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

www.mwrphotos.com

"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. 

www.mwrphotos.com 

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.

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 .

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

http://www.mwrphotos.com

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 (1/500^th 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

www.mwrphotos.com

 

"When there's snow on the ground, I like to pretend I'm walking on clouds."

Takayuki Ikkaku, Arisa Hosaka and Toshihiro Kawabata, Animal Crossing: Wild World, 2005

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

www.mwrphotos.com    

Image from an earlier trip to Flagstaff, near Kendrick Park.  NIKON D200,f/20 @ 12 mm, 1/6, ISO 100

"Yosemite Park is a place of rest, a refuge from the roar and dust…of the lowlands, in which one gains the advantages of both  solitude and society. Nowhere will you find more company of a soothing peace-be-still kind. Your animal fellow-beings, so seldom regarded in civilization, and every rock-brow and mountain, stream, and lake, and every plant soon come to be regarded as brothers; even one learns to like the storms and clouds and tireless winds."  - - John Muir, 1902

NIKON D300,f/11 @ 13 mm, 1/200, ISO 400

For aspiring landscape photographers, Yosemite National Park holds infinite opportunities for exploration and creative expression.  Landmarks in this geological wonderland are truly awe inspiring, standing as icons of the great Western landscape.  Vivid images of El Capitan, Half Dome, Bridal Veil Falls and Mirror Lake come to mind. 

At the same time, it is somewhat intimidating to wander in the long shadows of the great Ansel Adams and other world class photographers. Adams resided and mastered his craft in Yosemite, capturing some of the strongest landscape photographs of the twentieth century.   Given this expansive body of work, what more is there to discover and photograph in Yosemite Park?  Plenty, it turns out, with 800 miles of hiking trails and openness to the unexpected.   

And so it was with our first trip to Yosemite:  An exhilarating feeling of adventure, tempered by a sense of uncertainty and reverence for masterpieces of the not so distant past.  

Trip Planning and Murphy’s Law

During winter months, the roads to higher elevations of Yosemite National Park and glacial lakes are closed.  Restricted to the Yosemite Valley area (elevation 3,214 feet), we anticipated short daylight hours with long mountain shadows in the morning and late afternoon.  We carefully mapped out our hiking schedule, referencing two invaluable publications:  Michael Fry’s The Photographer's Guide to Yosemite and Andrew Hudson’s Yosmeite: The Best Sites and How to Photograph Them. 

Despite our best laid plans, Murphy’s Law was in full force from the outset of the excursion. That is to say, “If anything can go wrong, it will.”   First, my otherwise highly responsible brother missed his flight to our rendezvous destination, Fresno, California.  We ended up driving into the park well after midnight, guided by GPS with eight foot snow mounds on both sides of the freshly plowed mountain road (Route 41). 

NIKON D300,f/20 @ 20 mm, 1/6, ISO 400

Secondly, once in the park, we learned that our trailhead road, the North Side Drive, was closed due to winter road conditions and construction.   Thirdly, my brother was suffering from a bad case of the flu - fever, chills and all - which he kindly passed my way. Finally, adding insult to injury, I somehow managed to fall through the snow covered ice on the Merced River bank! Not a drop of water on my camera ... 

Winter Camera Bag and Shooting Techniques

NIKON D300,f/18 @ 12 mm, 1/20, ISO 200

Given the enormous scale of the Yosemite mountains, wide angle (12 -24 mm) and medium range (28 - 70 mm) zoom lenses were our optics of choice. The one exception was Tunnel View, where a 70 - 200 mm lens with a 1.4x tele-converter was ideal for some distinctive profile shots of Half Dome in the waning, pink dusk light. 

Also known as Inspiration Point, this vantage point is a photographer’s dream come true, offering a vast classic view of Yosemite Valley, with distant Half Dome framed by El Capitan and Bridal Veil Falls.      

For most of our photographs, we used a multi-coated circular polarizer filters to reduce glare from the snow, water and rocks.  However, it was often necessary to dial-down the level of polarization to avoid excessive darkening of the deep blue sky.  

Handheld graduated neutral density filters (e.g., .6 and .9) were used to darken the sky in some photographs, balancing the brightness of the sky with that of the foreground.

For some mid-day river photos, we layered a hand held .9 neutral density filter with a polarizer filter, creating long time exposures to “blur” the motion of the cascading water.

Navigating the Snow and Ice

Although the park was covered in deep snow, most roads were well plowed. Still, our drive to Tuolumne Grove (elevation 8,575 feet) was a bit unnerving due to icy road conditions. Naturally guided by the Merced River, we rarely referenced our GPS unit when hiking. Park regulations at times require tire chains and the use of four wheel drive vehicles is strongly recommended. 

NIKON D300,f/18 @ 190 mm, 0.5s, ISO 200

Extremely slick ice slowed down our walking,  both in the Yosemite Lodge area and during our hikes "in the field". The slick walking surfaces were created though a perpetual cycle of melting and freezing, with daily temperature ranging from 12 to 45 degrees F.   We used clamp-on wire cleats (e.g., “Yaktrax”, trademark) on our waterproof hiking boots to gain traction and some peace of mind. 

