Toadstool Hoodoos – Grand Staircase-Escalante National Monument

 Colorado Plateau, Grand Circle, Grand Staircase-Escalante National Monument, Landscape, Landscape Photography, Photoshop Technique, Sony α900, Utah  No Responses »
Jul 272010
 

Entrada Toadstool, Grand Staircase-Escalante National Monument. Shot with a Sony a900 and a Zeiss 24-70mm lens at 28mm. Image exposed at ISO 100 at f16 for 1/30th of a second.

Hi everyone. Welcome to today’s posting. I am going to talk about several things in this post relating to how I shot and processed this image. First a little background. This shot was made in an area called the Toadstools in the Grand Staircase-Escalante National Monument. The area features a wild landscape of red Navajo formations and white Entrada formations. The white toadstools are hidden in a small side canyon and receive afternoon light. Littered all around the site are dark Dakota Formation rocks and caprocks that sit on top of the toadstools. Sunlight bouncing off the white Entrada surfaces is intense so it is best to wait until the late afternoon and a lower sun angle to shoot in this area. I made quite a few shots around the canyon but I kept gravitating to this amazing Dakota Rock. I loved the color and textures. I spent some time just trying to compose a shot and as I moved around I was able to focus in on a composition with the rock and the toadstool against the canyon wall. In this composition I wanted to capture the implied leading line of darker rocks beginning at the left corner and leading up to the toadstool with the caprock. There are actually two leading lines here; the line of the foreground rocks and the diagonal line formed by the wedge of light leading to the toadstool. To make this work I wanted to achieve sharp focus in the shot all the way from foreground to background.

The final processed image is a merge of three exposures, all with the same exposure, but each with a slightly different focus point, and combined in Helicon Focus software. The focus points were the foreground rock, the group of rocks in the middle, and the toadstool in the background. The three RAW files were processed with the same settings in Lightroom and placed in the Helicon program where the software magically crunched the numbers and blended the files into one critically sharp image. It was saved out as a .psd file for final work in Photoshop.

Entrada Toadstool RAW image before processing in Photoshop.

The image above is the merged RAW file before applying the various layers and adjustments. When comparing the two shots I think it is pretty easy to see the differences between the files. The RAW file lacks the contrast, punch, and color of the final image. But buried within the RAW file is the image I envisioned. It is only a matter of laying out a plan of action to bring out the details. I have outlined four areas within the image that I focused on in processing the shot.

Area 1: In order to make the toadstool standout I would need to darken the canyon wall. This would achieve separation and actually make the toadstool look brighter.

Area 2: This wedge of highlight would need to be knocked back. It was too bright compared to the rest of the tones in the scene. In addition the line of rocks were to hot and also needed to be toned back just a bit for better balance.

Area 3: The left hand fin of sandstone would also need to be toned back to help in framing the toadstool.

Area 4: The foreground rock is one of the most important features and along with the small grouping of rocks to the left form the beginning of the line that leads the eye up and around to the toadstool in the back of the canyon.

So these four areas were the starting point. I want to point out that before you start working on any image it is a good idea to study it and create a plan for how you want to process the shot. What is your vision for the image. What story are you trying to tell. What are the important details about the image that you want emphasize. Look closely at the shadows and highlights, the color tones within the image, and the contrast. Map out a plan and begin first with your global adjustment for shadows, mid-tones, and highlights. This might include setting a white and black point. Each of these adjustments should be made through curve layers. From there move to more localized adjustments. I always have a dodge and burn layer followed by my color correction layers and if necessary a color burn layer. I also apply a mid-tone contrast layer. I have spoken about this before and it is an important step to pop the contrast within the mid-tones. It is basically a highpass sharpen filter appled to a certain tonal range. The screen shot below shows the number of layers I used to process this shot. I employed a number of Luminosity Masks for shadows, mid-tones and brights followed by more focused adjustment for the background, the fin, and the foreground rock. These are indicated in the “A” set. The “B” shows my Mid-tone Contrast layer and Dodge and Burn. The “C” set is the localized color adjustments.

Everything is accomplished in layers and the file is saved as a layered PSD file. This gives you the most flexibility and allows you to come back and make or change your adjustments. Often when you make your first test prints you will see things that need to be changed and it is easy to go back into the layered file to do this.

