In August 2012, veteran nature photographer E.J. Peiker led a group of 5 enthusiastic photographers into Arizona's Navajo Nation and the North Rim of the Grand Canyon. "We were blessed with fantastic clouds, sunrises, and sunsets every morning and night, resulting in some of the best photographic opportunities I have had since moving to Arizona 18 years ago.
"As leader of the workshop, however, capturing great photographs is secondary to providing individual attention to the students. However, while everyone was busy firing away, I was able to take a number of photographs that I am very happy with.
"The image above was taken in Monument Valley, which was our first destination. On this first morning, we were guided by our experienced Navajo guide to two vantage points of the famous Totem Pole and Yei Bi Chei formations. The clouds were simply phenomenal. As always, I used a Singh-Ray "lighter and brighter" LB Polarizer for all the photographs in this story. This first image was taken about 15 minutes before sunrise after taking a 45-minute, 4-wheel drive excursion in the dark to get there. I went wide to give a great view of the awesome cloud cover. The incredible dynamic range of my Nikon D800 and world-class acuity of the Zeiss 21mm T* Distagon lens allowed me to capture unprecedented detail in a single image. Using a polarizer on such a wide lens when so much sky is included is a tricky proposition, since it is easy to over-polarize areas that are close to 90 degrees from the sun. Backing off from maximum polarization is the key to avoiding this phenomenon.
"One might not think that filters are important inside a narrow slot canyon, but I have found them to be essential to record the deep color saturation of the sandstone walls. The polarizer affects the image inside a slot canyon in three ways. First it removes bluish reflections off the non-vertical surfaces from the overhead bluish light provided by the sky. Second, it eliminates the stray light scatter off the texture of the very coarse sandstone, thereby allowing the camera to capture much more texture detail. Finally, often the canyon walls can be moist, especially during wetter times of the year. A polarizer removes any moisture sheen on the canyon walls. This third image, taken deep inside a very narrow part of the canyon illustrates the sheen reduction well. There are still slightly visible reflection areas but without a polarizer at full polarization, these become overly bright and distracting in the image. The polarizer also significantly increased the color saturation in both the foreground and more brightly lit background walls. Without a polarizer, this image simply would be flat and lose much of its impact.
"Our next stop was the spectacular Horseshoe Bend overlook above the Colorado River as it cuts its way through Glen Canyon and on its way to the Grand Canyon. This is a difficult place to get a new and unique vantage point. Fortunately we were again blessed with a wonderful sunset and I was able to find a vantage point that I have not seen in other photographs. I was able to create a somewhat unique photo from this spot by tapping into what others have called an 'irrational LACK of fear of heights.'
"In this photo I again used my Zeiss 21mm lens with LB Polarizer to frame the image. Polarization was key to getting the water below to have color and depth rather than just a pale, nearly white reflection of the sky. It also allowed recording of the gorgeous colors of the wall. Three images were taken at different exposures to capture the entire dynamic range and a technique called Luminosity Masking to blend the three exposures into one was utilized. HDR software was not used. This appears very much as the human eye, with its incredible dynamic range, saw the scene.
"After a morning photographing at Lake Powell and some stops along the way, we made our way to our final destination for a couple of days of shooting at the spectacular North Rim of the Grand Canyon. I prefer the North Rim to the much more popular South Rim for several reasons -- including lower temperatures, fewer crowds, more solitude, a beautiful forest, and spectacular meadows.
"We spent plenty of time at all of the major lookouts and also stopped to photograph this year's amazing late summer wildflower breakout in the region, which is the result of an unprecedented amount of rain during the summer. This is the first time I have ever been in northern Arizona when the fire danger was set to 'low' in the summer!
"This final photograph was taken before sunrise on our last morning at Point Imperial. It is a single exposure, again utilizing the fantastic dynamic range of the D800. My Nikon 24-70 f/2.8 lens set to 45mm and a Singh-Ray LB Polarizer was used to capture the dramatic purple and deep red hues of the canyon and sky. The polarizer did a nice job of cutting down on some of the ever-present haze in the canyon."
E.J. is a professional freelance photographer who has been published worldwide in books, advertising, and magazines for clients including National Geographic, Smithsonian Institution, American Museum of Natural History, National Parks Service, U.S. Fish and Wildlife, and the U.S. Navy. Although a specialist in fine art images of ducks, he says his first photographic love is landscape photography. He will be offering a similar workshop in 2013.
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