Loose on the Palouse

As amazing as it seems, although I’ve been living in the Pacific Northwest for more than a quarter-century, virtually my entire time has been spent west of the Cascades, with a few trips over that ridge to shoot foliage and festivals on their eastern slope.  Until this past July 3rd, the furthest east I had ever traveled was to Wenatchee and Toppenish, both located midway across the state.

Finally, the day before Independence Day, I drove over Snoqualmie Pass, through Cle Elum, and kept right on going — through the high desert of central Washington, the farm country of Othello and Washtucna, and to a long-time item on my “bucket list,” the rolling wheatfields of the Palouse.  It may have been only four hours away from Seattle, but it may as well have been four days, as the southeast corner of the state nothing so much as the farmlands of the eastern Great Plains.  Fortunately, I had timed the trip well, as the new wheat had reached a considerable height, but still carried the green of spring.  Later in the summer, of course, everything would have turned golden — still making for wonderful photographs, but not the freshness I was seeking to convey.

The Palouse, in its simplest form, is a loop beginning in the college town of Pullman to the south, going up route 195 through Colfax and Steptoe, then turning south again at the junction with route 271 to Oakesdale, then on route 27 through Garfield and Palouse back to Pullman.  There are two large hills, or buttes, offering a panoramic view of the land:  the wooded Kamiak Butte to the east and the taller, barren Steptoe Butte to the west, but much of the land can best be appreciated by simply driving the roads in the area, and pulling off to take photos any time a photogenic combination of scenery and light catches your attention.  Since there were so many opportunity for quick “grab shots,” I found myself violating the usual dictum of landscape photography, and shooting hand-held much of the time.  This wouldn’t be practicable without my Sony Alpha’s in-body image stabilization (or, for Canon or Nikon shooters, the vibration-reduction lenses available for those systems) but, thanks to the wonders of technology, it was possible to shoot at a relatively-small aperture (for front-to-back focus) using only my car as a camera brace.

I did use my tripod for shots from the two buttes.  Kamiak Butte is lower with more trees; the view from there is by the fence at the end of the picnic area, and faces north.  It struck me as a better choice for shooting in mid-morning or mid-afternoon, while Steptoe excels at sunrise or sunset.  One warning about Steptoe is that the road does go up and up, and the top is high enough that haze can become a real problem at those favorite shooting times.  My advice would be that, if you see a good composition and light from a viewpoint at one of the lower levels, find a nearby pullout and shoot from that vantage point, rather than continuing up to the top.  I didn’t follow my own advice, and found myself shooting into a thick sunset haze that blurred detail and washed-out color.  Fortunately, on the way back down, I found a nice composition just as the sun had dropped below the horizon, and was able to get my favorite Steptoe Butte image from there rather than from the summit.

Those DAM Hard Drives…

The recent failure of a couple of hard drives on my system (fortunately, not connected to my photo storage) made me think about how to make sure hard drives can be reliably used in a DAM — that’s “Digital Asset-Management” — system.  Since this seemed like a more-permanent issue than just a blog post, I wrote an article on the subject, which you can check out here.

Cross one off the “bucket list”…

Like every photographer, I have a “bucket list” of locations I have yet to visit, but where I want to eventually shoot.  In the immediate Northwest area, my top “must-photograph” locations going into 2010 were places such as Shi-Shi and Second Beaches, the lavender fields at Sequim, more of the Oregon coast, Crater Lake, and what I’ve been referring to as the “four Ps”:  Punch Bowl Falls (and the rest of Eagle Creek), Painted Hills, the Palouse, and Proxy Falls.

In mid-June, I got the chance to check the last of these off my list.

Proxy Falls is as far afield as I’ve traveled on a photo “day-trip” — approximately six to seven hours each way. Normally, the farthest I’ll travel is about four-and-a-half hours away, and I really wasn’t prepared for the road time. At other times, I might have considered making this an overnighter; but, needing to be home for Father’s Day, that wasn’t an choice. And, since this might have been the last June weekend day with overcast in the forecast (June being supposedly the best month for shooting this fall) I figured it was “now or never.”

