If on your next dream excursion you could take just one lens, which would it be? Would you opt for a wide angle zoom so useful in capturing those grand landscapes? Or would prefer the versatility of a mid-range zoom that usually includes in its range everything from a moderate wide angle to moderate telephoto? Although versatile, this lens leaves many bored because it has inadequate range to provide dramatic emphasis to the foreground and also because it is not long and powerful enough to compress and isolate a distant subject. Perhaps instead you would choose a long telephoto lens which would allow you to find within the grand landscape a multitude of potential subjects without having to move around much at all. Or perhaps you would reject all of three three options from the holy trinity of lenses and choose instead a Macro lens to bring to your eyes the often hidden beauty of the micro world.
Although at first this might seem more like a hypothetical exercise, it actually is not. We should all, beginning and experienced photographers alike, periodically travel with just one lens. Although conventional wisdom often associates creativity with the freedom of no barriers and unlimited choices, creatives have long known that creative bursts are just as likely to come through working with limitations. Why is this so?
Introducing limitations to the process of image making is the ultimate defense against creative block. With one lens–we now have fewer choices to make in creating a compelling image. This reduction of choices helps inspire us to see the world in different ways, moving us out of our comfort zone, which allows us to tap into new sources of creativity! Who would have known that the best way to expand our horizons is working within often self imposed limitations? If we instead work with a full array of lens choices, we may never take the extra steps necessary to make a single lens work, for example moving closer or further away from the subject with a mid range zoom or simplifying a cluttered landscape with a telephoto perspective. By way of analogy from the world of music, one would never think that a musician who opts to play a song using a classic acoustic piano is any less creative than another musician who instead chooses instead an electric piano with a full array of synthesized sounds. In fact, just the opposite may be true. The same holds true for the world of photography. We should never prematurely judge a photographer as somehow less creative because he/she chooses to work within the limitations of one or two lenses. Taking along just a single lens will provide the added advantage of reducing the weight of our backpack, making us more agile and nimble in the field!
The Trinity of Zoom Lenses
The Trinity of Zoom lenses is very popular today and for good reason. One can fulfill the vast majority of photographic requirements with these three lenses. The three lenses include a wide angle zoom, mid-range zoom, and telephoto zoom. Popular focal lengths for each of these zooms are 16-35 mm for a wide angle zoom, 24-105 for a mid-range zoom, and a 70-200 (or 100-400 which I prefer) for a telephoto zoom. There is overlap in the range of each of these zooms which is a good thing because it reduces the need to change lenses too often. Frequent changing introduces the possibility of getting dust on the sensor and perhaps more importantly missing out on a decisive moment. Some photographers may opt for a somewhat wider wide angle zoom, for example 12-24mm . I own the Sony 12-24mm extreme wide angle but it seldom gets used because most of the time I can create a superior image with a less extreme focal length. There are times, however, when we definitely need to go wider, but these times are so rare that taking along an extreme wide angle zoom as ones only lens may not be the best choice. In addition to the holy trinity of lenses, we will also want to consider a dedicated macro lens as a single lens option.
Wide Angle Zoom
A wide angle zoom is typically the first lens a beginning landscape photographer buys after purchasing a camera with a standard mid-range zoom lens. He/she wants to go wider and perceives that the kit zoom is not wide enough to effectively capture grand scenes. Disappointment, however, often follows because using this lens effectively will require much practice in developing ones skill set. We are not just capturing wide angle scenes with this lens, but creating compelling compositions that provide a visual flow from major foreground elements, to the mid-ground and background. Lets reviews some of the Pro and Cons of the Wide Angle Zoom.
This lens has received a bad rap lately. Many perceive that the use of this lens to capture grand scenes, especially icons, results in too many quickly captured images that are visually similar and lack creativity. This may be true for the initial spotting of the scene and taking a quick picture, but zeroing in and fine tuning the composition is another mater entirely. Used properly this lens is one of the most difficult but also one of the most rewarding lenses to use. A wide angle zoom , skillfully used, can also highlight your unique vision for the scene even if it is a often photographed location. Another criticism I frequently hear is that with a wide angle zoom one can only pick out one or maybe two compositions for a scene. This criticism reveals more of a users lack of knowledge or experience in the creative use of the wide angle zoom, than it is an accurate assessment of the lens’s potential. As we will soon see, when one gets low and as close as possible to the foreground, even micro movements can and will result in substantially different compositions. The possibilities are virtually limitless. With a wide angle zoom, I can pick out in most situations as many as ten different compositions which is likely a point at which few would even want to venture beyond!
A wide angle zoom definitely requires slowing down as one gets very close, often within inches from the foreground and finds a visual flow from the foreground, to the mid-ground and background. I have been known to spend up to a couple hours in the field fine tuning my wide angle compositions. When the camera is this close to the foreground, a couple of inches this way or that can dramatically alter the composition. One needs to study thoroughly the scene especially the visually predominant foreground to eliminate or reduce visual distractions. It is almost as if one has in the foreground an intimate or macro scene within the larger scene. The larger scene provides context to the image, but it is the foreground that will make or break the image. Getting this close, usually will also require focus stacking. If one focuses on a very close foreground the rest of the scene will not be in focus even at F-16. If one focuses one third into the scene, which is usually the mid-ground, then the foreground will not be in focus.
A wide angle zoom can also be use to uniquely capture just the main subject without a blending of foreground, mid-ground and a distant background. With the lens inches away from part of the subject, the distortions and exaggerations of perspective of this lens can be put to work to bring out the character of the subject as is evident in the image below of a Japanese Maple, titled Spider-man.
There are instances where a 16-35mm wide angle zoom will not be wide enough to capture both the foreground and background, but those instances are rare. The temptation is to go wider than one needs to go, but for most images one can create a more compelling composition with visual impact through selection of a less extreme wide angle of view. In order to do this, however, one is going to need to get real close, focus stack, and set the tripod up at the right height Although one wants to get a low as possible, going too low will potentially take the mid ground out of view resulting in a less than pleasing composition.
Extreme wide angles can render in certain situations the background and also the mid-ground insignificant and in these cases should be avoided. While it is true that to a certain extent we can correct these distortions through warping in Photoshop, I personally believe our aim should always be to get the image proportions as close as possible to the desired result in camera. Some minor warping will enhance the image, but I can usually spot aggressive warping (or perspective blending using lenses of different focal lengths) because it often calls attention to itself and just does not look natural.
Next is an instance where an extreme wide angle was definitely needed to give adequate emphasis to both the foreground leaves and the background of the waterfall. I used a 12mm lens, but as previously mentioned I find such instances rare.
Wide angles excel in scenes where one wants to create a sense of three dimensionalality through rendering objects in the distance smaller. This is closer to how our eyes actually see the world. Our eyes also tend to scan the scene, looking down and close to the foreground and then out at the larger scene, similar to a near far composition.
If one elects to only take a wide-angle zoom along for the creative challenge of this blog post, it is good to know that most of these zooms extend out to 35mm which some consider closer to a normal focal length. When I use my wide angle zoom I tend to keep it on the camera and frequently move out to its maximum 35mm focal length. With some slight cropping of a 35mm image one can easily create images that are more similar to images taken by a 50mm lens. One can do quite a bit with just a wide angle zoom lens!
Mid Range Zoom
I have met a large number of photographers who admit that they almost never use a mid range zoom. This lens lacks some of the allure of a wide angle zoom that can drastically alter spacial relationships through the exaggeration of the size of foreground elements. It also lacks the power of telephoto zooms that can dramatically compress layers in small portions of a distant scene. Nevertheless, both near far compositions and compression of layers within the scene are possible with the lens. In many ways this is the most challenging zoom lens from the trinity to use and the one that many accomplished photographers eventually come back to as their lens of choice. Although one of my specialties is near far compositions, well over half of my images taken in the past year are within the mid zoom range of 24-105mm.
Lets review some of the pros and cons of mid range zooms
Because the mid range zoom lacks some of the drama that comes easily to wide or telephoto zoom, it forces us to think harder about our compositions and the placement of elements within the scene. This is especially true of grand scenes, but it is also true of more intimate scenes.
There are several excellent professional photographers currently active where the mid-range zoom is their lens of choice, one of which is David Thompson. David is known for his excellent compositions and photo processing skills. Although he always exercises restraint in processing and gravitates toward the less dramatic mid range of focal lengths, he is creating some of the most visually compelling and photographically excellent images out there today.
The mid range is also the focal length range that would be consistent with the images from classic landscape artists, the Hudson River School, and landscape painting icons such as Albert Bierstadt. The more extreme wide angle and highly compressed telephoto perspectives evolved more with the advance of lens technology for photography in the later part of the twentieth century.
Most large format photographers also work with equivalent focal lengths that would be well within the range of a modern standard mid range zoom lens. About as wide as one would go in 4 X 5 large format photography is 90mm which is roughly equivalent to 27mm in full frame photography. About as long as one would go in large format photography is 300mm which is roughly equivalent to 89mm in full frame photography. Ansel Adams, who was actually primarily a 8 X 10 photographer, shot primarily in what would be a 35mm equivalent range of 28mm to 80mm. None of this is to suggest we should all aim to emulate the perspectives of these icons from the past, but many of us continue to be inspired by their work and want to include some of their influence in our own creations. Would our own photography take new and better directions if we more often said yes to the mid-range zoom and resisted the temptation for always reaching for lenses in wide angle and telephoto ranges, especially the more extreme reaches of these ranges? Personally I feel we would all benefit from this, especially if we have already spent significant time dabbling in photography using wide angle and telephoto zooms.
A mid-range zoom is often thought as the range that most closely approximates human vision, especially when we are talking about focal lengths with an angle of view of about 40% to 60% which would correspond to the portion of the zoom range on a full frame camera of about 35mm to 60mm. Contrary to popular belief, however, human vision has a very expansive angle of view of about 130% which would be a very extreme wide angle lens. Human eyes, however, are quite different than a lens with large portions of our field of view being blurred and only the central portion sharp. This central portion of our field of vision does correspond to lenses in the 35mm to 60mm range.
Human vision, however, has far more in common with video than it does with a still camera with the human eyes constantly scanning the scene, focusing on different points , and our brain integrating this information into what we perceive as vision. What is important is that the mid-range focal length typically captures images that will be the closest to what we and others who we share images with will recall seeing on location. Although from a creative perspective we are not always wanting to bring to the viewer an image consistent with their own perception, sometimes we are. In those cases we should be using a mid-range zoom, employing the art and craft of photography to create compelling compositions, and skillfully processing these images. Our fans will instantly recognize a shared vision of the location, but they will still be amazed at our photographic and artistic ability to transform the scene into photographic art.
The telephoto zoom is typically the third lens a beginning photographer purchases after a kit standard mid-range zoom and then a wide angle zoom. Although this lens, with its ability to isolate subjects and compress space, opens up manifold opportunities for visual expression, it often it does not get nearly as much use as it should until a photographer further progresses in their photographic journey. This is likely due to the fact that it takes some time to develop the skills to make this an effective tool in capturing landscape images. In this regard you will want to ask yourself, what is it you like about the scene? What parts of the scene affect you more at an emotional level? Then scan the scene with your eyes without using the camera to pick only details that are consistent with what you like about the scene. Only then reach for the camera with telephoto zoom lens mounted and attempt to isolate the subject. Here are some of the pros and cons of the Telephoto Zoom.
With a telephoto zoom we can pick out many compositions within the larger scene–small vignettes or abstracts that allow us capture some of the essence of the larger scene. If you are more of the lazy type, you need not move far at all to work this lens, and from a given location facing lets say a range of mountains with overlapping ridges one could easily pick out as many as one hundred or more compositions. In such a situation it is far easier to do this with a telephoto than either a wide angle zoom or a mid range zoom. It, however, takes real skill to zero in on the one or two vignettes that result in the most visually compelling images and this skill takes considerable time and practice to develop. In this regard one needs to just get out there and with just the telephoto zoom lens, practice, practice, practice! Dare to take just one lens! If the telephoto range does not already figure prominently in your portfolio, going out in the field with just the telephoto zoom mounted to your camera for a day may be just what the doctor ordered to bring new life and creativity to your images.
Telephoto zooms compress layers within the scene often giving them more or less equal visual weight and what we are left with are beautiful patterns of light and shadow, and lines and shapes. This can be seen above in the nearly monochromatic (gold) image of the sand dues. It can also be seen in the next image titled Family Farm that adds color to the mix taken above the Palouse wheat fields. The red color of the farm house immediately attracts ones attention as a contrasting element in the scene.
In the image below taken at a 183mm focal length I focused out toward the center of an alpine lake to capture a beautiful abstract pattern of the melting ice. Telephoto zooms excel at picking out such abstract compositions.
In this next image I was actually at a fairly close range of less than 10 feet from a canyon wall and used a telephoto lens to capture this wonderful pattern of the rocks with diagonal accents. These patterns would be easy to miss just walking through the canyon, but if one slows down one can often spot these small vignettes that come to life through a telephoto perspective.
In the above image, Forest Carpet of Clouds, I not only used the telephoto zoom to isolate the forest and create some simple layers of fog, forest and clouds, but I also included some fairly prominent negative space to give the composition a more minimalist feel without distractions. The telephoto zoom range is the best for more easily removing distractions in an image.
Telephotos are also excellent for exaggerating spacial relationships especially those in the far distance. In the image below the mountain looming very large on the horizon is Mt. Baker. If you saw this scene in person the mountain would be a fairly insignificant element in the distance. Even the church on the right would seem very small to the naked eye. With the use of a 400mm focal length, however, I am able to compress the layers within the scene and give the most weight to Mt. Baker in all of her majesty.
Of course the telephoto effect need not always be this pronounced and sometimes all that is needed is some moderate compression like in the next scene of Gig Harbor in Washington State taken with 156mm focal length.
When weight is not much of a concern, on special occasions I will pack my complete trinity of Sony lenses: a 16-35 2.8 GM wide angle zoom, 24-105 4.0 mid range zoom. and my latest addition the 100-400 GM telephoto zoom lens. But I do not consider this array complete unless I also pack my Sony Macro 90 mm 2.8 lens. On the most special occasions I will only use the Macro lens and wonder why I even took the others! With the macro lens we can open up the often unseen world of small things and easily create unique images that you are unlikely to find in any other photographer’s portfolio. Lets review some of the pros and cons of the Macro Lens.
Although any one of the three lenses from the trinity could potentially be used as a Macro lens, they will not work as good as a dedicated macro lens for this purpose. A true macro lens will have a magnification ratio of 1 to 1, in other words it can capture in focus a small portion of the scene with the size of the object corresponding exactly to the sensor size of the camera. The 24-105 lens would work in a pinch and when one is trying to save weight this would definitely be worth considering as an option. But by way of contrast, the 24-105 closest focusing distance is 15 inches with a magnification ratio at this distance of .32. The closest focusing distance of the dedicated macro is 12 inches (a good working distance) and the magnification ratio at this distance is 1 to 1. The macro lens also has a flatter field which allows better edge to edge sharpness . The zoom lenses all have more of a curved field with critical sharpness only found in the center of the lens. With macro compositions we are often (not always) featuring patterns where it is desirable to have edge to edge sharpness.
Of course we are not always interested in edge to edge sharpness and macro lenses, which usually come with a maximum aperture opening of 2.8, are excellent for blurring backgrounds and minimizing distractions at close focusing distances.
One of the beauties of macro photography is that one can use this lens in all kinds of light all day long, even when conditions would be far less than optimal for one of the other lenses from the trinity. Not only will the lens excel at capturing smaller worlds, but the lens will be able to uncover worlds within small worlds opening up new avenues for creative expression. For this next image, I shot hand held at F 2.8 and took numerous images in manual focus using my body to move the camera in and out of focus. My goal was to capture just a small part of the image in focus with the rest cast in a beautiful bokeh. Using a higher ISO and with the camera’s vibration reduction on, I did not need to use a tripod. In this kind of situation a tripod may actually get in the way of finding the perfect composition through a process that involves a great deal of experimentation. This iterative experimentation is best done hand held.
Although I often prefer to shoot with wide open or nearly wide open apertures for macro photography, I will often take multiple images and then make a decision in post processing which parts of the image I want sharp and which parts to remain blurred. The next image of some tiny Mountain Laurel Flowers in the North Cascades provides an example.
I am making the pledge to use the macro lens as my sole lens on trips into the cascade mountains in the coming year. I am sure it will open up new paths for creation of beautiful images to round out my portfolio. Which single lens will you pick for your next adventure to help you break through to a new creative frontier? Ironically by limiting your choices, your creative horizons may now appear more clearly and seem almost limitless. Once you make your single lens choice, you may find out just like I have many times, that the path to creative growth often involves voluntarily placing limits on your choice of a lenses.
Long waves of blue lupine glistened in the golden hour light as I slowly made my way up Flower Dome. This was a photography oriented Sierra Club Outings trip and none of us were in any particular hurry to arrive at our destination to watch the day slowly to slip back into the darkness of night.
There was plenty of time for conversation along the way and I used this opportunity to check in with Roger about how the trip was going. Roger, a senior trip leader, was mentoring an aspiring trip leader who created this outing as a photography oriented multi-day backpack. Roger showed great enthusiasm about the landscape and spoke mainly about its immense variety, variety that met us at every turn of the trail on this seven day backpack—forested valleys of virgin trees, tall sub-alpine grassy meadows, fields of boulders stretching out to the distant horizon, steep hillsides of mountain huckleberries and stunted trees, Lyman Glacier leading up and over Spider Gap, mountain lakes, passes with views reaching out in every direction, and flower meadows. Roger did not dwell much on the iconic spots of beauty we experienced along the way, Image Lake and Flower Dome, giving them no more emphasis that all the other parts of the ecosystems along our journey. A long unbroken silence ensued and Roger eventually confided that he was concerned about the type of people that his men-tee and landscape photographer was attracting to the trip. Were these photographers more interested in using this trip as a way to get beautiful iconic shots of small slices of this vast Glacier Peak Wilderness Area rather than experiencing the wilderness in its entirety with its immense variety of landscapes? And were these landscape photographers at all interested in learning about current environmental challenges for the region?
This trip was six years ago which seems like almost an eternity in the evolution of digital landscape photography. Much has changed since then and most landscape photographers are now acutely aware of how their role in publishing location specific images on social media can have adverse effects on the landscape. Even a image of a seldom visited site can inspire thousands and sometimes upwards to a million people to think about retracing our steps so they too can take an image of nature at the pinnacle of its beauty. This burning desire to go to these places will still be there regardless if the specific location is shared or not. As landscape photographers, however, it is still difficult for most of us to reconcile the potential negative consequences of sharing an image with our desire to inspire others to develop the same appreciation and love for the environment that got us into photography in the first place. We want it both ways, to inspire others and also to conserve and protect not only these precious environments where beauty is at its pinnacle but also to be good stewards of the earth in general. But is it possible to have it both ways?
I never question the authenticity of a landscape photographer’s belief that they hope to inspire others through their images to participate in the same love, sense of wonder and veneration for nature that they feel while photographing beautiful landscapes. I believe the landscape photographer’s feelings are honest and genuine. But I think it is important for myself and other landscape photographers to recognize that not everyone feels that this kind of inspiration best serves the goals of conservation and the broader environmental movement and may actually be counter productive. The focus of much of landscape photography today is on the sublime beauty of very small parts of vastly larger ecosystems. This is also the case even when we move beyond well known icons such as Delicate Arch, Mount Rainier’s Reflection Lakes, and Tunnel View at Yosemite. Landscape photographers gravitate toward places where nature’s beauty soars toward its pinnacle of beauty regardless whether these places are iconic or not so well known. Even this pinnacle of beauty will not be high enough for the landscape photographer who aspires to go higher still and through composition, photographic technique and artful processing creates a romanticized vision of the landscape . There is no doubt that many of these images inspire others, but do they really support the goals of conservation and the environmental movement that are more focused on protecting larger ecosystems? We will explore this further in the paragraphs that follow.
American Conservation Movement Early Beginnings
To understand the roots of the American Conservation Movement we first must go back to the predominant view toward nature at the time of the founding of this nation. For this underpinning we need to look no further than this biblical passage:
” Then God blessed them, and God said to them, “Be fruitful and multiply; fill the earth and subdue it; have dominion over the fish of the sea, over the birds of the air, and over every living thing that moves on the earth. Genesis 1:28”
This of course provides a scriptural basis for the concept of Manifest Destiny. It is our destiny to lay claim to and settle the American wilderness. During this time no one thought much about the consequences of their actions toward the environment. When one looked out west, America contained vast swaths of seemingly unlimited wilderness available for settlement. In his now famous thesis, The Frontier in American History published in 1893 (1), Fredrick Jackson Turner established the settlement of the American Frontier moving further and further west as a stream of events that shaped the psyche of the American People and made them unique-their love of freedom of the frontier, distaste for authority, self reliance and independence—a distinctive willingness to seemingly forever reinvent themselves at places where new settlements met a wilderness frontier. It is somewhat ironic that at the opening of his thesis Tuner announces that at the close of the nineteenth century and with the push of settlements out to the west coast, there is now no new American frontier. While this was true in a geographic sense, the idea of the American frontier even today is internalized in the American psyche as is evident in the attitudes of many that there are vast swaths of unspoiled land out there and no one needs to worry much about developing new land as there is an endless supply. We see this even among photographers who suggest there are an endless supply of wilderness locations of potentially iconic value just waiting to be discovered. At least in Washington State based upon my long history of wilderness travel I know that this is clearly not the case, and yet these attitudes persist–all we have to do is move to the next frontier.
With the rapid industrialization of America in the Nineteenth Century and some of its negative consequences, a group of writers known as the American Transcendentalists, chief among the Ralph Waldo Emerson and Henry David Thoreau, began offering a substantially different view of nature. The transcendentalists held that people through nature could directly experience the spiritual realm without any assistance from organized religion. The path of transcending the ordinary material world was through contemplation and direct experience of nature, both within oneself and in the natural world outside of oneself.
In his essay Nature Emerson describe the experience of transcendence this way:
Standing on the bare ground, — my head bathed by the blithe air, and uplifted into infinite spaces, — all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part or parcel of God.
