" A Delicate Arch"
January 2015 - Arches National Park, Utah
Afternoon light
Canon 5D, Mark II; 60mm; ISO 200, 1/100 @ f/11
Arches National Park lays claim to over 2000 stone arches. These structures were carved by the differential erosion of the Entrada Sandstone formation. The Entrada Sandstone was deposited 180 to 140 million years ago in a succession of mud flats, beaches and sand dunes. This was the earth's Jurassic period--age of the dinosaurs. Ironically, these layers of red, silty sandstone remained buried until the great extinction event, 65 million years ago, when uplifting began. Today they sit approximately 4000 feet above sea level.
Photo Tip - This is when you want a person to walk into your shot to convey the enormity of these structures. Morning or afternoon light is best for picking up the colors and textures.
"Morning Clouds Lifting"
January 2015 - Moab, Utah
Canon 5D, Mark II; 105mm; ISO 400; 1/250 @ f/8.0
Not all of the great landscapes are within the National Parks. This is an example. On the back side of Arches National Park, Highway 128 winds along the Colorado River. It is worth spending a day outside the park exploring the surrounding area. I have "found" some of my best landscapes this way.
"Sinking Ship Aglow"
November 2010 - Bryce Canyon National Park, Utah
Sunset
Canon 40D; 56mm; ISO 400; 1/20 @ f/4.5
Bryce has spectacular panoramas around every corner. I took this classic shot of the "Sinking Ship" formation from Fairyland Point.
Photo Tip: When shooting sunsets, often the best color is away from the setting sun. In this case, I am looking directly east with the setting sun behind me. Also, if you are not shooting RAW, set your white balance to cloudy (6000K) or shade (7000K) for richer colors.
"Morning at Cedar Ridge"
October 2011 - Grand Canyon National Park, Arizona
Canon 40D; 85mm; ISO 400; 1/250 @ f/11
When photographing the Grand Canyon it is tempting to only shoot wide angle panoramas. I like to anchor my shots with a strong foreground element, like this cedar tree. The panoramic view in the background balances out the photograph.
Photo Tip: Get an early start to capture the morning light. Allow an hour to get to Cedar Ridge, just past Ooh Aah Point, on the Kaibab Trail.
"White Sand Desolation"
December 2021 - White Sands National Park, New Mexico
Mid-morning light
Canon 6D, Mark II; 105mm; ISO 125; 1/250 @ f/13
The lighting at White Sands is best in the morning or evening when the lower light angle accentuates the terrain. In the winter you will have a longer shooting window due to a lower sun angle throughout the day. Still, I like to arrive on-site before sunrise to capture the blue twilight (see "First Light, Mesquite Dunes" below)
"Sierra Nevada Portal"
October 2013 - Lone Pine, California
Morning light
Canon 5D, Mark II; 33mm; ISO 200; 1/125 @ f/9.0
Sometimes nature provides the perfect frame. You will find this arch rock off of Movie Flat Road. Don't let Movie Flat Road's unpaved surface deter you. I have driven Movie Flat Road in my wife's BMW (shh!, don't tell). It is well worth the effort despite picking up a little (a lot) of dirt.
Photo Tip: To maximize your depth-of-field, shoot with a wide angle lens (or zoom out) and small aperture (large f/stop). This strategy will allow you to keep as much of the foreground and background in focus as possible.
"First Light, Mesquite Dunes"
December 2018 - Death Valley National Park, California
Morning twilight
Canon 5D, Mark II; 105 mm; ISO 400; 4 sec @ f/8.0
Sometimes the best shots are the simplest. In this case, the patterns in the sand, combined with the blue twilight, present a ready-made artistic composition.
Photo Tip: Have a head lamp in your camera bag, along with a tripod. If possible scout the area, in daylight, so that you know where to set-up. For time-exposures like this, I use a remote shutter release or the camera's timer. You want to minimize any jiggling (technical term) of the camera when releasing the shutter.
"Brilliant Sunrise, Zabriske Point"
April 2014 - Death Valley National Park, California
Morning light
Canon 5D, Mark II; 40mm; ISO 800; 1/800 @ f/11
The human element makes this a more compelling photograph. The people standing before Zabriske's dramatic panorama provide several important elements to the composition: 1) they give the scene scale; 2) they serve as a focal point or anchor; and 3) their presence marks a unique moment in time.
