Robert H Clark Photography Blog

Sony α900

Mountain Sheep Canyon – Navajo Lands, Arizona

Arizona, Colorado Plateau, Desert, Grand Circle, Landscape, Landscape Photography, Mountain Sheep Canyon, Navajo Lands, Photography Technique, Photography Trips, Slot Canyon, Slot Canyon Photography, Sony α900, Zeiss Lenses 4 Responses »

Jul 232011

Fracture, Mountain Sheep Canyon, Navajo Lands, Arizona. Shot with a Sony α900 and a Zeiss 24-70mm lens at 24mm. Image exposed at ISO 100 at f13 for 1/2 of a second.

Hi everyone and welcome to today’s post. One of the interesting aspects of writing a blog is finding out what posts are the most popular. WordPress offers a nice statistics section in their content management system that tells you the number of visitors, search criteria used to find your site, and a counter to the most visited pages. Interestingly, in my mind at least, there have been quite a few searches and visits to many of my Mountain Sheep Canyon images. Mountain Sheep is small, hidden jewel, located outside of Page, Arizona on Navajo Lands. The canyon is only accessible through a photographers trip offered by Carol Bigthumb of Adventurous Antelope Canyon Tours.

Unlike Upper and Lower Antelope, Mountain Sheep Canyon is what I refer to as an open top slot. It has a straight in entry and only requires a little bit of scrambling. It takes some effort to get out to the canyon through sandy washes but the canyon receives few visitors making it a special place to photograph. Because of the wide open top light can be intense and often many of the formations are blown out. The better photographs come by looking for the reflected light on the canyon walls and creating compositions that focus on the lower parts of the canyon. The light changes rapidly and you should look for compositions during the trip in and out.

Slots are formed by the erosive forces of water that flow during flash floods through the sandstone drainages. Rocks, sand, tree limbs and other debris contribute to the carving of the canyon walls and are often deposited along the floor after a flood. The fast moving water scours the walls revealing intricate and colorful layers of stone. In many cases the water is caught in whirlpool like eddies that over time carve out chambers and alcoves in the rock. Ultimately this is how rooms in slot canyons are formed. The image above shows the beginnings of a small alcove where the swirling water has begun to carve a semi circular space in the stone. The group of rocks in the alcove are transient visitors and may move on during the next flood.

Thank you for stopping by today.

Hozógo nasádo (Navajo): Walk in Beauty

Bob

Rio Grande Overlook – Big Bend Country, Texas

Big Bend, Big Bend National Park, Landscape, Landscape Photography, Lightroom, National Parks, Photography Trips, River, Sony α900, sunset, Texas, Water 12 Responses »

Jul 202011

Rio Grande Overlook, Big Bend Country. Shot with a Sony α900 and a Sony SAL 20mm lens. Image exposed at ISO 100 at f14 for 8 seconds.

Hi everyone and welcome to today’s post. Today I was officially labeled as out of control regarding my photography. I think the word obsessive was used a few times. This moniker was given to me by none other than my wife with a few here here’s thrown in from my daughter. Ok, I freely admit this. If I am not shooting, I am processing. If not processing than I am shooting with the iPhone, or tinkering, or reading blogs, or cleaning cameras, you get the idea I think. What to do? I did not say much having been stung to the core by such honesty. I did not promise to do better because I do not think that is a possibility. I do think about photography quite a bit but I have never thought of myself as obsessive-passionate yes, but never obsessive. The iPhone has caused some of this. Or, in the true spirit of excepting responsibility for my actions, I have allowed the “thing” to consume me. But fun is fun, I think, and photography, in all its aspects, is fun. It combines many things that I like; travel, art, technical knowhow, the great outdoors, planning, friendship, equipment, experimentation, and the list can go on. Passion is to be pursued. I am passionate about photography and I pursue it with an all consuming energy. There is so much to do, so much still to learn. It is something that pulses through me , a yearning, a longing, a desire. If I come off as neglectful to the ones I love then I am sorry and I will try to be more attentive. I promise. I did say above that it may not be possible, but I will try. But I am not sorry, nor will I ever be about my passion for making images. I only have one life and as I get older I am finding it needs to be lived fully and in the pursuit of ones passion, whatever that may be.

