Archive for the ‘Columbia River Gorge’ Tag
Dawn and part of a frozen waterfall in Zion National Park. 16 mm., 1.6 sec. @ f/11, ISO 100
Sometimes you have just one opportunity to get a shot. You have to whip that camera up and shoot. If you’re not ready the moment is gone. But more often there is time to capture different versions of the same subject. Since landscape photography is so applicable to this, and because I do a lot of it (I’m not alone!), I’m going to use landscape photography to illustrate ways to create alternate versions of an image.
There are several main ways to vary a landscape shot. Let’s look at those that change the composition but keep the same main elements of the scene the same.
- Format. Changing between horizontal (or landscape) and vertical (portrait) formats is the easiest way to create alternate versions of an image. Normally a vertical emphasizes the height of things like trees and mountains. It can also give a greater sense of depth. Horizontals emphasize a sense of space and can lend a serene feel to a landscape. I usually try to get both unless the picture definitely lends itself to one or the other.
- Point of View. Point of view (POV) can be changed in many ways. I did a mini-series on POV that explores this very important subject. One of the most common ways to vary POV is by changing camera height. Depending on how close the foreground is, changing height will also change the distance to that foreground, which can greatly change the look of an image.
Vertical of the image at top. I lowered POV, got closer to the foreground and thus emphasized the ice and sandstone while reducing the apparent size and importance of the background mountains and sky. 16 mm., 1.3 sec. @ f/11, ISO 100.
- Proportion of Sky vs. Land. Changing POV in turn can change this variable. It involves changing the relative amount of sky vs. land in the image, a very common thing for landscapers to do. For example, simply tilting the camera down or shortening your tripod legs takes you from an image dominated by sky to one dominated by the landscape below. The possible variants are nearly endless. For example you can change from nearly fifty-fifty to almost all land with just a sliver of sky. You could even shoot with the horizon in the middle, but that works well only in certain situations.
- Distance from Subject/Foreground. As long as you don’t exclude a main element (in which case it’s a different picture), you can change the feel by simply moving closer to or further from the closest element in the frame. Try doing this without changing any of the variables above. It’s hard to do, isn’t it?
A rainbow and a tall fir tree frame Vista House in Oregon’s Columbia River Gorge. 35 mm., 0.4 sec. @ f/11, ISO 100.
As just mentioned it can be tough to change just a single variable when you’re taking multiple shots of the same thing. Of course you don’t have to limit yourself to one variable. And you shouldn’t. We’re not doing science experiments, we’re shooting pictures. But if you’re curious and want to see more clearly what the effects of changing a certain variable look like, go ahead and control the other variables. Play scientist for awhile.
Next time we’ll look at a few other variables you can change to create alternate versions of your landscape images. Thanks for reading. Have a fun weekend, one filled with laughter and plenty of pictures!
Which version do you like, this horizontal or the vertical above? By changing format & using a slightly longer focal length, the tree and top of the rainbow are cropped off. The light has also changed slightly. 50 mm., 0.5 sec. @ f/13, ISO 100.
Nearly every digital camera sold nowadays has video. In fact, I can only think of one DSLR without video that I would shoot with. It’s the excellent Canon 50D, a camera that I used to own (I even took it to Africa). Camera makers are building video in for a reason. I don’t have to tell you that videos are very popular on the web. But even for those of us who buy a camera thinking only of still photography, to have the option of shooting high quality video through high quality glass (lenses) is very tempting. So it’s usually not long after that shiny new digital camera arrives that we switch to video mode and start winging it.
I say winging it because, while there are important similarities, video is quite different than still photography. Mistakes are inevitable and can easily make our videos look amateurish. This series is designed not to make you an expert videographer. I can’t claim to be, after all. It’s meant to get you thinking about capturing motion and sound rather than still scenes. It’s also to give you a baseline from which to start your journey into videography. This is the first time I’ve posted videos on this blog, and so it’s a bit of an experiment. I’m inserting them from my Vimeo page. They’re unedited but not too lengthy.
