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 April 6, 2018
Lots of people don’t want to bother with planning. They want to book a flight and hotel and then wing it. And in a way, that’s what the savvy traveler does — engage oneself in the moment of a place , the one on one interaction with an environment. Anything rather than the mind-numbing approach of following a rigid list of Must Sees in Paris.
And if you’re just gonna go from hotel to beach and back again, the old don’t-plan-anything approach can pretty much work. (Except for booking hotel, flights, island travel, etc.) But that’s not in the cards if you’re doing an Iceland road trip.
Unless you’re doing tours (where the company does the logistics), a creative/photo oriented road trip requires planning, detailed planning … which allows you to then take a full two hours to engage with a photo location or go on a hike or do a blog post.
You need to build time into a good Ring Road trip — but time in specific spots. If photography is a guiding issue, you’ll want to know which photo locations are where on your road map — otherwise you’ll get your accommodations all wrong.
Now that detailing of a trip isn’t a hassle if you don’t make it one (and if I ever put this little travel book together). All your really doing is knowing what the cool spots are, thus giving yourself the time to explore them.
Logistics are pure karma, part of the creative path. Deal with that part and you (such a savvy traveler), can improvise. You can decide that this historical village is worth it and that waterfall, whose name you can’t pronounce, is one too many. Set aside enough time and you get to have a moment of pure creativity in a place you’ve never seen before… and that’s about as good as it gets.
You plan it before hand based on best knowledge then listen to your instincts when you’re on location.
Where to stop
I need a clear understanding of my itinerary stops before I book a BnB. But what are the best photo opportunities for landscape photographers? The photo tours don’t publicize those details for obvious reasons.
The various guidebooks can give me the general points of interest. But this is a photo tour and guidebooks provide almost no help when it comes to photo points of interest.
The Iceland itinerary companies out there provide a few recommendations for photos, they know where the tour buses go. But they have no idea about the crucial photo issues:
So, since I haven’t written the Iceland book, I need a good idea of potential shot locations (with my internal stack-ranking) and where they’re clustered. That’ll tell me what towns to stay at and for how long.
To handle this level of logistical planning I took a large map of the island and placed representative photos of the various photography locations where they are on the map. That allowed me to visualize my personal favorites in the context of travel times and lodging.
Now, think for a second about maps. They’re not just a guy thing unless someone wants to give one of the great tools of life over to the other sex. No, a map is a graphical metaphor for the physical landscape. That makes it important for landscape photogs on every level.
See, when I travel to a place, I want to develop an internal sense of where everything is — the way I have in the place I come from. The closer my internal framework is to life, the easier travel gets.
So when I look at my little scrapbook-like map, I can imagine what each day looks like. I look down at the peninsula at the bottom left of the map, the one with that big spot of red ink for Reykjavik, and a couple of inches to the left of that, Keflavik International Airport.
Now the map let’s me think the steps through as drive-time and stops: Get into the airport at that god-awful time, get the rental car, head to Route 1, follow it down the South Coast a couple hours, past some waterfalls and then the little BnB. I’ll want to chill there for a few hours after all those hours of traveling. Then some food before doing an evening photo shoot at those two waterfalls (the tour buses will have left) or maybe wander down to Vik and the Black Sand Beach.
A map gives the brain an objective reference point, not a bad thing.
Researching my photo locations
I did plenty of exploring on the Internet before my trip last March. I was particularly interested in spots that are popular on the photo web sites like 500px, Viewbug and Instagram. It’s helpful to check out the work of other photographers. First because you want a sense of what a waterfall or town or historical spot is really like. After all, there are hundreds of waterfalls on the island, some more spectacular (or charming) than others. So you start to see what the “marquee” photo locations are and where they’re located.
I also did searches of Iceland day tours and photo tours. These sites tell you which places the tourist industry thinks of as most enticing and photogenic (but they don’t share any of the logistics).
But it doesn’t take long to realize that these web sites (like the web itself) are biased. The locations that get all the web traffic, the “marquee” locations, are dramatic — and easy day trips from the city. The web pages you see reflect the businesses and people who want to drum up business, not actual need.
