Mitten Sunset (and Shadow), Monument Valley

Monument Valley is one of my most favorite places on this planet.  It is quite a feat to find the words to appropriately describe this location, but in the next couple of blog postings, I am going to give it a shot. Few landscapes in the world come close to paralleling the mystical Monument Valley in terms of color, majesty and magic. It is truly an epic area, and a visit to this remote part of the American Southwest, near the Four Corners region, will never be forgotten.

You have to be crazy enough to come here – The mileages are staggering:
160 or so miles from the South Rim of the Grand Canyon
175 miles from Flagstaff, Arizona
318 miles from Phoenix, Arizona
401 miles from Las Vegas, Nevada
410 miles from Tucson, Arizona

Any other major city in the area that I missed? You get my point?
But those who make the long drive to the Navajo Indian Reservation (where Monument Valley is located and is administered under the tribe’s Parks and Recreation Department) will be rewarded with a landscape and experience that is undoubtedly unique.

When I visited Monument Valley in Spring 2009, I came from Page, Arizona, where I had just photographed Upper Antelope Canyon and Horseshoe Bend. I knew that I was getting close to Monument Valley when I stared out of my car’s window and saw the massive buttes and mesas appearing strikingly from out of nowhere and towering high above the ground. The weather in this part of the Southwest can be fickle and change in an instant. As I approached Agatha Peak (or El Capitan), I was just starting to get caught in a sudden snowstorm, while on my left, I experienced a gorgeous Southwestern sunset.

Mother Nature's Color Palette, North of Kayenta, AZ, on the approach to Monument Valley

I’ve heard of others describing the experience of being caught in one of the Southwest’s legendary and dramatic thunderstorms – an awesome light display that lights up the whole desert put on by Mother Nature to declare her power.

Upon arriving inside Monument Valley Navajo Tribal Park and settling into my room at the View Hotel, I felt as if I had just stepped into a movie. In fact, many movies, music videos, and television commercials have been filmed here over the years, including some westerns directed by John Ford. Despite the fact that Monument Valley has been featured in many forms of media, the location is not a sound stage – it is very real. The sights and vistas here represent some of the finest landscape images of the rugged West, which have been deeply engrained in the American psyche for years.  Say “American West,” and most likely, some images from Monument Valley come up.

Left Mitten, Monument Valley

Monument Valley is very rugged, so be prepared for it. There is a fine red dust in the air and all over the place that permeates everything, and it will eventually find its way onto your clothes and belongings.

The area near the new View Hotel, which opened in December 2008, is the centerpiece of tourism in the park. In addition to the View Hotel, there is a restaurant, an extensive gift shop, and a small convenience store/stand. In a future blog posting, I plan to talk about the View Hotel.  Near the hotel is also a Visitor Center, which was under renovation at the time of my visit, but I believe it is adjacent to the gift shop. Outside the Visitor Center is a small dirt lot, where one can find and charter a tour to explore Monument Valley. Just look for the small booth in the lot to ask for more information, including costs.

Also near the Visitor Center are two rather large boulders which stick out like bumps.  This is the site where Ansel Adams photographed his famous image of Monument Valley, with the three buttes in the background, in 1958.

Things really haven't changed much since Ansel Adams took his famous photograph of Monument Valley in 1958. Above is my version, shot from the same tripod location.

This area around the Visitor Center and the View Hotel is also probably the best area to catch the sunrise in the morning, unless you have a guide which may be able to grant you access to the interior of Monument Valley before the gates open in the morning (more about this in the next blog post).

In my next blog post related to Monument Valley, I will talk about some of the options that one has in order to explore the valley and what it has to offer. Hint: the best way to tour Monument Valley is to invest in and charter a guide.

TO BE CONTINUED…

Few experiences are as unreal and incredible as a Monument Valley sunrise. Taken from the balcony of my room at the View Hotel.

Disclaimer: Monument Valley is a very rich place in terms of things to see and do. My blog postings related to Monument Valley are not intended to be a substitute for one’s own thorough travel research, but rather a “travelogue” of my experience with visiting and photographing Monument Valley, in order to provide some ideas and insights to others. Many ways to experience Monument Valley exist.

Horseshoe Bend in Arizona, USA

The landscape of the American Southwest abounds with crazy and whimsical rock and geologic formations. There are rocks that look like pancakes (or UFO saucers), a Mexican sombrero, mittens, a mother with her child, and more. There is even a geologic formation just north of the Mexican hat that resembles a long gooseneck, scrunched up in a very small area.

