Posted on December 27, 2020
Being a photographer is more than just capturing images, it’s also very much the experiences that go with their capture. So looking back on a year most notable for its lowlights, and browsing a portfolio that’s by far the smallest of any year since I’ve called myself a photographer, I’m surprised by the number of 2020 experiences that give me shear joy to relive.
So far so good
January 2020 kicked off what appeared to be shaping up to be a banner year, with wonderful conditions in Death Valley and the Alabama Hills: reflections at Badwater, a Zabriskie Point moonset, and a series of beautiful sunrises and sunsets. The year’s first month wrapped up in Iceland with too many highlights to mention, but none more memorable than back-to-back northern lights shoots on the workshop’s final two nights. February followed with some fantastic moonrises in Yosemite—so far so good.
Hit the brakes
Then came March, and the world shut down. Since the end of February, I’ve had to cancel 11 workshops. Lost to COVID and (in one case) wildfires were the Oregon and New Zealand workshops I share with Don Smith, two Yosemite spring workshops, my Grand Canyon raft trip, two Grand Canyon monsoon workshops, and the Eastern Sierra workshop. I was finally able to squeeze in the Yosemite fall color workshop in October, but have since had to cancel the upcoming Iceland workshop (also a collaboration with Don Smith) in January 2021.
After wallowing in the isolation of a severely socially distanced spring, early summer arrived and out of nowhere came Comet NEOWISE. I’ve been comet-obsessed since I was 10 years old, so the opportunity to photograph what is arguably the most breathtaking phenomenon to grace the heavens (rivaled only by the northern/southern lights and a total solar eclipse) above Yosemite and the Grand Canyon, was just the elixir I needed. While my two Yosemite trips were comet-specific (8 hours of driving for about an hour of photography each time), my Grand Canyon trip was a (socially distanced) multi-day affair that also featured lightning and beautiful monsoon skies.
After the Grand Canyon in late July, I didn’t really get to do much photography until my Yosemite fall color workshop in late October—a real treat that enabled me to share with a group Yosemite at its autumn, reflective best. Not only was the photography nice, it was a joy to be back with a group of enthusiastic, fun photographers.
Then, just a week later, I hit the jackpot, spending a day in Yosemite photographing snow falling on peak fall color—not just a highlight of my year, but a highlight of my photography life. And finally, in early December I arranged a last-minute gathering with a few of my favorite photography friends to photograph a Yosemite Half Dome moonrise.
Quality (of experience) over quantity (of images)
Compiling the 2020 Highlights gallery at the bottom of this post, I’ve chosen not to focus on the opportunities lost in 2020, but instead to count the blessings I was granted. From sharing the northern lights with an ecstatic group of photographers/friends, to watching the miracle of Comet NEOWISE suspended above two of the most beautiful locations on Earth, to a magical day photographing Yosemite Valley with fresh snow on fall color, 2020 brought me memories that will stand as some of the most outstanding of my life. I can’t say that I’m not looking forward to 2021 more than I look forward to most new years, but I’m going to let 2020’s losses fade in favor of its indelible highlights.
Click the image for the rest of the story (and check out the entire gallery at the bottom)
Click an image for a closer look, and to view a slide show.
Posted on October 25, 2020
One of the great joys of making my living photographing nature is the opportunity to witness the most beautiful scenes in the world. The problem is, most of these places aren’t a secret, so it can be difficult to have them at their best: alone. Fortunately, the best time to take pictures is usually the worst time to be outside—like rain and snow, freezing cold, and ungodly hours. To this list of good times to take pictures, this summer I added one more: During a global pandemic.
In July my brother Jay and I made two visits to Yosemite to photograph Comet NEOWISE, and one to the Grand Canyon to photograph lightning. With the world largely shutdown due to the pandemic, we got to experience firsthand what it must have been like to visit these congested summer destinations before they were overrun by tourists. I remember circling Yosemite Valley on our first visit and feeling disoriented by the lack of cars and the abundance of relaxed wildlife just chilling in the meadows and on the roadside. And at the Grand Canyon, with just two days notice, I was able to get a room just a few hundred yards from the rim for a rate I’d have been thrilled to get in the dead of winter.
One particular highlight in this year achingly short of highlights came on our last night at the Grand Canyon. Though we’d made this trip primarily because lightning was in the forecast, I also knew that rapidly fading Comet NEOWISE would be hanging in the northern sky after sunset. Unfortunately, the vestiges of those thunderstorms we’d come to photograph blocked most of our comet views. We struck out completely on the first night, but the second night we enjoyed a short but sweet comet shoot at Grandview Point before the clouds moved back in. The arrival of clouds following a successful shoot is often enough to send me packing, but having not seen a single other person our entire time out there, I wasn’t quite ready to let go of the opportunity to experience glory the Grand Canyon in absolute solitude.
Instead of driving back to our hotel, we continued east along the rim, all the way to the end of the road (normally this road continues to Cameron and beyond, but it was closed near the park’s east entrance), ending up at Navajo Point. I had little hope for more glimpses of NEOWISE, but with a view that really didn’t need any help, I set up my camera anyway. Though it was impossible for Navajo Point to be any more empty or quiet than Grandview Point had been, I think the distance from civilization made us feel even more isolated.
Beneath a mix of clouds and stars, Jay and I photographed and gazed for about a half hour. With the canyon illuminated by the light of a 25% waning crescent moon, we could see clearly all the way down to the river. But my Sony a7SII (long my dedicated night camera, since replaced by the Sony a7SIII) did even better, pulling seemingly invisible detail from the darkest shadows. Just as we were about to leave, the clouds parted and there was NEOWISE, as if it wanted to say farewell before embarking on its multi-millennia journey to the fringe of our solar system. I clicked a few frames before the clouds snapped shut and bid my friend goodbye.
I’m not going to pretend that the pandemic was a good thing, or that I’m in any way happy that it happened, but I’ve always believed that our state of mind is what we make it. Like everyone else, I can’t wait for things to return to normal, but when I find myself dwelling on the countless negatives of 2020, I try to remind myself of the year’s blessings that wouldn’t have happened otherwise. Perhaps small consolation in light of all the loss, but this night on the rim of the Grand Canyon was one such blessing, not just a high point of my year, but a high point of my life.
Posted on August 30, 2020
The feel at the Grand Canyon is expansive, while standing amidst Yosemite’s towering monoliths, the feel is more intimate
I love photographing weather, and because Yosemite’s and the Grand Canyon’s distinctions affect the way their weather is experienced, their weather very much factors into the way I photograph them. In Yosemite Valley I feel like I’m actually in the weather, which is why, for better or worse, when a storm rages in Yosemite, I like to venture out into it. From swirling clouds to fresh snow, these adventures are the source of many of my favorite Yosemite images
At the Grand Canyon, on the other hand, the best photography happens when I feel like I’m photographing someone else’s weather, so when a storm approaches, I try to retreat to a place where I can observe it from a distance. Even when lightning doesn’t make this a safety choice, I like to stand back and observe the weather. Standing on the rim, I can be high and dry beneath bland skies while photographing some of the most exquisite beauty I’ve ever seen. Often that’s lightning, rainbows, or a vivid sunrise/sunset, but sometimes it’s just the play of clouds and light in and around the layered red rocks and tributary canyons.