If nature provides the window into transcendence and living a more fulfilling life, does it make sense any longer to conquer and subdue nature? After all, a conquered and subdued nature is no longer available to support personal and spiritual development.
“Who will provide the grand design, what is yours and what is mine? ‘Cause there is no more new frontier, we have got to make it here We satisfy our endless needs and justify our bloody deeds In the name of destiny and in the name of God-” The Last Resort by the Eagles Don Henley/Glen Fry
Emerson met a much younger Thoreau at Harvard and encouraged him to explore transcendentalism and start writing a journal. Eventually Emerson granted Thoreau permission to build a small cabin on his land at Walden Pond where Thoreau conducted a two year experiment living in harmony with nature. The written account of this experience in his book titled Walden Pond provided a modern day source text or scripture, for an emerging environmental movement. For more on Thoreau and the Transcendentalist movement see my blog post Journey to Your Own Walden Pond: Thoreau’s Legacy and Message to a Modern World.
With the arrival of the twentieth century, the negative consequences of rapid development were becoming obvious to many Americans-soil erosion due to excessive grazing and poor farming practices, deforestation, and polluted air. This spawned a growing back to nature movement and John Muir tapped into this sentiment becoming a spokesperson and advocate of an emerging environmental movement. Muir advocated preserving wilderness areas for their own sake, and much of this effort was focused on landscapes with breath taking scenery, the Yosemite Valley and the Sierra Mountains. Muir started the Sierra Club as an organization to help promote preserving wilderness lands and the club eventually recruited Ansel Adams to be be their resident photographer to assist in this cause. Adams’s images focused on the sublime beauty of the region bringing to many artistically crafted Black and White images of such iconic places as the Yosemite Valley and the High Sierras.
From Preservation to Conservation
During the early part of the Twentieth Century a battle emerged between preservation and conservation. Although preservation and conservation may seem like they are addressing the same thing, protecting the environment, there is a key difference. The US Forest Service describes the difference this way: ” Conservation is generally associated with the protection of natural resources, while preservation is associated with the protection of landscapes” Conservation seeks the proper use of nature, while preservation seeks protection of nature from use. Conservation focuses on the sustainable use of natural resources and therefore accepts such commercial uses as forestry, creation of water reservoirs, and even eco-tourism as long as these uses are consistent with the sustaining the natural landscape as a natural resource.
These two perspectives came into conflict during the later part of Muir’s life with the proposed damning of the Hetch Hetchy River in the Yosemite National Park. The City of San Francisco claimed it needed the water for the city water supply and also falsely claimed that access to this source of water would have prevented the San Francisco Fire. Muir’s, nemesis, conservationist Gifford Pinoget, argued that damning the river to create a water supply was in the best interest of society. Gifford Pinchot, the first Chief Forester of the United States argued that conservation of natural resources was best achieved through management of the wilderness for the greatest public good. With Muir saying “Dam Hetch Hetchy! As well dam for water-tanks the people’s cathedrals and churches, for no holier temple has ever been consecrated by the hearts of man” the two view points could not be further apart.
Hetch Hetchy Before and After Photos–the before image reminds me a bit of the Yosemite Valley which managed to dodge a similar fate.
In the end In the end Gifford’s point of view won out, and Congress passed legislation that enabled the creation of a dam in the Hetch Hetchy Valley. President Woodrow Wilson signed the bill into law on December 19, 1913. But Muir succeeded in the elevating awareness of the consequences of Gifford’s perspective on the environment making it easier to win similar battles in the future including one which would have dammed the Grand Canyon.
From Conservation to Environmentalism
As America and the World for that matter approached the twenty first century and beyond, awareness increased of significant life threatening environmental problems such as destruction of the ozone layer, global warming, air pollution, acid rain, and contamination of the oceans . This helped move the focus of attention beyond local, state, and even national borders. With the recognition of these problems that transcend borders, the environmental movement began broadening its focus beyond just preserving wilderness areas with aesthetic value to taking steps needed to confront these much larger issues. Many began seeing the global environment itself as interrelated organism where the actions of humans were the primary cause of major imbalances. Many started to question whether it was even possible to manage resources in a manner that would keep the environment in balance and began advocating more drastic measures to head off the destruction of the planet (3).
Conservationism, properly understood, employs traditional values of environmental stewardship. A good steward takes care of what has been entrusted to him or her, thereby leaving an inheritance for the next generation. In the past many thought this stewardship could be accomplished in a manner that also protects and even promotes economic interests. As the focused shifted from Conservation to Environmentalism many began to doubt this. A divisive political landscape emerged where some political leaders turned a blind eye to environmental threats primarily because addressing these threats would have an adverse effect on the economy and would also move us closer to what they feared was creeping globalism and loss of national identity. This helps explain part of the reason behind the irrational denial of the reality of global warming by many American citizens.
Preservation, Conservation, Environmentalism and My Personal Journey
As a landscape photographer each of these trends in the evolution of the environmental movement continues to effect me. I no longer seek to conquer the next frontier in landscape photography with daring treks to locations known to no other, in Washington State these locations no longer exist as has been the case for quite some time now. My frontiers have moved inward and have more to do with bringing to the photograph my highly personalized experience of the scene. I am still a big proponent of preserving all remaining road-less places commonly thought of as wilderness areas. Designated wilderness areas represent only 2 percent of the continental America landmass and are far too precious to be squandered for any economic gain. The drumbeat of the economy will not skip a beat if we keep these areas commercial free zones, shutting out potential mining and drilling interests. But I now recognize that many of these areas are wilderness in name only with commercial establishments common around their periphery, and through Eco-tourism including photography workshops throngs of people visit these places every day. The idealized concept of the wilderness, a kind of pristine and untrammeled Eden, exists primarily in photographs from professional and serious amateur landscape photographers, not in reality.
I have also matured in my perspective about conservation and sustainable use of the land. We cannot only focus on preserving areas of sublime natural beauty if this comes at the expense of loosening protections of surrounding areas that provide critical habitat to birds and wildlife. Commercial harvesting of timber in our national forests need not have adverse effects on the environment and may even help control the spread of diseases and provide important fire breaks. Ecosystems extend way beyond National Parks and Wilderness Areas and some lead right up to the door highly populated metropolitan areas. Conservation of these ecosystems and protection of biodiversity out of necessity will need to take into consideration societal and commercial uses of this land. With my increasing awareness of environmentalism and that I live on a planet where all ecosystems are interconnected, I now also realize that although I may act locally I also need to think globally. We cannot solve such problems as global warming and contamination of our oceans without reaching out across national borders. Environmentalism has also taught me that ultimately I may need to make sacrifices to ensure the health of the planet, reducing activities with a heavy carbon footprint such as consumption of meat and use of cars to frequently travel to far away wilderness areas.
Back to our original question–Is it possible for landscape artists to inspire others through their creations to be good stewards of the environment? First let us look at this from a historical perspective of how one Landscape Painter, Albert Bierstadt, and one Landscape Photographer, Ansel Adams, had a profound impact through their ability to inspire to also shape the perceptions of the public on the environment in a positive way. Although Bierstadt is not a photographer, in his time painting was the primary visual method of artistically representing the landscape and his approach continues to have a major influence on landscape photographers in the present day.
Albert Bierstadt: Witness to a Changing West (2)
In the above image, “The Last of the Buffalo” the legendary artist Albert Bierstadt portrays a dramatic confrontation of a Native American Plains Indian in a with a large buffalo. In this confrontation both the buffalo and Indian are going to die. The scene itself is heavily romanticized bearing little resemblance to anything real. The landscape itself is a composite of several scenes, with mountains, canyons positioned unusually close to the wide open prairie. Although there is a seemingly endless supply of live buffalo in the distance, old buffalo skulls and fresh carcasses are in the foreground and still other animals look at the confrontation with unusual interest. The image is not only a blend of different scenes but also a time blend of an earlier more Eden like wilderness with the end of the innocence in the decisive moment of the confrontation.
This was Bierstadt’s last painting completed toward the end of the Nineteenth Century close to the time when Turner announced that the frontier in American history had ended. By this time Bierstadt was acutely aware that the once vast heards of buffalo were nearing extinction and that most Native American tribes had already moved to distant reservations of largely undesirable land. Bierstadt intended this painting to not only raise awareness of the blight of the Buffalo and the need for conservation practices to protect remaining animals, but also to raise awareness of how the conquering of the American Frontier Wilderness displaced and brought great harm to indigenous populations.
The painting itself which was very large measuring 6 by 10 feet sold for $50,000, a record price for any piece of American art work in the 19th Century. The Last of the Buffalo in a immediate sense reflects Biersdadt’s reaction to the poaching of the Buffalo in Yellowstone National Park. The painting had enormous impact in raising awareness of the near extermination of the Buffalo with influence reaching to the top levels of the US Government and a short time later new measures were put into place to manage and preserve remaining Buffalo in Yellowstone National Park.
Ansel Adams : Landscape Photographer and Conservationist Influencer Extraordinaire
Even today, no other landscape photographer is more associated with efforts to preserve wilderness areas than Ansel Adams. And yet is is difficult to point to any single image as the one that carried the message forward of the need to conserve and protect wilderness. Adams’s ability to capture the beautiful mystique of the wilderness, an emotional feeling that transcends the realism of the physical space that was also accurately represented in his images, is without parallel. When seeing his images, who would not want to preserve the last remnants of America’s beautiful wild places?
Adams’s role in the environmental movement started at an early age, when the Sierra Club took notice of his photos and recruited him as guide and their official photographer. Not long after that Adams was offered a board of directors position which he held from 1934 to 1971. The Sierra Club used Adam’s Images from his 1934 book titled Sierra Nevada: The John Muir Trail to help promote the creation of a new national park in the Kings River region of the Sierra Nevada.
The book Sierra Nevada The John Muir Trail influenced both Interior Secretary Harold Ickes and President Franklin Roosevelt to embrace the Kings Canyon Park idea. Ickes showed Roosevelt Adams’s book and Roosevelt was so smitten with the beauty of Kings Canyon he kept the book that Adams had originally give to Ickes. When the Roosevelt administration asked the Sierra Club to help support what they envisioned as a road-less and non-commercialized Kings Canyon National Park, the Sierra Club immediately tapped Adams to go to the United States Congress to help promote the idea. Although the there was a fierce debate in congress, the bill passed and the park was formally created in 1940. Imagine this today, the executive branch of government and the Sierra Club joining forces in the cause of conservation!
Ansel Adams is an excellent example of a landscape photographer who could inspire others to support conservation causes through the sublime beauty of his landscape images alone. These images did not overtly support conservation causes or document environmental issues. His ability to inspire, motivate and encourage others to aid the cause of conservation rested solely on the respect he earned through his realistic representation of the natural world in the creation of his emotionally charged black and white images. In this role he is an excellent example for other landscape photographers to use their influence to support the higher cause of preserving and protecting the natural environment.
Reflections on Bierstand and Adams and a Changing Social Environment
These are just two examples of visual artists who had a profound effect on shaping the American perception of environmental issues. There are countless others both in the past and who are currently active, but I chose to concentrate on these two because of their special historical significance. Through their ability to inspire others with their creations they also helped shape the political landscape resulting in changes the helped preserve and protect the environment. It can be argued that both individuals created idealized representations of the landscape. Their focus was primarily on places where nature reaches its pinnacle of beauty, not giving much attention to the more mundane aspects of nature. But it is the more mundane nature that is more typical of larger ecosystems that extend far beyond areas where nature reaches its pinnacle of beauty. This might not have been much of a concern during the time period time of these two artists. But as we move forward to the current age where social media dominates as the primary way images are communicated much has changed.
Captivating images of places that are inherently beautiful (even with just a cell phone snapshot) can draw thousands of people to a site in a very short period of time. We saw this recently during the 2019 super bloom in Southern California where in a short period of time social trails emerged where there were none before due to a rapid influx of social media tourists-tourists who find out about a picture/selfie worthy spot of extreme beauty through posts made on social media. In this new social media reality many Landscape Photographers are reconsidering how they share images of beautiful locations. The initial reaction was to stop geotagging or providing specific location descriptions of where the images were taken. An organization called Nature First: An Alliance For Responsible Nature Photography emerged to offer positive principles for Landscape and Nature Photographers to follow:
Prioritize the well-being of nature over photography.
Educate yourself about the places you photograph.
Reflect on the possible impact of your actions.
Use discretion if sharing locations.
Know and follow rules and regulations.
Always follow Leave No Trace principles and strive to leave places better than you found them.
Actively promote and educate others about these principles.
Latter developments included public shaming of landscape photographers who violated leave no trace rules especially those who wandered off trail into flower fields. Although I believe both of these reactions, along with including reminders in posts about leave no trace principles, have had some impact in slowing down the pace of environmental damage caused by social media tourists, it has not stopped the damage that continues to creep further and further forward.
What is needed at this juncture in our history I believe is for landscape and nature photographers is to reevaluate what they take images of to begin with, not just focusing on the small areas where nature reaches its pinnacle of beauty, but to include in our portfolios a more balanced representation of the larger environment in which these areas of often idealized beauty are located. In short we need to get people excited about protecting and preserving nature in the broader sense, the environmental ecosystem/s, not just specific locations whether geotaged or not. For this we will also need to inspire people to develop a reverence for nature, and share more about our experience of nature and less about specific locations. In the remainder of this article I will discuss these steps in greater detail that landscape photographers can take to help shift the focus of attention and accomplish this goal.
Step One: Create and Post More Balanced Portfolios
Rather than put all your energy into creating a single epic image from a location, aim instead to create a balanced portfolio of images that better represent the variety of scenery in the environment you visited including its various ecosystems. In the pre-social media era this used to be more of the norm. Images were shared in collections often using slide shows, online galleries, or even heaven forbid albums with actual paper prints. It was common to see in these portfolios not only images of specific sites of iconic beauty (weather well known or not so well known) such as high mountain lakes and waterfalls, but also images of the macro world, intimate scenes, geological features, trees and the forest floor-in other words all aspects of the environment one has visited. Social media has reduced our attention span to less than a second per image so most photographers shifted their focus to just putting their most immediately impactful (not necessarily their best) image forward. For some photographers this also meant taking fewer risks and going to specific locations that have a proven track record of yielding popular images on social media sites. We all know some of the sites I am talking about: Mt. Rainier’s Little Tipsoo Lake, Delicate Arch, Oxbow Bend in the Tetons and numerous others that appear all to much in social media posts. This becomes a self fulfilling prophecy as these posts draw even people to these over visited tiny sections of our National and State Parks–this has got to stop and each of us can help. It will not stop through merely withholding location data-people are far too smart for that. As we publish more balanced portfolios and people get exited about the larger environment and variety of scenery, flora fauna, and geology–we will help stop the stampede and inspire others love for all of nature, not just an overly idealized wilderness Eden that Jackson Turner informs us long ago vanished with the settling of the American Frontier.
Creating more balanced portfolios may at first seem contrary to a highly curated approach to releasing nothing but the best images, but this need not be the case. I have seen excellent portfolios consisting of between three and five images. The portfolio taken as a whole is almost always greater than the sum of its parts and some of the images within the portfolio such as excellent macro and intimate scene images may actually be rescued from social media obscurity as they achieve better context through their association with a strong balanced portfolio. Providing a backstory behind all of the images along with some natural history will also help establish needed context. Individual images can have their own stories and descriptions ideally presented as mini chapters of the larger story of nature and the environment. Portfolios where appropriate can also include images that are more documentary, highlighting before and after changes to the environment resulting from either good or bad behavior. The recent trend in including stories with multiple images on Instagram and Facebook is a step in the right direction, but many of these posts at this juncture still seem incredibly shallow to me. We need to take this to the next level of actual portfolio posts of images that can be viewed in more depth for longer periods of time than a quickly disappearing story.
Providing context to images will have the added benefit of helping arrest the sense of burnout many of us feel looking large collections of nothing but once in a life time epic images. After awhile we suffer from epic beauty overload. We appreciate images with epic sunsets, rainbows, and flowers at peak bloom in part because these are rare occurrences. But when we see it all of the time it is no longer rare. The viewer will only be able to participate in the emotions and experience of a rare event if the portfolio also has images that include some of the more mundane aspects of nature. These are absolutely necessary for the unfolding of the portfolios story. Consider it a creative challenge to present some of these more mundane aspects of nature in a creative light that will draw the viewer in. This is far more a meaningful test of ones photographic and artistic skill set that taking a compelling image of what everyone already knows is one of earth’s most beautiful places.
Step 2: Inspire Others to Develop a Reverence for Nature
With Thoreau’s publishing of Walden at the time the settlement of the American Frontier was reaching its end, Thoreau introduced to us a fresh vision of nature-not as a wilderness at the frontier waiting to be conquered (or in modern times something to be checked off of ones bucket list), but rather as the source of our personal and spiritual transformation. Thoreau himself found his spiritual fulfillment not in some faraway place of iconic beauty, but rather along the humble shores of Walden Pond only a few miles from his original hoe in Concord Massachusetts. This pond, a symbol for the care of the soul and self realization, can be anywhere and is most likely to physically exist close to where we are in the here and now. Ultimately Walden is beyond the physical realm, and is in the hearts and minds of each of us waiting to be discovered. For more on Thoreau and Walden Pond see my blog post: Journey to Your Own Walden Pond: Thoreau’s Legacy and Message to a Modern World.
In my encounters with Nature and Landscape Photographers I have found that most of them quietly share this Thoreauvian vision of nature as a source for spiritual fulfillment. For most of us Nature and Landscape Photographers Nature is our sanctuary. What better way to inspire others to share in this vision of Nature than taking the example from Thoreau and visiting Nature in close by places? What better way to shift the focus overly visited spots to nature in all of her manifestations than use our photographic and artistic skill set to find and unleash the often hidden beauty of nature in close by and often overlooked places? The beauty of these places in Thoreau’s words may not “rise to the level of grandeur”, but the beauty is there nevertheless. Once others see this beauty in our images, they will not want to retrace our footsteps to the same location but will be inspired to find nature’s subtle beauty everywhere, including in their own back yards.
Step 3: Share More of Your Experience of Nature and Less About Specific Locations
I have found that when I visit a National or State Park and let my own intuition guide me to what excites me about a place, it usually has more to do with the journey of movement through nature and the landscape and less about specific locations. I will call this the personal experience of nature. Getting this experience and associated emotional reactions into an image we share is no small task. It is relatively easy to go directly to known spots along the way the have high image potential, but our strongest images may not be there. Our strongest images will be those that integrate our internal experience of the place, call it our inner landscape, and the outer world of nature. Many of these images will not be at the obvious places of beauty. Creating and sharing our personal experience is also what will make our images more unique and better aligned to our personal vision. For more on personal vision see my blog post: Finding your Photographic Vision and the Search for the Authentic Self. There will be less emphasis on merely documenting a scene, however beautiful that scene may be, and more emphasis on creating art that although faithful to the material world leads to the transcendent and encourages others to embark on similar personal journeys through nature. For more on the transcendent in photography see my post: Transcendental Nature Photography: Creating Images with Lasting Impact. For more on sources of inspiration including internal sources see my blog post Sources of Inspiration.
Fast forward six years and I am on a return journey to the Glacier Peak Wilderness Area, once again with my friends from the Sierra Club. We are doing the 50 miles Spider Gap Buck Creek Pass Loop. Much has changed since my last trip six years ago. I notice there are about three times as many people doing this strenuous loop trip. What brought all these people here? Did I help contribute to the popularity of this loop trip through my social media posts? If hoards of people found this arduous multi-day backing trip deep into the heart of Washington’s most remote Wilderness Area is there anything left unexplored? Is there any longer a wilderness frontier for Landscape Photographers willing to go the extra mile or even the extra 20 miles?
As I descend from Spyder Gap down a glacier toward the Upper Lyman Lakse basin I find myself attracted to middle of the day scenes transformed by distant clouds softening the light and changes in my own attitude. I am no longer just going for the iconic shot of Image Lake in epic conditions and am using my intuition and own thought process to help guide how I make my images. But I still feel the pull of social media shaping my expectations. Clearly I have a long way to go in this photographic journey.
I think back on earlier threats to this wilderness environment. Kennecott Copper had a legacy mining claim and planned to build a huge open pit copper mine on miners ridge that would have forever marred the epic view that we now take for granted from Image Lake. Thanks to the efforts of countless environmentalists and a land exchange this threat was ultimately put to bed. I think back when I was in my early twenties and made my first journey to Image Lake when I saw a huge group of long haired nature loving young people, scores of tents were pitched at the shore, and evidence of lake shore trampling everywhere. The condition of the lake is actually much better now. Are the selfie happy Instagram influencers any worse than this bunch of characters from my past?
The long arm of history informs us that it is a mistake to assume that everything that is important and significant is happening right now. The current challenges may seem immense but there is opportunity to make a big difference just as there was opportunity at the time when Turner announced that Americas Wilderness Frontier is no more. It was not destiny that drove Albert Bierstadt and Ansel Adams to choose to use their artistry and influence to advance the causes of conservation. Although both were influenced by people who came before them, they both had free will and exercised that free will for the betterment of the environment. They made positive choices. As nature and Landscape photographers we too have free will. Will we use this free will to rise to the occasion? Will we use the artistry and craft of photography to inspire others to love and protect nature everywhere-not just in those spots where her beauty reigns supreme, but in all of her manifestations, some close to home, even out our back door? If we accept Thoreau’s message, that nature points to the divine, then our willingness to accept this challenge may also be the key keeping this pathway open for the salvation of the world and all of its inhabitants both human and non human, every living thing, even the spirits in our material world—keeping a pathway open to sources of inspiration for our children’s children and more generations still to come.
“None of Nature’s landscapes are ugly so long as they are wild”. John Muir
“In Wildness is Preservation of the World” Thoreau
Erwin Buske Photography, Copyright 2019
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(1) Frederick Jackson Turner, The Significance of the American Frontier in History, 1893
(2) Peter H. Hassrick, Albert Bierstadt Wintness to a Changing West, 2018
(3) Liz Sonneborn, The Environmental Movement, 2007
I just published my first quarterly newsletter. In this first newsletter I provide some guidance for visiting at peak bloom the wildflowers at Paradise Mt. Rainier. There also is a short article on a method I find very useful in creating compelling images of the wildflowers in their larger environment titled: “To Focus Stack or Focus Stack, That is the Question”. You will also find a summary of my new Apprentice Program where I work one on one with a photographer over a period of time of one year for skill set development and to help the photographer creatively find his/her vision. There are also special offers available only to newsletter subscribers and announcements of upcoming trips I lead for the Seattle Mountaineers.