Photo Tip: In Death Valley, if you are willing to hit the road a hour or more before dawn, you can photograph Dante's View as the sun rises and then be back at Zabriske for the perfect morning light. Head next to Badwater to complete the "Trifecta"! Note the strange camera settings--oops!--forgot to change camera settings from Dante's View.
"Sierra's Mountain Embrace"
October 2020 - McGee Creek, California
Midmorning light
Canon 5D, Mark II; 27mm; ISO 200; 1/125 @ f/16
People often overlook this wonderful landscape as they speed by on US 395, headed for Mammoth Mountain. McGee Creek flows into Lake Crowley, 33 miles north of Bishop. To find this Aspen-studded canyon, take the Forest Service's McGee Creek Road up-canyon for just over 3 miles. The road ends at a trailhead about 1/2 mile past the McGee Creek Pack Station. This section of the John Muir Wilderness Area produces spectacular fall colors, arrayed against the dramatic backdrop of the Sierra Nevada mountains.
"Tufa Reflections"
July 2014 - Mono Lake Tufa State Preserve, California
Morning light
Canon 5D, Mark II; 40 mm; ISO 400; 1/180 @ f/9.0
Mono Lake, located near the town of Lee Vining, is one of the many terminal lakes that dot the Great Basin--a large geographic area centered on the state of Nevada. The Great Basin, so named because the water flowing into it cannot escape to the ocean, produces hypersaline alkaline lakes like Utah's Great Salt Lake and Mono Lake. Tufa towers make Mono Lake especially notable and very photogenic. Tufa deposits form underwater when calcium-rich springs react with the concentrated carbonates of the lake water. Like stalagmites in a limestone cave, they grow upwards, reaching heights of 30 feet or more. Water diversions by the Los Angeles' Department of Water and Power have lowered the lake levels to reveal these otherworldly structures.
"Cold Dawn, Half Dome"
March 2012 - Yosemite National Park, California
Sunrise
Canon 5D, Mark II; ISO 400; 29mm; 1/180 @ f/11
A trip to Yosemite is not complete without the ritual of waiting for a sunrise or sunset at Tunnel View. You might be waiting with a hundred other people but don't let that discourage you. The display of nature from this vantage point makes it worth the wait. Arrive early, with your tripod, to claim your space. This is a case where your tripod, even if you don't need it for the shot, serves as an indispensable territorial marker.
"Rainbow at Morning Light"
February 2016 - Yosemite National Park, California
Mid-morning light
Canon 5D, Mark II; 24mm; ISO 100; 1/10 @ f/22
After shooting sunrise at Tunnel View, there is still plenty of time to take advantage of the morning light on the valley floor. Lower Yosemite Falls is another of my favorite spots for a morning shoot, especially in the winter when the sun angles are low.
Photo Tip: The formula for a rainbow = sun behind + mist or water droplets in front. Lower Yosemite Falls produces this condition regularly in morning light. For this shot, I also wanted to blur the water to produce a "soft" effect. To achieve this you need a longer exposure. During daylight conditions, a neutral density (ND) filter is necessary to reduce the amount of ambient light reaching the camera's sensor. Here I used an ND-8 filter, which "blocks" 8 stops of light. This allowed me to shoot, on a tripod, at a 1/10 second shutter speed.
"Cascading Vernal Falls"
February 2015 - Yosemite National Park, California
Afternoon light
Canon 5D, Mark II; ISO 100; 24mm; 5 sec @ f/16
This is another example where I employed a neutral density filter to allow a longer--much longer--exposure. I also wanted a unique shooting angle. Note of caution: always be mindful of the rules and regulations when shooting in a state or national park. I was able to get this shot of Vernal Falls from a safe location off the Mist Trail.
"Towering Yosemite Falls"
May 2011 - Yosemite National Park, California
Early afternoon light
Canon 5D, Mark II; 38mm; ISO 640; 1/40 @ f/22
I shot this view of Yosemite Falls from 4-Mile Trail. I intentionally waited for a hiker to come into the shot. The human element helps to show the scale of the towering waterfall and cliff.
