What a View!

In 1961, the area which is now known as Julia Pfeiffer Burns State Park was donated to the State of California by the Helen Brown, wife of a former New York Congressman Lathrop Brown. They acquired the property in 1924 and built a stone house along the Big Sur coast.

As I recall the story, Helen was the adopted child of a wealthy family in New York. When they died, she was left with a fortune. She married Brown, moved to California and purchased this property, which was literally in the middle of nowhere. There were few people in the area but Helen and Julia became good friends, so good, in fact, that when Helen donated the property to the State of California, one stipulation was that the land be made into a state park and another was that it be named after her friend Julia.

The Brown's built a home at this location above the ocean. Their home had extraordinary views. This view looks north.

The view looking South was even more magnificent than the other one. An 80' waterfall poured on to the white sand beach with Caribbean blue waters at McWay Cove.

If there is a more beautiful view along the Pacific coast, I haven't seen it and can't imagine how it could be more beautiful than this location.

Why I Make Composites for My Night Sky Photos

I enjoy making photos of the night sky, especially when the Milky Way is clearly visible. I usually try to shoot on clear moonless nights because I find that a moon produces too much light. Even a quarter moon lights up the sky and, as a result, dims the stars. Of course, the problem with shooting the night sky with so little light is that in order to light up the foreground, a long exposure is required. An exposure long enough to light up the foreground is too long to capture pinpoint stars.

Left: Exposure for the foreground.






Right: Exposure for the sky.











I photograph the night sky with a 14mm, 21mm or 24mm lens which means that I usually keep my exposures to 25 seconds or less. Anything longer than that will produce unacceptable star trails. Now star trails can make very nice photos but the exposure needs to be more like two and a half hours. A dark foreground can’t be captured satisfactorily in 25 seconds. Using Photoshop to increase the exposure for the foreground can work, but there is simply too much noise to make the shot acceptable.

 Either before or after I expose for the sky, I shoot the foreground. I’ve found that I like to have three stops of light greater than the exposure for the sky. Getting three stops requires about four minutes. (A one minute exposure doubles the 25 second exposure, two minutes doubles it again and a four minute exposure doubles it again for a total of three stops.)

  

Compositing the two shots in Photoshop is relatively easy so long as the foreground isn’t too complicated.

Here is he final composited image.

The Dreaded Orange Glow

I like to photograph the night sky on clear, moonless nights when the only light comes from the canopy of stars. I also like to create composites for my final image. To do this I make exposures of about 3 minutes for the foreground and 25 seconds for the sky and combine them in Photoshop. 

Unfortunately, even on the darkest nights, the camera will capture the orange glow of a distant city.

The photo below, made from Yavapai Point at the Grand Canyon was exposed for three minutes. Notice that the canyon is properly exposed but the stars are forming trails because of the long exposure. Notice the glow in the sky just above the horizon on the left. It comes from the City of Las Vegas which is 175 straight line miles away. 

Here, the sky is exposed for the stars but the canyon is underexposed. The glow from Las Vegas is still clearly visible.

I combined the above two images to make this composite.

Here's how I did it. First, I opened both photos in Adobe Camera Raw and made various adjustments. What they were is really not important because this article is about creating a composite from two images. What is important is that I made the same adjustments to both images. I've found that making separate adjustments for each layer tends to make the composite look fake and fixing it is more difficult than just using the same adjustments.

I opened both images in Photoshop. I made a copy of the image with the properly exposed foreground (CTRL J) and using the move tool, placed it as a layer on top of the image with the properly exposed sky. Using the quick selection tool, I made a selection of the sky. Because the intersection of the horizon and the plateau is virtually flat, the quick selection tool did a great job. With the sky selected, I held down the ALT key and clicked on the create a layer mask icon on the Layers pallet. That created a black mask which hid the selected the area on the top layer and revealed the selected area on the bottom layer creating the perfect composite.

But what about the glow from Las Vegas? Here's how I fixed that. I simply selected the sky layer and then chose EDIT, TRANSFORM, SCALE and dragged the handle at the bottom corner to make the sky layer larger. I then used the move tool to move that layer down until the glow was below the foreground layer. With the original foreground selected and making sure I had selected white as the foreground layer, I clicked on the add layer mask icon. This action revealed the sky of the transformed layer.  It was a simple matter. Because the sky layer is larger, you can also move it from side to side to get that layer in the best position.

