Posted on May 28, 2018
I’ll be headed to LAX at 9 AM Thursday, two days. Not much time suddenly. I’ve already starting packing, the big one we have. Yes, I’m trying this bigger suitcase approach out for Iceland. … why…
If I’m staying in a country for 2 weeks, in Iceland, with the near constant weather changes — and clothing changes, all the photography equipment, a tripod, and all the just plain stuff we each feel we need to keep close. There’s no way all that’ll fit in a pack and a carry-on bag.
And with the Iceland Ring Road, a big suitcase isn’t a problem. You’re driving with it most of the day, stowed away but easily accessible. You only need to drag it into the guesthouse. You keep your camera gear in a well chosen day pack. And it’s just more pleasant with the big suitcase to have everything you might need.
It turns out that it’s generally fairly easy having a tripod along the Ring Road. I hate bringing a tripod on a long hike — like the hike up to Subway (Zion NP) from below. It’s a steady 4 mile hike up a wet rocky creek bed (and then back). And that tripod get’s heavy by mile 2.
But in Iceland, there’s an amazing number of photographic possibilities that can be reached with no more than a short hike. And let’s remember that two of Iceland’s most popular photo landscapes are waterfalls and seascapes. And that means tripod.
Not to say you can’t thoroughly enjoy the country with only a tablet or phone camera. I shoot a lot with my phone camera, those shots are part of the social media communication and a useful record of GPS location and even what Apple’s algorithms made of the at that shoot location.
Shutter speed is fun to play with… even if tripods are a pain in the butt. The thing is, time duration, i.e. the open shutter, is an essential tool for presenting the dynamics of nature. How much blur to you show for a hummingbird wing, how gossamer to make the waterfall or tidal pools. Those choices resonate in the creative mind.
Thinking about itinerary
So here are some of my current impressions for those planning their own Ring Road walkabout.
Research materials. Given my location and image research, I know a lot about potential landscape locations. I know (many) of the spots the photo tours go to, a lot of equally cool locations too far for a Reykjavik day tour to bother with. I’ve read the travel articles, guidebooks and Pinterest. And I know what Iceland spots show up on a spin through Instagram, 500 px or ViewBug. And because I did all that stuff and saw where it all was on the map, I started to know my itinerary.
Staying on the Road? Research these photo locations and you realize they aren’t all on the Ring Road. How could they be, it’s a whole country. Godafoss and Skogafoss waterfall are (basically) on the road, Lake Myvatn is, Hofn, Joklaross Glacier Lagoon, Black Sand Beach, etc. Lots of important sights and fun pull-offs.
The Golden Circle is within the Ring Road, a one day mini tour. Snaefelsness Peninsula and the fjord areas are but unique unto themselves and worth the detour. So to capture the full flavor of the place, I’m making several detours — done purely to satisfy my own creative interests.
What to see? I’ve spent a couple of weeks now going through the guidebooks, Pinterest and web for anything Iceland. All to help me see this place more fully in my mind’s eye: for interesting little Ring Road towns, black sand beaches, coastal shot locations, waterfalls of some distinction, connections to the past, connections to the Icelandic DNA, whatever that means.
Where to stop? I’ve also had to nail down my BnB/hotel/AirBnB stops. Iceland isn’t a place where you just drive up to the motel that has the Vacancy sign lit up. Thirty miles beyond Reykjavik what you have is little towns, tiny towns mostly compared even to a Mayberry. They’re spread thin along Rt 1 and do not have much capacity, not if you’re visiting during the warmer season.
Plus, whatever lodging research you do gives you a sense of how the sights and the towns line up along the road. In two days, I will know that information directly but for now I’ve got an internal framework.
Route 66. The Ring Road is kinda like the old Route 66 in ways. You have these quite small towns strung out across a tough landscape. Most owe their existence to agriculture/ husbandry, fishing and more and more, tourism and culture. And the Ring has a kind of culture of its own, a way the traffic moves, the way businesses engage with the tourist visitor and the way that Iceland as a country exists in it’s own day to day rhythms — along that same Ring Road.