Although we rented snowshoes, we did not have occasion to use these for our photography treks.  However, the accompanying walking sticks proved to be very helpful, particularly in the deep snow at the Tuolumne Grove. This is a terrific location to photograph the Giant Sequoia (Sierra Redwood) trees.

Early in the morning, we also used Grabber “Peel N’Stick” (trademark) hand warmers in our gloves and boots.     

Final Thoughts                   

Paintings, photographs and literature celebrate the ever evolving character of Yosemite National Park’s dramatic mountain formations, sheer granite cliffs, massive waterfalls, glacial lakes, rivers and giant Sequoia groves.

The park is said to take on truly unique, awe inspiring qualities with each change of season.  I will certainly return to wondrous Yosemite Valley in the quiet of winter. And, likely, for yet another winter visit after that ….  

Marcus W. Reinkensmeyer

http://www.mwrphotos.com/

References

Brower, Kenneth, Yosemite:  An American Treasure, National Geographic Society, 1991. 

Frey, Michael, The Photographers's Guide to Yosemite, 2000.

Hudson, Andrew, Yosemite: The Best Sights and How to Photograph Them,  Photo Secrets  

NIKON D300,f/6.3 @ 70 mm, 1/25, ISO 400

For winter photography and field notes from photographer's state of residence, Arizona, see Snow Laced Grand Canyon and Deepfreeze Landscape Photography: Images from Flagstaff, Arizona.  Tips on photography trip planning are also presented in Whirlwind Photography Trek. 

Tuolumne Grove photo of photographer with walking sticks courtesy of Brian Reinkensmeyer

“The wonders of the Grand Canyon cannot be adequately represented in the symbols of speech nor by speech itself. The resources of the graphic art are taxed beyond their powers in attempting to portray its features. The glories and beauties of form, color and sound unite in the Grand Canyon… It has infinite variety and no part is ever duplicated. Its colors, although many and complex at any instant, change with the ascending and declining sun.”  John Wesley Powell, 1909

NIKON D800E, f/16 @ 125 mm, 1/4, ISO 200

Capture My Arizona Photo of the Day Award

Reporting from the North Pole .... Actually, make that the freezing Grand Canyon, South Rim in Northern Arizona. In fact, the road and highway (Highway 67) to the North Rim of Grand Canyon National Park (Jacob's Lake) are closed from November to Spring due to heavy snows.  It's hard to comprehend this kind of elevation based weather, such a short drive from the high Sonoran Desert area of Phoenix. More interesting yet is the stark contrast to a couple of weeks ago - New Year's weekend - when the canyon was blanketed in snow, ice and low lying storm clouds. 

This is all part of the Grand Canyon intrigue: Ever changing weather and shifting light further dramatize this overwhelming majestic geological wonderland. While every season brings a new celebration of nature, the white dusting of snow and soft winter light add yet another degree of complexity to the intricate layered canyon walls.  

With a momentary break in the clouds, a few buttes bask in warm sunlight.  The magical light of the "golden hour" is fleeting during winter storm season, given the remarkably fast movement of clouds and sporadic snow flurries.   Yet, my memories of these times on the rim remain vivid, conjuring strong visual images along with the unforgettable sense of touch in the cold, the sound of relentless wind and crunch of snow beneath our feet.  

Although the upper trails and shaded areas were still snow packed, little snow remained on the canyon walls at the time of our mid-January visit. The South Rim elevation is 6,800 to 7,400 feet, with rim edge having a significant wind chill factor.  It was wicked cold, around 3 degrees F at daybreak,  reaching a high of 25 degrees F by mid-afternoon.  While the cold seemed  bearable at first, strong winds in the open rim areas quickly "chilled us to the bone."  

NIKON D800E,f/16 @ 102 mm, 3s, ISO 200

On our last Saturday evening at the Grand Canyon, it was clear, wicked cold and windy on the South Rim edge.  I shot very few photos, mainly due to the rather harsh light and memories of recent, more dramatic photo ops at this same location. 

But not so fast .... Evening graced us with a brief, but intense pink glowing sky just after sundown. In post processing, I found myself reducing the color saturation to make the intense pink color seem a bit more believable.  

It was an evening we will never forget ...

 NIKON D800E,f/18 @ 135 mm, 0.5s, ISO 200 

Below are a couple of composite images created by using a hyper-focal technique; "stacking" a series of photos with different focus points to achieve maximum depth of field.  With the camera set on manual focus at a fixed exposure reading, the lens is manually focused on several points (5 -7 or more points) from the closest object in the foreground to the extreme background (infinity).  

This approach allows the photographer to use the "sweet" spot in lens aperture, e.g., f/8 -f/11, to achieve maximum picture quality and to shoot a relatively fast shutter speeds.  The images are systematically combined in post processing, using Helicon Focus software.

Pink Afterglow at Dusk

NIKON D800E,f/16 @ 86 mm, 0.6s, ISO 200

These particular scenes are from late afternoon at Mather Point on New Year' Eve, in the aftermath of major snowfall. 

Light breaks through heavy winter skies, adding a sense of mystery to seemingly endless layers of frozen geology.  Nikon D800E f/9 @ 70 mm, 1/200, ISO 200.  Capture My Arizona Photo of the Day

 Nikon D800E, f/7.1 @ 180 mm, 1/320, ISO 200.

