I’ve long wanted to produce a calendar featuring my images but haven’t had  a venue for selling them in sufficient quantities until I opened The Edge Gallery.  I was recently approached by my good friend Todd Caudle, who proposed a collaborative effort to create a 2013 Utah calendar featuring my photography and the amazing imagery of photographer David J. West, whose home base is just outside Zion National Park.  One look at David’s website and I was sold on the idea.

Our 2013 wall calendar, simply titled “Utah”, will be available around mid-June.  Each month features a beautiful, full color photograph from a variety of stunning locations in Utah, including Arches, Canyonlands, Bryce and Zion National Parks.  The calendars will be on sale in my and David’s galleries this summer.  Not planning a trip to Utah this year?  Order one online!  I’m accepting pre-orders now and will ship your calendar as soon as they’re delivered to me in June.  The 2013 Utah calendar will retail for $11.95 and can be shipped to you for an additional $2.00.

To pre-order your calendar just send me an email (or bret (at) bretedge (dot) com) with your name, shipping address, phone number and the quantity of calendars you’d like to order.  I’ll respond with an order confirmation and payment instructions.

I got a haircut today. The woman who cuts my hair is well connected in Moab, as hairstylists always seem to be.  I shared the news of my gallery opening with her a couple days ago and she’s been kindly spreading the word to many of her clients.  One of those clients, upon hearing the news, responded by asking, “Is he as good as Tom Till?”  My stylist told her to check out my website and decide for herself – a balanced answer and a keen way to avoid possibly offending someone.

Still, the words have been sitting heavy with me all day.  Am I as good as Tom Till?  I can’t answer that.  I have concluded that it doesn’t matter.  Not one bit.  Do I need to be as good as Tom Till or any other photographer with a more famous name than I?  What is important is that my work – your work – stands on its own merits.  We all strive to create the very best photography we can, right?  Not once have I rolled out of my comfortable bed and headed out to photograph sunrise with the goal of making terrible photographs.  I do my best with what I’ve got and I’m proud of my work.

I mentioned this to a friend at lunch that same day.  She had an interesting perspective to share.  Locals and other nature photographers may know who Tom Till is, but most of the tourists who visit Moab don’t know Tom Till from Bret Edge.  They see a pretty photograph that they’d like to hang on their wall, possibly as a reminder of the great time they had in Moab.  They couldn’t care less who signed the print.  Hmm – something to think about.

I guess the bottom line is this: I (and you) don’t need to be as good a photographer as anyone else.  We’re a society that likes to make comparisons and that can some times be a difficult hurdle to get over.  In the end, we all create images that we like.  If the public likes them, and they’re willing to hand over their hard earned cash for them, so be it.  That, in and of itself, is some measure of success.

I’d love to hear your thoughts on this. It’s a bit of a strange topic but it’s really got me thinking and I’m sure some of you have an opinion or two to share. Let’s hear ‘em!  And, if you’re not familiar with Tom’s work, I encourage you to visit his website.

North Window and Turret Arch in Snowstorm, Utah

I don’t think there is a landscape photographer alive who doesn’t recognize this iconic scene in Arches National Park.  Most photographers arrive before sunrise to scramble up to the tiny, mildly exposed perch that affords this perspective.  When the sandstone is dry, it’s a relatively easy task.  When it’s covered in snow and ice, it becomes a formidable obstacle.  At sunrise on a bluebird day you’ll have to wage battle with several other photographers for this spot.  You’ll vie with no one during an active snowstorm.

