The Palouse region of Washington State is famous for its verdant spring hills and red barns. Steptoe Butte is a must-visit destination for many travel and nature photographers. I have shot in the Palouse several times, and blogged about it several years ago (see here and here). But one of the highlights of the region I missed until earlier this week – Palouse Falls.
Palouse Falls perhaps gets a bit less traffic than Steptoe Butte and the rest of the Palouse because it is a bit out-of-the-way, more of an outlier to the Palouse region than being in it. It is an hour and 45 minute drive from the falls to Steptoe Butte, and just a bit less to the town of Colfax, where many photographers stay during their trips to the region. If you are staying in Colfax, do you really want to get up at 3:30 a.m. to drive to Palouse Falls for sunrise when you could sleep an hour later and still get sunrise shots at Steptoe Butte?
But Palouse Falls is worth a visit. Perhaps the best way to visit, at least for prime photography times, is to camp there. Palouse Falls State Park has 11 tent camping spots (no trailer hookups; trailers and RVs are sometimes allowed to park overnight in the parking lot during non-peak periods) that are within 100 meters of prime viewpoints for photography.
The Palouse River falls about 185 feet over the edge of a canyon of basalt. Unlike the verdant hills of the Palouse further east of the falls, the falls are in desert. But there is plenty of green in the canyon below the falls, making a wonderful contrast with the black basalt and brown hills (or in spring, brown and green hills). The canyon below the falls is scenic on its own accord and would be worth a visit even without the falls. The canyon curves to the south just downstream from the falls. The campground is perched on the western canyon rim, and it is easy to walk to viewpoints that either look eastward directly toward the falls, or southward down the canyon. These southerly looking viewpoints are north of the parking lot and provide the best view – encompassing the falls and the downstream canyon. Be warned though, they are right on the edge of vertical drop of at least 250 feet straight down to the canyon floor, beyond the fence on the canyon rim near the campground and parking lot, and are not for those who are faint of heart or afraid of heights. To get the falls and downstream canyon both in single composition will require a wide-angle lens of about 18 mm or less on a camera with a full-frame sensor. My 17-40mm zoom worked well, but if you want more sky in the frame, you may want an even wider angle (or stitch together more than one shot).
The falls face west-southwest and receive direct sunlight in late morning through most of the afternoon during the spring (reportedly in summer they may be in partial shadow into the early afternoon). In the evening, the shadow of the canyon wall climbs up the falls, and before sunset, they are completely in shade. Similarly, the falls are completed shaded at sunrise. And, once the sun is up, it shines through and lights up the mist created by the falling water, making early morning shots of the falls more difficult.
However, if the clouds to the south light up during either sunset or sunrise, excellent photo opportunities await. You may want to use a split-neutral density filter to help control the contrast between the sky and the dark canyon below. Similarly, you may consider using HDR.
The falls are also a great location for Milky Way nightscape shots like I’ve discuss recently, and in fact that was the prime reason for my recent visit. In spring, the best viewpoint is again north of the parking lot, on the canyon rim (just be extra careful in the dark, it’s a long fall down). The falls will be completely dark, so light painting is recommended. When I was there, for the image above, I worked with a photo partner. One of us tripped the shutters on the cameras while the other used a spotlight to light paint the falls and canyon from the fenced viewpoint area near the parking lot.
It is possible to hike to the top of or bottom of the falls, though the trails are not maintained by the park. These unofficial trails are steep, so if you do take them, be extra careful. The one in from the south steeply drops off the canyon rim and circles midway along the canyon wall to the the top of the falls. At one point, almost directly below the main viewpoint by the parking lot, it is possible to get down to the river in the bottom of the canyon by dropping down a steep scree slope. The trail from the north, drops into the upper canyon from the railroad tracks that run west of the park. This is reportedly the easier way in, though you must hop a fence along the tracks to reach the trail and the descent is still steep. You should also be careful along the tracks because it is an active rail line. If you do take the northern route into the canyon, you will pass by a nice stretch of white water above the falls. There is certainly no need to take these trails into the canyon to get good photographs, the views from the top are spectacular (and indeed, during my recent trip, we did not hike into the canyon). Reportedly the trail continues several miles up canyon to Upper Palouse Falls, a fall of less than 20 feet, and during the spring, when the flow in the river is greatest and the area has plenty of blooming wildflowers, this may be a good day hike option.
