Winter Falls by Jarrod Castaing

“Niagara Falls in winter is certainty a unique experience. Not only is it’s snow-covered landscape breathtaking, but the cooler weather also seems to keep the tourists away. Well, some at least. Now everybody has seen photos of Niagara and Horseshoe Falls. So after taking in the iconic views myself, I wanted to also capture something a bit different.

Using a telephoto lens I was able to shoot across the water from Canada to New York state. But with snow pouring down and wind picking up, the trick was really to keep the camera stabilized through the long exposure. I must admit. While it’s not the most advanced piece of gear in my kit, a handy plastic zip-lock bag also proved invaluable. With a hole cut in one end, I was able to protect the camera while wiping ice from the lens between shots.

What I enjoy the most about this shot is that, if you didn’t know it was Niagra, you might think it was taken anywhere – even with a busy city hiding just behind the lens.”
— Jarrod Castaing

You can find Jarrod’s honorable mention and more in the RRS 2013 Water Photo Contest Results page.

Article written by Marc Muench, Owner of Muench Workshops

Photo by Marc Muench

Photo by Marc Muench

Advice on Lenses

How does one possibly choose the right lens in the midst of all those possibilities? I believe it starts with some vision. Try to visualize an image in your mind, determine the best focal length to use and go for it. I’ve been on over 30 game drives during 3 separate visits and feel as though I have just broken the ice. What I have learned, however, by comparing my experience in the Mara with all the other photographic experiences in my life, is that there is no way to compare it! The place is magical and therefore can be quite illusive. In a situation like this I usually resort to the optical extremes. On my first trip to the Mara, I carried a case packed full of up to 5 lenses. On my last trip, I carried a 200-400 and a 18mm. I enjoyed my last experience more because I was able to focus on the compositions I was able to make rather than the thousands of possibilities that simply cluttered my vision. This allowed me to concentrate on finding more powerful compositions. The Nikon 200-400mm lens stayed on the camera most of the time and the 18mm Zeiss was in a small pouch next to me on the seat, ready for action, such as a Cheetah jumping on the roof! I believe powerful compositions can be found with any focal length in most situations. The art is to develop your eye to see with that focal length in the midst of such beauty as a place like the Mara.

Photo by Marc Muench

Training Your Eye

Years ago, my father and grandfather carried around a viewfinder to help find images. This little contraption was created to help with composing a image prior to setting up a large 4×5 field camera, the only option at that time for descent landscape images. Though, this method is now considered old school and the contraption is no longer available for purchase, the principal is priceless. I strongly recommend cutting a window in a piece of cardboard in the shape of a 2/3 aspect ratio at the size of the desired focal length. Hold the cardboard at your arms distance to determine the focal length you wish. Take this window out and begin composing. The idea is to get as comfortable with a particular focal length that you can begin seeing shots without the aid of the cardboard or camera. When you begin calling out the shots to your friends you know your at the point you no longer need help finding compositions.

Life is short, take pictures!

Photo by Marc Muench

Photo by Marc Muench

Article written by Marc Muench, Owner of Muench Workshops

Tripod Accessories
Versa Tripod Feet

All Really Right Stuff tripods come with our outstanding Versa Rubber Ball feet, which give the tripod a solid contact patch with the ground at any leg angle. The half-ball shape allows for uniform gripping of surfaces even when the contact angle may be different for each leg, and prevents the twist locks from touching the ground even at the lowest angles. The non-marking rubber material grips firmly on many surfaces, indoors and out.

For surfaces where the rubber feet will not offer the best possible footing, we offer two styles of metal tripod feet:

• Versa Foot Spikes (TA-3-FS) – these long stainless steel spikes are perfect for shooting in sand, loose soil, snow, or any relatively soft or shifting terrain, and in addition to a sure, non slipping footing, give a good amount of lateral resistance to forces such as wind or water. This makes them a must-have for shooting long exposures, seascapes, and stars.
• Versa Rock Claws (TA-3-FRC) – these sharpened steel claws offer a hard “bite” into slick surfaces such as ice, sandstone, or algae-coated rock to prevent slipping and vibration where rubber feet just don’t cut it.

All Versa tripod feet mount via 3/8″-16 threaded studs into the end of each leg, and simply twist into place. The Spikes and Rock Claws have cross-drilled holes to allow insertion of a long hex key tool (included) that gives a better, safer grip on the foot for locking it into place. The metal tripod feet also have built-in “A.B.P.” rubber rings, which offer Accidental Back-out Prevention by increasing the friction between the foot and the tripod leg.