Proxy Falls Trail is laid out as a loop, and every guidebook I’ve seen recommends hiking it in a clockwise direction, it being shorter and easier to get to both of the two falls, at which point you can decide to backtrack instead of completing the longer part of the loop. Upon arriving, I found out that this was not an option, due to (in the words of other hikers there) a “house-sized log” blocking the desired trailhead. The only choice was to go counterclockwise and then return the way I’d come, meaning a longer and harder hike.

In any event, I made it up the trail, past the spur to Proxy itself, to the first (and smallest) waterfall, Upper Proxy Falls (sometimes just known as Upper Falls).

Normally, Upper Proxy Falls drop into a fifteen-foot-diameter plunge-pool (which, interestingly, appears to lead nowhere, the water vanishing underground to reappear some distance later).  However, because of the unusually-high water levels in the Oregon Cascades at this time of the year, the plunge-pool was more like thirty-five or forty feet in diameter, meaning that the ideal tripod position would have been in a foot or three  of water. Since I didn’t know this, I didn’t bring my waders on this hike, and so had to be content with trying to find a set of tripod holes on a steep slope going down to the pool; even the “best” views were blocked by something or other.

Leaving Upper Proxy behind, I moved on to the “main attraction,” Proxy Falls, renowned as one of the most photogenic waterfalls in the country.

The picture included here doesn’t begin to do it justice, simply because you can’t really convey scale in an web-sized image; imagine a fall 250 feet high, with the water breaking into dozens of mini-trails over moss-covered rock, then dropping through an undercut onto a series of basalt “steps” somewhat resembling Giant’s Causeway in Northern Ireland. As you look at the photo, also imagine a sense of the water constantly in motion on its multitude of passages, instead of being frozen in time by the camera’s shutter. I wish I could find a way to convey it; “breathtaking” doesn’t come close to an accurate description.

Still, as impressive as that was, I was well aware that the best photos I’ve seen of Proxy Falls haven’t been from the upper viewpoint, but up-close-and-personal ones from the riverbed directly below the falls. Accordingly, after taking a bunch of “record shots” from the viewpoint, I packed up my equipment and started to follow the trail down to the base of the falls.

And, then, I discovered Proxy Falls’ “inconvenient truth” — there is no trail down to the base of the falls. The trail basically stops just past the viewpoint, and it is up to the visitor to figure out a route down a moderately-steep, slippery slope to the river’s edge a hundred or so feet down — and, just as importantly, a route back up again.

After making a couple of attempts on my own, each ending when I found myself clinging to a tree-trunk, realizing that the next step might cause irreparable damage to either my bones or, worse, my equipment, I went back to the upper viewpoint and asked if anyone there had experience getting down to the base. As it turned out, the only ones I found were a couple of young kids toting some expensive-looking photo gear, who proceeded to show me their route — unfortunately, while it looked quite a bit easier than the ones I tried, it was blocked by a fallen tree-trunk which was quite easy for young kids to duck under, but thoroughly impossible for a less-than-agile fifty-something like myself. (In any event, the same two kids returned a few minutes later, reporting that the aforementioned high water meant extremely slippery conditions at the base of the falls, plus enough spray to make photography down there pointless.)

So, with no other option available, all I could do was return to the upper viewpoint, break out the telephoto, and try to get “close-up” shots from a distance.  Interestingly, after getting home and processing my images, I discovered that one of the compositions was very close to Greg Vaughn’s photo on the cover of his excellent Photographing Oregon book — a shot that I always assumed was taken from lower down and closer to the falls!

Meanwhile, on the way back to the road, the trail took me through a forest glade just as the sun illuminated the small tree at its center, and, afterward, through a lava-flow from an extinct volcano, with new growth emerging from the volcanic rocks and remains of older growth providing a sobering reminder of what is often the fate of living things trying to gain a toehold among the stones.

So, cross one item off my bucket list.  Hopefully, I’ll get a chance to come back before long, this time with the gear I’d need (trekking poles, in particular) to get down to the base of the falls.  If I do so, though, I’ll make sure to do it on a long weekend, when I can stay overnight and give Proxy the attention it deserves.

Monitors — a cautionary tale…

A week ago, my computer monitor expired. No great surprise there — I’d had it for many years, and was surprised it had lasted so long. Anyway, those cool new widescreen flat-panel monitors were available everywhere, for a much-lower price than I had paid for my monitor the last time around. Piece of cake, right?

