Appreciating Those Fleeting Moments

•September 8, 2011 • 16 Comments

Appreciating Those Fleeting Moments

By David Cobb

 

“Death is always on the way, but the fact that you don’t know when it will arrive seems to take away from the finiteness of life. It’s that terrible precision that we hate so much. But because we don’t know, we get to think of life as an inexhaustible well. Yet everything happens only a certain number of times, and a very small number, really. How many more times will you remember a certain afternoon of your childhood, some afternoon that’s so deeply a part of your being that you can’t even conceive of your life without it? Perhaps four or five times more. Perhaps not even that. How many more times will you watch the full moon rise? Perhaps twenty. And yet it all seems limitless.” Paul Bowles, The Sheltering Sky

It’s been perhaps 15 or 20 years since I read Paul Bowles book The Sheltering Sky, yet that paragraph in the book changed my life forever, and it improved how I look at and appreciate those fleeting moments. I will continually go out to watch a full moon rise, because only twenty more moonrises just don’t seem like enough to me. That paragraph also changed how I appreciate capturing those brief instants in-camera, and how I might try to convey my emotional response from those moments through processing. This doesn’t mean I need to capture every sunrise or moonrise I observe–far from it. There are many moments when I just witness and appreciate nature’s show and feel glad to be alive.

Recently, I was out for an early sunrise but there was little chance of anything happening. I set up my tripod, composed an image just in case, and then waited. Through a slit in the sky, the rays of morning popped through ever so briefly, and for maybe a moment the earth bathed in gorgeous light. These are the times I truly appreciate and want to photograph: When nature puts on a brief and spectacular show that few if any other witness.

Photographer Paul Strand said, “Your photography is a record of your living, for anyone who really sees.” I hope I can show that I really lived and saw. I don’t mean to be melancholy, but we’re all just fleeting moments in the scheme of things, so I’d rather live for the moment than have regrets later in life that I didn’t live or see all I wanted to. I don’t need to travel to the far ends of the earth to accomplish that- there is more than enough to see and photograph in my small part of the world.

Two months ago my cat Plato died. I had taken photos of him as a kitten, but not as an adult. I always put it off for another day. One day Plato was sick, the next he wasn’t there, and I didn’t have another day for those photos. Luckily, a friend had taken an image of him as an adult so I can still see Plato’s photo. I didn’t wait with my other cat; I immediately took photos of her as an adult because I may not have another day to do so. Don’t put those photos off for another day. Make your bucket list and follow through. Show us that you lived.

Maybe Mark Twain said it best when he wrote, “Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.” And photograph well when you observe those fleeting moments.

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HOW I BECAME A PROFESSIONAL PHOTOGRAPHER

•August 31, 2011 • 9 Comments

By Zack Schnepf

When I was starting out in photography, I loved hearing  how professional photographers got their start, so I thought I would share my own story. I did not set out to become a professional photographer, I picked it up as a hobby, got some lucky breaks, and then worked extremely hard to adapt to the changing face of photography.  This is the story of that journey.

The Early Years

Sometime in 2002 while finishing my degree in multimedia, I decided to get my first digital point and shoot camera.  The little Olympus was around 3 mega pixels, and was a lot of fun to play with.  I was using it mainly for some of my school projects, but started experimenting with long exposures and some other more advanced techniques.  I was already teaching Photoshop, which at the time was primarily a graphic design tool.  I was excited to be working digitally from capture to print, and was already experimenting with blending exposures and compositing.

I quickly reached the limit of this camera’s capability.  I started researching my options for a more professional camera and saw that Canon was releasing the 10D, it was everything I wanted at the time and it could shoot in Raw format, which was very new at the time.  As soon as I got my hands on the 10D I went off the deep end.  I had just graduated from college and was working as a videographer/video editor and thought photography would just be a fun hobby.  It soon took over my life, I picked up a whole studio setup, and started to experiment with landscape photography.

At this point I was experimenting with every type of photography that caught my interest, but I found landscape photography to be the most challenging and rewarding.  I have always been into the outdoors, and was frustrated that I did not have the skills to capture some of the amazing natural wonders I was seeing.  I did a lot of research on landscape specific techniques, and started planning lots of trips to national parks and other wilderness areas.  I learned very quickly, and had tons of fun in the process.  It was one of the most amazing times in my life.

