Simple Joys

Jackson Biking on Rusty Spur Trail

My son, Jackson Edge, rides a section of the Rusty Spur trail at Bar M near Moab, Utah.

Earlier this year my wife and I won a GoPro Hero 3+ in an online contest.  The little camera sat in a box on a shelf in my office until a couple days ago, when I finally removed it from its packaging, charged it and read enough of the instruction manual to get started.

Today I took my 5 year old son, Jackson, mountain biking on a singletrack trail near our home.  We’d ridden the trail numerous times before.  I knew that Jackson enjoyed speeding up and racing through one particular curved section of the trail, trying his hardest to kick up a “turkey tail.”  What’s a turkey tail, you ask?  It’s a rooster tail.  But when you’re a kid and your favorite movie is Free Birds, it’s a turkey tail.  So, I mounted our new GoPro on a chest harness and we set out for our ride.

As we approached the curve I pressed the shutter button and the GoPro started taking photos every half second.  Jackson and I sped through the curve and, upon exit, Jackson loudly proclaimed “I crushed it, Dad!”  We stopped and high-fived, shared a small bag of jelly beans and then cranked our way through the rest of the trail.

Back at home I flipped through all the images and found myself smiling wide when I got to this one.  There was Jackson, a tiny little turkey tail spraying off his rear tire.  It was a proud Dad moment, to be sure.  Perhaps even more important, though, was the realization that I’d made an image for the simple joy of it.  Not to print large and hang in my gallery.  Not to sell to an outdoor magazine or some tourism agency.  Just to have a photograph to help me remember and cherish a wonderful morning riding bikes with my best friend.

Bear Therapy in the Tetons

Grizzly bear #760 walks through a wildflower filled meadow in Grand Teton National Park, Wyoming.

Grizzly bear #760 walks through a wildflower filled meadow in Grand Teton National Park, Wyoming.

I’ve had an odd relationship with bears for all of my adult life.  Living in the Sonoran Desert during the formative years of my hiking and backpacking career it was common to cross paths with rattlesnakes.  Consequently, I respected the venomous creatures but harbored little to no fear of them.  Bears, on the other hand, were the thing of nightmares.  They were malicious creatures intent on dragging me out of my tent for a late night snack.  It wasn’t a matter of “if” it would happen, it was “when.”  My fear paralyzed me to the point that one night, while car camping in Flagstaff with an ex-girlfriend, I left our tent after hours of sleeplessness to lock myself in our truck.

Always on-guard with bear spray in the Wind River Mountains, Wyoming.

Always on-guard with bear spray in the Wind River Mountains, Wyoming.

I knew I wasn’t being rational.  I knew there wasn’t a bear in the woods somewhere that had heard through the grapevine about a tasty little dude in Phoenix.  I read every book I could get my hands on that dispensed bear safety wisdom.  It didn’t help.  Mind you, I’d never actually seen a wild bear.  But that didn’t matter.  Bears were put on earth to eat me and that was that.

Then, in 2000, on my first trip to Grand Teton National Park, I shared a trail with a bear.  Five bears, actually.  Five beautiful black bears who would forever change my relationship with the ursine world.  That same ex-girlfriend and I were hiking to Amphitheater Lake when two young women came around a bend in the trail, their eyes as wide as Frisbees, and breathlessly told us that a mama bear and two cubs were just up the hill.  They wasted no time passing us and continuing down the trail, in the opposite direction of the bear family.  I unholstered my bear spray, clicked off the safety and started slowly walking up the trail.

I saw the sow first.  She was standing dead center in the middle of the trail.  She slowly turned her head to look at us and her expression made it clear that we’d come close enough.  Only 50 yards stood between me and the most beautiful animal I’d ever seen.  We slowly backed away and when the bear was comfortable enough with our distance, she averted her gaze.  Just then, two little cubs wobbled out of the brush and gathered around Mom.  We watched the bears walk the trail uphill for a short distance and then disappear into woods.

I stood there in silence.  Neither of us spoke.  I holstered the bear spray and after some time, a few minutes perhaps, we resumed our upward trek.  Two switchbacks later we saw another bear throwing large clumps of earth as it dug for grubs or possibly roots.  It was right next to the trail, even closer than the first bears.  We stopped at our switchback and hikers coming downhill queued up at the one just above us.  We waited and waited and waited for the bear to finish digging.  Eventually, it did and we passed a dozen or so hikers headed downhill, all of whom had massive grins stretched across their faces.