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The image of Walden Pond, a serene place of imaginable beauty with a small cabin close to its shore, is somehow etched in most of our minds. Few of us have actually been there or even seen a picture of the actual place. Still Walden Pond has enduring symbolic value that finds its home deep in our personal psyche and our collective soul. We may have recalled hearing about Walden Pond as part of our early education, but few can remember much about what they might have heard or read, and yet the image of the pond in our mind’s eye lingers and may even come into a clearer view with each passing year.
Artist’s Sketch of Thoreau’s Cabin included on the title page of the original book, Walden or Life in the Woods, published in 1854.
This is all consistent with Henry David Thoreau’s vision for the pond. Although for Thoreau, Walden Pond was definitely a physical place, Walden was also a metaphor for an internal journey of self discovery and this metaphor has now been internalized in the hearts and minds of countless individuals. Ultimately Walden straddles two worlds that are in reality a unity The first world is an accurate, literal, and often highly detailed description of Thoreau’s two year stay at Walden Pond. The second is a world of metaphor and symbols that allows us to internalize our own vision of Walden Pond as we travel with Thoreau on his internal journey of self-discovery that points to a transcendent world of soul and spirit. In both the reader participates in this unity, making it a shared experience of transcendence.
Walden Pond Revisited
The journey to Walden pond for each person will be different, but all of us will share in a common vision of transcendence. This pond for me is my Walden Pond close to where I live in Washington State USA. I believe for me that it evokes some of the same mood of the transcendent that Thoreau felt at the shore of the actual Walden Pond in Concord, Massachusetts.
My personal encounter with Thoreau began in in my sophomore year of high school. As part of our reading assignment of Walden, the class walked over to a close by wooded area. Each of us was instructed to find our somewhat isolated area in the forest and then to just sit quiet, letting go as much as possible of any preexisting thoughts. With paper and pencil in hand and using all five of our senses, we were then to record in as much detail as possible our observations, thoughts, and emotions-what ever came to consciousness in our newly found forest home. This modest assignment is of course what Thoreau did on a much larger scale at Walden Pond. He left behind what he saw as the corrosive effects of society and moved to a small cabin in the woods close to Walden Pond. His objective:
“I went to the woods because I wished to lived deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not when I came to die discover that I had not lived.”
Young Tree in the Forest
I thank my High School teacher for encouraging me to go into the woods for this meditative experience. It helped sow the seeds for my almost life-long series of meditative journey’s, some small, others large, into the wonders and beauties of nature. This meditative experience has also been part of my photographic experience since day one. But like most of us, I have had many detours along the way of my journey into nature-impossible work schedules, striving for material success, and periods of time where my day to day activities and relationships with others did little to help nurture my soul and spirit. For a short period of time I attended a New Thought church based upon some of the ideas of Emerson, Thoreau and the Transcendentalists. But I found New Thought lacking in one very important area–nature. Although New Thought placed a healthy emphasis on changing our minds to change our lives for the better, there was little or no emphasis on celebrating ones connection to nature that was so important in Emerson’s and especially Thoreau’s thought. Getting married to my loving and supportive wife Julia, raising our daughter Caroline, and a renewed focus on nature and photography has done much to rekindle my spirit in the last two decades. I am forever grateful to Julia, Caroline and living as close as possible to nature for helping reshape my life, making manifest sources of inspiration to nurture and steadily evolve who I am as a person–my authentic self, my love for nature and ultimately the art and craft of my photography.
Forest Carpet of Clouds
A couple of years ago I started reading and rereading Thoreau’s Walden again, It is amazing how a book can take on new life and energy several decades later. His message contained in the chapters of Walden Pond seemed to speak to me like never before, helping me to better communicate thoughts and impressions that have been going on in my mind for some time. In this blog post I will discuss my twelve takeaways from my recent reading and rereading of Walden Pond, offer some probing questions for everyone to consider, along with some questions more directed at nature photographers. This article, however, is intended for a wide audience of people, both photographers and non-photographers alike. We all need the “tonic of nature”!
Before launching off on my takeaways I will lay some groundwork with a discussion of the following: (1) A very brief biography of Thoreau, (2) Thoreau and Transcendentalism, (3) and Walden Pond-a physical and spiritual place.
Henry David Thoreau a Brief Biography
Henry David Thoreau, (1817-1862) was born in Concord, Massachusetts, which was center of his life. Thoreau studied at at Harvard University, graduating in 1837. While still in college, in 1835 he contracted tuberculosis and suffered from recurring bouts throughout his life. He made his living by working in the pencil factory, by doing surveying, by lecturing and teaching, and by publishing essays in newspapers and journals. His income acquired primarily through side gigs, however, was always very modest, and his main concerns were his daily afternoon walks in the Concord woods, the keeping of a private journal of his nature observations and ideas, and the writing and revision of essays for publication. Thoreau did not identify himself with any of his lines of work and described his occupation this way “My profession is always to be on the alert to find God in Nature, to know his lurking-places, to attend all the oratorios, the operas, of nature.”
A Walk in the Forest
A decisive turning point in Thoreau’s life came when he met Ralph Waldo Emerson at Harvard. The older Emerson introduced Thoreau to transcendentalism and encouraged him to start recording his experiences in a journal. Thoreau was a member of the Emerson household from 1841 to 1843, earning his living as a handyman. In 1843 he was a tutor to William Emerson’s sons in Staten Island, New York, and in 1847-48 he again lived in Emerson’s house.
In 1845, he received permission from Emerson to use a piece of land that Emerson owned on the shore of Walden Pond. He bought building supplies and a chicken coop (for the boards), and built himself a small house there, moving in on the Fourth of July. He had two main purposes in moving to the pond: to write his first book, A Week on the Concord and Merrimack Rivers and to conduct an economic experiment to see if it were possible to live by working one day and devoting the other six to his practice of contemplation, journaling, reading, and walking– thus reversing the Yankee habit of working six days and resting one. In the years after leaving Walden Pond, Thoreau published A Week on the Concord and Merrimack Rivers (1849) but Walden itself was not published until (1854), a whopping seven years after leaving Walden pond.
IMAGE: 37 year-old Henry Thoreau by Samuel Worcester Rowse, as he appeared in the Summer of 1854 when “Walden” was published.
Thoreau who wrote “In wildness is preservation of the world” is often credited with being the father of the American Conservation Movement, not so much because of political advocacy but because he established that nature is essential for society to thrive and for an individual’s own spiritual growth. Thoreau is also widely known as a nature writer and Walden is often refereed to as the urtext, the place where all American nature writing starts. In addition to being a champion of nature, Thoreau is also known for his views on civil disobedience, mainly the need to prioritize one’s conscience over the dictates of laws. Both Gandhi and Martin Luther King referred back to Thoreau to help explain their own acts of civil disobedience associated with the Indian Independence and Civil Rights movements respectively. Thoreau himself was an outspoken abolitionist, serving as a conductor on the underground railroad to help escaped slaves make their way to Canada. He wrote strongly-worded attacks on the Fugitive Slave Law (“Slavery in Massachusetts”) and on the execution of John Brown.
In May 1862, Thoreau died of the tuberculosis with which he had been periodically plagued since his college years . Thoreau’s best friend Emerson wrote and provided his eulogy (exerts):
“He was bred to no profession; he never married; he lived alone; he never went to church; he never voted; he refused to pay tax to the State; he ate no flesh, he drank no wine, he never knew the use of tobacco; and, though a naturalist, he used neither trap nor gun. He chose, wisely no doubt for himself, to be the bachelor of thought and Nature….The country knows not yet, or in the least part, how great a son it has lost. … His soul was made for the noblest society; he had in a short life exhausted the capabilities of this world; wherever there is knowledge, wherever there is virtue, wherever there is beauty, he will find a home.”
Thoreau and Transcendentalism
The the principal ideas of the American Enlightenment, the celebration of pure reason and the belief that science (at least how it was understood at the time) has an answer for just about everything, played a key role in the development of the American Republic from its founding until the early part of the Nineteenth Century. The elevation of reason also played a roll even in the practice of religion and this caused many transcendentalists to abandon the Unitarian Church because they perceived the denomination had an overly reasoned approach to explaining mysteries that defy rational explanation. Toward the mid nineteenth century we see a counter movement in American culture and life based upon a Romantic notion more centered on intuition, emotion, and direct experience of nature as necessary conditions for developing an appreciation of the sublime and mysteries of life. We see this in American Art as artists progressed from primarily documentary portraiture to romanticized interpretations of the American Landscape. We see this also in the literary world with the writings of Emerson, Thoreau, Muir and others.
Sunset in the Rockies by Albert Bierstadt
Emerson attributed the philosophical underpinnings of Transcendentalism to the Idealism of German Philosopher Emanuel Kant as explained in Kant’s book titled the Critique of Pure Reason. Kant divided the world into its two aspects: the phenomenal world and the noumenal world. The phenomenal world is the material world we are aware of; this is the world we construct out of the sensations that are present to our consciousness. But if we limit our understanding of the world to appearances only, in other words what we can perceive empirically through our senses, our perception of the world is not complete and may actually be a kind of an illusion, and certainly not what Kant refers to as “the thing in itself”. The noumenal world consists of things we seem compelled to believe in, but which we can never know empirically because we lack sense-evidence of it. Kant also called this noumenal world “the thing in itself”, something that is beyond space and time.
Thoreau as a transcendentalist never denied the validity of the material world, but he also did not see the material world as compete. Both Emerson and Thoreau embraced the scientific method of empirical inquiry as it was understood at the time. This is especially apparent in Thoreau’s work as a naturalist, documenting and categorizing plants. But Thoreau’s inquiry as a naturalist was not limited to the material world, to what can be objectively perceived through the senses.. The path of self awareness transported him beyond the material world and through the embrace of wild nature took him to a noumenal world of soul, spirit and the divine.
Phlox and Sun Flowers in Paradise–Columbia River Gorge
In Walden, Thoreau provides to us his personal story of how in nature he reconnected with his own soul and its inherent divinity, thus fulfilling the potential for an ideal existence in the real world. In doing this Thoreau takes us beyond theory of Kant and Emerson’s often abstract ramblings, and provides us a very accessible example of what our own transcendental journey might look like.
Upon first reading Walden’s pond one may initially get the impression that Thoreau is merely providing a meticulously detailed documentary account of his experience living there for two years. But as the book progresses it is clear that Walden Pond is more than that and is full of symbolism and metaphors for the awakening of the soul and spiritual growth. This is clear in passages such as this one from the chapter titled, The Ponds, where Thoreau describes the water of Walden Pond like this “It is the earth’s eye, looking into which the beholder measures the depth of his own nature.” It is also evident with this passage also from the chapter the Ponds:
“Though the woodchoppers have laid bare first this shore and then that, and the Irish have built their sites by it, and the railroad has infringed on its water which my youthful eyes fell on; all the changes is in me. It has not acquired one permanent wrinkle after all its ripples. It is perennially young.”
What I find remarkable from the above passage is that even in Thoreau’s own lifetime he witnessed the encroachment of civilization at Walden Pond, with a railroad visible from the pond, residences popping up , and the falling of most of the large trees. But even in the midst of these physical changes, Thoreau thought that the essence of the pond had not changed, and in a sense seemed to be outside of space and time. Thoreau suggests here that the spiritual aspect of Walden Pond transcends this material world and even his own perception. It is the same pond where Thoreau discovers the depth of his own nature, that is his spiritual self. Ultimately Walden is both, part of this material world that is constantly changing and something eternal, beyond the material world and even sensory perception. It is the genius of Thoreau that throughout Walden Pond he is able to closely, inseparably, and artistically link real and ideal worlds. In this regard he far exceeds even his mentor Emerson and in my opinion anyone who has since appeared on the literary stage.
Artist depiction of Walden Bond, Frederick Chide Hassan
In the Chapter titled Ponds Thoreau does provide as near to a concise summary description of Walden Pond as can be found in the book:
” The scenery of Walden is on a humble scale, and, though very beautiful, does not approach to grandeur, nor can it much concern one who has not long frequented it or lived by its shore; yet this pond is so remarkable for its depth and purity as to merit a particular description. It is a clear and deep green well, a half a mile long and a mile and three quarters` in circumference, and contains about sixty one and a half acres, a perennial spring in the midst of pine and oak woods, without any visible inlet or outlet except by the clouds and evaporation.”
Cedar River Grove–This is a somewhat ordinary place along side a noisy suburban road that was completely transformed by natures gift of some special mid-morning light.
By Thoreau’s own admission, Walden was a place of understated beauty and not what we would now refer to as iconic or epic beauty. It was very humble in its origin. Many people are surprised to hear that Walden was only a couple of miles away from Concord Massachusetts. This was not a remote spot even by the standards of the Nineteenth century. But to Thoreau Walden was extraordinary in a couple of ways, its depth and purity. Thoreau mentions that the shoreline drops so suddenly that one could take one step into the water and already loose touch with the ground and that no none knew for sure the absolute depth of the pond. The water is so pure that in the right light ones ability to see into the water appears almost unlimited. Depth and purity of course are coincidentally qualities we normally associate with the spiritual world. The Walden Thoreau has introduced us to, however, could be just about anywhere, even in our own backyards, and it is in that context I will now discuss my key takeaways from reading and rereading several times the book.
(1) Access to Nature is our Birthright
“Our village life would stagnate if it were not for the unexplored forests and meadows which surround it. We need the tonic of wildness…At the same time that we are earnest to explore and learn all things, we require that all things be mysterious and unexplorable, that land and sea be indefinitely wild, unsurveyed and unfathomed by us because unfathomable. We can never have enough nature.” Thoreau Walden Chapter 17 Spring
Primordial Forest Flowers
This quotation comes in the closing chapter of Walden titled Spring. With Spring Thoreau experiences a kind of rebirth of his soul. Awakening from the depths of winter, Thoreau experiences an elevation of his spirit in his experience of the wonders and mysteries of nature. With this awakening Thoreau recognizes the importance of nature for all of humanity. Even as science finds explanations for much of what we can observe and study through our senses, there is a part of nature that will always remain mysterious and unfathomable. The path to self discovery and spiritual growth for everyone goes right through Nature in all of her mysteries. This is also a major humane reason why it is so important to protect and nurture nature. If we do not have access to nature or due to our recklessness we cause the destruction of nature, we are in effect cutting our selves off from the source of our spiritual development. Ultimately “In Wildness is the Preservation of the World” Thoreau Walking.
Drawing inspiration from Thoreau and others, I am a big champion of having wild places close to cities and suburban places. I wrote about one such place in Waterfalls of Cougar Mountain. Are there wild or semi wild places close to where you live? How often do you visit these places? For photographers, does your photography practice include frequent visits to nearby places where you can stay in touch with the pulse of nature on a near daily basis?
(2) What we need is a Breath of Fresh Air
” So thoroughly and sincerely are we compelled to live, reverencing our life and denying the possibility of change. This is the only way, we say: but there are as many ways as there can be drawn radii from the center. All change is a miracle to contemplate; but it is a miracle which it taking place every instant. Walden Chapter One Economy”
Olympics Sunset: Come Fly Away
With Thoreau’s decision to live at Walden’s Pond, we see a pattern that was also part of the journey of two other Transcendentalists. The first is Thoreau’s teacher and mentor Ralph Waldo Emerson, and the second is the legendary conservationist John Muir. All three of these individuals put different levels of emphasis on Nature as the source of renewal, with Emerson’s Nature being often being more abstract, Thoreau’s more internalized, and Muir’s a kind of mountaintop spirituality involving what are now iconic landscapes. Nevertheless, a major change that brings each of these men into a new and fresh contact with nature plays a key role in their journey of self discovery. What we also see in all three of these individuals is a pivotal point in their lives when they leave an old world behind to embrace a new world where the vestiges and shackles of their old world can be discarded and left behind.
Many scholars are reluctant to count John Muir as a Transcendentalist, but any in depth reading of Muir by those familiar with Thoreau and Emerson will see a close affinity of perspective and thought between these individuals. Muir was a student of both Thoreau and Emerson and actually met Emerson for several days in Yosemite in 1871. According to the Sierra Club which Muir founded, “Muir’s copy of the twenty-volume, 1906 edition of The Writings of Henry David Thoreau is heavily annotated, underscored, and indexed on the blank pages with extensive commentary by Muir”. Muir’s interpretation of the religious spirit of nature is remarkably similar to the thoughts of Emerson and Thoreau as is evident in this passage and others. ““When one tugs at a single thing in nature, he finds it attached to the rest of the world.” In June 1893, John Muir visited Sleepy Hollow Cemetery in Concord and laid flowers on Thoreau’s and Emerson’s graves. ”
With the untimely death from tuberculosis of Emerson’s first wife Ellen at the age of only nineteen, Emerson leaves the ministry and sets sail for Europe where he meets the romantic poets Coleridge and Wordsworth. Emerson’s life is forever changed as he leaves behind established religion, and it is at this time that his new transcendentalist vision for salvation through direct experience of nature begins to take hold. Later we also see something similar with Muir. At age 29 Muir was blinded in a factory accident. Although his sight eventually came back, this was a tipping point in his life. He left everything in his life behind, his job as an efficiency expert in the factory, his connection to the Church and his family, and embarked on a 1,000 mile march to immerse himself in nature, starting in Indiana and ending in Florida where he caught malaria. This experience was the impetus to send him out west to California where he found mountaintop spirituality and set in motion his life long effort to conserve and protect the natural world. Thoreau’s journey to Walden Pond, just two miles away from Emerson’s home in Concord, Massachusetts may not seem quite as grand, but this journey also represented his turning away from a society that in the face of rapid industrialization was causing people to live a lives of “quiet desperation”. For Thoreau, the true frontier was not thousands of miles away across the sea or land, but within his own consciousness as he immersed himself in the natural wonders of Walden Pond.
“Our life is frittered away by detail. Simplify, Simplify.” Walden
Thoreau lets us know his original intention for coming to Walden Pond in the second chapter of his book title of his book “Where I Lived, and What I Lived For “
“I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.”
Window through an Old Growth Cedar Forest
This quote comes after the first chapter of the book titled Economy where Thoreau provides an elaborate explanation of how he was able to move close to the pond, build a small cabin, and largely become self sufficient with a small surplus that he could barter or turn into a small amount of money. Adopting this kind of lifestyle for him was necessary to remove himself from what he saw as the unnecessary distractions of living life in a society that that does not nurture the development of ones soul. These distractions also included not only employment in what was then fast becoming an industrial society, but also the processions that often serve to complicate our life, weigh us down, making it difficult to follow or even hear the still quiet voice within. Ultimately he wished to stand on its head the prevailing work ethic at the time of working six days and resting on the Sabbath, a goal which he successfully accomplished at Walden Pond.
Most of us realize at some point along our journey that the world we have constructed around our self, including such things as expensive homes, cars, well paying but demanding jobs, and even some of our complicated relationships with others-are adding unnecessary complexity to our life and standing in the way of living a more fulfilling life consistent with our true calling. Unraveling this complexity and moving toward a simplified life seems like a daunting task to most and for some maybe not even an option. But living a more simple life will be necessary to create the time and space to move toward a life closer to nature and getting in touch with who we truly are as a person, our authentic self.
Have you ever felt the need to simplify your life, and if so what steps have you taken to accomplish this? For photographers, do you ever feel the life you have built around yourself including your occupation, even if nature photography, limits your access to sources of inspiration, including nature itself?
(4) Daily Practice
A good part of the book Walden is dedicated to writing about Thoreau’s daily spiritual practice. This practice consisted of the following: (A) contemplation, (B) journaling, (C) walking, (D) conversations, and (E) reading. All of these practices helped Thoreau establish a daily rhythm that helped him in the process of walking up to his true nature. This process of waking up was not as much about finding meaning as it was about awareness and feeling fully live in the present moment.
Thoreau would spend hours in front of his cabin and along the shore of Walden Pond engaged in quiet contemplation. In doing this Thoreau was not so much seeking seeking answers, but letting nature reveal itself and speak to Thoreau on its own terms. Thoreau also kept a daily journal for most of his life and these journal entries helped him describe what he was observing not just in a matter of fact way, but also in a more lyrical and evocative way. Moving more toward a poetic description was necessary for those aspects of his observations which eluded a more precise description. For example Thoreau would often feel a surging energy in nature, an experience better suited to poetry than his more scientific descriptions of nature. Walks were a regular part of his routine and these walks were meditative in nature with Thoreau immersing himself and being present in nature that surrounded him.
Foggy Trail-One of the many trails I have close by access to for walking on a daily basis.
Although Thoreau lived a somewhat solitary existence at Walden, portions of the book are dedicated to discussing his conversations with visitors. In Walden Thoreau states: “I had three chairs in my house, one for solitude, two for friendship, three for society.” In the chapter visitors, Thoreau introduces his admiration for a wood cutter who would occasionally drop by for conversation. The wood cutter seemed to be living in harmony in nature, but lacked any kind of intellectual or spiritual awareness. This helped Thoreau realize that he must go deeper in his own spiritual practice, recognizing that it is not sufficient to just be working in nature such as in his own practice of farming, but that a deeper immersion involving deep thought and the mind is necessary. It is noted in his second year at Walden Pond Thoreau cut way back on his cultivation of his fields to open up more time for him to spend experiencing nature without the distraction of work and toil.
Just like many of us take our favorite book on wilderness adventures (often Walden itself!), Thoreau was an also avid reader during his quiet hours at Walden Pond. At Walden Thoreau mentions multiple times his reading of ancient Hindu texts including the Bhagavad Gita and the Vedas. All of these texts came from Mr. Emerson’s library and Thoreau read them without any interpretive assistance finding in them what Aldous Huxley famously termed the “Perennial Philosophy”, common themes that ring true in wide variety of ancient texts and cultural traditions. To get a sense of the extent to which these texts captured his imagination consider this passage from Walden:
“I lay down the book and go to my well for water, and lo! there I meet the servant of the Bramin, priest of Brahma and Vishnu and Indra, who still sits in his temple on the Ganges reading the Vedas, or dwells at the root of a tree with his crust and water jug. I meet his servant come to draw water for his master, and our buckets as it were grate together in the same well”.
