Big Sur and the Central Coast With Camera, Final Thoughts

Ring the bells that still can ring
Forget your perfect offering
There is a crack in everything
That’s how the light gets in.
—Leonard Cohen

At some point I want to publish something on Highway 1 photo locations from Monterey and Big Sur to points south. This piece of highway is known as one of the ultimate road trips. But it’s far more than the driving-up-the-coast media myth. And my recent time on the highway to Sur reminded me yet again how a camera can act as a door into the creative mind.

For most of us, the Central Coast is part Hollywood dream, part reality. Even if we drive it on a weekend, we don’t know it. But like Walden took shape for Thoreau, spending real time in this area, engaging in nature, can unlock the creative juices in wonderful ways.

But what makes this piece of landscape unique? How does it resonate as a place to create art? I can’t speak for anyone else. But my experience, why I keep returning, is that the locations along this archetypal highway are so purely, abstractly Nature and physics. They resonated in a more primal way than almost anywhere I’ve been on the Coast.

This sliver of coast, starts (for the sake of argument) at Morro Rock, the focal point for endless forays into bad photography. The road, curving past the golden hills God leased to the Hearsts, takes a visitor to waterfalls and hidden coves, ancient cliffs and endless ocean. At the north end, the ribbon of highway spills into the raw coastal Monterey Peninsula and one of the richest eco-systems of our country.

As a whole, the land here is a study in pure composition and the dynamic force of ocean. Doing justice to that reality in a photo is impossible — and a lovely pleasure to attempt.

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Inception

I’ve traveled Hwy. 1 lots of times since moving to the South Bay. And I’ve been wanting to do this road the right way. Even before writing the Utah landscape photography books, I’ve known that to do my best work, I need to plant myself in a place — be a photographic Thoreau. Drive-by photography (which is the norm for most here) doesn’t cut it. So I’ve been thinking of doing a week or more along this stretch of highway.

My creative focus really crystalize once I decided to do a Monterey Peninsula photo tour with Mark Comon.  Mark has done this trip for years and I knew he would have plenty to share. Doing any good photographer-oriented tour gives you a real leg-up when it comes to shot locations. And an expert like Mark is a wealth of knowledge on the artistic and logistical issues of an area. So I decided to make that tour the first three days of my week of exploration.

The Photo Tour

My approach meant heading up on Interstate 5 on a Sunday in October to join the tour.  We got settled in at Carmel Mission Inn and Mark gave us the overview of the agenda and tour locations in that area, Garapata State Beach, Point Lobos Reserve, Asilomar State Beach, Carmel Mission, Bixby Bridge. All amazing photo locations. Plus we had a chance to spend time at the studio of Kim Weston, grandson of the great Edward Weston and an inspiring photographer in his own right.

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I’ve photographed several of the spots before. But working with the photo group like Mark’s puts you on your best behavior. Plenty of time at each spot, plenty of photo knowledge from Mark, feedback from the other shooters, a real focus on technique. And in the evening, more time to connect with the enthusiast community. (Which may be the most important takeaway.)

When I’m shooting on my own, I don’t always have the luxury (or desire) to carry a full kit and tripod. If you’re shooting at Subway slot canyon (in Zion NP), you have to carry a tripod and wide angle, that’s plenty on an eight mile hike. But for the Carmel locations, it was easy to take a range of lenses plus polarizer, neutral density filter, etc., because the locations were all so close. And Mark’s folks were serious about getting to a spot and thinking about composition and technique before shooting. What a concept.

So our 3 1/2 days on tour challenged me to constantly up my game. There really is nothing more useful to an enthusiast than a well-run photo tour regardless of your skill level.

Next Stage

End of photo tour, goodby hugs, contact info exchanged. Some folks going home, some continuing with the Mark Comon/Kim Weston class. Me doing a 3 day walkabout down the coast. I started that Thursday shooting Lovers Beach in Pacific Grove and then moved down-coast through Pebble Beach to Carmel.

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I got to Lovers Beach early enough that the Peninsula was still locked in fog. That gave the coast the sense of moody abstraction that is a hallmark of the area.