We made it to the lake and enjoyed a hiker’s lunch in the sun before heading back downhill.  Very near the spot where we’d seen the sow and cubs we again found ourselves in the company of a bear.  This bear was young, maybe two or three years old, and surprisingly small.  It was standing on the trail above a woman who was taking a break just off-trail.  She was digging through her pack, oblivious to the fact that a bear was sniffing the air only a few feet above her head.  We didn’t want to yell at her as we were afraid it would spook the bear.  Instead, we stood quietly and watched, ever hopeful we weren’t about to witness a mauling.  The bear ambled away and began munching on vegetation alongside the trail.  A trail runner coming uphill ran right by the bear, close enough to smack it on the butt if he was so inclined, and rushed past us.  The bear didn’t flinch.  Again we waited for the bear to move and again the bear was living life on his own time.  We watched as several other hikers walked right by the bear and finally decided that maybe we should do the same.  So, we did.  And the bear didn’t budge.

Those encounters must have been therapeutic.  I no longer fear bears.  I respect them.  I hold them in the highest of reverence.  But I don’t fear them.  I don’t lie awake in my tent, panicking every time the wind rustles a few leaves.  I enjoy the quiet, fleeting moments in the mountains when I and a bear occupy the same meadow.  I understand now that bears, for the most part, do not want to make a meal of me.

Melissa, Jackson and I recently spent a few days in the Tetons.  On our first afternoon in the park we found ourselves trapped in the middle of a bear jam near Oxbow Bend.  Traffic wasn’t budging so we sat in the truck and watched a grizzly bear move increasingly closer to the road.  I grabbed my camera with 70-300mm lens attached and made a few images through the open window.  Park rangers soon arrived and somehow managed to get traffic moving in both directions.  Leaving the bear behind, we passed bison and deer, elk and pronghorn, before rolling into town for dinner at the Merry Piglet.

I saw the same bear the next morning.  It was a brief encounter and at much more of a distance.  But it was quieter.  The tourists weren’t awake yet.  Only a handful of die-hard wildlife watchers lingered on the side of the road with high powered spotting scopes and lenses that cost more than my truck.  We each enjoyed our time with the bear and when he disappeared into a willow thicket, I drove off into the clarity of a summer morning.

2015 Utah Scenic Wall Calendars In Stock!

2015 Utah Scenic Wall Calendar

I am excited to let you all know that our 2015 Utah Scenic Wall Calendar is in stock and available for purchase!  These calendars are big (11″ x 14″), printed in stunning full-color and feature 13 photographs of Utah’s gorgeous and diverse landscapes.  Like deserts and arches?  They’re in there.  Canyons?  Got ‘em.  Mountains?  Yup.   I’m particularly fond of the cover.  The Watchman is perhaps Zion National Park’s most recognizable feature and is commonly photographed from “The Bridge” with the Virgin River flowing below it.  On the evening I made the cover photograph an intense thunderstorm that rocked the park all day long serendipitously broke up right at sunset.  The spectacle of light that followed was one of the most impressive I’ve ever witnessed.  I feel lucky to have been there with my camera to record the moment for others to enjoy.

My 2015 Utah Scenic Wall Calendar is available for $11.95 plus shipping or at The Edge Gallery in Moab.  They’re great gifts for clients, teachers, friends, families…heck, even enemies!  Most importantly, you’ll be supporting a small business and helping me fund future trips to keep making beautiful images to share with you.  And for that, I am sincerely appreciative of your support.


Autumn in Canyon Country Landscape Photography Workshop

Autumn in Canyon Country Photography Workshop

I’m thrilled to announce that this year I’ll be co-leading a landscape photography workshop in Moab with my friend and fellow photographer, Jason Hatfield.  Join us October 9 – 12, 2014 for an intensive three-day workshop in some of the Southwest’s most incredible red rock scenery including Arches and Canyonlands National Parks and Dead Horse Point State Park.  This is an exciting opportunity to learn from two passionate and experienced workshop leaders in one of the most desired locations in the U.S.


The workshop will begin on the afternoon of Thursday, October 9 with a meet and greet in the lobby of our sponsor hotel, the brand new Comfort Suites in downtown Moab.  We’ll take a few minutes to get to know one another before departing for a group dinner at a popular local restaurant.  After dinner we’ll depart for an immersive field session at sunset at an iconic location in Arches National Park.

The next two days will be a whirlwind!  On Friday we’ll awake early to make the trek up to Dead Horse Point State Park to photograph sunrise over my favorite view in the entire Moab area.  Here the Colorado River does a u-turn 2,000′ below with an endless vista of cliffs and canyons stretching as far as the eye can see!  After our field session we’ll return to town for a short break before retiring to a comfortable meeting room at a local hotel for 4 hours of hands-on digital darkroom instruction.  We’ll utilize the latest versions of Adobe Lightroom and Photoshop software, as well as Nik Software plug-ins, to help workshop participants learn to “process” their RAW images for maximum impact.  An afternoon break will be followed by another field session at sunset at one of many dramatic vistas in the area.

Saturday’s schedule follows the same format as Friday’s with exciting new locations for the  morning and evening field sessions.  We’ll use some of our classroom time to do a group image critique, which is an exercise that workshop participants frequently find to be one of the most fun and valuable aspects of our time together.  Each participant will choose one or two images to share with the rest of the group.  Jason and I will lead a discussion about the images, helping each participant to understand how deconstructing a photograph leads to a deeper understanding of creating dynamic imagery.

