The Solo Photographer

Recently, I've found myself in several discussions with other photographers about the appeal of organized photo tours or impromptu shoots, versus individual photo trips. To my surprise, many of the others echoed my preference to do their photographic exploring (generally outdoor and landscape photography) on their own. Interestingly, they often described themselves as introverts. I thought it was just me.

I am an assistant organizer for a photography group through www.meetup.com, a service that provides a web presence for interest groups of all kinds (check them out). The other organizers and I arrange photography opportunities that range from a few hours at a local event to a weekend at a distant location, and which may attract as many as 40 photographers or as few as 4. A frequent complaint from new members is that once we meet on location and get oriented, we then disperse to get our shots.  Some people buddy up or are part of a small group; others of us shoot alone. To me, shooting alone is normal. While I enjoy socializing before and after these events, I'm there to take photos and ultimately, that is a solitary activity, even if for just a moment. Being creative is generally done individually, whether it's painting, writing, or composing a symphony. 

This is not to say that I have to be isolated to enjoy photography or that I haven't enjoyed traveling and shooting with other photographers. It's just that when I travel alone, it's my pace, my preferences, my starting time (I'm an early bird), and my shutdown time, and I can change plans whenever I want, without explanation. I realize that that makes me sound selfish. Maybe I am, but it is my trip, my time and my money, and when I'm back home the images I captured will be mine.

I'll admit that there have been many times when I've wished that there were others with me to share a particularly beautiful scene. And, there have been times when I've been shooting with others and I've gotten good images by.following their lead and sometimes they've followed mine. On the whole, however, I prefer not to be part of the huddled masses and to march to my own beat, to mix metaphors.

Finally, I tend to talk to myself while shooting, and nobody wants to hear that.

Planning a Photo Trip

I enjoy traveling, I enjoy photography, and I enjoy planning my photography trips. I admit, I'm a compulsive planner when it comes to travel, though not elsewhere in my life. I've learned how to wring the absolute most out of my trip; this is the planning process that works for me. 

First Steps

Pick a location: I have a list of places I want to shoot, a list that only gets longer. I have found that photographing a location makes me appreciate it more than if I just visited.  I fell in love with the Southwest after I went to Arizona for a conference and had a free day to shoot in the Tucson area. I had been to the Southwest a number of times, but having a camera helped me really see it.

Pick a time frame: Most people take vacations in summer; I prefer to travel when most others have to stay at home (i.e., after school starts). First, it will probably be less expensive. In many areas hotels want to fill empty rooms and they offer attractive rates during the off-season. Since lodging may be my single greatest expense, this can make a real difference in my travel budget (my hotel bill is often half what it would be during high season.)  Airfares may be a bit lower as well, although I'm not sure I save much. Car rental rates are usually lower. Finally, and maybe most importantly, popular destinations will often have many fewer visitors, which can mean better photo opportunities and quieter locations.

The cooler seasons provide other advantages. Winter skies are usually free of haze and the days are shorter. That may sound like a disadvantage; however if I'm shooting sunrises, sunsets, and throughout the day in between, it's nice to have a shorter day. Otherwise, I'm getting up at 0400 to catch the sunrise and returning to my hotel sixteen hours later after sunset and maybe some night shooting. I've done it, but I prefer a more leisurely day. Finally, because the winter sun is lower on the horizon I can get some interesting light and shadows, and backlit scenes that would otherwise be flat and uninteresting. 

One of SunSurveyor's Screens

Finally, I take a look at the lunar calendar as I usually try to time my visit with the full moon. I use The Photographer's Ephemeris to get moonrise, moonset, sunrise and sunset times for any place on earth, any day of any year and visually show me the location of both sun and moon at any time. I have an app on my Android phone, SunSurveyor, which is a great on-site and planning tool. (There is a iOS version as well.) It shows me the locations of the sun and moon at any time, and the times of the golden and blue hours. There is a virtual mode that lets me see in real time where the sun and moon will be while I'm on location. You have to see it to believe it. 