Capture My Arizona Photo of the Day

For more winter photography, see Yosemite Winter Landscapes: Photography Field Notes and Deepfreeze Landscape Photography: Images from Flagstaff, Arizona.

Your humble frost bitten reporter, 

Marcus W. Reinkensmeyer

www.mwrphotos.com

"Autumn is the second spring when every leaf is a flower."

Albert Camus,  French journalist and philosopher (1913 - 1960)

What a difference a few months makes, particularly given the dramatic change of seasons.  Last Spring, we hiked and photographed the West Fork Trail at Oak Creek Canyon, near Sedona, Arizona.  A dusty path bordered by lush greenery, with Oak Creek supporting vibrant plant life. Such a sharp contrast to our Autumn visit, just a couple of weeks ago.

This time, we found our familiar trail transformed into a celebration of Fall color, with golden leaves visible in every direction.  The leaf covered path was particularly enchanting, forming a rich visual treat and endless photography opportunities.  To top things off, we were greeted with the distinct scent of autumn. For me, the strong sensory overload brought back warm memories of crisp Autumn days in my home state of Michigan, family and friends. 

NIKON D800E,f/22 @ 17 mm, 2.5s, ISO 200

Reflecting back on this memorable day, I did not shoot as many photos as usual. I lost some time cleaning lenses and adjusting my digital SLR settings, something I should have done back at home.  Also, I took a bit more time than usual with composition and exposure, striving to capture the essence of the Autumn scenery from some fresh perspectives. Beyond that, I really enjoyed hiking and conversation my daughter, Katie, her husband Todd and their precious puppy, Lily, on her first major outing. 

Just a few notes on the photography and hiking:

- This was my second opportunity to experiment with a "hyper focus" technique, shooting a series of images of the same scene at different focal points to capture the maximum depth of field.  The photos are captured using manual focus. The approach requires that the camera be mounted on a sturdy tripod (with no movement in the scene) and that the exposure be locked in at a single setting for the complete series of images.   Using Helicon Focus software, the stacked images are combined to create a composite image with full depth of field.  The second and third photographs shown here were created using the Helicon Focus software, combining a series of six photos for each final image. The first image is a single photo taken directly from the camera. 

- Even though the forest seemed dark and we had indirect lighting a good part of the day, use of a circular polarizer was imperative to eliminate glare on the damp leaves and rocks. 

- In attempting to photograph the leaf covered path and tall trees, I found myself drawn to vertical format images most of the day. 

Nikon D800E f/8 @ 28 mm, 1/13, ISO 400 - composite image

- A few miles into West Fork is a wonderful "narrows" area, with tall canyon walls on both sides of the Oak Creek. Venturing into this wondrous area requires a bit of river walking in extremely cold water at this time of the year. We've found that neoprene socks and water shoes can make this freezing water a bit more bearable, but the walk is still quite a shock to one's system.

And most importantly,  we've learned "the hard way" to put cell phones, car keys and other electronics in our upper shirt pockets and backpacks when hiking this wet stretch .... 

All in all, another fabulous day in Sedona, enjoying the fellowship of family and exploring  new photography approaches in "the field."  More to follow on the hyper focus technique ....  

- Marcus W. Reinkensmeyer

For more on photographing Fall colors in Arizona,  see Autumn Colors: Hart Prarie Road.

Nikon D800E f/5.6 @ 22 mm, 1/40, ISO 200 - composite image 

"This will remain the land of the free only so long as it the home of the brave."

- Elmer Davis, journalist, author and Director of the U.S. Department of War Information during World War II (1890 - 1958)

In the aftermath of a divisive national election, the American people stand united as one nation on Veteran's Day, 2012.  This series of photos is drawn from two of my most enduring "quiet places" in the Southwest.  These are special places where the only sound is at times a whisper of wind: National Memorial Cemetery of Arizona located in the open desert in Northeast Phoenix and Wesley Bohlin Plaza (adjacent to the Arizona State Capitol), Phoenix, Arizona.

Some years, we would bring our children to these memorial sites, say on Veteran's Day or the Fourth of July, hoping to instill a sense of history and patriotism.  Great memories of these national holidays linger in my mind to this day. I think our three grown-up "children" would say the same or at least that's my earnest hope.

For some twenty years now, the National Cemetery has also been one of my half-way destinations for long Saturday bike rides on Reach 11 Recreation Area. Exhausted from the rigorous ride,  I've always found this to be an ideal rest stop and a place to light for a bit of quiet reflection. 

Our heartfelt thanks goes to the dedicated men and women in uniform, those who tirelessly defend our great nation and the freedom which we so often take for granted.  MWR

Bottom image named Capture My Arizona's "Photo of the Day," November 14, 2012. 

A couple of weeks ago, we traveled to Sedona to capture some autumn colors in Oak Creek Canyon.  As it turned out, it was still quite warm and we were way too early for the colors. One of the friendly volunteers at the Sedona visitor center suggested that we instead head up to the higher elevation mountains in Flagstaff (elevation 8,500 feet). After passing through Flagstaff about an hour later, we were most grateful for this great advice.

