As an aspiring landscape photographer, I have the opportunity to explore less traveled parks and remote wilderness areas. This blog shares of my "notes from the field," including photography techniques, hiking tips and lessons learned the hard way ... like the time I fell through the ice in the Merced River, Yosemite National Park. I welcome your comments and thank you for visiting our site. Marcus W. Reinkensmeyer, Field Photographer
Photo Tribute to the People of Boston
In the aftermath of the tragic Boston bombings, our thoughts and prayers are with the many victims and their families. Sadly, media images of this unthinkable act of terrorism haunt us all, also conjuring memories of September 11. A heightened awareness of national security has returned, somehow uniting the nation in this time of deep mourning.
Against this dark backdrop, after considerable thought, I am posting a few earlier photos from the Greater Boston area. These images are presented as a small, but sincere tribute to the bombing victims and the fine people of this truly historical American city. These scenes are from better days, an era we can only hope to recapture – at least in part – with the healing of time.
I’ve had the distinct pleasure of visiting Boston twice, both times on business travel and once with the company of our immediate family. During our extended family visit, we packed in lots of sightseeing: The Tall Ships in Boston Harbor, Boston Commons, Harvard, Salem and a Red Socks game at historic Fenway ballpark. 
Greater Boston is home to many internationally recognized institutions, diverse cultures and wonderful neighborhood communities. Like every thriving urban center, Boston is so much more than a collection of civic gathering places and historical buildings. Boston’s institutions were created by dedicated citizens, all for the public good.
Considered to be strong and tough natured, the citizens of Boston built one of America’s world-class cities brick by brick and idea by idea – all through hard work and perseverance. Clearly, their tireless work has been guided by a strong sense of community, innovation and genuine collaboration.
In this quiet hour, the resilient human spirit offers the prospect of hope and restoration, both for the city of Boston and our great nation as a whole.
Marcus W. Reinkensmeyer
Death Valley Landscape Photography: The Race Track
"Our long anticipated trip to “The Race Track” (Death Valley National Park, California) was one of near misses and joyful discovery. First, although the dirt road was in good condition, the dusty drive back to this area seemed to take an eternity. It probably didn’t help that we stopped several times along the way, spending considerable time at the Ubehebe Crater and then at the Joshua tree forest.
NIKON D200,f/29 @ 48 mm, 1/6, ISO 100
Second, and of greater concern, once we arrived at the ancient dry lake bed known as the “Race Track,” we did not see any of the “moving boulders” or other landmarks associated with this area. “Could the boulders all have been washed away, or maybe even moved by poachers?,” we wondered aloud. Surrounded by the Cottonwood Mountains and the Last Chance Range, the area was certainly picturesque, but not what we had come to see.
As it turned out, the touted racetrack is situated on the far South end of the vast lake bed; “just like in the pictures.” Thinking back on the whole scenario, we were all a bit myopic in our initial view of the lakebed. We also had a mistaken sense of distance in this other worldly setting.
Like so many places in Death Valley, there were simply no familiar points of reference to discern distance or a sense of scale. Understandably, even experienced travelers can easily become disoriented and lost in this borderless terrain.
Mysteriously, the movement of boulders across the dry lake bed has created long track marks in the mud, some up to 3,000 feet long. Some track marks form perfectly straight lines, others are curved and a few are appear as curious “zig zag” patterns.
NIKON D200,f/29 @ 52 mm, 1/4, ISO 100
Although no one has actually seen the rocks move, geologists explain that the boulders slide across the dried mud floor when rainfall turns the hard mud into a slick surface. Strong wind is also a factor in the movement of rocks across the flat, unprotected lake bed. Described as “playa,” the dry silt forms remarkably consistent polygonal patterns across the entire expanse of the lake bed.
NIKON D200,f/25 @ 25 mm, 1/10, ISO 100
Irreverently, after a bit of contemplation in this wondrous place, my brother, Brian, declared the theory of the moving rocks to be hoax. He shared some of own conspiracy theories to account for the distinct tracks in the mud.
