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Chimayo

Santuario de Chimayo

Santuario de ChimayoEl Santuario de Chimayo is Catholic church and shrine in New Mexico about 30 miles north of Santa Fe. It is located in the town of Chimayo, along on the High Road to Taos.  While the high road has a number of other adobe churches worth photographing, Chimayo offers much more. Besides the main church, there is another smaller chapel near by, a trading post, and colorful grounds where the faithful pray and leave offerings. If in Santa Fe, it is well worth the drive to Chimayo to see the church and grounds.

If you do visit, you probably will not be alone. Sometimes called the “Lourdes of America,” Wikipedia claims Chimayo has 300,000 visitors per year and is the most important Catholic pilgrimage site in the United States. The main church, El Santuario, has a adobe-walled courtyard and twin bell towers topped with crosses. The nave is decorated with a large carved crucifix and various altarpieces, all from the 1800s. On the side of the nave is a separate prayer room/vestibule literally lined with hundreds discarded crutches from people believed to be healed from the “holy dirt” of the church. One wall of the prayer room, as well as many other walls elsewhere on the grounds, is covered with photographs of people also helped by the shire. The holy dirt is located  within a hole in the floor of a small room attached to the prayer room. When we visited, a woman was kneeling on the floor, scooping holy dirt into a Ziploc bag to take home.

The second church is the Chapel of Santa Niño de Atocha. The chapel was built in 1856, but fell into disrepair to be renovated by the Archdiocese of Santa Fe in the early 1990s as a children’s chapel. It is decorated with modern artwork, but still maintains its historic feel.

Unfortunately, photography within both the churches is prohibited. However, many wonderful photographs can be captured by walking around the grounds and in the nearby portions of the town as you can see by the examples I’ve posted below.

Certain parts of the grounds are full of crosses and other items left by pilgrims and visitors to the site.

Certain parts of the grounds are full of crosses and other items left by pilgrims and visitors to the site.

The door to the Santo Nino Chapel

The door to the Santo Nino Chapel

The Virgil Trading Post

The Potrero Trading Post and Virgil Store

Cross in the courtyard of the Santuario de Chimayo

Cross in the courtyard of the Santuario de Chimayo

Shire to the Virgin Mary, covered with rosaries and candles

Shire to the Virgin Mary, covered with rosaries and candles


Georgia O’Keeffe Country

Chimney Rock at Sunset

Chimney Rock at SunsetWhile in Santa Fe, Tanya and I visited the Georgia O’Keeffe Museum. We had missed it on our previous trip there, so we wanted to be sure to see it this time. We enjoyed learning about Georgia O’Keeffe and seeing some of her paintings, though quite frankly, both of us we disappointed that more of her work was not on display. That said, it is worth a visit if you are in the area and enjoy the work of this truly American iconic artist.

Non-flash photography is allowed in the museum, though some pieces are marked for no photography signs. Additionally, no tripods are allowed.

Georgia O'Keeffe's painting "Horse Skull with White Rose" photographed in Georgia O'Keeffe museum in Santa Fe

Georgia O’Keeffe’s painting “Horse Skull with White Rose” photographed in Georgia O’Keeffe museum in Santa Fe

One of the issues of photographing paintings and other artwork is getting the color correct. Most museums, not just the Georgia O’Keeffe Museum, have title cards next the artwork that is neutral grey. To get the true color of the piece, also take an image of the title card. Then in Lightroom, use the color balance eyedropper tool to get the correct color balance. Copy the color balance to the image with the artwork, and instantly the colors in the artwork are correct. For more on this technique, see my earlier post on the subject.

Exploring the work of Georgia O’Keeffe in a museum is one thing, but seeing the places she painted with your own camera lens is another. So a day or two after seeing the museum, Tanya and I traveled north of Santa Fe to the region around Abiquiu, where Georgia O’Keeffe lived, to see in person some of the places she painted. We didn’t drive into Abiquiu proper (not there is much town there) because we walked around it several years ago. But if you do visit, the church there is very photogenic. Tours of Georgia O’Keeffe’s house are also available through the Georgia O’Keeffe Museum.

