Tag Archives: Wild Moments

Wild Moments #3 Lost in the Desert – The Expedition Pt. 1

3 Feb

In December  2004, I ventured into the Rincon Mountains of Saguaro National Park East for my first solo backpacking trip. It was a trip that I’ll never forget. For those of you that don’t know, the Rincon Mountains are part of the “sky islands,”   a group of mountain chains in the Coronado National Forest of southeastern Arizona that draw their name from the extreme biodiversity found within the topography.  The largest of the sky islands is Mt. Graham. At 10,720 ft, it is also the third highest peak in the state.

The Rincon Mountains top out at 8,664 feet, but draw distinction as being some of the roughest mountains in the state. A few years back, I read a book about hiking the Arizona Trail and the author claimed the Rincons, which traverse the state from north to south, were the most difficult part of the 772 mile hike.  Although there are over 100 miles of trails in the Rincons, there is one trail that serves as the artery into the park. It’s called the Tanque Verde Ridge Trail and it’s the one most backpackers use. It is an 18 mile trail (roundtrip) that journeys on the spine of the Rincons into the heart of the mountains. From its terminant, it is a manageable day hike to reach the top of the mountains.

I started out in mid morning on a typical December day. Temperatures were in the high 60s and it was sunny and relatively warm. At the trailhead, the topography is lower Sonoran desert. You’ll see a veritable display of plants such as saguaro, ocotillo, cholla, prickly pear, and barrel cacti as well as mesquite and palo verde trees amongst others. As the trail begins to climb, the topography soon changes.  Lower Sonoran desert gives way to high Sonoran desert and the larger cacti soon disappear. They are replaced with large boulders, wild grasses, and more trees. (If you are interested in the different biotic zones of this hike, you’ll find more information here)

By the time I reached camp near the seven mile mark, the temperature had dropped about  15 degrees. There were patches of snow at the campsite. When night began to fall, the wind picked up considerably and  the temperatures plummeted. Backpacking in the Rincon Mountains is not for the faint of heart. This was just the beginning of my adventure…(I’ve got my pictures from this hike on another hard drive and I will update this post with a few shots before my next post.)

Tucson Barrio

27 Jan

Joyce and I are back from an awesome weekend in Tucson. I have to say that here  in Phoenix, the city of Tucson sometimes is portrayed negatively and unfairly (in my opinion) by many of the local print publications. It is unfortunate because Tucson has a ton of character on its streets that  really isn’t as evident here in the valley. Although it has grown dramatically in the past ten years, it still maintains the feel of its Spanish roots. Tucson has also down a good job of preserving historic sites. The Mission at San Xavier del Bac just south of the City is a shining example painstaking preservation efforts. In addition, Tucson has some killer mountains on all four sides and probably the best saguaro forests in the country. Saguaro National Park is a must do trip on any visit to the Tucson area.

Today I want to talk about the Tucson barrio.  As many of you may know, I volunteer for Friends of Arizona Highways Photo Workshops. It was through the Friends organization that I first learned about this  amazing place. They do a workshop there in the spring and reading about this place captured my imagination.  I’ve always been interested in photographing doors and this was a perfect opportunity to do so. The brilliant colors and unique architectural features in the barrio are mesmerizing.

With a weather forecast of clear, blue skies all weekend long I thought this would be a perfect opportunity to capture some urban art in the heart of the “Old Pueblo.”  Joyce and I spent several sunrises there capturing the colors and atmosphere of the unique barrio. Below is one of my favorite images from the trip….

I prefer the distressed look on the abandoned properties as opposed to the cleaner presentation of many of the remodeled homes in the area

Joyce captured some fantastic shots too. Even though this home is remodeled, I think the light shining in the middle of it really makes this shot for me. It is definitely one of my favorites…

The barrio is a really cool place if you are interested in this type of photography. We felt the best location was in the vicinity of Stone and Cushing streets in downtown Tucson. If you are ever in the area, it is definitely worth a look. My next post will most likely be on Monday, until then, have a fantastic weekend!