On Sunday, we’ll photograph sunrise at a location not far from town.  This will allow us to return to Moab and wrap up the workshop early in the morning, giving all workshop participants the opportunity to begin traveling home at a reasonable time.

Below are a few questions I am frequently asked about my group photography workshops.  They should answer most of your questions but if not, please don’t hesitate to email me.  I’ll respond within a day or two unless I’m on the road with limited access to email.

How physically demanding is this workshop?  The longest hike we’ll do is the trek to Delicate Arch, which is 3 miles round-trip with an estimated elevation gain of 600′.  This is an optional location.  Those who don’t want or can’t make it to Delicate Arch will go with either Jason or me to another location that does not involve much physical effort.  Most of the locations we’ll visit are only a few minutes from a parking lot.

Where should I stay? We’ve negotiated a great rate for our workshop participants with Comfort Suites, the newest hotel in Moab.  Your rate is $138/night.  The hotel opens for business on June 10 and I will have information about making reservations at that time.

What gear should I bring? Rather than make assumptions about your gear, I’ll tell you what I carry every time I head out into the desert to make images.  I use a Canon 5D Mark III as my main camera and the following lenses in order of how often I use each lens: 24-105mm lens, 16-35mm lens, 70-300 mm lens, 15mm fisheye lens.  My 24-105mm lens is the workhorse and is probably used 70% of the time.  A sturdy tripod and reliable ballhead are absolutely critical.  The only filters I carry are a circular polarizer and a solid neutral density filter.

Do I need a laptop and if so, what software should I have on it for the classroom sessions? We will be using the latest versions of Adobe Lightroom and Photoshop, as well as the Nik Software plug-ins.  Right now, the latest versions are Lightroom 5 and Photoshop CC.

Can I bring a spouse/friend/pet iguana?  Sure, but unless they’re a registered (paid) participant we can not allow them to join us in the field or in the classroom.  Primarily, this is due to our insurance requirements.

Where is the closest airport? There is a small, regional airport just north of Moab called Canyonlands Airfield.  Many people fly into Grand Junction, CO, which is about 1.5 hours from Moab.  The closest major airport is in Salt Lake City, 3.5 hours away.

What is the weather like in October? Spring and fall are generally very temperate, although Mother Nature reserves the right to change her mind.  Most likely, we’ll experience daytime temperatures in the 50′s and 60′s and overnight temperatures in the 30′s.

Do you have all the necessary permits to legally conduct photography workshops in and around Moab? Yes!  I have permits from Dead Horse Point State Park, Arches and Canyonlands National Parks and the Bureau of Land Management/Moab office.  Jason and I are both certified in basic first aid and CPR.  I also carry the required liability insurance.  I invite you to contact the local land management agencies to inquire about my permit status, if you’re so inclined.

Why should I take a workshop with you and Jason instead of photographer XYZ? Jason and I are passionate about helping other photographers break through creative barriers and learn to create images that meet their own, unique visions.  We will not utilize our time together to pad our own portfolios.  We’re there to work with you, not make our own images.  We’ll both bring our gear into the field but we only use it to demonstrate concepts or ideas to our workshop participants.  YOU are our #1 priority.  Every participant will receive personal attention and instruction during every field session.  Still not convinced? Take a look at my Trip Advisor page to see why former workshop clients give me a 5 star rating!

Registration is currently open.  Please visit my website to register for the Autumn in Canyon Country landscape photography workshop.


Photographer’s Guide to Bryce Canyon National Park

Earth shadow tints the sky over Thor's Hammer in pastel shades of blue and pink in Bryce Canyon National Park, Utah. (Bret Edge)

Earth shadow tints the sky over Thor’s Hammer in pastel shades of blue and pink in Bryce Canyon National Park, Utah. (Bret Edge)

I first visited Utah’s Bryce Canyon National Park in 2005.  Melissa and I spent a half day touring the overlooks before unanimously deciding that we were unimpressed and should move on to a more interesting location.  In 2012 I was passing by Bryce Canyon on a motorcycle trip when something compelled me to give it another shot.  I rode through a summer monsoon storm along the scenic drive to the end at Rainbow Point, stopping at each overlook to enjoy the view.  I don’t know what inside of me changed but this time, I was awestruck.  I called Melissa and convinced her we needed to plan a trip to Bryce.  She reluctantly agreed.  We came back with our son later that summer and she too was surprised to find herself fascinated by this marvelous canyon.  We camped for two days and hiked among the fanciful hoodoos.  I’ve gone back a couple more times in the last year and am already eagerly planning another trip.