So why shoot videos at all? Other than the novelty of capturing motion through a variety of lenses, videos are good for…
- Mixing things up. Anything you can do that’s different will help to keep you from slipping into a shooting rut.
- Adding value to a shoot. Even if you are shooting a portrait, where the goal is clearly to get a great still shot of your subject, a video is the kind of bonus that’s guaranteed to make him or her very happy. Only video can show the laughs, changes of expression, and all the interactions that happen on a typical shoot.
- Showing context. If you put in a lot of work and money to get someplace great to photograph, you’ll want to bring home something that, while perhaps not your best stuff, is nonetheless critical for documenting your visit. A wide-angle, so-called establishing shot or two that shows the wider area is one thing. A video that pans through the area can show even more. Plus it includes sound!
- Showing movement. I know, duh! While it’s often interesting to show movement in a still photo, only a video can show movement as it actually is.
- Including the sound-scape. For me this is one of the most valuable (and challenging) aspects of video. Still pictures have a huge shortcoming: lack of sound. A motion picture overcomes that.
- Profit. If you are thinking of going pro at some point, there is another major advantage to capturing video. You’re getting practice for that (inevitable?) moment when you make the transition. If you follow a number of pro photographers you may have noticed that many if not most of them eventually make the jump to video. They are doing this not because they like it better than still photography. Most of them would much prefer to stick with what they love. No, they’re doing it for money. For reasons I don’t completely understand, it’s much easier to make a good living being a videographer than a photographer.
Next time we’ll dive into the nuts and bolts of shooting video. Have a fun weekend everyone, and press play!
Dust and sand from the dunes at Mesquite Flat blows up-valley ahead of a storm. Surprising for this hyper-arid place, I got soaked hiking back.
I took a break last week from Foto Talk. Hope you all didn’t give up on me! This week I passed by an area that was readying itself for a hurricane. And there’s been plenty of rain besides. So I’m taking the hint and posting on the subject of photography and weather, in particular photographing in the wet stuff.
Shooting in stormy conditions presents both challenges and opportunities. You’ve probably heard the advice to keep shooting right through stormy weather. While I won’t disagree with this in general, I prefer a less absolute, more realistic attitude. It’s a matter of weighing the upsides against the downsides.
On the plus side, depending on the clouds and sky, you may get some of your most atmospheric or dramatic shots during bad weather. On the downside your gear is at risk. In wet weather you are taking the obvious risk of getting moisture inside camera or lens. Since that’s where your sensitive electronics reside, this is of course not good.
A storm blows itself out over the Columbia River, Oregon.
SHOOTING IN THE STORM
I’ve lived in both Oregon and Alaska, two places where dramatically bad weather is very common. Here is what I’ve learned over the years about photography in bad weather:
- I just mentioned the risks of water inside the camera. But that’s not nearly as bad as putting yourself at risk. It doesn’t happen often but dangerous weather does occur. Use common sense and know when to beat a hasty retreat, to high ground and/or shelter.
- Find camera protection that works for you. I’ve posted before with tips and recommendations in this regard, and this post isn’t about that. Just realize that no matter how good your rain cover, lens changes and other occasions expose your camera to the weather. So no matter what you do some moisture will likely fall on your camera. If you have a well-sealed professional grade camera and lenses, you can get away with wetter conditions. The key is to know how well sealed your gear is and act accordingly.
I shot this lighthouse on the Gulf Coast of Florida recently just after a heavy shower had passed.
- At least as important as having camera/lens protection is having good clothing that keeps you reasonably dry and comfortable. But since no clothing is perfect, be ready to put up with a certain degree of discomfort. I always remember what my grandmom used to say whenever I complained about getting wet. “You’re awfully sweet but you’re not made of sugar. You won’t melt!”
- Unless I see something quite compelling, either while driving or hiking with camera in a pack with rain-cover on, I usually don’t bother getting my gear out when the rain (or wet snow) is coming down hard. Shots I may try when it’s dry I won’t chance when it’s very wet; that is, unless it’s really calling out to me. It’s a simple calculation of risk vs. reward.
