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.



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  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



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


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.


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.



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.


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.



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!



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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(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 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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Layers and Tiers of Clouds and Trees

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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.

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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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Misty Forest

Erwin Busek Photography (c) 2018

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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.


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)


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


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)

Erwin Buske Photography (c) 2017

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Visiting and Photographing the Enchantments

The Enchantments are calling!  This in an enchanted land of beautiful azurite and indigo blue high mountain lakes  with names like Leprechaun, Perfection, Inspiration, and Temple Lakes.  In Autumn, stunningly beautiful larch trees turn bright orange colors that glow in soft luminous light.  Large peaks made up of huge slabs of granite with names like Prusik, McClellan, and Little Annapurna rise high above the lakes and are reflected beautifully into the calm waters as the  sun rises and sets.  The granite rocks around the lakes almost look like they were placed there by the Gods to create leading lines and curves to transport us into the beauty of each lake and the surrounding landscape.  This in short is a photographer’s paradise, as close to heaven on earth as we will get in our mortal lives.

baseline-for-white-balance-changescompLarches in the Enchanted Mists

The Enchantments are located in the northeastern section of Washington State’s Alpine Lakes Wilderness Area, USA, close to the town of Leavenworth.  I consider the Enchantments are one of the wonders of this world and I harbor great memories of these beautiful blue and rock-bound lakes spanning the last four decades of my life. I have made a journey to this iconic site about every ten years since my late teens. When I received an email notice in CY 2015 that I had won the Enchantments Lottery I was totally stoked!  This time the trip felt like a return journey, somewhat like a spiritual pilgrimage to my roots–a pristine wilderness that has helped shape my photographic journey. With permit in hand, I organized a six-day backpacking trip as a photography oriented trip through the Seattle Mountaineers. Photography backpacks are much different from a typical organized backpacking trip. The pace and tempo of this trip is centered around photography. This meant frequent stops along the trail and organizing our schedule to be at the right places for at least a two to three hours window around sunrise and sunset. I deliberately kept the number of participants at a small number, five, to make sure each of the photographers had a quality experience and were not stepping over each other trying to get the image. Participants were also carefully screened as this is a physically challenging backpack.

I was even more thrilled the following year when a friend, Kris Harken, reached out to me with an invitation to join his team to visit the Enchantments once more in CY 2016.  This time I could capture all those compositions I realized I missed in the previous year!  I think it would take multiple lifetimes of annual trips to fully capture the beauty of the Enchantment, this area abounds in so much nuanced beauty.  On the last trip we were forced to leave early due to heavy and unrelenting snow so I did not shoot all the site I had previsualized.  Hopefully I will return to the Enchantments soon or perhaps in my next life!


Leprechaun Lake

In this post I will discuss visiting and photographing the Enchantments in Autumn including the following topics: Getting a Permit, Route, Conditioning, Cold Weather Preparations, Importance of Packing Light, Camera Gear, Compositions, Light, Wildlife, Larches, and the Magic of the Enchantments.

Getting a Permit

Going to the Enchantments requires a permit for overnight camping.  This requirement is strictly enforced by the Forest Service to reduce the environmental impact that comes with too many people loving this place to death.  From the Okanogan Wenatchee Forest Website: “Due to the overwhelming popularity of this unique area, all overnight visitors must obtain a limited entry FEE permit for trips planned between May 15 and October 31. Demand for overnight permits far exceeds the number available, therefore advance reservations are highly recommended. A pre-season lottery is held in February through early March of each year to allocate the majority of permits.  Following the pre-season lottery, remaining permits are available on a first come, first served basis through the advance reservation system. A small number of permits are available on an unreserved daily walk-in basis.”