I made this photo in early March, 2007 while recovering from a broken back.  Six weeks earlier I was involved in a violent, high speed car crash.  At 80 MPH I’d swerved to avoid a deer (stupid) and lost control of my vehicle.  The car slid sideways into a metal pole, spun around and collided with a boulder while traveling backwards, then flipped end over end into a culvert.  The car came to rest on it’s rear bumper, upside down, with the front of the vehicle supported by the limbs of a sturdy cottonwood tree.  I wasn’t wearing a seat belt (even more stupid).  The force of the crash broke the drivers seat completely off of it’s mounts and I was lying under it in the back seat when my friend T.J. and his extrication crew arrived and cut me out of the crumpled mess.  An ambulance arrived, morphine was administered, I was taken to one hospital and then another in a different state.  I’d later discover that I had fractured two vertebrae – T10 and T12.  I spent two days in the hospital before I was discharged and allowed to go home with strict orders to spend the first four weeks lying on the couch.  After that, my doctor said I could start doing short walks around the block.

Some time around the six week mark a winter storm arrived in Moab.  All that red sandstone was blanketed in snow and the photographic potential was irresistible.  Ever the idiot, I grabbed my Lowepro chest pack and my backpack, loaded up my tripod and headed to Arches.  I drove straight to the Windows area and upon arriving in the parking lot and seeing ground level fog all around, immediately forgot that I was only supposed to be “walking around the block”.  I put on the Topload chest pack and quickly realized that all the weight of my camera was resting where the chest pack straps come together – right on top of T10 and T12.  I hurried up the trail toward North Window.  I scrambled over the slickrock, which was covered in snow and patches of ice, finally arriving at the spot where I set up my tripod and made the image you see below.

The entire experience was a religious one for me.  Only six weeks earlier I was saved from serious injury or death by some unknown and unseen force.  Lying in the back of a cold, upside down car, struggling to breathe through intense pain, I’d never felt more alone.  I used my cell phone to call Melissa and told her that I’d been in an accident.  I told her I’d already called for help and asked her to meet me at the hospital, not knowing if I’d even make it there.  I told her how much I loved her and when I heard the sirens approaching, I hung up the phone.

And now, here I was making photographs in a snowstorm in Arches National Park.  I was filled with love and happiness in a way I’d never known.  I was jubilant.  I was emotional.  I was alive.  Indeed, every day, every hour, every minute is a gift.

Purchase a fine art print of this Arches National Park photograph

Read “My Favorite Photos of the Decade – Part Four” here

Aspen Trunk, Leaves and Rock, Colorado

After 18 years in the Sonoran Desert I moved from Arizona to Colorado in July, 2002.  I needed a change of scenery as I had grown weary of saguaro cactus and rattlesnakes.  The Rockies provided precisely the relief I sought and I used every weekend to explore the landscapes of my new home.  As a national park junkie it didn’t take long for Rocky Mountain National Park to become my go-to location for weekend escapes.

I was still somewhat new to photography and I falsely believed the only good light was at sunrise or sunset.  Cloudy was bad.  Rainy was worse.  Cloudy and rainy just put me in a really foul mood.  About the same time I’d become obsessed with “intimate landscapes”, a term coined to describe the style of pioneering photographer Eliot Porter.  I drew inspiration not only from Mr. Porter’s work, but from contemporary photographers like Guy Tal and Michael Gordon, both of whom are able to create stunning images by composing order out of complete chaos.  Intimate landscapes are the exact opposite of the grand scene.  They are small scenes within a larger landscape.  What I did not know was that cloudy days create a soft, diffused light that lowers the contrast of a scene and allows every little detail to be recorded without blown highlights or blocked shadows.

Fast forward to the autumn of 2004.  Melissa and I spent a long weekend in Rocky Mountain NP.  We camped and hiked, and of course I photographed.  Actually, I spent more time bitching and moaning about the “crappy” light and incessant rain.  On our last full day in the park we attempted to hike to the summit of Flat Top Mountain but were repelled by a hail storm.  It was the proverbial straw, and I let loose with a profanity laced tirade as we ran for cover.  Once safely in the trees, Melissa put her foot down about my juvenile temper tantrums.  In no short order, she told me I needed to make a choice.  I’d either learn to enjoy my time with her, even if it meant that I got zero photographs, or our relationship would be over.  You can probably deduce that I learned to enjoy my time with her.

