High Desert Adventure

A typical canyon view in Utah. It is easily a top contender for the state with the most natural beauty.

I’ve visited most of the 50 states and while I’d like to see them all, that goal is constantly pushed out as I return to my favorites over and over again. The deserts and mountains of the American west are my top places to visit in the US, most recently to eastern Utah and the alien landscapes of the Colorado Plateau. The buttes, badlands, arches, and canyons form some of the most famous and iconic structures in the country: one, Delicate Arch, is instantly recognizable from its appearance on the Utah license plate. 

I concentrated on eastern Utah in part because of its remoteness (the nearest airport served by major airlines is in Grand Junction, Colorado) and because of the many interesting formations in the backcountry areas. Three of Utah’s big five national parks are in the region (Capitol Reef, Canyonlands, and Arches) and they are less crowded than the two in the western part of the state (Bryce Canyon, Zion) both of which are within a few hours’ drive from Las Vegas. Dead Horse Point State Park and Goblin Valley State Park both feature fantastic photo opportunities and the locations in BLM (Bureau of Land Management) areas are spectacular. 

The only photo I have of myself on this trip. A solid 4x4 is a must for off-road locations.

Although this was primarily a landscape photography trip, I also planned several drone shots and, with the help of clear weather, a couple of attempts to photograph the Milky Way in the night sky. I timed the trip to occur in the days after a new moon and before the arrival of the summer heat. Although I visited nearly six weeks before summer solstice, the days were already long: sunrise shortly after 6 a.m. and twilight at nearly 9 p.m. The Milky Way galactic core appeared just before midnight, leaving only a few hours to sleep at night. When I first began my journey in photography, I would wake up for sunrise regardless of the forecast, but over the years I’ve become more discriminating and less inclined to force an early rise if conditions aren’t favorable for the shot I’m trying to achieve. In any case, the itineraries for this trip were jam-packed to take advantage of the best light each day, 

To get around safely, I secured a high-clearance Jeep 4x4 designed for backcountry exploring. Most days I drove to at least one off-road location, often miles away from a paved highway. Some roads were simple dusty trails; others were rocky, snaking paths with deep washboarding and sandy dugouts. Significant pre-planning and many hours of research were critical to identifying the routes and plotting the locations. Alright, enough preamble: let’s get to the images!

The portfolio shot from this adventure

My favorite image of the trip turned out to be this sunset drone photo of a sandstone butte. It is illegal to fly in the national parks so I knew that opportunities would limited to locations outside those areas. Thankfully Utah has many amazing features in more drone-friendly places. 

Top-down drone shots can produce interesting abstracts

Another drone shot I captured was outside of Hanksville at the “Rainbow Hills.” This one required minor off-roading and precise navigation — drone locations aren’t always obvious at ground level. Timing was key to achieving this image: blue hour after sunset cast a turquoise hue onto the sandstone hills. With the sun below the horizon, the light glowed with a soft, cool tone.

Temple of the Moon (center) bathed in golden light

One of the more adventurous itineraries was an afternoon trip in the Cathedral Valley section of Capitol Reef National Park. More than 17 miles of winding rough road led to the iconic Temple of the Sun and Temple of the Moon. I shuttled between the two pinnacles looking for compositions and taking advantage of the best light. After some time at Temple of the Sun, I hiked behind Temple of the Moon to photograph it in between two other giant slabs during golden hour. The secret to a shot like this is using elevation to align the three formations to similar heights in frame. I prefer to walk around to different vantage points to compose an image — and that means in three dimensions whenever possible. Eye level is the most conventional but frequently not the best perspective from which to shoot. 

As the sun dipped toward the horizon, I hurried back to Temple of the Sun hoping for a dramatic sky. Clouds had formed throughout the afternoon so I thought there was a possibility to capture strong color at sunset. And what a show it turned out to be! 

Temple of the Sun and (in the back left) Temple of the Moon. The monoliths are similar in size.

For all images on this trip I used my Canon R5 mirrorless camera. Recently I traded in my Canon EF 16-35mm F/4L IS lens — which was my primary landscape and underwater lens for many years. That lens served me beautifully, and many images in my portfolio were shot with it, but it was time to make a change for two reasons: 1) I wanted a single lens for landscape, underwater, and astrophotography and 2) I wanted a lens native to my mirrorless camera without having to use an adapter. So in Utah I debuted the Canon RF 15-35mm F/2.8L as my wide-angle choice.

When I first took an interest in landscape photography, I was constantly chasing colorful sunsets, and while I still do appreciate a brilliant sky, I find that my favorite images often are golden hour landscapes in which the subject is bathed in magical light. Likewise, blue hour is my preferred condition for cityscapes, even more so than spectacular sunsets. Of course in the desert boring blue skies are common, especially in the cooler months, but during my week in Utah I experienced a mix of sun and cloudy skies — so often in fact, that on a few nights clouds obscured the night sky and prevented me from photographing the Milky Way. Eventually the weather cleared and I was able to take advantage of Utah’s famously dark skies. 