Our first stop was Plaza Blanca, or, as Georgia O’Keeffe called it, the White Place. Plaza Blanca is a spectacular set of white limestone cliffs, small canyons, and hoodoos just north of Abiquiu. To reach the White Place, driving west out of Abiquiu on US Highway 84, shortly after passing over the Rio Chama, turn right on County Road 155. After a mile or two, this good dirt road becomes paved. Shortly after the road becomes paved, turn left on a dirt road through the gate for the Dar al Islam . When the road splits, stay right and come to a small parking lot. The White Place is a short walk down the hill.

Unfortunately, we didn’t have time to explore Plaza Blanca in detail as it was already late afternoon and I wanted to the Ghost Ranch before sunset. The Ghost Ranch is about 10 miles north of Abiquiu on US 84, and while driving there, we stopped to take some pictures of the badlands and red rock cliffs along the highway a mile or so before the turn off for the Ghost Ranch. There is also another spot worth noting between Abiquiu and Ghost Ranch. The highway between Abiquiu and Ghost Ranch climbs up out of the Rio Chama valley west of town. At one point, there is a pullout with a good views of the Rio Chama both looking back to Abiquiu in one direction and toward the mountains in the other. We stopped here on our way back from Ghost Ranch during the blue hour.

Today the Ghost Ranch is an education and retreat center owned by the Presbyterian Church. But you need not be a church member or go on a retreat to visit or even stay there; all visitors are welcome. When arriving at the Ghost Ranch, visitors check in at the Welcome Center. There is a $5/person fee for day visitors. You can also join in at meals in the dining hall (for a small additional fee) or even stay overnight if not full (reservations are available).  For visitors not partaking in a retreat or organized educational event, the day pass offers access to hiking trails, the ranch’s museums (an anthropology museum and a paleontology museum), restrooms, trading post, and the rest of the campus grounds.

I had very little knowledge of the Ghost Ranch, other than it was a good place for photography, prior to our arrival. The Welcome Center was closed when we drove up, but a woman was just leaving the building as we got out of the car. It turns out she was the Executive Director of the ranch. She suggested a couple hikes, invited us to dinner at the dining hall, opened the Welcome Center to let us use the restrooms, and told us a bit of history about the ranch. Apparently, the ranch was originally owned by a pair of cattle rustlers and thieves, who kept their pilfered livestock in a box canyon on the ranch. To keep people out, they told stories of evil spirits that haunted the area. This led to the original name Ranch of the Witches which was eventually changed to the Ghost Ranch. Arthur Pack, an east-coast conservationist, purchased the ranch in the 1930s. He sold a small piece of it to Georgia O’Keeffe, who kept a studio there and painted many of the Ghost Ranch landscapes. Pack donated the ranch to the Presbyterian Church in the 1950s to be used as a retreat center.

The ranch is set at the base of a series of red-rock cliffs and small canyons and badlands, quite reminiscent of much of southern Utah. Its most famous geologic feature is Chimney Rock, an orange and red sandstone spire jutting out from a cliff face (shown in the featured images above, as well as one image below). Tanya and I did about half of the Chimney Rock hike, far enough to get a good photograph (the one below). Based on the angle of the setting sun, which was backlighting the formation, we didn’t complete the hike so I could get a better shot entrance road to the ranch. The image above was shot just before sunset along the entrance road, next to an old log cabin (which Tanya explored while I took pictures).

In all, we spent less than half a day exploring the Georgia O’Keeffe country around Abiquiu. From this short outing, I know I want to go back for more.