Last month my brother and I traveled to the Grand Canyon, primarily to photograph lightning and Comet NEOWISE. NEOWISE came through wonderfully, but the lightning not so much. I lost track of the number of times I trained my camera on a promising cell that didn’t deliver, but thankfully lightning is not a prerequisite for great Grand Canyon photography.
This image is the product of one such disappointing lightning shoot. I’d watched the cell move toward the rim from the south and would have bet money that it was bringing lightning with it. I set up my tripod, mounted my Sony a7RIV and Lightning Trigger, and waited with my eyes locked on the rain curtain, willing with all the effort I could muster the lightning to manifest. But alas, as happened far too frequently on this trip, the lightning fizzled. But lightning or not, I couldn’t help appreciate the drama unfolding when a band of heavy rain sped across the canyon. It only took about four minutes for this rain band to span the width of my frame and fizzle as it approached Wotan’s Throne on the North Rim (just out of the frame on the right).
I’d be lying if I said I rushed back to my room and instantly downloaded and processed this image, but working on the images from this trip, this moment stuck in the back of my mind. After I’d gone through the lightning images (exactly one worthy of processing), and the NEOWISE shoots (far more productive), I did another pass looking for some of the beautiful clouds and light that had blessed us, including this wet cell’s brief sprint across the canyon. When I found it I was pleased to see that the moment was indeed as dramatic as my memory.
Click an image for a closer look, and to view a slide show.
Posted on August 9, 2020
As soon as I announced that I’d purchased the just-announced Sony a7SIII, people started asking why I wanted a 12 megapixel camera when I already have a 61 megapixel Sony a7RIV (two, actually). When I hear these questions, I realize the myth that megapixels are a measure of image quality is still alive. The truth is, megapixels are a reflection of image size, not image quality. In fact, for any given technology, the fewer the megapixels, the better the image quality.
Without getting too deep into the weeds of noise and clarity in a digital image, it’s safe to say the the more efficient a sensor is at capturing light, and the less heat the sensor generates, the better it will perform in these areas. How do you make a sensor more efficient? Well, you start with bigger photosites to catch more light. And how to keep the sensor cool? Give your photosites more room to breathe. But how do you make your photosites both bigger and farther apart without increasing the size of the sensor? It doesn’t take a rocket scientist to conclude that reducing the number of photosites is the only way to achieve both of these objectives.
So why do the manufacturers keep giving us more photosites? (My last rhetorical question, I promise.) Well first, advances in technology make it possible to cram more photosites onto a fixed-size sensor without compromising image quality (and in fact, often while still improving image quality). But more important that is the sad, simple truth that megapixels sell cameras.
Don’t get me wrong, I think megapixel count is great and am all for as many megapixels as I can have—as long as they don’t come at the expense of image quality. The more megapixels you have, the more you can crop, and the larger you can print. While cropping is a nice safety net, goal should be to get the composition right at capture. And before chasing more megapixels, you should ask yourself how large you need to print, and how many megapixels you need to do it. Whenever this question comes up, I think about an image that I have printed 24×36 and hanging in my home. It’s an extreme close-up of a raindrop festooned dogwood flower, with Bridalveil Fall in the background. I can stand six inches from this 24×36 print and not feel like it’s missing any detail, from its delicate spider web filaments to the small dust particles suspended in the raindrops. All this was captured as a jpeg on my first DSLR, a 6 megapixel Canon 10D.
So given all this, you may be wondering why my primary camera is a 61 megapixel Sony a7RIV, with a second a7RIV as my backup. Well, like I said, all things equal, more megapixels are better than fewer megapixels, and for the vast majority of the natural light landscapes, on a tripod, that I photograph, my a7RIV bodies give me cleaner, higher resolution images than I ever dreamed possible. The dynamic range is the best I’ve ever seen, and my high ISO images are as good as any primary body I’ve ever owned. They’re so good, in fact, that last year I set aside my dedicated night camera, my 12 megapixel Sony a7SII, in favor of the a7RIV. I was getting such good results after dark with the a7RIV, I figured I could sacrifice a little low light performance to lighten my bag.
And for the most part I was satisfied—I’ve now used it enough at night to know the a7RIV is hands down the best night camera I’ve used that’s that not an a7S (original, or a7SII). But photographing Comet NEOWISE last month in Yosemite, I started to wonder if I might have been too quick to jettison the a7SII. My images were clean enough, but if I could get even less noise…
If you follow me regularly you know that I’m a one-click shooter—if I can’t get an image with one click, I don’t shoot it. That doesn’t mean I think it’s wrong to composite night images, but that approach doesn’t give me satisfaction, and I don’t like the artificial look of images that have clearly been blended. The analogy I like to use is the difference between applying a little make-up (dodging/burning and noise reduction in Photoshop), and submitting to cosmetic surgery (blending multiple exposures captured at different times, or with completely different focus and exposure settings). (There’s also a third option that’s more of a Frankenstein solution that involves assembling images from two different scenes, that I don’t even consider real photography.) My one-click approach means I have to live with more noise in my night images, but anyone viewing them knows that that truly is what my camera saw.
So anyway… For my Grand Canyon trip a couple of weeks ago, I decided to dust off the a7SII and give it a shot at Comet NEOWISE. My plan was to concentrate on the park’s east vistas to get away from the lights of Grand Canyon Village. Desert View was closed, but all the other vistas—west to east: Grandview, Moran, Lipan, and Navajo Points—were open for business. So during the day, while chased lightning out on the east end, at each stop I made a point of firing up my astronomy apps to figure out where the comet would be after dark.
Knowing that at about an hour after sunset, NEOWISE would be the northwest sky just a few degrees west of the Big Dipper (which would be dropping and rotating closer to due north as the night wore on), I decided that Grandview Point would be the best place to get it above the canyon. After it rotated farther north, I liked the way NEOWISE aligned with the canyon from the more eastern vistas. On that first night I got about 45 minutes of clear enough skies before the clouds returned.
For this trip I’d brought two tripods so I could simultaneously shoot with both the a7SII and a7RIV. On the a7SII I mounted my Sony 20mm f/1.8 G lens; on the a7RIV was the Sony 24mm f/1.4 GM lens. For both cameras I had long exposure noise reduction turned on (because with the Sonys it does make a difference for exposures measured in seconds). LENR doubles the capture time, which gave me at least 30 seconds between each shot, making it really easy to switch back and forth between cameras.
