Posts Tagged ‘ Arizona ’

Slot Canyon Glow

Image 1: The interior walls of Upper Antelope Canyon glow from sunlight penetrating from above. Shot with a Sony α900 and a Sony SAL 20mm lens. Image exposed at ISO 100 at f14 for 2 seconds.

Image 2: Reflected light reaching down into Lower Antelope canyon literally causes the walls to glow. Shot with a Sony α900 and a Zeiss 24-70mm lens at 28mm. Image exposed at ISO 100 at f14 for 2 seconds.

I was searching through some of my site statistics and noticed I had a request for the best lenses for shooting inside a slot canyon. So here are 2 images shot this year in Upper and Lower Antelope Canyon in April. At this time of the year the sun is rising higher in the sky and the light more fully penetrates into canyon. The first image was shot at 10:30 in the morning and the walls were glowing.

Slot canyons do come with some challenges including diminished light and narrow, almost claustrophobic space. Additionally, the light moves within the canyon as the sun passes overhead. Within minutes a once glowing wall will be plunged into shadow. My Sony 20mm f2.8 lens is one of my favorites for tight spaces. I also use a Zeiss 24-70 f2.8. The advantage in using the 24-70 is getting the wide angle view but having the flexibility to zoom in for more detail or to isolate an area. My exposures range from 1 to 2 seconds to well over a minute at ISO 100. To mitigate camera shake I recommend shooting in mirror lock-up mode. I shoot in manual mode: manual metering and manual focusing.

I have been asked about filters and I do not use them in the slots. For a shot like Image 1 I will increase the white balance to 6000 to accentuate the warmer colors. You can also achieve this effect by shooting with the shade color balance setting.

Image 2 was shot in Lower Antelope canyon in the early afternoon. This canyon is deeper and the light penetrates later than Upper Antelope. The effect here is other worldly. The canyon wall appeared to glow from within. Again no filters were used, only an adjustment with the white balance.

I would encourage anyone visiting the Page area to take the time to go to Antelope Canyon. If you do you can book your visit with Carol Bigthumb at Adventurous Antelope Canyon Photo Tours.

As far as equipment you will need a good wide angle such as a 20 or 28mm, and a medium range zoom can help isolate details. A tripod is a necessity. And flash is not allowed inside the canyons.  When you go please respect the canyon and your hosts. They are places of immense beauty and serenity. And perhaps if you are lucky, as the soft notes of a flute echo off the canyon walls you will feel the heartbeat of the place.

Bob

Sunrise on Wukoki Pueblo

First light illuminates the Wukoki Ruin at Wupatki National Monument, Arizona. Shot with a Sony α900 and a Sony SAL 20mm lens, at f16 at 1/8 second

First light breaks on Wukoki Ruin, Wupatki National Monument. Shot with a Sony α900 and a Zeiss 24-70mm at 24mm, ISO 100, f16 at 1/2 second.

Today’s image was shot at Wupatki National Monument in Arizona. Located between Flagstaff, Arizona and Cameron along Highway 89, Wupatki preserves the ruins of red sandstone pueblos built by farming Ancestral Puebloan People between 1120 and 1250. The Wukoki Pueblo is one of the best preserved sites and is sited on a small hill affording fantastic views towards the San Francisco Peaks.

This picture is all about scouting and pre visualizing the shot. I knew where the sun would rise and was looking for a position to capture the light as it first broke across the ruin. I spotted the slabs of stone and realized there was an open position underneath that could form a shooting window that would frame the ruin. I arrived well before sunrise and positioned the camera in the alcove of sandstone. As sunrise approached I took several test exposures to be sure of my exposure and composition. As the sun rose and started to light the ruin the inner walls of the sandstone fins began to glow as well, a surprise I did not expect. It was a truly beautiful sunrise that morning. I imagined the ancients would have agreed with me. For more information on Wupatki National Monument please visit www.nps.gov/wupa/

Colorado River and Canyon Wall

A small cottonwood tree clings to life against a canyon wall as the Colorado River races by. Sony α900, Sony SAL 70-300mm lens at 180mm, f/11 at 3 seconds.

This image of the Colorado River was shot above Lee’s Ferry in Glen Canyon National Recreation Area. I was attracted to the small cottonwood tree clinging to life against the far canyon wall. To get the river in flowing motion I used a Heliopan Circular Polarizer combined with a Singh-Ray 4-stop neutral density filter. This combination allowed me to slow down the shutter speed and balance the light and exposure.

Badlands Butte

Highway 89 heads north from Flagstaff, Arizona up to Page. It is a road I love to drive because the landscape changes so dramatically. North of Cameron, 89 runs through portions of the Navajo Nation. The landscape here is desolate and beautiful. I have always been fascinated with the eroded hills and buttes in this area. I know this particular butte very well having passed it on many trips up to Page. Each time I have passed it in the wrong light. Heading back to Flag late one afternoon I finally arrived with the right light to take a photograph. The butte was beautifully side lit, nice clouds drifted overhead, and the red hills in the distance glowed. This image is the Featured Print this month on my website, http://roberthclarkphotography.com

A badlands butte on Navajo lands stands tall in the late afternoon sun. Sony α900, Zeiss 24-70mm lens at 28mm, f14 at 1/50 sec.

A Christmas Angel

Sunlight entering through the top of Upper Antelope Canyon creates the shape of an ascending angel. Sony a900 with Sony SAL 20mm lens, f16 at 12seconds.

It  is Christmas Eve and this post hopes all who read it are well. I shot this image in Upper Antelope Canyon and though I was immediately attracted to the luminance of the scene it was not until I previewed the photographs that I saw what I had captured. For me the image is so distinct and I am amazed every time I see it. Antelope Canyon is a special place full of power and spirit. But when you go you must stop and let the canyon envelope you and the visions will come. Whether you see an angel or a bird in this image is not really important. But hopefully you see a spirit in the image that represents the life and breath of the canyon and the Navajo’s who call this place home. I have returned to this spot on several occasions and have yet to see it again.

Merry Christmas

Lane in Antelope Canyon

Lane Bigthumb soothing the savage photographer in Upper Antelope Canyon, Arizona.

Well the winter storm has subsided and we are left to dig out of 18+ inches of snow. Its late and I’m still up so I thought I would post a portrait from Antelope Canyon. My model is Lane Bigthumb, my Navajo guide and son of Carol Bigthumb. Carol has been my guide for all my trips to Antelope Canyon. Carol ‘s family has the grazing rights to the land where Upper Antelope Canyon, Rattlesnake Canyon, and Mountain Sheep Canyon are located. You can get information on her trips at Adventurous Antelope Canyon Tours, or contact her at cbigthumb@yahoo.com. You can see more of my Antelope Canyon images on my website at Robert H. Clark Photography.

The shot was made just inside in the main gallery of Upper Antelope. I was shooting a formation when Lane started to play. Though fairly subdued there was some very nice light on Lane and I liked the way he was framed. So I quickly turned the camera on him and used my headlamp to throw a little light on his face. In case you are wondering, out of respect for Lane and the spirit of the canyon, I did ask permission to photograph him. So as the sound of the flute echoed through the canyon I shot several images. Motion was a problem however and the image is a little soft but I like it nonetheless.

Shot with a Sony a900 with a Zeiss 24-70mm lens, set to 35mm and f4 at 3 seconds. The RAW image was processed in Adobe Lightroom and Photoshop. In order to improve the contrast I used an inverse overlay with a Guassian Blur set to 40.0 pixels. This is in effect a contrast mask and it helped open up the shadows. There are a few basic curves for Lane and the background and a slight saturation adjustment.

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