These are also sights that get the massive numbers of tour buses. And as a photographer, I want to know that. For instance, two waterfalls in the south, Seljalandsfoss and Skogafoss, are super popular with the tours, even in winter. And most of the Instagram shots feature thousands of tourists. Some of that can be cleared up in Photoshop, but a better solution is to visit that location before 9 AM or after 6, when the buses are heading back to Reykjavik.
A marquee shot or a pull-off
If I were a purist, I could avoid the popular spots altogether. After all, what fun is it to shoot a spot that’s been done and overdone by Instagram. Why set up a tripod and risk being hit by selfie sticks and run over by exuberant tourist. Fair question.
Shooting these locations during tourist hours is no fun. So shooting when the buses are gone is one choice. For other marquee locations like Gullfoss (on the Golden Circle), the tourists aren’t such an issue because you and the hordes are shooting from the cliffs above.
It’s true that the marquee locations have been done to death. So I probably won’t have anything unique to say. But what do I care? It’s a cool location, it has its own set of challenges, its an excuse for me to get in the zone… as long as I know when to visit. That’s another reason I’m doing this book research.
And in Iceland, there’s a country full of sights, amazing sights, that just don’t get the traffic. There are no tours to these spots. Some of my fav images from March were places not in the guidebooks, just pull-offs on the Ring Road. Each was a challenge no other photog has ever faced. Each forced me to see value in unexpected places.
The photo landscape of the Ring Road
Once we take Reykjavik out of the equation with 90% of the population, we have a number of photo worthy spots along the Ring Road.
Reykjavik to Vik. The South Coast has none of the fjords you see in the rest of the country and no ports. The area from 8 to 6 on the clock of Iceland is an alluvial plain with farms and black sand beaches. Given it’s closeness to the city, the area is hugely popular for tours (and photographers) with a couple of famous waterfalls and at the bottom tip, the beaches and sea stacks around the tiny town of Vik.
Vik to Hofn. From Vik to Hofn (6 to 4 o’clock), there’s a monster glacier just inland and, of interest to photographers, a national park, more waterfalls, Glacier Lagoon and Diamond Beach.
Eastern Iceland towns. The eastern side just north of Hofn doesn’t get many tourists. But if you stay along the coast instead of taking Route 1 inland, you’ll find that each of the scenic fjords has a fishing village or two and several have some charm. This is the real country, the way things were before Iceland got discovered by the global economy.
Northeast from Eglisstadir to Akureyri. From 2 up to 12 on the clock, the Ring Road pulls away from the coast and climbs into high country. Not many people up here until you get due north, to the scenic Lake Mavatn and Akureyri. There are a number of amazing waterfalls, more historical sights, low level volcanic activity, lots of empty road. And Akureyri, at 20,000, is the second largest “city” in Iceland, so shops, restaurants, a few little museums, people.
Northwestern Fjords. West of Akureyri you’ll find more little fishing villages along the northwestern fjords, plus scenic islands, whale watching, historical sights. Like Eastern Iceland, these sights are detours off Route 1 along the peninsula roads.
Snaefellsnes Peninsula Detour. After the north, Route 1 heads back towards Reykjavik. But doing a turn off along the way gets us to the Snaefellsnes Peninsula. It’s another popular day tour from the city. Plus it has several significant landscape locations (Kirkjufellsfoss, Helnar, Budar church, etc.). Plenty of excellent photo adventures, enough to warrant a couple of days.
The West Fjord area, north of Snaefellsnes on the map above, is the most unspoiled. It is a phenomenal area but is far off the Ring Road that for many, it won’t be worth the extra travel time. That said, Hornstradir National Park is unique and I’ll go at some point just because.
Golden Circle. The Golden Circle is also off the Ring Road, basically north east of the city. Most folks do this area on one of the tours. But it’s also an easy day trip to do on your own in a rental car. And since the Golden Circle is close to Reykjavik, it needs to be done at the beginning or end of the road trip. There are no easy roads over the center of Iceland. It’s mostly high country and home to several glaciers.