Having both cameras set up side-by-side like this, I was reminded what a nighttime monster the a7SII is—even though the a7RIV had a slightly faster lens, I could see the dark scene much better with the a7SII. I wouldn’t know how much cleaner the a7SII files would be until looked at them on my computer, but what a joy that camera is to work with in the dark.
I went with relatively few compositions, but varied my exposures for each for more processing options later. To focus, I just picked a star in my viewfinder, magnified it to the maximum, and dialed my focus ring until the star became the smallest dot possible. And even though that’s usually enough to ensure a sharp image, each time I focused I verified sharpness by magnifying the captured image in my viewfinder and checking the detail in the canyon.
I was thrilled by how much light the 20% waxing crescent moon cast on the scene. While the moonlight wasn’t noticeable to my eye, and didn’t seem to wash out the stars at all, it did cast enough light to bring out more canyon detail in my images. The small meteor that scooted through the Big Dipper during this frame was a welcome bonus that surprised me when I reviewed the image later.
When I finally got back to the room and looked at my images from that night a little more closely, the a7SII images were noticeably cleaner, so much so that when I went back out to photograph the comet the next night, I didn’t even set up the a7RIV. Is the a7RIV bad for night photography? Absolutely not. In fact, to capture 61 megapixel, high ISO, long exposure images as clean as the a7RIV does feels like cheating. But given my one-shot paradigm, and the fact that 12 megapixels is more than enough resolution for pretty much any use I can think of (for me—you need to decide for yourself how much resolution you need), for dark sky night photography, my vote goes the a7SII’s cleaner files and ease of use.
Some of my fellow Sony Artisans got to preview the a7SIII, but since it’s primarily billed as a video camera and I don’t really do video (yet), I’ll have to wait until mine arrives at the end of September (fingers crossed). But the reports from my colleagues about the a7SIII’s high ISO performance have me salivating.
Posted on August 2, 2020
Ten days ago my brother and I drove to the Grand Canyon to photograph the monsoon—you can read the story of our trip in my previous blog post.
I don’t get tired of photographing lightning. My brother Jay and I timed last month’s trip because the forecast promised lots of lightning, and though we did indeed see a lot of lightning, most of it was actually too close to photograph. Each day Jay and I headed out right after breakfast, stayed out most of the day, and returned to our room around dinnertime with lots of nice images, but no lighting to show for our effort.
I like to stand on the rim of the Grand Canyon and photograph lightning up, down, or across the canyon, but most of the lightning we saw was either coming up behind us, or right on top of us. The frustrating reality of lightning photography is that when there’s too much, it’s usually too close. How close? Fixing dinner one evening, we saw a bolt hit about 50 yards from our room. And one afternoon on the rim, while watching a storm approach from the south and hoping it would hold together long enough to make it over the canyon, I reached to adjust my camera and got a shock—we were back in the car within five seconds.
Given all the lightning we dodged on the South Rim, had we been on the North Rim, we’d have had a field day—but on the South Rim, all we got was wet. Despite our frustration, on our last day the forecast was again promising, so we went back out filled with optimism. As we had on our previous days, we pointed our cameras at lots of promising cells with no success. Lots of dry frames—shutter clicks when the Lightning Trigger detects lightning that wasn’t visible or in my frame (I could have turned down the sensitivity, but don’t usually do that until I’ve had some success)—but just one meh lightning strike I knew I’d never process. That’s just the way lighting photography goes.
But I’m nothing if not persistent, which is how we found ourselves out near Lipan Point late that final afternoon. Despite our lack of lightning success, we’d had a lot of the otherwise spectacular photography that the monsoon often delivers—billowing clouds, dark curtains of rain, light shafts, dappled light, and gorgeous sunset color—and this afternoon was no exception. I was composed on a broad area of falling rain that looked moderately promising, resigned to the fact that it too would probably fizzle (but nevertheless appreciating the gorgeous light and clouds), when a single bolt fired across the canyon. It caught me so off guard that I almost didn’t believe it, but I heard my camera click and Jay exclaim, so I marked the frame (took a picture of my hand to make it easier to find among the hundreds of empty frames) and crossed my fingers.
We saw two more lightning bolts that afternoon, but this turned out to be the only one I deemed worthy of processing. On the drive home Jay and I agreed that our trip was a great success—while we didn’t get as much lightning as we’d have liked, we got lots (and lots) of beautiful storm images, photographed a vivid sunset, and had two great Comet NEOWISE shoots. This lighting strike on our final afternoon was simply icing on the cake.
Below is the just updated (August 2, 2020) Lightning article from my Photo Tips section
Few things in nature are more dramatic than lightning. Or more dangerous. And if “safety first” is a criterion for intelligence, photographers are stupid. Because lightning is both dangerous and unpredictable, the more you understand lightning, how to anticipate it and stay safe in its presence, the greater your odds of surviving to take more pictures.
The shocking truth about lightning
A lightning bolt is an atmospheric manifestation of the truism that opposites attract. In nature, we get a spark when two oppositely charged objects come in close proximity. For example, when you get shocked touching a doorknob, on a very small scale, you’ve been struck by lightning.
In a thunderstorm, the up/down flow of atmospheric convection creates turbulence that knocks together airborne molecules, stripping their (negatively charged) electrons. Lighter, positively charged molecules are carried upward in the convection’s updrafts, while the heavier negatively charged molecules remain near the bottom of the cloud. Soon the cloud is electrically polarized, more positively charged at the top than at the base.
Nature always takes the easiest path—if the easiest path to electrical equilibrium is between the cloud top and bottom, we get intracloud lightning; if it’s between two different clouds, we get intercloud lightning. Less frequent cloud-to-ground strikes occur when the easiest path to equilibrium is between the cloud and ground.
With lightning comes thunder, the sound of air expanding explosively when heated by a 50,000-degree jolt of electricity. Thunder travels at the speed of sound, a pedestrian 750 miles per hour, while lightning’s flash zips along at the speed of light, more than 186,000 miles per second—nearly a million times faster than sound.
Knowing that the thunder occurred at the same time as the lightning flash, and the speed both travel, we can calculate the approximate distance of the lightning strike. While we see the lightning instantaneously, thunder takes about five seconds to cover a mile: Dividing by 5 the number of seconds between the lightning’s flash and the thunder’s crash gives you the lightning’s distance in miles (divide by three for kilometers).
The 30 (or so) people killed by lightning in the United States each year had one thing in common with you and me: they didn’t believe they’d be struck by lightning when they started whatever it was they were doing when they were struck. The only sure way to be safe in an electrical storm is to be in a fully enclosed structure or metal-framed vehicle, away from open windows, plumbing, wiring, and electronics.
Unfortunately, photographing lightning usually requires being outside. And though there’s no completely safe way to photograph lightning, it doesn’t hurt to improve your odds of surviving enough to enjoy the fruits of your labor.
