Multi-Day Backpacking and Photography

“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) 

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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.

 

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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.

Typical and Photography Multiday Backpacking

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.

 

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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.

 

Ten Essentials

(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.

(1) Need
(2) Function
(3) Light Weight/Ultralight
(4) Bulk
(5) Cost
(6) Style

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.

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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.

 

Equipment List

Equipment List

 

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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. 

 

Camera Gear

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.

Sony versus Nikon

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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.

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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.

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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.    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.

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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.

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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.

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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.

 

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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.

 

Destinations

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.

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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.

 

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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!

 

Conclusion

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.

Forests in the Mists: Windows into the Active Imagination

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.

 

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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.

 

(1) Location

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.

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Island in the Fog

 

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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.

 

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Secrets of the Forest

 

(3) Equipment

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.

 

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Lost in the Forest

(4) Technique

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.

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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.

 

Active Imagination

“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.

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Stairway to Heaven

 

Composition

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.

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Mystery

 

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Layers and Tiers of Clouds and Trees

 

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Trees Floating on Clouds

 

Processing

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.

 

 

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Ephemeral

 

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Behind the Veil of Nature’s Mystery

 

Conclusion

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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Misty Forest

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Visiting and Photographing the Glacier Peak Wilderness Area: Spider Gap – Buck Creek Pass Loop

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!

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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.

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Image Lake Morning Light

Basic Route 

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.

 

Getting There

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” .

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Liberty Cap from Buck Creek Pass

 

Conditioning

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.

 

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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.

 

Ten Essentials

(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

 

Camera Equipment

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.

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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.

Itinerary

The recommended Itinerary for a this photography oriented backpack is shown in the chart below.

Mileage Chart

Here is a basic map of the loop trip route.

Map 1

 


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.

 

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Spider Meadows
21mm, 1/8s, ISO 400, a focus stack of 5 images at F11

 

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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.

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Backpackers heading up to Spider Gap

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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.

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Lyman Lake Evening Light

 

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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.

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“The hills are alive with the Sound of Music”
Lyman Lake from Cloudy Pass

 

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Looking to the West form Cloudy Pass, Fog Bank at Sunrise

 

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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.

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Flower Fields and Glacier Peak from the Miners Ridge Trail

 

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Miners Ridge Bouquet of Flowers

 

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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

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.

 

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Tda-Ko-buh-ba Sunrise
29MM, F11 focus stacked, 1/5s, ISO 800 (for wind)

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!

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Image Lake just after Sunset
55MM, F11, 1/13s, ISO 800

 

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Image Lake at Dawn 90MM

 

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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.

 

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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.

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Sierra Club hikers arriving at Flower Dome

 

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Waves of Lupine and Light

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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.

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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!).

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Wildflowers and Peaks along the trail to High Pass

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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.

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Finding your Photographic Vision and the Search for the Authentic Self

One character trait that I have found in Landscape Photographers is that they are always searching.  They are searching around the next bend for a better perspective for their subject, be it a mountain, lake, or field of wildflowers.  They are also working with previously unexplored ways (to them at least) of creating images: black and white photography, abstracts, new processing techniques and macros.  They begin exploring the use of a more telephoto perspective, perhaps a tilt/shift, or an extreme wide angle lens.  Landscape photographers will research for hours looking for a unique destinations or composition finds.  All of this searching and exploration typically occurs against a background of constantly evolving sense of self and who the photographer is as a person. But the landscape photographer may be barely aware the he/she is changing as a person.

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Denali Polychrome River Delta & in Monochrome (120 mm) 

 

The Photographers Path

I have read through a large number of bios of landscape photographers (including my own) and there seems to be a common thread of what brought them to landscape photography that goes something like this.  “Early on I started out my photographic journey with a desire to share the incredible beauty I was witnessing during my hikes, backpacks and adventures in the great out of doors.  I purchased my first camera and started taking and sharing images.  Although these images were not that good people reacted favorably to them which helped encourage me to develop my photographic skills which are still evolving to this day.”  There is often little mention in these bios of any inward journey or even personal struggles that helped shape who the photographer is today.