Two critical steps I want to point out are the Dodge and Burn and the Color Burn layers. These are powerful, often overlooked, adjustments that can really make an image pop. In my darkroom days I used D+B as a way to lighten and darken values within my black and white prints. It is no different in the digital darkroom today. It is a subtle, painterly process that can impart a remarkable depth to an image. Color burn is another powerful layer where you can bring back color to certain areas within the image. Color burn when used in conjunction with D+B can help you bring out the glow. To see the effect compare and contrast the foreground rock in the RAW file with the final image.

Entrada Toadstool adjustment layers in Photoshop.

As always I want to thank everybody for stopping by today. I covered quite a few items in this one shot. If you have any comments or questions just drop me a note in the comments section. I am always happy to tell you what I did to an image. We are all on a photography journey together and we can only grow by sharing our knowledge.

Bob

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Ghosts – Wahweap Hoodoos, Grand Staircase-Escalante National Monument

 Grand Circle, Grand Staircase-Escalante National Monument, Hoodoo, Landscape, Landscape Photography, Photography Trips, Sony α900, Utah  No Responses »
Jul 242010
 

Ghosts at Wahweap Hoodoos, Grand Staircase-Escalante National Monument. Shot with a Sony α900 and Sony SAL 20mm lens. Image exposed at ISO 100 at f16 for 1/30 of a second.

Hi everyone and welcome to today’s post. As a heat wave envelopes West Virginia I am sequestered inside trying to stay cool. Though the weather is not cooperating for photography it is nonetheless a fine time to slow down and revisit some files I have not had a chance to process. This image was shot at the Wahweap Hoodoos, a grouping of eroded Entrada sandstone formations along the Wahweap Wash in the Grand Staircase-Escalante National Monument, Utah. I came upon these formations and immediately thought of them as ghosts. Not ghosts in the traditional sense of course, but more like early trick or treat days, with a simple sheet pulled over our heads as we headed out to collect candy from our neighbors. The far formation actually reminded me of Cousin It from the Adam’s Family.

There was a beautiful quality of light on this afternoon where the cool blue shadows stood in contrast to the warm reflected light on the canyon walls. The hardened sandstone felt cool to my touch and the wonderful fluting from years of erosion gave each ghost a unique personality. In the quiet of the canyon I spent some time with the ghosts, my ghosts, with my thoughts far away from this place. I don’t remember what was on my mind that day or really how long I was lost to my thoughts. Perhaps it was just the power of being in a special place but I woke from my thoughts free and calm. All thoughts gathered in the folds of my ghosts and washed away. I moved on as the light began to change.

Thanks for stopping by today. Spend some time with your ghosts.

Bob

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Cadillac View – Acadia National Park

 Acadia, Acadia National Park, Landscape, Landscape Photography, Maine, Mountains, National Parks, Photography Trips, Sony α900, sunset, Zeiss Lenses  No Responses »
Jul 202010
 

A Cadillac View, Cadillac Mountain, Acadia National Park. Shot with a Sony α900 and a Zeiss 24-70mm lens at 28mm. Image exposed at ISO 200 at f14 for 1/5 of a second.

Hi everyone. Todays post is from one of my favorite places, Acadia National Park, just outside of Bar Harbor, Maine. Variety is the key word when referring to the natural features of Acadia National Park. With elevation in the park ranging from 1530 feet to sea level, animals and plants inhabit zones ranging from sub-alpine to intertidal. Ocean, mountains, lakes and streams, wetlands, forests, meadows, and beaches are all found within the roughly 45,000 acres of Acadia, and each feature makes its unique contribution to the natural tapestry. Rising above the park is Cadillac Mountain topping out at 1530 feet above sea level. Cadillac is a photographers paradise with tree covered slopes and rocky outcroppings of lichen covered granite. The entrance road to Cadillac is just off the Acadia Park Loop Road and takes you to the summit. Along the way are various pullouts that give you access to a variety of landscapes along the slopes of the mountain. You can shoot sunrise or sunset on Cadillac and the mountain is often shrouded in fog.

This image was made on a beautiful, calm evening at a set of outcrops I discovered halfway up the mountain. The spectacular view seemed to go on forever. The tortured granite was very rough and covered in a mat of intense green and grey blue lichen. As the sun set the rock took on a golden glow. In order to keep the exposure in balance I used a 3-stop Singh-Ray split neutral density filter that came down just to the far range of hills in the background. The file was processed in Lightroom with final finishing in Photoshop.