During this first year with my 10D I started experimenting with the idea of making some money with photography.  I had a full studio setup in my house, and a very competent camera as well as skills in Photoshop.  I was able to start landing jobs right away through various contacts.  I was doing product photography for Savoy Glass Studio, and some local artists.  I was also lucky enough to meet with an artist rep, she loved my work and asked to represent me.  This was at a time when stock photography was more viable, and over the next few years she was able to land a couple of big clients for me including Nike, and HP.  This early success convinced me it was possible to make a living doing photography.

I did pretty well over the next few years, but I was still doing freelance videography, graphic design, and web design as well.  In 2004 I decided to try to focus on nothing but photography, I made the mistake of doing wedding photography to make ends meet and long story short, it burned me out over the course of one season.  I didn’t even want to pick up my camera for 6 months after that.  I didn’t enjoy wedding photography the way I enjoyed landscape photography.  I know some photographers who love shooting weddings, but it was not for me.  I learned a good lesson, if I couldn’t make a living doing the kind of photography I enjoyed then I was better off doing something else.

The Transitional Years

Over the next few years I decided to focus on landscape photography, I worked very hard to develop my skills in the field and in Photoshop.  I just had to figure out how to make money at it.  Stock photography was drying up as well, the pressure was on to find different ways of making a living in photography.   Marketing myself is not one of my strengths, but I did what gorilla marketing I could.  I entered contests, sent images to magazines, and developed a strong web presence.  These efforts started to bare fruit, I won some big contests, and was published in some of the biggest photography magazines from 2006-2009.  Stock photography continued it’s rapid decline, and all but died for me.  I had to find new income streams.

Developing multiple income streams was the only strategy that I could see that would be viable in the future.  I worked hard over the next few years to develop these different income streams.  In 2008, With the help of Mike Moats I started applying to juried fine art fairs.  This was a daunting task, and involved some serious investment in equipment, printers and materials.  I was pretty successful my first year and continue to do a select number of shows each year.  I also transitioned away from traditional stock photography and started working with a few micro stock agencies.  In the first year I made more with micro stock than traditional stock.  That being said, I still wasn’t making much with stock.  In 2008 I also started to teach workshops.  I started slow, only offering one on one and small group workshops in the field and in Photoshop.  As I gained experience and confidence I started offering more workshops and continue to do so each year.  In the past few years I’ve also teamed up with my Photo Cascadia team mates.  We offer combined workshops and also collaborate on a number of other projects as well.

Currently

I have developed other small income streams as well over the years, and continue to try to think up ways to adapt to the ever changing world of nature photography.  I still do shows each summer, teach field workshops on my own and with my fellow Photo Cascadia members, teach online Photoshop workshops year round, submit stock photography, make magazine submissions, and occasionally get lucky breaks like people contacting me with unsolicited gigs.  It all adds up, and has to be run like any other business, but one that I enjoy very much.  It’s a good fit for me, because I like a lot of variety.  I wouldn’t enjoy any aspect of what I do if I had to do it all the time, but since my responsibilities vary I never get burned out on any one thing.  Most of the successful landscape photographers I know these have adopted similar models.  Each of us has our niche, but we all have pretty diverse business models.  If one segment starts to fail, we focus on other areas.  It will be interesting to see how photography changes over the next 10 years, but the photographers who are successful will be the ones who can adapt to the ever changing market.


Layer Masks Simplified. By Chip Phillips

•August 19, 2011 • 5 Comments

It seems that one of the most misunderstood, and most powerful, options in Photoshop is the use of layers, and more specifically,  layer masks.  In my opinion, this is the single most powerful tool in Photoshop.  When I first learned about how to use layers and layer masks, it brought my photography to a whole new level.  It is sometimes surprising to me how many people have been using Photoshop for years, but don’t know what a layer mask is, or how to use one.  It is also one of the more difficult things to explain in my teaching.  But, once my students grasp the concept, it becomes a powerful tool for them, and they never look back.  I will try to simplify the concept in this post.

What is a layer?

If you don’t already use layers in Photoshop, you should.  Most of the adjustments that you make to an image are available as “adjustment layers”.

Every adjustment that you make to an image via an adjustment layer is non-destructive, meaning that the original “background layer” stays in tact.  You can always go back to your original background layer if you don’t like the adjustment you make, or at a later time.

Every adjustment layer comes with its own mask as well:

What is a Mask?

Imagine a scratch ticket.  It comes with that grey stuff over the numbers.  When scratched with a coin, the underneath part is revealed.  The concept of masks in Photoshop is very similar.  When the mask is filled with black:

the adjustment is completely hidden.  Just like the scratch ticket that hasn’t been scratched yet.