Shooting the Lower Antelope Canyon

The Antelope Canyons in the Page, Arizona area, are hugely popular with photographers, and for good reason. They offer unique opportunities to capture the colors, shapes and textures of the sandstone walls and overhangs. The colors change as the sunlight, filtering down through the narrow slots, changes in angle and intensity. The canyons have become something of a cliche for outdoor photographers, but there's no escaping their beauty. If you're in that area, they are definitely worth your time.However, popularity creates problems. Others had warned me how crowded it could be, and I saw them literally trucking in visitors to the Upper Canyon, even in mid-December in freezing weather, so I decided not to shoot there. However, I did enjoy the Lower Antelope Canyon, which is located nearby but which is an entirely separate operation. Go about 11 AM for the best light. A two-hour photographer's pass is $36 and well worth it. You must show them your DSLR camera and a tripod; a point-and-shoot condemns you to touring with a guide and perhaps 8-10 others, all of whom are getting into each others' (and your) way. They are strict about the two-hour limit, but that's enough time if you keep moving.

Shoot with a wide-angle lens at fairly high ISO (400) and don't plan on switching lenses in the canyon: it's very dusty and the sand is extremely fine and can get in everywhere. (One gentleman who was shooting at the same time as me, inexplicably removed his lens and accidentally dropped it onto the sand. We did what could to blow and brush the sand out, but I think he was looking at a professional cleaning.) Take a rocket blower and brush in with you and check your lens occasionally. I used a 12-24mm (DX) lens and was very pleased with the quality of my images. However, a tripod is a must and I recommend a cable or IR remote. Of course, shooting RAW is a good idea, as it usually is elsewhere. Look up, look behind you; walk a few yards and repeat. The possibilities are endless. It's impossible to take too many images.

You'll be moving through some tight spaces, so travel light. I foolishly carried my photo backpack into the canyon, but should have left it in the car. My vest would have been sufficient to carry the few items I really needed. There is some climbing up and down metal stairs and ladders, but if you are careful you can manage them while carrying your camera and tripod.

I processed my images in Lightroom. Because of the variations in light, there can be a large tonal range and lighter areas can quickly blow out. I did not shoot HDR (I'm not a big fan) but Lightroom really did a good job opening up the shadows and toning down the highlights.

Shooting Monument Valley: Tom Phillips (Keyah Hozhoni) Tours

West Mitten at Moonrise

I made a long-planned photography trip to Northern Arizona and planned for two days at Monument Valley. Some research convinced me that Tom Phillips’ tour business, Keyah Hozhoni, was ideal for me. (Note: they are also known as Tom Phillips Photography, after the late Tom Phillips, who established the business.) About a month in advance I confirmed with Carlos, one of the owners, that I could do a sunset tour on one day and a sunrise tour the next morning. A couple of days prior to my arrival I emailed and confirmed. (I would have been happy to have paid a deposit, but they did not request one.)

I arrived at the View Hotel at 1:00 PM and met Ray Begaye, Tom Phillips' nephew and my guide. It was just the two of us and we set out for the sunset tour. (It being December, sunset comes early). Ray drove me around the 17-mile loop, but took me into restricted areas that only Navajo guides and local residents are allowed to access. Ray knows photography and has guided some well-known photographers, so he not only gets you to places, he makes suggestions about composition and exposure. He’s also very friendly and open and will educate you about the Navajo tribe, Monument Valley, and anything else you ask him. He was a great guide: patient, helpful and good at keeping us on schedule so we could make the most of the tour. The next morning, three others joined us at 5:45 AM for the sunrise tour and he drove us around the park for ideal shots of the sunrise and the morning sun lighting up the buttes and rocks. 

The Eagle

Don’t even think about driving the 17 mile loop in your vehicle unless it’s a high clearance 4-WD vehicle and you’re willing to take the chance of damage. It’s physically demanding to drive, as you’re dealing with potholes, rocks, and very rough road, and it will take your full concentration, which means you can’t enjoy the scenery until you stop. One wrong move (especially in the dark) and you can have real problems. Moreover, some of the best views are available only from restricted areas where only a guide can take you. Finally, you can't access the area before sunrise or after sunset without a guide.