The Center Column Dilemma:
Stability vs. Convenience

Tripods in our Versa line are not designed with built-in center columns. This is because the most stable position for the ballhead and camera is mounted directly at the apex where the legs meet. Using a center column also takes more time during the setup of each shot.

A tripod without a center column is more stable and faster to deploy in the field.

Adding a center column assembly to the apex can reduce the stiffness of the mount between the platform and the apex, increasing the likelihood of vibration. Extending the column itself compounds this, inviting outside forces such as wind to further influence the camera and lens due to the loss of lateral stability.

In terms of practical use it can be far more convenient to use a tripod without a column in the field, especially on non-uniform surfaces. With a ballhead directly mounted to the apex, the only requirements for extending the legs are to get the camera positioned where you need it in a balanced, sure-footed manner. The legs need not be at even angles or evenly extended at all.

Conversely, since a center column needs to be level to be a truly vertical adjustment, the extension of the legs must be more carefully set, although still not necessarily even. This means more time must be spent with every setup ensuring the apex and column are level.

However, there are always exceptions and trade-offs to consider. Some photographers, especially those that work primarily in the studio or indoors, may find the advantages of a Versa Quick-Column quickly outweigh any loss in stability they may face. Portrait photographers, architecture shooters, and those using artificial lighting may opt for a column as the best possible way to get the function they need: fast height changes.

A Quick-Column allows for simple height adjustment in a level tripod position.

As long as the tripod apex is already level (i.e. because the legs are extended evenly on a level floor), there is only one point of adjustment for a single-axis change. Versa tripods offer the use of our optional Series 2 or Series 3 Quick-Columns, which mount into the apex and give up to 14.5 inches of height extension.

It’s important to note: with a Versa Quick-Column added to the tripod, the folded length of the tripod will be extended by 2.5 inches due to the height of the column locking mechanism. Only a Quick-Column tripod like the TQC-14 will be optimized for, and include, the quick-column.

Versa Leveling Bases

Put simply, a leveling base is an articulating tripod platform. Our Versa Leveling Bases offer 30 degrees of pivot range in the traditional 75mm bowl size, and come in 3 different “flavors” to suit various tripod apexes:

• Versa 3 Leveling Base (TA-3-LB) – fits Versa 3 Series and Gitzo® Series 3 “Systematic” tripods. Handle hangs below the tripod apex and is used to lock/unlock the pivot action. Regular handle clears the ground at minimum height of all Versa 3 tripods. Also available as TA-3-LB-HK with a longer handle and weight hook – longer handle gives more room to operate the lock without hitting the tripod legs.
• Versa 2 Leveling Base (TA-2-LB) – fits all Versa 2 tripods via the Suregrip Apex Lock, and mounts atop Versa 2/3 Quick Columns. Silver butterfly knob locks and unlocks pivot action.
• Universal Leveling Base (TA-U-LB) – fits just about any tripod with a flat platform and industry-standard 3/8″-16 threaded stud, making it perfect for use with multiple tripods or other brands of tripod. Silver butterfly knob locks and unlocks pivot action.

Tripod Head Quick-Release System

An additional option that’s available for those with multiple tripod heads is the ability to quick-release one head off and replace it with another. Be it for changing from general-purpose ballheads to pano setups and back, or for those who may simply need to mount a single head quickly and reliably.

Just as with our normal quick-release system, this is done with two main components: a quick-release clamp on the tripod platform and a dovetail plate on the base of the head. The TH-DVTL plates (and in some cases multi-purpose rails) allow ballheads, PG-02 Pano Gimbals, and other devices to be fitted with their own Arca-Swiss dovetail to facilitate this. Quick-release clamps can be fitted to your normal tripod platform, or you can use a leveling base model that has a clamp installed, such as TA-2-LC.

TH-DVTL plates come in two sizes:

• TH-DVTL-55 – fits BH-55, PG-02 HB, and heads with base diameter of 70mm or less.
• TH-DVTL-40 – fits BH-40, the Wimberley II gimbal head, and heads with base diameter of 50mm or less.

Versa Video Bowl

Our Versa 3 tripods are large and robust enough to accommodate even the largest DSLR setups for stills, but thanks to one key accessory, they can offer that same level of support for video shooters as well. The Versa Video Bowl, TA-3-VB, replaces the standard platform with an industry-standard 75mm bowl for use with 75mm ball-base fluid video heads.