Wild Moments in the Wilderness Close Call #5: Quicksand

9 Jan

During my wilderness travels, there haven’t been too many things more startling than stepping into an area you think is solid, only to instantly sink up to your knees in sand or mud. It’s stepping in quicksand and it has happened to me on several occasions in Zion National Park. The first time I encountered quicksand was during a through hike in the Narrows with a buddy of mine about four and a half years ago. I was aware of the potential hazard, but it is very difficult to perceive where the danger is, meaning you basically have to experience it. When you step in quicksand you are generally taken off-balance because your momentum is stopped cold. So while you think you should be walking, you’re not, resulting in a mild whiplash type of effect. In this instance, I stepped almost up to my thighs and lost one of my boots in the process. Luckily, I was able to retrieve it, regain my composure, and move on.  Make no mistake about it, stepping into quicksand requires quick thinking.

While in Zion this past fall, I had another near miss with quicksand, only this time it was in swift moving water that was almost waist deep. As I was moving slowly into the water to try to set up for a picture,  I could feel the sand give out much too quickly underneath my feet as I lightly stepped into the deeper section to test the current. Immediately I knew it was trouble and backed off. This wasn’t something you could see, as it was actually beneath the water in some fairly deep rapids.  A serious situation in which in an unsuspecting person could have conceivably been seriously injured or drowned.

Dangerous Times - This was the area that had the quicksand. I wanted to get into those rapids, but what lurked beneath made it much too dangerous.

In another instance during the same trip, I was walking through a canyon in Zion’s eastern section near the Checkerboard Mesa, where I carelessly stepped into a shallow patch of quicksand. This instance was quite surreal because I was in a side canyon and was intently searching my surroundings for photo opportunities.  As I walking, the ground looked solid and I was looking up and boom, right up my knees in quicksand!

This time I really banged up my shin and almost ruined my camera which I was carrying on my tripod.  The quicksand caught me so off guard I actually put my camera down in it for a split second, getting dirt and sand in its controls. It took more than a week for my shin to heal, another half hour to clean my camera, and my shoes to this day still stink from that episode.

Bottom line is,  make sure you are educated on the areas where quicksand is a potential hazard. Be aware and mentally prepared for any encounter.  I keep a very level head in the wilderness, but I’ve been caught off guard several  times. If you get stuck, don’t struggle or wiggle to get out. Try to free up one leg at a time or if you are up to your waist, lift yourself out and roll onto the mud.  Remember it’s the first 30 seconds after it happens where you can really get yourself into trouble, especially if you are carrying expensive camera equipment. Be sure to use a hiking stick to probe areas that lock suspicious. Be alert and prepared and have fun! I hope you enjoyed this post, if so, please let me know. I’ll post later this week with number four.

“Wild Moments”, Close Calls in the Wilderness Pt. 1

6 Jan

Happy New Year and welcome to the newest lineage of postings for 2011. To start the year, I’ve been reflecting on the precarious situations I’ve experienced over the years in the wild, the ones that sometimes make for great stories, but aren’t  nearly as fun when you are experiencing them.  Fortunately, all these stories have a happy ending . We didn’t lose any body parts, break any bones or even wreck any vehicles. We are so very thankful and fortunate for that. That being said, we still have gone through some sticky and sometimes nasty situations that I think you’ll engaging, entertaining and even useful. I am going to count down the top 5 this month, starting later this week in reverse order at number five.

Here’s what to expect: From close calls with big game animals in big parks, to being stranded and trapped in the wilderness, I’ll give you my first hand account what went down, how I approached it, and what I learned. We’ll start with number five by this weekend and from there it is going to get intense! I am looking forward to sharing these stories with you and I’ll talk to you soon.

A Print Makers Thoughts….

16 Dec

Today we are going to talk about printing and how to harvest the full power of your photograph. I chose this particular topic now as I just went through a period of prolific print making for our winter art festival season. 

There are few thoughts I’d like to share that I think will really help you in making your own photographs stand out. The print is really the culminating piece in any photographers arsenal.  How your print looks really defines your work. (Currently, I outsource all my printing to a local company in Scottsdale. so these tips may not be completely applicable for someone who does their own fine art printing).