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Secrets of the Forest (Poo Poo Point, but such a scene could at a forest anywhere 470 mm)

 

Conformity in Photography

Recently I have read numerous posts and essays from accomplished landscape photographers who are concerned that we are headed toward a visual conformity of images and styles in the field of landscape photography.  These posts often place the blame on the social media and how it acts to influence the behavior of the photographer causing people to gravitate to the same iconic sites and compositions that seem to be popular on the internet.  The antidote to all of this is typically to distance oneself from the influence of the social media, stop shooting iconic sites, start exploring out of the way previously undiscovered places, and to put down the expansive wide angle lens and take up different approaches to photography including abstracts, black and white, macros, etc.

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Wild Geranium Sunrise at Oxbow Bend (Iconic yes but I believe this is unique 23mm)

 

I struggle with this characterization of events that have led to the current conformity of visual content and styles in landscape photography and also the recommended steps to separate oneself from the herd.  Finding ones photographic vision is intrinsically related to a lifelong journey of discovery of ones authentic self.  If one is firmly planted on this inward journey one can faithfully deliver ones photographic vision at either an iconic site or at one known to no other.  What makes one vision unique is not the physical location but the integration of one’s inward journey  with the physical landscape.  I am constantly amazed that  just when I thought I have seen everything when it comes to an iconic landscape someone will come along with a very unique vision for that place.  What I typically notice with such photographs is a tremendous sense of enthusiasm for the iconic site and a story where the photographer shares some of their inner journey, often emotionally based, that helped shape the image.

 

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Spiral (35mm)

 

There is little doubt that changing ones shooting style, lets say trying black and white or macros, can help develop the photographers skill set and may even remove blocks in the way of bringing his/her vision to fruition.  But these steps should not be mistaken for the vision itself.  There are plenty of black and white images that lack vision just as there are hundreds of images of obscure and unknown places that slip into mediocrity.  A transition to a different photographic style and shooting locations also makes sense as a marketing strategy to better differentiate ones product.  But vision is ultimately connected with integration of ones inner landscape with the the outer landscape, not  a particular kind of photography or location.

 

 

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Foggy Trail (Mt. Si the most traveled trail in King County looking quite different! 16mm)

Social Media

To me social media has received a bad rap in all of this.  If anything the social media is neutral and merely a reflection of the photographic community.  There is no doubt that blindly chasing the social media in order to achieve greater popularity will cause people to gravitate to iconic sites, image cliches, excessive use of wide angle compositions, and eye candy sunrises and sunsets.  But the social media itself is not responsible for this behavior.  Each photographer must choose how to convey his/her photographic vision.  It is not a personal vision if one is merely recreating compositions and processing methods of those who came before them.

I would go as far as to say that any photographer that has rose to popularity in the past five years and perhaps going back even as far as ten years owes his/her rise in no small measure to being discovered by the social media.  With perhaps a few exceptions they would be all virtual unknowns if it were not for the ability of social media to bring them visibility.  Even as the photographer gets discovered by the social media, many will then attempt to distance themselves from what brought them to fame and this is typically done in critical discussions of the social media on you guessed it the social media itself!  It is understandable, however, that photographers would eventually take this step of limiting the effects of social media, sometimes even going into a social media celibacy. The path of discovering ones true creative potential, ones authentic self, may demand just this.

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Prickly Pear Macro (105mm Macro)

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Jade Vine Abstract (105mm Macro)

 

The Authentic Self

That we can discover ourselves suggests that there is more to us than we know and we are mostly a mystery to ourselves. We do not know “all we are.”   There is a movement in evolution of American history and culture called Transcendentalism that will help us in the understanding of the Authentic Self.   Depth psychology pioneered by Carl Jung can also help us in understanding concepts that will shed some light on what it means to discover one’s Authentic Self.