Marmots are active around the main falls viewpoints, and with a bit of patience, you can get rather close to take portraits of these groundhog relatives. The park is also home to many types of birds. When there recently, I saw several varieties I had not seen before.
Overall, Palouse Falls is a great place for photography. It is worth a quick stop on your way to or from the Palouse; or better yet, spend the night there to experience the falls at sunrise and sunset. You won’t be disappointed.
Want to learn how to take photos similar to my shot of Balance Rock shown here? Recently I blogged about a lecture by Royce Bair about shooting Milky Way nightscapes. I hope some of you were able to attend. The lecture was in advance of his new ebook on the subject. The ebook is now ready.
Though I took the Balanced Rock shot prior to reading Royce’s book, I wish I had the book first; it would have solved several problems I had with the shoot. I am currently planning a trip next week to Eastern Washington to do some night photography (weather permitting) and Royce’s book will certainly be making the trip with me. It has helped me plan the trip and plan particular shots I hope to take. Prior to going, I will be purchasing a new spotlight (for light painting) based on book recommendations. In particular, I like his “recipes” for taking these type of shots. They make the process much easier.
Royce recently contacted me and is offering a special limited-time 25% discount on his ebook. His book “Milky Way NightScapes” is 140 pages about starry night landscape photography including planning, scouting, forecasting star/landscape alignment, light painting, shooting techniques and post processing. I have a copy and it is very informative. It sells for $19.99, but he is offering a $5 discount to readers of my blog.
The eBook can be previewed or ordered here.
To receive the discount:
1. Scroll to the bottom of the web page
2. Click on the ADD TO CART button
3. In the shopping cart, enter TWAN in the Discount Code box
4. Click the “Update Cart” button to get your $5.00 discount and have it reduce the total to $14.99
5. Click the yellow PayPal checkout button and make your payment
6. You can now download the eBook PDF
Your net price will be $14.99. This discount code is for a limited time only.
I should probably note that I did not receive anything for this recommendation. It’s just a great little ebook that give concise, usable information and advice on how to shoot Milky Way landscapes.
One of the challenges of shooting in RAW format is deciding what and how much processing to do. (Tangent – why is RAW capitalized? It is not an acronym such as JPEG or TIFF. It simply means unprocessed. In Wikipedia, it isn’t capitalized. But somehow, it doesn’t look right to me. I’m usually a stickler for correct writing – just ask anyone at my day job where I edit everyone’s reports; they may even call me a grammar nazi – but leaving it uncapitalized when every other file format is capitalized seem wrong. So grammar nazi or not, I’m capitalizing it.) When shooting in JPEG mode, the camera does the processing for you. You can always tweak it later, but the majority of the work is done. With RAW, you should do the heavy lifting and process the image yourself, at least if the default processing by your RAW converter program (Lightroom in my case) doesn’t do a good job. And it is rare when I find I can’t do a better job processing than the default.
But the question remains, what to do and how much? Some might answer, just enough so that it looks like it did in real life. But what is that? Take, for example, the images presented here. These are shots of water seeping out of sandstone near Moab, Utah. I’ve included both my processed versions and the original RAW versions from Lightroom with zeroed developing (with all the sliders set to zero – realize, however, there still is some processing involved, it is impossible to present true RAW images, some processing must occur to translate the images into something humans can view). I took these images in the shade on a sunny, blue-skied morning. So these were naturally lit by a broad, blue sky, which cast a rather flat, blue light onto the sandstone. Does that flat, blue light truly show what I saw, or do my processed versions show what I saw? The answer is up to me as the maker and you as the viewer. Did I go too far?
Well, what did I do to turn the RAW images into the finished images? They were first processed in Lightroom, correcting for lens distortion and chromatic aberration. Then I set the white point and the black point to add contrast, took a little off the exposure, and adjusted the highlights and shadows to bring detail into the blacks and whites. I added some clarity to add a bit of sharpness and some vibrance to add saturation. I then adjusted the color temperature, increasing it to remove the blue tint. I then added a radial filter to lighten the water patterns and darken the rest. And finally, made minor changes to many of these adjustments to fine tune them. I then took the images to Photoshop, performed Tony Kuyper’s triple play to add punch to the highlights and shadows, lighten up the orangy-browny vegetation on top, and added a “smart glow” to punch up the color a bit. In total, it took about 10 minutes each to do all this work.