Image voted Capture My Arizona's "Photo of the Day"

Just outside of Flagstaff, we found several dense Aspen groves in early Fall transition. These areas displayed an intriguing interplay of green and yellow-gold leaves. 

Driving slowly along the ten mile Hart Prairie Road loop (FR 151), it was delightful approaching intense color bursts from the distance - along the roadside, up a hillside and crisscrossing a man made fence line. 

The real surprise of the day came near the end of the drive, a few mile before we returned to main road (SR 180).  There, a vast Aspen grove had come to life along a mountainside previously ravaged by fire. The Aspen foliage seemed particularly radiant, given the intense late afternoon back lighting.

Taking all of this in, I was once again struck by nature's power of regeneration and the cycle of life.  Given all of the forest fires across the Southwest United States this past summer, it was encouraging to see the this new life and resilience of nature. The cycle of life, celebrated in every change of seasons.

In one of the quiet and nearly windless Aspen Groves, I also the opportunity to experiment with a hyper focus technique, shooting a series of images of the same scene at differing focal points to capture maximum  depth of field. The images are captured using manual focus.

The hyper focus process requires that the camera be mounted on a sturdy tripod (with no movement in the scene) and that the exposure be locked in at a single given setting for the complete series of images.

Using Helicon Focus software, the images are intelligently combined to create an image with full depth of field.

Although I am still experimenting with this process, the results of this photo shoot were pleasing.  I have much more to learn about this whole process and will provide a follow-up posting.

Another memorable autumn day in Northern Arizona ... 

For more Arizona autumn colors and hyperfocal landscape images, see West Fork Trail, Oak Creek Canyon, Sedona, Arizona: Part 2 - Autumn. 

Image created using a series of seven photographs with different points of focus, intended to capture the maximum depth of field from the front to the back of the image. Helicon Focus software was used to combine the multiple images, creating this photo.

All images captured with Nikon D800E camera. MWR

An Independence Day tribute:  The American flag flying proudly in the Windy City, Chicago.

NIKON D200,f/7.1 @ 200 mm, 1/180, ISO 160

Yesterday, I had opportunity to spend a full day at one of our favorite hiking locations, West Fork Trail in Sedona, Arizona.  I’ve been to this idyllic location many times, both for family hikes and for photography excursions.

NIKON D300,f/16 @ 28 mm, 1/60, ISO 200

Yesterday’s  solo trip was a first for me, however, as I had ample time and the weather was agreeable for a deeper foray into Oak Creek Canyon, specifically into an area only accessible by river wading.  In my past visits, the creek water was too cold or it was too late in the day to venture into this secluded area, located about 3.5 or 4 miles from the West Fork trail head.   

The photographic opportunities on the West Fork Trail are endless, ranging from soaring “red rock” canyon walls to quiet wildflowers somehow thriving in a bed of rocks. That said, lighting conditions along this trail pose quite a challenge, with extreme lighting contrast between the brightly sunlit canyon walls and large areas of pitch black shadow. Following are a few photography strategies which I tried yesterday during this late Spring trek, admittedly with mixed results:

·        Although I generally favor broad perspective landscapes captured with a wide angle lens, some of my favorite images from the West Fork hike were more narrowly framed using a medium lens (Nikkor 28 – 80 mm).  This approach helped in limiting the high contrast situations created by the steep canyon walls, while also forcing me to more closely “focus” on some of the more unique aspect of the Oak Creek ecosystem.   

·        I made extensive use of a circular polarizer filter to reduce glare on the rocks and the surface of the water.

NIKON D300,f/8 @ 70 mm, 1/160, ISO 400

·        Graduated neutral density filters (.6 and .9) were helpful in darkening the sky for some photographs, but this approach was not always workable given the high canyon walls which run often extend from the bottom to the top of the picture frame.

·        Use of a lens hood is imperative to prevent lens flare and uneven exposures. Even with the use of deep lens hoods, I found it necessary to cup my hand to the side of the lens to block the sunlight in several images. Despite these efforts, several of my images proved to be unusable due to extensive lens flare.

·        Bracketing of photographs and reading of histogram information are a must in the canyon, because of the extreme lighting conditions at Oak Creek Canyon. Also, given the intense sunlight in open areas, it’s hard to accurately view and judge image exposures on the camera display in the field.  

While yesterday’s hike was a total joy, I was a bit nervous about carrying my camera into the river areas and the thought of slipping on the slick moss covered rocks was foremost in my mind.  As tedious as it seems, I found it best to totally pack up my camera when moving down river, not only to protect the gear but also for my peace of mind. This proved so true when I took a very hard fall on a seemingly simple creek crossing near the end of the hike. My wrist, knee and tripod slammed into the wet rocks with tremendous force. While my ego was momentarily bruised,  my camera gear rested safely sans a drop of water, in my camera backpack.

This morning, I’m a bit sore and tired, but grateful for a day on the West Fork Trail -   this time a bit further into Oak Creek Canyon.     

NIKON D300,f/22 @ 19 mm, 1/5, ISO 200

Closing out yesterday’s trip, today I’ll be posting a few of my favorite images from West Fork Trail hike for the Capture My Arizona’s Springtime photography contest.