So what does all this diatribe and self-aware angst have to do with the image above? Nothing perhaps. Or maybe everything. The image was made in the pursuit of my passion. It was made in a beautiful place, on an outcrop of rocks, and amongst good friends. In my mind it does not get much better than that. It was the last day of the Big Bend workshop and this grand landscape could not have been more appropriate as our final shoot. From this lofty perch the Rio Grande flowed into the the dying of the day. As we shot we felt the power of this place and the special bond of friendship forged in pursuit of the same passions. And though we would all be parting company soon the river bound us together and we flowed along its curves into the sunset. My grandmother once said that in life you need someone to love, something to do, and something to look forward to. My friends, that is passion. Be consumed.

Thank you as always for stopping by to visit.

Hozógo nasádo (Navajo): Walk in Beauty

Bob

First Light on Otter Point – Acadia National Park, Maine

Acadia, Acadia National Park, Landscape, Landscape Photography, Maine, Photography Composition, Photography Trips, Sony α900, Split Neutral Density Filters, sunrise, Zeiss Lenses 6 Responses »

Jul 172011

First Light on Otter Point, Acadia National Park, Maine. Shot with a Sony α900 and a Zeiss 24-70mm lens at 28mm. Image exposed at ISO 200 at f14 for 1/2 of a second. The White Balance was set to 5500K.

Hi everyone and welcome to today’s post. Well it is only a few weeks now until my North Shore on Lake Superior workshop with Alec Johnson and Travis Bechtel. We are all in the pre-trip angst deciding on equipment choices, prepping files for critiques and teaching, and all other last minute details that can consume one before a trip. The workshop is full so we re all looking forward to a great experience. If I can get my act together in time I will put together a post on my camera bag for this trip.

In the meantime please enjoy today’s image from another beautiful, rocky coastline, only this one is in Maine. This is a shot of Otter Point at first light. Otter Point is one of the more iconic landforms in Acadia National Park and has been the subject of many photographs. For this image I wanted to shoot from a point where I could get some interesting foreground elements to add more visual interest to the shot. I found this area along the coast the evening before and really liked how the foreground pillar of rocks created a negative shape that mirrored the contours of Otter Point. This group of rocks, along with the ones on the right provided a nice framing device. The next morning I climbed down along the shoreline about 40 minutes before sunrise. This area is very slippery and the lowlight conditions required a slower, and more careful approach. Once in place and the shot framed I started to shoot a few test shots as the light came up to check my histograms. A storm from the night before was just clearing and with the addition of the clouds the whole composition came together. I used a 4-stop soft edge, Singh-Ray Split Neutral Density filter to balance out the exposure. As the sun cleared the horizon and the first light hit the point I made my exposure.

Thank you as always for stopping by to visit.

Hozógo nasádo (Navajo): Walk in Beauty

Bob

Dr. Doug No. 2, Terlingua Texas, Big Bend – Gritty Portrait Technique

Adobe Lightroom, Adobe Lightroom Workflow, Big Bend, Big Bend National Park, Gritty Technique, Lightroom, People Photography, Photography Technique, Portrait, Portrait Photography, Sony α900, Texas, Zeiss Lenses 2 Responses »

Jun 122011

Dr. Doug, Terlingua, Texas. Shot with a Sony α900 and a Zeiss 24-70mm lens at 70mm. Images exposed at ISO 100 at f2.8 for 1/90th of a second.

Hi everyone and welcome to today’s post. I am in the midst of getting ready for a week in the field that will see my first trip into Canyon X in the Antelope Canyon Drainage. But before I get there I have all the usual “getting out of town” issues that seem to consume a lot of time. Getting a new blog post out was not on that list but I had started this one a few weeks ago and as it turned out it did not require too much time to finish the processing.