I’d think the most controversial of these changes would be the changes to the color, in particular adding vibrance and the smart glow. The rest is pretty standard old-school darkroom photography made digital (except perhaps the Kuyper triple play, that doesn’t really change the images that much). The problem here is deciding what is too much in terms of the color. Because the subjects were in shadow, it is difficult to determine what the colors would look like in the sunshine. And of course, what sunshine are we talking about? Sun at noon? Sun at sunset?
I guess the answer is it depends. Did I take it too far? I don’t think so; you may. But these are close to what I wanted to show when I took the images. So for me, the answer is no; I processed them as I thought proper. For you the answer may be different. If you think so, let me know your thoughts.
For various reasons I haven’t picked up my camera in about six weeks and it is driving me crazy. David duChemin recently wrote a blog post about tending the fire that really spoke to me and I promised myself I’d get out this weekend. But life got in the way. My son Brooks, and otherwise healthy 26-year old, had his lung partially collapse without an apparent reason on Thursday and is now in the hospital. He may get out tomorrow (we hope). With this, Tanya and I have been spending a lot of time driving back and forth to Seattle to visit Brooks in the hospital. So, no photography this weekend.
So instead, since it has also been a few weeks since I posted, I give you some shots from five years ago this month, when Tanya and I drove to San Diego to see daughter Janelle when she was going to university. Along the way we stopped for a couple of hours at Pinnacles National Monument, which in 2013 became a National Park. I don’t imagine much changed when it gained park status, except perhaps more visitors. When we were there in 2010, it was rather out-of-the-way and quiet. I hope it still is. I’d like to get back some day and spend more time exploring. When we were there in 2010, the wildflowers were blooming. Spring is such a wonderful time of year. Enjoy these shots from Pinnacles National
On my recent trip to Baltimore, I spent an afternoon at the National Mall in Washington, DC. It seemed to me, with cold weather and snow, as well as being on a Tuesday, there were very many people there. It may have been because the snow closed down the government, so a lot of people had the day off, and that it was sunny and not really that cold. Or it could be there is just always a lot of people there. It is a popular tourist attraction after all. Regardless, with all the people, it made it a challenge to photograph the monuments without a lot of people in my shots.
A great method to remove people from your shots is to use a really long exposure (typically several seconds to minutes). With a long exposure, people moving through the frame are not recorded. To get really long exposures, use a neutral density filter. As I was carrying my tripod and a neutral density filter, I was tempted to use this method to get a shot of the Lincoln Memorial during the afternoon, as it seemed to be the place with the most people gathered. However, even an exposure of several minutes (which I don’t think I could have gotten due to bright light) was probably not good enough in this case because a lot of people were standing in place for minutes at a time. A ten-minute exposure might have work, but I didn’t have the equipment with me for that.
Instead, I came by later, after sunset, when there were many fewer people about. Then using an 8-second exposure, I was able to capture the monument without people (actually, there is the “ghost” of two people in the shot, but I can remove them later with cloning if I want).
Actually, waiting for evening is a great method for controlling crowds. Typically there are many fewer people about and the light is often better than in the middle of the day. In the shot of the Washington Monument from the Vietnam Veterans Memorial, I planned the shot during the afternoon when many people where in front of the war memorial wall, but came back after sunset to make the shot. I shot from this location for about 15 minutes, during which time, only one group of people passed.
Another method is to frame the people out of the picture, as worked for the image here of the Jefferson Memorial. Look for pleasing compositions above the heads of your fellow visitors. A corollary to this method is to shoot details, rather than the big picture, thereby cutting people out of your compositions.
Of course, that doesn’t always work. Sometimes you want the entire building or you want foregrounds that shooting high above people’s heads cannot give. In that case you can try to go with a wide-angle shot. With a wide-angle perspective, you can make the people visible in the shot look much smaller and less of an obstruction, at least if they are not close to the camera. This method worked well for the shot of the Washington Monument with the flags.
Or you can just go to areas that are not as popular. By visiting less popular sites, you don’t only get the advantage of fewer people in the frame, you can capture shots that are more unique (rather than the same shot of the popular attraction that has been shot a million times). Very few people were visiting the Franklin D. Roosevelt Memorial, which is where I took the shot below of the Jefferson Memorial with the snowy tree in the foreground.
Travel photography presents many opportunities, including shooting interesting people and cultures. But sometimes, you views without the people in them. Using some of the methods described above can often allow you to capture shots people-free.