A few logistical data points
Planning for a Ring Road self-guided photo tour is a different beast. Consider:
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 March 7, 2017
Julianne Kost did a nice couple of blog posts on her photo expedition to Antartica. One post was her narrative and images, the other was devoted to how she does her Lightroom and Photoshop post-production. That one also shows the photos at the different steps of post work. They’re both worth a look.
On her approach to photography, Julieanne says, “It’s important to know what you can do in post when shooting. While we aspire to capture all of the key elements to make a successful image in camera (light, gesture, composition etc.), post processing is another tool that can be used to craft and refine your vision, and if you can pre-visualize what an image can become, you have an advantage.”
Some of the images:
Here’s what she says about her Lightroom work on the image above. The initial image is presented first and it is fairly murky, not something you’d show.
In the Lens correction panel, I began my editing by enabling both the Remove Chromatic Aberration and Enable Profile Correction options to remove any distortion and vignetting caused by the lens.
Then, I cropped and straightened the image to better balance the composition (and remove the distracting ice on the left side of the frame.)
Because of the cloud cover, the original capture was flat and lacking in contrast. I used the Whites and Blacks sliders in the Basic Panel to extend the dynamic range of the photograph across the entire histogram. I also increased the Contrast slider and decreased the Highlights slider to retain detail in the brighter area of the ice.
I adjusted the white balance of the image to neutralize the ice in the foreground by moving the Temperature slider towards blue and the Tint slider slightly towards magenta.
As a result, the sky lost its yellow color so I painted in the sky area with yellow using the Adjustment Brush to add depth and create color contrast between the foreground and background.
I added local contrast and clarity by painting with the Adjustment Brush, helping to make the icicles pop and boost edge definition.
Finally, I used the Spot Removal tool to remove the darker shadow on the left as well as some distracting imperfections and drips in the ice.
Posted on August 8, 2016
Geographically Big Sur is just a wilder, more pristine extension of the Monterey Coast. But Big Sur is unique, one-of-a-kind, one of the great road trips in America. Yes, it can be a pain to drive, especially on summer weekends. But get past the quick pull-off and click mentality of most drivers, treat the different spots as the kick-ass photo locations they are, the trip becomes a feast for the photo enthusiast.
From the start of my Carmel photo tour, I had been planning to finish the time off by heading home down Highway 1 through Big Sur and the Central Coast instead of going the fast way, the 5 Freeway. So I spent two days driving the coast route, digging into locations I’ve shot before, but never fully experienced. My guess is I will be back soon for a longer stay. Big Sur is a visual feast.
The richness of the ecosystem has a lot to do with the tidal pool landscape. A spot like this one (below) is a perfect micro-system for plant, fish and animal life. I tried to capture that feeling visually by attending to the wave action as I timed my shots.
I noticed this spot (below) while driving down to Bixby Bridge with Mark Common and other folks on my Creative Academy photo tour. Mark pointed out a large field that slopes down to the sea just north of the bridge. He mentioned that this field of native grasses is used for car commercials that are going for the mythic California coast look. So I stopped on my way home for further exploration. (Thanks Mark.)
You can see Bixby Bridge in the distance. Here’s a variation on that theme.
Both images are f/22. I wanted the whole DOF to be sharp. But this portrait mode image is at 300mm and uses the window in the sea cliff to anchor the image. I shot several of this view but went with the one that has the seagulls riding the ocean breeze.
One of the classic Big Sur photo locations. This location is a left turn of Hwy 1 (when going south) onto Old Coast Road just before crossing the bridge. Another location choice is just to use the pull-off just right of the bridge. But this location gives a nice mix of foreground and background.
Next Installment: Entering the Wilds of Big Sur
Posted on August 8, 2016
And the sabbath rang slowly
In the pebbles of the holy streams.
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).
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,…
And nothing is as joyful as a golden retriever following the call of DNA.
One final image from Pacific Grove, taken in the late morning light.