Needless to say, they are very interesting to look at. One of my favorite geologic formations is located about four miles south of Page, Arizona. It is a horseshoe-shaped meander of the Colorado River, appropriately named Horseshoe Bend.  It is just simply amazing and something that has to be experienced in person.

From the center of Page, AZ, the Horseshoe Bend is relatively easy to reach. From Page, travel about four miles south on Highway 89 until you reach the entrance to the small dirt parking area for Horseshoe Bend on your right.  It is marked with a sign.

GPS Coordinates for Horseshoe Bend: N 36° 52.599′, W 111° 30.173′ (Parking lot); N 36° 52.765′, W 111° 30.637′ (General overlook area)

Horseshoe Bend Overlook trailhead

From the parking area, it is about a 3/4 mile hike to the viewpoint.  The trail starts from the parking lot with a ascend up a small hill, then a descend into the desert. The rest of the trail is relatively flat, but sandy and with a few curves and ups/downs, as it makes its way to the overlook.  The Horseshoe Bend comes into view as you approach the overlook. You can’t miss it.

Approaching Horseshoe Bend

Once you reach Horseshoe Bend, you come to realize that the scale of the bend is massive, beyond proportions, and standing there at the edge of the cliff, you just feel completely miniscule in the world.  You feel like a tiny ant. No picture can do it justice. It looks small when you see it in a book or photograph, but when you are viewing it in person, you come to realize just how huge this bend is. Horseshoe Bend is something that must be experienced in person.

Take your time, and take it all in.  Look over the cliff, and you see the boats and rafts floating down the Colorado River as little specks (seriously!).  It’s just that phenomenal, from the view to the feelings and sensations.

This place is truly scary and not a place for anybody who is scared of heights.  You can’t really stand at the edge, but rather get down on your stomach and look over the edge while lying down.  It’s hard to describe.  But the vertigo factor here is high.  Try to stand at the edge of the cliff and you’ll see what I mean.  The wind and sand blowing against your body just adds to the overpowering sensation. You have to be really, really careful here.  It’s about a 1,000 sheer foot drop to the Colorado River below, and there are absolutely no guard rails, wind strong, the terrain ragged and strenuous around the very edge.  Hold on to those little ones.

The rugged edge of the cliff overlooking Horseshoe Bend

Due to the immensity of Horseshoe Bend, it is not possible to get the entire bend in one frame using a standard point and shoot camera, unless you use a stitching method.  It is best to shoot Horseshoe Bend with a professional DLSR (preferably full-frame) to take a proper image, and the widest lens that you got – we’re talking 15mm (even 14mm or fish-eye) here (on a 35mm scale). You might be able to get away with 24mm, but probably no more.

To take a picture here, I’d recommend mounting your camera on a tripod, lying down on your stomach at the very edge, and (believe it or not) dangling your tripod with camera attached over the edge, kind of like a fishing pole. Use a cable release to trip the shutter. It worked very well for me.

Some other miscellaneous photography tips:

• The best time to photograph Horseshoe Bend is late morning to early noon, when the sun is behind you. In the afternoon the sun will be directly in front of you.
• Consider using a polarizer to remove any haze and reflection.
• HDR or blending multiple exposures in post-processing would work here if there are strong contrasts between different elements of the scene.
• Leave all the multiple lenses and other gadgets in your car back at the trailhead. Seriously, the only things you need here are your camera and your widest lens. And maybe your tripod and cable release (if you want to try my “fishing pole” method).

Horseshoe Bend is well worth visiting if you’re ever in the Page, AZ/Lake Powell Area. While you’re in the area, don’t forget to visit the other popular photography hotspot in the area – the slot canyons at Upper and Lower Antelope Canyon.

Horseshoe Bend as seen on Google Maps Satellite View

Early Morning at Schwabacher Landing - Summer

As I was browsing in Grand Teton National Park’s state-of-the-art Main Visitor Center in Moose (formally named the Craig Thomas Discovery and Visitor Center) one day, I caught a few minutes of a ranger presentation being given that highlighted the main features of the park. When the ranger got to talking about Schwabacher Landing (one of my favorite areas in the park), he mentioned that is one of the most often photographed locations in the world. Looking at an image taken at this location, it is very easy to see why. With the perfectly positioned trees and Teton range in the background, as well as a reflection that is cast in a beaver pond, the landscape lends itself quite nicely for photography. Many photographers have taken advantage of the perfectly positioned elements and as a result have photographed the view numerous times.