1) Consider your lighting – How is your print going to be displayed? You may not know this, but keep it in mind. Here are some other relevant questions to think about. Will the print have direct lighting or natural lighting? These are important considerations in determining how bright you want your print. Keep in mind, if it is placed in a dark room, the shadows will look almost completely black, and darkness will dilute and dull the colors of your print. If you are concerned it is not going to show up well because of the lighting, you should enhance your colors a little bit to compensate.

2) Test prints – Don’t learn the hard way like I did, paying good money for prints only to discover weeks later that you really don’t like the finished product. I’ve learned to run each image through a rigorous set of test printing. I am not concerned about the cost, my prints are a reflection of my work and they must look right.

3) Paper – Are your printing on glossy or matte? Perhaps you print on canvas. Each individual printing surface has a slightly different color and each also showcases the colors differently. The sharpness of an image is affected by the kind of paper you are using. Some papers have a yellow tinge that must be accounted for in your editing. Other papers can enhance or slightly dull your colors. Your sharpening levels will be different depending on the size and kind of paper you use to print on as well.

4) Brightness – This is an extension of number one. Make sure you closely monitor the blacks in your shadows. Some printers block up shadows, rendering a darker black with less shadow detail. This is a subtlety that an artist can initially overlook caught up in the moment of enjoying his or her print. Make sure you compare the shadow detail of your physical print to that on your finished electronic file.

5) Clipping – Clipping is the loss of information due to overexposure resulting in a concentrated area of pure white in your photograph.  However, clipping can occur during the editing process as well, which is what I describe here. If your print comes out slighty dark and you lighten it, you must be aware very small sections of that image that could potentially clip during this time. This is a process where you must physically scroll over every inch of your photograph to ensure its quality. Be aware that lighter colors tend to clip quicker than darker ones, so if you have an image with snow, water or even light grey rocks, these are parts of the image that can be readily affected.

Well, I am wrapping up for now. Hopefully you’ve got something from this and if there is more information that comes to mind I’ll make another post on this subject. For now, I leave you with my best selling prints from this month’s art festivals.

Window of Opportunity

Celestial Alignment

The Magic Place

The Magic Place

Vision of Excellence

Vision of Excellence

5 Photography Tips & Bryce Sunrise 24 x 36 Print

1 Dec

Before we get into the photography tips,  here’s a quick personal update on the latest happenings in my photography world. The first big festival of the winter is upon us and we are making final preparations for a successful show. Our inventory is fully stocked, show pricing is in place, and we have several options of styles including framed and matted prints, notecards as well as canvas giclees.  For this show, we also made a couple of large prints including my bryce canyon sunrise shot entitled, “Celestial Alignment” at 24 x 36. That’s my largest print to date, we just got it home this afternoon and here’s a quick snap shot with me in it to give you a sense of size. Including the matting and frame – the image is 49 inches wide.

One of my showstoppers for Tempe this year. This is a 24 x 36 Lightjet print on FujiFlex paper with distressed gold trim, suede matting, museum glass, and a Southwestern wood frame. For more information on purchasing this piece...please contact me.

Now onto my photo tips. Ron, my contact at Induro Gear,  asked me to submit my top five photography tips and he published that article on the Induro blog earlier this week. You can read it here.

I hope you all had a wonderful Thanksgiving. I apologize for not updating my blog for frequently. This has been an incredibly busy time. You can expect me to update the blog at least once per week from now until the new year.

Michael

Call in the Relief

10 Nov

Michael returned from his trip to Bryce Canyon and Zion National Parks a bit weary and road worn, but with some tremendous new images. While fall colors were somewhat shy of their peak, weather and lighting conditions were quite favorable, allowing him to capture new Narrows images as well as images from the Subway and Kolob Canyon. He and his traveling buddy spent a good deal of time hiking, scouting new locations, and of course, stopping to catch up on the latest sports activities. They also had the good fortune of spending some time with a photographers Michael met through Flickr. It was a personally rewarding trip with a great time had by all.   