For Lovers Beach, I decided to do one of my walkabouts. My walkabout approach has certain rules:

  • Behave as I would on a professional shoot
  • Follow (as much as possible) my creative intuitions
  • Shoot in close to real time
  • Attend to the changing dynamics of nature (waves, wind, tides, light) on a moment-to-moment basis
  • Ride my camera setting as situations change
  • See the composition, then shoot, then analyze the result and make adjustments
  • Document how the human element engages with Nature

Some of these creative adjustments are standard for any good enthusiast. But I like to remind myself of these ideals so my internal computer is running the latest software for that shoot location.

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My Lovers Beach walkabout got me totally stoked and I felt good about the whole session. The approach also allowed me to stay in the creative zone for two hours straight with an occasional break to snack and hydrate and remind myself to listen.

After that there was time to wander through Pacific Grove and then shoot along the western beaches, mostly Asilomar. I ended the day by doing the 17 Mile Drive through Pebble Beach. That part was decidedly underwhelming.

Heading down the coast

The rest of my time was spent further down the road, in heart of Big Sur and the lower Central Coast. The coastline that Hwy. 1 follows is (if taken as a whole) one of the richest eco-systems in North America. But like a glacier, much of this natural dynamism is found below the surface. The crustaceans and endless kelp fields, fishes and happy otters flow through the coves of the coast.

I’ve gotten some decent photos from the pull-offs along the way. But I didn’t see this road trip as the national treasure it is. (And really, why doesn’t our country have road trips that are designated national treasures?)

And as I mentioned above, I choose to treat each pull-off as a potential shoot rather than just jump out of the car, take a few shots and drive to the next spot. Some spots weren’t worth more than a look-see. But it takes only 5 or 10 minutes to gauge a place and take in that vista. And, if the location warrants, I would go through a full analysis of what I liked about the place, which shot location would be the best starting point, and begin to explore compositions.

Several spots in the Big Sur part of the coast were a creative goldmine given the gray morning and sea mist.

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The Cayucos location was one spot that I’ve never noticed before that I totally loved. I spent over an hour there.

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Thoughts on Shooting

Because anyone who’s into road trips or photography (or is a poet at heart) can take this creative guide for their own purpose, spend a weekend or a month in this place. I don’t think anyone needs to be a photo enthusiast to visit this spot. But having a creative path to follow helps.  Whether you are poet, painter or photographer,  breathing in the Highway 1 locations can act like a Walden experience for creative exploration.

Here are a few steps I take at locations along the road to get me into the creative mind:

Don’t fight tourists. Don’t even think of doing the drive on a weekend in summer. You might as well be driving up to Malibu on PCH. Go for a week during the off-season. The nay-sayers would say, “But there’s never an off-season for the Central Coast. You can have traffic jams in November.” True. But on weekdays between November and the end of April, you can find relative seclusion. And for many photographers, a great shot of the rough cliffs in fog is worth ten picture postcard days in July.

Forget the destination. So, you’ve reserved a place to lay your head; you’ve booked that in advance. And once you’re settled in Cambria, Big Sur, Pacific Grove, etc., make the decision to forget the time and simply follow your instincts.

Breathe in, don’t drive.  Yes, you will drive to one destination or another, this is a road trip. But spend 90% of the time at a place. Pull over when intuition tells you. Take that spot in. Walk into nature, see if that little pull-off or park can intrigue. If you’re just getting a few snaps at one stop and the next, you’re doing something wrong.

The cliffs and seascapes unwrap over a hundred miles of two-lane. The trick is minimize the driving and maximize the creative silence. And that really isn’t so hard to do if you cover the area in a week rather than two days.

Plant yourself for longer periods if you can. Thoreau spent a year at Walden, just aligning himself with the seasons. Henry Miller didn’t do drive-by work, he made that a home base and turned the experience into a book. Edward Weston photographed Point Lobos State Reserve time and again over the years. He was at one beach there so often, they named it after him.

So forget about spending hours driving while your on the Central Coast. Drive for half an hour to Julia Pfeiffer State Beach. Go before the crowds hit and figure on spending a few hours. Realize that if it’s a Tuesday morning in March photograph, that beach waterfall will be all yours.

Learn to see the physical and artistic dynamics of each location. There are plenty of places with cool landscapes. But few mountain or desert vistas allow you to see the presence of Nature this intimately, viscerally. These parks and pull-offs are ocean ecosystems. They change moment-to-moment. And for photographers, that means that your composition is going to change each second. The ocean blasts itself against a cliff face, a flock of heron winds it’s way past, the fog gives way.