If you’re serious about photography I strongly recommend that you call Ray. It will cost you more than driving the 17-mile loop on your own (which I do not recommend) and you’ll see areas you would not otherwise have access to. Any money you save will quickly disappear if you damage your personal or rental car. You’ll also learn about the people, the Navajo culture and the history of the Monument Valley, something you won’t get on your own. Finally, you're supporting the Navajo tribe. Altogether, it’s a full experience. And, if you break down the cost per hour ($250/8 hours + a well-deserved 20% tip), it's really no more expensive than most of the non-photography tours and you'll come home with images you'll treasure. So, if you're serious about your photography, go for the tour.

Sunrise

Tips:

• Take a tripod and remote. You’ll be shooting some long exposures. 
• Take an extra camera battery and, in winter, keep it warm in your pocket.
• A polarizer is a good idea. 
• I suggest one wide-angle lens and one mid-range zoom. I shot with a 12-24mm and 18-200mm (DX format). 
• Dress warmly in winter. It will likely be in the teens or colder before sunrise and it gets cold quickly after the sun goes down. Top and bottom thermals and heavy socks are a good idea. 
• I also recommend good hiking boots. You'll be doing some climbing and hiking on the sandstone can be tricky.
• The altitude (5,000-6,000 feet) will tax you a bit, but it's not that strenuous. 
• Take a bottle of water and some snacks. You’re going to be burning the calories.
• Ray can be reached directly at (928) 429-0042. I recommend you contact him with questions and to arrange a tour.

Upper Mattaponi Powwow

Warrior Portrait

I had never been to an Indian powwow before, but was asked to lead a meetup at this one, held in May 2013, near Richmond. Being unfamiliar with the etiquette for such an event, I emailed the tribe and learned that photography was fine, unless the MC, who essentially runs the event, announced that it was not permitted during certain ceremonies. We were also asked to request permission before taking photos of dancers and to not touch their regalia. These were reasonable guidelines and, as it turned out, the dancers graciously allowed photographers to take their pictures. I took most of mine while they were actually dancing, hoping to capture more natural expressions and motion. The dancers were friendly and one called me "brother" when he learned that my great grandmother was Navajo. 

I was unfamiliar with the traditions of Native American drumming and dancing. Fortunately, the MC, who was from the National Museum of the American Indian in Washington,  explained what we were watching and hearing, making the experience culturally enlightening. The drumming was compelling and watching the dancers was almost hypnotic. The colorful regalia (they make a point of saying that they're not "costumes") are beautiful, brightly colored, finely-crafted works of art. Next time, I want to talk to a dancer and learn more about his/her regalia. I was too preoccupied with the photographic opportunities this time.

Shooting such an event isn't always easy. The dancers dance within a sacred circle set apart from the audience (experienced guests bring lawn chairs and stake out their claims at the edge of the circle) and as they dance they circle clockwise. If you set yourself up at a spot the dancers will come near you several times during each dance. Some dancers are languid and relaxed; others are vigorous and energetic. I found that I got the best shots with a telephoto, isolating the dancers from the background with a shallow depth of field. That means that focusing is critical. I was trying to take informal portraits of the dancers, and I was pleased with the outcome. 

Some tips: 

• It is important to learn the tribes' expectations regarding photography and to respect them. The powwows are held on Indian property and the ceremonies are considered sacred, so it is only right that guests honor their rules.
• Go with the expectation of learning, as well as photographing.
• One advantage of shooting with a long lens was I not stepping into the dancer's personal space. I made it a point to shoot only when they were dancing and to not intrude when they were talking with friends. If I had more time I would have tried to get to know some of the dancers better, but they were busy when they weren't dancing, so I was content to capture them while they danced.
• Do some research on the tribe or tribes that will be hosting or attending the powwow. They have web sites and Wikipedia is very helpful. I felt a bit more knowledgeable and at least knew enough to not embarrass myself.
• Being respectful simply means having good manners. The dancers, chiefs and leaders were friendly and happy to answer questions.  I talked to several dancers and was impressed with how open they were. 