When it is filled with white, like the previous example, the adjustment is completely visible.  Just like the scratch ticket that has been completely scratched until all of the grey is gone.

A basic concept to know and memorize before you start using masks is:  white reveals and black conceals.  The layer mask that comes with adjustment layers is white by default.  So, the adjustment that you make via an adjustment layer is completely showing.  You can hide the adjustment by switching your foreground color to black (if it isn’t already).  Do this by clicking on the little double arrow at the bottom of the tools palette to place the black square on top:

Now, select “alt-backspace” PC, or “option-delete” (I think), Mac.  This fills the layer mask with black, completely hiding the adjustment.

Here is where the magic occurs.  With the layer mask filled with black, click on the little double arrow again at the bottom of the tools palette so that the foreground color is back to white.Next, select the brush tool:

Now, with the opacity set on the low side at first:

and a soft brush, paint in your adjustment to exactly where you want it.  You can increase the opacity or decrease it as you please.  Also, when you are finished, you can refine this “painted adjustment” further by adjusting the opacity in the layers palette:

As you can see, this offers the photographer quite a bit of control.  Adjustments are no longer global, and the creativity possible is endless.

A layer mask can be added to just about any layer (if one isn’t already there) by simply clicking on the little layer icon at the bottom of the layers palette:

You can also “alt-click”  (option-click Mac) and the layer mask will appear filled with black, hiding the adjustment completely.  Now just paint with white.

Just remember:  white reveals and black conceals.  Also, it is important that the mask is active when you go to apply white paint.  Make sure the mask is outlined in the layer palette.  In this example it isn’t outlined:

In this example it is:Just click on the mask to make it active.

I use layers and layer masks extensively in my own processing.  The concept might seem a bit mysterious at first, but it is really simple once you have a basic understanding.

Hopefully, if you don’t already, you will start using adjustment layers, and layer masks in your own processing.

Photographing Iceland For Dummies – Kevin McNeal

•August 9, 2011 • 4 Comments


 

Last month I returned from a whirlwind tour of Iceland. I was fortunate enough to go when I found out that a good friend of mine, Dene was going and had extra room in their rental car. After making some last minute changes I was off to Iceland and ready to take it all in. I never had been to Iceland so I had no idea what to expect. For the first time I was going to “ wing-it” and not do any preparation as time was against me. Needless to say I had a great time in the end but I wish someone had told me this before I went.

First of all Iceland is very expensive; if you are tight on funds this is not the place to go. I was casually warned it might be more then I thought but I wish I had looked into more or should I say prepared more. If you are thinking of renting a car it is going to cost you an arm and a leg. I now realize why people hitchhike around the island. So start saving for that car and gas now.

It rains a lot in Iceland but the sun does make an appearance. It comes out in certain areas of the Iceland so make sure you are in the mood to travel lots of miles to get to the areas where it is sunny. It is not uncommon to be one side of the island in pouring rain and drive six hours to be in sunny conditions. That means paying close attention to the weather and watching where to go before it happens. This is very important when photographing Iceland. That said, it is also important to make rain your friend and learn to make the most of the rainy conditions. So if shooting atmospheric situations are you thing then you are in the right place. It is also an ideal situation for shooting black and white, which I am definitely not. So be prepared to shoot in any conditions and remember the light is very fleeting so take every opportunity you can.

If you have not been to Iceland it is hard to believe the unusual colors of the landscapes until you see it for yourself. So take advantage of the saturated colors to create impact in your images. Combine this with a warming polarizer to maximize impact. In terms of composition tell a story with color and make sure to connect your foreground to the background by using complementary colors. I like to use a lot of color in my images and blend this is with mood. The scenes in Iceland are full of mood and this is where to really set your images apart from others. I want people who look at my images to say that brings me right back to when I visited the place. It is hard to describe the mood of the place unless you have been there but it is indescribable but it some thing that everyone who has been there knows all to well. It is a mood that you will never forget even decades later after visiting the place.

Visit Iceland during the summer months and you come across twenty-fours of light. This for sure takes some time getting used to but when the light is right you can photograph numerous places for the same sunset. Sleeping is not easy when the light is out so bring an eye mask for sure. The thing to remember is you do not know when it is going to be sunny again so it is very important to take advantage of the light and the sun and try not to stop; yes that means going for days with little to no sleep. You will get plenty when it begins to rain and believe me it will. Keep pushing no matter how tired you get! Okay that part might be for the very serious photographers.