My frequent visitors will recognize this image as my wise old friend, Dr. Doug, of Terlinqua, Texas. Recently I was inspired by some beautiful portrait work of surfers on the North Shore of Lake Superior by my friend Alec Johnson. The gritty, hard look of these images were amazing and really brought out the character of the subjects. In today’s post I decided to explore my own version of the “gritty” portrait technique. The technique is characterized by a “hyper-sharpened”, desaturated processing technique. While I do not think it is appropriate for all portraits it is none the less an effective technique that produces an edgy look. The details in Dr. Doug’s face, from his piercing eyes, to his coarse beard, all lend themselves to applying the technique.

Dr. Doug. The processed RAW file used as the starting point for the "gritty" look.

The original shot was made in natural light in the late afternoon. I moved in close using a Zeiss 24-70mm lens at 70mm. To the left is the processed RAW file developed in Adobe Lightroom. I followed my usual processing procedures for the RAW file including curve adjustments, fill and recovery, color luminosity adjustments, and sharpening. The file was exported into Adobe Photoshop for the final finishing. The work for the final image proceeded in the following steps:

Step 1: I duplicated the file and performed a little “digital gardening” on the copy to remove a few dust spots.

Step 2: I added a Levels Layer and set the White and Black Point. I routinely perform this step on all my files.

Step 3: I created a Black and White Adjustment Layer set to Soft Light Blending Mode with an opacity of 40%. This is a salt to taste setting but generally 40% is a good starting point. You will begin to see the “gritty” effect with this layer.

Step 4: I created a Selective Color Layer. From there I went into the Red Color Selection and set Cyan to +20 and Yellow to +20. This has the combined effect of removing the Red Cast.

Step 5: I created a Hue/Saturation Layer and in the Master set the overall Saturation to -35. In the Red I set the Slider to -40, and -20 in the Yellow. Steps 4 and 5 are a salt to taste adjustment. Make sure the preview button is set so you can visually see the effect of the changes.

Step 6: Make sure the top layer in your layer stack is selected then go to the Layer Menu and select Merge Visible. Hold down the Option Key when you do this so you can retain your other layers. This will put a merged file on top of your layer stack.

This is my sharpening layer. For this effect I used two sharpening passes; A Large Aperture Sharpening Routine and a Small Aperture Routine. For the Large Aperture go to the Filter Menu and select Unsharp Mask. Set the Radius to 20 and the Amount to 75. Generally the amount will work between 50 and 100 but you will need to judge the effect on each image. Once you are finished close out to apply the sharpening. Add a filter layer and fill will black. This will hide the sharpening effects. Using a Soft Brush set to 15 to 20 percent, paint white over the filter layer to reveal the sharpening effect. I concentrated on Dr. Doug’s eyes, nose and part of his beard. I do not bring out all the sharpening. Only enough to begin to see the “hyper-sharpened” effect.

Now for the Small Aperture Routine. Using the same image layer go to the Filter Menu and select Unsharp Mask. Set the Radius to 5.0 and the amount to 225. This will tweak out finer detail but it will be mitigated but the Layer Mask. Using the Soft Brush at an Opacity of 20% to 25% I painted White over the eyes and the beard to bring out these areas. In a portrait the “eyes” are the key. This is where the soul resides.

Step 7: I made a Curves Layer and lightened Dr. Doug’s eyes to increase the intensity and bring out the lighter colors in the whites and the iris.

Step 8: I also created a Dodge and Burn Layer to Lighten and Darken a few areas in the portrait. This is a key component for all my work whether it is a portrait or a landscape. The pushing and pulling of light and dark is a painterly process that helps create the sense of depth I like in a photograph. To make a D and B layer add a new Layer on top of the Layer Stack. Change the Blending Mode to Overlay and the Opacity to 66%. Fill this layer with 50% Black. Using a Soft Brush set to a low opacity of 5% to 10% I paint in with White to lighten areas and Black to darken. This is a subtle building of tones. There is some intensive work on Doug’s eyes to create a 3-D quality.

And that is the technique. The combinations and applications of color adjustment, saturation, dodging and burning, and sharpening are all on a per image basis. The settings used above are a starting point. I also had a good, solid starting image to make the adjustments. The differences in my mind are not subtle. The starting image is soft and on its own would make a fine file under a normal workflow. But I like the intensity created by this technique. Dr. Doug appears more intense and worldly. The gritty look deepens the story for me.