This same video bowl is included with any Versa 3 leveling base, and can be removed from that assembly for use in a video application.

Tripod Quiver Bags

Really Right Stuff offers five different custom-designed Tripod Quiver Bags as the perfect method for carrying your Versa tripod and head. Each size is designed to allow fitting a specific tripod size with any ballhead attached, and give both protection and straps/handles for easy packing.

All of the bags feature full-length adjustable shoulder straps, mid-point carrying handles, luggage tag pocket, and 1-2 zipper pockets for holding small tools, tripod feet, or other accessories.

Fountain Pens and Memories

Take my fixation with fountain pens for example. Over the years I’ve collected about half a dozen various fountain pens. I am no avid collector, nor am I a calligrapher. I just like the way ink flows off the nib. So much that I’m willing to put up with ink that doesn’t dry fast and easily smudges; with tedious manual cleanings; with occasional accidental ink stains. But I like that I don’t dispose the pen when the ink runs out; that I can pretty much remember the history of each of my pens; that each pen has its own distinct personality and idiosyncrasies. Recently I reconnected with a pen I bought as a reward for graduating from college way back when. The German-made Cross Signature had been put away for a time, so as I recharged it with ink, my mind drifted to when I first started using fountain pens – and my thoughts shifted to Japan. You see, Japanese Kanji characters lose their stroke-like appearance when written by a ballpoint pen but that’s where fountain pens excel. I discovered the elegance of fountain pens in Japan.

In the spirit of reconnecting for me and new discovery for my family, we spent spring break this year in Japan. I find it almost impossible to fathom that 37 years has passed since I first traveled to Japan as a totally green, wet-behind-the-ears missionary. I’d never been on an airplane before, I hardly spoke a word of Japanese, I grew up in a town of 16,000 with one stoplight, I never lived away from Mom and Dad and I was dropped in the middle of the Osaka concrete jungle. The first month I was so homesick I physically hurt. But I quickly grew to love Japan, Japanese food, Japanese culture, Japanese language and especially the Japanese people.

My affinity for photography was also born in Japan. I had a Yashica TL Electro-X that my dad picked up for $50 second-hand before I left the US. I stitched together a case out of saddle leather for it and I was good to go. In Japan, we missionaries were given one day a week to do chores and go site seeing. On a very tight budget and over two years I shot about 1800 Fuji-chrome slides (now digitized). In today’s digital age, I just shot 2,364 images in 7 days. Indeed, photography is one area that immensely benefits from digital advances and I couldn’t dream of retreating to film.

The Trip

Our plans in Japan were to spend 3 days in and around Tokyo and then revisit a couple towns I used to live in: Matsue City in Shimane Prefecture and Kurashiki City in Okayama Prefecture. In Tokyo, we met my dear friends, Koji and Tadayoshi Furikado whom I met when they were just teenagers. Like so many others, both moved away from their childhood home to the greater Tokyo area after university for work. Now they have teenage sons of their own that we got to meet for the first time. They took us to view the Sakura at Ueno Park. Although the timing of cherry blossom season is a bit unpredictable, we were fortunate to hit the peak.

As a missionary, we lived on $150 per month for housing, food and all other expenses. The yen exchange rate then was 250 per dollar, but that still didn’t leave much to spend on film. Thankfully, I was able to afford to do some things this trip I never had the chance to 37 years ago. One new experience was to ride the Izumo Sunrise overnight sleeper train from Tokyo to Matsue. Another fun experience was to stay at a traditional Japanese inn (ryokan) in Matsue City with its own onsen (hot spring). We enjoyed wonderfully beautiful Japanese Kaiseki meals in our own assigned tatami room for dinner and breakfast and relaxed in the onsen each evening. Now that is really the way to go!

Matsue is one of 12 towns that have “original” castles. We had a great time exploring the castle grounds pretending to ward off invading clans from above the ishigaki stone walls while cherry blossom petals fluttered down all around us. The castle was built in 1611 and was one of the only places in town I still recognized. We also enjoyed a visit to Adachi Museum of Art in nearby Yasugi. The draw for me was the museum’s Japanese gardens, which have been voted the best Japanese garden for the last ten years running by Sukiya Living Magazine.

We transferred to Kurashiki City and stayed in a hotel adjacent to the historic Bikan quarter of town. White-washed, tile-roofed Edo-period (1611-1868) storehouses and town-houses flank a willow-lined canal in this prosperous ancient merchant town. This area is designated as a national traditional building preservation district and attracts a fair number of tourists. The old architecture is a favorite of mine and thankfully the area is virtually unchanged since I was here nearly four decades ago. I also got to reconnect with my dear friend Iwao Furikado, the father of Koji and Tadayoshi over a sukiyaki dinner at his home.