There are places not to miss which are too many for this article but don’t miss the Golden Circle and the numerous waterfalls that are incredible. Don’t do what I did; have some informal plan and prioritize what is important to you as there is too much too shot everything. Breaking Iceland into quadrants will make things much more manageable. If you have had any friends that have been there before do yourself a favor and ask them for advice.

Iceland is an eye opening experience so be open to anything to get the most out of it. Do not go there with expectations and you will be open to so much more. Iceland only gives what you put in to it.

More to come in following blog..

Gear Review: F-Stop Guru Camera Pack By Sean Bagshaw

•August 6, 2011 • 3 Comments

For the past couple of months I have been putting my new F-Stop Gear camera pack, the Guru, to the test and I’d like to share what I think about it with Photo Cascadia readers. To fully disclose, as a member of Photo Cascadia I am part of F-Stop Gear’s team of photographers. They send me packs and I use them, make suggestions and give feedback. However, I am not paid to use their gear or to write positive reviews. I wouldn’t use their packs if I felt there were something else on the market that did the job better.

My assistant and digital video production student, Jared Hail, put together this short video.

F-Stop Guru from Jared Hail on Vimeo.

If interested, you can also read my previous review of the F-Stop Gear Tilopa pack and David Cobb’s initial review of the Satori pack.

The entire line of F-Stop’s packs have finally filled a void in camera bags that, as an active outdoor photographer, has always bugged the heck out of me. What I need from a camera pack isn’t much different than what I need from the backpacks I use when I’m hiking, backpacking, skiing and climbing. An active outdoor pack needs to be simple, functional and durable. It needs to have a well designed frame and suspension system that is adjustable and can effectively carry a load. The pockets, accessories, straps and attachment points need to be purposeful and designed for simple functionality. It is also essential that an active outdoor camera pack be able to carry more than just camera equipment. While other companies make great camera bags for street photography, studio work, photo journalism, air travel and carrying maximum equipment short distances, F-Stop Gear’s packs fill the gap for active outdoor photographers who venture away from the car.

The larger packs in the line, the Satori, Tilopa and Loka, excel at handling either a large camera kit with a small amount of other stuff, or a smaller camera kit with room for ample extra clothing, food and other outdoor essentials. With the introduction of the Guru, F-Stop Gear has taken all of the great features of the larger packs and distilled them down into a smaller package for light/fast travel and less extended excursions.

Still present in the Guru are all the features that make F-Stop Gear packs different from competitors. It features the same lightweight and durable materials and attention to design detail. The Guru also has the same inner frame and outer suspension system that make F-Stop packs carry like…well, packs, instead of suitcases with shoulder straps.

The large outer pocket has pouches and pockets for all your batteries, cable releases, flash cards and other peripherals. There is another smaller outer pocket as well. Well designed and moveable compression straps allow you to securely attach a tripod to the back of the pack or on either side. A large zippered opening gives access to the main pack compartment from the top making it easy to stuff in something as large as a down jacket.

Perhaps the best F-Stop feature is the combination of the back panel entry door and the interchangeable Internal Camera Units (ICUs). Changing out different size padded ICUs allows you to customize the pack for how much camera gear you want to carry. Accessing camera gear through the zippered back panel means that you can get to your gear without removing your tripod or rain cover and without setting the pack strap-side down in the mud. It also means that it would be very hard for a thief to get to your gear when the pack is on your back. Other nice features include an internal hydration bag compartment, a zippered nick-nack pocket on the hip belt and a zippered pocket on the underside for storing a rain fly.

I have actually found more use for the Guru than I thought I would. It’s small size makes it a joy to wear and it is perfect for cramped travel on planes, trains and buses. When I don’t need my entire camera kit I find that the small ICU fits a camera body and two lenses just fine and leaves plenty of room for a jacket, gloves, hat, water and lunch in the main compartment. Not lugging my full kit around with me turns out to be quite liberating. The pack rides as well as any of my small adventure packs so I have no problem using it with confidence when climbing, skiing or even mountain biking. In fact the suspension is so nice that I could see removing the ICU and using it as a day pack for a non-photography outing.