Brian explained that pranksters or park rangers must have pulled the rocks across the lake bed using long ropes attached to vehicles; or, that the rocks were periodically rolled across the lake bed from low flying aircraft, just like bowling balls, etc. So much for the wonders of nature and our childlike suspension of disbelief …."
NIKON D200,f/16 @ 22 mm, 1/40, ISO 100
Excerpted from From Rock to Sand: Death Valley Landscapes, Marcus Reinkensmeyer, Steve Stilwell and Brian Reinkensmeyer
Mesquite Flat Sand Dunes, near Stove Pipe Wells, Death Valley National Park, California, NIKON D300,f/18 @ 40 mm, 1/30, ISO 200
For more Death Valley images, see Death Valley Sand Dunes.
Upgrading to a Full-Frame Camera: Ownership Costs and Benefits
After long deliberation, I finally made the leap – or arguably the dive – to a full-frame digital camera. With the impressive new generation of full-frame DSLR’s and more reasonable price points, I could at long last justify this purchase in my own mind. I could not be more pleased with my first full-frame camera, the Nikon D800E. That said, the additional costs associated with this upgrade have been substantial, far more than I had anticipated. Not to complain, but outlays for two new lenses, a laptop computer and other items really start to add up …
Reflecting on the upgrade to a full-frame DSLR, it is instructive to consider the Total Cost of Ownership (TCO) and the Total Benefits of Ownership (TBO). While a complete cost analysis is beyond the scope of the article, management accounting principles provide a solid framework in considering the start-up costs, lifecycle plan and business opportunities occasioned by a major camera upgrade.
Total Cost of Ownership
Planning for a full-frame camera purchase, I budgeted for a new wide angle lens to replace my current Nikon DX lens designed for the APS-C size sensor. My calculations also included the sale of the DX lens, quickly sold on Craig’s List.
What I did not contemplate was the need for a longer telephoto lens, given the loss of the 1.5x crop factor with my APS-C sensor camera, a Nikon D300. Surely, I thought, my Nikon 70 -200 mm telephoto lens coupled with a Nikon 1.4 tele-converter will suffice on a full-frame sensor. Not so, I learned, when registering for a photography workshop with some wildlife shoots. With my old APS-C camera bodies, this lens setup stretched to 420 mm with the 1.5 crop factor. On the full-frame camera, however, the same lens set-up provides a maximum focal length of only 280 mm: barely enough magnification to capture a group photo of Moose Elk assembled on a distant hillside at Rocky Mountain National Park. I ended up buying a Sigma 150 – 500 mm telephoto lens to provide that extra “reach.”
Additional costs were also incurred with the purchase of a new computer. Admittedly, my earlier computer (a Dell running Windows XP) had become quite dated, but it still worked well enough with photo files from my 12.2 megapixel DSLR. Photographers with more up-to-date computer gear might not incur this major expense. However, the large digital files generated by a full-frame DSLR may require additional hard drive storage and/or processor upgrades to support a smooth workflow.
The need for additional computer resources is occurs during the creation of large composite images from a full-frame camera. Specifically, this is applicable in creating multi-photo “stitched” panoramic images, HDR images and “stacked” hyper-focal images. Substantial computing power is imperative for efficient retrieval, merging, storage and editing of the enormous multi-photo full frame digital files. With these factors in mind, I opted to purchase an Apple Mac Book Pro laptop computer with a solid state drive.
While individual circumstances will vary, my overall outlay for the full frame camera, lenses and other items was approximately $9,047.