You would think it relatively easy to create beautiful photographs at a place this scenic.  You would be wrong.  Bryce Canyon is a complex place.  Finding a cohesive composition in the right light requires careful study.  Though I’ve visited a number of times I have exactly one photo from Bryce that I consider print-worthy and only half a dozen or so that are marketable (excluding outdoor adventure photographs).  With this post I hope to share a few lessons I’ve learned over several visits that may help to increase your chances of producing quality images.

General Strategies for Photography at Bryce Canyon National Park

The vast majority of overlooks at Bryce Canyon face more or less east so in the morning you’re essentially shooting into the sunrise.  Yes, there are exceptions at some of the side canyons but generally speaking you’ll greet the morning sun head on.  Use this to your advantage!  The light that Bryce Canyon is famous for is that soft, warm glow of reflected light and at Bryce it is strongest at sunrise.  The red hoodoos and badlands absorb sunrise light and bounce it onto the backsides of hoodoos, filling in shadows and giving the entire scene an amazing radiance.  Use a small aperture (i.e. f/16 or smaller) to create a sunburst just as the sun creeps above the horizon.  If you’re including sky in your composition be prepared to deal with the extreme dynamic range between bright sky and darker canyon.  In the past I used graduated neutral density filters.  Now I blend exposures by hand using luminosity masks and am far more pleased with the results.

Don’t stop photographing right after sunrise.  Mid to late-morning is also excellent as you’ll still find wonderful reflected light even hours after sunrise.  This is also a good time to utilize longer focal length lenses to isolate hoodoos or features inside the canyon for a more intimate view.

Afternoon and sunset is a more challenging time to photograph at Bryce Canyon.  The setting sun casts long shadows into the canyon at most overlooks and only the tops of the hoodoos are bathed in light.  Don’t give up though!  Ten to thirty minutes after sunset you may find a pastel pink and blue sky appear above the canyon – Earth Shadow – and a soft glow upon the landscape.  This light is exquisite and very easy to work with as it is low in dynamic range; you can usually record the entire scene in a single exposure.  Clouds may also offer an opportunity for sunset photography as they bounce light into the canyon, filling in some of the shadows just enough to prevent them from completely blocking up.

Choosing the right lens for photography at Bryce Canyon can be challenging.  You will be tempted to go wide by the seemingly endless views but beware of distortion that causes hoodoos on the edges of the frame to bend outward.  I’m not suggesting that you keep your wide angle lenses stashed away – just know that you will need to make some perspective corrections in post-processing.  There are a couple of ways to avoid this: use a tilt/shift lens or stitch two or more frames together to create a single image.  If I had one, a tilt/shift lens would be my first choice.  If you choose to stitch photos together I recommend that you use a moderate focal length of around 50mm and shoot in a vertical orientation.  This technique is often used to create panoramic photographs but if you only use two or three frames you can create an image with a normal aspect ratio.  Another benefit to this technique is that the final image will likely be of a higher resolution than a single-frame photograph.  Go ahead and make those large prints!  Jim Goldstein wrote an excellent tutorial titled “Mastering Digital Panoramic Photography” that I highly recommend for those of you who are new to this technique.

Every season has something to offer at Bryce Canyon.  Spring temperatures are very pleasant and wildflowers begin to bloom, adding dashes of color to the landscape.  In the summer, dramatic storm clouds build almost every afternoon.  Aspen leaves turn bright yellow in fall and contrast sharply against dark evergreens.  Winter snows create unique and peaceful scenes and also drive away most tourists but be prepared for brutally cold conditions.

Locations to Photograph at Bryce Canyon National Park

What Bryce Canyon National Park lacks in size it more than makes up for in opportunity, which is to say that you’ll find yourself in a target rich environment the moment you cross into the park.  Familiarize yourself with the park before you arrive by visiting the Bryce Canyon National Park website.  Here you can read the aptly named park newspaper, “The Hoodoo“, which also contains valuable information about hiking trails and a good map that provides a birds-eye view of the park.  For a map with more detail I highly recommend the National Geographic Trails Illustrated topo map, #219.

Locations that follow are listed in the order in which they appear as you drive through the park beginning at the park boundary just outside of Bryce City.

Fairyland Canyon

I only discovered Fairyland Canyon last year and have yet to make a dynamic image there.  That said, I believe this relatively small overlook has tremendous potential.  The hoodoos below are densely packed into the canyon with Boat Mesa rising to the south.  In August I found colorful rabbitbrush blooming alongside the trail and ominous monsoon storm clouds in the sky.

Sunrise Point

You don’t need solid detective skills to deduce that Sunrise Point is a great spot to photograph sunrise.  However, it is also one of the better spots for sunset photography.  Sunrise Point is on the northern side of Bryce Amphitheater, which is also overlooked at Sunset, Inspiration and Bryce Points.

Sunset Point

I find the views from Sunset Point a little more interesting than those from Sunrise Point.  I wouldn’t call them better – just different.  Sunset Point is a very popular overlook and is often crowed with tourists.  Despite the name, I don’t recommend it for sunset photography unless you’re lucky enough to have great clouds to bounce light into the canyon.  There are some good opportunities here for panoramic photography.