In this blog post, I describe my experiences with photographing from Schwabacher Landing.

GPS Coordinates for Schwabacher Landing: N 43°42.69600′, W 110°40.23217′

Schwabacher Landing is one of the best places in Grand Teton National Park to photograph a sunrise illuminating the Teton range. (Keep in mind that the Teton range is an east-facing mountain range – which lends itself very nicely for some spectacular dawn and early morning photography). If you come here for sunrise, be sure to take a headlamp or flashlight.

From Jackson Hole, drive up about 20-25 minutes along Highway 191 until you reach a sign on the left marking the turnoff for “Schwabacher Landing.” The sign is about three miles north of Moose Junction. Turn left onto the road. The gravel road (no 4×4 is required on this one) drops down the hill, to the level of the Snake River. The road ends at a small parking lot. A trail leads down to the edge of the river, specifically a collection of beaver ponds.

Beaver Pond and Dam, Schwabacher Landing - Autumn

In the first beaver pond you come to (not far after starting at the parking lot), you can get a great view of the beaver dam that the beavers have been busy maintaining. It is quite impressive that such a little creature as a beaver can be so skillful at constructing such a feat of engineering as a beaver dam. You can take some great pictures here, and in some of the other nearby beaver ponds.

However, there is a much better spot for your tripod if you follow the trail north about a quarter mile or so. Here, there is a wide spot in the pond with a clearing in the woods offering a perfect view of the Teton range. It is best to come here when the wind is calm or even non-existent. If it is a windy day, there will be ripples in the pond created by the wind, and there will be distortion in the perfect reflection of the Teton range casted on the beaver pond. Sunrise and early morning are usually good bets for no wind.

Schwabacher Landing - Autumn

Move around a little bit until you get the perfect composition. From this specific location, the clearing in the area where you can setup your tripod and still get that perfect composition is small – about 6-7 photographers squeezed in can get this perfect composition. The rest have to file in around the edges or behind the first row of photographers. As a result, you really have to plan ahead and come early to secure the best tripod spot here – especially during the peak fall photography season in the park. If you miss out on the best tripod location and the perfect composition, that means you have to come back here the next morning and do it all over.

I’ve photographed from this location in Schwabacher Landing a number of times, and I have had a good mix of shooting conditions while doing so. In summer of 2009, I shot this view once, producing the image above that started this blog post. I photographed Schwabacher Landing many more times during my visit in autumn of 2009. One of my visits produced the image directly above.

One night during my autumn 2009 Grand Teton photography trip, an early season snow storm dumped a fresh layer of snow in the park. I awoke in my Jackson motel around 4:00 a.m., and looked outside to find clear night skies. I thought that sunrise was going to be fantastic. I gathered my gear and set out about an hour and a half before first light in freezing 18ºF degree weather. When I arrived at Schwabacher Landing, it was pitch black. I waited in my car, and soon after, another photographer arrived. We both descended down into the beaver ponds together. It was still pitch black, the only light available came from our headlamps. Being the first people to arrive at such a location in darkness, we didn’t know what to expect. We finally arrived at the main beaver pond – the one with the clearing in the woods and got set up. We were talking about what to expect as the first rays of sunlight would appear behind us and illuminate the Teton range, and more photographers showed up. We had a good group present, representing different areas of the United States. (I was the only one from California). We shared stories about other popular photography locations around the United States, and shared hints for photographing Grand Teton NP – in particular, where animals like moose have been spotted in the past day or two. There was still snow on the ground, and when the sun started to come out, it got a little warmer – 22ºF. Everything was in place that morning for a perfect shot: snow on the trees, reflection in the beaver pond, dramatic clouds, even a small ray of sunlight for a few minutes. The only thing that was missing was a view of the Cathedral Group of the Teton range – it was obscured by clouds.

Sunrise at Schwabacher Landing - Autumn

We waited and waited, but the clouds wouldn’t let up on the Cathedral Group. But the scene was majestic nonetheless, and I snapped a few other shots. The snow-covered trees mixed right in with trees exhibiting fall colors, producing some unique shots – a fall scene exhibiting a hint at winter.

Morning at Schwabacher Landing - Autumn

As we waited for more light and the clouds to let up a little (they never really did that morning), I noticed a little creature rummaging around in the brush behind us. It was one of Schwabacher Landing’s resident beavers. He was really busy gathering up materials for some repairs (I assume) to his beaver dam. He went back and forth many times while we were there, carrying materials, swimming in the pond right in front of us, coming up onto the land, etc… He was way to busy to stop for a proper photo session, but we got shots of him anyway – paparazzi style.