Well, not exactly.

After a bit of research, I discovered that there are several different types of panels used on current flat-screen monitors. The most popular, and the one used on almost all lower-cost monitors, is a type called Twisted Nematic (TN). TN panels have the advantage of having very fast refresh times, so action (DVDs, video games) appears to be running at a high frame rate. The (big!) disadvantage of TN panels is that they only do 18-bit color (6 bits per channel), and therefore don’t even display the full color gamut of sRGB (the smallest of normal gamuts used in digital photography). In other words, for “digital darkroom” work, not very accurate in giving you an idea how your pictures really look.

There are other types of flat-panel displays. Two that work much better than TN for photography uses are In-Plane Switching (IPS) and Patterned Vertical Alignment (PVA — better versions are identified as S-PVA or cPVA). Both of these will reproduce true 24-bit color. Unfortunately, they’re both considerably more expensive. While TN models are easily found in the $110-$140 price range, in my research, I only found one acceptable non-TN monitor (Samsung’s PVA-based F2080, which my local Fry’s listed as in the process of being “closed-out”) for under $250. And the sky’s the limit when it comes to IPS displays — I’ve heard of some “professional photographer” models that sell for over $5,000!.

How to make sure the model you choose is right for photographic purposes? Obviously, the first step is to stay far away from TN panels. One quick test is to look at a monitor from either above or below. If the images inverts (looks a bit like a color negative), you’re looking at a TN panel. To find an appropriate IPS or PVA panel, you might want to check here or here, although neither of these covers all models currently available. I understand the Dell UltraSharp monitors, from around $300-$500, have a good reputation, although I seem to recall some people having qualms about Dell’s political affiliations, which I don’t know anything about myself.

By the way, one other thing to be prepared for, if you’re moving from a 4 : 3 display to a new widescreen one, is odd behavior from your video card upon making the switch. When I did so, I found my ATI card would not allow me to set the display to the F2080′s native resolution of 1600×900 (the closest it would give me was 1440×900, giving everything the “funhouse mirror” stretch effect familiar from people playing 4 : 3 television programming on new 16 : 9 sets). I finally did get it to give me 1600×900, but only by uninstalling everything related to the card (drivers, Catalyst, etc.) and going straight back to 640×480 VGA, then re-installing the video-card software from scratch, starting with the several-years-old version that came with the card, then upgrading to more recent downloadable versions of the support software. (And then, of course, I had to re-calibrate the monitor with my Spyder2express as soon as it got dark enough to do so.) Everything’s working now, but, between the failure of the original monitor, shopping for the new one, then going through the installation craziness and final calibration…let’s just say there go a couple of days of my life I’m never going to get back…

A Northwest Mecca for Tulips

As much as it galls me, as a Washington resident, to have to admit this, but there’s no better place for tulip-field shooting than Woodburn, in Oregon’s Willamette Valley.

Don’t get me wrong — the Skagit Valley area north of Seattle still has far more tulip-growing areas than Woodburn, and offers, in Roozengaarde, the best display garden (for close-up shots of individual blooms), bar none.  The crucial difference is that, in the Skagit areas, tulips are grown in a number of fields spread throughout the flatland area between Mount Vernon, Anacortes, and La Conner, and photo opportunities are highly-dependent on which varieties of tulips are being grown in which field in a given year.  Plus, because the fields are scattered throughout a large farming area, it also means that they are scattered between roads (with traffic), telephone poles, ranch houses, etc.,  in the background.  Don’t get me wrong; it’s still possible to create “grand landscape” compositions of the tulip fields, but you often have to really work at doing so.

By contrast, Wooden Shoe Tulip Farm in Woodburn serves up the grand vistas on a silver platter.

At Wooden Shoe, all the tulips are grown in one of the largest fields I have ever seen.  Part of the field is devoted to rows of specific color varieties, but there are also whole sections given over to mixed tulips, offering mosaics of different colors.  (See the field behind the windmill in the image above.)   Since Wooden Shoe is set away from roads, there is nothing behind the fields but a large orchard and, beyond that, Mount Hood and the Cascades.  A more photogenic locale for tulips, I could not imagine.  (On the downside, since all this is on one specific farm away from the road, it does cost $10/day on weekends to get in, whereas one can shoot the tulip fields in Skagit for free.)