Thor’s Hammer

A short walk down the trail from Sunset Point delivers you to an exceptional view of Thor’s Hammer, perhaps the most famous hoodoo in Bryce Canyon.  I’ve photographed Thor’s Hammer at sunrise, mid-morning and after sunset and all are good for photography.  The image at the top of this post was made 10-15 minutes after sunset using a 24-105mm lens at 47mm.

Wall Street

While you’re at Sunset Point you might as well hike the Navajo Loop that descends into the canyon through Wall Street.  It’s a steep hike but passing below towering walls glowing with reflected light is not-to-be-missed if you’re in shape to safely do the hike.  Look for an impossibly tall pine tree framed on two sides by huge canyon walls – this is an iconic location for photography at Bryce Canyon.

Inspiration Point

This is my favorite viewpoint at Bryce Canyon.  It’s fantastic at sunrise and early to mid-morning but may also offer some great options for sunset photography.  I also find this to be the best location for panoramic photography.  Instead of walking up to the designated overlook veer left and walk along the Rim Trail until you find a perspective that grabs your attention.

Bryce Point

Bryce Point is my second favorite location in the park.  It is on the southern side of Bryce Amphitheater and provides views looking mostly north and east.  It’s great at sunrise and, depending on the conditions, you may find some good sunset opportunities.

Rim Trail

If you enjoy hiking, the Rim Trail runs between Fairyland Canyon and Bryce Point, passing each overlook along the way.  I can’t recommend this hike strongly enough.  Along the way you will pass endless views into the canyon, many of which are as good, if not better than, the designated viewpoints.

Natural Bridge

I like to photograph Natural Bridge (technically an arch, not a bridge) in mid-morning.  The sun is high enough in the sky that it nicely illuminates the features around the arch and bounces ample light onto the underside of the arch, giving it a nice, warm glow.  This is a difficult area to work as you must stay behind the railing and there are a few small trees that require you to be creative with your composition.  But, it is a fascinating location.

Agua Canyon

Agua Canyon affords spectacular views looking east into the massive expanse of Grand Staircase-Escalante National Monument.  Directly in front of the overlook are a couple dramatic hoodoos, one of which, The Hunter, is quite similar to Thor’s Hammer.  I’ve not been at this location for sunrise but I suspect it could be good.  Late-morning light fills the canyon below, eliminating harsh shadows, and sheds light onto The Hunter.

Rainbow and Yovimpa Points

Admittedly, I’ve never photographed at either of the two viewpoints at the very end of the park road.  I find the views less impressive and more open overall.  That said, I do believe there is potential at both overlooks.  At Yovimpa Point you are looking roughly south, which may offer impressive sunset opportunities.  Rainbow Point faces north and east.  You may find good light in the morning or afternoon.  The Bristlecone Loop is a relatively easy 1 mile loop that passes some interesting bristlecone pine trees.  These trees often make interesting subjects for intimate and abstract photographs in soft light.

Inner Canyon

Pick a trail, any trail, that descends into the canyon and start hiking.  It won’t take long and you’ll be surrounded by huge canyon walls, funky hoodoos, arches and twisted old trees.  The entire character of the landscape changes dramatically when you immerse yourself in the canyon.  Some of my favorite inner canyon hikes are the out and back to Tower Bridge, Queen’s Garden Loop and Peek-A-Book Loop.  You will find interesting subjects to photograph in any season and at any time of day.  A word of caution: it’s always much easier going down than coming back up and the park may close trails throughout the year due to ice, snow and/or rockfall.


If you’re a long lens kind of person you’ll find an ample supply of wild creatures to photograph.  Deer, pronghorn, squirrels and a variety of birds are all commonly seen.  Meadows between Bryce Point and Swamp Canyon are often populated by grazing deer among the pines.  Less common but also native are black bears, bobcats and porcupines.

By no means is this a comprehensive guide of every location worth photographing in Bryce Canyon National Park.  Rather, it is a starting point. I wrote it with the hope that it might save you some time and effort as you plan a trip to this most amazing location.  Enjoy!

Looking for some visual inspiration? Here’s a gallery of my photographs of Bryce Canyon National Park.

COMING SOON: eFotoGuide – Essential Guides to Photographing the National Parks and Beyond

An Adventure Tyke in the Valley of Fire

Not too long ago my friend and fellow photographer/dad/outdoor dude Greg Russell wrote a touching blog post titled “Little Mentors“.  I encourage you to read his post but if you don’t have time, the general idea is that we as adults stand to learn much from spending time in nature with children.  They needn’t be your own kids but I strongly encourage you not to randomly adopt one on the trail. Kinda creepy.  At any rate, Greg’s post inspired me to write one of my own about a recent family adventure.