Thoreau wrote to his friend Harrison Blake in 1849: “To some extent, and at rare intervals, even I am a yogi!” One actually finds in Walden a beautiful story of one man’s realization of Ātman which is a Sanskrit word that means inner self or soul. In Hindu Philosophy, Ātman is the first principle, the true self of an individual beyond identification with phenomena, the essence of an individual, somewhat similar to the previously mentioned numinal world of the nineteenth century German Philosopher, Emanuel Kant. What goes around comes around! Thoreau’s genius is that in the creation of Walden he shared his story that made much more accessible to others this idea of moving beyond ego and the material world to self realization.
Self Realization–Eagle Cap Wilderness Area
I have found in my own life there is nothing like a regular practice focused on nature to keep life in perspective and focus on what truly is important. My practice includes all of the practices that Thoreau discusses in Walden, but I am sure I am not nearly as devoted to these practices as the master Thoreau! These practices have also formed the groundwork for my creative pursuits especially photography. Does your current life include time for daily spiritual practices, especially time in nature? For photographers, do you often spend time in nature, without camera, just observing, listening, and absorbing what nature has to offer?
(5) Follow the Beat of Your Own Drummer
“If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away.” Walden Conclusion
Thoreau like Emerson and all Transcendentalists puts much emphasis on the need for individualism. But in this passage Thoreau adds his own perspective. If one is not keeping up their peers in what are often competitive pursuits, it may not be because one lacks the ability to keep up, but rather one is drawn to another calling. In other words, the feeling of the need to compete in certain endeavors—for example for jobs that convey a sense of status and for bigger and better homes — may actually be taking us further away from our true calling and who we are as a person. It is following a script set by society that has largely lost its connection to nature. Thoreau points to another way that shuns conformity and this way involves moving closer to rhythms and pulse of nature.
Boulder Garden–This image was taken below Little Si, not exactly an iconic spot, and often quickly passed over on the way to the small peak. But on this day I followed a still small voice of nature that said this is the spot for meditation (and photography!) today.
Are you currently living the life you imagined for yourself? Are there steps you can take, some small and some large, that can lead you to a life more consistent with your calling? For photographers, are the images you are sharing on social media those which express your own voice and calling rather than conforming to some standard, not your own, that is associated with achieving recognition or popularity at little or no risk?
“As you simplify your life, the laws of the universe will be simpler; solitude will not be solitude, poverty will not be poverty, nor weakness weakness.” Walden Conclusion
I never found a companion that was so companionable as solitude. Walden Chapter Five Solitude
Lone Trillium in the Forest
Walking around Walden Pond, Thoreau experiences solitude in nature, but in this solitude he is not lonely, because he is part and partial of nature. In his participation in nature Thoreau finds freedom: freedom from a societies institutions, competitive pressures, and petty gossip.. Nature prevents him from ever really being alone. In the company of animals, plants, and the elements, Thoreau finds an inexhaustible source of spiritual nourishment. Thoreau is careful to differentiate between solitude and loneliness, which one can feel even when one is in the company of other people. For Thoreau in his experience at Walden Pond, it is solitude, not society, which prevents loneliness. Even in solitude, one is connected to the natural world and web of life.
Do you frequently set time in your schedule to be alone with nature? If not, are there some steps you can take to have what Julia Cameroon calls in her landmark book the Artist’s Way, a date with yourself, just you and nature?
(7) Inward Journey
Direct your eye right inward, and you’ll find
A thousand regions in your mind
Yet undiscovered. Travel them, and be
Expert in home-cosmography. Thoreau Walden Conclusion
In this passage where Thoreau is reflecting upon his experience at Walden’s Pond, he exhorts us to take the inward journey because this is where the true frontier of self discovery lies. To find this final frontier, Thoreau reminds us there is no compelling reason to travel far and wide to disparate locations around the world. The frontier lies at the intersection of nature and one’s own consciousness where ever one may be, even at Walden Pond, less than two miles from his previous home in Concord, Massachusetts. There is no better way to get to know oneself than through the natural world. But it would be mistake to think one must first travel to a distant place or even a very particular place before taking the inward journey. The right place and time to start the inward journey is close to where you are in the here and now. In every part of nature we can sense the interconnectedness of all of nature, and every part of nature, however, small and humble, can lead us closer to the heart and soul of nature, both within us and without us. We too are nature. For more on the inward journey see Finding your Photographic Vision and the Search for the Authentic Self
Inner Reflections–Henry M Jackson Wilderness Area
How much to we really know about who we are as a person, our authentic self? What does it mean to you to direct ones eye inward and how might living a life close to nature help this process? For photographers, have you ever noticed that one of your images images of nature reflects both your inner and outer world?
(8) Be Here Now
“You must live in the present, launch yourself on every wave, find your eternity in each moment. Fools stand on their island of opportunities and look toward another land. There is no other land; there is no other life but this.” . Thoreau’s Journal Entry, April 24, 1859
Bleeding Hearts of the Forest–I found this scene on one of my countless walks through a forest close to my home in a suburb of the greater Seattle area. We need not travel far to find nature is one of Thoreau ‘s primary messages.
I believe there is no doubt that Thoreau intended Walden as a kind of spiritual guide for finding fulfillment in ordinary places, even one’s own backyard. It is not just a coincidence that Walden’s pond was only a few miles from the Emerson home in Concord Massachusetts, and in the conclusion of Walden Thoreau specifically states one need not travel far and wide to find fulfillment. It is a kind of irony that eternity can only be experienced one moment at a time, but deep down inside I think we all know it cannot be any other way. All of us must work with the life we have and stop trying to be something we are not. Even in quite modest places and facing only the essential facts of life, great things are still possible for each of us and that is a key message of Walden Pond.
Living in the here and now at Walden Pond came easily to Thoreau, and his daily observation of nature using all five of his senses and documenting this experience helped establish the awareness that made this possible. Granted Thoreau’s senses were far more keenly developed than my own and most people reading this article, but living in the here and now is also possible for each of us if we focus on cultivating awareness through a daily practice of spending quality time in nature.
Examine your own life and your typical daily schedule and ask yourself if you can find a regular time in each day to be a witness to the wonders and beautifies of the natural world. For photographers, how might cultivating a greater awareness of nature on a daily basis, employing all five of your senses, help you in continuing to develop the art and craft of photography?
(9) Waking Up
“We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn, which does not forsake us in our soundest sleep. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavor. It is something to be able to paint a particular picture, or to carve a statue, and so make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through we which we look, which morally we can do. To affect the quality of the day, that is the highest of arts. Every man is tasked to make his life, even in its details, worthy of the contemplation of his most elevated and critical hour.” Walden Chapter -Where I lived and What I Lived For.
Dawn of a New Day
For Thoreau the “infinite expectation of the dawn” is a metaphor for spiritual awakening, moving out of our often unconscious lives and living life in a much more conscious manner. In Walden Thoreau states “to be awake is to be alive”. Thoreau thought most of us live lives of quiet desperation, being in a kind of semi conscious slumber, or in the words of Pink Floyd’s lyricist “comfortably numb’. The script for our lives, however, is often not our own, but comes from a society that places more priority on material gain, status and popularity than spiritual development. In this passage Thoreau reminds us there is another way and sounds a joyful and positive note. Through living close to nature, simplifying, and living a more conscious life, we have the opportunity to create and shape our own destinies. Here Thoreau uses the examples of a sculptor or painter who are just replicating in their art the beauty that they see around them and comparing this to the sculpture or painter who carves and paints the very atmosphere and medium through which they look. The later is not just documenting the world that they see around them but through their conscious actions as self aware individuals are creating something new. The artist does not need to conform to the world that surrounds them. The artist instead can become the center of his or her world and actually help shape this world making it a better place “worthy of contemplation”.
What does it mean to you “to elevate ones life through a conscious endeavor’? Is there a relationship between our conscious awareness of each moment, where we focus our attention, and our own potential for growth? For photographers what does it mean to you “to paint (photograph) the very atmosphere and medium through which you look” rather than just to paint (photograph) a few beautiful objects? Is Thoreau talking about the process of artistic creation rather than just documenting a scene?
(10) Follow Your Dreams “If one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours”. He will put some things behind, will pass an invisible boundary; new, universal, and more liberal laws will begin to establish themselves around and within him; or the old laws will be expanded, and interpreted in his favor in a more liberal sense, and he will live with the license of a higher order of beings. In proportion as he simplifies his life, the laws of the universe will appear less complex, and solitude will not be solitude, nor poverty poverty, nor weakness weakness. ” Thoreau Walden Conclusion
Walking Into a Dream, Mt. Rainier
Once one has embarked on a path of voluntary simplicity, living close to nature and one begins to wake up and discover his/her authentic self and divine nature– it is time to create a vision to develop ones potential for greatness. By greatness, Thoreau of course is not talking about material success or ego aggrandizement, but developing a larger sense of self, ones true nature, grounded in spiritual awareness. Thoreau knows from his personal experience, and admonishes us, that the important thing is to move forward in the direction of our dreams. This is what Thoreau did with his experiment at Walden Pond and in the years following when he created the book Walden, a Life in the Woods, and this path is available to us as well. Each individual’s journey will of course be different. In finding our vision, however, we should not just settle for the ordinary. The vision needs to be challenging and creative. Once we start to move forward, what at first may have seemed impossible will seem less difficult and step by step our larger sense of self and potential will come into view. It is as if all the universe and all of its laws want us to succeed and we will. Transcendence involves creating a new vision of reality and ones relationship to it. Once one realizes this new vision, there is no turning back. It is as though one has passed an invisible boundary and the only way lies forward.
Looking back at the successes in your life that you feel best about, were these also times where you moved in the direction of your dreams without knowing for sure how all the pieces would come together? For photographers, what are your dreams for the future? Do your creative dreams put nature first ahead of plans for commercial success?
(11) Stay Grounded
“If you have built castles in the air, your work need not be lost; that is where they should be. Now put the foundations under them”. Walden Conclusion
Although Thoreau encourages us to dream big and have lofty goals, he places equal emphasis on staying grounded. In a sense with Walden, Thoreau is ushering in the possibility of change and a new vision with nature at its center to help us reach our highest potential. But this new vision for personal transformation needs a solid foundation.
Beauty at the Forest Floor
Emerson wrote in his essay the Transcendentalist “We have yet no man who has leaned entirely on his character, and eaten angels’ food; who, trusting to his sentiments, found life made of miracles; who, working for universal aims, found himself fed, he knew not how; clothed, sheltered, and weaponed, he knew not how, and yet it was done by his own hands.” Thoreau gave his dream a solid foundation through multiple actions discussed in Walden, not just the building of the foundation for his small cabin in the woods and his work in his garden, but also his daily spiritual practice of contemplation, walking, conversations, writing, and reading. Living our dream will not be a constant experience of divine ecstasy. Beware of false new age prophets who promise this. A good portion of our time will be spent finding a balance of tending to doing what is necessary to secure our basic needs and in our free time tending to our daily spiritual practice. With this foundation work in place, we can direct the remaining energy to pursuing our creative vision.
What activities and pursuits in your life help you to feel grounded? Is it possible to pursue your dreams but at the same time cultivate those activities which keep you grounded?
“I left the woods for as good a reason as I went there. Perhaps it seemed to me that I had several more lives to live, and could not spare any more time for that one”. Thoreau Walden Conclusion
When Thoreau decided to embark upon his experiment in simple living at Walden Pond, he did so in part because he thought that his life had become to routine. Living at Walden Pond taught him many things not the least of which was the rhythm and cycles of nature. Nature is constantly reinventing itself, not only with the changing seasons, but in the longer term with transformations of the landscape itself. After two years at Walden Thoreau once again thought his life had become routine and it was time to redirect his energies.
From Ashes to Eden
In an area that in recent times was ashes and dust following the eruption of Mt. St. Helen’s, we now see beautiful fields of flowers to direct the eye to this still active volcano.
Although Thoreau kept journal entries at Walden Pond, the book itself was not yet written and it would take him another seven years to finish the creative masterpiece that now serves as a modern day myth and guide for achieving personal and spiritual transformation through immersion in nature. Thoreau also firmly believed that personal and spiritual transformation through nature would lead one to a higher moral outlook. Thoreau had much more work to do in gathering and writing his thoughts on the importance of civil disobedience, and his own role in supporting the abolition of slavery. Had Thoreau lived longer we likely would have seen a lot more from this champion of nature. His legacy however is born anew everyday in the lives of millions of people the world over, bringing them closer to nature and its protection, inspiring the quest for spiritual growth, and encouraging people to conduct themselves in a manner that is consistent with their own conscience.
Do you sometimes feel that you have many more lives to live? Do these feelings cause you to make changes in you life to help you to live the life/lives you imagined?
“The light which puts out our eyes is darkness to us. Only that day dawns to which we are awake. There is more day to dawn. The sun is but a morning star. ” Thoreau Walden
Walden or Life in the Woods, is a spiritual guide for the process for each of us to wake up to our own divine nature. Although Walden was a physical place, Thoreau wanted each of us to embark upon a journey to our own Walden Pond. This pond, a symbol for the care of the soul and self realization, can be anywhere and is most likely to physically exist close to where we are in the here and now. Ultimately Walden is beyond the physical realm, and is in the hearts and minds of each of us waiting to be discovered.
Erwin Buske Photography, Copyright 2019
Thanks for reading this blog post. I greatly appreciate this and would love to hear from you. Please leave a comment with your thoughts on this posts. If you would like to receive additional posts like this please also follow this blog either through word press or a request for email notifications. If you feel so inclined please help me reach people who may be interested in this post through sharing. Thanks!
References and Additional Resources:
Walden or Life in the Woods, Henry David Thoreau, 1854
The Journal 1937-1861 Henry David Thoreau, Edited by Damion Searls
Thoreau As Spiritual Guide, Barry M. Andrews, 2000
Henry David Thoreau: A Life, By Laura Dassow Walls, 2017
Emerson, Thoreau, and the Transcendentalists, By Great Courses
During our current digital age with the predominance of social media as the primary way images are now shared, the life span of a popular image can often be measured in just days and sometimes even in hours. This is not surprising when one considers that the average time a typical person looks at an image on social media is measured in just a few seconds or less. Yet even in this fast moving environment, where fame and glory evaporate like rain on hot desert sands, some images have staying power and create their own legacy-these are “Inspiring Images with Lasting Impact”.
This article will discuss in depth each of the following topics that collectively will help you create inspiring images with lasting impact.
Before discussing each of these, however, I would like to introduce my concept of a shared vision. Nature images that have staying power put forward a vision that is shared by both the originator of the image, the Photographer, and the viewer. The attributes of the image invite the viewer to participate in the photographer’s vision. American philosopher and writer Ralph Waldo Emerson provides us with some insight into how this is possible. The process starts by finding who we are as a person, our authentic self. Emerson and two noteworthy legends he influenced, Henry David Thoreau and John Muir pointed out the way. We must recover our authentic self through separating ourselves from societal influences and immersing ourselves in nature. Emerson thought nature always points to soul and spirit, the invisible world, that is the source of all creation. This may sound somewhat far-fetched to some, but in my experience working and collaborating with some of the best nature and landscape photographers, most have confided in me that that there is more to the world than what is seen, and it is this something extra, an often idealized or romanticized vision of nature, that they want to include in their photographic creations. Because photography, which is anchored in the moment and physical world also points to the universal world of spirit, others can join in and share in the photographer’s vision. Emerson saw a circular and fluid path between Nature, the Self, and Spirit. The conventions and distractions of society can keep us from noticing this flow, but experiencing this continuum is available to all who approach nature on her own terms.
(Unified Field of Consciousness–One = Many)
I will now discuss each of the eight topics.
When someone views one of your images they always have an emotional response, but this response is not always strong and and a viewer’s interest can easily wane. Images with a lasting impact, however, will evoke a strong emotional response in the viewer. There are many reasons why this may be the case. Perhaps they visited this location or a similar location and your image brings back positive memories. Or like in the image above, the mood and atmosphere of the image transports the viewer into a realm of mystery that spurs their active imagination. The viewer pictures him or herself walking into the scene experiencing the sense of awe and mystery of the place as if they were actually there. For more on the active imagination see Forests in the Mists: Windows into the Active Imagination.
“The world is but a canvas for our imagination.” Henry David Thoreau
Next time you are out photographing ask yourself what emotions you feel as you are taking in the beauty, wonders, and mystery of nature. Do you feel uplifted with a sense of joy, or does these scene bring up darker feelings of fear or sadness? Does the scene exude a sense of peace and tranquility, or does it exude more of sense of strong motion and power? Whatever emotion you feel, try to convey this in the image, both at the moment of capture and in post processing.
(2) Self Expression
“Going into the woods is going home”–John Muir
“Be yourself, no base imitator of another, but you best self”—Ralph Waldo Emerson
There is a sense when reading the profound works of Emerson, Thoreau and John Muir that the path to finding our authentic self and expressing who we are deep down inside goes through nature and the wilderness. We recover our true self in quiet moments immersed in the solitude of nature. Once there, nature provides a mirror to our soul and spirit. But the process of self recovery has a few conditions. We cannot recover our authentic self if we approach nature as something to be consumed–locations and photo-ops to be checked off our bucket list. Finding ones self in nature and expressing our true self in our images require that we experience nature on its own terms without any preconditions or desire to control her wildness. Nature also demands that we eventually come to her on our own without any intermediary–workshop leaders, photography gurus, and the like. We come alone because we can only understand her secrets through the powers of our direct intuition. For more on finding your authentic self see my blog post Finding your Photographic Vision and the Search for the Authentic Self .
Rainy Day Autumn Dream
I spent a weekend at Mt. Baker last September but did not see the mountain once. The thick cerebral layer of clouds and constant heavy rain moved me into a self reflective dimension with this image of the Bagley Lake Bridge best expressing my emotional state.
“Truth is so rare, it is delightful to tell it.” ― Emily Dickinson
Images that come with a story almost always have a more lasting impact than images that do not. Sometimes the story arises naturally from the composition of the image, such as two lovers waking along the beach into the sunset. Other times the story is provided in a short written narrative. Stories are successful because they provide context to the image and invite viewers to go deeper into the image and explore how it relates to the narrative. Sometimes a good title for an image is all that is needed to give additional context to the image that is largely already self-sufficient in telling a story. Ideally the written story and story told through the path of light and image composition compliment or even mirror each other. Viewers love a good story even if it is brief. Some of my stories for landscape images have to do with the challenges that often come with getting the shot. But I also have stories that have to do with the history of a landscape. Often stories that have the most impact reveal how a landscape awakens an experience at a personal level that is often shared by others as well, such a journey to one’s ideal home as in the image below. These stories are more archetypal in nature and contain visual metaphors that point to common experiences. With all types of stories, the story not only helps lead the viewer into the image, but also helps reveal what the photographer was thinking and feeling at the time of capture.
Walking into a Dream
Remains of Autumn
On this evening beautiful intense front light at low angle came through a crack in the clouds strongly illuminating the trees, clouds and reflections. The clouds also reflected light back onto the scene.
We live in a time when many of the images that rise to sudden popularity were taken in conditions of underwhelming light. I personally have watched and listened to a few well known video tutorials where the author even indicated that good natural light is not necessary because it can be created in Photoshop. Often these tutorials start with images where the directional and nuanced lighting is for the most part absent except for perhaps some lingering light in the sky such as images taken just before dusk. The reason to start there is because it is easier to manufacture the needed light for these images through painting through a masking in Photoshop. I have noticed recently, however, a trend recently where the best landscape photographers are now featuring images with beautiful and often subtle natural light. One of the reasons for this is that we have become numb to the countless spectacular images manufactured in Photoshop with once in a life time epic lighting. The images now lack context and no longer stand out as they all blend into a vast uniform commonality on platforms such as 500px and Instagram. It is important to note that Transcendental Nature Photography has no prohibition on introducing sources of light that were not there to begin with, ultimately there are no rules. The Transcendentalist just wants to preserve the relationship with nature as it is experienced and intuitively grasped, because it is this connection that points to soul and spirit and ultimately a shared vision.
Autumn Magic: About 15 minutes before sunset front to side lighting came through an opening in the clouds providing spotlighting to the ridge tops and a warm glow to the grayish clouds that reflected light back down onto the mountain ash bushes and Lake Ann.
Images that have staying power and lasting impact will be anchored in the natural light that was present at the moment of capture. The reason for this hearkens back to our earlier discussion of “Shared Vision”. We always start with nature as it presents itself in the here and now. This is what provides us as a mirror to our authentic self and also what transports us and our viewers into a shared world of soul and spirit. This does not mean we cannot enhance the lighting that was in the original scene. If fact, this is necessary to poetically evoke the feeling of nature as the manifestation of the world of soul and spirit. But the idealization and or romanticizing of the experience of being in nature always maintains a “down to earth” anchor in this physical world even as it points to an invisible world beyond.
Morning Dew : At sunrise I shot this image looking directly at the sun that provided back lighting to the tulips and morning dew.
The quality of the light is determined by its angle, direction, color and intensity. Shooting directly into the sun at a low angle may provide dramatic back lighting of elements in the scene. Side lighting at a low angle is best for revealing textures and contrast. Front lighting at low angles can transform a scene when channeled through a small opening in dark clouds. Diffused light from an overcast sky can help rein in excessive contrast and emphasize subtle colors and textures. Before sunrise the lighting is cool but transitions to warm as the sun rises. As the sun sets the lighting gets warmer but eventually transitions to cooler tones. This is why the feel of sunrise can be quite different than sunset. How does the movement and transition of light along with the interplay of light and shadow correspond with your own internal landscape and emotional state of being? Through timing, image framing, and post processing can the external and internal landscapes be brought into a closer union? We associate light with illumination: the ability to see, consciousness, awareness, and transcendence. By way of contrast darkness and shadows can represent a limited ability to see, the subconscious, the unknown, and feeling stuck in one’s personal world. Light and its effect on the physical landscape can be thought of as a metaphor that illuminates inner or even transcendent vision. The possibilities for the effect of light on an image are endless. Learn how to read light and you are well on your way to mastering landscape photography.