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TOTAL COST OF OWNERSHIP |
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ITEM |
COST |
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Camera Equipment: |
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Nikon D800E |
$3,100.00 |
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Nikon 17 - 35 mm f/2.8 lens |
$1,769.00 |
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Sigma 150 - 500 mm lens |
$1,019.00 |
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Computer: |
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Apple Mac Pro Retina |
$2,799.00 |
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Peripherals |
$300.00 |
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Miscellaneous: |
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Extra battery |
$60.00 |
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86 mm UV filter |
$30.00 |
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86 mm polarizer filter |
$80.00 |
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Hi speed memory cards |
$100.00 |
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TOTAL |
$9,047.00 |
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My overall expenditure was reduced by proceeds from the sale of my Nikon 12 -24 mm wide angle DX lens (used sales price of $650) and will be further reduced by the sale of a Nikon D300 body (estimated value of $625). With these offsetting revenues, the total cost of ownership for my upgrade to a full frame DSLR is $7,772 .
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NET TOTAL COST OF OWNERSHIP |
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Purchase Costs |
$9,047.00 |
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Revenue from equipment sales |
$(1,275.00) |
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NET COST |
$7,772.00 |
For discussion purposes, let us assume that the full frame camera and other equipment will be used over a five year period or longer. This is probably a fair assumption for this Nikon D800E camera body and computer, but the lenses should have a longer period of use. Using these figures without adjustments for opportunity cost or inflation, our cost of ownership for the full-frame camera is $1,554.4 per year or $129.53 per month. If we decrease or eliminate the cost of the new computer and/or lenses, the annualized cost of full frame camera ownership is further reduced.
Missing from this quick analysis are the costs of equipment maintenance (e.g., sensor cleaning ), repairs, extended warranties and insurance coverage.
Total Benefits of Ownership
With this ownership cost estimate in hand, we next consider the Total Benefits of Ownership for a full-frame DSLR. The benefits take into account increases in high value work, accuracy and efficiency, and improved customer service. These benefits must be weighed against the equipment costs, which can also be equated to annual or monthly costs. From my perspective, the full frame DLSR really delivers on all fronts when judged in this framework (no pun intended).
The extraordinarily high quality of full-frame DSLR images is derived from a combination of interrelated factors including larger pixel sizes, increased sharpness and high resolution, low noise and improved color differentiation. These factors are discussed in Ken Rockwell’s informative article, “The Full-Frame Advantage” (2007), which discusses the technical basis and practical implications of full frame cameras.
Full-frame image have ample resolution for creation of large scale prints, be that in the form of prints, canvas wraps or metal. Large scale printing has been one of my key considerations, as I’ve always wanted to present landscape photographs on a grand scale – like that of gallery displayed fine art paintings.
Large photo files generated by the full frame sensor also allow for major image cropping, while still maintaining high resolution files. The photograph from the National Memorial Cemetery, Phoenix, Arizona, was heavily cropped from a full frame photo, still having more than adequate resolution for display. While the cropped version of this scene was not planned in the photo shoot, it turned out to be the best scene of the series ultimately receiving recognition on the Capture My Arizona. 
National Memorial Cemetery, Phoenix, Arizona - Capture My Arizona Photos of the Day, NIKON D800E,f/20 @ 19 mm, 1/15, ISO 200
The opportunity for this kind of creative editing also provides for “close up” fields of view in post processing, in effect extending the length of a telephoto lens.
From a business standpoint, the use of a full-frame DSLR gives rise to expanded lines of photography services, some heretofore reserved for large and medium format photographers.
Final Thoughts
Beyond this kind of cost-benefit analysis and technical considerations, I find a certain “peace of mind” knowing that my time in field is well spent creating the highest resolution images currently possible with a full-frame DSLR. So often, photography travels bring us to places where we may never return or transient moments never to be repeated. Using a full-frame DSLR - the state of the art tool today - affords the photographer an added sense of confidence and a degree of satisfaction not so easily measured in dollars. 
Limantour Beach at Point Reyes, California, NIKON D800E, f/18 @ 40 mm, 1/50, ISO 400
Bootjack Trail, Muir Woods, California, NIKON D800E,f/16 @ 30 mm, 4s, ISO 800
For more photos from the Muir Woods and the Northern California Coast, see California Coastline.