We spent Thanksgiving week camping, hiking and exploring in Nevada’s gorgeous Valley of Fire State Park.  It had been a while since we’d gotten out as a family for more than a few hours.  Work and other obligations have a way of invading our lives, conspiring to prevent us from spending time with those we love.  The weather was perfect and we shared the park with only a handful of other visitors.  My son, Jackson, whom we have affectionately dubbed the Adventure Tyke, is now 2 1/2 years old.  He has boundless energy and I wish it was contagious.  From the moment he wakes to the moment his blue eyes close he’s on the go, charging ahead at 110 MPH.

On our first full day in the park we hiked the 1.5 mile loop at White Dome.  The trail passes an old movie set, climbs and descends sand dunes and passes through a short but scenic slot canyon – a highlight of the trip.  Hiking a mile and a half in as scenic a place as Valley of Fire shouldn’t take more than an hour, even with multiple stops to make photographs.  Being that Jackson is never short on energy we decided to let him start the hike under his own power.  Two and a half hours later, we were back at the trailhead with one exhausted little hiker.  He surprised us by hiking the entire loop on his own!

Of course, everything we passed was of great interest to him.  He would stop and play in the sand, pick up rocks and make me carry them, point out prickly cactus and, in the slot canyon, he announced that there was a tiger just around the corner.  Yes, a tiger. Must’ve been the rare Mojave tiger that lives only in colorful slot canyons and toddler’s imaginations.  We did see a bighorn sheep scampering over a giant mound of slickrock, which Jackson thoroughly enjoyed.

As one who came into photography in the late 90’s from a ten year “career” in endurance sports, where the entire point is to move from point A to point B as fast as possible, it goes without saying that in the last twelve years I’ve gotten slower.  Becoming a photographer caused me to slow down and look at the world differently.  I learned to appreciate the small things – a play of light, tangled branches among colorful leaves or subtle reflections in a gentle creek – all things I would have rushed past several years ago.  Becoming a Dad has slowed me down even more.  When you’re 2 1/2 and outdoors exploring nature, everything is new and interesting and deserving of a few moments of your time.  At times it can be agonizing, like when you’re running late for sunset and you’ve got to stop to thoroughly inspect the 1,000th lizard of the day.  More often than not, it’s a blast.  It brings me mountains of joy to see my son interacting with and enjoying nature.  He wears a perpetual smile when he’s outside.  As a result, I do too.

We’ve all heard the phrase “kids are sponges”.  They’re also mirrors.  Everything we do and say, they do and say.  Jackson loves nothing more than to peer through the viewfinder of my camera and to press the shutter button, usually in rapid fire succession so it sounds like a machine gun going off.  He loves it so much we bought him his own camera, which you can see in the photo above swinging from his backpack.  He points that camera at anything and everything, and I’ll be darned if some of his photos aren’t pretty freakin’ good.  I’ll never force him into anything but if his interest in photography (and motorcycling!) persevere I’ll be the proudest Dad on the planet.  In the meantime, I plan on enjoying every last second in the great outdoors with my little Adventure Tyke.

If you’re a new (or not so new) Mom or Dad who wants to adventure outdoors with your kids, but you’re not quite sure how to start, my wife runs an awesome site called Adventure Tykes filled with tips and ideas to help motivate, inspire and teach you how to get started. Check it out!

Thoughts on Image Value and Effort

Rain Fingers Above the Bonneville Desert, Utah

How often do you see photos posted in online forums or hanging in a gallery, accompanied by a description wherein the photographer recounts the miles hiked, grizzly bears fought off, violent storms encountered and years of preparation before they were finally able to create the image before you?  I see it on a regular basis.  Usually, I have no doubt about the authenticity of the story.  Other times, the claims are a bit dubious.  Regardless, a recent experience left me wondering whether the effort expended to create an image is somehow tied to the value viewers place on an image.  Is a photograph made deep into an inhospitable wilderness more inherently valuable or artistic than an image where the greatest physical effort expended was simply pressing the shutter button?

The image you see above was not photographed in a wild and remote location.  I didn’t backpack 30 miles wearing a 100 pound backpack in stinging rain with lightning crashing all around.  No, all I did was pull to the side of I-80 so my son could go pee.  I saw potential in the cracked mud, mountains and ominous sky so I casually strolled to my truck (in flip flops) where I reached in, grabbed my camera and tripod, then walked 30 feet to the very spot where this image was made.  My biggest challenge was wrangling a persistent 2 year old who was intent on peering through the viewfinder and making his own photo while I tried to nail the composition before the fast moving storm in the distance was upon us.

I posted this image on flickr and, to date, it has received 793 views, 41 favorites and 21 comments after flickr added it to the explore page.  If you’re familiar with flickr you’ll understand that 800 views is nothing compared to what truly popular images receive.  For me, it’s a bunch.  I didn’t mention that I made the photo mere feet from a busy interstate with cars and semis whizzing by at 80 MPH.  I wonder if I had, would the photo have received so many likes and comments?