While you can get great shots of the fields in the late afternoon, what makes Woodburn famous is its potential for sunrise shots and, indeed, capturing an image of the fields with the rising sun in the distance appears to be practically a rite of passage for Oregon landscape photographers…which is why this Washington photographer found himself getting up at 4:30 A.M. to drive out to the fields, hoping that the weather forecast of “partly cloudy” would mean clear skies to the east.  As you can see, the weather didn’t disappoint.

One of the highlights of the Tulip Festival at Woodburn is the arrival of hot-air balloons, and the possibility of images of colorful balloons hovering over a carpet of tulip fields.  Unfortunately, the same east winds that kept the clouds at bay for sunrise also meant that the balloons would be carried to the west, away from the fields.  (One of the chase-vehicle drivers told me that wind conditions had been the same throughout the festival.)  Oh, well, that merely means something left to photograph on future visits — of which, I’m sure, there will be many!

Notes from an early tulip season

Unlike last year, when the tulips only reached their peak in the last days of April’s Pacific Northwest tulip festivals, we’ve had a very early spring this year, with some fields already coming into full color by the beginning of the month. Peak color should be lasting for the next two weeks.

Although I normally do my tulip shooting in the Skagit Valley north of Seattle, this year, I’m going to try to spend this weekend or next at the Wooden Shoe Tulip Farm in Woodburn, Oregon, which should offer some different vantage points from the usual Skagit ones. I’m still hoping to get to Skagit for a day or so mid-week, though.  And I did make it to Skagit one afternoon last month for some daffodil-field shooting, as you can see from the right.

In another note, I posted the promised “Northwest Photography Calendar” in the articles section of my website. I hope you find it useful!

An early start to spring

Traditionally, I’ve always considered the annual Pacific Northwest “photography season” to begin with the first daffodils appearing in the flower farms of the Skagit Valley (whose much better-known tulip season begins about a month or so thereafter).

Last year, after the notorious 2008-09 winter, the daffodils didn’t make their first appearance until mid-March, and weren’t really photograph-worthy until the very end of the month…which meant that the tulip fields didn’t really come into bloom until the final weekend of the April-long Skagit Tulip Festival.

And now, for something completely different…while the rest of the nation has been socked in with mammoth blizzards, the El Niño year brought a surprisingly-mild winter to the Northwest, with only a trace of snow in the Seattle area, and highs in the 60s in mid-February.  This, needless to say, has given us an early spring, and, on a business trip to the Skagit Valley last week, I noticed the first daffodil blooms already appearing, and one of the southern fields at full color.  At this rate, local photographers should be counting on being able to shoot the fields within a week or two, with a correspondingly early opportunity for tulips as well.  With luck, some of the fields will come into bloom before the Tulip Festival begins this year, giving us some photo opportunities in the days before bumper-to-bumper gridlock and repeatedly being charged $10 to park along the side of the road by a photogenic field.

On that subject, I am starting work on an article about “the Pacific Northwest photographer’s year”; hopefully, I’ll have it ready soon.  In any event, let the 2010 Pacific Northwest Photography Season begin!

Gold in Silver

As the end of the Northwest “shooting season” draws near, I (along with many other of the area’s photographers) find myself rushing to get in as much of autumn as I can before hunkering down to the coming four-to-five months of steady rain, slate-gray skies, bare branches, and brown vegetation.  (Not that there’s nothing to shoot up here in winter, it’s just that you don’t have the great day-in, day-out opportunities you have the rest of the year.)

Thus it was that I found myself making not one but two round-trips to the Oregon border and points further south this past weekend.

The first was a shooting excursion/family trip along the Columbia, then back up through Trout Lake and Klickitat Canyon before returning through central Washington in the evening.  Unfortunately, this trip only offered a few good photo opportunities.  (While setting up a shot, I encountered one of the residents of Trout Lake, who mentioned to me that the foliage had been a lot better before a storm came through the night before, stripping many of the remaining leaves from the trees.  Go figure.)  The day wasn’t a total loss, though, as I got a few decent autumn images, including the two you see here.  (The one above is of Mount Adams, the third-most-famous volcano in southwest Washington, after Rainier and St. Helens.)  And I certainly discovered a new area to which I’ll be sure to return next year, hopefully under better conditions.