I gave the Guru to my 21 year old assistant to use for a few weeks. He had always used a single strap shoulder style bag previously and liked how comfortable it was. He also liked that from the outside it looks like any standard day pack instead of a camera pack. He felt he could wear it to class or around town without feeling conspicuous. That’s a great feature for the low profile world traveling photographer as well.

There really isn’t anything I don’t like about the Guru, however I can make a couple of minor suggestions. One would be to include an additional set of outer straps so that items can be secured to both sides of the pack simultaneously. Another would be to put a clear window on the pocket inside the camera compartment flap so you can see what’s inside it. Finally, in all of F-Stop’s bags I wonder about the wisdom of putting a hydration bag in the main compartment where the camera gear is. Perhaps making the pouch that holds the hydration bag out of water proof fabric and putting in some drain holes at the bottom would increase my comfort level.

All in all, F-Stop has done a great job of incorporating the quality, versatility and utility of their larger packs into the light and low profile Guru. Keeping the comfort and features and giving up some size and weight means that the Guru is now my go-to pack for lightweight day tripping, high angle adventure and low profile travel.

Let There Be Night

•August 2, 2011 • 13 Comments

Let There Be Night

By David Cobb

 

Night photography is nothing new; the technique has been around for as long as there’s been a camera to produce it. With advancements in digital photography however, night photography has taken on new possibilities for nature photographers. On still evenings, I’ve pulled some interesting and vibrant colors out of shooting digital. Water tends to get bluer and warm tones tend to become richer and warmer. I took the following photo just below Whitehorse Falls in southern Oregon, and you aren’t likely to be able to tell that it was almost pitch black outside. The added side effect to taking this image at night is the cobalt blue color of the Whitehorse River that my daytime images never had. This plays well with the surrounding warmer fall color. If it had been taken in the daytime this image would look much different, and I prefer the nighttime effects it has here.

 

A few tips about nighttime nature photography:

  • I usually use an aperture around f11 to f5.6 to cut down on the shutter speed
  • I turn on my noise control in-camera to cut down on the noise, so a freshly charged battery is a good idea
  • I don’t use a polarizer at night, since I find it helps little towards the photograph’s finished product
  • A sturdy tripod and cable release is required

 

The image of Fall Creek Falls below was recently taken while visiting Mt. Rainier National Park. I didn’t get to this falls until well after dark, but there was still some light bouncing off the atmosphere above. I kept the shutter open for 30 seconds at f11, and to my surprise this nighttime shot took on the look of daytime. As usual, the water went a bit blue, and I warmed up the surrounding landscape to play off the blue hue. I also like the highlighted tips of evergreen when I photograph in a forest at night; they almost glow in comparison with the rest of the tree. I would normally use a polarizer on a waterfall to cut down on distracting reflections, but again, at night I don’t find that necessary.

 

Of course there is always light painting for the nature photographer. The image below is made up of two shots. One taken at 1600 ISO and 30 seconds to capture the starlight without movement, and with the other I light painted the Utah Rocks for 30 seconds while shooting at 100 ISO. The two images were later blended for the effect. The “painting” wasn’t applied directly to the rock, but flashlight bursts were shot around the rock and into the night sky. A similar technique was used for the Bandon, Oregon sea stacks, but in this case I only needed one image since the lights of town lit the stacks for a nice effect.

 

City landscapes are always fun to photograph at night.  They’re certainly not “nature photography,” but hey “when in Rome…” Actually, the image taken below was in Dubrovnik, and when I noticed they polished their streets every morning I couldn’t wait until night to capture the hustle-and-bustle of city life. This image was taken at f5.6 for .6 seconds, to capture the movement that lends to the lively atmosphere.

 

Night possibilities for the nature photographer are endless, from star trails to moonbows. And once you get used to keeping the camera out in the dark, by sunrise you might be thinking “now what am I going to do?”

Lake Abert – Solitude, Quiet and Photography

•July 25, 2011 • 3 Comments

by Adrian Klein

This year I told myself I would try to make it more about seeing less visited locations or places I have not backpacked since getting into photography, with less concern about always chasing locations strictly based on photographic appeal. Not that I am looking to come home empty handed, that is anything but the case. I am just changing to make that my secondary purpose on selected trips.

Today it seems there is a large number of human folk with cameras ready to run, jump and leap to places where the landscape has a better chance of  guaranteeing some level of success in the great photo chase the digital era has created. Not that I am immune from getting caught up or wanting to go to more trafficked areas. I have that urge and will follow travel to more popular areas as well (excluding the retail outlet mall on a Sunday afternoon where I turn into old grumpy Klein as my wife would say). Yet after getting into photography as a part-time professional about four years ago, I believe I lost sight of why I became very passionate about photography in the first place. Getting back to the basics will surely allow me to capture work in the end while getting back to more of what satisfies my soul both in photography and being outdoors.