Seeing the Shooting Dynamics of Sur

The coves along this road are physics in pure form. The moon pulls at the ocean, the cliffs slowly erode, fog rises, the light filters in, and below the waves, the eco-system goes with the flow. It’s your job as an artist to plant yourself in the midst of that, to frame these impulses of matter and energy into composition.

For me, it helps to think I’m standing there right at the center of a spinning merry-go-round composing the perfect alignment of wooden horse and child. The whole picture is in constant motion. You can’t control that. But you can set your tripod so as to frame the spinning wheel or ocean and cliff in a way that pleases you — knowing the various elements of wave and wind will repeat now and again. And you’ll be ready.

That’s really all you can do, prepare yourself and then improvise. And that’s just what the pros do, set up at a good spot, crank off several images to cover the possibilities, then recompose.  And in one of those shots, a sea otter will be perfectly happy coasting along the curve of that next wave. Here’s a bit of my interior thought process when I’m out.

OK. Why does this spot appeal? … How do I frame it … and what are the elements I want to include anyway? Yeah, I want to align these two massive structures in my foreground, I want that distant cove as background, ..maybe go a bit higher there. Let’s get the timing right when that wave hits… maybe if I slow down the shutter speed it will heighten the impact. Guess I need to use my neutral density filter. …Let’s frame it tighter so there’s no clutter.

These are the kinds of things that take you on a creative journey. It’s all process for the photographer and it’s all physics — and composition.

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Big Sur: Undiscovered Land

Most folks think of Big Sur as an endless drive with one knockout view after another. True. But that’s also the road tripper’s mistake. Because the road between Cambria and Carmel is too long and too congested to work as a one-day trip — at least if you want to enjoy the experience. Push too hard on Route 1 and one pull-off blends into the next and everyone wishes the hotel was closer.

Too many folks rush through Sur in a day, which is unfortunate given the number of great photo locations. And I’ve decided that if I’m doing the Big Sur road trip, I’ll take at least 3 days — and I may just plant myself in a motel or two on the route for most of a week. That’s how you start to appreciate the quirky weather and the moods of the place.

The point is, I know I need to treat these Big Sur locations with the same same respect as the iconic National Park spots. Sur is at that same level, like a national park spread over a hundred miles of pristine coast.

The Dark Sea

Below Garrapata, Above Bixby

Composition is landscape. And the landscape of Sur is broken down into bay and ocean, core eco-system and a horizon that goes forever.

Even on a summer day, the Big Sur coast can get dark and moody when blanketed in fog. This is a rough coast, Jack London seas, dense ocean life, crashing waves. And the dank, cloudy underbelly of Sur is as much the place as the sunny coast and blue ocean are.

Bixby to above Pfeiffer State Beach

I spend some thought on how much of the coastline to pull in, while using that path down as foreground element.

In fact, the more forboding weather seems to capture the raw muscle of Big Sur more than the pretty shots.

But Big Sur does the sunny face equally well. And a summer day here displays a primal beauty that seems an impossibility in a piece of coastline between two of the most populous cities. You see these overlooks and wonder how this coast managed to escape the endless building glut and the restless minions.

Bixby to above Pfeiffer State Beach

The curve of bay, rock outcrops like repeating patterns, foreground and background, the same compositional rules apply.

This image, all the images in this post, were taken from standard pull-offs from Route 1. You see no people below. You do notice the endless crowds blowing by you in their late model car or truck. A few people may slow down to see if you’ve found a good view, but they take a few phone shots and are gone.

Most tourists don’t stop that often except at the big name stops, the state parks and beaches, the restaurant or country store or  place like Bixby Bridge. But take in the no-name location, treat this or that pull-off as a full fledged photo shoot location and you can deliver great images.

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This image is brother to the first shot of the blog post (above). But the ecosystem, the waves, wind, clarity in the air change from one moment to the next. So the way I handle each moment gets adjusted in Lightroom. In this image, the light in the upper third has sky-blue overtones. The foreground bay though is an angry green. So, more dark edge to the bottom 2/3 and a bit of negative Clarity and highlight in the upper third. Those adjustments take the eye onto a more complex journey.