Busy Like a Beaver, Schwabacher Landing

Beavers are not the only creatures that you can find at Schwabacher Landing. I’ve heard stories of people photographing moose swimming in the main beaver pond with the Tetons in the background (a very unique shot, and it is rare to have every element in perfect place in a composition). Great Blue Herons are even known to hang out in Schwabacher Landing. I saw one during my autumn 2009 trip – several times. Stay tuned for that story.

Great Blue Heron, Schwabacher Landing

Calcite Springs, Calcite Springs Overlook, Roosevelt area, between Tower-Roosevelt Junction and Canyon Junction, Yellowstone National Park - Processed using the "exposure blending" technique, but using GND filters in the field could have yielded a different result

In the previous and first post from this series, My Experience Using Singh-Ray GND Filters, Part 1: Introduction, I wrote about the so-called dynamic range problem in photography, and the various solutions that exist to overcome it.  Graduated Neutral Density (GND) filters are one possible solution.

In this second posting, I describe the filters and accompanying equipment I chose, and attach the filters to my camera for the first time and share.

What are Graduated Neutral Density (GND) filters?

Graduated Neutral Density (GND) filters are optical filters that are clear on one half, and dark on the other. They are used to bring an overly bright part of a scene (for example, a bright sky) into the dynamic range of the camera’s sensor. They come in different shapes, including round filters that you screw onto the end of a camera’s lens like you would a polarizer. They also come in square (or rectangular) shapes, which most photographers tend to favor, as they allow you to adjust and move the filter to make the ND cut-off line meet the horizon, making square GND filters more flexible. With round GND filters, the ND cut-off line is directly in the center of the image, and many photographers do not frame their images with the horizon line at the center. Because of the flexibility that square filters allow, I decided to go down this route.

Aside from the square and round distinction, GND filters come in two categories: soft-edge and hard-edge. These terms are used to describe the transition between the clear and dark halves of the filter. A soft-edge transition is a more gradual transition. One would commonly use soft-edge filters when photographing scenes where the horizon line is not so easily defined, like some mountain or seaside landscapes. A hard-edge transition is a sudden transition. One would commonly use hard-edge filters when photographing scenes where the change in light is defined (some desert landscapes, for example).

Image courtesy of Wikipedia

The GND filters come in different strengths. These strengths refer to the amount of light that the dark portion of the filter cuts out, from one to five stops more dense than the clear part. Different manufacturers use different methods for measuring the density (or strength) of their GND filters. Singh-Ray sells filters in one, two, three, four, and even five stop strengths. Lee uses the filter grades 0.3, 0.6, and 0.9, corresponding to one, two, three stops respectively. Based on my research, Singh-Ray is unique in that they sell GND filters with a strength of four and five stops. The most popular strengths of filters are two and three stops, especially two stops. For unique lighting situations, one can always combine two filters together.

GND filters can be used with your camera in the following ways: You can get a filter holder (such as the ones from Cokin), which is a device that attaches to a lens, and that holds each GND filter in place. The filter holder is helpful to obtain a precise, exact placement of the GND filter. Some photographers, however, prefer to hand-hold their filter(s) in front of the camera, without the need to use a filter holder. The advantages of hand-holding are that it helps to reduce vignetting, offers more control, is faster, and doesn’t require the photographer to carry and work with extra gear in the field. Note that the filter holder option does allow you to place multiple filters in its slots (see pictures below).

Different manufacturers make and sell the filters themselves. Based on my research, I concluded that while Singh-Ray filters are the most expensive, they are also the highest in quality. They were designed by the late prominent landscape photographer Galen Rowell, and they are used by some of the leading landscape and nature photographers in the world. However, Lee also makes some excellent GND filters, and many photographers have been happy with the results that they have obtained using them. Cokin also makes GND filters, however I cannot comment as to their quality.

My chosen GND setup

The three components of a filter system. Image courtesy of Cokin

A filter system consists of three major parts, as shown in the illustration above: an adaptor ring, a filter holder, and the filters themselves. Let us look at each part one by one, and also look at which parts I chose.