- When it’s raining or snowing, contrast tends to be subdued. So I tend to be attracted to compositions where low-contrast helps instead of hurting. Low contrast in the wrong shot can rob it of impact, but in the right situation it helps establish the mood of your image.
Hiking up into the Oregon forest during a rainstorm near dusk was the only way to get this shot.
- I shoot from within my vehicle a lot more when the weather is bad. And I don’t think it makes me a wimp! It does require sometimes pulling off in odd places. If you do this, take it from me: turn your attention away from the light and pay attention to your driving until you’re stopped, and even then continue to keep one eye out for traffic. Unless the road is truly empty, I won’t block the travel lane. I always make sure there is good sight distance behind and in front. Having good sight distance is key, as is using emergency flashers and being quick about it.
The rain was coming down hard for this shot from inside my van: Columbia River Gorge, Oregon.
- Being near big waterfalls can be just like being in a rainstorm. So all the precautions you take in rainy weather you should also take when shooting a big waterfall in high flow.
- Normally I don’t use UV filters, but when it’s wet I like to put them on. Lenses seal much better with a filter than without. Any filter will help seal a lens. If I’m shooting in a forest and especially along a stream, I use a circular polarizer instead of a UV filter. CPLs cut down on reflections from wet leaves and rocks, bringing out their colors.
- If you like shooting the stars at night, consider also shooting on moonlit nights when clouds or even storms are around. Lightning is an obvious draw for many photographers, but if you let your imagination roam you can find unusual night compositions.
Most photogs. want clear skies when they shoot at night, but the clouds added drama to this overview of Norris Geyser Basin in Yellowstone Park.
As I’ve gone along, shooting in weather of all kinds, I’ve learned that shooting on weathery days is all about transitions. Periods when weather is moving in on you or just clearing away very often offer the most rewarding light and atmosphere. That’s why I titled this post Shooting around Weather, not in it.
- Given that weather transitions usually happen quickly, it’s important to be ready. That means, for a start, getting out there. Some people think it strange, but a landscape photographer looks at bad weather forecasts and plans to go out shooting. And it’s not just landscape shooting that can benefit. You’ll get some of your most interesting architecture, people or wildlife shots when weather adds some drama to spice things up.
The interesting light here at Bollinger Mill & Bridge, Missouri is from a rapidly approaching violent thunderstorm.
- So how to plan for something so capricious? First, identify “transition days” ahead of time. They are days when weather shifts from one regime to another, and the weather-person will sometimes call them out for you. Otherwise you can see them coming yourself, once you’re familiar with the weather in your area. Because they are full of change and thus unpredictable, you can easily get skunked with either socked-in conditions or clear blue skies. But you can be rewarded with fantastic light as well.
- Because they are literally defined by change, success on transition days is anything but guaranteed. So instead of trying to outsmart the weather, go out on storm days too. Transitions in the middle of stormy periods, often featuring brilliant sun-breaks and colorful rainbows, occur between fronts and generally don’t show up in weather forecasts (although you can sometimes see them on radar).
Within seconds, the rain stopped and light of the setting sun shot out from behind the Grand Tetons, Wyoming.
- Watch the sky carefully and try to anticipate transitions. This can take practice, and expect Mother Nature to throw you many curves. During dry times, get to where you want to shoot and wait (hope) for the shift to stormy weather at the right time, when the sun is low. During the storm, get to your spot and shelter there with camera & tripod at the ready. As the sun lowers, there is always the chance it will dip below the storm clouds, illuminating everything in beautiful light.
Thanks for reading. Now I’m off to get some shots of the ocean and sky in tropical storm weather. Wish me luck! Have a great weekend and happy shooting!
Recent sunset in a coastal area along the Gulf of Mexico where Hermine was due to hit.
Oregon’s rugged upper Salmon River valley, an amazing place to photograph in cold wintry weather. 70 mm., 1/6 sec. @ f/16, ISO 100; tripod; converted to B&W in Nik Silver Effex 2.