 

Final Images from Carmel Trip

And the sabbath rang slowly
In the pebbles of the holy streams.
Fern Hill

I’m finally finishing up Lightroom work for my trip to Carmel and Big Sur. These were’t part of the photo tour, just stuff I discovered when I returned to shoot locations we had covered on the tour (or with the Carmel Beach images, the beach just down from my little hotel).

Carmel Beach, Morning

The misty morning thing is what Carmel seems to wake up to most mornings.

Even into late June, the mist gets thick on Carmel mornings. And like the Lovers Beach shoot, the mist adds an almost primal element, a sense of life being reborn.

Dylan Thomas’ Fern Hill captures the feeling best:

And as I was green and carefree,
…In the sun that is young once only,
Time let me play and be
Golden in the mercy of his means,…

Morning Play

And nothing is as joyful as a golden retriever following the call of DNA.

Carmel Beach, Morning

I darkened the edges of this to pull out the deeper shape.

One final image from Pacific Grove, taken in the late morning light.

Pacific Grove, Asilomar State Beach

I set shutter speed a bit low for this one, 1/50, so I could get some wave motion blur. Somehow that gives the scene a more visceral edge. Slowing the waves down more seemed too much, pulling focus from the rest of the scene.

Carmel Sunset

Before my recent Monterey Peninsula photo tour, I spent the evening down at the Carmel city beach. The town spreads out like an amphitheater around the beach and mostly gets used by residents once the tourist influx leaves in late afternoon. By sunset, folks are walking their dogs or taking in the view.

Carmel Beach

Carmel Beach

The Golden Hour. I believe the house on the cliff was designed by a son of Frank Lloyd Wright.

Carmel Beach, Sunset

I perched on this rock for a while just breathing in the moment. There was a guy from Switzerland (who lives in Australia), we chatted as the sun headed lower.

Carmel Beach

Carmel Beach

The last peek of the sun pulled me off my rocky perch. By this point in the evening the color palette gets simple, yellow-orange and deep blue. So I began to play more with color and shape.

Carmel Beach

Carmel Beach

Head uphill above the beach and you get a more expansive moment.

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Here’s another variation of the shot — more zoomed in to make the pool of water in the foreground the center of attention.

Carmel Beach, Sunset

Carmel Beach

The shot of the surfer taken after sunset is even simpler.

Carmel Beach

Surfer, Carmel Beach

 

A Visit to Point Lobos State Reserve

Point Lobos, just south of Carmel on Route 1, is one of the most popular of the California state parks. I visited the park last month with a photo tour that was run by Mark Common of Creative Academy. The mix of Monterey Cypress and the Central Coast eco-system is enticing. And every turn in the trail brings new overlooks to savor.

Our morning photo session started at Weston Beach, named after one of the legends of American photography, Edward Weston. Weston Beach is a tidal pool area filled with starfish, crabs and lots of stone pattern work — the kind of thing Weston liked to shoot.

After hassling a few crabs with my camera, I followed the trail east to Hidden Beach. The lighting at that time of morning was still great.

Point Lobos, Second Morning,

Just past Weston Beach

Further down the trail I saw this egret poking its head out. But he didn’t want to pose for long so this was the best shot I got.

Point Lobos, Second Morning

Egret, on way to China Cove

Going another half mile east took me to the Hidden Beach overlook. The place is like a living emerald. The challenge is to frame a small enough part of the scene so the image doesn’t get too busy.

Point Lobos, Second Morning,

Hidden Beach, Point Lobos State Reserve

Late Afternoon Shoot

By late afternoon (after a great lunch and some chill time) we were shooting along the Cypress Grove Trail. This northwestern section of park is home to one of the original stands of Monterey Cypress.

I framed the cypresses there with a twisted tree foreground element. Nothing fancy, just trying to capture the shapes and colors that make this area so enticing.

Evening, Point Lobos, Cypress Cove

Point Lobos State Reserve

The stone stairs and twisted cypress below were just around the corner. Here I’m using the stairs to lead the eye in to that wind-twisted tree.

Evening, Point Lobos, Cypress Cove

Point Lobos State Reserve

Putting a wind-swept tree into a composition with the rocky cove was hard to pass up. I took several shots here. But I found that putting too much of that twisted foreground into the composition muddled things up. I propped myself up higher so my shot angle keep these red branches from being intrusive.

