Bonneville Speed Week 2012

The Yankee Engineuity Express starts down the flats reaching 153 MPH.

Another day full of engines, salt, and speed! Bonneville Speed Week is like nothing else. Men and women spend the year building and perfecting their vehicles in hopes to squash land speed records on the fastest course in the world. Racers of all types lined up despite the wetter-than-usual salt this year. A storm had hit the night before, closing two of the three courses, but had not managed to dampen any spirits. Spectators, racers and photographers were as giddy as school children; something about loud and fast cars that gets people excited.

Those invested in the 'projectiles' wait anxiously while docked at the starting line, waiting for their signal. Large trucks peel out as they push the aerodynamic cars down the course until they can reach third gear pace. The crowd waits for the punch as the driver finally picks up his own speed and quickly disappears into the mirage near the edge of the horizon.

Many come to show off what they've been working on during the past year, revving engines and lifting hoods ready to share their life story to any passerby curious enough to strike up a conversation. Those who have been coming back since the beginning, however, are there for only one reason; to get some speed! 

This car waited hours at the starting line, only to pull off at mile 2 after reaching 161 MPH.

The salt flats are aptly named, as there is no shade to speak of. You have to make your own if you want to be out of the sun.

Some of the competitors have used their life savings to build the kind of car required to reach speeds of up to 400 MPH. 

Speed Week is a perfect time to show off your pride and joy, even if it never races for timed speed.

Photographically speaking, I kept my Singh-Ray warming filter on my 17-40mm and my Vari-N-Duo (warming filter and neutral density filter combo) on my 70-200mm. This allowed me to get shots that weren't completely blown out by the bright scene and play around with a slower shutter speed (see first photo). As all races are held during the day, the bright harsh light is always a factor when shooting Speed Week. It just becomes part of the scene. I would definitely suggest a warming polarizer of some sort. It make just that extra bit of difference in such harsh lighting.

People from all over the world come to see speed records fall at the salt flats.

Location: Cecret Lake

Cecret Lake, Albion Basin, Utah. Canon 5D Mark II, 17-40mm, Singh Ray 3-stop reverse filter, Warming Polarizer.

Last night, I had one of the most amazing experiences of my life. I had envisioned shots like this at Cecret (Secret) Lake for some time now, and I finally got to capture it. I waited through wind and rain just hoping for the clouds to break at the right moment. I have to be honest, it wasn’t looking promising, and I kept thinking about how unprepared I actually was if things were to turn ugly. The rain was getting heavier and my crepe soled shoes (bad idea) had started slipping in the mud. I hiked to a spot I found photographically pleasing and waited. The light was fading and my hopes for a sky full of color were fading with it. It’s all part of the game. Often times the waiting doesn’t pay off. You sit and wait, only to come home cold and wet with grey photos. It’s the times when the waiting and the patience actually pay off that keep you coming back for more, and last night was one of those times.

There were moments of joy and frustration as the rain continued to spit on my most prized filter. The rain was the heaviest when the light finally leaked through, but I couldn’t wipe my filter off, hold it in front of my lens and place it fast enough before drops started to hit it again. The light went as quickly as it came, but I was so stoked about the shots I was able to get that I didn’t care how long it lasted. It was incredible. I didn’t care that I was wet, or that my shoes were muddy. Those things were only temporary. The moment and the beauty will be with me forever.

On my way back down the mountain, I was thinking of the natural wonder I had just witnessed. In my daydreaming and replaying of the last hour, I stumbled upon FOUR moose along the trail. The first sighting was of a mom and baby along the tree line about 50 yards away from the trail. We spotted each other at the same time, and I stopped just as they froze. I slowly crept past on the trail, keeping my eye on the mother. Further down, I nearly ran into a male moose eating along the trail. I must have only been 30 feet from him. With its head down eating the grass, and the low light of dusk, I didn’t recognize its form until he came up to chew his food. He hardly seemed fazed by my presence, but I wasn’t taking any chances. I started off trail to see if I could go around him when I saw yet another in my diverted path. I had to weigh my options for a minute and remain calm as I thought of my next step. I started off trail the other way, giving the male, still in the middle of the trail, plenty of room, and eventually got back on the path. I had never seen so many moose at once! And all so close. I’ll never forget it. 

Dramatic storm clouds and rainbow over Cecret Lake, Albion Basin, Utah.

Before the light hit at Cecret Lake, Albion Basin, Utah.

Cecret Lake, Albion Basin, Utah.

*Please click on photos for maximum viewing.

Location: Canyonlands NP

Pothole Point Overlook. Needles District, Canyonlands.  