Cokin Z-Pro Filter Holder

While different manufacturers make filter holders, I chose to go with the Cokin Z-Pro Filter Holder. Cokin makes filter holders in multiple sizes to accommodate the gamut of consumer and professional DSLR and video cameras. For the purposes of digital photography up to DSLR, Cokin makes filter holders in two sizes: P and Z size. For more details about the sizes, visit the page on Cokin’s Web site. Basically, the P size is a smaller filter, and the Z size is a bigger filter. I chose the Z size because my camera is a full-frame DLSR. I also plan to use this filter system with a wide-angle lens, and wanted the best setup to minimize vignetting that is possible when using this type of lens with a full-frame sensor.

Cokin Z-Pro 82mm Adaptor Ring (for use with my Canon 16-35mm lens)

Once I chose the filter holder, the need came to choose adaptor rings that will fit each of the lens that I plan to use with the GND filters. This decision wasn’t too difficult at all. I plan to use my GND filters with both my Canon EF 24-105mm f/4 L IS USM lens (which has a filter size of 77mm) and my Canon EF 16-35mm f/2.8 L USM (which has a filter size of 82mm). I simply chose the adaptor rings that will fit these two lens: two adaptor rings, one size 77mm, and the other size 82mm. I had no trouble finding the 82mm. However, I am having some trouble finding the 77mm. Apparently, Cokin is known for having delays in shipping their products to retailers.

One very nice thing about the Cokin filter system (or any other filter system), is that if one uses the square-shaped filters, it is possible to use them on a variety of lens of different sizes without having to invest in individual filters for each size lens. This keeps the cost down when purchasing filters. The rings themselves are reasonably priced at about $30 each size.

So now I had the filter holder and adapter rings chosen. I now had to choose the filters themselves. As said before, I decided to go with Singh-Ray GND filters. I purchased two filters: a tw0-stop soft grad, and a three-stop soft grad. I felt that this is a good starting set, especially for my upcoming trip to Grand Teton National Park. With time, I will purchase hard grads, when I return to the American Southwest for more shooting. Two-stop and three-stop strengths are just good numbers to have in a kit, in my opinion. We’ll see what results I am able to obtain using this “introductory kit.”

Singh-Ray packages the GND filters very nicely

Singh-Ray even provides a protective case with an optical-cloth liner for the each filter's storage

My recently-aquired Singh-Ray GND filters

That’s it!  That’s my basic “introductory” GND filter kit. Now, let’s put them on my camera…

How my GND filters attach to my camera

The Cokin Adaptor Ring screws on to the end of a lens (or the end of a UV filter if it has threads)

Each Cokin Adaptor Ring attaches to the threads located at end of the lens. If you’re using a UV filter that has threads like me (I’m using one manufactured by Heliopan), then the adaptor ring screws right over the UV filter. (a side note: I never, ever leave the glass of the lens exposed while shooting. I always have either a UV filter or polarizer on my lens at all times. Just good practice to prevent damage to the lens’ glass. It’s much cheaper to replace a UV filter than it is a lens’ glass!)

The Cokin Z-Pro Filter Holder slides down over the Adaptor Ring. Pins built into the holder prevent it from moving any further than it needs to

With the adaptor ring attached to the lens, the filter holder slides down over the ring. The peg located at the top of the filter holder helps to prevent it from slipping off the ring/lens assembly.

The assembled Z-Pro Filter Holder and Adaptor Ring

When the filter holder is securely attached to the ring/lens assembly, it’s time to slide the individual filters in. The Cokin Z-Pro filter holder provides slots for three filters. Some photographers prefer to cut off two of the slots, in an effort to prevent vignetting. As mentioned below, my final setup did not produce any visible vignetting, and at this time, I am leaving the three slots intact.

Sliding the GND filters in

A quick word about using polarizing filters with this setup: My polarizers do not have threads etched on the outside of them. As a result, it is not possible to stack anything else (like an adaptor ring) beyond a polarizer. If you need to use a polarizer for your shot, Cokin manufactures a drop-in polarizer that fits into one of the slots on the filter holder. You should see Cokin’s Web site for more details. Also see the illustration below:

Image courtesy of Cokin

The completed Z-Pro Filter Holder, Adaptor Ring, and GND filter assembly, ready for shooting

The Z-Pro Filter Holder with GND filter can be rotated along the Adaptor Ring, which in turn rotates the division between the graduated and clear parts of the GND filter - allowing for flexibility in composing your landscapes

Observed effects of vignetting: My above setup, which uses a Canon EF 16-35mm f/2.8 L USM (the widest of my lenses that I would ever use a GND with), a full-frame digital DSLR, and a Z-size filter system, yielded no observable vignetting at the time of this initial test and writing. Please note, however, there are many different combinations of cameras and lenses, and that vignetting can occur in some of these combinations, but not in others.