One of the most peculiar locations I shot is called the Moonscape Overlook: a bluff carved out over magnificent badlands. Early morning sunrise unquestionably is the best time to photograph this spot and only while the sun just peeks over the horizon. I set my alarm for a 4:30 a.m. wakeup and arrived in time to scout compositions and find my preferred angle. A few other photographers and campers were there too, and one adventurous woman volunteered to step out onto the pinnacle overlooking the canyon. I have to confess some anxiety as I watched her step out onto the landing, knowing that I’d be powerless to help in the event of a tragedy. But she was surefooted and confident and turned out to be an excellent model for the few photographers capturing the sunrise. Normally I try to avoid including people in my shot, but in some instances a well-placed model can help to provide scale, especially in vast panoramic settings.

A beautiful sunrise in the Moonscape. The woman standing on the pinnacle said she had no fear of the 1400 foot drop to the canyon below.

After a few days it was time to travel east toward Moab where I would focus on subjects in Arches and Canyonlands National Parks. I originally wrote off Mesa Arch in Canyonlands. It is one of the most photographed locations in the southwest, drawing an assembly of photographers in the middle of the night to camp out and claim one of the few prime spots for sunrise.

Mesa Arch, despite its name, is in Canyonlands National Park, not Arches National Park.

I did not have any interest in repeating that shot, so I went in the late afternoon just to see the location. I expected crowds and no photo opportunity, but to my astonishment, there was no one at the arch when I arrived! So I quickly took a few photos and enjoyed the quiet view. A few minutes later, a number of people showed up and the arch was once again crowded. 

My final stop was in Arches National Park to photograph the iconic Delicate Arch. I began the long uphill hike in the late afternoon, with dinner and beverages packed along with my camera gear. As the sun dropped toward the horizon the light took on a rich amber tone, painting the sandstone in gold. In settings like this, when the light is right, a great photo is a slam dunk — you simply need to put yourself there at the right time. The light faded and I enjoyed a sunset dinner. It was time to begin the downhill climb and rest a few hours. At midnight I would attempt another Milky Way photo and the next morning I had to catch a flight out of Grand Junction, two hours away. 

Delicate Arch — icon of the Utah license plate — is arguably the most famous arch in the United States.

10 Tips to Photograph in Harsh Light

We know the most fundamental principle of photography is the quality of light. Outdoor photographers learn quickly to shoot in the periods near sunrise and sunset for soft, directional, and colorful light. The quality of light is the magic: a fairly mundane subject bathed in golden light can look brilliant, while a spectacular icon in poor light can be profoundly uninspiring. Consider these two images — which photo is more pleasing?

In the first example (L), a slab of limestone glows during the golden hour in the Florida Keys. In the second photo (R), the iconic Colosseum stands surrounded by tourists at lunchtime.

Even the most committed Europhile can see that the sunset image is the winner, and that the contest is decided entirely by the superior quality of light. But high quality light is fleeting and elusive, and most of the time light is either harsh (in sunny weather) or diffuse (when it’s cloudy). Overall the opportunity to photograph in high quality light is approximately one hour in the morning and another in the evening — if the weather cooperates. 

So what are we to do with the many hours of daylight where the quality ranges from mediocre to terrible? (Top answers from photographers: “edit photos”; “travel to the next spot”; “get some sleep.”)* Although harsh light creates a jarring contrast of unpleasantly bright highlights and dark shadows, not all harsh light is untenable. In some instances it even provides superior opportunities to shoot. Let’s look at how we can make the best of these daylight hours.

*Not an official poll

1. CROP OUT THE SUN. To begin, we should qualify that harsh light is not a singular condition — it varies by time of day, time of year, weather, and location. In general daytime shooting is better in the winter when the sun is relatively low throughout. In this wintry scene, the sun provides bright but directional light onto our subject, while the snow acts as a natural reflector and brightens the darkest areas.

Winter is arguably the best season for daytime photography because the sun is always relatively low, especially at the more temperate latitudes.

2. SHOOT DIRECTLY IN TO THE SUN. I know, it sounds crazy, but when the sun is not directly overhead, we have an opportunity to include it in our shot. Think about a child’s drawing that includes the sun in the corner, beaming down onto the scene. In this example the morning sun (approximately 9:45 a.m. in autumn) radiates across a blanket of clouds below Mt. Washington, New Hampshire. I used a tight aperture (f/22) to achieve the sun-star effect. For a cleaner image, make sure to remove any filters from the front element of your lens before shooting directly into the sun. 

In this example the subject makes the shot. The harsh light is forgiven because we are looking down a road above the clouds.

The next several examples are related in concept: each involves using a natural filter to control or block out the overhead light. 