An itinerary. And at this point I’ve put together a day to day itinerary with all my potential shot locations, all the (maybe) interesting towns, public pools (hot spring fed), museums. I even have the gps coordinates for my lodging and photo sites so I can just dial that in to the car’s system.
A sense of place. I’m starting to get to the character of each area. The island has enormous diversity with each area, whether city, Westfjords, South Coast, Golden Circle. I need to attend to the textures of each. Even in the short week I spent in March there, I was constantly being surprised at how the landscape and feeling of place changed as the kilometers slipped by — from the higher elevations of Thingvellir to the low farmland of the South Coast.
Planning vs. Improvising
I really have done far more travel planing than usual for this trip. The motivation was the project, the excitement about shooting this unique landscape, this igneous, black pebble resting between the Atlantic and the Arctic. And because my focus is so geared to creating an Iceland portfolio, I’ve asked myself (and the internet) what parts of this country appeal to me creatively and personally. For me, the less tamed, less visited places have a strong pull. But these places don’t show up on screen 1 of Google.
For me, up front research was essential. The danger is that the extra research and the filled-in itinerary get in the way of the enjoyment. That’s the “…if it’s Thursday, this must be Belgium” approach that happens on highly planned tours which rushes people from place to place — till battle fatigued sets in. Uhh.
A road trip itinerary. This “death march” approach to travel is painful. And it can happen all too easily when you’re doing a road trip. You generally figure you need to get to the next BnB every night. But for me it’s better to mix it up, take an extra 2 hours here, don’t go there till tomorrow morning. And really 14 days is a fairly easy pace for the Ring Road, as long as you don’t do too many detours. Even with the longer excursions I’m doing, my next lodging I will be (on average) about 100 miles away, about a two hour drive with no stopping. Doing the Ring Road in a week — that can be a death march.
That’s the point of me knowing the more interesting cultural and photographic spots along the way. I don’t need to stop at any of them, just stay in the hotel till it’s time to drive to the next one. I can also spend all my time at a waterfall or sea stacks. I won’t know how things will go until I see what the weather, road conditions and light are like.
The light. And, since the next lodging is only 50 or 100 miles, I can do a quick drive by of a shot location and then double back later in the day or the next morning. That’s important. Because my whole approach is to visit photo spots when the light is good, otherwise why shoot it?
This doesn’t mean I don’t shoot a spot when its overcast or not Golden Hour, just the opposite. Many of my best Iceland photos from March were shot at Snaefelsness Peninsula when we had a foreboding sky and 30 mph winds. I was cold and rushed on the tour but capturing those waves blasting against the black sea stacks was delicious.
But the one criteria for most of my BnB choices was to stay close to the landscape locations I most wanted to visit. It’s a bit more expensive to stay close to the marquee sights. But that proximity allows you to wander over in the evening or just after rolling out of bed in the morning — when the light is perfect and there’s not a tour bus to be found. Sweet.
For the next 2 weeks, Facebook will be my main social outlet.
Posted on October 27, 2017
Growing up an Army brat (and with parents who were brats), the Hawaiian islands were part of our family history, our travel DNA. My mother came here just before the war. And my Mom’s rendition of the old Honolulu show tune, “When Hilo Hattie Does the Hilo Hop,” seemed to capture the spirit of Old School Hawaii. I’ve often wished I had a recording of her version; the last line, “Hattie’s sure to die from too much gin,” is etched in my brain forever.
I liked our trips the the islands, in a family vaca kind of way. But as a writer of a travel/photography blog and the occasional book, I’ve begun to see Kauai, Maui, Hawaii and even Oahu with a new respect. The islands are as intriguing to me as a landscape photographer as Iceland or the Southwestern national parks. Plus, I appreciate the range of nature-related experiences that are available.
Hawaii’s an easy trip from the West Coast, not too pricey if you go the condo route. More important, the islands work on lots of levels: cultural, personal, creative/artistic. But 2 or 3 months ago, when I was trying to imagine the shape of our next little trip, Kauai in particular kept coming to mind.