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Indian Beach Dreamtime Stepping Stones: Jung thought dreams provided important insight into the workings of the unconscious mind (19mm)

 

Transcendentalism

A core belief of transcendentalism is in the inherent goodness of people and nature.  A common theme especially in the writings of Thoreau is going back to nature to find one’s self in other words finding ones own Waldon Pond!  Adherents believe that society and its institutions have corrupted the purity of the individual, and they have faith that people are at their best when truly self reliant and independent.  Key figures in the American transcendentalist movement include Ralph Waldo Emerson and Henry David Thoreau.  Adherents believe that individuals are capable of generating completely original insights with as little attention and deference to past masters as possible.   Transcendentalists have faith that people are at their best when truly “self-reliant” and independent. It is only from such real individuals that true community can form. Even with this necessary individuality, transcendentalists also believe that all people possess a piece of the Oversoul or (God). Because the Over-soul is one, this unites all people as one being.

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Spirit of our Ancestors (A different view of iconic Spirit Falls) (16mm)

Now you are probably asking what has this to do with Landscape Photography?  Finding ones self will involve becoming more self reliant and limiting the influence of others and the social media on ones own creative development.  Finding ones self may also involve a more deliberate return to nature and meeting nature on its own terms without preconceived notions for an image.

“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

 

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Rivers Bend Eagle Cap Wilderness (I have never seen this photographed before 16mm)

Depth Psychology and Carl Jung

The self in Jungian Psychology is an archtype signifying the unification of consciousness and unconsciousness in a person, and representing the psyche as a whole.  The Self is realized as the product of individuation which in his view is the process of integrating one’s personality.  Jung, like the Transcendentalists considered that from birth every individual has an original sense of wholeness – of the Self – but the development of a separate ego-consciousness diminishes the sense of Self.   This process of ego-differentiation is necessary providing the skills one needs to make a living and survive in society and is the task of about the first half of one’s life-course, though Jungians also saw psychic health as depending on a periodic return to the sense of Self, something facilitated by the use of myths, initiation ceremonies, and rites of passage.  The task for the second half of life (may be earlier for artists) has more to do with individuation and the integration of unconscious (personal and collective) and conscious elements in order to achieve the health of the pysche as a whole.  This involves confronting ones own shadow or parts of one self that one does not want to acknowledge as one progresses to self knowledge.

Now again you are probably  wondering even more what does this have to do with landscape photography?  Finding ones vision in photography will require a lifelong path of self discovery and the road ahead will be difficult to follow and ultimately can be only followed by the self reliant individual alone.  Just as new landscapes are discovered, the individual will discover previously hidden parts of him/herself that will set a new course for the journey.  Great works of art are often created not so much with the completion of this journey but during the emotionally charged struggles along the way as one resists coming to terms with all elements of who one is as a person  This is the journey of the artist and what Joseph Campbell referred to as the hero’s journey.

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Misty Morning at Yellowstone Falls (Iconic yes but definitely a different mood!  Iconic sites can have symbolic value in the collective consciousness  62mm)

Authentic Self Revisited

Finding ones authentic self for most of us is not a journey that will end anytime soon.  Just when I think I know myself I will find out I do not know myself hardly at at all.  And that is how it should be.  It is a process of self discovery coinciding with our photographic journey.  Ones emotions rising out of the process of self discovery will merge with and become part of ones feelings about the landscape and together find their way into the artists photographic creations.  If you stay in tune to this struggle and journey it will shape your vision as photographer allowing you to distinguish yourself  both shooting the iconic subject and your favorite haunts that no one else knows about but you!

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Sounds of Silence (A seldom photographed spot along the Kendal  Snowshoe Trail 18mm)

Thanks for reading this blog post.  Your comments, concerns, and perspectives on this issue are all welcome!  If you like this post and want to see future posts please subscribe to the blog.  Thanks again!