Autumn at Spirit Falls
In this image the blue green Red Orange Colors are complementary and green to yellow orange colors are harmonious.
Blotches of bright and saturated color are one of the first things we see in an image which helps explain why certain images capture immediate attention and instant likes in popular social media platforms. It does not take long for many photographers to catch on to to this as they bring overly saturated color into their images through processing. After all the average attention span when scrolling through images on social media is only a second or two and color (along with high contrast) is often what wins out given this short period of time. The problem with these images, however, is that upon closer inspection they do not hold our attention long. Images, however, with rich, nuanced and carefully selected colors are something our eyes can rest on and explore for longer periods of time and perhaps we can even bring into our homes as wall art.
Although perceptions of color can be subjective and also tied to cultural beliefs, there are some archetypal and universal responses to color, both positive and negative, that seem to transcend personal and cultural beliefs. Colors in the red area of the color spectrum are known as warm colors and include red, orange, and yellow. These warm colors evoke emotions ranging from feelings of warmth and comfort to feelings of anger and hostility. Colors on the blue side of the spectrum are known as cool colors and include blue, purple, and green. These colors are often described as calm, but can also call to mind feelings of sadness or indifference. Complementary Colors are opposite each other on the color wheel and produce lively attention-getting contrast. Adjacent colors on the color wheel, such as red, orange-red, red-orange, and orange are harmonious. There is red in all four colors. The likeness results in pleasing harmony. Colors can also have many subtle attributes that invite the viewer to explore the image further including tint (any color + white), tone (any color = grey) and shade (any color = black). Excessively high saturation levels can result in the lack of color gradations with fewer variations of color shades, tints and tones.
Next time you are out in the field and framing a composition ask yourself what effect are the colors in the scene having upon you? Are one or more of these colors not consistent with your current emotional state? Will more selective framing of the scene reduce the number of potentially clashing colors? Does the intended framing include complementary colors or harmonious colors, or perhaps some of both?
To a certain extent the color balance, hues, saturation, tints, tones, and shades can be modified in Photoshop. It is usually best, however, for colors to also have a good grounding in the actual scene and to keep processing modifications of colors more on subtle side of the spectrum. In processing one can decide which color/s to bring the most attention to and use lower saturation levels on the other colors. But some of the grace and naturalness of the scene along with its connection to the soul and spirit will be lost with drastic alterations of hues or saturation levels.
North Cascades Aspens
I used my 300mm lens to achieve a compressed perspective of these Aspens that were at some distance away from the dark cliff in the background that was in shadow. I accentuated the contrast between the Aspens and the dark cliff to achieve a better level of contrast helping make the image pop.
There are two types of Contrast: Tonal Contrast and Color Contrast. Tonal contrast refers to the difference in bright and dark areas in a photo. Color Contrast refers to the way colors interact with each other. In this topic I am primarily concerned with Tonal Contrast. Contrast can be both at a macro level with the differentiation of the subject from the background and at the micro level helping to reveal important details in the image. Both macro and micro tonal contrast can help create a sense of depth and a multidimensional aspect to the image.
Liberty Bell Reflecting Pond
Micro tonal contrast in this image helps make it work. Micro contrast is especially evident in the trees and clouds, and to a somewhat lesser extent on the mountain and the red huckleberry bush.
Although contrast in an image can help an image pop and direct the viewers attention to the subject/s and follow a path of light, it can easily be overdone. My experience with my own images and looking at those of others that have staying power and are also brought into people’s homes as wall art confirms that in most cases more subtle applications of contrast create the best images. We do not need a sledge hammer to our heads to direct our attention to what to look at in the image. Excessive contrast (often made possible through the aggressive application of luminosity masks and corresponding curve adjustments) can distract from the organic feel of the image and its connection to the time and place that is the source of our inspiration. But sensible and somewhat restrained enhancements of contrast showing the path of light, separation of of subject/s from background, illumination of gradations of tonal values, and application of a subtle vignette work wonders and can set the image apart.
Cavanaugh Pond Tree Reflections
Some images cry out for lower contrast, as is the case here with the trees and reflections on a foggy day at Cavanaugh Pond close to my home in Renton Washington.
Image composition is simply the arrangement different subjects and visual elements in the frame. A successful composition will provide a visual path through the image that directs the viewers attention on the subject/s and elements the photographer considers most important. In compositions with lasting impact the viewer will not only be guided through the scene, but his/her eyes will also thoroughly explore the image, moving around all parts of the frame to fully appreciate both the whole image and all of its parts. Ask yourself: Is my image strong enough for eyes to wander through all elements of the scene? This is what will happen once an image is hung on a living space wall where it will be looked at again and again. Landscape photography differs from studio photography in that we have limited or no flexibility to alter the physical elements within our chosen framing for the scene. But the Landscape is far more expansive than the studio and there are a multitude of if scenes within scenes and even scenes at the micro level. From all of this we can make an almost infinite number of composition choices. Sometimes just moving the tripod a couple of inches can create an altogether different composition.
Nature provides exceptions to every rule. Margaret Fuller
Guy Tal offers three concepts for thinking about composition in the field: Framing, Perspective and Balance. I have found these three concepts match very well my more intuitive method of approaching composition and will use them to discuss my approach to composition. It is important to recognize there are no absolute rules in composition. While rules such as the “Rule of Thirds” or the need to identify a “Primary Subject” help us to get thinking about composition, they are not absolute mandates. Creation of a good composition is ultimately a more of an intuitive process that flows organically from our experience of the scene. We know good composition when we see it even if it cannot be attributed to specific rules of composition. In this regard we do not look for specific features such as leading lines or foreground elements first and then compose the shot around this. The composition should always start from our experience of the scene, our emotional response, our intuition about its meaning, and ultimately our intentions for the image–these are the compositions that will have lasting impact.
In this composition using a 200mm lens at close range, I chose to emphasis a very small area of the slot canyon wall. This allowed me to create an abstract image featuring diagonal lines, somewhat analogous geometric shapes, and patterns of colors.
Framing. The single most important decision one makes in composition is framing–how much or little of the scene to include in the image frame. When approaching the scene it is best to at first not even take out the camera. How does the scene make you feel? What are the elements in the scene that you are attracted to? What are the elements of the scene you do not like and can these be eliminated or deemphasized? Does the scene stir up memories–joy or sadness? Does the scene leave you feeling calm and peaceful, or is there more of a sense of energy and motion associated with changing conditions? Once you have an idea of your intentions for the scene use your hands or better yet your imagination to build a frame- then think about which focal length would best match your rough framing and intuitive grasp of the scene.
Perspective. Once you have identified the initial framing of the scene, it is now time to determine where best to position yourself relative to the scene. Much of this exploratory work can also be done without a camera. Get down low, and then perhaps even lower as in right on the ground. How does the scene look from different vantage points? If shooting with a wide or normal angle lens, get closer then move away from foreground objects. Often movements up and down, forward and backwards, and to the left or right can result in major differences in the composition including its sense of depth. A very low perspective will provide maximum emphasis to foreground elements but may lack the height necessary to fully appreciate leading lines to a primary subject or place too little emphasis on the mid-ground. Are both your foreground and mid-ground elements equally important or is it more important to place maximum emphasis on the foreground that might also be your primary subject? The key is to keep moving around the scene exploring different alternatives before setting up a tripod with camera for fine tuning of the composition. For more on framing and perspective see my blog post Going Wide, Going Narrow, Creating Layers of Beauty
South Falls Magic Mushroom Discovery
In this image there are two main subjects, the mushrooms and the waterfall. I chose a very low and close perspective to give primary attention to the mushrooms underneath and seemingly looking out to South Falls. The mid-range gets only low to moderate emphasis in this image.
Balance. Image balance is about the placement of the subject/s and elements in the fame to achieve to a natural flow and rhythm. In a well balanced image distractions will be eliminated or minimized, there will be no competing elements, and there will not be excessive negative space. If there is a primary subject, attention will be brought to it through the use of light, contrast, and somewhat more saturated color. There will be a visual flow to the primary subject through the use of leading lines, contrast and or a path of light. In wide angle images, there will be a natural and flowing transition from the foreground to the mid-ground and background portions of the image. Often balance is achieved through simplification, but more complex and even somewhat chaotic scenes can still be balanced through various methods including darkening and desaturating portions of the scene that need less emphasis and more importantly through the use of gestalt principles (more on this in the next topic).
Autumn Cascading Meadows
Color transitions and where the rocks meet the autumn meadow provide a sense of cascading diagonal lines that lead the eyes through the foreground and mid-ground portions of the scene to the overlapping ridges beyond. The overall result is a great sense of depth in the image and an overall well balanced composition.
Boardwalk through a Mossy Bog
“It’s not what you look at that matters, it’s what you see.” Henry David Thoreau
Have you ever wondered why one image will inspire us to see beyond the arrangement of subjects and objects within a frame and another will not? Both images are arranged through composition techniques, but only one of the two will move us beyond the literal interpretation of the scene so that we can share in the photographer’s vision and what inspired him/her in the first place. Gestalt theory provides us some clues.
Gestalt refers to a configuration or pattern of elements so unified as a whole that it cannot be described merely as a sum of its parts. Gestalt helps explain how our vision works in grouping elements into more unified groups and associations. Our eyes and the corresponding processing of vision in our brain work much different than the lens of our camera. We can look into the chaos of a forest and still see a fundamental unity, the camera initially cannot. Often normal vision is identified as what one would see through a standard 50mm lens. But in reality our vision is far different from this. Our eyes move around and within blinks of the eye we go from seeing the world wide to narrow to panning the scene almost simultaneously. This is our perception creating unified images in our mind that seem to evaporate when looking through the viewfinder of our camera at a static image.
There are certain principles of the Gestalt theory of perception that can help us in creating transcendent and unified images.
Similarity. Objects and elements that are similar are perceived as a group. Types of similarities include shapes, diagonal lines, curves, textures, colors, the amount or color of light, and shadows and highlights. It is important to note that these attributes do not need to be identical and in fact it is often better that they are not because this is more consistent with the flow of nature’s often imperfect order. For example our mind will still group together objects with a roughly circular shape even if they are different sizes and dimensions and occur in different parts of the scene.
Proximity. The eye perceives that objects close to one another as belonging to a group and these objects do not necessarily need to be similar.
Continuation. The principle of continuation refers to the mind’s tendency to see complete forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to make a complete picture in our minds is missing. The mind assumes that lines extend beyond the edges of the frame. An example of this is a trail or boardwalk disappearing in the distance (as in the image above). In the landscape photo this principle helps create a sense of depth (along with the use of a wide-angle lens) as the mind believes that the boardwalk continues beyond its vanishing point.
Closure. The mind completes shapes that only exist partially in the image, such as a partial circle or triangle. With time one can recognize shapes in a scene that may not be apparent at first and integrate these shapes with other similar shapes in the scene to create a visual thread that helps tie together and unify the image—think of this as visual poetry. Seldom is image making a precise lesson in geometry but rather has more to do with identifying somewhat similar shapes, patterns and colors that can create a balanced whole.
Some Gestalt unifying gestalt principles can be seen in this image. There is a similarity of shapes between the granite rock in the foreground, the upper half of Lake Valhalla, and the top of Lichtenberg peak in the upper left. The proximity of the granite rock with the harmoniously colored sections of golden yellow green and orange red foliage helps form a unified foreground group. The triangular granite rock partially hidden by foliage (closure) points (continuation) down the slope to the lake and the peak aided by slightly diagonal lines in the mid ground. The lake itself and the peak point to the sky and warm clouds of sunset (continuation).
Emergence. Emergence is somewhat different from the other Gestalt principles in that it is something that one sees after initially grasping the unified whole image. Emergence is about going deeper into the image to appreciate the details, subtle gradations of color and light (recall our discussion about micro contrast). This flies in the face of those who argue that details do not matter and suggests that once the whole is recognized we need to give the viewer a place to go for awhile to discover more about the riches of the image. Emergence is a necessary gestalt principle for images with lasting impact. Emergence can be seen in the above image, especially in the foreground, with the details in the granite rock and subtle gradations of color and tones in the foliage. It can also be seen in the forests and rocks of Lichenberg Peak.
Images that have lasting impact go beyond the faithful recording of Nature’s handy work. Some refer to this difference as one between documentary and expressive photography. I prefer to think about it as moving toward transcendental photography. Transcendental photography moves beyond the individual subjects and objects in the image, beyond the faithful recording of color and light values, and even beyond the image where the whole is more than the sum of its parts. The transcendent image instills an emotional reaction and evokes an appreciation for still another dimension, the soul and spirit of a place and time and offers the viewer a shared vision. For more on inspiration and vision see Sources of Inspiration for Nature and Landscape Photography: Finding Your Photographic Vision The image has strong composition attributes that invite the viewer to come into the image, listen to its story, understand its visual metaphors and explore both the whole image and its subtle and nuanced details. The viewer shares in the creator’s inspiration and participates in the creator’s vision .
Every natural fact is a symbol of some spiritual fact. Every appearance in nature corresponds to some state of the mind, and that state of mind can only be described by presenting that natural appearance as its picture. Ralph Waldo Emerson (Nature–Chapter 4 1836)
A leaf, a drop, a crystal, a moment in time, is related to the whole, and partakes of the perfection of the whole. Each particle is a microcosm and faithfully renders the likeness of the world. Ralph Waldo Emerson (Nature–Chapter 5 1836)
Spirit Angels in the Forest
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I am excited to announce that my 2019 Calendars are now available. Here are the stories and also hopefully some of my not too random ruminations to go along with the images!
There are two calendars available, a standard size offered at $21 and a large size calendar offered at $35. 50% of the proceeds from the sale of the Calendars will go to support the Washington Nature Conservancy and the remainder will help offset my operational costs.
When I fell asleep Saturday evening I had no plans hiking the next day. But when I woke up about 5AM feeling wide awake and calculated that if I left for Poo Poo Point soon I could be at the top before sunrise–this all changed. I decided to go and I am glad I did! It was one of those mornings where the valleys are filled with a sea of fog moving like spirits through the forest. As the sun rose interesting combinations of warm and cool light ensued. I used my 200-500 telephoto lens to capture about 700 images and the constantly changing drama and action. Even in the field, however, I knew this image was the one that best captured the feeling of this place and time! Sometimes one is just in the zone and it all comes together-weather and atmospheric condition, the forest, imagination, vision, ones inner state of mind, emotions, weather, and technique–all working together seamlessly together in a state of flow to bring to the light of day an image that lurks just below the level of consciousness. For more on capturing this type of image see my blog post Forests in the Mists: Windows into the Active Imagination.
February: Gold Creek Pond Winter Skies
This image is of Gold Creek Pond close to sunset on a late December evening. It was cloudy most of the day but toward sunset there were brief openings in the clouds to let in some beautiful light. Kendall Peaks are in the distance which were the destination for many of my previous snowshoe trips. On this trip, the snow around the pond and up the valley was very compact so my micro spikes were sufficient and snow shoes were not needed. As I stared across the pond I noticed the bridge and Kendall Peaks rising above the forest. Often I have hiked around this pond on snowshoes and also up the long winding trail to the top of the peaks. In the long moments of reflection leading up to this image I would often flash back to these earlier experiences, but some how the beauty of this place—its silence, interspersed by the occasional duck calling or light wind blowing– would bring me back to the here and now . In the mountains it is almost like we experience eternity one moment at time. In this moment I knew I would return to this place again and again. In landscape photography there is a lot of waiting for the right moment to arrive. But it is this waiting in beautiful place like this that I often like the most, experiencing the timeless wonders of nature.
March–Mobius Arch: Taming of the Storm
On my first full day at Mobius Arch in the Alabama Hills there was an unrelenting wind and rain storm for a good part of the day until just before sunset. I lost power at my Hotel in Lone Pine, but when I saw the sun break through the clouds and the wind subside I went back to the Arches and was able to get set up just in time for this image. By the next morning is was nothing but Bluebird Skies as far as the eyes could see For many, stormy weather is a signal to cancel plans for an outdoor excursion. But for us photographers it is often a signal to us that it is time to go!
April–Daffodil Field Evening Reflections
Daffodils bask in the evening light and are reflected in the water spanning long rows of flowers. Bright yellow daffodils are the first to bloom in the flower fields of the Skagit valley often as early as late February. The weather at this time is usually still cool and damp, sometimes even cold. The fields are wet and muddy making setting up to take images an invitation to play and roll around in the mud! This is one of the beauatiful Roozengaarde fields that are scattered throughout Washington’s Skagit River Valley. The Roozen family business of growing Tulips, Daffodils and Irises is the largest in the world, covering Skagit Valley with more than 1000 acres of field blooms and 16 acres of greenhouses.
The Roozengaarde Tulip fields in Washington’s Skagit Valley awaken to a fine mist of morning dew as the sun arms reach over the distant mountains and envelop the fields. This year heavy spring rains flooded many of the field rows with standing water creating wonderful opportunities for silhouettes and reflections. A few of the fields were so bad that Roozengaarde closed them to any public access. Please respect their wishes and remember we only have access to these private field due to the good graces of Roozengaarde. Getting to these fields for sunrise can be a bit of a challenge for those of us in the Seattle area which is about two hours away. This year I scouted the fields the day before, spent the night in a comfy hotel, and made the long walk to this field using headlamp to be on site before dawn. Had I not scouted earlier, finding this spot in the dark would have been difficult if not impossible!
June–Diablo Lake Sunset
I have always just sped by this lake on my way back from the North Cascades, but last June on the way back from a hike and seeing the parking lot empty, I decided to spend a couple of hours exploring this iconic overlook. I love the fjord like quality of this lake and the teal color of the water seals the deal with me! With the earlier hot weather and rapidly melting snow, the water was flowing very good in the North Cascades now and it seemed like every quarter of a mile there was a seasonal waterfall, some spilling water directly onto the road!
July–Heather Pillows at Sunset
I just love where I live in the Pacific Northwest. I left my house one day in July on an impromptu trip and three hours later here I was in Paradise heading up the Dead Horse Ridge Trail to Panorama Point! If I was a dying horse these heather pillows would seem to be a beautiful final resting spot. How do these trails get their names anyway? Heather are some of the first flowers to bloom after the snow melts usually right after the Avalanche and Glacier Lilies make their appearance. The contrast of the pink magenta flowers and the surrounding new green foliage to me is just striking. Spring comes to these meadow a little later than down in the lowlands, around the middle of July!
August–Islands in the Sun
A beautiful bonsai rock is bathed in light from the sun that is setting below a ridge above Chimney Lake in Oregon’s Eagle Cap Wilderness. I took this image on the last night of a week long multi-day backpacking trip with the Sierra Club. The day before I did some scouting around the lake and was immediately drawn to this series of rocks leading up to this bonsai rock. Chimney lake is somewhat difficult to photograph because the shoreline close to the water lacks remarkable features and the mountain on the backside of the lake is a long and fairly uniform ridge also lacking distinctive features. This bonsai rock I thought would give the lake character and a more distinctive identity.
Capturing the scene at sunset would be a challenge because the sun sets behind the ridge a good 90 minutes before the actual sunset leaving the lake and surrounding mountains in deep shadow. I decided to photograph the rock earlier in the evening and when I approached the site I noticed sun’s star also reflected in the lake. At this time the light was way too intense causing massive flare even with a lens that is not prone to flare. There was a short window of time, however, about a couple of minutes, when the flare was manageable and the sun star was still reflected in the lake. It was during this brief period of time I captured this image! A few seconds later the sun star reflection disappeared, and about a minute later the sun sank below the distant ridge and the entire lake area was in deep shadow.
September: Rock Tapestry
The grand vistas of Death Valley Park including Zabriskie Point, the Badlands, Badwater, and Mesquite Flat Dunes seem to get all the attention. But what I found most interesting at Death Valley are the more intimate and often abstract small area scenes deep inside the various slot canyons. I am sworn to secrecy about the location of this image, but the location really does not matter so much for an image like this. Venture into any of the canyons and wander deep inside, then pause not just for moments but extended periods of time to take in the small wonders of these canyons. Study small areas on the walls and look for interesting patterns, lines, shapes, and contrasting colors. Images will reveal themselves to you in time. One just needs to stop and listen to the silent sounds written on the canyon walls.
October: Clearing of the Morning Mist
As the early morning mists clears out of the Enchantments Basin and Leprechaun Lake, a thin mist still hovers over Prusik peak creating a soft and airy feel on the granite walls of the peak extending down to some of the autumn larches. I find Leprechaun to be the most interesting of all the Enchantment Lakes with its various peninsulas and channels spread out across the lower Enchantments basin. To me it is more like a half of dozen lakes than just one. Soon after this clearing high winds would blow in snow clouds with flurries at night and a full fledged snow storm the next day. We found a nearby high location with cell phone reception and learned that the storm would last several days. We decided to leave the next morning heading down the steep mountainsides in at least six inches of snow with micro spikes on our boots and gloves on our hands!
November: Kubota Maple Early Morning Light
I took this image in November at Kubota Garden as the diffuse sunlight making its way through clouds and trees was just beginning to illuminate the delicate now bright orange leaves of this legendary Japanese Maple. Part of the look and feel of this place is the stream and water that surrounds this tree that sits on a small peninsula. The tree is also surrounded by and sits below a mixed forest of much taller deciduous and evergreen trees providing a sense of enclosure. With my frequent pilgrimages to this place only 15 minutes from my home, I think it is safe to say that I periodically worshiped this beautiful tree!
It was a sad day for me, however, when I returned to the tree in April of this year and found out that an almost unbelievable rumor I heard was in fact true. This legendary Japanese Maple Tree fell victim to a huge fallen tree in a storm, fatally crushing the Japanese Maple and now the tree is no more. They have planted a new smaller Japanese Maple from another location in the garden that has good form and symmetry, but it will take years for it to reach the size and stature of the one in this image. The long process of renewal now begins. The lesson I learned from this episode is not to take anything in nature for granted. The only thing that is eternal in nature are the ever renewing cycles of creation and rest. Somewhere it is always Spring, and somewhere it is also always Autumn. And somewhere a new tree has just sprouted from seed that will be the next beautiful legendary tree that captures the imagination of our children’s children children.