Thanks for stopping by today.

Bob

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Coneflowers – Lensbaby Photography

 Flower Photography, Landscape, Landscape Photography, Lensbaby, Lensbaby Photograph, Lensbaby Photography, Photography Technique, Photoshop Technique, Photoshop Workflow, Sony α900, Uncategorized  No Responses »
Jul 192010
 

Image 1: Coneflowers - Final Image Processed in Photoshop. Image shot with a Sony α900 and a Lensbaby Composer at f4.0 at 1/250 of a second.

Hi everyone. I thought I would leave the slot canyons for awhile and post another Lensbaby image from my garden flower series. I am showing three stages in this image; the RAW capture, the Lightroom processed image, and the final composition completed in Photoshop. The image was shot in the early morning with the sun rising just off the image’s right hand side. The beautiful sidelight gave the flowers some nice illumination and added depth to the shot. The image was shot hand held with the focus on the two flowers in the center of the image. I used the f4.0 insert on my Lensbaby Composer and the camera white balance was set to 5200K. I composed the shot in a way that would give me cropping room for the final composition. The quality of light is what makes the shot beautiful but it also contributed to an exposure issue-that of balancing the white of the petals with the shadowed areas within the green leaves. Watching the histogram and the “blinkies” I had to clip the white highlights and the shadows just a fraction which pushed the majority of the mid-tones just to the left. I knew I could recover these in the RAW processor. Not optimum but pushing the histogram more to the right would have seriously clipped the highlights and I may not have been able to recover them.

Image 2, below shows the RAW file before processing. Not too bad but it can certainly be improved, especially in the shadows and mid-tones. And while I do like the hint of magenta colors in the top I thought the overall image could be improved by cropping in to eliminate some of the darker parts at the bottom of the shot. In looking at the image, right away I loved the quality of the light. The coneflowers really stood out and I liked the light striking the vertical stems which added a nice dynamic line that played against the curve of the flowers. With all that in mind my plan was to crop in on the shot and bring out the mid-tones for more depth. I also needed to recover a small bit of the highlights in the petal and add just a bit of fill recovery for the clipped shadows.

Image 2: Coneflowers, RAW capture before processing.

Image 3: below shows the image as processed in Lightroom before exporting to Photoshops. Here you can see the subtle recovery of highlights and shadows and the final crop. Additionally some small adjustments were made in the overall color with the sliders. Not a lot however as I prefer to use the selective color controls in Photoshop for final tweaking.

Image 3: Coneflowes, image after processing in Lightroom.

So lets take a look at all three images side by side: The first image is the RAW file, the second image is the Lightroom File, and the third image is the final Photoshop File. The results at first glance may appear subtle. The overall crop helped to eliminate the dark dead space at the bottom of the shot. But keep in mind that I shot this with an eye towards cropping in on the flowers. The Lensbaby Composer is not a zoom lens and though I might have moved in to the shot just a bit it would have altered the focus point. The second image also shows the slight recovery of the shadows with the Fill Slider and the highlights on the petals through the Recovery Slider. The third image is the final rendering from Photoshop. Here the shadows and mid-tones have been adjusted through a luminosity curve mask.

The shot below shows a screen capture of the layers I used in Photoshop. The Background Layer was duplicated and a Gaussian Blur at a 20 pixel radius was made. Though the Lensbaby at the f4.0 aperture insert already produces a nice selective focus blur I wanted to add just a bit more. From there, three separate luminosity curve masks were made for the mid-tones and shadows. The luminosity masks isolate certain tonal and value ranges in the image and from there I apply the curve adjustments through the mask. I won’t go into how these are made but if you are interested please visit Tony Kuyper’s website where you can download his tutorial’s on the masks. They are an excellent way to apply curve adjustments to a targeted tonal range. After the curves I applied a mid-tone contrast mask and then added my Dodge and Burn, Color Balance, and a Final Color Layer. This is a fairly typical Layer Stack for my work. I always do global curve work first followed by selective adjustments. I almost always use a Dodge and Burn Layer. This is an Overlay Layer with a 50% Grey Fill set to an opacity of 66%. You can paint on the mask using the Brush set to a large feathered radius. Painting with Black darkens and painting with white lightens. You should set the Brush to a low opacity and build up the effect.