Some of the white limestone formations at Plaza Blanca

Some of the white limestone formations at Plaza Blanca

Section of canyon wall at Plaza Blanca

Section of canyon wall at Plaza Blanca

Red rock formation along US Highway 84 near Ghost Ranch

Red rock formation along US Highway 84 near Ghost Ranch

Door and adobe wall at Ghost Ranch

Door and adobe wall at Ghost Ranch

Cattle skull on the Ghost House at Ghost Ranch

Cattle skull on the Ghost House at Ghost Ranch

Chimney Rock from near the Chimney Rock Trail at Ghost Ranch

Chimney Rock from near the Chimney Rock Trail at Ghost Ranch

View from the Chimney Rock Trail toward Cerro Pedernal, which was perhaps Georgia O'Keeffe's favorite landscape subject

View from the Chimney Rock Trail toward Cerro Pedernal, which was perhaps Georgia O’Keeffe’s favorite landscape subject

 

 

 


Quick Shot – Santa Fe

Estrella del NorteTanya and I just got back yesterday from a quick trip to Santa Fe, New Mexico. Santa Fe is one of our favorite places in the American Southwest for many reasons, but one in particular (for me at least) is that the Santa Fe region is a wonderful place to photograph.Santa Fe is at elevation 7,200 feet (2,195 meters) above sea level, and with the elevation, spring was just starting to blossom out there. The quick shot posted here was taken at the Estrella Del Norte Vineyard about 15 miles north of Santa Fe. It has lovely grounds, and I’d like to go back some day when the grape vines are green and the flowers blooming. As you can see in this image, the cottonwoods in the background were just starting to leaf out. Enjoy this shot, and I’ll post more in the next few days.


Feeding the Photography Habit when Traveling with Family

The Louvre

The LouvreIf you are like me, it is often difficult to do serious photography when traveling with your family. I wish I had a simple method to address this problem, but I don’t. If you do, please let me know! Or perhaps you don’t think this is a problem. If that is that case, please tell me why.

When traveling with Tanya, she usually requires me classify the trip as  a  “photograph trip” or a “non-photography trip.” On non-photography trips, I can still take my equipment, but I am expected not to disrupt any trip plans with photography. On photography trips, the world’s my oyster and I dictate when and where.

Casa Batlló, designed by Gaudí, on the Block of Discord, Bacelona

Casa Batlló, designed by Gaudí, on the Block of Discord, Barcelona

When we take a big trip, like our trip to Europe last month, they are by default non-photography trips. This is especially true when we travel with others; in this particular case, traveling with my mother-in-law and my son. One word of advice – if you want to get a lot of photography in while traveling, don’t travel with your mother-in-law.

On a photography trip, I tend to take the whole bag. But for non-photography trips, I go more minimal. I usually take my camera backpack as a carry-on in the plane, but I don’t typically carry it around when out shooting except when I’m going out by myself (see below). Even then, I take some of the gear out instead of my normal kit. I typically take my Canon 6D body with battery grip, a 28-300 mm lens, a 17-40 mm lens, about 5 or 6 memory cards, a polarizing filter, a split-neutral density filter, a Canon speedlight flash, four batteries, a battery charger, a tripod, my laptop, a card reader, and a few various accessories (lens cloth, etc.). In addition to the backpack, I also bring a Think Tank Pro digital holster  as a smaller bag.

So when on a non-photography trips and heading out with the family, I go with a minimal set of equipment.  I will put the 28-300mm lens on the camera, take the battery grip off, and put the camera in the holster (the camera will not fit in the holster with the battery grip on). In the pockets of the holster, which are rather small, I’ll carry a spare battery, a spare memory card, a cleaning cloth, and the polarizing filter. Sometimes, if I know I will want it, I’ll carry the 17-40mm lens in my coat pocket (no room in the camera holster). Rarely I’ll carry the tripod as well with this minimal setup. This minimal set of equipment allows me to get quality photographs without impacting the family, though I will often have to shoot at a higher ISO than I’d like due to not having the tripod (see my last post).

But my main strategy to get quality photography time is to go out without the family. This usually means going out at night after the family has retired to our lodgings for the evening or getting up extra early and going out prior to everyone else being ready for the day. This is one reason I like to stay near major attractions that might look good at night. On your recent trip, we stayed within easy walking distance of the Louvre when in Paris and near the Block of Discord in Barcelona. When going out on my own, I carry my full kit in the photo backpack and always take the tripod (even with high ISOs, it is hard to shoot at night without a tripod). The added advantage is that often there are not very many people around wandering into my frame when shooting, and even if they do, the exposures are long enough that they typically don’t show up if they keep moving.