Singh-Ray 3-stop reverse ND, 2-stop soft step graduated ND, Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 70-200mm, Gitzo Tripod, BH-3 Ballhead.

False Kiva. Island in the Sky District, Canyonlands.

Singh-Ray 3-stop reverse ND, 2-stop soft step graduated ND, Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 17-40mm, Gitzo Tripod, BH-3 Ballhead.

Pothole Point Overlook.  Needles District, Canyonlands.  

Singh-Ray 3-stop reverse, Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 70-200mm, Gitzo Tripod, BH-3 Ballhead.

 Newspaper Rock. On the way to the Needles District, Canyonlands.

Canon 5D Mark II, Canon 17-40mm.

I've been hitting up several National Parks in and around Utah this past year and have come to fall in love with Canyonlands National Park. Just west of the well known Arches National Park, on the other side of Moab, lies the beautiful Canyonlands National Park. The north entrance, just north of the entrance for Arches, takes you to the Island in the Sky District. At the edges of "Island in the Sky" you realize why it has its name; steep cliffs drop off into the canyon floor hundreds of feet below which continue miles beyond human sight. The Green and Colorado Rivers have formed much of the land, carving deeper canyons below. With the limited time I've had in the Island in the Sky District, and Canyonlands in general, I've only been able to hit some of the shorter hikes and closer lookouts. For a one or two day trip to Canyonlands, I would suggest staying in the Island in the Sky District and hitting the sites there.  These are some of my favorites:

• Mesa Arch is one of the most famous arches in the area and is best seen at sunrise. There will be 20-30 other people there, especially in the spring and summer months, so get there early if you want to set your tripod somewhere decent. Or you can always hope for an overly friendly European who will wave you over to set your tripod leg to leg with his, in the midst of a sea of Japanese tourists, to get the exact shot you were hoping for. But I wouldn't count on it. Get there early if you don't want to be fighting for your view of Mesa Arch. 

• False Kiva is one of the best kept secrets in the park. The trail is unmarked and followed only by the occasional cairn, but if you ask a ranger at the visitor center, they'll tell you exactly where to go. It is a very secluded hike. Chances are, you won't see another person the entire way. Keep that in mind, and be prepared, if you plan on going alone.  

• Any of the overlooks are amazing; I would suggest hitting as many as you can and choosing Green River Overlook or Grand View Point Overlook for sunset.  

For the majority of my most recent trip, I spent my time in, or getting to, the Needles District. None of the four districts in Canyonlands connect, and you have to drive out the same way you come in, so accessibility is not exactly easy. The road to get to the Needles District is north of Monticello, and from the 191 it's a scenic 35 mile drive in. The places I was able to see only made me disappointed that I didn't have more time to explore. This part of the park definitely requires pre-planning. Backcountry permits go quickly and can only be reserved if you call at least two weeks ahead. Very few are given out on a first come, first serve basis at the visitor center, and they start giving them out a day prior to the backcountry day.  I know the next time I go to the Needles I will have a backcountry permit in hand. It seems to me, the only way to really experience the Needles District is to spend a night or two in the secluded backcountry. Maybe in the next few months...

Elephant Hill Trail. Needles District, Canyonlands.

Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 17-40mm.

Pothole Point. Needles District, Canyonlands.

Canon 5D Mark II, Canon 17-40mm, Gitzo Tripod, BH-3 Ballhead.

Cave Spring pictographs. Needles District, Canyonlands.

Canon 5D Mark II, Canon 17-40mm.

Layers of sandstone on Elephant Hill. Needles District, Canyonlands.

 Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 17-40mm.

Needles District, Canyonlands.

 Singh-Ray Warming Polarizer, Canon 5D Mark II, Canon 70-200mm.

Mesa Arch. Island in the Sky District, Canyonlands.
Canon 1Ds Mark II, Canon 17-40mm, Tripod.

Location: Salt Flats

For two weeks now, I've been without my camera.  It decided to die on me while traveling in Monument Valley.  I took it into Pictureline in Salt Lake City and had them send it into Canon for a repair.  Last week, I got some good news about how much it was actually going to cost me to fix my camera, so I will be reunited with it soon.  It's a good thing I have a very giving friend who lent me her camera while I've been without mine.  It's actually the same body I used just a year ago; the Canon XS.  It is a great camera, but boy, do I miss my full frame.

Being at the Salt Flats last night made me realize why I love photography.  The sky put on a light show and I was more than happy to be a part of it.  The 'true' salt flats were covered with a layer of water, so driving on them was not an option.  But a dirt road a few miles west provided some cracking desert floors with clear 360 degree views.  It was an amazing night and I took full advantage.  