Coneflower Photoshop Layers

Well, this was quite a bit to go through. Hopefully you followed along and got a glimpse of how I process some of my shots. If you have any questions or comments just drop me a note. Thanks for stopping by today.

Bob

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Antelope Canyon – Inner Glow

 Antelope Canyon, Arizona, Grand Circle, Landscape, Landscape Photography, Navajo Lands, Photography Technique, Photoshop Technique, Slot Canyon, Sony α900, Upper Antelope Canyon  No Responses »
Jul 182010
 

Inner Glow, Lower Antelope CAnyon. Shot with a Sony a900 and a Sony SAL 20mm lens. Image exposed at ISO 100 at f13 for 0.8 of a second.

Hi everyone. Todays image is called Inner Glow and it was shot in Lower Antelope Canyon. The image was exposed in tungsten white balance which is an effective technique when shooting in varied light conditions where warm light and cool shadows meet. Warmer light bouncing in the upper part of the canyon fails to penetrate into the shadows creating the opportunity for a composition with a complimentary color palette. The camera was placed in the deep shadows and set to 3200K WB. This renders the shadows a cool blue while maintaining most of the warmth in the orange glow. The exposure was processed twice; once the for tungsten balance and a second time with a warmer 5000K balance. The two files were blended in Photoshop by painting through a layer mask.

This is my 100th posting since beginning the blog last year. It has been an amazing journey and I have received many great comments from all my visitors. As I move forward I hope to improve the content and continue to feature images from my many travels. I thank all of you for your continued support of the site.

Bob

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Antelope Canyon – Wall of Light

 Antelope Canyon, Arizona, Colorado Plateau, Desert, Grand Circle, Landscape, Landscape Photography, Photography Trips, Slot Canyon, Slot Canyon Photography, Sony α900, Upper Antelope Canyon, Zeiss Lenses  No Responses »
Jul 152010
 

Wall of Light, Upper Antelope Canyon. Shot with a Sony α900 and a Zeiss 24-70mm lens at 50mm. Image exposed at ISO 100 at f13 for 2 seconds.

Hi everyone. I am still working through the selection and processing of images I shot on my recent trip to Arizona. Todays image was shot in the first chamber inside Upper Antelope Canyon. I have been here many times and have never seen these inner walls glow with such intensity. The effect is created by the intense sunlight reflecting on the sandstone walls as it penetrates into the canyon. After the thrill of chasing light beams such a composition may seem tame by comparison. But for me it was a fitting way to end my trip. For a brief moment I  just stopped and considered the walls-the sinuous curves, subtle banding of sandstone, and intense light-created by the powerful forces of erosion. In many ways I don’t think so much about the forms inside the canyon as much as I consider what water and time have swept away. For the canyons forms are about the interstitial spaces, positive and negative, that give rise to the play of light and shadow. This place is a living sculpture. Water and sandstone interact as willing partners in a sculptural process. Slowly and surely water chisels away at the rock cutting subtle bands in some walls while rendering others smooth. Water and time made this place. Water and time, like an artist, cut away the rock and each time something is removed something new is revealed.  It has been this way for all of time. For the Navajo’s this canyon holds a special power. It does so for me as well.

Thank you for stopping by today.

Bob

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Antelope Canyon – Light Beam No. 3

 Antelope Canyon, Arizona, Colorado Plateau, Desert, Grand Circle, Landscape, Landscape Photography, Photography Technique, Photography Trips, Slot Canyon, Slot Canyon Photography, Sony α900, Upper Antelope Canyon  2 Responses »
Jul 142010
 

The Laser, Upper Antelope Canyon. Shot with a Sony α900 and a Sony SAL 20mm lens. Image exposed at f13 for 15 seconds.

Hi everyone. With today’s post, I am continuing with the theme of slot canyon light beams. This image was shot in Upper Antelope Canyon and was apparently not seen by the rest of my shooting companions. We were moving between chambers to set up for the next shot and I was bringing up the rear of the group. As I was waiting to move into the next chamber I turned around and this beam just shot down in a narrow space in the canyon. I quickly opened up my tripod and composed the shot. I could hear the next group behind so I did not have much time. Except for the beam the area was quite dark and I had to quickly determine an exposure before people started to wander into the shot. Based on experience I calculated somewhere between 15 and 20 seconds. I got off two exposures before the scene was interrupted. It was a serendipitus occasion. That beam of light was so intense and to see it literally drop down before my eyes was an amazing experience. The moral of this story is to always look behind you. We all tend to be focused ahead when maybe there are other amazing shots if we just look around. Life is fleeting and like this image it can come and go very quickly. Take time in the rush to look around. We are always moving head to the next great thing when maybe just stopping to be in the moment is what we really need. This was a powerful beam of light and it burned a lasting impression on me. For the rest of that day I just slowed my pace and opened my eyes. Weeks later I am still thinking about this and though hard to practice in the daily pressures of our lives I am slowing down some to just sit for a quiet  moment and look at the light.