For an Autumn view of West Fork trail and discussion about a "hyper focus" using Helicon Software, see West Fork Trail, Sedona, Arizona:  Part 2 - Autumn.

MWR 

The final major leg of our Whirlwind Photography Trek was a half day excursion to Alstrom Point,   a dramatic overlook on the north shore of Lake Powell located in Southern Utah. Departing from Lower Antelope Canyon, Page, Arizona,  mid-afternoon, we arrived at Alstrom Point around 4:30 PM.

NIKON D300,f/20 @ 170 mm, 1/6, ISO 200

Alstrom Point is only 40 – 50  miles north of Page,  but the driving time is nearly 2.5 hours due to a 25 mile “off road” segment requiring passage of a wash area and a high clearance vehicle.  Detailed road maps and information on road conditions are available at the Carl Hayden Visitor Center (Glen Canyon Dam) in Page.   

The first portion of the off road drive, Road 230 via the small town of Big Water, passes through Grand Staircase Escalante National Monument into Glen Canyon National Monument.   Passing just below Nipple Bench, this is one of the most dramatic areas of badlands and surreal geological formations I have ever seen.  Parts of this drive look like the surface of the moon or another planet, comprised of odd pastel colors, strewn rocks and virtually no plant life. 

NIKON D300,f/20 @ 12 mm, 1/25, ISO 200

Regrettably, our pressing schedule allowed very little photography time in this other worldly area - one we plan to revisit for an extended period in the future.   

The evening at Alstrom Point turned out to be our best photo shoot yet at this particular location, mainly due to heavy cloud cover and dramatic storm formations on the distant horizon.  

Gazing across Lake Powell from Alstrom Point, it is hard to comprehend the enormous scale of the mountains and waterways.  From a photographer’s standpoint, the wide array of shooting options at this location can seem a bit overwhelming. With the sun rapidly setting, all kinds of questions race through my head.  Is it necessary to include foreground in these kinds of photographs, what’s the best way to deal with the extensive black shadows areas and is there sufficient time to create “stitched” panoramic scenes?

My strongest images from this photo shoot were captured with a Nikor 70 – 200m zoom lens, equipped with a circular polarizer filter set at full strength.  I opted to concentrate on one or two distinctive mountain formations (e.g., Gunsight Butte) seemingly afloat in the lake water, attempting to use the ominous black foreground shadows and dark sky areas to “frame” the mountains.  

NIKON D300,f/22 @ 86 mm, 1/5, ISO 200

After shooting a large series of these lake photos, I turned my attention to the stormy sky on the distant horizon and finished off the session with a few moon shoots.  

NIKON D300,f/22 @ 86 mm, 1/5, ISO 200

A hand held .9 graduated neutral density filter was used to darken the sky in most of the images. Unable to use a lens hood due to the graduated filter, I cupped my hand near the upper right side of the lens to block sun rays and prevent lens flare. 

We headed out of Alstrom Point just after dusk, around 7:00 PM, full of excitement but a bit nervous about the rain showers clearly present a few miles to the Northeast. 

NIKON D300,f/3.2 @ 110 mm, 1/160, ISO 200

We made one wrong turn on a dirt road, but quickly made a course correction when none of us remembered crossing what turned out to be an almost impassable steep gulley on our drive into the area.  We arrived back in Page, around 9:30 PM for a late Mexican dinner and endless conversation about our three prime photography locations -  all visited in one long day: the Grand Canyon, Lower Antelope Canyon (slot canyon) and Lake Powell.   

The next morning, on our return trip to Phoenix, we stopped briefly at Horseshoe Bend.  Located about 4 miles south of Page, just off US 89,  this is the scenic location with the Colorado River bending around steep rock formations, backed by the picturesque Vermilion Cliffs.  Although we did not have the optimum lighting for this location at the time of our stop, we managed to capture a few photos of people and some rock details.

We arrived back in Phoenix mid-afternoon on day four of our trip, with a load of photographs and wonderful memories of time spent together in nature. Our only question:  When can return to Northern Arizona to spend a bit more time exploring and photographing the iconic Southwest Landscape?    

The rest of the photo excursion recap:

• Part 1 Whirlwind Photography Trek: Arizona and Utah
• Part 2 Havasupai Falls
• Part 3 Grand Canyon
• Part 4 Lower Antelope Canyon

My sincere thanks to all who cast a vote for this photo, named Capture My Arizona's Photograph of the Day.  We were fortunate to capture this image with a Nikkor ED AF-S VR 1:2.8 G 70 - 200 mm  zoom lens at Hopi Point - an overlook located on the South Rim of the Grand Canyon -  during our recent four day Whirlwind Photography Trek  to Northern Arizona and Utah.  The soft pink sky color appeared just after a rather bland sunset as we were packing up our gear, lasting about 15 minutes before the canyon fell into grey darkness. 

 Nikon D300, f/9@ 70 mm, 0.6s, ISO 200

For more from this location and information regarding hyperfocal landscape photography, see Snow Laced Canyon: A Celebration of Winter Light. 