Cypress Cove

Cypress Cove

I had some extra time after that trail and started on the North Shore Trail. The shot below, done from the other side of the peninsula was magical in the evening light. The immense cypresses are backlit by the golden glow and that warmth adds depth to the forest. I worked on the image a bit in LR to eliminate the worst of the light washing and add clarity to the gnarly branches.

Evening, Point Lobos, Cypress Cove

Point Lobos State Reserve

On the other side of the cove was my favorite, a huge cypress that played off the stretch of coastline.The challenge here was to use the tree to anchor the composition while giving enough room so the eye can stretch up coast.

Evening, Point Lobos, Cypress Cove

Ancient Cypress

Again, there was an issue with light bleed. I’m shooting directly into the sun. But by putting the sun behind the huge tree trunk, I found I could get nice backlighting of the tree branches and that stand of cypress on the other side of the cove. Even so, I had to do local adjustments to lighten or darken areas of the shot.

The final shot was of a plant that looked to be growing larvae. I have no idea what it’s called. But the shape was elegant, a study in pure form.

Mystery Plant

Mystery Plant, Point Lobos State Reserve

Point Lobos gets tons of visitors a day. But there are so many potential shot locations that you could spend a week having fun. It’s worth the visit if you’re in the Carmel area.

But one note. Once the park folks hit the allowed number of cars, no more cars can enter until another car leaves. This can happen by about noon, even in fall and spring. But since the park closes before sunset, the traffic going in slows down a bit.

Learning to See

The Bear Woods article (below) gives some good insights on seeing the  main visual “elements” of your shot location. (And if you are into landscape photos, Bear Woods is a good blog to follow.)

The scene you’re looking at when you’re out in nature is just a blank canvas until you see it in terms of elements in a composition. Because until you can see a visual dynamic between the design pieces, you can’t frame it. You can’t put stuff together into a composition.

And that’s what you’re doing out there, shooting on a Sunday afternoon, breaking a landscape spot you’re in the midst of into its visual components. And then seeing them whole through your viewfinder. That’s what you do when looking for a foreground element or using the Rule of Thirds.

That foreground bush is an element. A waterfall in the distance, that’s another element to pull into the final composition.

Mission Church in Carmel

Mission Church in Carmel. Chandeliers, alter area, pews, holy water in a large metal bowl… reflection of the chandelier in the water

 

So once I see the scene as elements, I can adjust my framing to pull those elements into a dynamic arrangement, a little visual engine that’s called a photo.

Below, one of my fellow photographers was playing with this location at Point Lobos and I joined her. The location had several elements that I found enticing, the stone steps leading up to a twisted cedar, a wall of stone and flowers, a tangle of branches and a flash of sunlight.

I spent quite a while getting the framing and angle right. Later in Lightroom, I  adjusted each of the elements separately: darkening the scene locally, adding contrast to the light fall on the steps, lightening and adding clarity to the signature tree and pulling out the textures in the wall of stone on the left. Lightroom helped fix lots of light issues here (you need to when shooting into the sun). But I needed to see the elements first.

Evening, Point Lobos, Cypress Cove

Point Lobos State Reserve

I can’t control everything at a shoot location. But I can’t control anything if I haven’t started seeing the elements. And as I engage with the location, framing, moving here or there in order to fine tune the visual elements, I discover more about how all the pieces fit together.

Maybe I can’t make the composition work. That happens a lot. Maybe I can get the elements to sing. If nothing else, I’ve provided myself with an enjoyable afternoon.

Seals

Seals, Sunset, Moonstone Beach

Bear Woods Happenings

Secret Canyon 071016h copy

Learning to See.
 
When I am out photographing or for that matter teaching, I study the elements in front of me. I talk to my students and try and get them to identify a subject and other elements within an area. I emphasize the idea of studying the relationship of the elements and how they compliment or contrast the subject. In short, I teach them to “See” a scene. Tunnel vision is something that can block a composition quickly, so I like to start wide and work down or start tight and work out. In doing so, you see lines and shapes that form patterns to help complete your vision. That is another reason I love photographing in the slot canyons, you learn to see and how things can flow to or away from your subject.
 
Tamron SP 15-30mm f2.8 Di VC USD lens on a Canon 5Diii…

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