3. SHOOT UNDERWATER. Underwater photography is one of the few instances in which bright overhead light can be beneficial. A signifiant amount of ambient light is absorbed by water, especially at depth where most shipwrecks lie. In this case the ship (L) is in water approximately 65’ deep so bright filtered sunlight is a welcome addition to our scene. We don’t need to dive down into the depths to appreciate the overhead sun, however. A southern stingray (R) swims in waist-deep water as the morning sun creates a web of texture across the sandy bottom. 

In deep water we need all the light we can get so midday sun is welcome.

Not a diver? No problem. This was shot in water three feet deep.

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4. USE THE FOREST CANOPY. Trees act like a giant colander that can create dappled light, and — in humid conditions — sun rays. Each day is different and the light changes constantly throughout the day. Below: Midday sun streams through the forest canopy onto the ravine below, lighting up this magical gorge. 

5. NARROW YOUR SCENE. Look for locations protected from the harsh daylight such as narrow streets and natural canyons. Near the Arizona-Utah border, direct light hits narrow slot canyons only for a short period of the day, and only in summer months. 

6. SHOOT IN THE SHADOWS. Focus in on smaller scenes and details in the even light of the shadows. Maybe you’ve found an interesting sculpture, a beautiful doorway, or an unusual plant. The key here is that your complete scene should be in shadow and protected from the blinding sunlight. I took this portrait of two Bedouin friends in a tent at about 2PM while the sun was blazing over Wadi Rum, Jordan. 

7. EMBRACE THE WASHED OUT LOOK. You can use the harsh daylight to your advantage if you want to incorporate silhouettes and more muted color in your scene. In this image, shooting toward the sun creates a washed out look. Silhouetted palm trees contrast with a bright sky and the whole scene takes on the look of a vintage postcard. I applied additional edits in Photoshop to accentuate the effect.  

Harsh light can give a diffuse washed-out look a scene. Moody shots like this work best when clouds filter a portion of the sunlight.

8. SHOOT EDITORIAL / DOCUMENTARY. When the daylight offers prosaic scenes, record some of the details of time and place. There is value to capturing images “behind the scenes” even if those photos will never become portfolio pieces or social media shares. Below: after a morning of photographing Atlantic Puffins from a blind on Machias Seal Island, I photographed the blind and the remote island itself to include in an article about the experience. 

This image won’t win any awards, but it is not meant to… it tells a story in a larger collection of photos.

9. SEND UP THE DRONE. Shooting directly down in midday sun creates an even, brightly lit scene — similar to  shooting under an overcast sky, just brighter and warmer. Look for interesting patterns and textures. Remember that you can easily over-expose bright colors in this light, so if you want to retain detail in the highlights, you may need to underexpose by one or two stops. This beach image was inspired by Neopolitan ice cream, and captured under the blistering Maldivian sun. 

In between dives in the Maldives I sent up my drone to record some b-roll footage for a video about underwater photography. The sun was scorching and there were no obvious photo opportunities so I took a few top-down shots and packed it up. Later while reviewing the photos I cropped this beautiful beach scene from what looked like a throwaway shot. It has since become one of my more popular images.

10. SHOOT INDOORS. This might seem like a cop-out but if your goal is to make great images and the light outside is just not happening, why not take the shooting inside? Consider this an opportunity to experiment with different locations and compositions. Shooting indoors is also good practice to work with low light conditions and push the capabilities of the camera. My favorite place to shoot in New York City is actually indoors in the period rooms at the Metropolitan Museum of Art. 

The period rooms at the Metropolitan Museum of Art always deliver a stunning visual experience.

Of course, we’d prefer to shoot scenes in the morning golden hour or at sunset, but if that sweet light lasted all day the resulting images wouldn’t be nearly as special. Next time you find yourself in harsh light conditions, consider all the opportunities you still have to create great images. 

Silky Smooth Water Effect

Prerequisites:

Understanding the exposure triangle

Experience in ‘Manual’ mode

You can see it in fine art photographs everywhere: a smooth, dreamy quality to a body of water. Unlike the harsh and crunchy appearance of most smartphone snapshots, the water in these fine art images takes on a fantasy-like artistic look. How do photographers get that magical silky effect? It’s actually quite simple: with a medium to long exposure, we can blur the movement of the water into a velvety texture. Today we’ll look at how exactly to “soften” moving water: the gear needed to pull off the shot, just how “long” the exposure needs to be in different situations, and some side effects and pitfalls to avoid in the process. 