Marcus W. Reinkensmeyer
Lighthouses and Piers: Ten Tips for Coastal Photography
Growing up in Southwest Michigan, I was always intrigued by the rugged lighthouses and piers dotting the Great Lakes shoreline. As a young boy, I wondered about the construction and durability of the piers; massive structures standing strong in churning lake waters.
Grand Haven, Michigan. NIKON D300,f/9 @ 80 mm, 1/30, ISO 200
How did they ever set the support pilings in the deep moving waters? Once built, how could these structures possibly withstand the constant pounding of waves, winter ice storms and the shifting sands of the shoreline.
In my late teens, I came to strongly associate the South Haven and Grand Haven, Michigan, lighthouses with family times at the beach, romantic walks with my girl friend (now my lovely wife, Anita) and the best of times spent in the great outdoors. Experienced with loved ones, the vivid sunsets and pier silhouettes remain as some of my warmest memories. 
South Haven, Michigan. NIKON D300,f/18 @ 24 mm, 1.6s, ISO 200
While all of these early thoughts remain, I have more recently come to appreciate pier structures as powerful visual elements in coastal photography. Although pier structures take on many shapes and forms, all provide a sense of scale on vast expanses of shoreline and water.
Extending from the sandy beach into the ocean or a lake, pier structures draw the viewer’s eye right into churning waters and the dramatic wakes of waves. A longer gaze leads to the distant horizon, often shrouded in clouds and signs of impending weather. 
Pier 60, Clearwater, Florida. NIKON D300,f/9 @ 38 mm, 1/8, ISO 200
Beyond these engaging visual cues, every pier is uniquely situated on a distinctive stretch of waterfront. Navy Pier (Chicago) and the Pier 60 (Clearwater, Florida) stand as busy gathering places, housing bustling food establishments and entertainment. Other piers are less traveled, supporting silent lighthouses and breakwaters.
Dusk is especially intriguing, with the sunset afterglow and a the promise of a pleasant evening ahead on the pier. On the other hand, landscape photographers look forward to next morning's dawn, offering the hope of "golden hour" light and quiet scenes sans the crowds.
Pier 60, Clearwater, Florida. NIKON D300,f/16 @ 28 mm, 13s, ISO 200
Tips and Techniques for Photographing Piers and Lighthouses
1. To avoid the appearance of “leaning” lighthouses and "tilting" vertical posts, keep the cameral perpendicular to the ground. This is especially important when using a wide angle lens. Photoshop can be used to correct lens distortion in a photograph, but this process generally necessitates heavy cropping of the image.
2. Use a bubble level (attached to camera flash shoe) or “virtual horizon” camera display (a very nice feature on some newer model DSLR cameras) to ensure a level horizon line.
3. Use a lens hood to prevent or at least minimize ocean water overspray onto the camera lens.
Ventura Pier, Calfornia, NIKON D300,f/16 @ 95 mm, 8s, ISO 2004
4. Frequently check lenses and lens filters for overspray, condensation and fogging.
5. Experiment with different exposure times to capture varying depictions of water movement. Long time exposures (1/2 second and longer) can be quite effective in showing the blurred motion of cascading surf, whereas short exposure times (1/500th of a second and faster) will “freeze” the image of crashing waves.
Gulf coast before Hurricane Katrina, Biloxi, Mississippi, NIKON D70,f/25 @ 55 mm, 0.6s
6. Avoid getting salt water on your tripod legs, as it can quickly fuse tripod fittings and telescoping legs. If you “must” go into tidal pools and wet beach areas with your tripod (as I am often prone to do), be sure to thoroughly rinse the tripod with fresh water immediately after the shoot.
7. Use a graduated neutral density filter (.3, .6. or .9) to darken bright sky area , creating more consistent exposure levels from the foreground to the distant background in the scene.
8. Seek to capture dramatic lighting conditions most likely present at dawn, dusk, and the “golden hour, ” using cloud filtered sunlight as available.
9. Experiment with the use of a circular polarizer to reduce or eliminate glare on the water and to darken the sky areas of the image.