Is there a downside do using Transform? Yes, it has the effect of using a longer lens so the slight trailing in the stars from the 25 second exposure will be a bit larger but that will only matter if you decide to print an enlargement of your photo. But even then, depending on your camera, the effect will be minimal.

To see other composite photos on my site where I used the same technique click here or here. The first composite was not as easy because selecting the tree on the right was much more difficult.

Favorite Photo Locations - Arches National Park - Part II

After visiting the windows section of Arches National Park, follow the road back to the main park road and turn right. The road will take you down to the floor of the valley. Watch for the signs to Delicate Arch. Turn right there.

There are two parking areas along the road. The first is at the Wolfe Ranch where the trailhead to the arch begins. It isn’t a hard hike but is about a mile and a half and has an elevation gain of about 500 feet. Most of the hike is over slick rock and there are cairns along the way to direct you to the best route. As you approach the arch, the trail is narrow and drops off a sheer cliff but the trail is wide enough and smooth so walking is easy.  You can’t see the arch until you get to the end of the trail.

There is a small arch in the wall just before Delicate Arch that provides a nice view of this famous arch. It is a relatively easy climb up but the climb down is dangerous. If you choose to check out the view, be prepared to slide down on your backside.

Make sure you take plenty of water on your hike to Delicate Arch. The hot dry climate can drain you of water. The effort will also cause you to perspire. If you visit Delicate Arch during the cool season, make sure you carry a jacket. It may be warm on your hike, but when you get to your destination, even the slightest breeze will cool you down fast.

The best time to photograph Delicate Arch from this location is in the late afternoon when the sun lights up the arch and the La Sal Mountains in the distance.

The hike to Delicate Arch is well worth the long hike.

The less strenuous place to see Delicate Arch begins at the parking area at the end of the road. There is a lookout area a short distance from the parking lot. The arch is a long way off so you won’t get the classic view of the arch, but you will be able to see it. There is a hiking trail there that will lead you to a viewpoint much closer to Delicate Arch. It isn't nearly as demanding the hike to the arch itself, but it is steep. You can’t get to the base of Delicate Arch from this place as there is canyon that separates the two places.

These locations offer good photographic opportunities from mid-morning on. Early in the day, the arch is in shadow. A long lens is a good idea when photographing Delicate Arch from these viewpoints.

Delicate Arch Viewed from the upper viewing area at the end of the road. I made this photo using a 400mm lens.

After viewing Delicate Arch, head back to the main park road and turn right. The road will take you past Fiery Furnace and lead you to the parking area near the Devil’s Garden.

The Fiery Furnace is interesting and best captured from the viewpoint. The best way to see it close-up is to sign up for a ranger led tour. The Fiery Furnace is a maze that can easily get you lost if you don’t know where you are going.

As you drive along the road past the Fiery Furnace, you will see Skyline Arch along the fin wall on your right. There is a parking along the road if you wish to hike to the arch. It is less than a half mile round-trip to the arch.

The setting sun will light up Skyline Arch so plan you photo op for late in the day.

Make sure you leave plenty of time to visit Landscape Arch which the longest known arch in the world. It is accessible via an easy hike from the parking area at the Devil’s Garden. The hike is along flat ground and is about a mile and a half round-trip walk. You can get reasonably close to this arch but, because a piece of the arch collapsed a few years ago, access to the area below the arch is prohibited.

The view of this arch is from the east, so early morning works best for photographing it. That time of the day also assures you of a parking place. The Devil’s Garden is a very popular area of the park and parking spaces are not always available.

Landscape Arch may collapse in the near future so make sure you see it while it is still there.

Beyond Landscape are some other impressive arches but getting to them requires much more effort. Access to Pine Tree and Tunnel Arch are just off the trail between the parking lot and Landscape Arch. These are easy walks.

If you see all of the features of Arches National Park found in these two articles, you will have seen some of the best that the park offers.

Favorite Photo Locations - Arches National Park - Part 1

I am often asked about my favorite locations for photography. I usually answer by saying I don’t have a favorite because I have photographed so many spectacular places that I can’t pick a favorite. I been fortunate enough to photograph many wonderful places so I’ve decided to write a series about some of them.

I recently returned from Moab, Utah, so I’ll begin there.