What are your thoughts?

Pixels Vs. Prints: Which Do You Prefer?

Until last year I had never enjoyed the thrill of making my own photographic prints.  When I needed a print, I’d send off a file (or slide) to whatever lab I was using at the time and they’d ship the print directly to me or my client.  With only a few exceptions my image viewing experience consisted of staring at a photo on a computer monitor.

Then, I bought an Epson Stylus Photo R2880 printer and everything changed.  If that sounds like a dramatic statement – it is.  It’s also quite true.  I started making my own prints.  Whenever I wanted.  On whatever paper I wanted.  It didn’t take long and I was addicted to the smell of fresh ink on photographic paper as a new print rolled off the printer, landing ever so gently in the catch tray.  Is there a difference between viewing an image on a computer monitor and holding an actual print, that you made, in your hands?  You’d better believe it.

As an artist I like to have complete control over my work from start to finish.  While it is true that you maintain a degree of control when you do all the post-processing on your photos before sending them off to a lab, you’re really not closing the loop.  The ultimate control comes when you conclude the image making process by crafting your own print.  Today’s inkjet printers are capable of producing professional quality archival prints that rival and, in my opinion, exceed those made using more traditional methods like Cibachromes.  They’re sharper, more detailed, just as colorful and can be made using a diversity of papers.

While difficult to quantify, there is a certain pleasure and satisfaction in handling an honest to God hand-crafted print.  It is a tactile experience.  You feel the weight of the paper, the texture.  Unseen details emerge.  Perhaps you feel pride in the knowledge that the print you are holding was born of your own creativity, and that without your vision and skills it would cease to exist.  I get none of this from viewing an image on a computer monitor.

I’ve also noticed that people react differently when viewing my photographs in print.  On the computer (or iPad), they quickly flick through the images.  When I hand over my portfolio book I’ve noticed that they linger on each image.  They don’t madly flip from one page to the next.  Do people, even non-photographers, appreciate a fine art print more than they do an image on a screen?  It would seem so.

Five Things Every New Adobe Lightroom User Should Know

I’ve been using Adobe Lightroom as my RAW converter and photo editor of choice since version 1 launched a few years ago.  Until last year I still relied on Photoshop to complete the bulk of my editing work.  Why?  Because I was stubborn – an old curmudgeon who didn’t want to change.  Looking back, I wish I’d taken the advice of my friend and Lightroom guru Nat Coalson, who for years has been extolling the virtues of completing as much work as possible within Lightroom.

Finally I got smart and listened to Nat’s advice.  I now do about 90% of my processing within Lightroom, only using Photoshop to blend multiple exposures or for complicated cloning – both of which just can’t be done in Lightroom’s current version.  Even then, I import the finished product back into Lightroom so my entire image collection is in one place and easily searchable.

Lately I’ve noticed that many of my landscape and nature photography workshop clients are just now diving into Lightroom.  Many of them are doing so with trepidation.  Some of them are taking the plunge because I’ve badgered them into it.  Regardless, if you’re new to Lightroom I’ve got a few tips to share that are guaranteed to save you time and effort down the road.  These tips come from my own hard won experience.  I hope they help you find Lightroom bliss.

Keyword From the Start

You may not be a professional photographer or even have any aspirations to become one.  It doesn’t matter.  Metadata is king and you should keyword your images from the very beginning.  I also recommend that you enter a title and description for each photo.  Why?  If you ever plan to upload your images to flickr, your own website or any other photo sharing sites, the title, description and all of your keywords will automatically carry over.  I didn’t keyword from the start and as my stock photography business grows, I’m really wishing I had.

Buy A Lightroom Reference Book

The Adobe engineers did a remarkable job of designing Lightroom to be extremely powerful while remaining user friendly.  Nearly every adjustment in Lightroom can be accomplished through the use of sliders.  However, some of the terms may be confusing to those who are new to Lightroom.  Clarity, vibrance, black point – huh?  Additionally, there are keyboard shortcuts, presets, camera and lens profiles, catalogs, collections, ratings and more that aren’t exactly intuitive.  A good reference book, like Nat Coalson’s “Lightroom 5: Streamlining Your Digital Photography Process” will save you get you up and running with a minimum of time and frustration.  There are also several fantastic websites with tons of useful information.  One I visit regularly is The Lightroom Queen.

Keep It in Lightroom

This one took me a while to adopt.  I really wish it hadn’t.  I use Lightroom for 90% of my processing, switching over to Photoshop only to do exposure blends, complicated cloning and image prep for print.  Until Lightroom offers layers and a better cloning tool I’m forced to use Photoshop for these techniques.  However, Lightroom does have a powerful printing module that I simply haven’t yet explored.  I will soon.