Give this technique a try on your next portrait. I will be back in a week or so from my Grand Canyon/Canyon X trip. You can follow me through my Twitter and Facebook Feeds.

Thanks for stopping by today.

Hozógo nasádo (Navajo): Walk in Beauty

Bob

Sandstone Portal – Lower Antelope Canyon

Antelope Canyon, Arizona, Desert, Grand Circle, Landscape, Landscape Photography, Lower Antelope Canyon, Navajo Lands, Photography Trips, Slot Canyon, Slot Canyon Photography, Sony α900, Zeiss Lenses 4 Responses »

Jun 042011

Sandstone Portal, Lower Antelope Canyon, Navajo Lands, Arizona. Shot with a Sony α900 and a Zeiss 24-70mm lens at 24mm. Image exposed at ISO 100 at f16 for 1 second.

Hi everyone and welcome to today’s post. I had just a bit of time between my trips to post this image. I will be heading back out tomorrow for work in Washington, DC and then out to the Grand Canyon and Page, Arizona the following week. Today’s image of this beautiful sandstone arch was shot in Lower Antelope Canyon. I continue to be amazed by the geological diversity found in a slot canyon. Here, at a turn in the canyon, subtle striations give way to an arching fin of stone carved by the forces of water. A sculpture revealed ever so slowly over time by the subtle removal of material. I wonder just how long it took. And how much longer will it take for water to carve away until it separates completely and is washed away. Eons I should think.

One of the techniques I use when shooting in slots is to shoot from a low camera position. I do this to help emphasize vertical height and to bring in foreground elements to aid in composition. Here I am working with some implied motion created by the layers in the stone. By shooting low and including the mass of rock in the foreground I can create dynamic leading lines that take your eye up the fin. The light is also working for me in the composition as the fin is beautifully lit and subsequently framed by the darker walls beyond. The original RAW file and the final Photoshop Master File was processed to accentuate the leading lines and the play of light.

I’ll be back in a few weeks with shots from the Grand Canyon and some new slot canyon images from Canyon X.

Thanks for stopping by today.

Hozógo nasádo (Navajo): Walk in Beauty

Bob

Sandstone Fins – Glen Canyon National Recreation Area

Arizona, Colorado Plateau, Desert, Glen Canyon, Glen Canyon National Recreation Area, Grand Circle, Landscape, Landscape Photography, National Parks, Navajo Lands, Photography Technique, Photography Trips, Sony α900, sunset, Twilight Photography 2 Responses »

May 312011

Sandstone Fins, Glen Canyon National Recreation Area. 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 and welcome to today’s post. Over the next few weeks I will be pretty busy with work related items including some travel time. To this end I may not be able to get up another post before I return towards the middle of June. I will tell you that the back end of my travels will take me once again to the Grand Canyon and up to Page for a little slot canyon photography. I will be shooting in Canyon X, Secret Canyon, and out at the Fins at Waterholes Canyon, all on the Navajo Reservation. I have wanted to shoot both of these canyons for quite some time and I am quite excited to see them. The Fins are a collection of striated stacks of sandstone similar to todays image. If I have a chance to post another image before I get away I will. But if not I will see you again in a few weeks.

Today’s image was shot at Glen Canyon National Recreation Area. On the road leading out of Page, towards the Glen Canyon Dam, there is a turn off to the right that will take you to a parking area. From there it is an easy hike in multiple directions out into the sandstone play land along the lakes edge. You do not have to travel far to find interesting sandstone formations and patterns. There are quite a lot of these sharped edged, stacked sandstone fins, that really glow in the early morning or late evening light. This image was shot in the late evening when I had just arrived in Page. I came down just after checking into the hotel just to unwind from the trip. It was an evening of beautiful light and a great way to start off another shooting adventure.