Getting back to 2004 and our wet hike in Rocky – on the way down the trail I noticed an aspen tree growing right next to a granite boulder that was littered with colorful autumn leaves.  Still smarting from the tongue lashing I’d just received, I politely asked if she would mind stopping for a few minutes while I worked the scene.  Melissa was more than happy to do so and I got to work.  As I did, I started to see that it was easier to nail the proper exposure because of the low contrast.  I also noted that the rain seemed to make the colors even more vibrant.  Hmmm, could I be on to something?  I exposed a few slides and we headed back to the trailhead and the shelter of my truck.

Back home in Denver I dropped off my film at Qube Visual.  As was customary, I picked up the slides on my lunch hour.  I was giddy the second the I saw this image on the light table.  I’d finally nailed an intimate landscape!  Since moving to Colorado two years prior I’d been determined to hone my skills at this type of photography and my dedication seemed to finally be paying off.

Over the years I’ve discovered that I am much more fulfilled finding and photographing those little scenes that most would pass without batting an eye.  Now, when I see clouds, I no longer get frustrated and pout in my tent.  I grab my camera and run out the door, eager to find my next small masterpiece!

Read “My Favorite Photos of the Decade – Part Three” here

My interest in landscape photography evolved as a natural extension of my love for the outdoors.  I hike and backpack to gain access to high alpine lakes surrounded by jagged mountain peaks and deep desert canyons carved by raging rivers.  Why not use the time in between sunrise and sunset to expand your photographic horizons by shooting adventure images?

The words “adventure photography” conjure up images of daring climbers clinging precariously to granite cliffs and river rafters navigating huge rapids.  But such high adrenaline pursuits aren’t the only outdoor sports that make for dynamic adventure photos.  Day hiking, backpacking, mountain biking and even car camping can offer opportunities for interesting photography all day long.  With a little practice and a little knowledge you’ll soon be making photos on par with those in Backpacker, Outside and the now deceased Adventure magazine (RIP).  Here are some tips to get you started:

Spouses Make Great Models

Spouses work for free, they’re usually with us while out exploring, they don’t complain a whole lot and they won’t give you flak about signing a model release.  Just remember: even if you’re married to a professional model your better half will need a little direction during the shoot.  Be patient with them and explain exactly what you need them to do for you, i.e. turn left 1/4 turn and gaze lovingly at that big mountain.  Okay, maybe just gaze at that big mountain.

Adventure Couture

Since we’re on the topic of models, let’s talk about what they should wear.  A photo of a hiker wearing jeans and a cotton flannel shirt isn’t going to make it into Backpacker magazine no matter how dramatic the scenery.  Your model should wear clothing and gear appropriate for the activity and environment.  Additionally, your model should know how to properly use any gear in the photo.  I once received an image request from an outdoor magazine for a “hiker fording a waist deep creek using trekking poles and wearing a pack with the hipbelt and sternum strap unfastened.”  Why?  Because it’s the proper technique when fording a creek.

Here’s the part your model spouse will really like - they’ll probably get some new outdoor clothing out of the gig.  Choose colors that will contrast with the environment.  For example, a hiker in the mountains wearing a bright red top will stand out dramatically from a background of green trees.  That same red top won’t contrast as strongly against the red rock of Canyon Country.  Maybe a green or blue top would work better.  Think camoflauge, in reverse.

Get Low.  Get High.

Just as in landscape photography, you can use unusual camera angles to create dynamic images.  Lay down on your belly or climb up above your subject.  Shoot from in front, behind and to the side of your subject.  One angle may work better than another.  The more you experiment the more creative your images are likely to be.

Go Wide.  Go Long.

Altering your perspective isn’t the only path to creative adventure photography.  Get down low with a wide angle lens and shoot close to your subject’s feet.  Use a telephoto lens to compress the distance between a hiker perched on a rock outcrop and the snow capped mountain behind them.  There is no “right” technique.  Each situation calls for a different approach.  As you experiment in the field you will discover what works and what doesn’t.  Chances are you’re shooting digitally.  Carry lots of memory and don’t forget that it doesn’t cost you a penny to push the shutter button.