This continues the mini-series on black and white (B&W) photography. Check out Part I for tips on what types of images lend themselves to B&W. I really like trying monochrome processing with any shot, because you never know until you see the image. A few things to keep in mind while shooting B&W:
- See in B&W: This can be tough to do, since we see all day everyday in color. One thing to try is setting up your camera to display in black and white while shooting. If you’re shooting in RAW (which you should be), the image is still recorded in color. It just displays in B&W on the LCD. Also try going out and shooting only B&W, as an exercise. Shoot Jpegs and deliberately limit yourself to B&W. I don’t recommend doing this regularly though; give yourself options by shooting RAW.
Sunset on the Olympic Coast, Washington. 50 mm., 1/80 sec. @ f/10, ISO 200; hand-held.
B&W conversion in Silver Effex 2.
- Look for Texture: As mentioned in the last post, textures are just made for B&W. That’s because color often distracts us from the underlying texture of a scene. Remove it and voila! Interesting textural patterns are revealed. Many people have too limited a view of texture. They think of peeling paint, tree bark, or a patterned rock wall. That is texture at one scale. In reality texture comes in all sizes, from the very fine to much larger patterns. Try to get used to looking for texture in all its forms.
Ancient sand dunes near Page, Arizona. 32 mm., 1/60 sec. @ f/16, ISO 200; hand-held w/polarizer.
Bringing out the texture: converted & processed in Silver Effex.
- Don’t Forget the Basics: The same principles of composition that make color images work apply to B&Ws as well. Limit the “junk” in your comps., and seek balanced scenes that are interesting and pleasing to the eye.
The foot bridge at Ramona Falls, Oregon. 50 mm., 4 sec. @ f/13, ISO 50; tripod; processed in Lightroom.
- Go for Monochrome Scenes: These are situations where the light and your subject are already monochrome, either nearly or completely so. Often it’s when the light is quite low, since light begets color. When things are already nearly monochrome, it’s quite easy to see and shoot monochrome images (funny how that works!).
Zooming in on Faery Falls in Oregon’s Columbia Gorge, the image became nearly monochrome. 50 mm., 0.4 sec. @ f/11, ISO 50; tripod; Processed in Silver Effex.
This wider composition of Faery Falls is a panorama of 6 shots combined & includes the surrounding green lushness.
- Get in the Mood: Finally, try to feel the mood of a scene and shoot it accordingly. Foggy and mysterious is the obvious one, but there are many other moods, including bright, contrasty and optimistic. Try to mentally impose different post-processing looks, such as toned to sepia, high-key, low-key, and so on. For example, with a monochrome scene that is already a bit dim, I’ll try to imagine what it might look like even darker and toned with a subtle sepia or cyan.
Okay that’s it for today. Stay tuned for more on black and white. Have a great weekend and get out there!
Beacon Rock on the Columbia River, a landmark that Lewis & Clark mentioned in their journals in 1803. 106 mm., 1/200 sec. @ f/10, ISO 200; hand-held; processed in Nik Color Effex, then given antique sepia tone in Lightroom.
Beautiful Falls Creek in Washington’s Gifford Pinchot National Forest. 55 mm., 20 sec. @ f/22, tripod.
Last week I posted under the somewhat ambitious title How to Shoot Landscapes. I mentioned that landscapes come in all sizes, so this week we’ll look at the small scale world of landscape photography. Most of the photos here are of this type, what I call intimate landscapes. But a few straddle the line or are definitely the more typical large-scale landscape. I like sharing recent images with you here on the blog even if they don’t match the topic precisely. But I also think they help to illustrate the difference between the two kinds of images.
No clear dividing line exists between the more photographed grand landscape and the less common intimate variety. The same goes for the lower boundary between intimate landscape and macro photography. In general if you’re shooting something less than the size of a football field/pitch (often much smaller), but you’re including more real estate than a typical macro photo (and not using your macro lens), then you’re shooting an intimate landscape.