December: Mt. Si Winter Solstice
One can feel a tremendous sense of accomplishment and inspiration through finding beauty in familiar and ordinary places. Often this beauty is not obvious and may be hidden. This is one such place, no more than a half hour from my house at a park in the Snoqualmie Valley used primarily to walk dogs. To approach this pond I needed to go through sticker bushes that found their way into my boots and skin, and finding a relatively uncluttered perspective was no small exercise. But nowhere have I gained more traction in developing my skill set than in presenting an ordinary place in the best light. This is also the ultimate confirmation to others that you have arrived as a photographer through your ability to make even the ordinary look good. Often this beauty was recognizable to us all along, but conveying this beauty that is often very personal to others remains a huge challenge. But if one can communicate a sense of your “Feeling” of a place at these somewhat ordinary and mundane locations, think how much easier it will be to do this at iconic sites and other places where the beauty is so obvious to everyone! For more on finding sources of inspiration see my blog post Sources of Inspiration for Nature and Landscape Photography: Finding Your Photographic Vision.
What originally brought you to Landscape Photography? The answer I hear from most people when faced with this question is that “I had a desire to share with others my experience of visiting beautiful places while traveling, hiking and backpacking. Typically these experiences are charged with deep emotions that have a profound and lasting effect on the individual. But the resulting images often fall way short of expressing the emotions and feelings surrounding the sense of place. Instead the images are largely documentary and also are not good even from a technical perspective. But make no mistake, the photographer felt a great sense of inspiration at the moment of capture.
“I may pass this way again”
Often we will return to a place as our photographic skills evolve to rekindle and capture the emotions we originally felt as we were just starting out in photography. This is such a place and last week I made this return journey.
Inspiration and Vision: Progression
The desire to better capture the emotions and feelings surrounding a sense of place helps motivate the photographer to learn. The photographer begins the process of learning the technical aspects of photography: aperture, shutter speed, ISO, focus, angle of view, image development, etc. This is learning photography as a craft. The photographer also begins learning the basics of composition: lines, shapes, patterns, subject placement, light, creative processing, etc. This begins the process of learning the art of photography. But as the photographer embarks upon this path of learning, he or she may feel that some of the energy and enthusiasm that originally brought them to landscape photography is missing. It is easy to get caught up in the technical and learned compositional approaches to photographay. The process becomes almost mechanical and may not be in touch with a vital link to the world of feeling and emotion and who one is as a person. It is at this point that the landscape photographer begins looking for new sources of inspiration.
I felt a tremendous sense of emotion that touched the depths of my soul as this scene slowly evolved as the sun rose over the tulips fields shrouded in mist and morning dew. All of the techniques involved in capturing this image, including the near far compositional approach emphasizing the dew, reflections and sun’s rays— were directed at expressing my emotions and feelings of this place at this most memorable time. I did not employ technique and compositional artistry for its own sake.
Sources of Inspiration
I will now discuss each of the following sources of inspiration. Some of these may seem surprising to photographers and contrary to the advice they may have received from other influencers, but bear with me and I will establish the value of each of these sources of inspiration in helping guide one’s photographic journey.
Visiting Iconic Places
Going off the Beaten Path
Going to New Places
Beauty in Familiar and Ordinary Places
Taking a break from Photography
Keeping a Journal
Internal Sources of Inspiration
(1) Visiting Iconic Places
Wild Geranium Tetons Sunrise
This image was taken at the iconic site of Oxbow Bend in Grand Tetons National Park.
It can be challenging to create a unique composition in an iconic place, but if one follows their instincts and intuition for what is interesting in the scene and perhaps also receives a blessing from mother nature of unique weather and flora, it is not only possible but also probable. Iconic places are iconic for a reason. They have the power to instill strong emotional reactions and even have symbolic value in our collective psyche that can be tapped into and shared instilling similar emotions in others. Every year individuals and families make pilgrimages to such iconic sites as Oxbow Bend, Yellowstone Falls, Crater Lake and others for precisely this reason. Never underestimate to power of visiting an iconic site.
Eye of the Crater: Crater Lake National Park
(2) Published Images
In our modern internet world images are published in a number of ways. Some are published in traditional sources such as printed magazines such as Outdoor Photographer or presented in physical galleries, but increasingly images are published in online magazines such as Landscape Photography Magazine. Perhaps the most accessible source of images is Social Media which includes Facebook, Flickr, Instagram and 500px. There are also websites where we can find the work of individual photographers and their blogs. All of these sources of published images can serve as great places for photographers to go for inspiration. It is important, however, when viewing these images to prioritize ones time, looking at the images that are not only good but also resonate with ones own artistic sensibilities. It is also important to engage in what Miles Morgan calls “Active Viewing”. To quote Miles:
“By “actively view” I mean that you aren’t just looking at pretty pictures. You’re trying to figure out WHY you like the image. What makes the image work vs. the other images you find less appealing? How can you incorporate those techniques yourself? What images DON’T interest you? Why not? How can you avoid the pitfalls that made the photograph less intriguing?”
In viewing published images we are not trying to replicate what others have done. Although it is possible that a published image may provide inspiration for reinterpretation of what others have done, the process of active viewing is better viewed as a process that will help us grow and better equip us to fulfill our own vision of an altogether different place and time.
None of us are an island onto our self and we are all indebted to not only those who came before us but also to landscape photographers currently operating in the field. One can find an immense source of inspiration through following the life and work of photographers who we admire. I recommend picking only about three or four to follow in depth. Questions to consider include:
What makes the photographer tick?
What brought you to photography?
Who inspires you?
What is the photographer’s signature style, and has it changed over the years?
What are the stories behind the photographs
To truly appreciate the work of the photographer we need to get to know who he or she is as a person, which will of course take time and effort. If the photographer is featured in a podcast, listen to it. Read their blogs and social media posts. Watch their tutorials. Reach out to the photographer, let them know you are inspired by their work, and cultivate some one on one communication, perhaps even friendship. If they offer workshops, attend their workshop.
As I have progressed as a photographer over the years their are several photographers whose work I admire that I have reached out to. These include Art Wolfe (I attended a workshop early on and various presentations and have read many of his books), Candace Dyar (attended a workshop and communicate with her frequently), Nick Page (regularly listen to his podcast and watch his tutorials) and Michael Gordon (recently participated in a one on one workshop and tour in the Death Valley).
Along somewhat similar lines, many landscape photographers find inspiration and even a sense of belonging in joining other photographers for social photography in the field. This can be done formally through clubs or more informally through meet ups and circles of friends deciding to get together. Companionship and collaboration with like-minded people can also facilitate additional learning as one sees how others approach the art and craft of photography. My only caution here is that although we are social by nature and need this kind of interaction, it is also true that to fully blossom as an artist one needs to ultimately cultivate more inner sources of inspiration. I will discuss this more later in the article in the tenth source of inspiration, inner sources.
Here Comes the Sun by Candace Dyar
I have been following the work of Candace for about five years now and just love her painterly approach and color harmony in her images.
Unrest: Nick Page
It has been amazing to watch Nick progress as a photographer over the past few years We are witnessing the appearance of a new Northwest Icon (and entertainer to boot!)
(4) Going off the Beaten Path
Going off the beaten path or taking the road less traveled can provide fresh perspectives and inspiration through the process of discovery. This also increases the likelihood that your vision will be unique allowing you to take better ownership of your vision. Because these spots are also far less photographed, the influence of other photographers on your vision will be less. Some of the absolute best times in my life as a photographer occurred when I felt I was experiencing nature in a way that few if any have witnessed before. Of course part of this is how we bring our own thoughts, emotions and feelings to the landscape, but the other part of this is the landscape itself speaking to us, sharing with us the unique spirit of the place and time that few get to see. Going off the beaten path can also take the form of a multi-day backpacking trip into the wilderness, the ultimate source of inspiration. For more on this see my blog post Multi-Day Backpacking and Photography
Off trail somewhere in the Snoqualmie National Forest
Most landscape photographers at the current time demonstrate a preference for wide angle color photography that seems ideal for the Grand Landscape, balancing foreground, mid-ground and background elements. The over reliance, however, on this formulistic approach can often seem contrived to others and also can be self limiting. Expressing what we feel about a place and time often calls for a different perspective. One can usually find new sources of inspiration through experimenting with alternative perspectives including the use of Telephoto, Macros, Abstracts, and Black and White. For more on alternative perspectives see these two blog posts: One: Going Wide, Going Narrow, Creating Layers of Beauty and Two: Forests in the Mists: Windows into the Active Imagination.
Spirit Angels in the Forest: 400MM Telephoto Perspective
Jade Vines: Macro
Rock Tapestry: Abstract
Mystery: Black and White and 500mm Telephoto
(6) Going to New Places
Visiting a new (to you) place can be a powerful source of inspiration building excitement, passion, and enthusiasm. One often experiences completely different landscapes than one is accustomed to see and this helps separate us from our habitual way of viewing and experiencing our small world leaving us open to fresh visions and possibilities. I try to plan one or two trips a year to places that are markedly different than my own native Pacific Northwest. This year I visited Kauai and Death Valley.
One with the Ocean
When reviewing my images from a a trip in February to Kauai, this one surprised me the most. I did not at all see my shadow and silhouette in the spray of the wave at the moment of capture. But there I was, walking into the ocean of Kauai’s Shipwreck Beach, tripod in hand, one with the Ocean!
Death Valley: Mosaic Canyon Wooden Grains
(7) Beauty in Familiar and Ordinary Places
One can feel a tremendous sense of accomplishment and inspiration through finding beauty in familiar and ordinary places. Often this beauty is not obvious and may be hidden. No where have I gained more traction in developing my skill set than in presenting an ordinary place in the best light. This is also the ultimate confirmation to others that you have arrived as a photographer through your ability to make even the ordinary look good. Often this beauty was recognizable to us all along, but conveying this beauty that is often very personal to others remains a huge challenge. But if one can communicate a sense of your “Feeling” of a place at these somewhat ordinary and mundane locations, think how much easier it will be to do this at iconic sites and other places where the beauty is so obvious to everyone!
Bleeding Hearts of the Forest
I make this small journey through a quite ordinary forest close to home almost daily but one day last spring this scene jumped out at me, and I rushed home to fetch my serious camera and tripod to create this image!
Most people zip up or down this section of trail through second growth forest on their way to Mt. Si- a first flank peak close to the Seattle area. But on this foggy day I immediately recognized the potential for impact and beauty on this ordinary stretch of trail. This trail is so much more than just a conditioning hike (how it is typically regarded). It is a sanctuary of exquisite beauty just waiting to be discovered.
(8) Taking a break from Photography
Many of my colleagues have taken a break from social media. Social media, although very useful for gaining exposure, can also consume too much of our time and influence our creative choices if we chase after popularity. But just as social media can stand in the way of creative fulfillment, so can photography itself. Often times we need a break of sorts, a vacation free from photography. When we return from this vacation, we often will have a much clearer view of where we need to go from a creative perspective. Experts have known for a long time that excessive and obsessive work toward a goal (the workaholic syndrome) can actually hinder creativity due to loss of perspective. Landscape Photography is no exception to this rule.
Often time during a break from photography one can find new sources of inspiration through such activities as reading books, long walks in the woods without a camera, visiting art galleries, and reconnecting with old friends. I regularly listen to audio books while taking long walks in the forest. These audio books include biographies on Emerson and John Muir, Emerson’s Essays, Julia Cameron’s The Artist’s Way, and other titles.
(9) Keeping a Journal
Julia Cameron in her classic book, The Artist’s Way, established two key activities that help the Artist find new sources of creative inspirations. Both of these activities help connect the artist to his/her authentic self which is the source of all creativity. The first activity is keeping a daily journal. Spend 10 or 15 minutes a day writing in your journal what ever comes up-thoughts, emotions, feelings, impressions. This journal is not specifically about photography and is more open ended than that. The purpose of journal writing is getting one more in touch with ones inner self and the subconscious, to fully awaken to who one is as a person. The next activity is establishing a date with oneself at least once a week. Landscape photographers need time alone in nature to better connect with who they are as a person uninfluenced by the thoughts or actions of others. These artist dates will also provide the basis for journal entries that no one reads other than our self. For more on the authentic self, see my blog post Finding your Photographic Vision and the Search for the Authentic Self.
(10) Internal Sources of Inspiration
“Your vision will become clear only when you look into your heart. Who looks outside, dreams. Who looks inside, awakens..” –Carl Jung
“Be yourself; no base imitator of another, but your best self. There is something which you can do better than another. Listen to the inward voice and bravely obey that. Do the things at which you are great, not what you were never made for.” –Ralph Waldo Emerson, Self Reliance.
Submerged Leaves Under Water
Tapping into Internal sources of inspiration should be the guiding light for all of the the previously mentioned sources of inspiration. What we are talking about here is getting in touch with the right side of the brain, the wellspring of creativity, emotions, imagination and the subconscious. We leave behind all societal expectations about where we should go with our photography and art. This is a journey that marks the return to nature and our true nature and authentic self. We create images as expressions of this authentic self. This marks the integration of the internal and external landscape, with a soulful nature guiding us symbolically to a spiritual world. This is a world of paradox. Even as we descend into the soulful grasp of earthly nature, we are lifted up into a more lofty spiritual realm. We need both. Images have emotional impact, and images tell our personal story. Images now move beyond documentation as we share our experience of a time and place. The images themselves help us and the viewer transcend this earthly world, and evoke a mood that points to matters that may seem beyond comprehension, the world of pure idea and spirit. This is nature and landscape photography as art.
Where the Angels Roam: Mt. Rainier National Park
When we are in a creative rut, many of us need to look to new sources of inspiration. All of these sources of inspiration discussed in this post can help us in our journey to live a more authentic life when the progression is from external to internal sources of inspiration. Living a more authentic life will ultimately also provide the needed inspiration for reaching our creative potential with landscape photography.
“Man is never so authentically himself than when at play” –Friedrich Schiller
What Schiller meant by play (also often referred to as a state of flow, Mihaly Csikszentmihalyi) is when one follows with passion and joy his or her calling, For me this is Nature and Landscape Photography and I suspect for many who are reading this it is for you also.
Thanks for reading this blog post. I greatly appreciate this and would love to hear from you. Please leave a comment with your thoughts on this posts. If you would like to receive additional posts like this please also follow this blog either through word press or a request for email notifications. Thanks! Erwin
“Keep close to Nature’s heart… and break clear away, once in awhile, and climb a mountain or spend a week in the woods. Wash your spirit clean.” John Muir
Multi-day Backpacking can provide an immersive experience into the wonders and mysteries of nature providing a powerful source of inspiration to the photographer that is rarely available in trips of shorter duration. What I have noticed on my many multi-day trips is that it takes at least a couple of days to disconnect from the concerns of the day to day world and tune in to the subtle heart beat of nature’s calling. At day three the wilderness almost seems like an extension of oneself, and this is soon followed by the realization that we too are nature. The American Transcendentalist Emerson established nature as the liberator of our creative self.
“Nothing divine dies. All good is eternally reproductive. The beauty of nature reforms itself in the mind, and not for barren contemplation, but for new creation. Ralph Waldo Emerson(Nature – Chapter 3: Beauty, 1836)
Walking into a Dream: This view is looking out to the patrol cabin and Mt. Rainier from Indian Henry’s Hunting Ground, one of my favorite places along the 100+ mile Wonderland Trail around Mt. Rainier National Park. Although it is possible to do this trip in five days, for photographers I recommend a minimum of 10 days. I did the trip in 11 days and wished I had more!
Our true nature is that of creativity, but often it is difficult to hear its calling when we are following instead the drum beat of our jobs, societal expectations, and desires to be popular on social media. What better way to cut loose from these muffling sounds, and listen instead to the still small voice of nature? Tune out to all this clutter and noise and tune in to nature and creative renewal as part of a multi-day backpacking trip! The rewards of this experience will pay dividends once you are back navigating through the day to day concerns of your life and will be spiritually transforming. Although we cannot all realistically spend most of our life immersed in the wilderness, we can carry this experience back with us through the renewal of our spirit. This spirit can be creatively renewed again and again through annual pilgrimages to the back-country with multi-day backpacking trips.
Tda-ko-buh-ba Sunrise: Beautiful pasque flowers gone to seed and Image Lake awaken to a rosy sunrise underneath Washington’s most remote volcanic peak, known by the Suak Indian Tribe as “Tda-ko-buh-ba”, but also known as Glacier Peak. This location in the Glacier Peak Wilderness comes as close to heaven on earth as anything my imagination can possibly conjure up. Looking out across the meadow and lake to Glacier Peak one feels the pure essence of a wilderness area, an area where the earth and its community of life are untrammeled by people, and where we are just visitors who cannot remain in a place of such unspoiled beauty. We reached this location on the third night of our backpacking trip making this trip an obvious choice for a multi-day backpacking adventure.
In this blog post I will discuss the following: (1) Why a Photography Oriented Multi-day Backpacking Trip, (2) What to Carry, (3) Camera Gear, (4) Getting in Shape, (5) Selecting a Team, (6) Finding Your Photographic Vision, and (7) Destinations. The chart below contrasts a typical backpacking trip with a photography oriented backpacking trip.
Photography backpacks are much different from a typical organized backpacking trip. The pace and tempo of this trip is centered around photography. This means frequent stops along the trail and organizing the schedule to be at the right places for at least a two to three hours window around sunrise and sunset. Breakfasts on photography backpacking trips are usually eaten late and dinners early because it is important to keep the mornings and evenings open for photography. Most movement from place to place will occur during the middle of the day arriving at the next camp well in advance of the evening hours which means keeping daily backpacking distances reasonable where possible.
Rivers Bend, Eagle Cap Wilderness Area, Oregon. To properly experience the vast Eagle Cap, a multi-backpacking trip is essential. This particular valley originally looked quite unremarkable to me and I struggled to come up with a compelling composition. This area of Eagle Creek is not typically thought of as an iconic site. But as I explored further down the valley I saw this bend in the river that caused me to think back on Ansel Adam’s image of Oxbow Bend in the Grand Tetons. I attempted to photograph Oxbow Bend a few years ago but I felt I was recreating someone else’s composition. But here in the Eagle Cap, I had no such concern. The same emotional impact I felt when viewing Ansel’s Oxbow Bend image I now felt with even greater intensity and this helped to provide the creative energy I needed for this image.
What to Carry
Maintaining a good comfort level on a multi-day backpacking trip has everything to do with keeping weight of the backpack at a manageable level of between 35 and 45 pounds. This challenge is especially hard for us photographers because not only do we need to carry a full array of backpacking gear, but also we need to carry camera gear including a tripod. For a multi-day backpacking trip, we will of course need the ten essentials, but will need to go far beyond this if the trip is going to be an enjoyable and a worth while experience.
(1) Navigation (map and compass)
(2) Sun protection (sunglasses and sunscreen)
(3) Insulation (extra clothing)
(4) Illumination (headlamp/flashlight)
(5) First-aid supplies
(6) Fire (waterproof matches/lighter/candles)
(7) Repair kit and tools
(8) Nutrition (extra food)
(9) Hydration (extra water)
(10) Emergency shelter
The following heirarchial criteria will help guide us to the selection of the right equipment.
(3) Light Weight/Ultralight
For every item that we pack one must ask if this item is needed and what function does it serve? If there is no need that has to do with protecting us and keeping us safe from the elements, that item may need to go into the nice to have but not necessary list that we keep to a bare minimum–for example camp chairs, bulky and heavy solar chargers, etc. Although it is important that equipment is light, it is also important not to be so obsessive about reducing weight that one compromises a basic need and function. For example, taking a minimalist first aid kit for a group of six people for a week or more in the wilderness is not a smart idea. Accidents can and do happen even to the most prepared and an appropriately sized first aid kit will be required. The same goes for backpacks. It often takes weight to carry weight. One of the most frequent complaints I have heard from ultra light backpackers with camera gear is that their backpack is so uncomfortable and is disproportionately distributing the weight to their shoulders rather than hips.
Here Comes the Sun: On a cold, cloudy and misty day in the middle of October, the sun likes to tease us, occasionally with breakthroughs, instilling hope, of a clearing to come. These hopes are usually dashed but I love the drama, and would go to the Enchantments again and again to experience it! The Enchantments are best approached as part of a five to eight day Multi-day Backpacking Trip. When in this much beauty, why would anyone want to leave sooner?
It is not only important that the equipment be light but also of low bulk. This allows us to use a smaller backpack that is typically lighter and better balanced on the body. Light and ultralight equipment can be expensive but sales can often be found at the REI Garage and Backcounty.com. Although style is a consideration, style needs to flow naturally from need and function if it is going to find a place on our equipment list.
Every time I get prepared to go on a major backpacking trip I methodically go through this list before the trip and gather all the equipment together, checking off items one by one. At the end of the trip I do a post trip analysis of what items I did not use and consider revising the list for the next trip.
Awakening: While camping on Copper Ridge I woke up to this sunrise with the fog quickly rising from the valley below. A few minutes later the entire ridge was engulfed in fog. Copper Ridge is located in North Cascades National Park and is typically reached as part of a 4 to 7 day backpacking trip that also includes Whatcom Pass. This area receives a large amount of rain and fast changing weather even in the summer months which presents its challenges but also some great photographic opportunities.
My recommendation is to take only two lenses and at the most three. The lens that I find most useful on most multi-day backpacking trips is a wide-angle zoom closely followed by a macro lens that also doubles as a telephoto lens. On my last trip I brought a Sony A7R3 mirrorless camera, a Zeiss 16-35 4.0 lens, and a Sony 90mm 2.8 macro lens. The wide-angle will work great for including important foreground details in the grand landscape composition and the macro telephoto works perfectly for flowers, small area compositions, abstracts, a compressed perspective, and wildlife at a relatively close range. With the Sony A7R3 one can easily switch to cropped mode making the macro lens effectively a 135mm telephoto. One may want to substitute a 70-200mm 4.0 zoom for the macro lens and perhaps bring a small fixed focal length 2.8 manual focus wide angle for stars, but do not fall for the temptation of bringing any more than 2 or 3 lenses. For more on the use of wide and telephoto lens perspectives in the field check out my blog post: Going Wide, Going Narrow, Creating Layers of Beauty
My entire system including the Induro Stealth carbon fiber tripod weighs less than seven pounds. Bringing a mirrorless system brought the weight and form factor down considerably . If I brought my much more bulky and heavy Nikon D810 DSLR and equivalent lenses I would have easily carried an additional three pounds. It is noted that it is not just the weight that one needs to keep at a minimum but also the bulk of items, because with less real estate one does not need as big of backpack to carry all the equipment. As previously mentioned, bigger backpacks tend to be heavier and also do not balance weight as good as a smaller backpack. Mirrorless cameras and most lenses designed for mirrorless are much smaller than their DSLR counterparts. The chart below compares the weight of the newest Sony A7R3 and Nikon 850 cameras for equivalent systems.