Capture My Arizona has named Totems at Dawn as the Photograph of the Day.  I was grateful to find this photographs in one of my Monument Valley photo collections from several years ago. Today, I vividly recall this chilly Fall morning, as it was my first guided  jeep tour into the valley. I was meagerly equipped with a basic SLR digital camera (Nikon D200) and two Nikkor lenses. My lack of equipment was offset by a huge dose of enthusiasm,  heading into this wondrous land.   

NIKON D200,f/22 @ 86 mm, 1/125.

After a freezing cold photo shoot at the Grand Canyon, we made our way to Page, Arizona.  Located on the Arizona-Utah border, this small town is a good place to stay for day trips to the iconic Antelope Canyon slot canyons, Lake Powell, Horseshoe Bend, Vermilion Cliffs and Rainbow Bridge.

NIKON D300,f/20 @ 24 mm, 15s, ISO 200,

Located on Navajo Nation land, the slot canyons offer endless photo opportunities and also a great introduction to the other worldly geology of the Southwest. We arrived at our first destination, Lower Antelope Canyon, by mid-day. Our plan was to purchase photographer passes, which allow photographers about two hours of shooting time in this amazing slot canyon without a guide.   As it turned out, this option is only available to photographers with a tripod, who can be accompanied by one “assistant”. 

My brother Brian – a self proclaimed expert business negotiator - made compelling arguments for our party of five to go on the unguided hike, but all to no avail.   He finally struck up a conversation with a nearby canyon guide, who quietly agreed to give our group a two hour tour without the usual wait for the next regularly scheduled tour.

Our Native American guide was knowledgeable about the history and geology of the slot canyons. He also graced us with some haunting wooden flute music from time-to-time, making the whole experience more enchanting than ever.

 NIKON D300,f/22 @ 20 mm, 5s, ISO 200

From a photography standpoint, Lower Antelope Canyon is a truly wondrous location for literal and abstract images of water sculpted sandstone.   The strongest slot canyon images are created using reflected light, which showcases both the interplay of the close canyon walls and the striated rock surfaces.

As so much has been written on slot canyon photography techniques, let me  share some quick thoughts from my lessons learned the hard way: 

·         Because it’s very dark in the slot canyon, it’s best to have a headlamp or small flashlight and to make all of your camera settings before entering the canyon. 

·         Because most of the canyon photos involve long time exposures, the camera “long exposure noise reduction” switch should be set to “on”.   The in-camera processing seems to take an eternity, especially for the long exposures, but the resulting improvement in image quality is well worth the wait. Also, some of this “extra time” in the field may be regained in post processing.  

·         Given the close quarters of the slot canyon, wide and mid range lens seem to work best. It can also be pretty dusty in the canyon, so I’ve found it preferable to start the hike with my wide angle lens (Nikkor DX 12 – 22 mm) and to not change lenses unless absolutely necessary for a particular shot.

·         Use of a circular polarizer is a must to reduce glare on the polished surfaces of the canyon walls. This make the shooting a bit tougher, as the polarizer renders images very dark in the view finder and longer exposure times are necessary given the light reduction rendered by the polarizer.

·         To eliminate random overhead skylight and lens flare, a lens hood should be used at all times. The lens hood will also protect the front of your camera lens from accident bumps and scrapes on the tight canyon walls.

·         This will sound so elementary, but double check your camera view finder to make sure that no tripods legs are in your photographs. A few of my best shots have been ruined due to the accidental inclusion of tripod legs, both of my own tripod and those of other otherwise respectable photographers.  

·         As a general rule, it’s best to avoid the inclusion of skylight and direct sunlit areas in slot canyon photographs. Although the bright lit areas are wonderful to see in the camera viewfinder, in actual photographs they are invariably overexposed (burned out) in comparison to the mid-tone and dark shadow areas of the lower canyon walls. Exposures should be taken from the brightest “highlight” areas, to avoid total burnout. Some of the richest colors and surface textures can be in found in areas adjacent to the canyon walls awash in direct lighting.

·         Although multiple exposure require some additional time and patience, we’ve found it best to auto “bracket” for 3 -5 exposures of each scene. Yes, these additional shots take more time and there is so much to shoot in the canyon, all in a limited amount of time. Perhaps, this has been my greatest  area of growth: Slowing down and having the presence of mind to capture a few “keeper” photos as opposed to a large series of flawed images … Or at least I can only hope … 

-  Photography team gazing down steel ladder, preparing for another descent into the slot canyon. 

Located “just down the road” from Lover Antelope Canyon is a smaller but none the less dramatic ground level Upper Antelope Canyon. Time permitting, it is very worthwhile to visit both slot canyons. The upper and lower canyons offer different kinds of hiking and photo opportunities, especially with the overhead sky light shifting during the course of the day and also from season-to-season. Logistics are a bit more challenging in the narrow descents of Lower Antelope Canyon, but the hike is manageable due to well designed steel staircases.

By mid afternoon, we were heading over the Utah border to Alstrom Point, a cliff area overlooking Lake Powell, for sunset photography ….

Our travel itinerary and images from the four day Whirlwind Photography Trek to Northern Arizona and Utah.  

 - Photographer and team entering Lower Antelope Canyon through a ground level crevice on the plateau. 