Because this area is extremely popular, far more people apply for a permit than there are permits available, especially in Autumn.  Only 60 people are allowed in the Core Enchantment area at any one time.  The good news, however, is that a permit holder can lead a trip that includes as many as eight people.  So even if you are not lucky enough to get a permit, someone you known many be kind enough to invite you on their trip!  There are different Enchantment Lakes permit zones and the most desirable one is the Core Enchantment Zone because it allows you to camp at the lower Enchantment Lakes for up to eight nights.  Keep in mind that the lower Enchantment Lakes are about 7,000 feet high in elevation and offer the best views of large collections of larches.


Leprechaun Lake Sunrise


For my last two trips to the Enchantments, we entered through the Snow Lake trailhead just outside the Washington town of Leavenworth along the Icicle Creek. The first day we climbed approximately 3,500 feet over five miles to the beautiful deep woods Nada Lake. Then on the next day we hiked past Snow Lakes then scrambled up the steep trail to the Enchantments Leprechaun Lake where we camped for three nights before returning through Nada Lake .  Although this route is longer and involves more elevation gain than going over Asgard Pass (the alternative route), generally it involves less steep climbing, traversing through scree and boulder hoping.  I love the sense of a journey that one gets taking the route through the Snow Lake trail entrance.  Camping at beautiful Nada lake offers a great transition zone between the sub-alpine and alpine helping whet the appetite for even greater beauty ahead.

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Many people who are lucky enough to get a permit and very surprised at the difficulty of the trip once they embark on their adventure.  This multi-day backpacking trip requires extensive 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 three to five 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 Enchantments experience.

Cold Weather Preparations

In most years peak season for the larches is the last week of September and the first week of October.  Go any earlier and one risks the larches still being partially green.  Go later and one risks the larch trees being stripped of their orange needles due to fierce wind storms that pass through the area.  Although during this time the Enchantments experience what is known as the Indian Summer with warm days and cool crisp nights under cloudless skies, this is punctuated by storms passing through the area that can bring freezing cold temperatures, dark gray moisture laden clouds, and snow.  It is not uncommon to wake up to 2 to 6 inches of snow and temperatures in the teens.  This happened on both of my recent trips.  So cold weather preparations or in order.  This means a four season tent, a sleeping bag that can go down to 15 degrees or below, multiple layers of warmth, head to toe water proof rain/wind gear, gloves, and a warm beanie type hat.

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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 doubly hard for us photographers because not only do we need to carry extra layers of warm clothing and a four season tent, but also we need to carry camera gear including a tripod.  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. Three season tents will be crushed under the weight of a heavy snowstorm and a sleeping bag that only goes down to 35 degrees will not keep you warm when temperatures dip down into the teens.  Ultralight gear can be expensive, but there are deals to be  found at the REI Garage, Backcountry.Com and other outlets.

Camera Equipment

My recommendation is to  take only two lenses and at the most three.  The lens that is most useful at the Enchantments is a wide-angle zoom closely followed by a telephoto zoom.  I have never found the need for a standard zoom at the Enchantments except to take candid images of people and an I-phone will work just fine for that.  On my last trip I brought a Sony A7R2 mirrorless camera, a Zeiss 16-35 4.0 lens, and a Zeiss 70-200 4.0 telephoto zoom.  The wide-angle will work great for including important foreground detail in the grand landscape composition and the telephoto zoom works perfectly for small area compositions, abstracts, a compressed perspective,  wildlife and even macro.  One may want to supplement this with a small fixed focal length 2.8 manual focus wide-angle lens for stars.  I brought the Zeiss Loxia 21mm 2.8 for this purpose.  My entire system including the Induro Stealth carbon fiber tripod weighed in at about 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 additonal 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.


The lower Enchantment Basin consists primarily of boulders and slabs of polished granite. For grand wide-angle landscapes, one of the keys to finding a successful composition involves finding one of these granite slabs or collection of slabs and boulders that provide leading lines and curves that transport the viewer into the larger scene that will often include a lake and a prominent peak.  This is also how to make your composition unique.  There are literally hundreds of these slabs and boulders surrounding each of the lakes.  Out of any one slab, I could make literally hundreds of different compositions simply by getting closer to the lake or moving further away, changing focal length, and rising and lowering the camera and the direction of the lens ,  working with the ever-changing light.  You do not need to worry about stomp comping here if you work the scene as just described and follow your own intentions for the scene in executing your personal style and vision.