Photo Tip: The camera settings for this shot are wacky! I obviously didn't take the time to reset the camera--a bad habit. As a rule-of-thumb, I recommend shooting at the lowest possible ISO (100-200). Another rule-of-thumb: for a hand-held shot, select a shutter speed that is faster than the inverse of the lens' focal length. Here I was marginally O.K. at 38mm and 1/40 shutter speed. But, if I had reset the camera's sensor to ISO 200, I could have gotten the same shot at a more conventional f/11 or f/8 at 1/125 second.
"Pure Mountain Stream"
May 2011 - Yosemite National Park, California
Late afternoon light
Canon 40D; 28mm; ISO 400; 0.5 sec @ f/10
Not every landscape needs to be a panorama. When you find yourself with less than ideal weather conditions, look for more confined subjects--in this case, a small tributary stream near Bridalveil Falls.
Photo Tip: At low lighting conditions, like this early evening shot, you can capture a longer exposure without a neutral density filter. I was able to shoot this lovely little cascade on a tripod at 0.5 second shutter speed. This produced a nice amount of motion blur in the foreground, while capturing the cool, refreshing transparency of the water. Makes you thirsty!
"Fire Falls, El Capitan"
February 2016 - Yosemite National Park, California
Sunset
Canon 5D, Mark II; 55mm; ISO 200; 1/25 @ f/8.0
The official name for this intermittent waterfall is Horsetail Falls. It plunges 1575 feet off of the eastern flank of El Capitan. This is one of the most difficult shots to get. The required sun angle only occurs during a 2-3 week period in February--think "Valentine's Day". The other necessary conditions: 1) no clouds on the western horizon: and, 2) enough water to feed the falls (never guaranteed during California's continuing drought). After several aborted tries, these conditions finally came together in 2016. For this shot I arrived several hours before sunset to scout the area and find the best angle. Most photographers set up at or near El Capitan Picnic Area, off of Northside Drive. I recommend looking for a parking spot well before you get to the picnic area-start looking after the Yosemite Valley Loop Trail. I like the angle of this shot because it incorporates the barren tree, which adds interest and scale to the photograph.
Photo Tip: Once you start getting some color reflected in the falls, continue shooting until the entire scene goes grey. Just when you think the show is over, the colors will change from brilliant yellow (this shot) to deep red (see "Fire Falls, El Capitan 2"). It may take 30-40 minutes for this wonderful display to play out.
"Pacific Whitewater"
September 2014 - Point Lobos State Natural Reserve, California
Mid-morning light
Canon 5D, Mark II; 20mm; ISO 100; 0.6 sec @ f/16 (ND8 filter)
The 91 miles of California's Highway 1, between San Simeon (Hearst Castle State Historic Park) and Carmel, offer wonderful views of the rugged and rocky Pacific coast. This is one of the world's great scenic drives--a destination in its own right. Point Lobos, at the northern end of this winding drive, merits a stop-and-walk. The headlands and coves that comprise Point Lobos provide a treasure trove of wild seascapes. If you're lucky conditions will be stormy and wet, as in this photograph from 2014.
"Soft Ocean Flow"
September 2021 - Bar Harbor, Maine
Afternoon light
Canon 6D Mark II; 40 mm; ISO 200; 2.3 sec @ f/22 (ND8 filter)
A photograph doesn't always have to capture reality. This image is all about the artistic patterns made by the seawater flowing over algae-coated rocks. The softening effect of the long exposure helps to convey a dreamy sense of calm.
"Pigeon Point Sunset"
September 2014 - Pigeon Point Lighthouse State Historic Park
Canon 5D, Mark II; 40mm; ISO 100; 0.4 @ f/8.0
On California's Highway 1, 28 miles north of Santa Cruz, you will come to Pigeon Point and its picturesque lighthouse. Pigeon Point Lighthouse was commissioned in 1872. At 115 feet, it is the tallest lighthouse on the west coast of the United States. At sunset, the orientation of Pigeon Point provides a perfect angle to capture the lighthouse with the setting sun behind it.
"Multnomah Falls"
October 2014 - Columbia Gorge, OR
Mid-day light
Canon 5D, Mark II; 22mm; ISO 100; 0.4 sec @ f/16 (ND8 filter)
The Columbia River forms most of the border between Oregon and Washington. Multnomah Creek is one of the Columbia River's many tributary streams. Multnomah's final plunge into the Columbia Gorge creates one of the most iconic waterfalls on the west coast.