Featured in Shutterbug magazine, "Patterns of Nature," this photograph is part of a large abstract study series from Death Valley National Park, California.

For his visit (July 2012), I opted to explore  one section of the vast Mesquite Flat Dunes,  as opposed to making various day trips across the enormous park.

This more "focused" approach allowed me to photograph the dune formations in "Golden Hour" morning and evening lighting conditions over a three day period.  

Honestly, some of the treks into the dunes were exhausting, due to unpredictable windstorms and the unrelentless heat (114 degrees, F). That said,  the whole approach proved to be even more exhilarating and productive than I had contemplated. The only question, now, is when can we return to the dunes for an extended stay? 

"Wind is the sculptor of these sand dunes in Death Valley. Marcus W. Reinkensmeyer made this photo at sunset with a Nikon D300 and a Nikkor AF-S 12-24mm lens and a B+W polarizer with the rig atop a Gitzo G1325 tripod. Exposure was f/14 at 1/20 sec."  Shutterbug.

Our Grand Canyon visit was brief  - approximately 18 hours – but highly productive in terms of landscape photography. Traveling from Havasupai Falls,  we arrived at the Grand Canyon National Park entrance (South Rim) around 3:30 PM.  Our first stop was at Yaki Point for a brief hike down the Kaibab trail. This hike was for the benefit of our out-of-state guests, mainly to get a sense of the canyon trail descent and the amazing layers of exposed geology along the way.

NIKON D300, f/5@ 200 mm, 1/100, ISO 200

For the evening “Golden Hour” photo shoot, we set up at Hopi Point, an especially photogenic rim location on the West end of the park.  Our greatest challenge was finding  a parking spot, as this popular area was overflowing with cars and people … even in the January off-season.

Initially, I was disappointed to see clear blue skies, without a cloud or a hint of pattern. As it turned out, however, the early evening winter cross lighting bathed the canyon walls in warm tones, rendering a high level of detail. 

Just after the sunset, as I was starting to pack my camera bag, a horizontal layer of vivid pink color appeared in the sky. This cast a distinctive reddish light on the canyon walls, akin to the alpenglow seen on the summits of snow covered mountains at sunrise or sunset.  Fortunately, the pink sky remained for approximately 20 minutes, allowing us to set-up and capture some fresh canyon images in the warm light.

 NIKON D300, f/9@ 130 mm, 0.5s, ISO 200

The next morning came around quickly enough, as we set up in the pre-dawn light at Yavapai Point at approximately 6:30 AM. Our challenge here was the intense cold and strong winds at the fully exposed overlook - elevation approximately 7,000 feet (2,135 m). It was 17 degrees, but actually felt much colder given the wind chill factor.   We found it helpful to place Grabber “Peel N’Stick” (registered trademark) hand warmers in our gloves and boots.

Convertible mittens with “fingerless” gloves are also “a must” for operating camera and tripod controls in freezing conditions.  A new “Etip” (registered trademark) glove made by The North Face is designed to allow gloved operation of cell phones, cameras and other electronic devices. We have not had an opportunity to test this product.

Although we noted some bands of clouds in the Eastern sky, the sunrise seemed to occur very quickly.  Whole sections of the canyon were suddenly transformed from dark shadows and soft purple tones to an intense red-orange color, almost too bright to photograph. After shooting a few wide angle vistas, I switched to my Nikkor 70 – 200 mm lens, seeking to capture more tightly composed images of a single mountain ridge and the interplay of shadows on a canyon wall.  The resulting images lack the classic landscape foreground and middleground layers, but in some ways better depict the dramatic transformation from pre-dawn to blazing daylight.

 Photographing the Grand Canyon in these rapidly changing lighting conditions, it’s hard to comprehend and even more difficult yet to capture the vastness of the canyon. On my first few trips to the canyon, I somehow felt a bit guilty and  “lazy” setting up my tripod at the touristy overlooks areas. After all, we photographers often look askance at the “drive by” shooters lined at roadside pull-outs, especially with the firing of automatic flash units. 

NIKON D300,f/4.5 @ 98 mm, 1/80, ISO 200

Having just returned from Big Sur, California, I have a new appreciation for such “convenient” photography locations. While a hike along the coastal cliffs can afford new perspectives, some of our favorite photographs from the California trip were, in fact, shot from designated roadside pull-offs. And so it is with the Grand Canyon, one of the world’s seven wonders offering unsurpassed photography opportunities,  both top side on the rim and on less traveled trails. 

A few other notes regarding canyon photography:  Circular polarizers are a must at the Grand Canyon and the Southwest generally, as they reduce glare on canyon walls and help to cut through the haze. The only caution is to guard against overly dark blue skies, by dialing down the level of polarization. We’ve found it’s best to shoot a series of any given scene with full and partial polarization.  Use of  lens hoods is also strongly recommended to eliminate stray light and lens flare in cross lighting situations. 

NIKON D300,f/11 @ 200 mm, 1/30, ISO 200

We also found it helpful to use handheld .6 and .9 graduated neutral density filters, to darken the  skies and create more even overall exposures. Finally, I’ve found it most worthwhile  to bracket for 3 – 5 exposures of each scene, using the auto bracketing function on the camera.  Because it’s difficult to view the photographs on the small camera display in the field, the photographs with best exposures are better identified on computer monitor in RAW mode.   