Entering the narrows at Red Wall Canyon, Death Valley National Park. 16 mm., 1/4 sec. @ f/16, ISO 100, tripod.
A traditional home in west-central Cambodia. Shot from the edge of the rice paddy about a hundred feet away, this one straddles the line between intimate and large landscape. 135 mm., 1/60 sec. @ f/14, ISO 200, handheld.
HOW TO SHOOT AN INTIMATE LANDSCAPE
- Which one to shoot? Let your unconscious be your guide, but realize it’s easier to miss smaller, intimate landscapes. When a grand landscape inspires you, shoot that. But always be on the lookout for smaller scenes as well, and photograph those when they interest you in some way. Try not to go out with the goal of shooting one or the other.
- Composition is still king. The same things that make large landscapes work well (subject off-center, sense of depth, use of leading lines, layers, tone and color, and balancing elements) will strengthen your intimate landscapes.
In central Oregon’s Painted Hills, you can walk among colorful badlands. 19 mm., 1/10 sec. @ f/10, ISO 100, tripod.
- Strong subjects help. Of course a strong main subject helps any landscape image, but in smaller more intimate scenes, where all of the elements tend to appear the same size and are usually lighted similarly, a good strong subject is even more important. Remember a striking color contrast can also make for a strong subject.
Shot under an overcast sky, Fairy Falls in Oregon’s Columbia River Gorge is a very popular intimate landscape to shoot. 45 mm., 1 sec. @ f/10, ISO 160, tripod.
- Issues of light and sky. Oftentimes intimate landscapes are more appropriate when the sky is overcast and the light is even (image above). Typical small-scale landscapes don’t include much (if any) sky. But those aren’t rules! Now we know that great light, whether it’s strong & directional or filtered & reflected by clouds is perfect for grand landscapes that include a lot of sky. But that light is also great for intimate landscapes, even when you don’t include any sky (image below).
Beautiful light filters into Oregon’s Eagle Creek Canyon near sunset. 24 mm., 3.2 sec. @ f/13, ISO 100, tripod.
- Careful with clutter. This point is closely related to the one about strong subjects above. It’s important to be careful with clutter in all landscape photos. But when your landscapes are composed of elements that are all close to you, it’s even more important to simplify compositions as much as possible. With big wide-angle landscapes, more distant things tend to look small in the frame, so are not as likely to distract the viewer. When everything is close, that stuff may easily distract.
These redwood trees grow not in California but in Oregon. A very simple image shot from a steep slope out into the forest. To limit clutter it isn’t a wide-angle shot. 55 mm., 1/40 sec. @ f/8, ISO 800, handheld.
- Images with a sense of depth. Shooting near to far compositions (one good way to lend a sense of depth) are more challenging when working on smaller scales. But it’s possible. You may be focusing very close to the lens, so choose a lens that has a so-called “macro” setting. It’s not truly macro of course (marketing). Always wide-angle with fairly short focal lengths, these kinds of lenses open up a lot of possibilities for intimate landscapes because they can focus very close, in some cases less than a foot away. Getting down low can also help add depth.
Recent shot in Washington’s Columbia Hills in the eastern Columbia Gorge. Borders on a large landscape, the bit of sky and close-focus on the flowers giving it depth. 16 mm., 1/6 sec. @ f/13, ISO 100, tripod.
- Sky and depth. While we’re talking about a sense of depth, here’s something to try. After shooting an intimate landscape that excludes the sky, zoom out a little or shift the camera up a bit and include just a small bit of sky, not much. Compare and see if that doesn’t add more depth to the image. The image above makes use of both this and the above tips on adding a sense of depth.
So next time you’re out photographing your favorite landscape, try to find more intimate scenes. It adds variety to your portfolio and can yield some of your favorite images. Tune in next week for Friday Foto Talk for some tips on focus and depth of field when shooting intimate landscapes. Have a great weekend!
Landscape at larger scale but shot from the same place as the image above, just turned around to face the sunset. 16 mm., 1.6 sec. @ f/13, ISO 200, tripod.