The powwow dances and ceremonies were moving reminders of their heritage, and I'm looking forward to attending more powwows in the future. 

You can see some of my images here: Upper Mattaponi Powwow.

Living History Photo Shoots

Portrait of a Maid

I more or less accidentally discovered historical reenactments, often referred to as "living history." Here in Virginia there are plenty of reenactments depicting the Civil and Revolutionary Wars, and of course Colonial Williamsburg and Jamestown are open year round. Other examples are "Military Through the Ages" and a variety of Renaissance fairs. All are populated by enthusiasts who spend big sums creating and maintaining authentic costumes, equipment and props, which can include horses, vehicles, portable structures like tents, musical instruments, furniture, weapons, anything that is historically accurate or authentic. Some presentations include reenactments of battles, complete with (blank) gunfire. Renaissance Fairs are the most lighthearted and colorful.

Perhaps as important as their appearance is the reenactors' interest in educating visitors. They will happily share incredible amounts of information and if possible, show you the items associated with their narrative. It is clear that these enthusiasts are well-read and deeply committed to understanding the era they represent, even as they enjoy sharing that knowledge and showing off a bit, which is right they have earned.



Walking Through a Meadow

For the photographer, these events are rich opportunities for capturing portraits of people in authentic costumes. For obvious reasons, these events are held outdoors, so having good shooting light isn't a problem. Ideally, bright overcast skies are best as they reduce the harsh shadows and squinting.  Because backgrounds are often busy and other visitors are walking through your frame, a relatively long zoom lens can get you in close and a wide open aperture can help isolate your subject, especially for headshots, which I favor. One benefit of shooting reenactors is that they're actors--they comfortably strike poses that are photographically appealing. It helps to be quick on the shutter---you probably won't have but a few seconds to frame and shoot, but with practice you can make some incredible captures.

Point Sur Light Station

The Point Sur Light Station is another landmark on the Cabrillo Highway, one that is not especially easy to photograph because it is only infrequently open for tours. However, I highly recommend that you take the time to visit it if at all possible. For more tour info, go to the Point Sur home page. The Station is inaccessible to the public except during these tours. There is plenty of time and flexibility to wander off and take photos of the Station and its various buildings.

The tour is three hours long and is conducted on Saturdays, Sundays and Wednesdays on a first come-first served basis, with a maximum of 30 visitors. There were only a dozen visitors on the day I went. The two docents were informative and knowledgeable. The tour involves a climb up the access road. However, it is not particularly strenuous and they stop frequently to point out sights and to describe the fascinating history of the Station.

Of note, for once I chose to not carry a tripod and that worked out fine. There was plenty of light and there was no need for extra support. The Station does offer a moonlight tour that I'd like to take someday, and a tripod would be a must. Maybe next year!

The image to the left was taken at sunset from the road with a 300 mm lens.

Piedras Blancas Seal Rookery

I first visited the Piedras Blancas seal rookery in 2010 on my first visit to the Central Coast area. In December the seals are cheek-by-jowl, jostling for space and trying to catch the weak winter sun. Lest you think that this is a quiet, sanguine little beach, the seals are constantly snorting, barking, growling and making farting noises that will leave the 8 year-old in you snickering. Graceful only in the ocean, they shuffle, roll and collapse into scattered heaps of blubber. Their only captivating features are their eyes.

The main Piedras Blancas seal observation area is often busy, filled by tourists spilling out of buses and jostling each other for good spots to get photos of the seals. However, the seals are often too far away for really good shots unless you have a long telephoto. Even then, setting up a tripod will get you scowls and people are likely to trip over it, ruining your shot.  There's a wooden fence keeping visitors from encroaching on the seals' territory, and for good reason, given some folks' judgment. Bottom line, it's not easy to get a good shot here. But, there's a solution.