A side-view of the completed filter system

That’s all for now. I hope that this posting provided some useful information to anyone researching filter systems for their cameras.

Here are some additional useful resources:

http://www.great-landscape-photography.com/graduated-filters.html

http://en.wikipedia.org/wiki/Graduated_neutral_density_filter

http://www.my-photo-blog.com/graduated-neutral-density-filters

http://timsastroblog.blogspot.com/2008/12/cokin-z-pro-filter-holder.html (another great look at the Cokin Z-Pro Filter Holder)

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This is the second blog posting in a series of three postings that describe my initial experience with shooting landscapes using Singh-Ray Filters.

In the first posting, I wrote about the so-called dynamic range problem in photography, and the various solutions that exist to overcome it.  Graduated Neutral Density (GND) filters are one possible solution.

In the third posting, to follow after my upcoming fall 2009 trip to Grand Teton National Park, I report back on the results of shooting landscapes in GTNP using the filters.

Snake River Overlook, Grand Teton National Park - this landscape, processed using the exposure blending technique, could have been improved by using Graduated Neutral Density (GND) filters in the field

The Dynamic Range Problem

Most scenes that a landscape photographer would photograph contain elements that fall into one of two categories: bright and dark. For example, a landscape scene where the sunset is the main subject (like Snake River Overlook, Grand Teton National Park above) might include both bright and dark elements when photographed using only one exposure. The foreground (which might contain a buck and pole fence, a river, trees, bushes, etc…) might be dark, while the sky (containing dynamic clouds or a dynamic sunset) might be very bright. The difference between the brightest and darkest parts of an image is known as its dynamic range. If a shot has very bright highlights, dark shadows and everything else in between, it is said to have a wide dynamic range. The human eye is very powerful. It has the ability to perceive a very large dynamic range. It can perceive a scene with both bright and dark elements.  Unfortunately, our cameras cannot. As a result, without knowing much about dynamic range and how it works, one would either expose for the bright spots of a scene, or the dark ones.

Snake River Overlook - RAW unprocessed exposure, exposed for the bright spots

Snake River Overlook - RAW unprocessed exposure, exposed for the dark spots

As one can see, the top image which is exposed for the bright spots in the scene, shows some detail in the sunset and sky, but elements and detail in the foreground are lost (the foreground is underexposed).  The bottom image, which is exposed for the dark spots in the scene, shows the foreground detail, but the detail in the sky is washed out or lost (the sky is overexposed).  In both of these exposures, it would be very difficult (if not downright impossible) to restore the lost detail in post-processing.

There are several solutions to the dynamic range problem in photography:

1. Use the “exposure blending” technique (which I used for my Snake River Overlook, Grand Teton National Park composition above)
2. Use High Dynamic Range Imaging (HDR), a technique which is becoming widely popular
3. Use Graduated Neutral Density (GND) filters

Numbers 1 and 2 above require creating several exposures of a scene in the field, and later combining them using computer software (a program like HDRsoft’s Photomatix Pro) in post-processing.  I can do this, and I’ve done it before. However, my goal moving forward is to explore the use of GND filters (option number 3) and how they can improve my landscapes.

Why use Graduated Neutral Density (GND) filters?

Using GND filters, you are able to bring to the camera what your eyes see, both bright and dark elements. This without using any Photoshop or software post-processing. Taking photos of landscape scenes which include moving water (a waterfall or river, for example), can also be a problem if you intend to take multiple exposures to either blend them together or create an HDR in post-processing. The same problem applies to fast-moving clouds in a scene. GND filters help curb these problems. And of course, they help diminish the amount of time spent in front of a computer in post-processing. Flat out, GND filters are indispensable when the need arises to control the contrast range in any landscape image to avoid blowing out highlights, like dramatic skies. Many professional photographers attest to their usefulness and some say that they are among the best investments they have made for their cameras.

The outstanding, beautiful, and jaw-dropping work of photographer Patrick Smith inspired me to look into GND filters, and explore how they can help improve the quality of my landscapes.

———-

This is the first blog posting in a series of three postings that describe my initial experience with shooting landscapes using Singh-Ray Filters.

In the second posting, coming soon, I describe the filters and accompanying equipment I chose, and attach the filters to my camera for the first time and share.

In the third posting, to follow after my upcoming fall 2009 trip to Grand Teton National Park, I report back on the results of shooting landscapes in GTNP using the filters.