Most lightning strikes within a ten-mile radius of the previous strike. So, if less than thirty seconds elapses between the flash and bang, you’re too close. And since “most” doesn’t mean “all,” it’s even better to allow a little margin for error. Thunder isn’t usually audible beyond ten miles—if you can hear the thunder, it’s safe to assume that you’re in lightning range.
But if you absolutely, positively must be outside with the lightning firing about you, or you simply find yourself caught outside with no available shelter, there are few things you can do to reduce the chance you’ll be struck:
The thousands of humans killed by lightning each year had one thing in common with you and me: none believed they’d be struck by lightning. The safest place in an electrical storm is a fully enclosed structure or metal-framed vehicle (it has nothing to do with the tires), windows closed, away from windows, plumbing, wiring, and electronics.
The surest way to be struck by lightning is to be outside in an electrical storm, but photographing lightning usually requires being outside. And while there’s no completely safe way to photograph lightning, it doesn’t hurt to improve your odds of surviving.
Most lightning strikes within a six-mile radius of the previous strike, but strikes have been known to happen much farther from the storm. Since thunder isn’t usually audible beyond ten miles, if you hear thunder, you should go inside and stay there until at least 30 minutes after the thunder stops.
If you absolutely must be outside with lightning nearby, or you simply find yourself caught outside with no available shelter, there are things you should know and do to be safer:
If, after factoring in all the risks, you still like the idea of photographing lightning, you need to gear up. The extreme contrast between darkness and brilliant lightning means photographing lightning at night is mostly a matter of pointing your camera in the right direction with a multi-second shutter speed and hoping the lightning fires while your shutter’s open—pretty straightforward.
Photographing daylight lightning is more problematic. It’s usually over before you can react, so any success just watching and clicking is probably dumb luck. And using a neutral density filter to stretch the exposure time out to multiple seconds sounds great in theory, but in daylight, a lightning bolt with a life measured in milliseconds, captured in an exposure measured in seconds, will almost certainly lack the contrast necessary to show up in an image.
Lightning Trigger: The best tool for the job
Most lightning sensors (all?) attach to your camera’s hot shoe and connect via a special cable to the camera’s remote-release port. When engaged, the sensor fires the shutter (virtually) immediately upon detecting lightning, whether or not the lightning is visible to the eye or camera. With so many lightning sensors from which to choose, I did lots of research before buying my first one. I ended up choosing the sensor that was the consensus choice among photographers I know and trust: Lightning Trigger from Stepping Stone Products in Dolores, CO. At around $350 (including the cable), the Lightning Trigger is not the cheapest option, but after many years leading lightning-oriented photo workshops, I can say with lots of confidence that lightning sensors are not generic products, and the internal technology matters a lot. Based on my own results and observations, the Lightning Trigger is the only one I’d use and recommend (I get no kickback for this). On the other hand, if you already have a lightning sensor you’re happy with, there’s no reason to switch.
I won’t get into lots of specifics about how to set up the Lightning Trigger because it’s simple and covered fairly well in the included documentation. But you should know that of the things that sets the Lightning Trigger apart from many others is its ability to put your camera in the “shutter half pressed” mode, which greatly reduces shutter lag (see below). But that also means that connecting the Trigger will probably disable your LCD replay, so you won’t be able to review your captures without disconnecting—a simple but sometimes inconvenient task. You also probably won’t be able to adjust your exposure with the Lightning Trigger connected.
The Lightning Trigger documentation promises a range of at least a 20 mile, and after using mine at the Grand Canyon for years, I’ve seen nothing that causes me to question that—if anything, without actually testing it, I’d guess that its range is at least 30 miles. The LT documentation also says you can expect the sensor to fire at lightning that’s not necessarily in front of you, or lightning you can’t see at all, which I will definitely confirm. For every click with lightning in my camera’s field of view, I get many clicks caused by lightning I didn’t see, or that were outside my camera’s field of view. But when visible lightning does fire somewhere in my composition, I estimate that the Lightning Trigger clicked the shutter at least 95 percent of the time (that is, even though I got lots of false positives, the Lightning Trigger missed very few bolts it should have detected). Of these successful clicks, I actually captured lightning in at least 2/3 of the frames.
The misses are a function of the timing between lightning and camera—sometimes the lightning is just too fast for the camera’s shutter lag. In general, the more violent the storm, the greater the likelihood of bolts of longer duration, and multiple strokes that are easier to capture. And my success rate has increased significantly since switching from a Canon 5DIII to the much faster Sony Alpha bodies (more on this in the Shutter Lag section).
The Lightning Trigger documentation recommends shutter speeds between 1/4 and 1/20 second—shutter speeds faster than 1/20 second risk completing the exposure before all of the secondary strokes fire; slower shutter speeds tend to wash out the lightning. To achieve daylight shutter speeds between 1/4 and 1/20 second, I use a polarizer and usually set my ISO to 50 and aperture to f/16 or smaller. Of course exposure values will vary with the amount of light available, and you may not need such extreme settings when shooting into an extremely dark sky. The two stops of light lost to a polarizer helps a lot, and 4- or 6-stop neutral density filter is even better with fairly bright skies (but if you’re using a neutral density filter, try to avoid shutter speeds longer than 1/4 second).
Lightning is fast, really, really fast, so the faster your camera’s shutter responds after getting the command to fire, the more success you’ll have. The delay between the click instruction (whether from your finger pressing the shutter button, a remote release, or a lightning sensor) and the shutter firing is called “shutter lag.”
In general, interchangeable lens cameras (mirrorless and DSLR) have the fastest shutter lag. But even with an ILC, it’s surprising how much shutter lag varies from manufacturer to manufacturer, and even between models from the same manufacturer.
Ideally, your camera’s shutter lag should be 60 milliseconds (.06 seconds) or faster, but 120 milliseconds (.12 seconds) is usually fast enough. Most of the top cameras from Sony, Nikon, and Canon are fast enough—currently, Sonys are fastest, Nikon is a close second, and Canon is third.
And shutter lag can vary with the manufacturer’s model: While my Sony a7RIV may be the fastest camera out there, my original a7R was unusably slow, so you need to check your model’s shutter lag.
Unfortunately, shutter lag isn’t usually in the manufacturers’ specifications. The best source I’ve found is the “Pre-focused” time in the Performance tab of the camera reviews at Imaging Resource.
In addition to a lightning sensor and fast camera, you’ll need:
I’ve used a few lightning apps, but I finally think I’ve found one worthy of recommending: My Lightning Tracker. I have the “pro” version, which just means I paid a few dollars so I don’t have to see ads. This app has too many useful features to list here, but the most important thing it does is give me a good idea where the lightning is firing now (as long as I have a cellular or wifi connection), and how far away it is. It will also alert me of any strikes within a user-specified radius. It’s easy to use and seems to be reliable.