It was on Sunday, however, that I “struck gold”…literally.

Getting up at an ungodly hour after the previous night’s late return, I found myself taking the same route down to Portland in the darkness of early morning.  (Thank heaven for the working cruise control on my replacement for “Big Blue,” along with the new Beatles reissues on CD!)   This time, however, I continued on I-5 down to Salem, arriving at Silver Falls State Park, a renowned fall foliage location, just after the clouds had rolled in, making for an ideal day for waterfall photography.

I had never been to Silver Falls before…I was unprepared for the overwhelming beauty I found there.  Although it doesn’t have the variety of falls found, say, in the Columbia Gorge, it does have a whole collection of impressive waterfalls plunging into deep, narrow canyons which, in autumn, are filled — almost bursting — with golden big-leaf maples, evergreen conifers. and the bright green of moss and ground-cover.  On many of the falls, you can walk behind the fall itself and view the autumnal forest with the water’s plume as a ghostly foreground.  For the nature photographer, it’s almost a case of sensory overload. I only made it to three of the ten falls before the predicted autumn storm arrived, cutting my trip short, but it’s just as well.  Had I remained any longer, I woudn’t have been able to pull myself away until winter had stripped ever last bit of fall color from the canyons.

First on my route was South Falls:

Then, on to North Falls:

Finally, Upper North Falls, where the rains moved in moments after I took this shot:

Only time will tell if this was, indeed, the last major photo session of 2009 for me.  All I can say is, if so, the Northwest “shooting season” ended on the highest possible note I could imagine.

Hoh, Hoh, Hoh

While rewarding, the Hoh Rain Forest is, by far, the most difficult forest subject I’ve ever shot.

Compared to the Hoh, other forests in Washington state (including the Sol Duc Trail, Grove of the Patriarchs, and so on) have a certain flow — there’s a layering of trees, undergrowth, rivers, and other features that make compositions easy to find.  Not so here — at least one other photographer has, quite accurately, described the Hoh as “chaotic,” a jumble of different elements thrown together in such a way as to make composition difficult.  Imagine, if you will, that you’re an architectural photographer, used to taking images of building interiors.  Now, imagine being placed in a warehouse full of priceless antique and designer furniture in no apparent order, and being charged with coming up with well-composed images of the contents…but without being allowed to move or rearrange any of the contents.  That’s what a shoot at the Hoh is like for nature photographers.

When shooting here, I had to especially keep in mind the old photographer’s adage of “close one eye first.”  Much of the order that first seems apparent as you hike the Hall of Mosses or Spruce Nature Trail is due to your two eyes and brain combining to give you a 3D image.  But close one eye, and what seems like an appealing foreground-middleground-background composition becomes a flat 2D “texture squash” with no discernible pattern or order.  Simply by closing one eye, you can avoid wasting time and memory-card space on images that will prove to be disappointing.

The second adage to keep in mind is a reversal of the usual proverb:  “Don’t miss the trees for the forest.”  When confronted with an enveloping environment like the Hoh, one’s first instinct is to try to find a “grand landscape” that takes in the whole essence of the rainforest.  Try that, and you’ll be guaranteed frustration.  Instead of photographing the forest, photograph the trees.  Zoom in on interesting details, and small sections of the forest where you can discover an overall logic of lines and patterns.  While I didn’t do this myself this time, it wouldn’t be a bad idea to visit the Hoh armed with only a telephoto zoom (maybe a 70-300mm for D-SLRs), so that you’re forced to find interesting compostions that don’t take in a large portion of what’s before you.  And, of course, zooming in avoids the perennial problem of trying to compose to cut out the undesirable white overcast sky (and don’t even dream of trying to photograph here in sunlight!).

A final observation:  there’s a tendency, when shooting in any forest with giant trees, to primarily go with vertical compositions to bring out the strong up-and-down lines of the trees.  Indeed, I did the same here, but found that, for whatever reason, my best images on this day were almost all horizontal.  Perhaps a large number of parallel vertical lines, however short, are preferable to a smaller number of more-extended verticals.  Go figure.