We’d been to the other 3 islands in the last five years. But M had never done Kauai, so she wondered how it stacked up against The Big Island and Maui (her fav). I hadn’t been on Kauai in over 15 years, when I did an outdoorsy solo trip.
I’ve come so many times and know the basics, beach, luau, snorkel tour, restaurants, a smidgeon of Hawaiian culture and ecology — all that good stuff. And all those choices become more personal if I add in photography and a helping of creative exploration. That was my idea.
An Old Photo in an Album
My first Kauai experience had been a family trip there in the mid-90s, a few years after Hurricane Iniki had leveled much of the island. That trip didn’t do much for me, no time on my own to explore.
The second trip to Kauai did stay in my head, partly because of a photograph. That trip had included a scuba trip, the NaPali Coast hike, the Waimea Canyon and Overlook drive and general forays around in my rental car. I started to see that deeper side of the island that time, but I never went all that deep.
But the thing from that trip that stayed in imagination was when I took that photo of the Waimea Canyon overlook and a little helicopter.
I only had a P&S, not 35mm; film, so no Lightroom or Photoshop. But I loved that shot. I so clearly remember that overlook. Seeing those cliffs and valleys glowing in late morning light. Zooming in on those massive barrel shaped canyon walls, all that iron-red lava. The “Grand Canyon of the Pacific” indeed. I was just starting to around with composition back then and when the copter entered the frame, well…
I blew it up to 8×10 and plopped it into an album. The quality looked fine to me then. Now, with the photo technology, post prod tools — and more important, with my training and experience, something is missing. The image isn’t flashy, I’d delete it these days. But it has a core of experience. Obviously, on a technical level the image is flat and crude. The moment of creative discovery held so much more than was captured with a mid-90s point and shoot.
That was another motivation for wanting to visit Kauai again, to shoot that location now — now that my equipment is landscape photography grade and I’m a bit better at seeing composition. I wanted to go back, to do justice to Kauai as photo location. So I returned and M came with me.
Going Deeper into a Place
Ultimately, the idea of returning to Kauai for a third time (first for my wife) kept pulling my attention. Most of the earlier trips to Oahu, Maui and Hawaii happened as family vacations. Three generations of family. Everyone did beachy stuff and sightseeing, the occasional museum, snorkeling, a little hiking.
And don’t get me wrong, these were great as family vacations. But all the photography-oriented trips I do now, my blog posts on Iceland from this last March (or my Zion/Bryce and Arches/Canyonlands books) have taught me to see these classic locations as places of self discovery.
I think the best shot locations have a balance or geology, light, compositional elements, culture, experience. So another motivation for Kauai was to see the island at that level.
And as I sit here in Poipu, I’m starting to figure out what pulls me in. On some level, I’m becoming more enticed by the simple. I’m not letting myself get as sucked into the media-driven angst and the political. Yeats’ line, “… the center cannot hold” is a true statement of our out-of-sorts time. But I won’t let that be my reality.
I’m learning to not let the endless media hand-wringing define me. Instead I’ve been staying more centered, doing stuff that’s as close to fully positive as I can muster. And part of that process is maintaining a creative focus that mirrors the sense of balance I choose to move towards. Kauai seemed a good choice for that internal work.
Kauai, the “Garden Isle,” is spoken of as the most fully Hawaiian of the four main islands — because it’s the least touristy, most laid back — closest to the Hawaii of old. Not surprisingly, it’s the least populous of the big 4 with about 70,000 residents. Oahu, location of Honolulu, has about a million folks and gets the lions share of visitors. And the lack of population density allows nature to become primary, to take center stage.
Kauai has also practiced been a Hawaiian Island longer. The island was formed about 6 million years ago as the Pacific Plate shifted and volcanos created new land. Oahu formed a couple million years later, Maui a couple million years after that. The baby, The Big Island, was formed half a million years ago and continues to have lava flows.