If I have the time I often like to begin a shooting trip in this manner. This was not my intended destination but it served to get my mind in the right frame and helped me to unwind and get ready for the next day. All too often we arrive with very little time to prepare and have to jump straight into our main subject. The results can be discouraging and I can think of many occasions where I have lost a days worth of shooting by simply not having my head in the right frame of mind. Learning to ease in, such as in this case, has helped me calm down and experience the light and feeling of a place. In many cases by letting go in such a way your “wind down” excursions can produce some very nice images. Afterwards a nice dinner and then checking your equipment sets a relaxed tone for the next day. Give this a try on your next trip.

I will see you again in a few weeks, and hopefully, with a lot of new images from a spectacular slot canyon.

Thanks for stopping by today.

Hozógo nasádo (Navajo): Walk in Beauty

Bob

Enveloping Storm – Grand Canyon National Park

Arizona, Colorado Plateau, Colorado River, Desert, Grand Canyon, Grand Canyon National Park, Grand Circle, Landscape, Landscape Photography, National Parks, Photography Trips, River, Sony α900, Zeiss Lenses 4 Responses »

May 292011

Enveloping Storm, South Rim, Grand Canyon National Park. Shot with a Sony α900 and a Zeiss 24-70mm lens at 40mm. Image exposed at ISP 100 at f16 for 1/2 of a second.

Hi everyone and welcome to today’s post. This image was shot at Moran Point on the South Rim of the Grand Canyon. I woke on this day to a canyon enveloped in storm clouds and while I did not hold out much hope for any photography this morning I still drove out to the rim to check on the conditions. When I arrived a stiff wind was blowing and the clouds began to lift and roll out from the canyon floor. At sunrise the clouds lifted towards the east to reveal the sinuous curves of the Colorado River. Ever so subtle, the rising sun lit up the river, and brought shape to the canyon beyond. Within minutes however, the eastward blowing storm soon enveloped my position and pelted me with ice and rain. I had a dickens of a time keeping the lens clear of water droplets. I was able to get 6 shots off before the vista became cloud bound again. By this time the rain was falling in earnest and I had to pack up.

In all honesty when I got up that morning it was all I could do to force myself out into storm. I was thinking a little more sleep and breakfast at the El Tovar Hotel sounded like a much better idea. But I had never seen the canyon like this before so I just willed myself to move. Six shots. That is all I got. Six photographs captured on a CF card. But it is not all that I got. I will tell you that watching the storm roll through nearly brought me to tears. The sheer power and majesty of being in that moment is still with me today. I can still see the swirling clouds rolling up from the canyon floor. The North Rim horizon was completely socked in. Scale and distance was lost in the clouds, swept away to the east on a brisk wind. I can still feel the stinging touch of ice and hear its pinging notes as it struck my camera. Nature put on a show for me that morning and I felt small and humbled by this gift. Six shots. That is all I got. That and a lifetime of memories. Oh, and I did get breakfast at the El Tovar.

Thanks for stopping by today.

Hozógo nasádo (Navajo): Walk in Beauty

Bob

Journey – White Sands National Monument

Desert, Landscape, Landscape Photography, National Parks, New Mexico, Photography Trips, Reflections, Sony α900, sunrise, White Sands National Monument, Zeiss Lenses No Responses »

May 192011

Journey, White Sands National Monument, New Mexico. Shot with a Sony α900 and a Zeiss 24-70mm lens at 70mm. Image exposed at ISO 100 at f13 for 1/2 of a second.

Hi everyone and welcome to today’s post. For the next few days I will be in Charleston at my daughters state track meet. She will be competing in the pole vault. I will confess that she is quite good at her event. But this year, her junior year, has been tough on her. She has faced the pressure of grades, competing, and some for the first time being under the microscope of expectations. She has cracked a bit under this pressure but has done an incredible job of working through the issues. Today’s world is so different compared to my day. It is just so much harder and our kids seem to face so many pressures that for many of us “old timers” were not around in our youth.

On a daily basis I remind my daughter that her life is a journey and will be made up of many events, some that will inform what she becomes, and others that are just minor blips along the path. Though this year was tough it will get better. Though she did not pole vault well this season it will get better. It can all change in the snap of a finger. I also remind her to try to be in the moment. The path of life is long with many twists and it is simply impossible to see around every curve. Many influences, both good and bad, will pull at you during your journey. Many things will happen that just do not seem fair. But a lot of good happens if you let it. If you let go of what holds you back and choose not to live in fear then amazing things will happen. This is tough for a 17 year old. And as I jot these thoughts down I realize it is tough for me as well.