The East River in New York City is tidal and always moving, even on the calmest day. Softening the water requires a long exposure of 15 seconds or more. Notice the blurring effect the long exposure has on the moving clouds. Canon 5D III | EF 24-70 f/2.8L II | Aperture f/16 | Shutter 60” | ISO 100

GEAR

The technique to soften water is in controlling the shutter speed and the most important item aside from your camera and lens is a sturdy tripod. You may also want to bring a polarizer and a neutral density filter, especially for daytime shots. A remote shutter trigger is a convenient tool and a back-saving device when your camera is positioned low to the ground. Finally, a rain cover for your camera is good idea when shooting by water — especially near waterfalls or breaking waves. 

HOW LONG IS “LONG”? 

Sure, we know the trick to softening water is in a slow shutter speed and long exposure but what exactly do we mean by “long”? That answer really depends on a number of variables, but as a rule of thumb, any shutter speed that is too slow for a hand-held in-focus shot can be considered a long exposure. I can see some of you rolling your eyes — “just give me a number!” — so for the sake of simplicity let’s say 1/15 of a second up to 1 second is a medium length exposure, and anything over 1 second is “long”. 

“That’s quite a range” (another eye roll) — it sure is, and there’s a certain amount of experimentation needed to arrive at the optimal shutter speed for a given shot. It’s also the case that two exposures of the same scene can look quite different even at the same shutter speed.

TECHNIQUE

A good tripod is essential to pulling this off, so ensure your camera is mounted and stable before you begin. Put your camera in manual mode and set the aperture to a narrow f-stop such as f/16 or f/22. Set your ISO to its lowest native setting (100 for most Canon cameras; 64, 100, or 160 for different Nikon bodies). Evaluate how fast the water is moving relative to the camera and dial in a shutter speed of a few seconds to start. Look at your exposure meter — if the scene is underexposed, you can open the aperture a bit wider or increase the ISO. If the scene is overexposed, shorten the shutter time a bit. In bright daytime scenes it may be necessary to use a neutral density filter in order to achieve the desired shutter speed. Adjust the shutter speed until the water is softened to taste. Take several exposures and choose the best one.

The “crunchy” water look is typical of smartphones and cameras in Automatic mode. The camera is shooting with a fast shutter speed in order to ensure a sharp image — which is the right thing to do in most situations. It doesn’t know we want an artistic effect in the water. Sony QX100 with iPhone | Aperture f/4 | Shutter 1/640 | ISO 160

The key to softening water is to understand how quickly the water is moving relative to your point of view. When the relative movement is fast, you don’t need as long of an exposure because you capture more movement (and thus blur) in a given amount of time. When the water movement is slow, a longer shutter speed is required to smooth out the texture. Be careful to consider the relative movement of the water, not the objective speed. For example, a moderately flowing stream might be visually quite rapid if you position the camera low and close to the water. In other words, the water moves across the frame quickly. On the other hand, a lake in the background of the image could be churning in the wind, but because of it’s distance, the water is not moving much at all relative to your point of view. This would require a lengthier exposure. 

Fibrous streaks are a variation of softened water. In this image the camera is positioned on the bank low and just inches from the gushing stream. A modest shutter speed of 1/5 of a second is all it takes to achieve the silky tendrils in the image. A CPL filter (aka circular polarizer) will help to reduce the reflective glare on wet rocks. Canon 5DSR | EF 24-70 f/2.8L II | Aperture f/22 | Shutter 1/5” | ISO 100 | B&W Circular Polarizer

Sometimes we prefer a more fibrous look to the water, especially in rapids and waterfalls. The recipe for this effect is still in the shutter speed, but in this case longer is not necessarily better. You want to blur the water just enough to soften the crunchy look at you would achieve with a fast shutter speed. A medium shutter speed — somewhere between 1/15 and 1 second will usually produce this effect. 

Less is more: a long exposure will turn the stream into a milky mess and potentially blow out the highlights. This image was shot with a 1 second exposure — not especially long — and has already exceeded the ideal shutter speed. The mill is well exposed but the water is too frothy and some of the trees in the background show motion blur. Sony A7RII | 24-70mm f/4 | Aperture f/22 | Shutter 1” | ISO 100

SIDE EFFECTS

Long exposures can sometimes result in odd or undesirable effects in images. Remember that a long exposure will create motion blur — this is how we soften water — and that blur will affect any moving object in the image. On a windy day bushes and trees will sway, along with flags, traffic lights, boats, and even skyscrapers! Moving cars will appear as streaks of white and red when their lights are on. And clouds will lose their shape and become foggy strokes of whitish gray (sometimes this adds to the dreamy effect we achieve in softened water). There is a relatively easy way to control these unwanted effects, but it requires some work in post processing. First take the photo at the desired shutter speed to properly soften the water. Then, take a second photo with a much faster shutter speed (you will have to increase your ISO and/or widen your aperture) to ensure there is no unwanted blur in the trees / boats / moving items. Combine the two images in post processing. 

Remember that softening water is an artistic technique that deliberately stretches the shutter speed. Have fun experimenting and soon you’ll enjoy the pleasing and professional looking images you create.