Grand Canyon of the Yellowstone from Artist Point, an HDR

The Grand Canyon of the Yellowstone (“Canyon”) is the second most widely photographed sight in Yellowstone, after, of course, Old Faithful Geyser. It is here that one can find the dramatic walls of the canyon carved out by the Yellowstone River, as well as the spectacular Upper and Lower Falls of the Yellowstone River. Many say that if Yellowstone National Park only contained the Grand Canyon of the Yellowstone, then it would still be enough to grant the massive park National Park status. Luckily for the visitor and photographer, there are plenty of things to see.

The Canyon and its features can be viewed from numerous viewpoints from both its north and south rims. The Yellowstone Association publishes a Trail Guide entitled “Canyon Area Trail Guide” that describes in detail how the canyon was formed, its features, as well as its wildlife. More importantly for the visitor and photographer, it provides a detailed trail map, as well as information for both hiking and driving the Canyon, from both rims. It is available for a small donation at various ranger stations around the park, as well as around Canyon’s viewpoints and trails.

In this blog post, I describe my experiences with photographing the Canyon from one of the most popular viewpoints: Artist Point.

Artist Point

South Rim, GPS Coordinates: N 44° 43.263′, W 110° 28.762′

If the photographer must photograph the Canyon from only one location due to time or other constraints, this viewpoint located at the end of the South Rim Drive is it.  It is here that one can get one of the most photographed views in Yellowstone.  From the upper viewpoint, it is possible to view the Canyon in both directions.  Every single book and publication describes the view from Artist Point, but there is no substitute for seeing and experiencing the view for yourself: absorb the color and texture of the canyon, the roar of Lower Falls nearly a mile away, and the thrill of the rushing river below you.  The Yellowstone River thunders down 308 feet into the Canyon, making it one of the most impressive waterfalls in North America.  This is all yours to photograph here.

TIP: On a sunny day, somewhere between 9:30-10:15 a.m. or so, a rainbow appears at the bottom of the Lower Falls.  Artist Point is the perfect place to view this. This happens during the summer.  I cannot speak about other times of the year. A polarizer is essential to photograph this sight properly. Be sure to turn your polarizer until the colors of the rainbow appear strong and vivid.

My first visit to Artist Point was on July 14, 2009, around 10 a.m. The morning was cloudy. I was looking for the rainbow to appear just below Lower Falls, but I couldn’t find it. The clouds were not providing enough sunlight to make the rainbow appear. Despite getting some good overall shots of the Canyon, I vowed to try again to photograph the rainbow the next day.

Waiting for the Rainbow at Artist Point

I had more success the next day, July 15, 2009. Leaving my West Yellowstone, MT hotel after a very quick breakfast at 8 a.m., I arrived at Artist Point in the Canyon Area around 9:30 a.m. It was a much better day to photograph the Canyon from Artist Point: the skies were blue, and the sun was shining brightly. I set up my tripod and waited. Just around 9:52 a.m., the first colors of the rainbow started to appear below Lower Falls. By 10:00 a.m., the rainbow was clearly visible, and the other photographers who also decided to come out on this beautiful day to look for the rainbow, were busy clicking their shutters.

The above three unprocessed RAW exposures show the appearance of the rainbow: the first photo was taken at 9:52 a.m., the second at 9:53 a.m., and the third at 9:58 a.m. The third image above was made into my final processed product, which appears below:

A rainbow appears below Lower Yellowstone Falls during the summer around 10.a.m. at Artist Point.

By around 10:05 a.m., the rainbow had disappeared, and I was off to photograph other areas of Yellowstone National Park. Was it worth coming back the second day to get a more interesting photo of the Lower Falls? Definitely.

As said before, numerous viewpoints exist from where one can view and photograph the Grand Canyon of the Yellowstone.  In subsequent blog posts, I plan to discuss some of these.

One last shot…

Lower Falls, Grand Canyon of the Yellowstone from Artist Point

One of the questions that I am asked the most is where some of the best places are to get a good composition of Los Angeles’ photogenic skyline or its sprawling metropolis.  I’ve always liked to keep some of these locations a secret, but in this blog post I reveal where my favorite places are.

This is by no means a complete list.  Everybody has their favorites, and possibly even different than mine.