Numb with coldness and wind burned to the max, we headed out of Grand Canyon National Park around 8:30 AM.. That said, my brother Brian and I left the park with a great sense of satisfaction, having experienced another unforgettable morning at the South Rim.

Next stop …. Page, Arizona, for a visit to Lower Antelope Canyon, Lake Powell and iconic Horseshoe Bend.

Our travel itinerary and images from the four day Whirlwind Photography Trek to Northern Arizona and Utah.  

Our one and half day photography excursion to Havasupai Falls was fast paced and energized, offering a few surprises along the way. In planning the trip, I advised our group that the falls would not be as scenic as those depicted in earlier photographs, due to a major flood which ravaged the canyon in 2008.

Fortunately, I stand corrected.  Yes, areas of the canyon were damaged and portions of the iconic waterfalls were, in fact, destroyed in the flood.  Yet, nature has a way of rejuvenation and healing transformation. New waterways and plant life abound downstream from the old Navajo Falls, the area most heavily impacted by a massive mudslide. The newly formed Rock Falls (Lower Navajo Falls) are an enchanting oasis in the making.

Our party arrived at the Haulapai Hilltop trail head (elevation: 5,200 feet) at sunrise, around 7 A.M., having lodged at hotel in the small town of Seligman on historic Route 66 (approximately 85 miles to the Southeast).   The first photo opportunities came less than a mile down the trail, with warm sunlight illuminating some buttes in the distant vista.  Much of the 8 mile trail to Supai Village is along a meandering, rock strewn wash. In several stretches of the trail, we found ourselves hiking in the shadows of tall canyon walls.  These are great areas for wide angle photography, with warm indirect light reflected from the canyon walls.

Rock Falls (Lower Navajo Falls) NIKON D300, f/11 @ 95 mm, 4s, ISO 200

We arrived at Supai Village (elevation: 3,195 feet) in the late morning, got our hiking permits and lunch, and were on the 2 mile trail to Havasu Falls by early afternoon.  We explored and photographed the newly formed Rock Falls area, both on the way to and from Havasu Falls.  However, our best photographs of this area were captured early the next morning, with gold-orange canyon wall reflections on the terraced stream leading from newly formed Upper Navajo Falls to Rock Falls.  

Before the 2008 flood, Havasu Falls (elevation: 2,800 feet) had a distinctive split flow, creating two cascades.  Havasu Falls now flows from one side of a notch, with the water flowing in a single cascade. Parts of the travertine pools were also destroyed in the flood, but the pool areas seem to be rebuilding with rapid accumulation of  calcium carbonate deposits.   In the aftermath of these changes, Havasu Falls remains  a truly scenic place beyond description. Still in my mind today: the vivid sound of cascading water and the sight of crystal clear blue-green water ... soaring canyon walls.

Havasu Falls in 2008, before the flood, NIKON D70, f/20 @ 22 mm, 2 secs

The other unexpected part of the trip wasn’t so fun. The next morning I was stung by a Scorpion not once, but four times. A painful leg injury, but no allergic reaction per se.  An elderly resident of Supai Village recommended that I make a paste of Cottonwood bark and apply this to the stings.  Despite skeptical comments from my hiking party, I followed the kind women’s instructions and enjoyed a few hours of relief with every application of the paste. Luckily, we hardly missed a beat in our hiking that day .....  

Also, the helicopter ride ($85 one way) out of Supai Village proved to be a mixed bag. Lasting 10 or 12 minutes, the ride from the village to the trailhead (Haulapai Hilltop) affords a fresh bird's eye view of the canyon and a real sense of exhilaration. On the downside, we waited four hours for the helicopter ride, as village residents have travel priority. Our party could have hiked out of the canyon in this amount of time, as we did in an earlier visit, capturing some additional photographs on the way. Admittedly, though, we would have been a bit more tired and sore ... 

Havasu Falls in 2012, four years after the flood,  NIKON D300,

 f/14 @ 22 mm, 0.3 secs

Right: Video clip of photographers Brian and Marcus Reinkensmeyer setting up tripods at the Havasu Falls overlook, preparing to shoot time exposure images of the  falls in late afternoon, winter light.  Video courtesy of David Reinkensmeyer. 

Left: Canyon wall reflections at dawn, on stream leading to Rock Falls, NIKON D300, f/18 @ 65 mm, 1/8 secs, ISO 200

Regrettably, our tight schedule and the short daylight hours of winter did not allow us to visit nearby Mooney or Beaver Falls.  An extra day in the canyon would have been most welcome, both to visit these downstream areas  and to photograph Havasu and Rock Falls under different lighting conditions.  

The Havasupai Falls were the first leg of our high charged four and half day Whirlwind Photography Trek: Northern Arizona & Utah - Part 1.  See our new on-line gallery in the works, presenting photographs from the expedition.   For discussion regarding river walking and hyper focal landscape photography techniques, check out West Fork Trail, Oak Creek Canyon, Sedona, Arizona: Part 2 - Autumn. MWR