The tide washes through a sea arch, allowing a view to the ocean beyond, Harris State Beach

On my recent trip up the California coast to the redwoods, I had an opportunity to pop up into Oregon to visit Harris State Beach, home of a very interesting sea arch. The arch is carved into a rock wall just offshore, with plenty of interesting boulders along the beach, giving enterprising photographers many options for compositions. As the sun was setting, I settled for a more centered approach to my composition, centering the arch directly above a centered rock. Usually I avoid such centering, choosing instead to lead the viewer’s eye out of one of the lower corners, but in this case I think it works. Simple, yet strong.

The sun sets behind offshore sea stacks, Harris Beach State Park

After settling on a composition I was happy with, I had a few minutes to run north in order to catch the sun as it set behind a large sea stack. In order to get into a position where the sun would set behind the rock, I scrambled up onto another rock and perched precariously at the top, while trying to give my tripod enough room. Let’s just say that I was relieved when I got the shot and could climb back down, by body and camera gear still in tact.

Large flat rocks lead through the rising tide to a dark sea arch in a rock wall, Harris State Beach

After the sun dropped below the horizon, I went back to the sea arch and really explored the foreground rocks. I fell in love with these ones, but from their vantage point, you could not see all the way through the arch. In this case, I chose to crop the top of the photo, as the rock wall really wasn’t that interesting and instead focus the photo on the foreground rocks themselves. The low light allowed for a slow shutter speed, turning the rushing waves into a calm mist.

The sun sets behind a bank of offshore clouds, silhouetting the sea stacks at Harris State Beach, Oregon

The parking area at Harris Beach offers commanding views down onto the beach below, and just before I left, I spent some time with the very last of the sunset light. Here there was a nice stream forming an s-curve into the photo. Overall I found this a pretty photogenic beach, and I know I’ll be back in the future, especially to shoot that arch in different types of light.

The hues of twilight cast offshore sea stacks in a blue glow as waves wash around them, Crescent City, CA

On my recent trip north up the California coast to photograph redwoods and rhododendrons, I also had an opportunity to shoot sea stacks just offshore in Crescent City, CA. After shooting a bit with my 70-200mm, I really wanted to go for a unique perspective of these rocks and stack them on top of one another. So I grabbed my go to bird lens, the 800mm f/5.6. Using a Canon 7D with a cropped sensor gave me an equivalent focal length of 1280mm.

I waited until the sun set, giving me photos with the cool blue of dusk, and allowing me to slow my shutter speed to turn the crashing waves into a calming mist. This is the effect I was after – hard, sharp rocks shrouded in a blue fog of moving water. However, as soon as my shutter speed got longer than 1/100th of a second and started creeping toward the 1 and 2 second mark, the results on the back of my LCD were horribly blurry.

In normal shooting conditions, I never like to let the shutter speed drop below 1/250th of a second, and only if I have a stationary subject do I lock down the gimbal head on my tripod and go for something slower. But usually 1/100th of a second is my slowest usable shutter speed. What to do in this situation? Even by bumping the ISO very high I couldn’t achieve a fast enough shutter speed in these darkening conditions, and doing so would also counteract the effect of the moving water.

The solution seemed counter-intuitive at first. I found that by greatly lengthening my exposures, I was able to achieve much sharper results! The initial blurriness I was seeing was caused by the shutter vibration, amplified by the extremely long focal length (and yes, I was using mirror lockup). When I increased the exposure time, the percentage of time that the mirror shake impacted the overall exposure time was reduced, thus creating a sharper image. Using this principal, I found that by exposing for 30 seconds, I was able to achieve the sharpest results.

A couple things to keep in mind. First, this technique will only work if there is no wind. Even a slight breeze will blow a huge lens like that back and forth, ruining any chance of a long exposure. Second, make sure to check sharpness by zooming in to your resulting photo on the camera’s LCD. Never trust sharpness from a photo displayed 3 inches across – everything looks sharp when it is that small!

So next time you’re out with a giant lens trying to do landscape work (really not a very common combo!), remember to experiment with the slower shutter speeds. You might just find some sharpness in there.

Rhododendrons grow amongst the redwoods along the California coast. Fog regularly permeates the forest, giving these giants the perfect conditions in which to grow.

A couple of weeks ago I made a trip north to shoot old growth redwoods during the spring rhododendron bloom. It was my first time to the area and was quite an experience. First of all, I found the landscape quite challenging. Once I entered a redwood forest, it was a sensory overload, with subjects to shoot everywhere. The forest was so busy with life that it became difficult to distill each shot down to an individual subject. I could shoot everything from a super wide angle with trees converging into the fog, to macro detail shots of leaves, moss and flowers.

Ferns grow at the base of a large redwood tree, Prairie Creek Redwoods State Park

I visited several old growth forests in the vicinity of Redwoods National Park. However, I never visited the park itself, as the oldest forest is preserved in several state parks in the area. These California state parks contain the first trees to be saved from the lumber mills, with the national park encompassing whatever land was left unprotected decades later.

Rhododendron grows throughout a redwood forest shrouded in fog, Del Norte Redwoods State Park

This time of year is very popular for photographers because of the massive rhododendron bloom throughout these forests. The best way to capture the flowering bushes against the giant redwood trunks is to wait for thick fog to permeate the forest, which luckily happens quite often this time of year.

Fog does two things – first, it evens out the lighting in the forest by diffusing sunlight. This prevents the harsh contrast sometimes seen in thick forests when thousands of small light beams spotlight the vegetation. Cameras can’t capture this kind of contrast, and the fog cuts it out completely. Secondly, fog fills in behind the closest trees and greatly simplifies the scene. Instead of seeing a dense forest and all its detail behind the closest redwoods and rhododendrons, you instead see a misty fog. The viewer’s eye can stay focused on the main subject matter.

Intertwining leaves of false lily-of-the-valley form an abstract pattern, Jedediah Smith Redwoods State Park

In addition to capturing my main target, the forest provided opportunities for macro shots as well. Walking along the trails, I always kept an eye out for interesting patterns formed naturally. I found the large green leaves of false lily-of-the-valley intertwined and zoomed in to pick out a pattern among the leaves.

Naturally, there were also other interesting subjects, such as this fungus growing on a decaying tree branch.

A fungus grows from the branch of a decaying redwood, Del Norte Redwoods State Park

The last morning I was in town, I was greeted by a light steady rain. Normally this kind of weather would see me rising, checking the window, and then jumping back into bed. However the rain also came with more fog, which actually created ideal conditions for more forest photography. Not necessarily the best conditions for me, but with my camera well protected with its own rain gear, the resulting photos came out just fine.

Rhododendrons grow amongst the redwoods along the California coast. Fog regularly permeates the forest, giving these giants the perfect conditions in which to grow.

The forest offered more than just lush green vegetation and enormous trees. Some of the older trees had large gashes and burns which lent to more graphical than subjective photographs. Here the negative space formed by the dark burn marks frames and offsets the light window to a distant tree.

Dark burns cut a graphic pattern through the base of giant redwood trees, Del Norte Redwoods State Park

Once the fog cleared, there were moments of magical, ethereal sunlight filtering through the canopy. I loved finding backlit ferns juxtaposed against a much darker wall of redwood. The photo below contains a bonus element of a double swoop of sorrel framing the bottom of the photo.

Sorrel, fern and redwood trees all contribute to the many shades of green of a redwood forest, Prairie Creek Redwoods State Park

It was a brief, challenging weekend. I’m not sure if I quite hit my stride in the redwood forest, which is usually an indicator that another visit is in order in the near future. There were difficult shooting conditions with the rain, and the sheer complexity of the forest had me scratching my head more than once. It is times like those that I have to take my hands away from the camera and just sit with the surroundings, listening. More often than not, it will tell me where to point my lens next.

Rhododendrons grow amongst the redwoods along the California coast. Fog regularly permeates the forest, giving these giants the perfect conditions in which to grow.

Legislation to make Pinnacles National Monument a national park passed the United States Senate on December 30, 2012

Recently I made my way down to the newly minted Pinnacles National Park, California’s ninth. Legislation to make Pinnacles National Monument a national park passed the United States Senate on December 30, 2012. Located just southeast of Hollister, it is an easy day trip from the San Francisco Bay Area.

A California Condor perches on a branch in front of a rock wall, Pinnacles National Park

This area is known for being a possible location to spot the rare and endangered California Condor. At present, there are only 226 total California Condors in the wild. The species was nearly decimated in the 60s and 70s with the introduction of DDT into the environment. In fact, in 1987, there were only 22 condors left in the world, all of them in captivity. I was amazingly lucky to see one perched close to a trail, offering point blank views for several minutes.

A California Condor perches on a branch in front of a rock wall, Pinnacles National Park

Unfortunately, I was in the middle of a 5 mile hike with some serious elevation, which meant carrying my big lens wasn’t appropriate. I had a full frame camera, with a 70-200mm lens attached. Luckily, I was helped by both the close proximity of the bird, and its sheer size. They have a wingspan of up to 10 feet, giving them the largest wingspan of any North American bird. Some of the larger specimens have weighed in at 31 pounds.

Pinnacles National Park features many rock spires dotting the landscape. The Pinnacles are part of the Neenach Volcano which erupted 23 million years ago near present-day Lancaster, California. The movement of the Pacific Plate along the San Andreas Fault split a section of rock off from the main body of the volcano and moved it 195 miles to the northwest.

As far as national parks go, Pinnacles is very small. However, it contains some important and interesting geological history. The Pinnacles are part of the Neenach Volcano which erupted 23 million years ago near present-day Lancaster, California. The movement of the Pacific Plate along the San Andreas Fault split a section of rock off from the main body of the volcano and moved it 195 miles to the northwest.

Light steams down through the ceiling at the entrance to Bear Gulch Cave, Pinnacles National Park

The park is home to several talus caves, which are home to at least 13 different species of bat. Trails are built through the caves and can be explored by flashlight.

It would probably take two full days to explore the highlights of this park (and by explore, I mean including several lengthy hikes to hit some of the peaks). Spring seems like a great time of year – try to catch the wildflowers in bloom. Summer would likely be too hot, easily reaching over 100 degrees. It will be interesting to see if visitation increases due to its new “promoted” status from a monument to a park.

A photo of mine taken in Lassen National Park was used for the cover of a recent text book about child development

Hot on the heels of my recent Outdoor Photographer cover comes a new textbook featuring a photo I took a couple of years ago in Lassen National Park. The textbook is geared toward educators interested in child development.

This shot features a trail built into the side of a cinder cone, located in the northeast corner of the park. The hike to the top is very cool, offering views of Mt. Lassen in the distance, and even a second trail descending into the crater of the volcanic peak.

An anna’s hummingbird pauses from its rapid flight to warm itself in the sun

Recently I took an out of town colleague to some of my favorite local bird sites. We found an area rife with anna’s hummingbirds, zipping this way and that, and generally causing a ruckus as they battled each other over territory. I took some shots, but couldn’t get close enough to these little creatures to fill the frame. I resolved to come back the following day, this time armed with my full array of extension tubes.

Luckily the hummingbirds were still there, sparring and resting, and this time in beautiful light. I wanted to get as close as possible, so I stacked three tubes together and placed them in between my camera body and lens. This allowed me to get as close as about 10-12 feet away from the birds, finally filling my frame. Creeping closer yet, I wanted to push my extension tubes to their limit, and was able to get the image below.

An anna’s hummingbird perches on a small branch and opens its beak

Extension tubes have no optics in them, and can even be in the form of cardboard – no electronics required! My tubes happen to have small contacts that still allow me to use my lens’ autofocus system, albeit much slower than normal.

The principal of an extension tube is to move the rear focusing element of the lens further away from the focal point, which in today’s world means the camera’s digital sensor. The effect is that the lens’ minimum focus distance is reduced, allowing the entire rig to move closer to the subject while keeping it in focus. The downside is that with extension tubes attached, the lens will no longer be able to focus to infinity.

In comparison to most photography gear, extension tubes are relatively cheap. I have a set of Kenko tubes that stack together. If you ever want to dabble in macro photography, I recommend first getting a (cheap) set to tubes before spending bigger bucks on dedicated macro lens. Yes, the macro lens will give you better quality, but a set of extension tubes will allow you to bring your entire collection of lenses into the macro world.

Dawn breaks over the rolling hills of the Sonoma Coast

A little while ago a friend and I were out near Bodega, shooting sunrise along the Sonoma coast. Because we were getting some morning fog rolling inland, any kind of shoot along the water was a no go, and we headed into the rolling hills just off the ocean. Here we had great views to the south as the sun side-lit the undulating farmland, punctuated by scattered forest.

The early rays of sun peak through a dissipating fog along the Sonoma Coast

I love opportunities to shoot fog, whether it is filtering through trees, or defining separation between mountains or hills. The added atmosphere can lend a certain drama to the photo.

Once the sun had risen, I chose to shoot directly into it, knowing the fog would help filter the direct light.

The early rays of sun peak through a dissipating fog along the Sonoma Coast

Here I loved the way the fog helped the trees separate into layers. I worked the composition and exposure, trying to balance the direct sun, low contrast fog, and back-lit grasses so that they could all add elements to the same photo. Once I was satisfied with some of the larger elements of the landscape, I moved into the macro realm to capture detail.

The rising sun backlights the golden grasses of a Sonoma Coast hillside

The back-lit grass itself captured my attention and demanded further photographic exploration. Moving from a small aperture to a very large one gave me the ability to amplify the fine detail of only the few grasses that remained in focus. The rest of the grass blended into a nice evenly colored backdrop.

Soon the sun had risen higher and the fog began to burn off in the rapidly warming day. I packed up my gear, happy for the fog that forced us up into the hills.

The annual Landscape Special issue of Outdoor Photographer is out, with a featured shot of the Mesquite Dunes of Death Valley by yours truly.

Outdoor Photographer’s annual landscape special has just come out, with a cover shot front and center by yours truly. It was great to see my shot featured on the cover of this premier national photography magazine, on what is traditionally their best selling issue of the year. To have my photo appear along side those from masters such as Frans Lanting and James Kay is an honor.

The Mesquite Dunes stretch across the valley just north of Stovepipe Wells, Death Valley National Park

I took this shot of the Mesquite Dunes just before sunset in the spring of 2012. I was drawn to this composition by the intensity of the sand patterns. Since they were the real story in this shot, I emphasized the foreground to allow the pattern to take up about 5/6 of the frame. However, I wanted to give it some context, so instead of creating a sand wave abstract, I included the horizon line with the dunes and mountains beyond.

A western brush rabbit crouches in the long grass, trying to stay hidden

May all of you have a wonderful Easter with your loved ones. Thank you for following me on my exploration of some of the wonderful gifts we have in our lives.

I’m always looking for these opportunities while photographing wildlife. Photo editors constantly seek variety, so when I’m on a bird, I try to get as many poses, expressions, and backgrounds as possible. I think of it like an outdoor “studio” session, giving me the ability to come up with scene changes for my subject. (I still haven’t figured out how to do wardrobe changes, but that is a topic for another post!)

In the photos below, I first photographed the greater yellowlegs with the shoreline of a lake as the background. The background blurred to a nice tan-brown. I then changed my angle by swinging around to the left, and now the lake was behind the bird, coloring the background in a blue wash.

A greater yellowlegs stands on the railing of a dock. The background color comes from a distant shoreline behind the dock.

A greater yellowlegs stands on the railing of a dock. The background color comes from a lake behind the dock.

You can achieve similar color changes using reflection (and patience) as well. In the photos below, I didn’t change my position, but just waited for the bird to move instead. When I first photographed this pied-billed grebe, it was fishing and diving close to shore. The colors of the shoreline were reflected in the surface of the water, contributing dominant oranges to the photograph. I knew that this bird was likely to move away from the shore eventually, so I sat a waiting, hoping to capture that color variety. I didn’t have to wait long before this happened, with an added bonus of the grebe moving closer to me, filling my frame. The blue sky reflected off the water, giving the photo an entirely different look.

A pied-billed grebe is reflected in the still water near the shore of a lake. The color reflected in the water comes from the nearby shore.

A pied-billed grebe is reflected in the still water near the shore of a lake. The color reflected in the water comes from the sky, turning it blue.

The next time you’re out photographing with a longer lens (depending on your subject, anything over 100mm can work well), think about trying different backgrounds with your subject. This works great on people pictures as well!