If you plan to visit Japan, I highly recommend you go with a tour unless you speak Japanese or are very adventurous. Our good friend Martin Bailey lives in Japan, speaks Japanese and runs an amazing winter nature/wildlife tour to Hokkaido (the next available one is in 2014). Joe Van Os and Daniel J. Cox run similar tours. Sukiya Living Magazine offers a walking Japanese garden tour to Kyoto in the spring and fall that looks very interesting (http://www.rothteien.com/tour/tourshome.htm) which is focused on Japanese culture/aesthetics.

Some more brief tips:

1) The Japanese are among the most polite, hospitable people on earth; please reciprocate with an appreciative attitude.
2) English is not widely spoken, but just about any stranger is eager to help.
3) Be open to new experiences.
4) Tipping is not a custom.
5) Stuff is expensive, but food can be reasonable if you’re prepared to eat local street cuisine, which is the most fun anyway (try okonomiyaki or takoyaki).
6) Pack VERY light, especially if you plan to use the cost-effective public transportation. Each in our family of four only took one small carry-on luggage and one handbag for the 9-day trip (compact camera gear is a distinct plus). We could fit our entire luggage and ourselves in one taxi.
7) A discounted JR-Rail pass for foreigners can only be purchased prior to entering the country.
8) Woodworking details at temples and shrines make great photo subjects.
9) For other fun photo ops, watch for newlywed couples dressed in traditional costume or monks/priests at the temples and shrines (temple: Buddhist; shrine: Shinto).
10) In addition to the big cities, visit an out-of-the-way village or two.

I’m blessed I could reconnect with Japan and introduce my family to beloved friends and places. The trip helped mold our family, increase mutual understanding and prepare us for future mind and soul-broadening experiences. I can’t recommend visiting Japan enough.

Photo By Loscar Numael

“The photo was taken in White Pocket Arizona last fall during sunset (well that was the plan but these clouds came out of nowhere so I put them to good use). Seeing how quickly the clouds where moving, I decided to set the tripod as low as possible and use a 10-stop neutral density filter for a long exposure. At the end I loved the way the swirls on the stone complemented the swirls within the clouds, giving a lot of depth to the image. I processed the image in Silver Efex Pro 2 and added the finishing touches in CS6.”
— Loscar Numael

Godley View by Joshua Cripps

“When I visited New Zealand for a month-long photo excursion in April of 2012, I had a motto: Go big or go home. And what I meant by that was “do it right;” figure out the shots I wanted and do what it took to get those shots. Instead of saying things like “oh, that would be a great shot, if only…..” I decided to take that “if only” out of my vocabulary, and just do what it took to get the photo that I wanted. One of the images I wanted to create was a dramatic view of the Southern Alps from a high perspective, which is something you don’t often see. Since I have no alpine climbing experience the best option for me to get an up-high view was to take a scenic flight around the Southern Alps. I booked on the earliest morning flight I could, hoping that the low sun would provide some interesting light. I also researched the flight path of the trip and specifically requested to sit in the far back left of the cabin to get the best angles and light.

The flight and I were ready to go until at just the last minute, just as we were about to take off, the plane was called back to the hangar so that another passenger could join us. He was a bigger guy and re-balancing the plane’s load with him in it meant I couldn’t sit in the back left anymore. Instead the crew shuttled me to the co-pilot’s seat in the front right. Exactly opposite where I wanted to be! So with a resigned sigh I jumped in front, disappointed that I wouldn’t be in my ideal position, but excited that I could at least pretend to fly the plane.

But just as I suspected, the co-pilot’s seat was far from ideal when it came to photography: the front windscreen and side windows were tiny, and I sat right underneath the wing, which meant that my wide-angle shots were full of struts and ailerons. That seat also faced me away from all the best mountains and I got only sidelong glances at the major peaks like Aoraki and Tasman. However, at one point in the flight this seat proved to be the best in the house: we flew over the delta of the Godley River just where it empties into the startlingly blue Lake Tekapo. And as we did so the pilot performed a sweeping banked turn which gave me a spectacular view 6,000 feet straight down onto this beautiful confluence. I had my 50mm prime lens on at the time and was able to snap a mere two frames before the perspective shifted as we leveled out.