0497EnchantmentsAnd8morer2Stepping Stones to Enchanted Autumn

In the above scene notice the stepping-stones in the foreground leading down to the lake. In the next image I decided to follow one of the granite slabs to an area above Leprechaun Lake and this created an optimal viewing platform and foreground that transported my eyes down the mountainside to the lake and McClellan Peak beyond.  There is a strong line going from the right side of the image to the left that also forms a U shape curve in the lower right section of the image.  The key is to make sure the foreground is well-integrated with the larger scene and do not just select the foreground because it is appealing in its own right.  Orienting the scene around foreground will often make the composition look forced rather than bringing a more organic and free flowing feel to the image.  Look at the scene and how it effects your mood and emotions, determine your intentions, and only then start working the technical details of focal length, specific foreground details, tripod placement, ISO, F-stop and shutter speed.

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The classic composition in the Enchantments typically involves one of the prominent peaks reflected beautifully in the water of one of the lakes.  But you can make yours more unique by also including attractive foreground elements and framing of the peak and reflection such as I was able to accomplish in the next image.


A telephoto zoom lens is indispensable for smaller area compositions that feature the lines and patterns of the granite slabs and boulders punctuated by blazing orange larch trees..  It takes some training of the eye to isolate an area of the larger scene that will make a good composition but it is well worth the effort because these compositions will be very unique and help balance out an Enchantment Lakes portfolio that is heavy on lake images.  This is an area I plan to work far more in future visits to the Enchantments.

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0818EnchantmentscompAutumn Larches below Granite Cliffs

A telephoto lens can also be used to capture even smaller subjects and details such as this next image of a snow-covered larch branch.



Most of the featured images I have seen of the Enchantments are taken at sunset which is a great time to capture soft light, and colorful dramatic clouds and skies.  This, however, in my opinion is not the best time to capture well illuminated larches.  I have found the best light to actually be about an hour after sunrise and about an hour  before sunset.  Digital enhancement and painting on light can only go so far if the light was not there in the first place.  The lower Enchantment basin is deeply recessed beneath the towering peak and it is only then the light will penetrate low enough to sufficiently illuminate the larches to get the desired effect.  The lighting will also be far more nuanced in this time period with areas of light and shadow.  If there are clouds and mist in the area and the sun can still get through, the effects will be even more splendid.

Leprechaun Sunset  Leprechaun Lake at Sunset

larches-with-character-compEpiphany (Leprechaun Lake one hour after sunrise)

Tidelands no StackCompLeprechaun Lake Tidelands (One hour after sunrise)

Fish and Wildlife

The lower Enchantment Lakes are teaming with trout, and this area is one of the best in the Alpine Lakes for the sports fisherman.

Caroline Buske Family PhotoKris Harken’s Lucky Day

There are Mountain Goats in abundance at the Lower and Upper Enchantment Lakes.  You can expect them to wander into your campsite in the mornings and evenings creating multiple opportunities for both wide-angle and telephoto capture.

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0270EnchantmentsMama and Kid Goat checking out the intruders!


About one hour  after sunrise and one hour before sunset the Larches are at their best.  In this next image I captured a beautiful collection of side-lit larches reflected in a small tarn.  It is also possible to find single specimens to capture the beauty and character of an ancient larch.


The Magic of the Enchantments

In this post I have  expressed my own perspective about capturing the magic of the Enchantments.  I hope some of what I wrote here will  provide you some helpful guides as you follow your own instincts, personal vision and style in creating your own images that capture the Magic of the Enchantments.   Thanks for looking, sharing and your comments are always greatly appreciated.