A small falls along Gorton Creek in Oregon’s Columbia River Gorge.
Gorton Creek tumbles down one of the formerly not well known little side-canyons in the Columbia River Gorge. Now, like the Gorge itself, it is fairly popular with photographers. This verdant place is even on many photo workshop itineraries. That’s because it’s a short hike in, is very green, and has two lovely waterfalls that are not well visited generally.
Parking at the end of the campground just off the Wyeth exit, a 1/4-mile walk will take you to the first falls, which is so small it has no official name. The second one, called Gorton Creek Falls, involves either scrambling up along the steep left side of the creek on a user-made path, or hopping rocks and logs along the creek proper, and probably getting your feet wet. It’s only another 1/4 mile up the creek.
Gorton Creek Falls.
The second method is good if you want to get pictures along the creek, but it’s best to have shoes or sandals that can get wet. The potential shots are more numerous when water is high, in late winter and early spring. This year the water is fairly low, which means it’s easier to hop rocks up the creek but harder to get good creek shots (in my opinion).
In fact on this recent visit, for the first time, I didn’t do any creek pictures, only shooting the two waterfalls. The bottom image is from a previous year, in high spring flow. The more rain, the greener everything is. So it’s wise to try and plan a trip to the Gorge during or at the end of a wet springtime.
A long exposure in gathering dusk of Gorton Creek’s verdant little canyon.
Everybody is posting winter images these days. In some parts of the U.S. it is very hot. Not too hot. It’s summer after all, and to complain about heat in Texas during July is rather pointless I think. It’s supposed to be hot there in July. Besides, we should enjoy these summers. They’re cool compared with what’s coming in the future. But this isn’t a post about global warming calamities. Just a winter image I captured in February, and probably my favorite one so far this year. It’s also a post with good news!
The reason I like this picture is because of the (lucky) timing and unusual combination of weather forces. The Columbia River Gorge occasionally freezes up. Doesn’t happen too often, and when it does, local photogs. head out to shoot frozen waterfalls. It never lasts very long. This time it lasted 3 days, and I was out there at the stormy peak getting shots of big icicles and such.
On the 4th day a warm front started moving in. I went out to the Gorge, curious to see what the melting would look like. The freeway was a mess. Cold air had held on within the Gorge, causing sleet to fall overtop the snow. I finally made it with not much day left, and only had time for one stop. Instead of a waterfall I walked through the thick brush to the river at this spot I know with a view of Beacon Rock. Ice had glazed over all the trees and branches, and at the riverside the mossy rocks had a layer of ice-covered snow on them.
But what was most intriguing was the sky. The warm front was riding up and over the cold air, causing some very angry-looking cloud formations. I grabbed a few shots as the freezing rain started to turn to slushy rain. I love shooting at transitions like this. It often produces strange but beautifully moody pictures, and this time was no exception.
The reason I’m posting the picture (again) is that I’m hoping now to get an even better picture this year. I couldn’t say that with confidence before yesterday, because I didn’t have a good camera. The one that allowed me to capture this image, as most of you know, took a dive into a waterfall last spring. I’m happy to say I can finally put that episode truly behind me.
Yesterday I rode my motorcycle up to Seattle to meet a woman who sold me her Canon 6D. It’s a much simpler and cheaper version of my trashed 5D Mark III. She was upgrading to the 5D in fact. And she had not had the 6D long; it’s in new condition! So now I’m almost home free. All I need is to buy a lens to replace the one damaged in the waterfall and I’ll be back to full strength. I’ll post new images from it soon. That’s right all you wonderful people in blogville, I’m back baby!!
Crashing Skies: A winter storm passes through the Columbia River Gorge, Beacon Rock sitting on the Washington side of the river.
The first image made after the act of kindness, sunset along the Columbia near home.
Believe it or not this is a photography-related post. I was recently surprised with a loaner camera! A person I met through my photography club, someone who went to the same college as I but who I don’t know well at all, saw my situation and took pity on me. She loaned me her Canon 60D because (she said) it wasn’t really being used.