Moab is the gateway to Arches and Canyonlands national parks along with Dead Horse Point State Park, the Colorado River Canyon, Castle Valley and others. With so many places to photograph near Moab, one post can’t begin to cover them all so I’ll  start with Arches National Park. Even then, I will need two posts to cover the park and they still can’t provide a lot of detail.  

Arches is the closest park to Moab. The entrance is just about two miles from the Colorado River crossing as you head north from Moab. This park is known for its arches but it is filled with rock formations of so many sizes and shapes that, in a drive through the park, you may imagine groups of bears or penguins while others may see something entirely different in the same formations.

So, where are my favorite photo locations in Arches? To answer that question, I will lead you through the park from south to north as you travel from the park’s entrance. After passing through entrance gate, you will climb through a series of switchbacks until you are high above the valley. The first pull off along the park road is at the Moab Fault. You will find some interesting information here about the formation of the area but it is not a photo site.

Park Avenue

My first stop for photos is at “Park Avenue” on the left side of the road. This is a canyon created by a mass of red rock on the left and high fins on the right. The shape of the sandstone fins roughly resembles the buildings you might encounter walking along the skyscrapers in large city; hence the name. Park Avenue can challenge a photographer’s ability, as it is such a large expanse. The one mile hike through Park Avenue, which ends at the Courthouse Towers Parking area, offers many photo opportunities along the way. Morning and evening offer the best lighting.

Park Avenue is the first photo stop along the Arches National Park Road

After leaving Park Avenue, you will pass the La Sal Mountains Viewpoint on the right. The rising sun lights up many prominent features along the park road including The Organ, The Tower of Babel and Sheep Rock. The La Sal Mountains Viewpoint is a good place to capture warm light on them. 

 The Three Gossips

The Three Gossips is one of my favorite rock formations in Arches. It can be seen from the La Sal Mountains Viewpoint, but you get a much better view from the Courthouse Towers parking area. This rock formation looks so much like three people together that those who don’t know its name, think that “The Three Kings” would fit. Indeed it would.

The Milky Way rises above the Three Gossips

The three gossips is one of my favorite formations in Arches

Balanced Rock

From the Courthouse Towers parking area, the park road crosses Courthouse Wash and takes you past the Petrified Dunes.

Petrified Dunes in Arches National Park

There may be photo opportunities here, but my next favorite stop is at Balanced Rock where there is a fairly large parking area. This is one of those head scratcher formations that makes one wonder, not only how it got there but why it hasn’t come tumbling down. It is best photographed with the late afternoon sun.  

There is a short hike along a boardwalk past Balanced Rock which leads to a nice viewpoint of the rock formations called the “Garden of Eden”. You can also capture Turret Arch with the La Sal Mountains in the background from this location.

Will Balanced Rock some day become unbalanced?

The moonlit night sky over Balanced Rock

Windows Area

Just past Balanced Rock, there is a right turn that will take you to the Windows area. Your drive will take you past the “Garden of Eden” on your left. The garden is a line of interesting rock formations. Many people are so intent on getting to Windows, that they don’t even see the beauty of this area. It is massive, hard to capture in a photo and there are few pull offs along the road.

When you reach the end of the road, you will see more arches at one time than anywhere else in the park. You don’t even have to leave the comfort of your car but you will want to. From the parking area you will be able to see the North and South Windows as well as Turret Arch. There are other smaller arches there too.

A trail from the parking lot leads up an incline to the arches. The hike is only about a quarter of a mile and while it is uphill, it is not a difficult climb.

Approaching the North Window

Turret Arch photographed from the trail between the North and South Windows

To capture the classic shot of Turret Arch through the North Window, you have to walk through the North window, and down the other side. Stay to the left and follow the trail up to a rather precarious perch at the end of the trail. This is not a place to stand. Stay low, put your camera on a tripod and set up your photo, staying as low to the ground as possible. A fall from this location could be fatal. Keep in mind that the Windows area is very busy so plan to get there early when everybody except photographers are still in bed. Every photographer wants to get this shot, so there may be a line. Wait your turn patiently.

Turret Arch through the North Window

The trail to the North Window branches to the right where you can get a good view of the South Window and Turret Arch. The South Window doesn’t offer the same kind of photo opportunities as the North Window but Turret Arch can be very nice, especially early in the day when the sun is low in the sky. The arch will be in shadow except where the sun shines through the South Window and lights up a portion of the arch.