With this in mind one of the trips I made this year was to Lake Abert in Southeastern Oregon. It has been on my list for a few years now yet I kept putting it off in favor of other places. I have seen a few inviting photos of the area yet it’s definitely not a photographic destination for most that travel through the area.

This trip was decided on a whim at 8:00 PM the night before leaving. I have a teenage son that wanted to be home with his friends during summer (been there) and my wife with our girls out on their own trip. That left me heading for a quiet and peaceful place by myself. Driving from the densely forested northwestern part Oregon down to the southeastern part is always fascinating watching the trees shrink in size and the views open up for many many miles.

Salt On The Rocks II

Salt On The Rocks I

This was a very memorable sunset. The weather could not have been better to be outdoors wandering around. I sat on these rocks with only a slight gentle breeze rolling through and temps in the mid 70’s, my ideal temperature before I start to overheat. I would not do well living in the desert, being a visitor suits me best. Sitting here it was rather peaceful. The highway was up above me yet only a car or two coming by every 5 to 10 minutes. A far cry from rush hour in the city where being stuck in traffic gets me wound up like a cat rolling around with catnip.

Hillside Glow

Just above the lake is the steep slope that leads up to Abert Rim. The rocky edge of the rim you see off in the distance of this image is actually the area where you head to the top via find your own way, there are no trails. Not all spots can you just hike on up either. On Summit Post site you can find out more info on taking the route up. I was still working on rehabbing my knee and hiked half way up the steep 2,000 foot hike. Next time I plan to do it all and possibly camp up top. As you can also see here that with the nice warm evening light the hills are filled with colorful rocks and vegetation.

More Than Silence

Here we are at sunrise. As is obvious the color palette and feel of the area is vastly different from the warm lit up hills of sunset. Yet has its own charm and beauty. With the tall and steep albert rim you have can have up to a couple hours after sunrise to work intimate photos of the area before the bright desert sun is in your eyes. And with an area that only averages little precipitation a year there is much sun and dry weather to be had.

Paint Splatter

It’s usually easier to combine multiple images like this to make a diptych or triptych yet a little tougher to get one to stand on its own. I have taken quite a few of these over the years but this one seems to have a good balance of multiple colors. If you have not tried to search for these before it actually takes more time than you might think. There were many rocks with lichen, some with only small amounts and others with plenty. After spending a fair bit of time wandering around after sunrise this rock showed particular promise to me.

Lodging: There is nothing in the way of lodging here, including no organized campsites. You either find a nice place to pull your vehicle off the road for a quick overnight or head 40 miles south to Lakeview for true brick and mortar lodging.

Amenities: Similar to lodging there is none. No place to pickup a latte or anything even close to it. Besides highway 395 that goes through the area and a few signs with information about the birds and geology you will just find the wild outback. Thankfully it’s not developed and let’s hope it stays this way. Bring plenty of water and food!

Climate: As with most high desert areas the temperature can change dramatically at different times of the day any time of year. Summer days are very hot with 90+ Fahrenheit being common and winters cold with evenings often in the teens and single digits. And as mentioned earlier it does rain and snow here yet at 14” a year your odds of dry weather are pretty good.

Curious to know more about the history of the area? http://en.wikipedia.org/wiki/Lake_Abert

Side Note: Wildlife Details

There was more wildlife than I expected. I anticipated snakes yet saw much more.

– Came across two snakes. One a rattlesnake which was dead and another one that I almost stepped on that hissed very loud at me which of course caught me off guard and I fell back on some rocks. It was not a gartner snake but have not been able to identify it yet with my Google searches.

– My deer crossing included some alive and one dead on the desert floor with only a furry leg and hoof left to identify. As for live deer I had to hit the brakes as one jumped out of the bushes last minute. Despite having done this many times over the years it still startles me.

– Other wildlife included: Chipmunks, squirrels, a coyote, many birds and even a fox. Not a bad list for a short trip.

Well that is my write up and images of my jaunt to part of Oregon’s Outback as it’s called. Where cattle easily out number people and your next door neighbor might be a long ways away. Looking for a place less traveled this would be it. I plan to be back soon.

by Adrian Klein