Now I know plenty of other photographers who have cameras much better than that as backups (they shoot with top of the line cameras). And I have spent time shooting with these people. None of them were coming forward after learning of my recent misfortune, losing my camera gear over the waterfall. This is despite the fact that it would not have disrupted their photography. This was her only DSLR, she didn’t know me very well, and she made the sacrifice. That’s real kindness.
Springtime in an Oregon forest.
Elowah Creek in Oregon’s Columbia River Gorge tumbles down the canyon below the waterfall of the same name.
You never learn about kindness except through acts like this. If someone can afford to do something for another without being put out or inconvenienced; I think it’s nice of them. But it’s not the same as this. This is the kind of thing that humbles you and makes you think about your own decisions. To go through life convincing yourself that you are kind and giving without ever doing something for another that causes you real inconvenience is the same as fooling yourself.
And now I’m searching too hard in my history for times when I have displayed real kindness. I want to change this. I want to be able to come up with instances right off the top of my head. And I’m sure you do too! The only way to accomplish this is to act when the time is right. We all know that, but the thing we tend to forget is the happiness and joy that we derive from acts of real kindness.
Spring brings the water flowing down theverdant side canyons (such as Elowah Creek) of Oregon’s Columbia Gorge.
Pink bleeding hearts bloom in a green Oregon forest.
And so we go along making a flawed calculation; that is, focusing solely on how much inconvenience or pain comes from our decisions. We forget about the payoff because we don’t experience it very often (if at all). What I’m saying is that small acts of kindness that don’t cost us anything give us a good feeling, sure. But it’s nothing compared to the feeling we get when we give something up in our lives in order to give something to another that will fundamentally change someone’s life. My benefactor did not know me as well as other people did, but she knew enough. She knew that I didn’t just lose a piece of equipment, I lost the ability to express myself and to share my love of nature and the world.
A spring rainstorm passes over the Columbia River Gorge in the Pacific Northwest.
Spring flowers bloom on Rowena Crest in Oregon.
So she did two important things before the decision to give. She figured out how much that gift would mean to me, and she ignored the fact that she would be putting aside her own passion for an uncertain amount of time. When she saw my reaction I could tell right away it was worth it. She was experiencing the benefit of a genuine act of kindness. And this is an often-forgotten part of it’s value. It doesn’t just benefit the receiver.
Most of us know this, but we have to stop and think about it. We mostly act out of the belief that there are so many who need so much that we cannot possibly give enough. Maybe if we won the lottery we could give to our heart’s content. I say this because I know my own mind has fooled me in this way. I am going to give back to this kind person in an effort to pay her back for her kindness.
Elowah Creek, Columbia River Gorge, Oregon
Oneonta Gorge is tough to access during spring’s high water, but it’s still my favorite time to visit.
But I know one thing for sure. Even if I did nothing for her she would still derive a fundamental benefit from her gift. And it will make her more likely to do it again in the future. (By the way, if you’re reading this V, I’m using the word “gift” in a loose manner; I promise to give back your camera!) The only question for me is, will I pay it forward? Believe me I’ll be thinking about it. If the opportunity arises to give when it genuinely costs me something, I hope I’m ready to pony up.
I hope your weekend went well and you have enjoyed these images shot with the loaner camera. I also hope you’ll consider giving to my campaign in order to speed the return of her camera. Although I will be giving it back at some point anyway, both her and I would love it to be at the end of this campaign when I am able to buy a replacement for my lost camera. Also consider re-blogging or otherwise sharing my post The Campaign. Thanks for reading and thanks so much for your support for my blog.
Dusk falls over the Columbia River where it flows along the border of Oregon and Washington through its famous gorge.
One of my favorite viewpoints in the Columbia River Gorge is on the Oregon side, a short hike from the (Historic) highway. I’ve had some trouble getting the perfect light, but this day I came close. It’s sad it had to happen after my DSLR died, so this is with my point and shoot. Though pictures like this captured with a lower-resolution camera and cheaper lens look okay on the web, it is when you print at larger sizes when a DSLR with good glass will show a big difference. But I like the image anyway.