10. Set camera for the optimum white balance mode, taking into account color temperatures of artificial pier lighting and sky conditions. This is another area for experimentation and frequent reference to the DSLR display.
VIDEO: Setting DSLR white balance in pre-dawn light at pier with artificial light. Ventura, California
All of these years later, I am still drawn to lake and ocean waterfronts, piers and lighthouses. Photography adds another dimension to waterfront visits, allowing us to bring home a small two-dimensional visual reminder of the shoreline. Now, if we only could only capture the distinctive scent of seawater, the endless sound of crashing waves and the touch of wind ...
South Haven, Michigan. NIKON D300,f/8 @ 195 mm, 1/250, ISO 400
For more on coastal photography, see:
Natural Coastline Shift: Big Beach, Maui, Hawaii
Marcus W. Reinkensmeyer
Deep Freeze Landscape Photography: Images from Flagstaff, Arizona
- "When there's snow on the ground, I like to pretend I'm walking on clouds."
Over the holiday season, we were privileged to spend some time in snow-covered Flagstaff, Arizona (elevation 6,910 feet, 2016m). This has become a favorite annual family trip: a time to unwind, recharge and mentally prepare for another busy year ahead.
Capture My Arizona Photo of the Day, NIKON D800E,f/20 @ 24 mm, 1/160, ISO 640
The truth be told, having relocated from the mid-west (Michigan and Illinois) to the High Sonoran Desert (Phoenix), we always felt a sense of guilt about our “kids” – now young adults – missing the change of seasons. We wanted them to experience the wonders of wintertime: snow, icicles and sledding. All these years later, we’ve graduated to snow shoeing, something we never tried back in Michigan. Go figure … 
Our most recent visit to Northern Arizona was everything I had hoped for and more, especially for winter landscape photography. The night before our visit, Flagstaff was blanketed with 17 inches of snow. We had fresh snowfall each night, making our drive up a long hillside driveway quite an adventure … shovels and all.
NIKON D800E,f/18 @ 200 mm, 1/80, ISO 200
That said, the biggest photography challenge was the intense cold. I always like to get out early for the wonderful pre-dawn light, seeking to capture a bit of pink Alpenglow on the San Francisco Peaks mountainside (12,635 feet, 3,851 m). Venturing out into “the field” wasn’t really so hard, but it was tough standing in the snow very long with morning temperatures of 3 – 7 degrees F. Add a bit of wind chill factor and the very best weather gear can’t seem to block the cold. 
Yes, I ran into all of the winter photography problems you might anticipate: fog on my lenses, frost and condensation on the camera display screen, filters dropped into snow, frozen tripod legs and on and on. Honestly, it was like a comedy of errors at times, all in the midst of winter wonderland. In my defense, it’s kind of tough working small cameral controls with two pairs of gloves, a head lamp affixed to a stocking hat and numb fingers.
NIKON D800E,f/22 @ 50 mm, 1/30, ISO 250
A steaming cup of hot chocolate never tasted so good after returning from my morning photography trek. After hot brunch and some family time, afternoons were a bit better with temperatures in the low to mid 20’s. Still, stepping into shady wooded areas, it certainly seemed a lot colder than that.
Our side trip from Flagstaff to the Grand Canyon was much of the same: Incredible photo opportunities with stormy winter skies, but cold to the bone. The bite of cold air was most intense at the open South Rim vista points, especially at sundown - the time which every photographer relishes for that magical "Golden Hour" sunlight. 
Despite the freezing weather conditions, it was all so worthwhile given the images and wonderful memories we brought back from Northern Arizona.
NIKON D800E,f/18 @ 135 mm, 0.5s, ISO 200
For some winter photography tips, see Yosemite Winter Landscape: Photography Field Notes and Snow Laced Grand Canyon Winter: A Celebration of Light.
Marcus Reinkensmeyer
Image from an earlier trip to Flagstaff, near Kendrick Park. NIKON D200,f/20 @ 12 mm, 1/6, ISO 100