Head 1.3 miles south of the main observation area and you'll find a parking lot at the "Vista Point." (Look for the blue sign.) Park at the southernmost end of the lot and then take the path at the end of the lot about 100 yards further. You'll find yourself on the edge of a bank 10' or less from the seals, where you can get as many shots as you want. The two times I've visited this spot I've had it to myself.

The seals are either curious, napping or preoccupied with their battles for territory. There is no fence, but of course you absolutely should not climb down the bank. There's really no reason to--you can get all the shots you want with little effort. Respect the seals and leave them to their little corner of the coast.

Big Sur: The Bixby Bridge Revisited

Anyone who has driven down Highway 1 in Big Sur has crossed the Bixby Bridge, which is just 12 miles south of Carmel. Built in only 14 months and completed in 1932, it has an elegance of style and function you don't see in contemporary bridge architecture. It may be the most identifiable and iconic scenes on the Cabrillo Highway. I suppose that's why so many travelers stop and take photos of the bridge or just take in the vista of the Pacific coast from that vantage point. The location, along the rocky coast and surrounded by the hills of Big Sur, makes it one of my favorite spots.

Getting good shots of the bridge can be tricky unless you use a wide angle lens.  I like to capture the sweep of the bridge's lines from both ends. The parking area at the northern end of the bridge can get busy, so I like to get right up to the end of the bridge so I can capture some of the coastline. 

Shots from the southern end requires crossing the bridge and then parking in the tiny turnout just past the end of the bridge. Climb up the narrow path and you'll find yourself with a sweeping view of the bridge. With a wide angle lens you can capture the entire bridge, as well as some foreground and coastline. (The shot above was taken with a 12 mm lens on an APS-C sensor, equivalent to about a 20 mm full-frame lens.)

One unwelcome development this year: one evening two women set up portable speakers and were playing guitars and singing. Sorry, but this was just noise pollution in a beautiful setting.

"You Must Have a Fantastic Camera"

There's an apocryphal anecdote circulating among photographers about a "socialite" complimenting a photographer's work, saying "you must have a fantastic camera." Later, the photographer returns the favor, complimenting the dinner she served by saying, "you must have a fantastic stove."  (Recently I heard it attributed to Ansel Adams.) The obvious message is that when someone says this about our photography we should be insulted and condescending.  

Please watch your step as you dismount your high horse.

Photographers should know that most people do not look at photographs with the same critical eye as those who produced the image. (Some even count on that fact, judging from some of what passes as family portraiture.) When people make this statement they are expressing their appreciation of the image, even though they may not be able to articulate what it is that makes it special to them. They're ordinary people, not art critics. Chill.

If we silently roll our eyes when we hear this we are missing an opportunity to accept a compliment and maybe impart a bit of knowledge. By graciously saying, "Thank you. Let me tell you what I particularly like about this image" we might begin a dialogue in which we learn how non-photographers view our efforts and politely teach a lesson on composition and light. 

Not to mention, we avoid looking like self-important jerks.

The Trans-Allegheny Lunatic Asylum

The Trans-Allegheny Lunatic Asylum ("TALA") is an abandoned psychiatric hospital that was built in Weston, WV in the mid-19th century. After almost 150 years of treating the mentally ill, it was closed in 1994 after it became over-crowded and outdated. Since then, TALA has offered tours of its historic grounds and once a year it offers photographers relatively unrestricted access to the grounds and buildings.

As a psychologist and photographer the campus holds a special interest to me, so I eagerly anticipated a trip for the photographers' access this September. Seven of us journeyed to Weston, located in the middle of West Virginia.

Review: Lowepro Slingshot 202 AW

Lowepro Slingshot 202

One of the realities of photography is that in addition to buying equipment, you need something to haul it around in. Over the past few years I've accumulated a large Tenba messenger bag, a small Wenger messenger bag, my Lowepro Slingshot 202 AW, a Lowepro Pro Runner 200 AW, and I have my sights set on a Lowepro Video Fastpack 350 for my return to Big Sur. Each of these bags is suitable for a specific amount of equipment and photo shoot. As time goes on my bags get bigger as I accumulate more lenses and "stuff."