Ironically, despite the fact that I didn’t create any memorable mountain photos during that flight, it was still one of the highlights of my Kiwi adventure. Thanks largely to this photo, which has become one of the most unique and interesting shots in my portfolio.

Processing: The processing on this shot was quite simple and straightforward. Because this image was taken through an airplane window it was initially very low contrast. Using Nikon’s Capture NX2 I greatly increased the contrast of the original file, and did some minor color correction. Then in Photoshop I sharpened parts of the image, and did some minor dodging and saturation increases to bring out the vivid blues in the lake.”
— Joshua Cripps

You can find Josh’s honorable mention and more in the RRS 2013 Water Photo Contest Results page.

Hal and Victoria Schmitt from LIGHT Photographic Workshops dropped by the other day to spend a little time catching up. As photographers tend to do, we started talking about the upcoming photography season and the exciting adventures to be had. The conversation began to take on a tone of caution, however, when Hal brought to light that photographers often neglect to include very basic emergency kits along with their standard camera gear. He made the point that just a few simple items could make a huge difference in the outcome of a simple accident. As a former Top Gun instructor (yes, that Top Gun), he knows a ton about survival and how easily things can go wrong and we take his advice very seriously.

In a nutshell his advice was to keep a basic kit with you always, including a:

He also recommends keeping a smartphone and HoodLoupe, and you can bet that he always has all of those with him whenever he goes out shooting. He wrote a post on his blog that gives a more in-depth outline that is worth reading.

Photo by Jim Weise

“We’re very lucky to have miles of gorgeous coastline right in our backyard here in San Luis Obispo. The cliffs just north of Pismo Beach offer amazing rock formations that have become a favorite subject matter for me. The changing light, tides, and conditions of the sky behind offers an ever-changing range of scenes to capture, almost as if the forms had moods and personalities. These two rocks reside just off a quiet neighborhood and have made several appearances in my portfolio as I get to know their secrets.”
— Jim Weise

]]> http://blog.reallyrightstuff.com/sentinels/feed/ 1 http://blog.reallyrightstuff.com/cerro-torre/ http://blog.reallyrightstuff.com/cerro-torre/#comments Thu, 02 May 2013 00:03:26 +0000 Really Right Stuff http://blog.reallyrightstuff.com/?p=3487

Cerro Torre by John Barwood

“I was on my honeymoon which we had decided to spend in a tent traveling through Patagonia. Two days before we had hiked to the base camp at the base of Fitz Roy. We climbed it that night and stayed there until sunset and scrabbled down in the dark and set the alarm to get up again in a couple of hours to scale it again to catch sunrise. After this we were very tired but had caught an amazing sunrise and sunset from one of the most beautiful spots we have ever been. After trekking the opposite direction to see another glacier we headed with all our gear to the Cerro Torre, this trek turned out to be quite a bit longer than we had expected. For the last hour of the hike we could see the spot where we knew the Cerro Torre was but could see nothing but cloud as the light disappeared. We set up our tent in the dark that night disappointed that we would not see the famously shy peaks but happy as we had lucked out with the weather for the rest of the trip. We fell asleep cold but content and looking forward to some sleep and a good look around when light was up in the morning.

It was my wife who had popped outside very early that I could hear shouting, “Its out! I can see it, its amazing”. I have never put my trousers on so quickly and it was amazing, the weather had completely changed over night. There is something about the Cerro Torre that is special, we have seen a lot of amazing peaks but these remain our favorite. We scrabbled down to the laguna and this photo was basically the first thing that greeted us. It is not often that you are presented with a photo but its great when it happens. The peak was framed perfectly by the mountains either side, with a clear reflection in the silky lake, filled with beautiful water that we had been drinking from for the last week. The final touches were the two giant chunks of broken off ice from the glacier that just happened to be floating calmly either side of the line of sight between the peaks and the rock in the foreground.

This image means so much to us, and it is my wife’s favorite from our trip and I’m just very glad I had the right gear to be able to capture it!”
— John Barwood

You can find John’s honorable mention and more in the RRS 2013 Water Photo Contest Results page.

Photo by Andrew Kumler

Proxy Falls in Winter,
a year in the making…

Back in late 2010 I had the idea to hike into Proxy Falls in Oregon’s Three Sisters Wilderness, to visit this amazing display of falling water in its winter glory. The Proxy Falls trail head is on Oregon Scenic HWY 242 and is gated off and closed during the winter months. This would mean I would have to park at the snow gate, and hike/snowshoe in the additional three miles or so to the marked trail head. I had been watching the snow level forecast for a few weeks trying to time the fresh snowfall with my time available to hike in. Finally one winter morning the conditions seemed right, so I headed up early from my home in Springfield, Oregon to give it a shot.