It isn’t always easy to convey motion in a still image.  Using a slow-ish shutter speed and panning the camera with your moving subject works great for trail running, kayaking and mountain biking.  Your subject remains reasonably sharp while the background blurs into streaks that imply fast movement.  Or, set your camera to motor drive and fire off several images in a row and you might just capture your subject in transition with both feet (or both tires!) off the ground.  A human hovering in mid-air is pretty much a dead giveaway that they’re not standing still.

Show The Whole Story

The adventure begins long before you step foot on the trail.  Photos of friends setting up a tent, chilling around a campfire and performing seemingly mundane tasks like cramming gear into every available inch of the SUV are all part of the story.  Find a fun way to depict the action.  If your spouse or friends are willing to look a little silly, use a wide angle lens and photograph a tight composition of their puffy cheeks filled with air while blowing up an air mattress.

Location is a big part of your story.  Show it off in your photos.  Include a prominent, well known peak in the background with your subject hiking in the foreground or show a hiker standing in awe on the rim of the Grand Canyon.  Found a killer campsite near an alpine lake?  Scout out a composition that shows your tent surrounded by wildflowers next to that jewel colored lake and your friends who bailed on the trip will cry tears of regret.

While this primer is by no means everything you need to know about adventure photography it does give you a few things to consider on your next adventure.  Don’t waste mid-day.  Get out there and burn through some memory!

Adventure Photographers Who Inspire Me

Jimmy Chin

Michael Clark

Kennan Harvey

Galen Rowell

Tyler Stableford

Corey Rich

Adventure Photography Resources & Training

Rocky Mountain School of Photography Adventure Photography Course

Adventure Photography: Capturing the World of Outdoor Sports

Don’t let the adventure stop here.  Ask a question, leave a comment or tell us how you coaxed your spouse into being your adventure model.  Got some cool adventure photos online somewhere?  Feel free to link to ‘em.

Happy New Year! I’m starting off 2010 by announcing an exciting referral program for my workshop clients. Everybody likes free money, right?

Here’s how it works:

1. Refer a friend, family member, business associate, total stranger or sworn enemy to a Bret Edge Photography workshop.
2. They register and pay tuition for the workshop.
3. You receive a $25 Visa gift card and a whole bunch of good Karma. They receive a tuition discount of either $25 or $50 and an unbeatable workshop experience.

It probably couldn’t be any easier. So get out there and tell everyone you know about Bret Edge Photography workshops, earn some extra spending money and help a friend become a better photographer!

Rules suck. So, I’m keeping the program rules as simple as I can. I aim to thwart those who try to cheat the system and reward honest, hard working folks like you. Here’s the fine print:

There is no limit to the number of referrals you may make. All registration forms contain a field titled “Who referred you?”. The workshop registrant is required to provide the name and contact information of the referrer in this field at the time of registration or no referral credit will be issued. There are no exceptions. A $25 discount will be applied to workshop tuitions of less than $500. A $50 discount will be applied to workshop tuitions of more than $500. The referral award is always $25 and will only be made available on a Visa gift card. The $25 gift card will be mailed to the referrer after workshop registration and full payment is received at our office. Workshop registrants who cancel will receive a refund according to our standard refund policy, minus an additional $25 processing fee. Sorry, but the program does not apply to private guided excursions. I reserve the right to discontinue this program at any time and for any reason.

I spent some time over the holidays sorting through the images I made during 2009.  We didn’t take as many trips as usual and I didn’t get out with the frequency to which I am accustomed.  Our little dude Jackson, who is now 9 months old, is to blame.  Not that I’m complaining.  I’m not – at all.  Adding Jackson to our family is the most amazing adventure of my life.  It isn’t his fault that he’s just so damn cute I’d rather lie on the living room floor stacking wooden blocks just to watch him knock them down than go out and photograph.