Multnomah Falls is just one of many photogenic highlights along the "Historic Columbia River Highway" (see "Latourell Falls" and "Bridalveil Falls" in the West Coast and Hawaii gallery). It is worth jumping off Interstate 84 (US 30) at Troutdale to drive the length of this scenic highway. Take your time and get out of the car and hike some of the numerous trails that crisscross the highway. To complete your trip, jump back on Interstate 84 to Hood River where you can pick up Oregon 35 for a trip out to Mt. Hood (see "A Beaver's Work", Trillium Lake). After Mt. Hood, Oregon 30 meets up with US 26, which takes you back to Portland for the day's circle tour.
"Soaring Banyon"
July 2007 - Oahu, HI
Morning light
Canon Rebel; 55mm; ISO 800; 1/40 @ f/5.6
There's no shame in staging a shot. I took this image with my first digital camera--the Canon Rebel. These stairs, off of the main Makiki Valley trail, led to a wonderful shaft of light filtering through the bamboo forest. I had my wife, Kathy, climb the stairs to compose the image. Kathy gives scale to the image, in addition to providing the perfect focal point.
Photo Tip: I took this image before I discovered the RAW image format, so, this is a JPEG image. When capturing a JPEG image, your camera settings--white balance, etc.--are baked in to the digital file. By contrast, a RAW digital capture allows you to choose the final (post production) settings. But, you still need to get the exposure correct. I recommend using the histogram function on your camera to assess exposures. The histogram allows you to see whether your digital capture is "clipped" at either end of the exposure range (blown out or too dark). The playback image on your camera should only be used to assess composition, not exposure.
"Haleakala Sunrise"
August 2007 - Maui, HI
Canon Rebel; 109mm; ISO 200; 1/180 @ f/5.6
You will have to wake up VERY early to get this shot--we're talking 3:30 a.m. if you are coming from the Kaanapali Beach area. Sunrise at Haleakala has become a "bucket list" experience, similar to sunset at Horesetail Falls in Yosemite (see "Fire Falls, El Capitan" in the Yosemite National Park gallery). To control the crowds, reservations are required at both of these venues. Plan to arrive at least 45 minutes early to set up and claim your spot. And, dress warm! Haleakala's summit sits at 10,023 feet above sea level. It will be cold.
"Hanalei Pier Silhouettes"
June 2017 - Kauai, HI
Sunset
Canon 5D, Mark II; 75mm; ISO 200; 1/200 @ f/16
I love Hanalei Bay on Kauai's northeast coast. It has a perfect circular outline, edged with several miles of sandy beach. Remember, Puff the Magic Dragon lived in a "land called Hanalei"! You can see Puff's profile in the mountain ridge at the bay's western enclosure (see "Hanalei Sunrise" in the West Coast and Hawaii gallery). In this image I exposed for the sky, knowing that the people on the pier would be underexposed silhouettes. See if you can find the inflated turquoise float ring catching the last rays of the sun.
"Seven Bridges"
July 2015 - Amsterdam, NL
Early evening light
Sony DSC-RX100M2; 100mm; ISO 320; 1/250 @ f/5.6
This image was taken from a moving tour boat. To get this shot, my wife, Kathy, employed her teacher skills to nudge several children out of the way. This "line-up" of bridges, crossing the Reguliersgracht, can only be seen from water level. The tour boats slow down as they pass but it's hit-or-miss, unless you have an assertive teacher who is willing to muscle her way through the crowd. Better yet, rent your own boat to give you the time needed to align the shot.
"Crescent Moon Sunset"
July 2015 - Passau, Germany
Canon 5D Mark II; 58mm; ISO 5000; 1/40 @ f/5.6
This photograph exemplifies the wonderful surprises that arise when traveling. This shot was only possible because the Danube's water level, upstream of Passau, was too low to accommodate our Viking ship. As a result, we were bused to another Viking ship waiting downstream. As luck would have it, our new ship entered Passau's Three-River Confluence at sunset. Two ducks, crossing in front of the ship, and the setting crescent moon made for a nicely balanced composition.