As the older sibling, Kauai has a more lived in attitude. Six million years of tropical rain have hidden the lava base under thick jungle and create weathered valleys — the most obvious being Waimea Canyon. So the density of nature and natural colors creeps into your spirit when you’re here. And when a photographic artist puts the attention on these elements, it can have a healing effect on photographer and audience.
And after all, that’s a core value of landscape photography, using nature to remind us that harmony and order exist. Going to Kauai allows me to immerse myself in this aspect of life.
Posted on April 24, 2017
As a photographer, I treat a destination like Iceland with enormous respect. I research the place with as much depth as I can muster: do searches of tours (both enthusiast-oriented and general), read up on the culture, talk to friends. And mostly try to connect the best images I find (often on Pinterest) with logistical issues.
And for me, the two areas that held the most charm artistically were the South Coast and Snaefellsnes peninsula. I decided early on to do several days along the South Coast with a 4-wheel rental. The place is a few hours from Reykjavik and has 6 or 8 excellent photo locations. But the Snaefellsnes photo sites were harder to get hard data on – so I decided to do a one day tour.
Reykjavik Excursions, like all the major providers, picks you up at your hotel fairly early, @7:30. And after getting folks checked in, it’s off for the (very long) day. The peninsula is north-west of the city, over two hours away. So our guide spent the first hour or so doing an overview of the country. Some notes:
Historically, fishing has been the most important industry, not surprising given the island’s location along the northern edge of the Gulf Stream. Iceland had to fight other nations (particularly the UK) to maintain this industry from being overfished during the “Cod Wars.”
The country’s location also gave this little country (330,000 people) two big airports absolutely free. During WW2, the Brits built the city airport for a base in the mid-Atlantic. Soon after, the American’s built what became the international airport would become a prime base for NATO during the Cold War. (In fact, the American troops didn’t leave the country until 2006.) That also meant Iceland got more money under the Marshall Plan.
The airports and a mid-Atlantic location also led to the country having a far larger presence in the airline industry (with Icelandair) than its size would warrant.
All the troops led to a TV station that played American film and TV. One reason the natives speak such good English.
The country gets all it’s energy from renewables, esp. geothermal.
Tourism is now the largest industry and in the last few years (since the volcanic eruptions put Iceland on everyone’s radar screen).
The country still has some dairy and sheep farming but it’s difficult to make a living in this traditional way even for folks whose family’s have been involved for years. There are any number of Icelandic horses and some are still used for sheep roundups. Most are for personal use or for tourists.
Our guide also answered the question everyone had on their minds, why’s it so expensive. Partly the answer is the cost of importing so many goods. Part of the problem is infrastructure. A country half the size of Great Britain has to have roads and harbors all over the place. But Iceland has less than 1% of the population.
As we climbed into the higher elevations, our guide pointed out the light reflectors by the side of the road. Each about a meter high and maybe 20 meters apart on the side of the road. The snow is an issue for half the year in this area (as in most of the country). And during snowstorms, the reflectors are the only thing telling drivers if they’re still on the road.
The wind is also a huge factor. Once you leave the lowlands, the wind can blast a car or truck of the road fairly easily. In fact, just the day before our tour a bus was blown over.
Posted on December 18, 2016
The Torrance Farmers Market, Saturday edition, is the largest in the South Bay. Not quite as large as Santa Monica (or as urban) but with more food options and (generally) live music. In addition to the farmers and the shoppers, you can often find a ball game happening. It’s a bit Norman Rockwell, but in a multicultural universe.
Details. The market goes for earlier than I get there till about 1 PM. It’s at Wilson Park on Crenshaw between Carson and Sepulveda. The main lot gets crowded and I generally park in the Korean church lot.
I prefer to bring my little Fuji X-T2 over my Canon 5D MIII. It’s not so much the weight as the logistics of public photography. A little mirrorless doesn’t make folks think their pic will be spread all over the internet by someone from the National Enquirer, and it won’t be. People get into a certain zone here and part of my job is to let them go with that.
The South Bay is a voraciously diverse melting pot of multicultural harmony. And each visitor to this version of Norman Rockwell has their own deal with the world. For these kinds of pics, I try to give each his or her due.