I do not know what the next few days will hold for her. But I pray she finds the moment and the courage to face down the demons that are holding her. I pray that she steps on to the path of light and lives in the incredible moment of “now”. And I hope I can do the same.

This image was shot on a beautiful morning on the dunes at White Sands. As the sun rose golden light illuminated this beautiful ribbon that traversed the ridge between light and dark. To all my friends-walk the path. Life has much to offer if you let it. Let each waking minute be the your best. Let each waking hour be your best. Let each waking day be your best.

Thanks for stopping by today.

Hozógo nasádo (Navajo): Walk in Beauty

Bob

Ghost Dancer – Upper Antelope Canyon, Navajo Lands, Arizona

Antelope Canyon, Arizona, Chiaroscuro Lighting, Colorado Plateau, Desert, Grand Circle, Navajo Lands, Photography Technique, Photography Trips, Slot Canyon, Slot Canyon Photography, Sony α900, Upper Antelope Canyon 4 Responses »

May 142011

Ghost Dancer, Antelope Canyon, Page Arizona. Shot with a Sony α900 and a Sony SAL 20mm lens. Image exposed at ISO 100 at 3.0 seconds at f13.

Hi everyone and welcome to today’s post. Well, it is now late spring when a photographers thoughts turn to chasing light beams in Antelope Canyon. Ok, I know that I might be stretching things a bit for some of you who think that spring fosters the sling of Cupid’s Arrow. I cannot speak on matters of the heart but for me, May is the time when the angle of the sun changes and brings spectacular beams of light in Upper Antelope Canyon.

This image was made in Upper Antelope Canyon, located just outside of Page, Arizona, on the Navajo Reservation. The Navajo guides are very good on the timing of the beams in the various chambers and will place you at the right time to capture them as they emerge. But it pays to be attentive to other opportunities. In this instance I was setting up for a shot more to the camera right position when I looked into the chamber beyond to see this subtle wisp of light. The beam literally shimmered and danced hence the name of this shot, “Ghost Dancer”. I see many things in this image that speak to spiritual matters. The dancing beam and the beautiful light illuminating the canyon roof are powerful archetypes. But if you look closely at the buttresses, and with imagination, you can see many faces etched in the rock. And at the top of the first buttress is an orange ellipse with pointed rays like the sun. The Navajo guides can show you many things carved into the rock by the forces of wind and water. For them the canyon is a spiritual place-a sacred place that is home to many living spirits. After many trips here I have begun to find some faces of my own. They reveal themselves slowly and only if you are ready to see. In my first trip to the canyons I really did not see. Like many first time visitors I aimed my camera at anything that glowed. But over time I have slowed down and now walk the chambers with a more “in the moment” approach. When you slow down many things are revealed to you. I can hear the wind and the subtle falling sounds of minute grains of sand. The dynamic chiaroscuro lighting envelopes you-darkness gives way to light and back to darkness. The rock itself is cool to touch and if you run your hands along the surface you can feel the lines of age cut by natural forces. Light and dark, ancestral faces and animals embedded in the rock, and dancing ghosts of light; if you do not believe this place has a spirit then you have no soul. A strong statement I suppose. But seeing and feeling is believing.

Double Light Beams, Upper Antelope Canyon. Shot with a Sony α900 and a Sony SAL 20mm lens. Images exposed at ISO 100 at f16 for 6 seconds.

Ghost Beam, Upper Antelope Canyon, Navajo Lands, Arizona. Shot with a Sony a900 and a Sony SAL 20mm lens. Image exposed at ISO 100 at f16 for 8 seconds.