Getting the shot
Even if you can photograph lightning from your front porch, it’s usually best to pick a nice scene, then monitor the weather so you can be there to capture lightning with a great foreground. I strongly recommend that you scout these lightning scenes in advance, not just for possible compositions, but for safe places to set up, escape routes, and a place to retreat to if the lightning gets too close. I try never to shoot more than a quick sprint from my car.
Once you’re there, don’t wait until you see lightning before setting up your gear. If the sky looks even a little promising, get everything ready: tripod out, camera and lens mounted, lightning sensor attached. Then test your lightning sensor to make sure it fires your camera—I can’t tell you how easy it is to overlook one little thing and wonder why the lightning is firing but your camera isn’t. I test my Lightning Triggers, with a TV remote, or with the flash from my iPhone camera.
As I said earlier, the trickiest part of lightning photography is getting the right shutter speed. Too fast and you risk missing all of the strokes; too long and you risk washing out the lightning. My target shutter speed is usually 1/8 second, +/- 1/8 second—long enough to include multiple pulses, but not so long that I risk washing out the lightning.
When the sky is relatively bright, dropping to 1/20 second can help the lightning stand out better than 1/8 second, but risks losing secondary strikes. Conversely, when the sky is extremely dark and the lightning is firing like crazy, extending to 1/4 second might increase your chances for capturing multiple pulses.
Even with a polarizer on, getting the shutter speed to my sweet spot usually requires dropping to ISO 50 and stopping down to f/16 or smaller. In these situations, a neutral density filter is a big help, but take care not to let the shutter speed go longer than necessary.
Lightning is most likely to strike in or near the gray curtains that hang beneath dark clouds (clearly recognizable as distant rain)—not only near the center, but often on the fringe or just outside. And the darkest and tallest clouds are usually the most likely to fire lightning. If you’re in the storm that you’re photographing, you’re too close.
The best lens for lightning is usually a midrange zoom, such as a 24-70 or 24-105. If you find yourself reaching for your 16-35 (or wider), you’re too close.
I generally start fairly wide to increase my margin for error (to avoid missing a bolt just outside my frame), but once I’m sure I’ve captured some good strikes, I often tighten my composition. While this narrower field of view can reduce the number of frames with lightning, the ones I get are much larger in the frame.
Here are a few more composition points to consider:
There’s a lot of standing around while photographing lightning, but storms move, so the more you can keep your eyes on the sky (instead of your phone), the better you’ll be at keeping lightning in your frame as the storm moves, and knowing when the activity is picking up or winding down. The light can change by several stops as the storm moves, intensifies, or winds down, so check your exposure frequently. And monitor your surroundings for active cells moving up behind you.
Be aware that electrical storms can move quite quickly, and more than one cell can be active in a given area, so monitor the sky closely—not just the storm you’re photographing, but scan for potential cells that could be sneaking up on you. Sometimes this simply means adjusting your composition to account for shifting lightning; other times it means retreating to the car if the cell threatens your location. No shot is worth your life.
One final note: If you check my exposure settings, you’ll see that my shutter speed here was .4 seconds, well outside the 1/20-1/4 second range I suggest. But if you look at the other settings, you’ll see that I’d opened up to f/7.1, and had cranked my ISO to 400, an indication that twilight was settling in. Successful lightning photograph is all about contrast, and the darker the sky, the better the bolt stands out, even in a longer exposure. Had we stayed past dark (and lived), we could have jettisoned the Lighting Triggers and used multi-second exposures.
Join and me in my next Grand Canyon Monsoon Photo Workshop
Click an image for a closer look and slide show. Refresh the window to reorder the display.
Posted on July 26, 2020
With the exception of a couple of recent up-and-back trips to photograph Comet NEOWISE (8 hours of driving for 1-2 hours of photography), photography-wise I have been pretty much homebound since March. I’d been keeping my fingers crossed that things would stabilize enough for me to do my Grand Canyon Monsoon photo workshops in August, but two weeks ago circumstances forced me to reschedule them to next year. After losing my Grand Canyon raft trip to COVID-19 in May, I suddenly faced the prospect of a year without my Grand Canyon fix. Could that really happen?
Nope. Since my August Grand Canyon workshops count on the Southwest summer monsoon to deliver the lightning and rainbows everyone signs up for, I always monitor the monsoon conditions in Arizona—not just in the week leading up to my workshops, but all summer and quite obsessively (I know I can’t control the weather, but I can’t help rooting for ideal conditions, not unlike a sports fan rooting for my favorite team). So I knew that the monsoon was really late this year—it still hadn’t arrived by mid-July. But a few days after losing this year’s workshops, I saw signs of monsoon activity at the Grand Canyon, and within two days I was on the road.
The negative impact of the coronavirus pandemic is undeniable and extreme. But I can also say that it’s also not without its small perks—after losing 8 workshops to the pandemic, I am happy to take whatever consolations COVID wants to offer. In this case, with two days’ notice, I was able to snag four nights at a hotel about 300 yards from the South Rim for a ridiculously small sum.
My brother Jay and I hit the road for the South Rim Wednesday morning (Mom still makes me bring my little brother wherever I go*), visions of lightning and comets dancing in our heads. Thirteen hours later, we were pulling into our hotel in the dark.
Travel in the time of Coronavirus is not without its challenges—some beyond our control, others self-imposed (to avoid being a CDC statistic). Masks are mandatory in public (it’s the law, but also just plain common sense), and bathroom breaks need to be strategized because most roadside dining options are drive-thru only—I’ve learned never to pass a roadside rest area. (Note: The person who invents public restroom technology that can be operated entirely with elbows will make a fortune.) And at the hotel, there’s no daily maid service—they do a thorough cleaning after each guest leaves, and keep the room empty for a couple of days before the next person checks in.
There are also a lot dining changes here at the Grand Canyon. Unlike California, which is take-out only, there are restaurants open here at the park, including at our hotel. But Jay and I made a conscious decision to avoid eating out, and brought everything we need to prepare all over our meals. Breakfast and dinner are in the room, and lunch is at whatever spectacular Grand Canyon vista we find ourselves at when we get hungry.
I’ve visited the Grand Canyon in every season, but I’ve never seen it this empty. That doesn’t mean that it’s empty-empty, but there’s plenty of parking at every vista point, and social distancing is never a problem. Nevertheless, even when outside, we have masks with us at all times and don them when people are nearby. And with just a few exceptions, our fellow visitors have been similarly respectful of the situation.
The bottom line is, I feel like we’ve been able to pull this trip off with minimal risk to our health and others’. But what about the photography? I thought you’d never ask.
We’ve seen lots of clouds and lightning, and had two beautiful Comet NEOWISE shoots, but the image I’m sharing here is from Friday night’s sunset. We’d ended up at Mather Point because we were beat after a day of chasing lightning and Mather is easy, but also because when I saw clear western horizon and these clouds to the east, I wanted a spot with a view opposite the sun. Sometimes things just work out.