There are several spots from which to photograph at this place, which is one reason I like it. All of the spots you need to perch on the edge of a cliff, so you can’t be afraid of heights. It’s funny, but I’ve become more cautious over the years around drop-offs. There was a time I would walk right up and stand at the edge; now I am more likely to hunch down and even lay on my belly to get close.
The other reason I love this place is that it appears to be relatively unknown by other photographers; I’ve never seen another there. It’s a great view upriver into the heart of the Gorge. Notice the barge moving slowly upriver. Hope your weekend is going well. Thanks for looking.
A rainbow reflected in a small lake along the Columbia River. It was classic Oregon springtime weather that last day.
I’ve been trying to avoid this post for the last few days. This weekend I was shooting at the top of a waterfall, a virtually unknown one called Summit Creek Falls in Oregon’s Columbia River Gorge. It’s rare you can get in a relatively safe position to shoot decent pictures at the lip of a falls. Most of them end up being disappointing because when you look down you lose the sense of depth in pictures.
Anyway, while I was there I momentarily broke one of my rules and didn’t have my neckstrap on. Only one other time did I do that in the past couple years, and that’s when the 5DII went in. Murphy’s Law is a vicious thing. Murph took over at that point and my tripod, Canon 5D III and an L lens went over. Amazingly it got caught about 10 feet down off the lip of the 100-foot falls, on a submerged log or rock.
Triple Falls, Oneonta Creek, Oregon
After almost dying in a foolish attempt to climb down and get it (maybe a bit of subconscious suicidal thought going on there!), I stopped and caught my breath and thought about the certain consequence of going any further. I retreated back up, took off my bootlaces, rigged a slip knot and loop, tied off to a long stout stick I found, and went fishing. I was able to grab hold of a tripod leg.
It’s funny to think about, but if I still had my fancy Gitzo tripod (which has twist leg locks), I would have never recovered it. With my old trusty Manfrotto that has bulkier lever locks, I was able to grasp it with the loop. After a frantic wrestling match, fighting the implacable, uncaringly powerful spring snowmelt, I got it.
Oneonta Creek, Columbia River Gorge, Oregon
An Oregon forest strains the clouds.
Fog moves in towards evening in Oregon’s Columbia River Gorge.
The gear had been pounded with tons of water for almost an hour. But my tripod and head (not like the camera but not inexpensive either) are fine. I just got off the phone with Canon and they can’t accept it for repair. They say if it’s repairable it would be almost the cost of a new camera. So it’s gone. My bad: no insurance!
My backup camera, a 5D II that had itself been repaired from a brief dip at the top of yet another waterfall, I sold a couple months ago to help pay off the bill from the 5D III more quickly. So I’m down to an older point and shoot, which means I’m down to snapshop/street photography only. I am in the worst financial shape of my adult life right now so can’t afford even a used cheaper DSLR. I will likely sell off the rest of my gear and give up the dream of going fully pro, at least for now.
Looking down from a footbridge that spans the top of Oneonta Gorge.
I debated discontinuing this blog, but my interests are so varied, and I believe I have much to say. So I’ll keep at it and probably post Friday Foto Talks too, though perhaps not every Friday. One negative about this plan: I’ve been blogging for quite awhile now and I have included many images in my posts, believing that I will always be shooting new images; now that’s not the case, and so some of the example images will be reposts from my archive.
So that’s it. A sad week for me, and something big in my life has now gone. A big transition back to just observing light and nature instead of always wanting to capture its beauty. But it’s how I started out and how I came to be a decent photographer in the first place. Please don’t feel bad for me. It was a great run!
By the way, these images are from the last day shooting with my camera. CF memory cards are amazing!
The very last image. Just ahead is the lip of Summit Creek Falls. Note my tripod leg. Unprocessed & uncropped.