When you’ve finished there, either walk or drive the short distance to Double Arch. This is a beautiful pair of massive arches that get less attention than they deserve. The hike from the parking area is relatively short with little elevation change. You can photograph Double Arch from a distance or from very close up. You may be tempted to climb to the bottom of the opening of the west arch. It is an easy climb until you get to the last 10 to 15 feet where the wall is straight up. If you decide to climb it, make sure you are wearing shoes with good grips. You may want to have someone there to help you with your gear as you come down. The up is difficult. The down is very difficult. Double Arch is one that is easy to forget, but you will be doing yourself a disservice if you do.

Double Arch as seen from the approach

Part II of Arches National Park will cover the hike to Delicate Arch, the Firey Furnace and Landscape Arch.

Easy Composite Strategy for Creating a Great Waterfall Shot.

Waterfalls are one my favorite photographic subjects. I like to use slow shutter speeds to capture that flowing silky look. To do that, I try to use a 1/2 second exposure. If the water is flowing fast, a slightly faster shutter speed will accomplish a satisfactory result, but when possible I stick to a half second.

Unfortunately, such a slow shutter speed may eliminate a feature that a faster shutter speed would have caught. Look at the two photos below. The one on the left captured the look I wanted and while I like it a lot, one thing I liked about this waterfall was the foam that it created in the pool. A close look at the photo on the right reveals that I captured the detail in the pool that is missing from the the photo on the left. So does that mean I can't have the best of both worlds? Not at all. Combining the best features of both photos is easily done. Here's how.

In the field, you must use a tripod to capture the waterfall using different settings.It is important to get the exact same composition for each photo. That's why a tripod is a must. For the photo on the left, I used a shutter speed of 1/2 second. For the one on the right, I shot at 1/60 second.

When shooting at slow shutter speeds, you will be using small apertures, like f-16, f-22 or even smaller. Small apertures will keep everything in focus. I made the shot on the left using an aperture of f-22. The shot on the right was made at f-8. While everything in it is in acceptable focus, the foreground on the photo on the left is much sharper.

(Click on images to enlarge.)

Once you have your photos, open both of them in Photoshop. Click on Window, Arrange, Tile All Vertically. Photoshop will place both photos together on your screen. Click on the photo with the attributes you like most. (In this case, the photo on the left.) We'll call it photo 1. Then press and hold the CTRL key, then press the J key. That will create a duplicate layer. Then use the Move tool. Using your mouse, grab the layer and move it over photo 2. Then press and hold the shift key and release the layer. Using the shift key will perfectly align that layer from photo 1 over the photo 2. When you've done that, close photo 1.

Now click on the add a layer mask icon. Here's where the magic happens. Use a soft brush and set the opacity control to about 30%. Use it to paint over the area of the pool where the bubbles and foam are on the layer below it. Paint until you get the effect you are looking for. Here's my final photo.

The Perfect Fall Photo?

I’ve been making autumn photographs for years and have never been completely satisfied with the results. Color in itself is not a particularly good subject so a photo with a mass of brilliant foliage, for me anyway, really isn’t much to write home about. My “curve in the road” photos, I think, are better because they are designed to entice the viewer to wonder what beautiful foliage might be seen around the bend.

Beautiful autumn day in northern Wisconsin

So what makes the perfect autumn foliage photo and how do you capture it? Here are my thoughts: 

Artistically, it should show off the brilliant oranges, golds and reds of the season which means that the subject should be well lit. The subject should be interesting without the color. There should be an interesting foreground that leads the eye to the subject. The sky must have some blue in it. Puffy clouds in a blue sky make the sky more interesting. A washed out sky sends an otherwise nice photo to the trash bin. It must create the appearance of three dimensions in a two dimensional medium. It should create a desire in the viewer to want to see the sight in person, again and again.

Technically, everything should be sharp. That means small apertures and fast shutter speeds, especially if there is any wind. Nothing should be cut off. Tops of trees should have some room above them. The subject should be placed for eye appeal. There shouldn’t be any distracting elements in the photo and there can be no intersections such as foreground branches crossing over the subject. Horizons must be level.

While I'm not saying this is a perfect shot, I think the photo above that I made in the Harrison Hills of north central Wisconsin meets my criteria for a pretty good photo. I personally think it is my best fall foliage photo.