Photographing sunset is a different mindset than lightning photography because with lightning, the lightning bolt is the focal point and too much foreground and sky can be a distraction. For a nice sunset, I like to feature a strong foreground with lots of sky.
The canyon walls were already starting to catch fire when we arrived, so I took the first foreground subject I found. What drew me was the tree, but I was soon drawn to the pocked limestone and small pool of rainwater.I started with a Sony 16-35 GM lens on my Sony a7RIV, but to really emphasize the foreground and what looked like it was going to be a spectacular sky, I switched to my Sony 12-24 G lens.
Often when the light and color is changing fast I pick a single composition and work small variations until the show is over. But this evening I was a little more active, moving all around my perch to change up foreground/background relationships (when the foreground is this close, shifting just a few feet can make a big difference), and never spending more than one or two clicks on a single composition. For example, by moving from one side of the tree to the other, I was able to put it on the left or right side of my frame, and I did it both ways.
Here I put the tree on the right, taking care not to block Wotan’s Throne and Vishnu Temple in the distance. Balancing the tree and monuments were the limestone, pool, and canyon on the left. The sky just speaks for itself. At 14mm and f/11, depth of field wasn’t a huge concern—for this frame I focused about 1/3 of the way along the cliff edge on the left.
One final observation: The serpentine scar angling across the center of the frame is the inner gorge of the Grand Canyon, home of the canyon’s best (biggest) rapids, and some of my very best Grand Canyon memories.
Click an image for a closer look, and to view a slide show.
Posted on June 28, 2020
So, a few weeks ago I started moving all of my images to a 72 Terabyte Synology NAS system (configured as a RAID 6). This may very well be overkill, but it’s the kind of thing that happens when your son-in-law does IT. The image storage paradigm I’m replacing was a hash of hard drives that was long on redundancy and data security, but short on organization—I could find every image I had stored, but heaven help the person tasked with managing my estate in the event of my untimely demise.
An inevitable byproduct of this image management recalibration is opening random folders and running into long forgotten images from past trips. Which is how last week I somehow found myself sucked back into 2014, the year I switched to Sony, the first year of serious exploration of the spectacular Columbia River Gorge with Don Smith, and the year of my very first Grand Canyon raft trip.
Even now I remember that one of my prime motivations for rafting the Grand Canyon was the opportunity to go to sleep beneath impossibly dark skies brimming with more stars than I’d ever seen in my life. To ensure the darkest skies possible, I scheduled this trip (and every subsequent trip) for a new moon. And to avoid the summer heat and a muddy monsoon-season Colorado River, I chose May—when the Milky Way doesn’t rise above the canyon walls until well after midnight.
In 2014 I was still shooting Canon. Knowing that my 5DIII struggled at the extreme ISOs necessary to photograph in such darkness, the first couple of nights I stuck to star trails. Nevertheless, after a couple of nights of choosing sleep, I couldn’t resist giving the Milky Way a shot. This image from our third night was my first Milky Way attempt on that trip. When I processed it way back in 2014, I was pretty disappointed with the amount of noise. I reprocessed it this week, and between much better noise processing software (Topaz DeNoise AI) and a lot more experience processing Milky Way images, I’m much happier with my result—nowhere near what I get with my Sonys, but good enough.
I actually blogged about this image and the whole night photography experience of that first raft trip way back in 2014, so rather than try to reconstruct 6-year old memories from scratch, I’ve dusted off that original post and polished it up a bit to share here.
GCRT 2014 after dark, day one
We started at 4:30 a.m. when the group gathered in our Las Vegas hotel for the trip to the put-in point at Lee’s Ferry. So come dark, I was dead and ready for bed. (Foolishly) imagining that my home bedtime reading habit would transfer seamlessly to the Grand Canyon, I’d packed a couple of books to drift off to sleep to, but just five minutes into that first night I discarded that folly and simply basked in starlight, utterly mesmerized by the volume and variety of stars, constellations, planets, shooting stars, and satellites overhead. I fought sleep like a two-year-old at nap time—if I would have had access to duct tape I’d have considered taping my eyelids to my forehead.
GCRT 2014 after dark, day two
Topping off a long but relatively quiet day on the river, for our second night we’d tied up our two rafts at a fantastic campsite with a wide downriver view that opened to the southern sky. Immediately after dinner (before the darkness made composing and focusing extremely difficult) I had everyone line up along the river to set up their shots and focus. I gave a little orientation to everyone who was new to night photography, then we all just kicked back and waited for nightfall.
When the sky darkened and the stars popped out, we had a blast photographing star trails and pinpoint stars above the river. By 10:00 or so, long before the Milky Way rotated into view, everyone was ready for sleep. When I told the group that the best time to photograph the Milky Way would be between 2:00 and 4:00 a.m., there wasn’t a lot of enthusiasm—if I’d have known then what I know now, that open views of the southern sky are relatively rare at the bottom of the Grand Canyon, I’d have encouraged everyone with Milky Way aspirations not to pass this opportunity.
GCRT 2014 after dark, day three
Day three was all about the rapids, which seemed to come fast and furious all day, rarely allowing more than a few minutes of calm water before we had to hold on tight and “suck rubber” for the next one. Unkar, Hance, Crystal, Granite, the gem series, to name a few highlights, were simultaneously thrilling and chilling to us whitewater novices. And also physically draining.
At about 5:00 p.m., equal parts exhilarated and exhausted, we set up camp near the canyon’s 110-milestone. Despite my fatigue, I couldn’t help notice that there just might be enough southern sky for the Milky Way’s brilliant core to appear. Even so, not even another fantastic dinner could completely recharge the group, and for most the visions of a night photography marathon quickly succumbed to the gravitational pull of cot and sleeping bag. Nevertheless, I was one day smarter and had started to realize that this might be the best opportunity to try the Milky Way.
I’ll start by going back to the orientation delivered by lead river guide Wiley as it pertains to the evacuation of, uhhh, personal liquid waste: Peeing. Contrary to everything I’d learned from a lifetime of camping and backpacking, Wiley gave us very emphatic instructions to pee nowhere but in the river. That’s right. Apparently the Colorado River’s volume will sufficiently dilute the pee of the several hundred people enjoying the Grand Canyon from the river any given time; the alternative, we learned, would be all these visitors targeting the ubiquitous riverside sand to turn each campsite and trail into a giant litter-box. To achieve this goal the women were issued handy little buckets that allowed them to evacuate their bladders wherever they felt comfortable, then discreetly deposit the contents in the river; the guys, on the other hand, were expected to simply find a relatively private spot and apply the tried and true ready-aim-fire approach.
Before we first hit the river, even before the bathroom lecture, Wiley had also admonished the group about the hazards of dehydration, imploring us to consume copious amounts of water day and night. While this strategy achieved the desired effect (no one in the group succumbed to dehydration), an unfortunate byproduct was nature’s inevitable call in the, uh, “wee” hours of the morning. But what could all this possibly have to do with photographing the Milky Way?