Wilson Park is Saturday headquarters for kids and family sports. This flag football game was of particular interest on this misty morning. And I got to use the X-T2’s low speed burst to track the action. A sampling of those shots.
More Action figures
Posted on November 11, 2016
Ring the bells that still can ring
Forget your perfect offering
There is a crack in everything
That’s how the light gets in.
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.
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.
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.
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.
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:
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.
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.
The Cayucos location was one spot that I’ve never noticed before that I totally loved. I spent over an hour there.
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.
Posted on September 3, 2016
My final day involved some early-ish morning shots at Moonstone Beach, the Central Coast mood is best when the mists are all thick. Then, after picking up an exquisite coffee cake from Linn’s Bakery in, driving (and stopping) and driving home to LA.
The coast from Cambria to Morro isn’t as dramatic as the wilds of Big Sur. But there are unique photo spots here if you keep your eyes open. And that’s what photography is after all, open eyes.
Shoot Location, Just North of Cayucos
In fact, a few miles south of Cambria, I noticed a large car pull-off area. I had planned to spend an hour or two exploring new photo spots in this section of coast. And this pull-off had a long apron of dry grassland leading down to a beach. Suddenly there’s an adventure.
For those interested in this spot, the pull-off is about a mile north of Caucus, and right at the “Welcome to Cayucos” sign:
Here’s the street level view:
A pleasant morning on the Central Coast. No place you have to be. And the thought comes, let’s see this place fresh, as photographer with camera. I walked down the dirt steps and entered into the dry field.
And at first you just want to breath in a place, get the smell of the grasses and the ocean spray. Listen to the insects in the grass. And if you’re in the moment, you may even sit down in the grass and take it all in. Why not.
Walking the field, you start to see what makes Cayucos Point appealing.
After Cayucos, it’s just a short jump to get to Morro Bay and it’s famous rock. This pull-off on the north side is my favorite view of the rock.
Once you get to Morro Bay, the highway heads east to San Luis Obispo, past Pismo Beach, into wine country, west of Solvang, the mock Danish town, and all the way home.
Posted on September 2, 2016
Once you leave the highlands of Big Sur, the highway eases its way into flood plane and the eastern hills soften. The light is thick golden syrup, the hills rusty gold, the ocean deep, deep blue. This is the Alice in Wonderland that is San Simeon, the Hearst Castle. But our focus remains the lovely shot locations available on the coast.
Just another unmarked pull-off. It was a bit north of the elephant seal sanctuary and San Simeon. This is the classic landscape of the lower Central Coast. For this image, I was drawn to the mossy rocks in the foreground and the surf — and seagulls huddling away from the blasting wind.
By 7:30 the wind is so penetrating that tourists are stopping at the elephant seal sanctuary, getting a shot or two and jumping back into the car.
The shots below are taken from just south of the San Simeon turnoff. A windsurfer would say that the wind is blasting. But no one should be out with this much wind at low tide.
The Golden Light is something the gulls can appreciate.
Moonstone Beach, Cambria
Moonstone Beach, west of Cambria, is a treasure most tourists don’t find. It’s a great spot to catch the sunset. And having 30 mph winds only adds to the appeal.
OK. How can I not use the cute seal shot. Who cares what the New York art establishment thinks anyway.
And just above the heads of our two seal buddies, the sunset goes on. Not sure why a sunset would distort the sun this way but it’s a nice effect.
And while we’re here, lets take a peak at Hearst Castle. What a strange treasure: the grounds, the banquet hall and pool, the art culled from around the world, and the house that kept being built and rebuilt. And ultimately, the sinful side of San Simeon with 1930s Hollywood coming up to party and copulate with their own kind — like an American version of the upper classes going to a country house for a hunting and shooting weekend.
Hearst is worth a day or two at if your photographic proclivities run towards Old School opulence. Below, the unwashed masses confront Lifestyles of the Rich and Famous.
Next: A Final Look at Central Coast