Shooting at night also has the added advantage of making the sky easier to deal with. When doing travel photography, you typically don’t have a lot of time at any one destination. So you can’t necessarily wait for those “good” sky days. Often the sky is a mass of clouds without any redeeming detail, and if you place it in your composition, it sits there like a huge blown-out white blob. Not to mention the contrast problem it creates with the foreground and your image’s subject. Not a problem at night. At worst, clouds pick up scattered lights from the city and take on an orange glow, which is easy to fix in processing.

The images accompanying this post are from two nights I went out by myself, once in Paris and the second in Barcelona. Unlike my previous post, these images were all taken with an ISO of 100 or 200 while using a tripod. The featured image at the top of the post is of the courtyard of the Louvre.

The top of the large pyramid in the Louve courtyard with the museum building in back.

The top of the large pyramid in the Louvre courtyard with the museum building in back.

The Arc de Triomphe du Carrousel, just northeast of the Louvre

The Arc de Triomphe du Carrousel, just northeast of the Louvre

Louvre, the Seine River, and the Pont du Carrousel bridge

Louvre, the Seine River, and the Pont du Carrousel bridge

Palace of the Institute of France

Palace of the Institute of France

Reflections in the Seine looking toward the Palace of the Institute of France and the Pont des Arts bridge

Reflections in the Seine looking toward the Palace of the Institute of France and the Pont des Arts bridge

Close up on the Casa Batlló

Close up on the Casa Batlló

Close up on Casa Milà, popularly known as La Pedrera

Close up on Christmas decorations on the Casa Milà , popularly known as La Pedrera

Shooting at night can give lucky accidents, such as this shot of La Pedrera with a bus driving through the frame during the exposure

Shooting at night can give lucky accidents, such as this shot of La Pedrera with a bus driving through the frame during the exposure

Barcelona is home the famous Magic Fountains, but there are many other fountains in the city as well, such as this one in the middle of the intersection of Passeig de Garcia and Gran Via de Les Corts Catalanes

Barcelona is home the famous Magic Fountains, but there are many other fountains in the city as well, such as this one in the middle of the intersection of Passeig de Garcia and Gran Via de Les Corts Catalanes

Or the fountains here in the Plaça de Catalunya

Or the fountains here in the Plaça de Catalunya

 


When Traveling, Embrace High ISOs

Sainte Chapelle

Sainte ChapelleMy recent trip to Europe confirmed something I already knew, travel photographers need to embrace high ISOs. Sure I took my tripod along on the trip, and I used it frequently. But mostly when outside buildings. Most museums and other indoor attractions prohibit tripods, often monopods, and even selfie-sticks (not that I have one – I use my tripod or monopod instead). There are a few exceptions, the Metropolitan Museum of Art in New York for one (see my previous blog about tripods in New York), but more and more it seems tripods are a no-no (and don’t even get me started on places that prohibit photography entirely, where people left and right are using their cell phones to take photos (often with flash), but if I get my DSLR out, I get a stern warning).

When planning a trip, I usually try to research whether tripods are allowed in various attractions I want to visit, but in this case, I didn’t have a lot of time to prepare and failed to do the research. Further, traveling with my mother-in-law, I didn’t figure I’d have a lot of photography time (and I was right). But even if you have time to do such research, it is often had to find rules related to tripods on the internet, and worse, sometimes the information is either wrong or incorrectly enforced at the attraction. For my recent trip, I just assumed tripods weren’t allowed in any indoor attraction I visited – an assumption that was usually confirmed by signs at the various attractions.

There is another consideration. I can’t even imagine trying to set up a tripod in Sainte Chapelle in Paris (which doesn’t allow tripods; the featured image above, by the way, is Sainte Chapelle taken at ISO 6400, f/5, 1/30 sec), there was barely room to stand. Even if tripods are allowed, due to the number of people visiting, it is often impractical to use them. For example, in Seattle, tripods are allowed at Pike Place Market and in the Seattle Aquarium, but due to crowds, can be hard to use.

