushed off a little before 8:00. I’d decided before the trip that, given our history, I wanted to be up front for Unkar. I was joined on the tubes by only one other rafter, while everyone else, uncertain about what was in store, crammed into the two back areas. (We called our other raft the “party raft”—their tubes were packed with rafters throughout the trip.)
Approaching Unkar, the guides’ moods changed: Wiley cut the engine, and we drifted toward the downstream roar while Lindsay delivered a serious lecture about rapid survival. Adding to the tension, on her way back to her seat, for the first time Lindsay checked everyone’s lifejacket and hand holds. Then, before we had a chance panic, the engine fired, the river quickened, and the raft shot forward and plunged into the whitewater.
A major rapid assaults many senses at once. The larger rapids pummel you with a series of waves that toss you in multiple directions at once and barely give a chance to recover before the next rapid tosses you in directions you didn’t know existed. The largest rapids, like Unkar, have multiple stomach-swallowing drops and ascents; you soon learn that the largest are nearly vertical, horizon-swallowing, down/up cavities that run green and smooth with a garnish of churning whitewater dancing on top. Depending on how the raft hits a wave, we could ride over with barely a splash, or crash through in a full emersion baptismal experience.
The soundtrack to the rapid’s visual, tactile, and equilibrium experience is a locomotive roar mixed with screams. You know the ride’s over and you’ve survived when the screams turn to shouts, and finally laughter as everyone dares to take their eyes from the river to make eye contact with the other survivors.
Unkar turned out to be one of the bigger—but definitely not the biggest—rides of this year’s trip. When it spit our boat out the other end, I uncurled my fingers from the ropes and shook the water free, checked all my parts to ensure they were as they were when we entered, then scanned my fellow rafters for their reaction to their first major rapid. The euphoria was clear, and I think if it had been possible, the vote to do it all over would have been unanimous.
As I suspected might happen, surviving Unkar emboldened the group; by the end of the day and for the rest of the trip, we had far more people riding on the tubes, with the limiting factor not so much fear as it was the 47 degree river water with an uncanny ability to penetrate even the most robust “waterproof” rainwear.
That evening, thirty-plus major rapids (and at least as many lesser rapids) farther downstream, we pulled into camp soggy and sore, but far from beaten. The afternoon had turned showery, and the showers persisted as we set up camp, slowing our drying more than adding to our wetness. While the guides prepared dinner in a light drizzle, I wandered down to the river to survey the photo opportunities. I found pictures everywhere—upstream, downstream, across the river—but rather than dive right into my camera bag, I first took the time to savor my surroundings.
The canyon’s pulse, the river’s ubiquitous thrum echoing from rocks that predate the dinosaurs, is simultaneously exhilarating and meditative. Unable to bottle this exquisite balance to take back with me, I turned to my camera, hoping for the next best thing—an image that will bring me back.
Shortly before sunset the rain stopped and sunlight fringed openings in the thinning clouds. By this time several others in the group had joined me at the river’s edge, each camera pointing at a different scene. I’d found mine, I soon tired of the limited foreground options and set out across a field of river-rounded boulders, hopping in my flip-flops toward a promising formation of rocks protruding from the river about a hundred yards away.
It wasn’t until I was all the way there that I realized that the solitary plant I could see protruding from the river wasn’t going to be a distraction to deal with, it was going to be my subject. As the sky colored and darkened, I kept working on this one little plant, positioning and repositioning until the plant, surrounding rocks, and looming peak felt balanced. The final touch that tied the scene up came when I moved a little closer and raised my tripod to its apex so my plant was isolated entirely against the river.
After spending a little more time with this image, I better appreciate why the scene resonated with me then, and why I feel so drawn to it now. The river is rushing here, flaunting the power that tossed and drenched me and my fellow rafters all day, yet this small plant stands motionless for the duration of an exposure that exceeds one second. I admire its calm, the way it towers unfazed above the force that carved this magnificent chasm.