Thanks for stopping by today.

Bob

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Sandstone Waves – July Featured Image

 Antelope Canyon, Arizona, Desert, Featured Image of the Month, Fine Art Paper, Grand Circle, Landscape, Landscape Photography, Legion Paper Company, Moab Paper, Print of the Month, Slot Canyon, Slot Canyon Photography, Sony α900  No Responses »
Jul 072010
 

Sandstone Waves, Mountain Sheep Canyon, Navajo Lands. Shot with a Sony α900 and a Sony SAL 20mm lens. Image exposed at ISO 100 at f16 for 1/2 of a second.

Hi everyone. I must admit I have been remiss in getting my featured images up and have gotten behind. So today I am going to catch up a bit and offer a new image just recently shot in Mountain Sheep Canyon, a beautiful open top slot canyon on the Navajo Reservation, near Page, Arizona. This section was very narrow and featured some beautiful striations and color banding in the sandstone. The image is a printed on 13 x 19 300g Moab Entrada fine art paper and is signed in the lower left hand corner.

You may purchase this print, and others in the collection, over on my website at http://roberthclarkphotography.com. Just go to the Featured Image Gallery to purchase a print.

As always I appreciate you stopping by today and supporting my work.

Bob

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Upper Antelope Canyon – Light Beams No 2

 Antelope Canyon, Arizona, Desert, Grand Circle, Landscape, Landscape Photography, Photography Technique, Slot Canyon, Slot Canyon Photography, Sony α900, Upper Antelope Canyon  4 Responses »
Jul 062010
 

Slot Canyon Light Beams, Uppe Antelope Canyon. Shot with a Sony a900 and a Sony SAL 20mm lens. Image exposed at ISO 100 at f13 for 4 seconds.

Hi everyone. With a few days off I am working through some more images. Here is another light beam shot from the Upper Antelope Canyon trip. There were three distinct beams happening during this shot; two in the main part of the image and a third starting on the wall in the background. Although it looks like I am the only person in the canyon I can tell you on this day, the July 4th weekend, it was one of the most crowded days to visit. There were people everywhere. I have been in the canyon on many occasions during other parts of the year and have truly never seen such crowds. Photography in such conditions is very difficult. You cannot visit Upper Antelope Canyon with out a Navajo guide. And there are generally two types of tours-one for the casual visitor interested in seeing the canyon and the other for photographers. If you want to successfully shoot the beams you need to go in on a photo tour. There are several tour companies but my guide of choice is Carol Bigthumb of Adventurous Antelope Canyon Photo Tours. Her family has called the land surrounding Upper Antelope home for many generations. Carol, or her guides, will put you in the best position and monitor the crowds so they are not present in your images. The photography tours generally take around 1.5 to 2 hours and the guides can put you at the beams as they begin to occur.

As to shooting technique for the beams my preference is to shoot with a wide angle lens between 20 and 24mm. It is in my opinion too crowded to use anything beyond 24mm primarily because of where the guides will put you when you shoot. All the images I shot on this trip save for a few were shot with the 20mm. Additionally you have to work fast and you do not have time to change lenses unless you are carry two cameras. Lens changing is also not recommended since blowing sand is everywhere. In fact to help accentuate the beams the guides will throw sand into the light which helps give the ghost like waves within the beams. And do not forget your tripod and a remote shutter release. These items are a must. You cannot hand hold these shots successfully.