Even without traveling like gypsies I still managed to make a few decent images this year.  I was in the process of narrowing them down to the top 5 when my friend CAZ suggested that I let my friends and fans make the selections from a larger group of photos.  Brilliant idea, CAZ!  So, I sorted through all my photos to select the top 15 for a gallery on my Facebook page.  I tried and tried and tried to limit it to 15 but in the end, I couldn’t do it.  So, I posted my top 17 images.  Nice round number, eh?

You’re probably wondering, “Soooooo, what’s the contest all about?”  Here’s the scoop: Votes are being accepted on my Facebook page until Jan. 8, 2010.  After that I’ll tally all the votes to select the top 5 of 2009.  Everyone who voted will have their name thrown into a hat.  I’ll have my wife draw one name from the hat and that person will win a framed 12″ x 18″ print of their choice from the top 5 photos.

Visit my Facebook page to cast your vote!

Today four Lakewood, WA police officers were laid to rest.  Their commitment to duty, honor and community must not be forgotten.

A memorial fund has been established for the children of these fallen officers.  More information about the fund here: http://www.lpig.us/.  I have 8 Utah Office of Tourism 2010 calendars left and am offering them for sale, with 100% of the proceeds being donated to this fund.  My image of the Three Gossips in Arches NP is the August photo.  I am accepting donations for the calendars, which retail for $11.00, in any amount.

If you would like to honor these fallen officers by purchasing a calendar please email me and I will provide you with a link to my PayPal account or an address to which you may send a check.

Please keep these officers, their families, their friends and all the men and women who choose to serve in law enforcement in your thoughts.

Dan and I are trying to decide which parks to cover with new iFotoGuides in 2010.  You can help by visiting the iFotoGuide blog at http://bit.ly/5W4sBS and leaving a comment.  Please help us make this difficult decision!

Abstraction is everywhere in nature.  Even so, it isn’t always easy to extract a successful image from the chaos.  Patterns, lines, colors and textures can be difficult to arrange into a cohesive composition.  But every once in a while all the difficult work is done for you, leaving you to do little more than point the camera and press the shutter button.

Three summers ago I spent a week roaming the San Juan mountains of southwest Colorado on an alpine wildflower pilgrimage.  I’m fairly well traveled in the San Juans and was intent to seek out locations I’d not yet seen.  On a rainy afternoon I stopped at Mad Mamas Pies in Silverton for a momentary respite from the storm.  I broke out my topographic maps and began pouring over them while scarfing down a delicious slice of chocolate pie.  I located a nearby basin that appeared to have potential, finished my pie and headed out into the storm.  I passed the Silverton ski area and took a right on a rough dirt road.  Up, up, up I climbed toward towering peaks issuing streams that cascaded through wildflower filled meadows.  The road came to an abrupt end high in a basin ringed with peaks that dropped dramatically into an alpine lake.  The mountain slopes were littered with talus that precariously clung to slopes so steep they taunted gravity and challenged the angle of repose.  Patches of dirty snow lingered on the opposite side of the lake.

All of a sudden the rain abated.  There were no more flashes of lightning, no more thunder claps.  The wind slowed to a gentle breeze.  I seized the moment to jump from my truck and walk to the edge of the lake.  Wildflowers lined the shore in shades of red, purple, yellow and cream but I couldn’t take my eye off the Rorschach test on the opposite shore.  Uncertain of how long this break in the weather would last I set up my camera and composed an image of the talus and snow reflecting in the rippled waters of an alpine lake in a place known as Velocity Basin.

A few minutes later an uncomfortably close lightning strike signaled that it was time to retreat to the safety of my truck.  Rain began to fall and the wind whipped all around me.  I didn’t get to make any images of the wildflowers and peaks.  Instead, I came away with something much more unique.  Mother Nature offered me a gift.  She designed a beautiful abstract, presented it to me and graciously allowed me just enough time to photograph it.  For all the havoc she is capable of wreaking, it appears she has a soft side too.