Now, on to some technical talk.  The only way I could have gotten these photos in-camera was with the use of my favorite Singh-Ray neutral density (ND) filters.  All of the images in this post, except the last one, were captured with two ND filters stacked on top of each other; 3-stop reverse ND, and 2-stop soft step graduated ND filter, with a total of 5 stops to balance out the exposure difference between the foreground and the sky.  Without these filters, I would have either a white sky or a dark foreground in every photo.  The camera's sensor has only so much range and needs help holding back brighter areas, in this case, the sky to properly expose the scene.  Filters allow the photographer to capture a scene exactly how they saw it.  I use my ND filters often and would recommend them to anyone looking to get into landscape photography.   

Location: Zion National Park

Running to the peak of Angels Landing in Zion National Park

I hope to make up for my lack of posting this past month with a large photo post on my latest adventure to Zion National Park.  This was my first trip to Zion as a photographer and I can tell you, it will not be my last.  What an amazing place!  I only had a few days, but they were packed full of adventure, photography and exploration.  I still feel like I have so much more to experience in Zion and I can't wait go back.

A hiker overlooking the soaring cliffs from the summit of Angels Landing

Clouds hang around the peaks of the Court of the Patriarchs

Unknown slot canyon in Zion National Park

Sandstone walls in Zion National Park

The Watchman in the last bit of light

Zion's Canyon Overlook

Sandstone wall and pine trees

Along Kolob Reservoir Road

Zion's Canyon Overlook

Day Full of Photography

I love the days that begin and end with photography.  Yesterday was one of those days.  I got up extra early to make it to Park City before sunrise.  In such a photogenic setting and just off the main road, the Park City barn has been photographed more than a few times.  I was hoping for some unique light so I could come away with something different.  

I like to think of the photo canvas as split up into thirds.  Not only two dimensionally, but three dimensionally as well.  I know, a photograph is only two dimensional, but hear me out.  To create an image with real depth and visual interest, the photographer must make it seem three dimensional.  How do you do that with a medium that is obviously two dimensional?  Fake it.  Use leading lines, create layers, get a different perspective.  Every photo I take, I want it to feel like you are there.  Or to feel like you want to go there.  Which is why I try to create depth in every photograph.  Now, back to the photograph being split up into thirds.  The rule of thirds is an elementary rule in photography and essentially places your main subject in a more pleasing location other than just smack in the middle.*  The rule of thirds is basically this; split your image into thirds and place the main subject or horizon lines in the intersecting thirds.  This is a great rule and should be second nature to any photographer, but what if we took it to the next step?  What if the photo was actually a cube?  If you split your image’s depth into thirds what do you get?  A foreground, a middle-ground and a background.  Placing visually interesting objects in these thirds will create depth, and how you place them will either make it interesting or distracting.  The idea of creating a cube instead of a flat plane will improve your photography tenfold.  Now, It’s up to you in how you place objects within this cube. 

In my photo below, the cattails are my foreground and out of focus for a reason as I don’t want them to distract from the main subject, the middle-ground, the barn, is my main focus, and the mountains are my background.  With an aperture of 2.8 I wanted the focus to stay on the barn and kind of soften every other layer in the photo (ie. the mountains and the cattails).  I used my 70-200mm lens to compress the landscape a bit and make it feel like the mountains were right up against the barn.  

Back in Salt Lake I was able to catch sunset in the city.  I went up to a favorite location of mine to take photos of the City Council Building.  I try to pre-visualize what kind of photos I want to take in certain locations and I certainly had some ideas of what I was looking for here.  The sky was working again for me and I was able to come away with the images I’ve had in my head.  Gotta love a day full of successful photography! 

*This rule, and every other rule for that matter, is really only a guideline (as Captain Barbossa would say).  So, learn the rules and then learn how and when to break them.

Happy 2012!

In the Tetons chasing light and celebrating the new year.  I'll give a full report upon return, but for now here is one of my first photos of 2012.  Wishing you all a happy and successful new year!

Location: Little Cottonwood

A 30-minute drive from the heart of Salt Lake City and you're in the great Wasatch Mountains.  The light and the clouds were amazing this last week and the dusting of snow made the scene even more dramatic.  I struggled to reduce flare on some of the most dramatic light coming directly from the sun.  With the help of a sign in the Alta parking lot and cupping my hand around the lens I blocked the sun enough to get the beams of light coming through the clouds.  The mountains were back lit and light was flooding through the low clouds.  I composed my shot as best I could with as little flare as possible and it turned out to be one of my favorite shots.  