Knowing that there was a pretty good chance nature would send me trekking down to the river at around two or three in the morning anyway, the last thing I did before crawling into my sleeping bag that night was mount my camera on my tripod, attach my 28mm Zeiss f2 (my night lens at the time), focus it at infinity, and dial in all the exposure settings necessary for a Milky Way shoot.
When I woke at around two o’clock the next morning, I hopped from my sleeping bag, grabbed my tripod/camera, and made my way down the river. (You’d be amazed at the amount of light cast by starlight in a deep canyon with no other light source.) At the river I quickly set up this shot, clicked my shutter, and went about the rest of my business. As a life-long Northern Californian, I’m accustomed to sharing delicious fresh water with parched and thirsty Los Angeles—standing there, I couldn’t help find comfort in the knowledge of the ultimate destination of my current contribution to the Colorado River.
As with all my images, this one was captured with one click. While this may not be the best way to technical perfection in a Milky Way image (blending one frame exposed for the sky and one frame exposed for the foreground yields more detail with less noise), I prefer exercising my creativity in my camera, not my computer. This isn’t a judgement of those who do otherwise, it’s simply the way I find my joy in photography. Shooting with the Canon 5DIII, this one-click goal was especially difficult, so I’m actually relatively happy with my results here.
Click an image for a closer look, and to view a slide show.
Posted on May 7, 2020
Photographing lightning is about 95 percent arms folded, toe-tapping, just-plain-standing-around-scanning-the-horizon—interspersed with random bursts of pandemonium. Usually, after all that waiting waiting around, with the first bolt usually comes the realization that you anticipated wrong and either, 1) the lightning is way over there; or 2) the lightning is right here (!). What generally ensues is a Keystone Cops frenzy of camera bag flinging, tire screeching, gear tossing, tripod expanding, camera cursing, Lightning Trigger fumbling, bedlam. Followed by more waiting. And waiting. And waiting….
I’ve always thought that the waiting part of lightning photography is a lot like fishing (spiced up by the understanding that these fish have the ability to strike you dead without warning). Both are an intoxicating mix of serene communing with nature and an electric current of anticipation. And whether you’re fishing for trying to photograph lightning, the strike far from a guarantee that you’ll reel anything in. Just as fish somehow slip the hook, you a lightning strike can come and go before even the fastest cameras can respond. Most of my lightning “the one that got away” stories turn out to be something I’ve done wrong (and my list of stupid mistakes is too long, and embarrassing, to detail here).
One frustration that I’ve learned to deal with is that when a Lightning Trigger is attached and turned on, the camera is in pre-focus mode (to allow the fastest shutter-lag), which disables LCD review—and I guarantee that the surest way to ensure another lightning strike is to turn off your Lightning Trigger because the second you turn off your Lightning Trigger to see if you got that last strike, a spectacular triple-strike will fire right in the middle of your frame. Guaranteed. (This is an extension of the axiom every photographer knows: The best way to make something you’ve been waiting for happen, is to put away your camera gear.) Though there’s no way to know, I would bet that each time you pull the line out of the water to make sure the worm is still there, the “big one” you’ve been dreaming about swims right by.
Read the lightning photography tutorial in my Lightning Photography photo tips article.
About this image
Still reeling from Saturday’s 12-hour drive to the Grand Canyon for our 2015 Grand Canyon Monsoon photo workshop, and with clear skies in the forecast for Sunday, Don Smith and I planned to take the day to recharge for the workshop that started Monday. But dark clouds after lunch sent us racing up to the rim (a 15 minute drive) to see what was going on (see Keystone Cops reference above).
Starting at Grand View Point, we quickly set up our tripods, attached our Lightning Triggers to our cameras, and aimed toward promising clouds in the east, up the canyon, and waited. Soon these distant clouds weakened, but a new batch of clouds overhead darkened, and a breeze picked up—usually a sign that rain is coming. Aside from the spectacular beauty, another great thing about photographing lightning at the Grand Canyon is the expansive vistas that allow you to photograph distant lightning. Basically, we want to be photographing someone else’s storm—if you’re in the storm you’re photographing, you’re too close. So when the rain started falling we packed up and bid a hasty retreat; by the time we made it to the car, the rain had turned to hail we could hear thunder. Since the storm appeared to be moving west, we drove east to get on the back side of it, eventually ending up at Lipan Point—one of my favorite spots for lightning because it has long views both up and down the canyon.
We set up west of the Lipan vista, enjoying relative peace and quiet away from the summer tourist swarm. The cell that had chased us from Grand View was diminishing, but we could see an even more impressive cell moving up to replace it from the south. The first bolts this storm fired were above the flat, scrub pine plain south of the rim, but it was moving toward the canyon so we set up and waited. At first I hedged my bets, composing wide enough to get lightning over the less aesthetically pleasing terrain, along with the canyon. But as the cell moved out over the canyon, my composition moved with it.
When photographing lightning, not only do you need to get the light right, you need to make sure your shutter speed is slow enough to capture secondary and tertiary strikes, but fast enough that the lightning doesn’t get lost in the background. That’s because a long shutter speed, even if the rest of the scene is perfectly exposed, will wash out the lightning (not problem at night, when there’s plenty of contrast). The light this afternoon was particularly schizophrenic, so because I prefer photographing lightning in manual metering mode (I explain in the lightning tutorial linked above), I had to frequently monitor the changes and adjust my exposure accordingly.
That afternoon we enjoyed about a half hour of quality shooting before lightning moved too close for comfort. In that span I saw at least a half dozen canyon strikes, not an especially active storm by Grand Canyon standards, but one that delivered several photogenic strikes like this one (my favorite of the bunch). Lightning photography can be mesmerizing, and when the strikes just keep getting more and more spectacular, it’s easy to lose track of (or not care) how close the storm is. Fortunate for us this afternoon, a second active cell snuck up behind us and jarred us from our trance. It was over less photogenic terrain, so we managed to pull ourselves away before things became too dangerous.
Click an image for a closer look, and to view a slide show.
Posted on April 22, 2020
Happy Earth Day, everyone! (The irony of celebrating Earth Day cooped up at home isn’t lost on me.)
If nothing else, COVID-19 has taught all of us that, as much humankind constantly tries to test the boundaries, Mother Nature is still very much in charge. I’m so fortunate to be able to make my living photographing this wonderful planet, but isolating in my office with nothing but memories and a few images of the marvels I’ve witnessed has opened my eyes. Having experienced the northern lights in Iceland, rainbows in Yosemite, lightning at Grand Canyon, and the Milky Way above the bristlecones (among many other natural marvels), puts me in a pretty good position to say that no picture can top being there. But after a lifetime of being there, and returning year after year and seeing firsthand how much damage is done by humans’ constant push for “progress,” I’m starting to wonder how much longer we’ll have a there to be.