Lozier Lake, Wind River Wyoming. Honorable Mention and in the Top 100 finalists for Natures Best/Smithsonian Wilderness Forever Contest. Wyoming’s Wind River Wilderness Area is one of the best locations for planning a major Multiday Backpack that I know of.
I recommend that you store the camera, lenses, and accessories in a small F-stop ICU. This fits perfectly into the Kangaroo pocket of my Gregory Baltoro 75 backpack. I do not recommend backpacks specifically designed for camera equipment and gear from companies such as F-Stop, Lowe Pro and others because they do not carry multi-day backpacking loads nearly as well as conventional backpacks from Gregory or Osprey.
My Sony A7R3 with 16-35 4.0 Lens and 90mm macro in a F-Stop Small ICU
The Gregory Baltoro 75 Backpack: Notice the large Kangaroo Pocket on the front that easily accommodates a small F-Stop ICU.
There are two very important photography equipment requirements in multi-day backpacking that I have found many people do not think about until the need becomes apparent. The first requirement is that you will need a camera available at all times while actually on the trail backpacking. The second is that once at camp you will need some means to conveniently carry your full frame camera equipment and tripod around.
Maroon Bells Secret Garden: A flower meadow basks in the glow of the warm evening light at dusk somewhere below Buckskin Pass in the Maroon Bells Snowmass Wilderness Area, Colorado. Although most people know the Maroon Bells primarily through the post card image of Maroon Lake, the wilderness area actually spans a large area that offers multiple opportunities to frame a unique composition. You will need to go backpacking, however, to find these spots. I took this image as part of a seven day backpacking loop trip over four 12,000 foot passes. This was one of the best backpacking loop trips I have ever taken and mid July is excellent to experience the flowers in full bloom.
Photographic opportunities abound on a multi-day back trip while actively backpacking on the trail, but to take advantage of these opportunities you will need quick access to a camera. Although there are many ways to carry your interchangeable lens camera while backpacking, personally I have found all of these ways somewhat awkward and inconvenient when carrying a multi-day backpack. I have also noticed that when backpackers use such devices as a holster, a chest pouch, or a shoulder mounted peak one, the use of these devices is typically only temporary and then the user gets tired of their awkwardness and into the main backpack the camera goes. What I recommend is to carry a second camera: a high quality and light weight point and shoot camera that fits easily into a pocket, such as the Sony RX100. This is the camera you use while hiking from point to point while carrying your multi-day backpack. It only weighs 8 ounces, has the full array of both manual and automatic controls, and is capable of capturing excellent images and raw files. As the saying goes, the best camera is the one you have with you! Once at camp of course you will use your larger full frame camera. Although an I-phone or the like is good for an occasional snapshot, especially those that include people, the ability to manually control the RX100 along with its much larger sensor size coupled with malleable raw files, makes this camera a better choice for most applications.
Many backpacks now come with a secondary built in day pack that can be used to carry a full frame camera, lenses, tripod, and a few essentials once you are at camp and in the field. I pack my camera in a small F-Stop ICU that fits in a Kangaroo Pouch of my Gregory Pack. Once at camp I take the ICU out and put it into the pack within a pack that is included with the Gregory. For an even better option, Marmont also makes an excellent ultralight pack called the compressor that weighs 8 ounces that can accommodate an F-stop ICU, lunch, extra clothes and gear, a water bottle and a tripod. Although some people just empty out their larger pack and use it as a day pack, in my opinion this is awkward, limits mobility, and also forces one to put all unneeded gear now somewhat disorganized inside the tent.
Getting in Shape
Many people are very surprised at the difficulty of the trip once they embark on their multi-day backpacking adventure. This multi-day backpacking trip requires extensive prior conditioning if you are going to enjoy the trip in comfort. Before beginning your journey take multiple day hikes that involve elevation gain in the range of two to four thousand feet, for example in the Seattle area: Mail Box, Granite Mountain, and Mt. Washington. Also before launching off, go on a couple of overnight backpacking trips of six miles or more and two to three thousand elevation gain with a backpack in the range of 35 to 45 pounds. There is nothing like actually hiking and backpacking for conditioning, and although time spent at the fitness center helps, this alone will not prepare you for the Multi-day Backpacking experience. The getting in shape experience also includes trying out some of the equipment you will be using in the field ahead of time, especially items like Hiking Boots that need to be broken in and a Tent that you need to be able to pitch quickly without the need to follow written instructions.
Ediza Lake Sunrise: The Ansel Adams Wilderness Area, approached from the Eastern Sierra, affords splendid opportunities for multi-day backpacking. But be prepared for a variety of challenging circumstances including river crossings, the elements, and some cross country travel. On this trip I encountered one of the worst hard driving rain storms in my life that finally passed over shortly before taking this image.
Selecting a Team
For multi-day backpacking trips I recommend keeping the number of participants at a small number, at the most five or six, to make sure each of the photographers has a quality experience and participants are not stepping over each others toes trying to get the image. Keeping the team size small will also help reduce the footprint on environmentally sensitive areas–as always our motto is to tread lightly and leave no trace. For more on the potential impact of photographers on the environment see Wilderness Gone Viral. Participants should also be carefully screened as this is physically challenging, and not everyone may be in sync with the pace, rhythm, and goals of a photography oriented backpacking trip. Non-photographers can participate in the trip and there are even some advantages of having their presence. They can offer a counterbalance to the often overly driven demeanor of photographers, reminding us to slow down, and appreciate the natural world for what it is, without always trying to immediately shape the experience into an image. Non-photographers can also provide needed logistical and other support to the photographers, but as mentioned, they must be OK with the trip being primarily oriented around photography.
Colorado’s expansive Wemminuche Wilderness Area home to some of the best Mult-day backpacking.
Finding your Vision
Although a multi-day photography trip is oriented around photography as one of its primary goals, finding your vision for the area will require that you meet nature on its own terms. Before even reaching for the camera, take a deep breath, look around, engage all of your senses and imagination in tapping into the heart and soul of nature. What are the elements of the scene that you find most interesting and how do they effect you at both mental and emotional levels? What feelings, memories, and perceptions does the scene and these elements bring to the surface? This is not an activity that spans just a few moments of time but is a meditative state that can span hours. Be sure to arrive at the scene well ahead of time to do this necessary inner work before launching off on a photo tirade. This meditation will provide the necessary support for giving your personal vision expression in a photographic image. More on this can be found on my blog post “Finding your Photographic Vision and the Search for the Authentic Self” and a related post Forests in the Mists: Windows into the Active Imagination.
Morning Mist: First light over a misty Lake Lacrosse, Olympic National Park. No matter which route one takes, this lake is about a 20 mile plus hike, making it suitable only for a multi-day backpack for maximum enjoyment. I approached this area as part of a east to west trek through the park involving the use of a shuttle service.
There are many excellent destinations for a Multi-day backpacking trip and I have provided images of many of them throughout this blog post. Two that I highly recommend and I have written blog posts about include Visiting and Photographing the Enchantments and Visiting and Photographing the Glacier Peak Wilderness Area: Spider Gap – Buck Creek Pass Loop. The Enchantments are best accomplished in about a five to eight day trip to fully immerse yourself in this awe inspiring area and assimilate its beauty. I recommend going in fall when the Larch Trees turn gold. The Glacier Peak Wilderness loop trip is best done in early August when wildflowers are at their peak and you will want to have a minimum of seven days scheduled and ideally more to experience this heaven on earth. Be sure to visit the blog posts above for more on these areas.
Goodbye My Friend: The Enchantment’s Leprechaun Lake as we were leaving an approaching snow storm. Fall time backpacking in the Enchantments involves extra preparations for cold weather and the use of microspikes to safely walk on potentially slippery surfaces.
Ripples along the Lyman Lake Shore. This image is from my multi-day backpacking trip to the Glacier Peak Wilderness Area in August. What a beautiful and restful place to camp after going up and over Spider Gap and the Lyman Glacier!
Multi-day backpacking can be a powerful source of new found inspiration with complete immersion in nature for a week or more, an opportunity to temporarily disconnect from the day to day routine and distractions, and connect to Nature, one’s Authentic Self, and source of all creativity.
“The grand show is eternal. It is always sunrise somewhere, the dew is never all dried at once; a shower is forever falling, vapor is ever rising. Eternal sunrise, eternal sunset, eternal dawn and gloaming, on sea and continents and islands, each in its turn, as the round earth rolls.” John Muir-Sierra Club Founder.
Of all the different landscapes I have in encountered in my many journey’s throughout the US and the world, there is none that moves and inspires me more than the feeling I get when walking just above mist, fog and clouds moving through a Pacific Northwest Forest. I just love photographing in these conditions. With the fast changing action caused by fog, mist and clouds mingled with light moving through the forest canopy, possibilities for compositions seem almost endless. It is almost as if the forest is a blank canvas mirroring ones internal thoughts, dreams and visions, all captured through the lens of the camera and later processing.
Spirit Angels in the Forest
In this blog post I will discuss will discuss several factors that go into the creation of the Forest in the Mist image including (1) location ; (2) state of mind ; (3) equipment: (4) technique; (5) active imagination; (6) composition, and (7) processing.
Although most of the images in this blog post were taken at a single location, Poo Poo Point in the Issaquah Alps, one can find similar opportunities throughout the Pacific Northwest. I find the best locations for shooting are along the ridges of the foothills and first flank of peaks of the cascades, with forests trailing down to the wide open valleys below. The valleys are important because they are the first to fill with fog and then when the morning sun rises, the fog and mist lift and rise moving in a constantly changing fashion through the trees as the mystery of an ethereal world comes in and out of view.
Island in the Fog
Forest Carpet of Clouds
(2) State of Mind
Making images of forests in the mists is not as much about exact locations as it is about ones state of mind. As previously mentioned, one can find these vistas just about anywhere in the Pacific Northwest, but will you be ready for the mystery and recognize this ethereal beauty when it arises? Many will likely answer this question with a resounding yes, but the true answer is likely not nearly so forthright. One needs to be in the right state of mind. Looking out at this foggy and misty world through a long telephoto lens one is no longer pondering the wide open grand landscape, but rather a very small section of the macro world. Scenes transpire and evaporate into evanescence in a matter of seconds and then reappear in different shapes and forms in a seemingly endless cycle. Looking at such drama is like looking through a window into ones own soul. What attracts you to this small section of the misty landscape rather than another? A rational approach to answering this question may not get you very far. With the environment changing so fast there is no time to precisely compose. One is not so much aware of things here as they are, but rather ones experience of a fast changing landscape. And with this much movement and change, our experience of the scene will direct where our attention goes and ultimately the moods and emotions inherent in the images. Presence and stillness are required, a willingness to let go and go with the flow, and to be a part of the flow. In essence, we become part of the landscape, with our inner self, emotions, and feelings moving freely through the mist of the forest.
Secrets of the Forest
The equipment I recommend for capturing beautiful moody and atmospheric images of forests in the mist includes a full frame digital mirrorless or DSLR camera and a long telephoto zoom lens. For most of the images in this series I used a Nikon D810 along with a Nikon 200-500mm 5.6 lens. Although the Nikon 200-500 is one big beast of a lens weighing approximately five pounds and being 10.5 inches long, it is not nearly as heavy as its F 4.0 counterparts. The lens has a very capable Vibration Reduction (VR) which can be used even when the lens is resting on a tripod which is very important because even the slightest movement of the lens can create blur with a telephoto zoom this large.
Although one can of course also compose images with other focal lengths such as wit a 70-200mm zoom or even a wide angle zoom, it is a long telephoto zoom that is going to maximize your flexibility in capturing the best compositions in the field. The best compositions are most often very small areas of the larger scene best captured at focal lengths of between 400 mm to about 700 mm. Even small movements left, right, up or down, will result often in entirely different compositions. Using these large focal lengths will also create a pleasingly compressed perspective. This will transform a scene that at shorter focal lengths would appear rather flat with major areas of dead space to something with well placed composition elements filling more of the frame. Although the Nikon lens only goes to 500mm, going beyond this can easily be achieved by either shooting in cropped sensor mode or by simply cropping the image in post processing. The quality of the files from the Nikon D810, Nikon D850, Sony A7R2 and A7R3 can easily handle cropping by as much as 50% or even more.
Lost in the Forest
One must keep in mind when discussing technique in photographing forests in the mist that technique is all in service of creating images that are also projections of our own inner vision. As previously mentioned, the images are not of the scene as it is but rather our experience of the scene. More on this when we discuss the “Active Imagination” and how this relates to creating images. But clearly there are actions of a more pure technical nature that warrant review that will help us harness our vision.
I always scan the scene first with my own eyes looking for areas of interest. Remember areas of interest will be fleeting, but one may still look for the dominant recurring patterns in the scene by answering the following questions: (1) which direction is the mist moving –up from the valley, or down from the ridges? (2) What sections of trees come in and out of view? (3) Are the trees deciduous or evergreen or some of both? (4) do the trees follow the lines of ridges and are these lines curved or straight? (5) Are there islands of trees separated by fog, mist or clouds? (6) Where is the source of light and how is it penetrating the clouds and mist? (7) Is there a layer of clouds over the fog and mist? (8) What colors, texture and tones are present? Once I have an understanding of the answer to these and related questions I will only then mount the lens with camera attached to the tripod.
Behind the Scenes PC Stuke Sowie
Long telephoto lenses will magnify the impact of any movement of the camera and lens resulting in blurry images. A long telephoto lens needs to be mounted onto the sturdiest tripod you can reasonably carry using a tripod color as the point of attachment and not the camera itself. This will help reduce the chance of shake and vibrations associated with the use of a very long and heavy lens. If possible it is best to mount the lens on the tripod with the legs only partially extended minimizing the use of the extended legs that are smaller in diameter. This will result in a sturdier tripod less effected by movements caused by wind. Never use the tripod’s center column unless absolutely necessary.
Additional steps to reduce vibrations and any camera and lens movement include the following: put the mirror in lock up position (or use a mirrorless camera), use a cable release in combination with a self timer, and enable use of electronic first curtain shutter. Electronic first curtain shutter (EFCS) used either with mirrorless or with the DSLR mirror up makes it so the start of the shutter motion isn’t even mechanical (the camera basically just starts recording the exposure because the shutter is already up, so there are fewer parts moving to create vibration. Even with mirror lockup on a tripod and proper technique, without EFCS enabled it’s easy to get blurry results at certain shutter speeds (from around 1/100 to 1 second) with long lenses. With the EFCS enabled, use a 3 second exposure delay mode combined with the 2 second self timer (5 seconds total) and a remote, and that will be enough time for camera and lens to settle.
To even further reduce vibrations cause by wind experiement with the use of VR. VR on newer lenses have either a tripod mode or the lens automatically detects the use of a tripod. Try taking images with and without VR. Use of VR will often make a huge difference for the better, other times it seems to make things worse. Finally experiment with the use of different ISOs. I always take a series of images at several different ISOs. I always start by attempting to use the cameras base ISO because ultimately if conditions are sufficiently good this will result in the best file. In order to ensure success, however, I also try ISO 400 and even ISO 1000, especially when shooting in low light, to get at faster shutter speeds that may be less succeptible to the impact of any camera and or lens movement.
Once the camera is mounted on the camera and you are ready to shoot, start at the widest focal lenght because it can be very diffcult to find and isolate your intended subject at 500mm. Alternately look at the subject with your eyes and through the viewfinder until you lock on the subject and then move to the desired longer focal lenth. Remember the scene will be fleeting and the cluods and mist may be moving fast so you will need to repeat this process again and again during the shooting session.
“Without this playing with fantasy no creative work has ever yet come to birth. The debt we owe to the play of the imagination is incalculable.” Carl Jung
Forests in the Mists offer a fertile playing ground for the Active Imagination and finding the inner source and drive for creativity. For the Active Imagination to come into play it is necessary to let go for a period of time of our conscious attempts to deliberately control every step of the photographic process and enter a state of flow. The first stage of the active imagination is like dreaming with open eyes. Active imagination is a method of assimilating unconscious contents (dreams and fantasies) through some form of self-expression, in our case photography. With a constantly changing landscape with the mist and clouds moving through the forest coming in and out of view, it is difficult if not impossible to be too deliberate in our actions because if we do, the scene will evaporate before our eyes before we have a chance to capture the image.
In the second stage of Active Imagination, we go beyond simply observing the images, consciously participate in them, taking notice of emotions and feelings, and honestly evaluating what they mean about oneself and a willingness to act on these insights. This is a transition from a merely perceptive mode to one of judgment. It is in this second stage where the craft of photography comes into play for the creation of art that is not only part of ones immediate experience and personally meaningful, but is also is connected to the the physical world, forest in the mists. This is like a dance between our conscious and unconscious self, with neither being in total control. What emerges from the dance is a stronger sense of self, and a visual metaphor for the dance, in the form of a photograph that is art.
Stairway to Heaven
Composition can be very challenging in an environment where nothing is still and scenes are fleeting, but it is not impossible if one is not overly judgmental. Remember this is a play between the fantasies of our unconscious mind and our conscious self. One must be willing to dance, not getting too attached to precisely formulated and deliberate actions. I take many images, one right after the other, looking for composition elements such as lines, curves, repeating shapes, a balance of warm and cool tones, and layers of interest that will help provide a sense of depth to and otherwise compressed telephoto perspective. This is not the time for just taking just one or two sequences of images as many do at an iconic grand landscape scene. This is also not the time for being overly critical of oneself, but just to engage in the flow and dance of creative photography. There will be time for curating and reducing the number of images to a manageable level later. But even here one must be careful not to overly curate. These images will provide insight into your own soul and creative journey. Many, not just a few, will provide the visual trail that leads to a better understanding of your authentic self. Your viewers will have a much better sense of who you are as a person and your journey through viewing a more complete portfolio. For a more on Finding Your Photographic Vision and the Search for your Authentic Self click here.
Layers and Tiers of Clouds and Trees
Trees Floating on Clouds
Usually I can capture all the dynamic range I need with either my Nikon D810 or Sony ARR3 camera and do not need to exposure blend. In raw development, however, I will often use a graduated filter to reduce exposure to the upper par of the scene. In difficult cases I will double process the image, one image processed for highlights and the second for the shadows or darker parts of the scene and then blend the two in Photoshop. A key processing step for Forests in the Mist is global and local area adjustments of white balance. I will first decide if I want to give the entire scene a warmer or cooler tone and then apply a global adjustment if needed. I will then, however, selectively cool or warm up different parts of the scene paying close attention for where the source of light is in the image. The portion of the image closer to the light source may need warming up, and the portion further away may need cooling down to get at the contrast between warm and cool light that is consistent with my experience of the scene. I may also add either globally or selectively a little more magenta to the image if it has a green bias. In raw development I will open up the shadows moderately and make sure the image has sufficient brightness. I generally do not play with the clarity and haze adjustments at all unless there are local areas of the scene that need a little boost because there is little or no definition. These scenes are naturally rendered soft so the grunge look is neither neither or desired.
In Photoshop my main adjustments are for contrast using Luminosity Masks. For this I usually start with the lights using a curve adjustment with a multiply blending mode and then raise the center of the curve. I will then adjust the darks and mid-tones using levels adjustments to improve the contrast in the image and get the image to have more pop. I then will consider applying a light Orton effect if needed (the scene is already inherently soft due to atmospheric conditions). I may or may not sharpen the image depending upon how shapening effects the image. Too much texture or micro contrast in a Forest in the Mist image is not necessarily a good thing where a softer less contrasty image usually works best. If I need to do a color adjustment this comes last but usually with the contrast adjustments in the previous steps the image already has good color.
Behind the Veil of Nature’s Mystery
If you are looking for new avenues for creativity in your photography consider taking a walk into Forests in the Mist. This mystical forest is ripe with mystery that is fertile ground for unleashing creative forces through the Active Imagination that will not only find their way into your images but also help you develop a more evolved sense of your authentic self . This more evolved self will most resonate with network of friends and acquaintances who will be able participate in your artistic journey through your images.
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The Spider Gap -Buck Creek Pass Loop in the Glacier Peak Wilderness Area of Washington State, USA ranks as my favorite multi-day backpacking trip of all time. This is a land that although not far from the greater Seattle area truly embodies the essence of a wilderness area, “an area where earth and its community of life are untrammeled by people, and where we are just visitors who cannot remain in a place of such unspoiled beauty.” Here is a land with vast ancient old growth forests that extend as far as the eye can see up wild river valleys. These forests suddenly reach equally large and expansive high mountain emerald green meadows filled with a vast variety of wildflowers in a kaleidoscope of colors. Here is a land where glacier remnants of the ice age provide the access route over gaps that lead one to the very heart of a wilderness experience with chains of turquoise blue mountain lakes, endless trails and landmarks with names like Flower Dome, Fortress and Chiwawa Mountain, Suiattle River, and Middle Ridge. At the center of of it all is paradise itself at the tranquil and peaceful Image Lake that sits underneath Washington’s most remote volcanic peak, known by the Suak Indian Tribe as “Tda-ko-buh-ba”, but also know as Glacier Peak. Here is a land where you can get directly in touch with the elemental forces, beauty and mystery of nature; and find your long lost destiny everywhere in the wilderness that surrounds you. Welcome to heaven on earth!