Southwestern Adventure: Antelope Canyon

What an amazing place!  Every corner and every turn seemed like there was a photographic opportunity.  It's no wonder so many photographers have a foundation of Antelope Canyon photos.  The light bounced around the walls to create a rainbow of colors inside.  Blue, purple, red, orange and yellow.  It was a bit more difficult than I thought to get a decent photo without someone in the crowd walking through it or getting the exposure right in the ever changing light.  I found that Manual mode was the only way to get the exposure I wanted and stopping down about 2 stops gave me an overall better exposure.*  The most important thing I could recommend for a place like Antelope Canyon is to protect your camera!  I (luckily) did my research beforehand and found that guides will throw dust up into the air to create the light beam effect, and with dozens of people walking through on the sandy floor dust is bound to get into the air.  The essentials in protecting your equipment?  A plastic bag (whether you make it to fit over your camera or you buy a camera specific one) and lens filter (a cheap one is probably best although you don't want to sacrifice too much quality).  After spending a few hours in the canyon I came out with one dirty, pretty much useless, filter.  Imagine if that was my lens!  All those tiny particles of sand scratching the glass, I was glad I did my research.  Some other things to keep in mind if such an occasion arises that you happen to get the opportunity to photograph such an amazing place; do not change lenses, stick with a wide angle lens, and go to the tour booth set up just to the east, down the road from the sign for Antelope Canyon Upper and get the 11:00-1:00 photo tour.  It is well worth it.  The guide for my tour was excellent and made sure everyone got the shots they wanted. 

I did a bit of experimenting with my Singh-Ray ND Graduated filters and was pleasantly surprised by the results.  With so much range in light there were several blown out shots that had potential.  With the help of my 3-stop graduated filter I was able to hold back enough light to catch the details in the brightest spots that were naturally visible to the eye.  On shots 2, 3 and 6 of the series below the variation of light was so broad I couldn't get it all without compromising one way or the other in exposure.  However, with the graduated filter I was able to get the correct exposure of the darker (blue) areas while holding back the brighter (yellow) areas enough to get the detail in the rocks. 

Essentials:

• Tripod - it sounds crazy to take one with the lack of space and crowds, but there is no other way to get the photos you want.  Long exposures are a must.  Not only is flash not allowed, it does nothing for the photo.
• Protection - plastic bag for camera, lens filter.
• Shutter release cable.
• Singh-ray ND graduated filters.
• Patience!  You have to realize everyone else feels entitled to be there, too.  Get your shots and be considerate of others' shots.

*note:  The blacks in these photos are essential to accentuate the depth and rich color of Antelope Canyon.  

Southwestern Adventure: Canyonlands NP

My time at Canyonlands National Park was one of the best parts of my four day trip.  I took the backcountry road from Moab to Canyonlands going from Potash Road to Shafer Trail.  It was a bit intense at times, but my Jeep performed perfectly.  Great views at every corner.  Going up Shafer trail was by far the best part of the 27 mile off-road trail as you climb the side of the cliff to Island in the Sky of Canyonlands National Park.  

  

Overlooking the Colorado River on Potash Road/Shafer Trail.

Looking back from Shafer Trail.

I finally made it to Island of the Sky and went straight to the Ranger Station to find more information on the Class II site False Kiva.  One of the most awe inspiring, peaceful places I've ever been.  The hike was a bit nerve racking at times and at a few points I wondered if I was really on the right track (as it is not marked besides a few cairns and is not often travelled).  You come around a bend without a soul in sight to see the magnificent view overlooking the mesas and buttes far off down the canyon walls.  As if in its own bowl of beauty the cave that holds False Kiva is nearly hidden until you climb right onto it.  The last switchback to the edge of the cave is where it required the most attention.  Every step counted.  Once I came to the cave I realized how silent it was.  I was the only one making a sound.  What a great reward in the end.  I signed my name amongst those who had made the trip before me in the notebook kept in an ammo can, took my pictures and left before the sun completely set so I could find my way back to my car.  

 

The next morning I arrived at Mesa Arch extra early and was surprised to come upon three other photographers who had arrived before me.  The stars were still out and each photographer respected the other.  The sun slowly rose behind the cliffs on the horizon as floods of tourists started coming around the trail to witness the natural wonder of a glowing arch overlooking vast canyons.  It really is a photographers dream spot.  Every photographer has a shot and I couldn't leave without mine.  As much as you try to be different as a photographer you can't help noticing your tripod legs hitting the same spots as thousands before you in some spots.  Mesa Arch didn't disappoint, but the crowds made me want to scramble back to False Kiva and explore.

Tourists and photographers getting their shot of Mesa Arch at sunrise. 

 Tomorrow: Monument Valley