Why keep everything in Lightroom?  Lightroom’s database capabilities are second to none.  By cataloging all of your images inside Lightroom you’re ensuring that they’re always easy to reference.  You can search for images using a number of variables, including keywords.  If you’re a stock photographer this is especially important as it eliminates the hassle in trying to find images for photo submissions.  All of your images under one roof?  Nice!

Back-up Your Lightroom Catalog Early and Often

This is probably the single most important advice I can offer.  We all know the value of backing up our data yet not all of us do it as often as we should.  I’m guilty of it in some regards but not when it comes to my Lightroom catalog.  Luckily, Lightroom makes it stupidly simple to ensure you never forget this critical step.  Lightroom can be set up to prompt you about a back-up every time you quit the program.  At that point you have the option to back-up the catalog or just close the program.  Take it from someone who learned this lesson the hard way: back up your catalog every time you close Lightroom. In my early days of using Lightroom I was far too lax about this.  My catalog became corrupted and, because I’d never backed it up, I lost all the work I’d done on every single image in the catalog.  All of it.  Hundreds of hours worth.  Don’t let this happen to you.

Presets Speed Up Your Workflow

Lightroom allows you to create presets for certain functions, such as exports and keywords.  Generally speaking, you’ll save quite a bit of time and effort if you set up presets for commonly used actions.  For example, if you spend a lot of time photographing in Arches NP you can create a preset containing keywords that apply to all images from Arches.  One click and the keywords are automatically populated.

I also frequently use export presets.  A recent photo submission consisted of almost 200 images that needed to be at a specific size and in jpeg format.  First I added all the images for the submission to a “collection”, then I created an export preset, selected the entire collection and started the export.  A few minutes later the entire submission was ready to be burned to a CD and shipped off to the client.

Bonus Tip: Plug-ins Are Your Friend

No, you don’t have to use plug-ins to really benefit from Lightroom.  But, I find that they make my life much easier.  Unless you’re new here, you already know I’ve got a love affair with Google’s Nik Collection.  There are dozens of other plug-ins that allow you to work faster and smarter, some of which are even free.  This link to the Adobe Lightroom website will give you an idea of what types of plug-ins are available.  If you find a few that work for you, you’ll soon realize just how much of a timesaver they are.

So, there you have it.  My five – okay, six - tips for new Lightroom users.  If you’ve got a tip to share I hope you’ll do so in the comments section below.  I’m certainly not a Lightroom expert and would love to hear how you’re using it to speed up your workflow!

Quick Guide to Photographing the Moab Area

I wrote the following short article for the 2011 Moab Guest Guide.  I thought I’d re-post it here in the event someone needs a quick and dirty primer on photographing the Moab area.  It’s certainly geared more for the casual point and shooter, but you just never know whose reading this stuff.  Enjoy!

Creating memorable photos in Moab is almost as easy as pointing your camera in any direction and pressing the shutter button.  Towering sandstone spires, massive natural arches, breathtaking canyons and even alpine splendor all compete for your attention and will quickly fill camera memory cards.  Use the following tips and you’re sure to return home with photos that will fill your family and friends with envy.

Get Up Early and Stay Out Late – The single best way to improve your photos is to shoot at sunrise and sunset.  The light is richer and the long shadows cast by a lower sun reveal details in the landscape not evident in mid-day light.

Composition, Composition, Composition – Equally important, take your time composing a dynamic scene.  Include a foreground, mid-ground and background to give your photo depth.  Don’t place your primary subject dead center in the frame.  Use the “rule of thirds”: imagine lines drawn on your image that divide it into thirds horizontally and vertically.  Place your main subject at the intersection of these lines to create a more pleasing composition.  Try different perspectives instead of shooting everything from standing height.  Get down low or seek a higher vantage point.

Blue Skies Aren’t Always Best – Bad weather doesn’t equal bad photography.  Actually, some of the best landscape photographs are made as a storm approaches or breaks up.  Ominous clouds in the sky add interest and potholes in sandstone filled with rainwater catch ephemeral reflections.  Be safe, though: Don’t enter slot canyons when thunderstorms are imminent and return to your car when lightning is present.

Tell a Story – Include people in your photos for scale.  It’s easy to get sucked into panoramic vistas, but small scenes are just as interesting.  Colorful flowers, gnarled juniper trees and striated sandstone all make wonderful subjects that nicely compliment your grand landscape photographs.

Stability is Critical – Any pro landscape photographer will tell you their single most important piece of gear is the tripod.  Without it, you can’t expect sharp photos in low light at sunrise and sunset.  Even a small, inexpensive tripod like the Gorillapod will hold your camera steadier than you can.  Remember to use the camera’s self-timer to release the shutter.

It’s Not About the Gear – Don’t discount the power of a point & shoot camera.  You don’t need expensive cameras and lenses to create stunning photos.  Use the tips above – shoot in good light, develop good compositions, go out in bad weather, tell a story and use a tripod – and you’ll return home from your vacation with a dozens of images to brag about!