Photo Tip: Don't be afraid to push the ISO setting on your camera if it means the difference between getting or not getting a great shot. At ISO 5000 I knew this image would be grainy; but, on a moving ship without a tripod, I had no other option. But, I don't think the graininess of the photo detracts from the artistry of the composition. Special note: consider printing an image like this on canvas to further enhance the "painterly" effect.
"Orsay View, Montmartre"
June 2009 - Paris, France
Mid-day light
Canon 40D; 75mm; ISO 400; 1/750 @ f/8.0
As I mentioned in my introduction to the Europe gallery, it can be difficult to find original compositions in Europe--especially Paris. Generally, I find museums tedious; so, in my visit to the Orsay, I was relieved to find this clock-framed view of Montmartre.
Photo Tip: Always be looking for natural framing opportunities like this. When shooting through a natural frame be mindful of your exposure metering. Here I set my exposure for the distant Sacre-Coeur basilica, knowing the clock frame would be silhouetted.
"Port de Fontvielle"
June 2009 - Monaco
Afternoon light
Canon 40D; 28 mm; ISO 400; 1/20 @ f/5.6
Sometimes it pays to wander away from the crowd. In this 2009 trip, I skipped the bus tour of Monaco to explore on my own. I chanced upon this picturesque little cove around the point from the main harbor. This photograph is all about the composition, rather than the location. I like to think of it as "found art". I could easily have placed this photograph in the Nature & Art gallery rather than the Europe gallery.
"Boats on the River Wear"
June 2008 - Durham, UK
Mid-day light
Rebel XT; 30 mm; ISO 200; 1/125 @ f/10
When touring a new location, I often find myself wandering (i.e., see "Port de Fontvielle", above), looking for something different (not another cathedral!). Crossing a bridge over the River Wear, I saw this great pattern of moored boats. I knew it would make a nice "pattern" shot but it was made even better when the man stepped off the dock to bring in the approaching boat. This is referred to as a "decisive moment"--freezing an action or moment-in-time. This action also served to animate an otherwise static image.
Photo Tip: Always be mindful of your framing. Looking through the viewfinder, take time to examine the edges of the frame. Look for unwanted distractions poking through; and, be sure you have allowed sufficient space or what I call "breathing room". This especially comes in handy when you are shooting people to avoid cutting your subjects off at the ankles! In this photograph I needed to allow more space at the bottom and right portion of the frame. I rushed this shot to get the decisive moment...so not terribly sorry.
"A Beach Holiday"
July 2011 - Cadiz, Spain
Mid-day light
Canon 40D; 28 mm; ISO 400; 1/320 @ f/11
This photograph illustrates how travel always presents unanticipated "photo opportunities". Founded by the Phoenicians in the 12 century B.C.E., Cadiz is one of the oldest continuously inhabited cities in Europe. In researching Cadiz, I was prepared to shoot the walls of the "Old City" and other historic structures. What I didn't expect was the colorful beach scene enclosed by those old walls.
Photo Tip: When setting up a shot, especially one with people, look for an action element to animate the scene (see "Boats on the River Wear", above). In this photograph, the two girls running on the sand provide a needed focal point and vitality to the composition.
"Fashion Reflections, 5th Ave,"
June 2015 - New York, NY
Morning light
Canon 5D Mark II; 73 mm; ISO 400; 1/20 @ f/8.0
Reflections can be great for creating complex layered images. But, be mindful of your own reflection, unless that is the effect you want. I shot this from an angle that would not capture my reflection.
Photo Tip: I don't recommend the camera settings indicated by this photograph's metadata. Normally, a hand-held shot at 73mm focal length and 1/20 second would produce an unacceptable amount of motion blur. Rule of thumb: lower limit for hand-held shot = 1/focal length of the lens. So, in this case, I would have wanted a shutter speed greater than 1/73, say 1/90 second. Due to the nature (complexity) of this particular composition, the resulting motion blur didn't ruin the image. I got away with it this time! Be mindful of your camera settings.
"Lady Liberty in Patina Green"
June 2015 - Liberty Island, NY
Morning light
Canon 5D Mark II; 105 mm; ISO 200; 1/250 @ f/11
How do you make an iconic statue like the Statue of Liberty unique? Try playing with the angles. Placing Lady Liberty on the diagonal creates a more dynamic and powerful image. Also, shooting against the sky helps to isolate and simplify the composition--no distracting foreground or background elements.