I will typically shoot RAW files at an ISO of 100 at an aperture of from f11 to f16. I am seeking the best digital capture I can get. For my white balance I am shooting somewhere between 4500 to 5500k. I will also shoot using the tungsten setting to cool down the shadow colors. I shoot only in Manual mode and in Manual Focus. I want total control over my exposures. Depending on the location and the quality of the light my exposures can range from 4 seconds to over 30 seconds. You can see why you need the tripod. I will also bracket in 1 stop increments. Reviewing your histogram can be useful but keep in mind that there is an extreme contrast range from bright lights to deep shadows. I will take my first shot at the camera meters recommendation and review the screen to see how close I got. If it looks pretty good I will then take my brackets. But do not totally trust your screen either. The screen image is the cameras attempt to make a jpg representation of your RAW file. I have set the screen representation on my Sony α900 to where I get a very close approximation of my capture. So I tend to use the histogram, the screen, and brackets to ensure my capture. Update: After this post was made I forgot to add one more item. And that is I always shoot with mirror lock-up on to avoid any minor camera vibrations.

The chambers where the beams occur are fairly tall. You want to shoot from a lower angle to capture the expanse of the space. Additionally the lower angle tends to flatten out the hot spot where the beam is hitting the sand. Once in position I will focus about 1/3 into the shot. Remember to use manual focus. Lower light levels in some of the chambers will cause your cameras auto focus to search and you will not achieve critical focus on your images. When ready your guide will toss sand into the beam. Wait till it begins to settle a bit and then shoot. You want to get the ghost like movements that occur as subtle air current cause the sand to dance within the beam.

Many of us who shoot landscape do so to get away from the crowds. To be alone to capture a special place at sunrise or sunset is one of the many reasons we shoot. I would love to be alone in Upper Antelope with the light beams. But it is just not possible. But to me it doesn’t matter. To experience the beams is to witness a unique natural phenomenon that occurs only during the summer months. If you are in the area it is a must see.

Thanks for stopping by today.

Bob

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Slot Canyon Contortions – Mountain Sheep Canyon

 Antelope Canyon, Arizona, Grand Circle, Landscape, Landscape Photography, Photography Technique, Photography Trips, Slot Canyon, Slot Canyon Photography, Sony α900, Upper Antelope Canyon  1 Response »
Jul 052010
 

Slot Canyon Contortions, Mountain Sheep Canyon. Shot with a Sony α900 and a Sony SAL 20mm lens. Image exposed at ISO 100 at f16 for 0.7 seconds.

Hi everyone. Here is another posting from my recent shooting trip. This image was taken in Mountain Sheep Canyon, a beautiful slot canyon near Upper Antelope Canyon. It is more open at the top than Upper or Lower Antelope Canyon and therefore receives a great deal more light. Shooting in this canyon, as in most “open top” slot canyons is best in the early morning or late afternoon where the lower sun angle allows light to bounce off the walls. This canyon is full of wave like formations caused by water and wind erosion. Light was bouncing off the far wall located in the upper right hand corner and provided some subtle illumination under the over hanging roof. The beautiful striations and colorful tones in the sandstone are evident and illustrate the sculpting power of water and wind.

A few notes on taking a shot like this. You want to avoid shots that have full direct sunlight striking the walls. The bright contrast will over power the image. Instead you want to look for walls that are receiving indirect or reflected light that is bouncing into the shadow areas. Metering should be set to matrix or evaluative and you should be in manual mode. I typically shoot these at f11 to f16 with my 20mm lens. I will take a first exposure at 0 compensation-in other words at what the camera meters. I then will check the histogram and alter the shutter speed or the EV’s and recheck the histogram. I want to ensure that I am not clipping the highlights or shadow areas. For this shot the final image processed was 1/2 stop under the camera meters recommendation.

As to framing I was drawn to this image by the strong diagonal lines and sculpted scallops which are mirrored on each side. The strong diagonal in the foreground is reflected in the line on the upper left. All of these are focusing you inward to the dark shadow in the middle. I tried to give the viewer a place to get into the shot, move around, and exit. Another thing I try to do in slots is weight one side of the image. That is to make one side more dominant than the other. Think rule of thirds when considering this idea. The left hand side is more dominant and includes the the strong diagonal line leading up to and around the roof dropping your eye back into the image. There are also pattern repetitions. Note the scalloped forms on the right that lead the eye to the shadow area in the center of the image.

Slot canyons are great fun to shoot in and present some unique challenges. Always be prepared when you travel in slots. Make sure you have plenty of water and make sure you check the weather forecast. Storms miles away feed fast moving water into these canyons and you can be swept away. But with planning, patience, and an eye towards discovery you can shoot some amazing images.

Thanks for stopping by today.

Bob

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