Glacier Peak and the Image Lake Basin
The Glacier Peak Wilderness area is a 566,057-acre, 35-mile-long, 20-mile expanse of land located northeast of Everett Washington, just south of North Cascades National Park, and about twenty miles northwest of Leavenworth Washington. The area is characterized by heavily forested rivers and streams, steep-sided valleys, and dramatic glacier-crowned peaks. The dominant geologic feature of the area is 10,541-foot Glacier Peak. It is the most remote major volcanic peak in the Cascade Range and has more active glaciers than any other place in the lower forty-eight states. Glacier Peak is a volcanic cone of basalt, pumice, and ash which erupted during periods of heavy glaciation.
I have ventured into the Glacier Peak Wilderness Area countless time during my life, visiting Image Lake six times and completing this loop twice, most recently in a Sierra Club trip in a 2017 trip led by Mike Bolar and Leah Maddoff. I find the Sierra Club outings well organized, generally supportive of my photographic goals, and my thoughts on wilderness and conservation resonate well with the club’s goals and participants. In the future I plan on leading my own Photography Oriented backpacking trip in this area. I never tire of visiting this area and each time the wilderness presents itself to me a new and fresh way, providing inspiration for the further development of my photographic vision.
In this post I will discuss visiting and photographing the Glacier Peak Wilderness Area along the Spider Gap – Buck Creek Pass Loop including the following topics: Basic Route, Getting there, When to Go, Photography Oriented Backpacking, Finding your Vision, Conditioning, Importance of Packing Light, Camera Gear, and a Day by Day Itinerary. In the day by day itinerary I will provide some insights and guidance for photographic opportunities, subjects and compositions.
Image Lake Morning Light
The loop trip spans a distance of 44 miles. I recommend that you do the loop trip counter clockwise entering in through Phelps Creek and heading up through Spider Meadows to Spider Gap. The reason for this is that you will need to go up and over the Spider Glacier and if the the snow is too hard to navigate safely the trip will need to be cut short. Better to do this at the beginning of the trip than toward the end where it would take days tor a return trip back to the car. The two times I did this loop trip in August the snow was not icy , but every year is different and one needs to take the necessary precautions. Once at Spider Gap the route descends the glacier down to Upper Lyman Lakes, over to Lyman Lake, out to Cloudy and Suiattle Passes, over to Image Lake and then out through Buck Creek Pass and back to the Car.
From Everett head east on US 2 for 85 miles to Coles Corner. (From Leavenworth travel west on US 2 for 15 miles.) Turn left onto State Route 207 (Lake Wenatchee) and proceed 4.2 miles to a Y intersection after crossing the Wenatchee River. Bear right onto the Chiwawa Loop Road, and after 1.3 miles turn left onto the Chiwawa River Road (Forest Road 62). Proceed for 22 miles (the pavement ends at 10.8 miles) to a junction. Bear right onto FR 6211 and proceed for 2.3 very rough miles to the trail head at the road’s end (elev. 3500 ft). For the last 2.3 road miles I recommend at a minimum cars with all wheel drive and higher ground clearance such as a Subaru Outback or Forester. The hike ends just north of the Phelps Creek Campground, requiring a 3-mile road walk back to your car at the end unless a shuttle is arranged. On my last trip we left a couple of cars at the Phelps Creek Campground and took a couple of other cars to the trail head allowing us to shuttle people back and forth eliminating the need to hike the road back up to the trail head. Parking is limited and often not available at the trail head on weekends so I strongly recommend starting this loop trip around the middle of the week.
When to Go
The best time to go on this trip and experience the wildflower bloom at or close to peak is from fourth week of July to about the middle of August. The wildflower bloom changes from year to year but I have found on most years this is the best window of opportunity. In early July there will be significant snow still in many areas of this trip so I do not recommend going then. Glacier Peak also has fabulous Fall color so another possibility for scheduling a trip around autumn colors is the last week of September through the first week of October which typically is an “Indian Summer”. Going later than this carries a greater risk of inclement weather.
Multi-day Photography Oriented Backpack
My recommended itinerary is organized entirely around the concept of a photography oriented multi-day backpack. Photography backpacks are much different from a typical organized backpacking trip. The pace and tempo of this trip is centered around photography. This means frequent stops along the trail and organizing the schedule to be at the right places for at least a two to three hours window around sunrise and sunset. Breakfasts on photography backpacking trips are usually eaten late and dinners early because it is important to keep the mornings and evenings open for photography. Most movement from place to place will occur during the middle of the day arriving at the next camp well in advance of the evening hours which means keeping daily backpacking distances reasonable where possible. For multi-day backpacking trips I recommend keeping the number of participants at a small number, at the most five or six, to make sure each of the photographers has a quality experience and participants are not stepping over each others toes trying to get the image. Participants should also be carefully screened as this is a physically challenging backpack and not everyone may be in sync with the pace, rhythm, and goals of a photography oriented backpacking trip.
Finding Your Vision
Although this trip is planned around optimizing photographic opportunity, it is important to note that the antecedent conditions for creative photography and finding ones own vision are experiencing nature on its own terms and getting in touch with one’s authentic self. The descriptions and recommendations offered here are only guides, a starting point if you will. The expression of your personal photographic vision for Glacier Peak will come about through the intersection of your own inward journey with material world and spirits of nature. More on this can be found on my recent blog post “Finding your Photographic Vision and the Search for the Authentic Self” .
Liberty Cap from Buck Creek Pass
Many people are very surprised at the difficulty of the trip once they embark on their adventure. This multi-day backpacking trip requires extensive prior conditioning if you are going to enjoy the trip in comfort. Before beginning your journey take multiple day hikes that involve elevation gain in the range of two to four thousand feet, for example in the Seattle area Mail Box, Granite Mountain, and Mt. Washington. Also before launching off, go on a couple of overnight backpacking trips of six miles or more and two to three thousand elevation gain with a backpack in the range of 35 to 45 pounds. There is nothing like actually hiking and backpacking for conditioning, and although time spent at the fitness center helps, this alone will not prepare you for the Glacier Peak Loop experience.
View at Sunrise from Image Lake Camp
Importance of Packing Light
Maintaining a good comfort level on a multi-day backpacking trip has everything to do with keeping weight of the backpack at a manageable level of between 35 and 45 pounds. This challenge is especially hard for us photographers because not only do we need to carry a full array of backpacking gear, but also we need to carry camera gear including a tripod. On this loop trip you will also need to pack Micro Spikes which weigh about one pound and and least one trekking pole for going up and over the Spider Gap Glacier. One needs to think carefully through what one brings along because every ounce counts. I strongly recommend to photographers to carry an ultralight sleeping bag, tent, rain gear, clothing etc. But this does not mean accepting significant compromises in functionality. Ultralight gear can be expensive, but there are deals to be found at the REI Garage, Backcountry.Com and other outlets. Although reducing weight is essential for comfortable backpacking and a enjoyable experience, make absolutely certain that you pack all the ten essentials. In a future blog post on Multi-day backpacking I will include a complete equipment checklist that I use to plan every one of my multi-day backpacking trips.
(1) Navigation (map and compass)
(2) Sun protection (sunglasses and sunscreen)
(3) Insulation (extra clothing)
(4) Illumination (headlamp/flashlight)
(5) First-aid supplies
(6) Fire (waterproof matches/lighter/candles)
(7) Repair kit and tools
(8) Nutrition (extra food)
(9) Hydration (extra water)
(10) Emergency shelter
My recommendation is to take only two lenses and at the most three. The lens that is most useful along the loop is a wide-angle zoom closely followed by a macro lens that also doubles as a telephoto lens. A light weight normal focal length fixed lens will also be useful in creating tight compositions of Image Lake with Glacier Peak on the horizon. On my last trip I brought a Sony A7R2 mirrorless camera, a Zeiss 16-35 4.0 lens, a Sony 90mm 2.8 macro lens, and a Sony 55mm 2.8 lens. The wide-angle will work great for including important foreground details in the grand landscape composition and the macro telephoto works perfectly for flowers, small area compositions, abstracts, a compressed perspective, and wildlife at a relatively close range. One may want to substitute for the 55mm 2.8 a small fixed focal length 2.8 manual focus wide-angle lens for stars. But do not fall for the temptation of bringing any more than 2 or 3 lenses. My entire system including the Induro Stealth carbon fiber tripod weighs less than seven pounds. Bringing a mirrorless system brought the weight and form factor down considerably . If I brought my much more bulky and heavy Nikon D810 DSLR and equivalent lenses I would have easily carried an additional three pounds. It is noted that it is not just the weight that one needs to keep at a minimum but also the bulk of items, because with less real estate one does not need as big of backpack to carry all the equipment. Bigger backpacks tend to be heavier and also do not balance weight as good as a smaller backpack. Mirrorless cameras and most lenses designed for mirrorless are much smaller than their DSLR counterparts.
There are two very important photography equipment requirements in multi-day backpacking that I have found many people do not think about until the need becomes apparent. The first requirement is that you will need a camera available at all times while actually on the trail backpacking. The second is that once at camp you will need some means to conveniently carry your full frame camera equipment and tripod around.
Photographic opportunities abound on this trip while actively backpacking on the trail, but to take advantage of these opportunities you will need quick access to a camera. Although there are many ways to carry your interchangeable lens camera while backpacking, personally I have found all of these ways somewhat awkward and inconvenient when carrying a heavy multi-day backpack. I have also noticed that when backpackers use such devices as a holster, a chest pouch, or a shoulder mounted peak one, the use of these devices is typically only temporary and then the user gets tired of their awkwardness and into the main backpack the camera goes. What I recommend is to carry a second camera: a high quality and light weight point and shoot camera that fits easily into a pocket, such as the Sony RX100. This is the camera you use while hiking from point to point while carrying your heavy backpack. It only weighs 8 ounces, has the full array of both manual and automatic controls, and is capable of capturing excellent images and raw files. As the saying goes, the best camera is the one you have with you! Once at camp of course you will use your larger full frame camera.
Wildflowers and a Mossy Stream leading to a Cairn and Upper Lyman Lakes Image shot on the fly with my pocket camera, Sony RX100
Many backpacks now come with a secondary built in day pack that can be used to carry a full frame camera, lenses, tripod, and a few essentials once you are at camp and in the field. I pack my camera in a small F-Stop ICU that fits in a Kangaroo Pouch of my Gregory Pack. Once at camp I take the ICU out and put it into the pack within a pack that is included with the Gregory. Although some people just empty out their larger pack and use it as a day pack, in my opinion this is awkward, limits mobility, and also forces one to put all unneeded gear now somewhat disorganized inside the tent.
The recommended Itinerary for a this photography oriented backpack is shown in the chart below.
Here is a basic map of the loop trip route.
Day One: Phelps Creek Trail Head to Spider Meadows
The first day of your backpacking trip gently climbs and winds its way through old-growth forest and after about 5 miles reaches beautiful spider meadows. Some great camping spots that also offer protection from wind are located in the forest just to the east of the beginning of the meadow. This puts you very close to the most photogenic spots which tend to be located more toward the beginning of the meadow. Water is readily available from Phelps Creek which runs through the meadow from north to south on the east side. I recommend that you arrive at Spider Meadows on a weekday because the meadow can be very busy with weekend campers due to its relatively ease of accessibility. I am not sure how the meadow received the name, but the meadow is anything but creepy, and in fact I found it abundantly peaceful, serene, and beautiful. Please note, I also did not see a single spider during my two visits!
The meadow contains a variety of wildflowers including Valerian, Purple Asters and Indian Paint Brush which bloom from mid-July through August. Good near far compositions can be achieved using a wide angle zoom, placing the tripod low and inches away from a cluster of flowers. Explore the meadow looking for tighter clusters of either a single or variety of flowers with leading lines, patterns and or transitions through the meadow and out to the peaks on the horizon. Although both early and evening light is good in the meadow, I found evening light to be be best in this deeply recessed meadow that sits below Phelps Ridge and Red Mountain towering above.
Spider Meadows 21mm, 1/8s, ISO 400, a focus stack of 5 images at F11
There is not a sprig of grass that shoots uninteresting to me. – Thomas Jefferson 22MM, F16, 1/25s, ISO 200
Day Two: From Spider Meadows to Lyman Lake
This day will be the most thrilling and adventurous of the entire journey, taking you through the entire length of Spider Meadow, crossing Phelps Creek, up a series of steep and abrupt switch backs to the foot of Spider Glacier. At this point it is time to put on the Micro Spikes to follow what will undoubtedly be a boot beaten path through the snow up to Spider Gap, 7,900 feet in elevation. Then it is a long descent down the glacier until finding cairns at the base of the glacier close to Upper Lyman Lakes. Follow the cairns on a sketchy trial past Upper Lyman Lakes until finding the well developed trail to lower Lyman Lake, your campsite for the night.
Backpackers heading up to Spider Gap
From Spider Gap looking down to Upper Lyman Lakes
Although this is likely the most adventurous part of the multi-day backpacking trip, it is also the one the demands the most caution. Typically the snow in late July and early August is reasonably soft and not hard. But if the snow is icy it is may not be safe to travel without crampons, an ice ax and knowledge of self arrest techniques. Since you are already carrying extra weight for your camera gear you will likely not be carrying also an ice ax. Both times I did the loop trip the snow was reasonably soft in August and all that was required were Yak Tracks or Micros Spikes. I strongly recommend metal Micro Spikes because they afford a higher level of traction than the rubber Yak Tracks. Also helpful is at least a single light weight trekking pole for balance and to probe the snow ahead of you to make sure it is solid. If the snow is icy do not attempt going up and over Lyman Glacier and just settle for camping below the gap.
Although both horizontal and vertical compositions work well, I found the vertical perspective works the best to balance the foreground, mid-ground and background elements. The best images usually come from balancing important foreground details with the larger scene using a moderate wide angle lens. Drifts of flowers and moss, snow drifts, and rocks all help lead the eye down the mountain side to the beautiful Turquoise waters of Upper Lyman Lakes and further out to the peaks on the horizon including Bonanza and Chiwawa. To give adequate emphasis to the foreground details you will need to get lower which may mean temporarily taking off your backpack to compose the shot (or you can be a masochist like me and just stoop down with heave pack on!).
Once a well developed trail to Lyman Lake is found, continue your descent to the juncture with trail 1286 and take a left going to a bridge that crosses the outlet of Lyman Lake. In the summer of 2017 this bridge was damaged but still crossable one person at a time. Continue walking north around the lake going left again at a sign that says camps. There are some excellent camps with views looking all directions at an inlet stream on the west side of the lake, about a half mile in on the camp trail. Photographing Lyman Lake can be tricky as this lake is deeply recessed with strong shadows even at early evening or morning. Explore the lake shore going to the north for the best wide angle compositions that will include interesting foreground details. Take at least two exposures, one for the foreground and one for the sky, to make sure you have adequate dynamic range for post processing.
Lyman Lake Evening Light
Lyman Lake Shore- A Horizontal Perspective
Day Three: From Lyman Lake to just below Cloudy Pass
Head back to the main trail 1279, going left uphill toward Cloudy Pass. This will be a very short hike of only 2.6 miles and 700 feet elevation gain. One may be tempted to just skip this altogether and head to the crown jewel of Image Lake. But I strongly recommend that you include this beautiful wildflower meadow just below Cloudy Pass in your trip agenda. This will be one of the most productive areas for creative photography with great sunset and sunrise images from Cloudy Pass, looking out to the east at Bonanza and Chiwawa Mountains, and to the west to Plumber and Sitting Bull Mountains. In addition to the grand scenic opportunities of this area there will be ample time for capturing more intimate scenes of the meadow itself. The camp area will be found about 300 feet before Cloudy Pass where the meadow flattens out off on the right side of the trail. A small stream for water travels through the meadow. Look for existing campsites and a durable surface and as always, leave no trace.
“The hills are alive with the Sound of Music” Lyman Lake from Cloudy Pass
Looking to the West form Cloudy Pass, Fog Bank at Sunrise
Cloudy Pass flower Meadow
Day Four and Five (layover day): From Cloudy Pass to Image Lake
After your sunrise photo shoot, break camp and head back up to Cloudy Pass and descend down to the west until you find a trail intersection. Take the one that goes to the left that is called a “Hiker Shortcut”. It will rejoin the main trail that will connect with the Pacific Crest Trail at Suiattle Pass which is not particularly photogenic. At this point you will have traveled about two miles. After a short distance on the Pacific Crest Trail turn right onto the Miners Ridge trail for a two night side trip to the crown jewel of our trip, Image Lake, about 3.5 miles from Suiattle Pass. The Miners Ridge trail to Image Lake steadily climbs up a series of switchbacks and eventually breaks out into a very large mountainside meadow that goes as far as the eye can see with Glacier Peak always in full view. In late July through the middle of August this meadow rivals the Paradise flower fields in its magnificence and splendor and you will want to have a camera constantly in hand.
Flower Fields and Glacier Peak from the Miners Ridge Trail
Miners Ridge Bouquet of Flowers
Full Expanse of Miners Ridge
Camping is not allowed around Image Lake itself to protect the fragile meadows and also to help ensure that everyone has a quality experience and can enjoy the lake without looking at tents pitched everywhere around the lake (as was the case long ago). I strongly recommend that photographers plan on staying two nights at Image Lake. There are several reasons for this: (1) it increases the chances that you will experience good lighting and weather conditions. It would be a frustrating to say the least to travel this far and miss out and good photographic conditions; (2) the area around Image Lake and back toward Miners Ridge abounds in photographic opportunities and one needs ample amount of time to explore these areas and compositions, (3) you have arrived at a paradise and heaven on earth, enjoy it!; and (4) for those who just cannot stay put there is an about 8 mile round trip trail to the extremely remote Canyon Lake that also has views of Glacier Peak!
Return to Oz
In the above image a image a somewhat ominous and at same time auspicious long standing wave cloud rises like a tornado along side Glacier Peak and Image Lake just before sunrise. Weather events like this one obviously do not happen often, but your odds of experiencing interesting weather increase the longer you stay at Image Lake.
Image lake, unlike Mt. Rainier’s Reflection Lake, actually does not have much of a reflection unless you are right at the shoreline and then Glacier Peak is not very prominent and is only partially visible above the trees on the distant shore. The best views can be found by hiking up the way trails on the east side of the lake. The quality and character of the view will change at different elevations and depending upon if Glacier Peak is centered above the lake or is situated more to the right side. Both compositions are good. Going way above the Lake toward the top of Pyramid Peak also offers spectacular views.
In the above image, beautiful pasque flowers gone to seed and Image Lake awaken to a rosy sunrise underneath Washington’s most remote volcano, Glacier Peak. The quality of the light and how it effects Glacier Peak is much different in the morning than the evening. In the morning the peak appears more crisp and has better definition. In the evening it is much more of a softer look as one is looking more directly at the sun and a blue haze that typically covers the peak. This usually clears up once the sun has actually set. Both wide angle and normal focal lengths work well, with wide angles emphasizing more foreground details and normal focal lengths emphasizing the peak and the lake itself. A moderate telephoto perspective of about 90 mm will bring details of the peak to life but you will only be able to include a portion of the lake. For more on this see my blog post “Going Wide, Going Narrow, Creating Layers of Beauty in the Landscape”. Although most images of the lake are taken as a horizontal, vertical images carefully framed will offer in a unique layered perspective. Always take a vertical!
Image Lake just after Sunset
55MM, F11, 1/13s, ISO 800
Image Lake at Dawn 90MM
Image Lake at Sunset
35MM, F11 focus stacked, 1/50s, ISO 800 (for wind)
Day Six and Seven (Layover Day): From Image Lake to Buck Creek Pass
You will want to get an early start because this leg of the trip will be the longest in terms of miles (12.8) and there is also significant elevation loss and gain. Retrace your route along the Miner’s Ridge trail back to the Pacific Crest Junction. Take a right heading south at the junction following the Crest trail for 1.5 miles and then turn left on trail 789, dropping about 1,000 feet through beautiful Ancient Forests to a crossing of Miners Creek. Now it is time to gain all that lost elevation back again as you climb up to the meadows of Middle Ridge, where Glacier Peak in all her splendor is visible once again. Continue on past the turn off to Flower Dome (we will return here later) and on to the turnoff to the camps at Buck Creek Pass. The camps furthest out along the camp turnoff trail are excellent and will provide you with the best privacy in this area that can be very busy, especially on weekends.
Lupine Flower fields along Middle Ridge
Once you setup camp and have an early dinner, it is time to take a sunset hike to Flower Dome. Head back about a half mile to the turnoff and then about another mile to Flower Dome. Flower dome is relatively flat on top, and as its name would suggest is covered with flowers. Beautiful compositions abound in every direction: wide open lupine meadows, the Suiattle River Valley, and majestic peaks including Glacier, Fortress and Helmett Butte.
Sierra Club hikers arriving at Flower Dome
Waves of Lupine and Light
Looking toward a cloud covered Fortress Mountain
Sunset from Flower Dome
On the next day get up well before sunrise and before breakfast make the short trek back to the main trail and large mountain side meadow where there are beautiful views of Glacier Peak and Liberty Cap. Moderate wide angle compositions will help integrate attractive foreground details with the prominent peaks including Liberty Cap and Glacier Peak. Telephoto compositions featuring primarily the peaks are also possible.
Liberty Cap around Sunrise from Buck Creek Pass
Glacier Peak at Sunrise from Buck Creek Pass
After breakfast head out on one of the most spectacular day hikes I have ever taken to Liberty Cap and High Pass. The trial departs right from the campsite and steadily climbs the slopes of Liberty Cap and then straddles just below a ridge until eventually arriving at High Pass. The route goes through some spectacular flower fields when in bloom. Ideally you will be doing this hike when partial cloud cover provides some filtration of the sun’s harsh rays creating opportunities for mid-day photography. But if not just be present and enjoy an incredibly awesome experience in the heart of Glacier Peak Wilderness Country. The hike is about seven miles round trip so pack a good lunch and perhaps also dinner (enjoy the sunset, and return to camp using headlamps!).
Wildflowers and Peaks along the trail to High Pass
Gentium Flowers along the High Pass Trail
Day 8: From Buck Creek Pass back to the Car.
Backpack out from Buck Creek Pass on a long but steadily downhill 9.6 miles to the Phelps Creek trail head. Congratulations! You just completed what undoubtedly will be one of the most memorable, satisfying, and photographically productive trips of your life, having traveled deep into a personal wilderness experience that will help shape the very essence of who you are as a person for years to come.