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

With the above in mind I want to layout a few tips while shooting in the canyons. Before I even talk about equipment or shooting I would ask that you go in with an open mind and a sense of respect. For many of the Navajo guides this is their home and the home their ancestors. Take only pictures and leave only footsteps. The light beams are very popular and the canyon will be very crowded during the summer months. To get the best possible results you should book a Photographers Tour. I would suggest contacting Carol Bigthumb of Adventurous Antelope Canyon Tours. Carol or her guides will place you in the right position and hold back the crowds to allow you the chance to capture some truly amazing images.

As to equipment you must go light and you must be prepared to make quick changes. I carry two bodies with matching quick release plates. One is set with my 20mm or 24mmPC lens and the other with a 24-70. The shots above were all captured with my 20mm which is my weapon of choice. The canyon is narrow and if I need to “zoom” in I just shift my position.

All my shots are done in Manual Mode. I am an old “match needle” guy and I like the control of adjusting the +/- through the Command Dial. As to exposure I will set all controls to what the camera meter believes is correct and view the histogram. Keep in mind that with such extremes of light the histogram will show clipping in the darks and the highlights. I look where the bulk of the mid-tones are located and change my exposure to move those zones to the right and more towards the middle if I can. Make sure you have the blinkies turned on. Some highlight blow-out is to be expected but you want to avoid blowing out the tones in between the mid-tones and highlights. From there take a shot and then bracket around this point.

A tripod is required, period. Exposure times are long and you cannot hand hold your camera to get these shots. Leave the flash at home. The Navajo guides will ask you not to use flash and your photographic results will be quite disappointing. And along with the tripod do not forget you electronic shutter release. Shoot in mirror lock-up mode to minimize and potential camera shake.

Shoot with low ISO. Todays cameras are quite good at controlling noise but I still prefer the shooting at ISO ranges of 100 to 200 and longer shutter speeds. A longer shutter of from 2 seconds or longer is necessary to capture the ghost like beams. The guides will toss sand into the light and longer shutter times will give you the shimmering movement.

When possible shoot from a low tripod position. When the light beams occur their contact with the ground will produce a hot, white spot. By lowering the camera position the spot becomes thinner and less pronounced. As you can see the dynamic range of light is incredible. Deep shadows to blown out highlights. Bracketing exposures for blending will help you in post processing. However I will tell you the shots above were done in a single capture so it can be done.

I do not use filters to enhance the color. The intensity of light and color is already there. I do not use the Auto WB but instead set my exposures on the K scale. Typically I set this in warmer light to 5500K. If I want to pull out more cooler tones I will set it to a tungsten setting around 3200K.

If you are planning a trip to Antelope Canyon I hope this small bit of information will help you take some great images.

Thanks for stopping by today.

Hozógo nasádo (Navajo): Walk in Beauty

Bob

Apr 262011

Last Light on the East Palisades, Desert View, Grand Canyon National Park. Shot with a Sony α900 and a Sony SAL 70-300mm lens at 70mm. Image exposed at ISO 100 at f16 for 2 seconds.

Hi everyone and welcome to today’s post. This image was shot near Desert View on the South Rim of the Grand Canyon. This view, looking east, is one of the most spectacular on the South Rim. Here you get a real sense of the expanse of the canyon as it turns northward. Down below the Colorado River rolls through the inner canyon on its way to Lake Mead. I do not have a story about this shot. For me it just seems to speak for itself. I don’t want to suggest that it is a timeless image or that I have created some masterpiece. It is just that, for me, it captures the sheer, rugged expanse of the landscape. From my lofty position, save for a gentle wind, I heard only silence, and felt only peace. As the sun set lower to the horizon the light moved up the canyon walls till it just lit the upper precipice. The rock seemed to rise up to capture the light, to hold on to its warm embrace before night set in.

To balance out the exposure I used a Singh-Ray, 3-stop, soft edge, split neutral density filter. The soft edge of the filter has a smooth gradation and I could drop it in to compensate for the brighter sky and just hold on to the light on the canyon walls. The RAW capture was more saturated than I wanted so I dropped out some color to tone this down. I also took out some blue saturation in the inner canyon walls. The RAW image was processed in Lightroom with final finishing in Photoshop.

Thanks for stopping by today.

Hozógo nasádo (Navajo): Walk in Beauty

Bob

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