Mount St. Helens, twenty-nine years later

The first thing you notice are the crickets.  There are hundreds of them — colliding with you, getting in the way of your compostion while the shutter is open, perching on grasses and stones.  Why so many?  You start to wonder what could explain the cricket population — is there a typical predator that hasn’t made it back to the blast zone?   Then, you suddenly notice the silence…and realize, even after almost thirty years, there are no birds here.

All of us have seen photos of the Mount St. Helens National Volcanic Monument.  On my trip to the Pacific Northwest before moving here back in 1982, my ex-wife and I pulled off the interstate and drove to the closest-allowable vantage point, then dozens of miles away, to stare at what was left of the mountain in the distance, a faint steam cloud emerging from its crater.  But this year marked the first time I actually made the drive to the Johnston Ridge Observatory, a mere five miles from the mountain, and the place where the late David Johnston radioed his final words on the morning of May 18, 1980:  “Vancouver! Vancouver!  This is it!”

Whatever you may have seen second-hand, nothing will prepare you for the overwhelming strangeness that is Mount St. Helens.  The word “moonscape” has become overused when describing the blast zone, but I can’t think of a more-accurate description.  As you gaze at St. Helens, you reflexively follow the sides of the slope up to a no-longer-existent summit, and imagine that whole immensity of mountain exploding into dust, dust that covers all you can see, in a matter of seconds — and imagine the young David Johnston standing in this spot as his doom swept down upon him.  The oppressive sense of absence, of a lack of life and growth, is almost overwhelming.  This used to be a forested mountain with reflecting lakes, much like so many other beautiful peaks in the Cascades.  How could all that have been wiped away, replaced with this barrenness stretching over hundreds of square miles, in but a few minutes?

And yet…I overheard a ranger speaking to a group of tourists, pointing out that, while the common reaction of first-time visitors is similar to mine, those who return after several years express an amazement at how much the area has recovered.  Dry grasses form sere meadows in patches here and there along the Plains of Abraham; one such meadow, directly in the shadow of the mountain, hosts a herd of elk. Golden-Mantled Ground Squirrels can be found in quantity around the Observatory, begging or stealing handouts from visitors.  (And, despite my earlier observation, birds aren’t entirely absent in the Monument; late in the afternoon, a pair of hunting Peregrine Falcons swooped and pinwheeled through the sky above Johnston Ridge, their wings making the sound of miniature helicopters.)  Wildflowers sprout here and there in the ashy soil.  The lava dome continues to grow; it won’t be much longer until it reaches the top of the crater rim, then surmounts it.  In coming years, St. Helens will take on the appearance of a mini-mountain set in the middle of a larger, truncated one — and, of course, one day in the distant future the mountain will have regained something close to the conical form it had before 1980.  Needless to say, I will be long-gone before that happens, or before the forests return to what, nearly three decades later, is still a severe, uncompromising landscape.

When dealing with Mount St. Helens as a photographer, I found that there were two different, diametrically-opposite approaches that each worked well.  The first was to emphasize the returning life that can, indeed, be found there, seeking out  foreground features such as flowers or vegetation, and boosting the saturation slightly to bring out the many subtle differences in the shades of rock found on the mountain and along the canyons formed by the eruption.

The second is to take the opposite  route, and resort to black-and-white imagery that emphasizes the harshness of the terrain.  In the past, I have been very pessimistic about black-and-white conversion of digital images, finding them inferior in tonality to monochrome images from 35mm film.  Fortunately, the color controls in Lightroom add a whole new level of flexibility in being able to take any color in an image and map it to a specific shade of gray.  For the first time, I am getting black-and-white images from digital files that I’m not hesitant to share alongside my color work.

Will I return to Mount St. Helens?  I assume I will do so at one time or another; in particular, I missed peak wildflower season, and maybe the addition of paintbrush and lupine will relieve the overwhelming sense of deadness that, at least for me on my first visit, was present everywhere I looked.  Still,  I don’t see St. Helens becoming one of my favorite photo locations in the Northwest.  I’m drawn to life, color, and freshness — qualities that were anything but present on my trip to the Monument.  And I hope and pray that I’m long-departed by the time my beloved Mount Rainier, inevitably, follows in the path of its neighbor in the Pacific “ring of fire.”

RSS for Posts RSS for Comments