1. Griffith Park

Los Angeles from Griffith Park

How to get here: Very simple.  From Los Feliz Boulevard, near the entrance to Griffith Park, follow the signs that lead you to the Observatory. [Google Maps]

Notes: This photo location is probably the most well known. Travel up the hill to the Observatory for the best views.  Really work the area.  Lots of different photo opportunities exist here.  Toward the west of the Griffith Observatory area, there are some great views of the Hollywood sign.  If you go upstairs above the Observatory building, you can get some great views of downtown Los Angeles with the sprawl that is Hollywood and the Miracle Mile leading away from it.  It is also good to try to get some architectural elements of the Observatory building in the frame as you take a picture.  This will give further interest to your photo. To the east of the Griffith Observatory area, you get get some great views of the Glendale area, and even of the San Gabriel Valley if it’s a clear day.  I like to do a couple of panoramas around the upstairs of the building.

Recommended time of day: Anytime.  But, you can get some amazing shots here at night that show the lights of the sprawling metropolis underneath you.

2. Hollywood Bowl Overlook on Mulholland Drive

Los Angeles from the Hollywood Bowl Overlook

How to get here: From the 101 Freeway north of Hollywood, get off on Barham Boulevard, then make a left to go over the freeway.  Turn left on Cahuenga, and follow it until you get to Mulholland Drive on your right.  Take a right onto Mulholland Drive and go up the hill.  The overlook will be on your left-hand side.  Look for the parking lot with cars and tour buses. [Google Maps]

Notes: This photo location seems to be more popular with out-of-town tourists than it is with the locals.  The Hollywood Bowl Overlook (named because you can see the Bowl under you), was built for the 1984 Los Angeles Olympics.  This is the classic shot of the Hollywood Freeway with the Los Angeles skyline in the background.  The location can get very crowded very quickly. All the tour companies working in the Hollywood area like to bring their tourists up here to snap a picture or two.  This is a great place, again, to work the area.  Some great views can be had from here.  Take a picture from the parking area, but for the best views, follow the stairs up to a viewing platform where you can take in views of both Los Angeles and the Hollywood sign.

Recommended time of day: Can be visited anytime during the day.  But for the most interesting compositions, position your tripod on the viewing platform area around sunset (the golden hour).  As the lights begin to turn on in some of the downtown skyscrapers, long exposures create streams of light on the cars, and there is still some light left to show the detail in the city’s urban landscape and the color of the sky. The location closes its gates after sunset, so it is not possible to visit here after the sun has already set.

3. Kenneth Hahn State Recreation Area

Los Angeles from the Kenneth Hahn State Recreation Area

How to get here: This location is not so very well known, as it is far out of the way tucked in a place where you would never think to look.  Take the I-10 freeway west towards Santa Monica.  Take the South La Brea Avenue exit.  Go south on La Brea Avenue, until you come to Kenneth Hahn State Recreation Area.  Turn right on Stocker Street, then right on South La Cienega Boulevard, then turn into the main entrance to the Recreation Area.  Inside the park can get a little confusing, but generally you want to follow the road into the park uphill until you get to the top and there is a parking area.  There is a little park at the top with grass and benches with the best views of the skyline.  It is best to see the map – the marker points out the exact location: [Google Maps]

Notes: With a 70-200mm set closer to 200mm, you get get a shot like the one above of the downtown Los Angeles skyline with the San Gabriel Mountains in the background.  If you come here in the winter or spring, when the San Gabriels have snow on them, it would make for an interesting shot.

Recommended time of day: Anytime during the day.  Unfortunately, the last time I checked, the Recreation Area was not open after sunset.

4. Park Row Drive, Overlooking the Pasadena Freeway

Los Angeles from Park Row Drive

How to get here: This particular location is a very tricky one to find. There are a few approaches, but here is one: coming from the 110-N, take the Solano Avenue/Academy Road exit.  Continue on Solano Avenue until you reach North Broadway.  Turn left onto North Broadway, then continue a very short distance until you reach a little street called Casanova Street.  Turn left onto Casanova Street.  Continue, then turn right onto North Park Row Drive.  Continue up the hill until you are on the bridge over the freeway.  One does not run into this location by accident.  You have to know what it is you’re looking for to find it.  Take care in driving some of these streets, as they can be very narrow.  Return the way you came. [Google Maps]

Notes: This is a very classic shot, and I’ve seen it on the cover of a number of maps along the years.  The most interesting view is from the bridge looking south, with the Pasadena Freeway leading into the downtown Los Angeles skyscrapers at a distance.

Recommended time of day: Anytime.  The above photo was taken in the evening.  One can probably get some very interesting night photos here, but I would take extra care when in this neighborhood at night, as it is pretty secluded.  Just everyday common sense.