But there’s nothing like a crisis to crystalize priorities. The whole point of Earth Day is to remind our planet’s inhabitants to care for our home, and never has that message felt so important. Ironically, as we humans suffer through this pandemic, Earth is thriving in our absence: Air quality is up, hydrocarbons are down, sea life is recovering, and by all accounts, wildlife is partying in our shuttered national parks. One lesson here is that the less humans interact with it, the healthier our planet becomes. That doesn’t mean that saving Earth requires never venturing out into nature. But here’s an analogy to try on: Your carpet will last decades if you never walk on it, but that’s probably not practical. But if you simply take your shoes off indoors and vacuum pretty regularly, you’ll extend that carpet’s life many times. So perhaps from now, as each of us uses Earth’s resources, whether that be consuming or just experiencing, let’s make an extra effort to tread just a little more lightly, and leave things just a little better than we found them.
Posted on March 22, 2020
What have you been doing with your spring “vacation.” Sequestered here in the Gary Hart Photography World Headquarters, I’ve been spending a lot of time going through my 2019 images and have already uncovered a half dozen or so that qualify for my 2019 Highlights post. It’s a welcome relief from coronavirus news and the stress of rescheduling workshops. As I work, I’m starting to realize that the coolest thing about going through past images isn’t finding new images to process and share, it’s reviving the faded memories of wonderful moments in nature.
We’ve reached that time of year where everyone is compiling their Top 10 lists. I like retrospectives as much as the next person, but I’ve always resisted assembling these “top-whatever” end-of-year countdowns of my own images. Then last week Sony asked me to provide my favorite image of 2019 and I struggled mightily because it felt like they were asking me to pick a favorite child—which, as we all know, can vary on a daily basis. (Just kidding—I love you girls!) But seriously, I did hesitate because I wasn’t sure Sony and I aren’t defining “favorite” the same, and in fact favorite for me can mean many things that are easily skewed by mood and memory.
So instead of attempting to rate and rank my images at year’s end, I prefer using them as a catalyst for reflection. Each December I go through the images I’ve processed from the waning year and reflect on the circumstances of their capture. Rather than focus on individual images, I’ll start by reflecting more on the experience surrounding three memorable shoots that stand out from in a year filled with too many individual highlights to detail here (but feel free to go through my 2019 blog posts). And if you’re just here for the pictures, jump to the bottom to see a gallery of 2019 images that make me happy (including some new images that I’ve never shared).
I can think of no better way to start a year than the opportunity to photograph something I’ve fantasized about seeing for my entire life. When Don Smith and I traveled to Iceland last January, I had two goals in mind: scout for our upcoming photo workshop, and see the northern lights. The scouting trip was a great success, but with just a couple of days to go, and not for lack of trying, we still hadn’t seen the northern lights.
On our penultimate night we finally witnessed a nice aurora display that spread ebbing and flowing veils of green, coloring the sky above Glacier Lagoon from the horizon to about 45 degrees—I was thrilled and felt like my aurora dreams had been fulfilled. Then came our final night, when I learned what a real northern lights display is.
There really are no words to describe this experience, so I’ll just let my images speak for me. I will say that two-dimensional, still images don’t fully convey the experience of witnessing the aurora in person, but they do at least least give you an idea of the drama and magnitude: for one thing, the foreground was darker than what I captured (though it was bright enough that I walked around without a flashlight); the aurora moves, maybe at about the speed of the minute hand on a clock. And while the previous night’s display was only in the northwest and covered no more than a quarter of the sky, the display this night at times spread across the entire sky and needed to constantly spin around to make sure I wasn’t missing something.
Read more about this night of a lifetime: Chasing the Northern Lights
Don and I did two winter photo workshops on New Zealand’s South Island in 2019. The first was our regularly scheduled New Zealand winter workshop, the second was a workshop we put together to guide a group from the Sony Alpha Imaging Collective. Though night photography was a priority for both groups, the moon and clouds hindered the first group’s efforts (until our final night, but that’s another story).
The second group fared better in the night photography department in general, one day in particular stood out. We started with a 3 a.m. starlight shoot at Lake Wanaka, then made the 3-hour drive to Aoraki National Park, where we spent a day photographing spectacular fog and hoarfrost along the way, and glaciers, lakes, and mountains once we arrived. Following our beautiful sunset on the shore of Tasman Lake, we bundled up to wait for dark and were rewarded with one of the most breathtaking Milky Way shoots in my life (which has been filled with many Milky Way shoots).
All I could think about on the foggy 3-hour drive back from Aoraki was curling up in my warm bed and getting some much needed sleep. But when we pulled into our hotel a little before midnight and I looked up and saw stars, it felt like someone had flipped the switch on my reserve generator and I just had to go back out and shoot some more. So while everyone else headed to their rooms to process images or sleep, I grabbed my camera gear and raced to the lake. For the entire 10-minute walk to Wanaka’s iconic willow tree, I kept an eye on a bank of fog massing on the far shore and willed it to hold off long to allow me a few frames.
Finding the view of the tree completely devoid of people (a personal first), I photographed for nearly an hour in glorious solitude. While waiting for each exposure to complete, and with nothing in my world but me, my camera, and a sky full of stars, I reflected on the last 21 hours realize this was the perfect cap to what was no doubt one of the most memorable photography days of my life.
Read more about this day seemed to last forever: The Longest Day
Each year starting in 2013, Don and I have guided two photo workshop groups around both rims of the Grand Canyon, chasing the lightning, towering clouds, and dramatic light of the Southwest’s summer monsoon. This year’s Grand Canyon monsoon trip was filled with lots of great memories and photography that included rainbows and more lightning strikes than I can count, but one experience in particular stands out above the rest.
The best vantage point for an electrical storm on the Grand Canyon North Rim is probably the twin view decks at Grand Canyon Lodge. Not only do these open-air decks provide a beautiful, sweeping view of the canyon, they’re shielded from lightning by a network of lightning rods, and anchored by an enclosed viewing area for retreat when the action gets too close.
We’d been watching a storm build in the distant west, but unlike most storms here, this one moved toward us and didn’t veer or fade as it approached. The storm arrived so quickly, and so mesmerized were we by its power, that it was almost on top of us before we could react. The rain was just starting to pelt us when Oza Butte, about a mile away, was stabbed with multiple strokes that made everyone jump and gasp. That was our signal to grab our gear and race for cover.
Safe inside as the storm raged around us, everyone in the group buzzed about “the big one.” I moved around the room and confirmed that nearly everyone had some version of this spectacular strike, then scrolled through my own frames holding my breath until I came across this one. Many in the group only had the bolt on the right because that’s the direction the lighting had been firing. I was silently patted myself on the back for having the foresight (good luck) to have widened and shifted my composition to the left shortly before this bolt hit. First, because it seemed like the storm was moving in that direction, and also because I wanted my composition to include more canyon.
Read more about this hair raising experience: I Just Have to Share This
Click an image for a closer look and to view a slide show.