"Golden Flight"
December 2021 - Bosque Wildlife Refuge, NM
Late afternoon light
Canon 6D Mark II; 200 mm; ISO 640; 1/1250 @ f/8.0
This is why I have so much respect for wildlife photographers. Shots like this require fast shutter speeds and the ability of pan with the birds in flight. This is NOT easy!
"Aurora's Brush Strokes"
February 2020 - Tromso, Norway
Canon 5D Mark II; 33 mm; ISO 1600; 12 sec @ f/4.0
For shots like this you need to juggle your ISO and shutter speed settings. Higher ISO settings will cause graininess in the image (see "Crescent Moon Sunset", above), while long shutter speeds will create motion blur as the stars move through the sky. This 12 second exposure is pushing the limits but I think the motion blur is within acceptable limits.
Photo Tip (to minimize camera vibration): Unless you're shooting with a mirrorless camera, for long exposures like this, I recommend locking the SLR mirror in the UP position. This will eliminate the vibration caused by the mirror's movement when the shutter is released. You will not be able to see the image at capture, so have your alignment and manual focus pre-set. Also, use a shutter release or the camera's timer to capture the image.
"Wild Hungarian Horseman"
July 2015
Afternoon light
Canon 5D Mark II; 24 mm; ISO 200; 1/500 sec @ f/5.0
These horses are coming fast! I placed myself along the rail to anchor the shot and capture the rays of sun coming in from the right.
Photo Tip: For an action shot like this you need to use a fast shutter speed and maximize your depth-of-field. Depth-of-field is increased with decreasing focal length and smaller apertures. Here, the 24 mm focal length of the lens provided me with a deep enough in-focus area to capture the entire scene from rail to horseman. In retrospect, it might have been even better if I had increased the ISO to 400 and stopped down to perhaps 7.1.
"A Mural Comes to Life"
December 2013 - Santa Paula, CA
Late afternoon light
Camera settings not available
Sometimes life imitates art. In 2013 I headed out to Santa Paula to shoot its famous murals for a UCLA street photography class. I staked out this particular mural, waiting for pedestrians to walk by. My idea was to "animate" the photograph and give it some depth. It was my great luck that this ice cream vendor happened by with his colorful cart. It really was as if he materialized out of the mural--a Mary Poppins moment!
"Sorry, Closed"
May 2015 - Benton Hot Springs, CA
Afternoon light
Camera settings not available
Benton Hot Springs is located due east of Mono Lake. This historic mining town (active 1862-1889) has a wealth of subjects to photograph (see "Sierra Homestead" and "Outlived Usefulness" in Nature & Art gallery). There are two ways to get to Benton Hot Springs: 1) take US 6 north from Bishop to Benton (35 miles) and then east on CA 120 for 4 miles; or, 2) from the US 395/CA 120 junction, just south of Mono Lake, head east on CA 120. This latter route is subject to closure October through May due to snow.
Photo Tip: In this photograph I had some fun with the HSL (Hue/Saturation/Luminance) sliders in Lightroom. The Saturation slider allows you to selectively saturate or desaturate specific colors. Here I purposely desaturated most of the image to make the rocking chair and Coca-Cola sign stand out. The HSL sliders can be a great tool to enhance your photographs (i.e. bring out the blues in the sky using the Luminance function), as long as you don't overdo it.
"Space-Time Portal"
February 2016 - Yosemite Nat'l Park, CA
Late afternoon light
Camera settings not available
I rarely use Photoshop. This photograph is the only one on my website where I employed Photoshop. I created it for a Photoshop class required by my UCLA certificate program. I have no problem with photographers who use Photoshop as long as they are honest about it. If you believe, as I do, that photography is ART, then Photoshop is just another tool/technique available to the artist. Thus, my reason for avoiding Photoshop is NOT due to some high-minded artistic principle. I'm just too lazy! Photoshop takes a LOT of skill and time to use properly. I am able to find all of the tools I need or want in Lightroom. Like the darkroom of the "old" days, a digital "negative" is rarely perfect. Ansel Adams spent hours in the darkroom working on his photographs. Lightroom allows the same type of tools for working up RAW digital files--dodging and burning, etc.