I had shied away from sling bags, concerned that the weight would not be comfortably distributed on my back and would lead to cramped muscles, something I had experienced with the large Tenba. I have found that the larger the bag, the more likely you are to fill it full of things, "just in case." "Just in case" quickly gets heavy, so it makes sense to have more than one bag. I bought the Slingshot 202 AW as a day bag for shooting at venues where I might need a second lens and a few accessories, but not a full kit of filters, lenses, etc. I found that it was perfect for shooting when my 18-200mm zoom was going to be the "lens of the day" and I would probably leave my heftier 70-300 in the bag for the rest of the shoot. As you can see in the photo, it holds this set up with ease and still leaves room for extras. There is an attached microfiber cloth in the main compartment that can cover the camera.

Nikon D7000 with 18-200
& 70-300

What do I like about the bag? Just about everything. There's enough extra storage space in the upper compartment to hold a speedlight, extra camera battery, and smaller items. I can even slip in a disposable plastic poncho if the weather is unsettled. The outside pockets hold a pen, small notebook, multitool, chapstick, and business cards, the things I want to be able to get to with ease. There's space designated for memory cards in the main flap, along with another space for thin items. The all-weather cover disappears into the bottom of the bag. I haven't had to use it---yet, but it's nice to know it's there and it's easily implemented.

On the other hand, I have used the side-mounted tripod holder with mixed results. It works fine for carrying my small Manfrotto travel tripod. I had hoped I could pull the tripod out over my shoulder. Maybe more flexible users can do that; I couldn't and found I have to remove the bag to get to it. The small tripod, which weighs just over 2 pounds, also causes the bag to sag off-center. Perhaps a center-mounted system would work better, but that would potentially interfere with the main compartment flap. Given this, I would not try to carry a full-size tripod on the side. I prefer to carry tripods over my shoulder anyway, so this is not a drawback for me. And, this is not an expedition bag where one expects to attach lenses, water bottles and other extras on the outside. (I have cargo pants and a vest for that.)

Upper Compartment with
Lowepro Memory Case, mini-
flashlight, multi-tool &
Emergency Poncho

The sling arrangement is very comfortable and I find that I forget I have the bag on after a while. I can easily wear it all day without feeling overburdened.  I can get to the main compartment quickly by releasing the chest strap. It being the mid-sized bag in this line, it is ideal for me as a day bag. It will slip under an airline seat with ease, if you are planning to fly. Build quality is typical Lowepro: solid, hiqh quality materials that are securely stitched and should last for many years.

If you're looking for a walkabout bag that is comfortable and yet spacious, give the Slingshot 202 AW a thorough look.

Review: Lightroom Workshops

I confess: I had Lightroom for over six months before I really started to use it. I was happy with Photoshop and bought LR mostly to see what all the fuss was about. In retrospect, I wasted time that I could have used to learn to use an outstanding image processing program. I decided that if I was going to really learn Lightroom, it made sense to get some hands-on training. I searched the net and found plenty of workshops. Some were four days of training costing more than $1,000. They were all in distant cities and I wasn't ready to invest that much.  I found Lightroom Workshops and saw that they were offering a workshop only 2 hours away for about $300 for two full days of instruction. Sign me up.

Point Sur from Garrapata State Park

Point Sur at Dawn

I spent part of my first day in Big Sur scouting for likely locations for sunrise shots. I saved them in my GPS so that I could find them the next day when I was half awake. The challenge of sunrise photos in the Big Sur area is that the sun is behind the mountains for at least an hour before you actually see it. On the other hand, it can create beautiful colors, as it did on this particular December morning.

Big Sur from Garrapata State Park

I parked in the turn out and unpacked my gear, and promptly tripped over a root snaking out from the underbrush. Fortunately, I didn't have my camera in my hand and there was no one there to see me fall on my ass. I made my way down a trail with my coffee, tripod and backpack more or less securely in hand. The sage smelled wonderful and I would pinch some between my fingers to capture the aroma. I could hear the crashing of the waves below me and the seagulls wheeling overhead. It was delightful solitude.