 While he was away, Induro, the manufacturer of the tripod Michael uses in his work, had him as the featured artist on their blog. The profile, Michael Greene on Nature’s Trail, provides a brief biography, some details about his photographic style and outlines how he prepares for field work. The blog also showcases several of his best images. It is a great piece, so please check it out.

 Lastly, you may wonder why this blog was not written by Michael. I have the same thought as I wrap it up. We are extremely busy preparing for the Tempe Festival of the Arts. It is one of the largest art festivals held in Arizona and we will have a booth there December 2-4. Stop by if you happen to be in the area! As you can imagine, there is a great deal of work involved in getting ready for a show. We are editing new images, re-editing, having images printed, matted and framed, as well as a myriad of other duties. My “to do” list included updating the blog, so although I am not as gifted an author as Michael, I do hope you enjoy it.

 Joyce

Understanding the Scene – Colorado Fall Foliage Part 2

9 Oct

Yesterday we ended the first part of this post by talking about the exposure values of the left and right hand side of the scene. For this scene, I simply used a .6 graduated neutral density filter and bracketed my exposures. Because the intensity of the light was changing so fast, my camera was having difficulty accurately metering the scene. The meter was constantly jumping around. 

Eventually, I underexposed the scene resulting in a slightly less than ideal exposure for the darkest values of conifers on the right hand side. Fortunately, this wasn’t a major factor. I still was able to retain very good detail and resolution in the darkest parts of the image although ideally, I would have liked to pull an additional + 1/3 stop out of those values.

Processing

I used two different exposures and processed them the same way in Adobe Camera Raw. I ended up using my lightest exposure because remember, I underexposed the scene, so with the bracketing. this exposure ended up being just about correct anyway.

This is the 100% crop of the darkest shadow values within the scene. You can see I've retained the detail in the conifers fairly well with just a slight drop off in light along the very edge of the frame.

This is the 100% crop of the darkest shadow values within the scene. You can see I've retained the detail in the conifers fairly well with just a slight drop off in light along the very edge of the frame.

When I process multiple raw files, I normally try to keep them as consistent as possible, so I kept the temperature and tone the same for both files here. For this scene, I employed a very cool temperature to help offset the amount of yellow. Following that, I open both images in Photoshop and copy the  dark exposure on top of the correct exposure. I then used a layer mask to blend the exposure, specifically the “hot” aspens on the right side of the frame. Once the blend was completed, I saved the file and started with general contrast adjustments to the entire scene. This was a basic levels adjustment.

For this scene,  I wanted to open up the shadows a bit more to accentuate the reflection of the conifers. I used the shadow/highlights feature to complete that. I normally don’t use this  feature, simply because it can be very destructive and give your images an unwanted “HDR” look where everything gets dimples so to speak. I created a copy of my background layer and then carefully scrutinized the results before moving on.

Once I was satisfied with that, I started working on selectively adjusting the contrast within the scene. The largest area of contrast that needed adjusting was the foreground, which was much too light. Once that was completed, I moved onto the reflection in the lake, specifically in the middle of scene.Following that, I moved onto a few other areas within the scene,  most notably the yellow highlights and dark greens far up on the mountain.

Once I finished the contrast,  I started selectively adjusting the color. The one thing I normally like to do is to pull cyan out of the image. Here, I performed that in the yellows channel. What that did was give the yellows in the aspens just a bit of an orange tinge to them, making them in my opinion,  more appealing. Finally I saved the master image, and reduced and sharpened for the web.

Web Sharpening

This image was fairly tedious to sharpen for the web. The greatest obstacle here was the peak, which almost continually was showing haloing, probably from sharp shadows on its edges. It took several attempts before I was satisfied with my results.  I used several adjustment layers of sharpening, turning them all off for the sky and peak. Generally speaking, foliage doesn’t sharpen well for the web. So be very careful when sharpening items like pine and aspen trees. Less is normally more here. That is pretty much it!  I hope this tutorial is helpful to you and if it is,             please let me know. Also,  feel free to email me if you have any other questions. Have a wonderful weekend.

Michael

Day Four – Tips, Techniques, and Insight into Making Stunning Photos

20 Sep

Today we will talk about one my more recent images, taken at Bryce Canyon this past May called, “Bad Moon Rising”.