Of course there is the final consideration about just carrying it around. There were places on my recent trip where I could have used a tripod, but didn’t have it with me because I didn’t want to lug it around with me. Sometimes it was because I was visiting another attraction in the same day that didn’t allow tripods; other times it was because I was too lazy (I know, my bad).

Yes, it is best to use low ISO with long exposures and a tripod to minimize digital noise, but often that is not an option. Luckily, the high ISO capabilities of today’s digital cameras are quite good, and getting better with each generation of camera. During my recent trip, I found myself shooting at ISO 3200 and 6400 quite often. I even got up to 25,600 several times; the digital noise was horrible, but it was that or not get the shot.  That’s what it came down to, getting a shot or not. You be the judge, was it worth using high ISO to get the shots accompanying this post?

Napolean's Tomb, Les Invalides, Paris, France; taken at ISO 6400, f/4, 1/20 sec (supporting camera on a railing)

Napoleon’s Tomb, Les Invalides, Paris, France; image shot at ISO 6400, f/4, 1/20 sec (camera supported on a railing)

Painting above Napolean's Tomb; ISO3200, f/5, 1/100 sec

Painting above Napoleon’s Tomb; shot at ISO 3200, f/5, 1/100 sec

Art installation in the Conciergerie; ISO 6400, f/5, 1/30 sec

Art installation in the Conciergerie, Paris, France; image shot at ISO 6400, f/5, 1/30 sec

Arches in the ceiling of the Conciergerie; ISO 6400, f/5, 1/40 sec

Arches in the ceiling of the Conciergerie; ISO 6400, f/5, 1/40 sec

Tomb of Saint Eulalia in the crypt of Barcelona Cathedral; ISO 3200, f/5, 1/50 sec

Tomb of Saint Eulalia in the crypt of Barcelona Cathedral; image shot at ISO 3200, f/5, 1/50 sec

TInell Hall (Saló del Tinell), Greater Royal Palace, Barcelona; ISO 12,800, f/5, 1/10 sec (camera supported by railing)

Tinell Hall (Saló del Tinell), Greater Royal Palace, Barcelona; shot at ISO 12,800, f/5, 1/10 sec (camera supported by railing)

Bones and skulls in the catacombs of Paris; ISO 12,800, f/4.5, 1/50 sec

Bones and skulls in the catacombs of Paris; shot at ISO 12,800, f/4.5, 1/50 sec

La Sagrada Familia at night; ISO 12,800, f/3.5, 1/30 sec. I could have used a tripod here, but didn't have it with me.

La Sagrada Familia at night; ISO 12,800, f/3.5, 1/30 sec. I could have used a tripod here, but didn’t have it with me.

Grave of Philippe Le Royer, Père Lachaise Cemetery, Paris; ISO 3200, f/5, 1/125 sec. Another outside shot where I could have used a tripod but wasn't carrying it with me.

Grave of Philippe Le Royer, Père Lachaise Cemetery, Paris; ISO 3200, f/5, 1/125 sec. Another outside shot where I could have used a tripod but wasn’t carrying it with me.

La Boqueria Market stall, Barcelona; ISO 3200, f/5, 1/200 sec

La Boqueria Market stall, Barcelona; image shot at ISO 3200, f/5, 1/200 sec. Tripods may be allowed  here, but in the busy market, they may not be such a good idea.

Gargoyle, Notre Dame; ISO 3200, f/5.6, 1/30 sec. An outside shot on a cloudy day close to sunset. No tripods allowed, and even worse, shooting through a net.

Gargoyle, Notre Dame; image shot at ISO 3200, f/5.6, 1/30 sec. An outside shot on a cloudy day close to sunset. No tripods allowed. I should note that perhaps even worse than not allowing tripods, when visiting the Notre Dame tower, to shoot the gargoyles, you need to shoot through a net with openings much smaller than a DSLR lens.


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