I arrived at the snow gate just a little before sunrise to see just a dusting of new snow on the ground. Not being too worried though as I knew there would be a significant elevation gain over the next few miles of hiking. Put all my snow gear on and threw on my camera backpack. Then I sat there looking at my snowshoes wondering if I would even need them with such a small amount of snow on the ground. I decided to leave them in my truck thinking the snow couldn’t get that deep in just a few miles.

The hike began quite uneventfully, walking through just an inch or two of fresh powder on the narrow and curvy Historic HWY. After the first mile or so the snow depth had increased to about 6 inches as I slowly gained elevation and hiked deeper into the Three Sisters Wilderness area. This trend continued as I hiked along, eventually nearing the trail head, trudging through several feet of snow. Now I am really regretting leaving the snow shoes in the truck, as I struggle to move forward as I’m buried to my waist with each step. After struggling for the last half mile or so I finally see the marked trail head.

This is where the fun begins. The snow now is 3-4 feet deep and there are 5-10 foot drifts across the trail. This is an easy hike of only a mile or so in the summer, but with snow like this I can hardly make out where the trail even is. Stubbornly I continue on now, feeling blisters starting to form on my heels from pulling my legs up out of the deep snow for so long. Suddenly with my next step I quickly plummet into a snowy abyss. Apparently I had drifted off the trail and fallen into a pocket underneath some small trees. All I really knew was that I was now looking up about 15 feet out of a big hole in the snow. Tirelessly I try climbing up out of the pit that I am in. With each step only seeming to just move the snow around. Knowing I had to get out of this place on my own, I scrapped and climbed my way to the top, nearing exhaustion. So I finally make it back up on top of what I think is the trail. Even though I am less than a mile from my destination, I decide to call it quits and head back.

The hike back to my truck was not too bad, besides the blisters on my heels seemingly growing larger with each step. Finally arriving back at the snow gate, I was so relieved to see my truck. I quickly got out of my sweat soaked clothes and began putting on the spare dry set I try to keep with me for occasions just like this. This was not the end though, I would not be defeated.

Summer Arrives

In summer 2011 I headed back up to Proxy Falls, this time with the snow gate open, and without any snow on the ground. Bringing my hand held GPS I had a new plan in store. My goal this trip was to map my path from the snow gate all the way to the base of the waterfall. Knowing then, come next winter I would have a bread crumb trail to follow. I started plotting my course from my truck at the snow gate, following the road to the trail head. Once there I continued tracking my course along the trail and down to the base of the falls. At this point, I saved the track and was now armed for the next winter’s snowfall. Of course, while I was here, I did take some photos of this amazing waterfall.

Winter 2012

So finally in February of 2012, I get my chance again to make my way back to Proxy Falls in search of a snow covered waterfall. Gathering up my gear for the trip I made sure to grab my GPS unit and my snowshoes. No way was I not taking those this time. I left my house over an hour before sunrise to get to the snow gate. Upon arrival I am once again greeted by a few inches of fresh powder. Get my winter clothing out, snow shoes lashed to my pack and GPS in hand. I start my easy hike up the snow covered road making my way to the trail head. This trip though the snow does not get very deep along the way. By the time I reach the trail head I am walking through snow about a foot deep, just enough to make it tough with or without the snowshoes. At this time I start following the trail, guided by my GPS track I created last summer. Following along perfectly I arrive at the top of the bluff overlooking the snowy delight of Proxy falls with its winter coat on. I stash the snowshoes and begin my scramble down the icy and slippery slope to the base of the falls. Once there I sit for a few minutes looking in awe as I get blasted by a cold biting spray. I grabbed a few different compositions, trying to get the most of my time in this winter wonderland. I was feeling overjoyed that this trip had finally become a reality after all of the time and setbacks I went through. I must have stayed there for about an hour, finally deciding to start heading my way back.

So was it worth It

It was a great trip and I feel I captured some unique and interesting photographs of a place seldom seen in these conditions. These images will most likely capture my heart more than anyone else, due to the efforts and planning involved to capture them. But I am proud to show them off, and grateful for the experience. Thanks for reading, and I hope you enjoyed the images as well as the story behind them.

Photo by Andrew Kumler

Photo by Andrew Kumler

Article written by Andrew Kumler, of Andrew Kumler Photography