As the sun crept up behind Point Sur I captured these images and promised myself to return someday. 

Patience is a Photographic Virtue

How Not to Take Good Photos

Here are the keys to photographic success:

1. Buy an expensive DSLR.
2. Roar up to a turnout near a scenic outlook.
3. Thrust camera out of the window and take several frames.
4. Drive off.
5. Admire your work at home.

This really happened and I caught it, mostly by accident. I was positioned at the Hurricane Point turnout just south of the Bixby Bridge in Big Sur, waiting for the light from the setting sun to get just right. My camera was mounted on my tripod and every few minutes I took a frame or two. Suddenly, a car drove up and the scene I just described unfolded. I swung around and captured it.

I don't know how good the woman's photos were. Maybe they were spectacular; maybe they were blurry because it was a low-light situation and she shot without support. But beyond her haste to take pictures, I know she could not appreciate the beauty below us in the few seconds she was there. As I stood on the high bluff overlooking the rocky Big Sur coast I was able to enjoy the golden light falling on the blue Pacific water and the vista laid out before me. Now, when I look at the image below, I will not only enjoy the photo itself, I'll be transported back to the hour I spent experiencing the landscape. Her memory will be much different.

Bixby Bridge at Dusk

For me, photography isn't just about creating an image for my future enjoyment. It's also a pathway to re-experiencing what I did to capture the image. I want to be relive the smells, sounds and the totality of the sensory experience when, years later, I gaze at it and remember how much I enjoyed creating it and the time I devoted to doing so.
What will she remember?

A Morro Bay Morning

Rowing to Shore for the Morning Walk

As usual, I was up before dawn, one of my favorite times to take pictures, and with my time in California quickly dwindling, I came to one of my favorite locations in Morro Bay to catch the sunrise hitting Morro Rock. Sometimes, the sun seems to set the rock on fire with a golden glow. That was not to be on this day, but I captured a scene that became my favorite image of the trip.

I was standing on the dock at Anchor Park, my camera was set up on my tripod and I was sipping coffee, trying to keep warm in the pre-dawn chill. I spotted a man rowing his sailing dinghy, bow to shore, from his ketch anchored in the bay. He pivoted the boat as he got closer and I realized there was a dog in the stern. The dog was motionless, intently focused on the approaching shore and the relief that would come with it. In the still air I could hear only the creak and splash of the oars. As the man tied his boat to the dock, his dog sat patiently, his thick fur glistening with dew in the cool morning light. We greeted each other, the man saying that his "woolly mammoth" loved coming ashore for his morning walk. The man was barefoot in the 50 degree temperature, his feet red from the frigid water in the bottom of the boat. After making the dinghy shipshape, they walked off for their morning respite. I looked for them the next day, but they were nowhere to be seen.

Sailors and their dogs. Few relationships are as devoted.

Review: The Photographer's Ephemeris

Link to Photo Ephemeris

For virtually every outdoor photoshoot we want to know where the sun will be at any given moment. Whether it's the blue hour, golden hour, sunrise or sunset, we are bound by the sun and if it's a night shoot, we want to know the phase of the moon and where it will be. And we don't just want to know it for today, we want to know it days, weeks or months in advance anywhere in the world. And as if that isn't demanding enough, we want this info to be simple to understand and visual. Photographers want to see a depiction of these astronomical facts, not stare at a list of numbers followed by headache-inducing mental contortions. Fortunately, there exists a free computer program that does all of this and more.

The Photographer's Ephemeris (TPE) comes in Windows, Mac, Linux versions. All use the Adobe Air engine and there are paid versions for Android ($4.99) and iOS ($8.99). I have the Windows and Android versions on my laptop and smartphone and Android tablet, and I have to say that once you see it at work, it is nothing short of miraculous.

The program allows you to choose any location in the world and save it for later reference. You then designate the dates you want to see plotted.