Ambient sunset light glows on the hoodoos, spires, and pinnacles in Bryce Canyon UT while an incredibly orangish-yellow full moon rises in the opposite direction.

 

 Location: Bryce Canyon National Park, UT

Technical Info: Canon 5D MK2, 70 – 200 F/2.8, F/10, ISO 100, 1 second exposure

Filters: .6 Lee GND (Hard)

Processing: Adobe Camera Raw and Photoshop CS4

 Creative Process: This image is really about being at the right place at the right time. When visiting Bryce Canyon make sure you take a full arsenal of lenses because you never know what is going to inspire you next. I was shooting in the other direction when my fiancée informed me the moon was coming up.

I quickly scrambled to this view-point, composed the image, added a grad to reduce the light in the sky, and began taking pictures. During that time, one thing I kept in mind was the amount of exposure time. I knew I needed to have a relatively short exposure because the moon was rising over the horizon very quickly. I didn’t want it to be blurred during capture.

Most of the time, I have a default aperture I use when taking pictures. This varies from lens to lens and according to the focal length of the scene. For standard shots such as this with my 70-200 F/2.8 lens, I like to use an F/10 aperture. I believe this gives me the clearest image at any aperture setting on the lens. Using the higher aperture allows me to take quicker photos with less exposure times. I kept the ISO at 100 and was still able to have just a one second exposure. I was also bracketing my shots.

 I used two exposures to blend this image. For my base image, I used the image correctly exposed for the moon and sky. I then blended in the brighter exposure – accurately depicting the colors of the hoodoos, rocks, and trees. Initially, I began processing in the opposite direction, trying to use the base image as the one for the rocks and blend back in the moon. However, the moon was moving during capture and from frame to frame, so I was unable to successfully blend that way  – leaving me with a halo around the moon from where it had moved.

Like many landscape images, this was a spontaneous one. There wasn’t any real location scouting or planning. It is important to be flexible and keep an open mind for opportunities and be ready to take advantage of them when they do arise. Also, I am in the initial stages of offering a 3 day workshop to Bryce Canyon in the summer of 2011. Check back on my website  later this week for more details. I hope you found this article informative.  helps. Please contact me  if you have any other questions.

Day Three – Tips, Techniques, and Insight into Making Stunning Photos

19 Sep

Today, we are going to examine the creation of one of my favorite images of last year called “The Master of Light”.  This is certainly not a personal reference, but a divine one.

Fading sunlight illuminates the huge meadows surrounding the Bechler River in Yellowstone National Park.

Location:  Yellowstone National Park, WY

Technical Info:  Canon 5D Mk2, 24 – 105 F/4,  F/22,  ISO 50, 4 second exposure

Filters:  Hoya Warming Polarizer, .9 Singh-Ray GND (Soft), .6 Lee GND (Hard)

Processing: Adobe Camera Raw and Photoshop CS4

Creative Process: I arrived to view this scene shortly before sunset after a day of backpacking through Bechler River Canyon. It was a virtually cloudless day until I saw a storm developing in the distance around the Grand Tetons. We had crossed this meadow on the way into the canyon so I was familiar with the area. I knew I wanted to condense the size of the massive meadow and try to  make the mountains an integral part of the composition. I framed the back side of the Grand Teton between the trees and used the cattail as the foreground to frame the river. I maxed out the focal length on my lens and loaded on several filters.

I used the polarizer to reduce the glare of the water and bring extra contrast to the sky. I then used several graduated neutral density filters to reduce the brightness in the sky into a manageable dynamic range. Because the light was the best almost immediately when I arrived upon the scene; I didn’t have much time to work. I was able to capture two different frames before the meadow fell completely into shadow.

I used the low aperture and ISO to lengthen the shutter speed as much as possible, wanting to smooth out, yet show movement in the water. Because the storm was gathering quickly, you can also see movement in some of the clouds as well. Overall, it was one of the better scenes I captured in 6 weeks in the park and I am looking forward to spending more time in this area in the future. If you have any questions regarding this image or any others please feel free to contact me anytime.

%d bloggers like this: