Fine Art Photography Blog

An easy hike is a double-edged sword; being in nature isn’t really “getting away” if the trail is as densely populated as New York. Talapus is close enough to Seattle, and easy enough, that the US Forest Service web page warns “This area offers little privacy or seclusion due to overuse.”

Snow changes everything, and, this year, the highlands have no shortage of snow. The only hints of winter are above, on the surrounding peaks. It isn’t until halfway up the mountainside that patches of snow start to appear, at first isolated from one another, then more and more often, until the ground is covered in white. At first it’s shallow enough, but soon it becomes impossible to tell; with nothing exposed to provide a frame of reference, the snow could be inches, feet, or miles deep.

About the point where the trail begins to climb switchbacks up the mountain side, a blanket of snow hides the path completely. This is where most hikers turn back. It’s a difficult climb when the ground is slick and the trail is lost completely. Still, it isn’t long before the hill levels off, forming a plateau which leads to the stream forming waterfalls.

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Light is the essence of photography, as we can see from the word roots.  ( Photo = Light;  Graph = Visualization, Display )  Most landscape photographers take this to mean shooting during the Golden Hour, and for good reason.  Incident light falls on our subject from its source - often the sun - before reflecting off the subject, to the camera.

The tonal quality of the light can play more role in the final image than, perhaps, any other single factor.  We can see this in the work of Ansel Adams ( the crosses of Moonrise, Hernandez, New Mexico;  the clouds in Clearing Winter Storm ) or Sebastiao Salgado ( Sudanese Refugee Camp, Boys in Mexico City ).  Both men produced gorgeous zone-system exposures, but, two of these show light filtering through the atmosphere. Black and white zone system photography highlights the effect, but it can work well in color, too.

Dust particles in the air can be one of the easier ways to capture the filtering light effect.  Storms are harder.  Water droplets suspended in the air can reflect the light perfectly, as Old Ansel  showed us.  Unfortunately, low hanging fog tends to block the sunlight;  finding the right conditions can be difficult.  Edges of storms are most likely to catch the light - and let enough of it through to make a good exposure. Read the rest of this entry »

Aptly named, Paradise is an outpost of civilization in southwestern Mount Ranier National Park. More than a mile - 5,400 feet - above nearby sea level, our destination is every bit the sub-alpine wonderland its name implies. A valley of meadows teaming with wildflowers, lakes, and backing up to the foot of a glacier, the place is easy to fall in love with.

Unsurprisingly, Paradise is the most visited section of the Mount Rainier whose boundaries as a national park cover 1/3 the area of Rhode Island. During the summer - which can be short and unpredictable in the high country - Paradise is impossibly crowded. Much like Yosemite. Route 706 from the Nisqually entrance is kept open to the Paradise Lodge through the winter, but requires four wheel drive or chains - sometimes both. Difficult but accessible is a good combination.

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Like the Siberian Highway, travel through America’s trans-continental freeways is subject to approval from the weather. This weights heavy on our minds given the recent flooding along I-5 and the official state of emergency that ensued. Of course this has been a tragic, highly unusual storm; ordinarily the mountain roads can be treacherous, but far more predictable.

To Seattlites, Snoqualmie Pass and the Mountains to Sound Greenway can easily become old hat. Taking a step back, though, there are few similarly breathtaking freeway landscapes in the continental United States. Donner Pass is another example, crossing through the Sierra Nevada at more than 7,000 feet.

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The mountains that hold up the sky above the Columbia River are beginning the long, sluggish process of donning their winter coats. Mount Hood, true to its image, looks like a gargantuan tepee covered in what could well be permafrost. Other peaks are dusted in white along the tops of their ridges, growing large snowfields for the season, but less stark than Hood’s glaciated peak.

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Something doesn’t have to be big to be compelling. A friend of mine who didn’t know much or anything about photography tried an old camera I used to have with a mega-zoom lens, and described the wide angle as a “grand view.” We’re taught to think in terms of sea to shining sea, of a big sky that stretches from one end of the horizon to the other, as far as the eye can see. This doesn’t always have to be the case.

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I thought I had lost the first image in this series many years ago. This was shot in December of 2000; I had spent the month living in Denver and left at sun up most days to explore the high country. Heading into Colorado’s “interior” along US Route 285 toward Buena Vista, this expansive landscape can’t help but catch the eye.

Without meaning to, I’ve pulled over to enjoy the scenery every time I’ve driven by this particular curve in the road. That hasn’t been very often; three years passed between the road trips that produced the two photos below.

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