Screen Shot from Tutorial

The desktop program displays azimuths on Google maps, using its satellite, terrain, road map, and hybrid options. This is especially invaluable if you want to know where the sun and shadow will be in hilly or mountainous terrain. Want to know when the sun will come up behind that mountain and illuminate the fall foliage in front of you next Thursday? TPE will tell you. Trying to figure out when the back side of that mountain will be out of shadow? TPE will show you that as well, and to the minute. You can move your marker anywhere you want so that within an area you can easily plot and replot the paths of the rising and setting sun and moon.

The Android version is extraordinarily useful, since I don't ordinarily carry a laptop or tablet in the field. One feature I would like to see in the desktop version is the ability to print the terrain map and accompanying ephemeris (the panel on the right), but if you have the mobile version that isn't really necessary. Another feature I'd like to see and would pay for is the ability to sync the desktop and mobile versions.
If you are a photographer and ever take photos outdoors, this program is well worth the few minutes it takes to download, install, and learn. The web site also has links to very useful tutorials on YouTube, which really demonstrate the program's power.

The Android version is in the Android Market and resembles the desktop version except there is no terrain view. The iOS version also lacks a terrain view. This view would be nice to have but apparently there are some legal/licensing issues that are currently an obstacle. We can all hope for this feature and the site indicates they are exploring alternative map providers. In the meantime, this is a must-have photographer's app for your PC and smartphone.

The road to hell?

I looked and all I could see were good intentions.

Ragged Point

Ragged Point

As I drove up the coast I also got further from civilization, symbolized by my loss of a cell phone signal. This also meant no phone GPS and no geotagging in my Droid. Oh, the horror.

This loss of my electronic umbilicus was compensated for by the beauty of the Big Sur coastline. At the same time, I'd rather have been a passenger than a driver. Highway 1 winds snake-like along the steep cliffs with switchbacks and sharp curves liberally scattered along the way. This means "pay attention to the road or else." Fortunately, I didn't get behind any trucks and for the most part I had the road to myself.

I stopped at the Ragged Point Inn, which was very quiet, perhaps because it was a weekday. I took the shot you see here, which gives you an idea of how the coastline is usually a sheer drop from the road.

South of Ragged Point

A bit further south I found a rocky beach. I was hoping to get photos of some breakers, but the onshore breeze wasn't cooperating. I would guess that in the winter this beach is assaulted by the winter storms that careen through the area, another reason I need to get back here soon.

This small section of the California coast is simply amazing. It deserves far more time than I had to give it. If I'd had a week, I'd have spent much more time south of Morro Bay and driven all the way to Monterey, hiked some of the trails, and enjoyed the wildlife that populates the area. I have my hopes up that I'll find another reason to travel to the area soon. Until then, I'll continue to work on my photography and wait impatiently to head west again.

The Piedras Blancas Seal Rookery

There are two types of elephant seals at Piedras Blancas, just a few miles up the road from San Simeon: cute and ugly. As it usually is in nature, the females are cute, the males have a face only a near-sighted mother could love. This was my next stop.

The elephant seal rookery is a beach that the seals return to each mating season, which occurs over the winter months. I'm a bit early for the season, so there's somewhat fewer than the usual 15,000 seals on the beach.  It is also a tourist magnet, and for good reason. Although visitors are discouraged and largely unable to get on the beach, it is possible to do so but everyone respects the fences and stays on the observation platforms that line the beach.

While I appreciate the respectful attitude visitors have, it does create a bit of a problem for photographers. First, a long lens (300mm or better) is a good idea. That means "tripod," and I found the foot traffic and general jostling for space among the group a bit of a challenge. I tried at first to do a handheld-shot propped on the rail, but people kept bumping into the rail, spoiling the stability. I couldn't fault them--it's a fascinating place, but the earlier in the day you arrive, the better off you probably are, and a tripod or at least monopod is necessary.

In any case, Piedras Blancas is a must-see. It's a treat to see the seals up close and personal, sleeping, snoring, barking, roaring, and watching us with a wary eye.