Back Road Travels: The Old Coast Road from Bixby Bridge to Big Sur

Photo Credit: Heather Hummel Photography

Over the years, I have driven across the United States eight times and up and down the western and eastern coastlines more times than I can remember. As a landscape photographer, of all the places I've traveled, Big Sur, California remains my favorite. In my automobile adventures with my camera and two dogs by my side, I've discovered some remarkable back road routes that steer clear of tourists, but none is quite like the one I'm about to share with you.

The Pacific Coast Highway (also known as Highway 1) in California is famous for its breathtaking coastal views. The Central Coast that runs from Carmel to Big Sur is, in my experience and opinion, the most scenic stretch. When the fog lifts, expect to see the beautiful jagged coastline framed with ice plant and rock formations. The land is dotted with cows and boasts views of the Pacific's frothy waves lapping along the shore, sometimes hundreds of feet below.

The back road from the famous Bixby Bridge to Big Sur is one that most tourists and travelers don't know about. Heading south, they often stop at the tourist turn off (scenic overlook) just before the bridge, hop out of their cars and snap a few selfies with the bridge behind them.

As you can tell from the image at the top, this is not what I did. The first giveaway is that my image has the Pacific Ocean behind it; whereas, the tourist turn off angle will net you the mountainside. Instead, take a left turn (when heading south, of course!) at the Bixby Bridge onto Old Coast Road. The views on this road provide an entirely different perspective for several miles. I have driven this back road route a few times, and can tell you that in my last trip it took two hours, but I also stopped to capture 95 images. Note that once you begin, it's not easy to turn around, and, as you'll see, I was in a Subaru Outback...AWD or 4 WD is highly recommended. (Don't say I didn't warn you!)

Below are some of the images that I selected in order to show a bit of what this alternate route looks like. The captions under the images tell the rest of the story.


Photo Credit: Heather Hummel Photography
Bixby Bridge from the Old Coast Road. You can see a smidgen of the road/entrance on the right.


Photo Credit: Heather Hummel Photography
I set out with my dogs and Canon the day after a big storm. As you can see, trees were down, but you can't stop a Subaru with a few sticks in the road.


Photo Credit: Heather Hummel Photography
After clearing the road, I came upon this scenic view of Redwood trees a few tenths of a mile later. Definitely worth picking up a few sticks for.



Photo Credit: Heather Hummel Photography
About midway, at the peak, the clearing provides stunning panoramic views, and this "Rock Pasture" in the midst.


Photo Credit: Heather Hummel Photography
After photographing the Rock Pasture, I looked down to see where we were heading...Seriously? I was glad to be in my Subaru! Another example as to why they (and I) highly recommend an AWD or 4WD vehicle. 



Photo Credit: Heather Hummel Photography
As the road starts to come down the other side into Big Sur, the views of the Pacific Ocean and Highway 1 open up again.


Photo Credit: Heather Hummel Photography
One last peak before descent.

If you're already in Big Sur, you can take Old Coast Road north and just go up a few miles and see these last few views shown. From the Bixby Bridge end, it's quite a drive - about 14 miles of rough roads - through the redwoods and mountains. The experience is very unique compared to what most visitors do, but be sure you have the right kind of car and be ready to be jostled. The captivating views and poetic beauty is worth the trip.

Follow Heather Hummel on Twitter: www.twitter.com/HeatherHummel
This post originally appeared on the Huffington Post.   
 

Want to learn how to master low light photography and to capture your own low-light photos? My book MASTER LOW LIGHT PHOTOGRAPHY is available on Amazon.

Our Obsession With Canopied Trees - A Seasonal Look

Photo Credit: Heather Hummel Photography
Last fall I was driving with a friend up to Wintergreen Resorts near Charlottesville, Virginia. We were on a quest for foliage -- any decent foliage since that year has been rather lackluster in color. As her car straightened out after a turn, a scene in the corner of my eye grabbed my attention.

"Stop!" I commanded. "Go back... that's the shot!"

Moments later I was kneeling down on a dirt road capturing a canopy of trees that was not quite peak, but certainly worthy of my motto, "Spreading Pixel Dust."

Later that night, as I scrolled through images, there it was, what I knew would be a new favorite.
It seems that people are most drawn to images of canopied trees. Admittedly, as a photographer, they are one of my favorite subjects. Whether it was when I lived in California's wine country, Colorado's Rocky Mountains, and now in the Blue Ridge Mountains, these gems have been a find on just about all of my photo shoots. After capturing enough tree-lined driveways, roads and meandering paths, I began to wonder what it is about these images that makes us so drawn to them.

Perhaps it's their fantastical allure that makes it so we can't help but get sucked up in their depth and wonderment. An artist knows that anytime a photograph draws you in by making your eyes travel through the scene, their image will gulp you up like a shark does a minnow.

I believe there is more to it, though. Exactly why does the scene draw us in? Are we hoping for answers at the other end of the proverbial tree tunnel? Does the cocoon of a canopy provide us with a feeling of safe regard? Maybe, just maybe, we are reminded of our childhood adventures of climbing trees and skinning knees? Whatever creates that magnetic pull, that desire to crawl inside the image and relish in the peace and tranquility for a spell, it soothes the soul on some level that keeps us wanting more.

The photographer's choice is how deep to go with the depth of field. To provide insight on how a photographer might think through their captures of canopied trees, I'm sharing three completely different scenes and what went through my mind as I photographed each one.

California's wine country presented the opportunity for this image. Depth of field wasn't my choice in this one since the fog in the distance, by nature, gave the scene a shallower depth. Yet, at the same time, I loved how the fog teases the viewer to come forth.

Photo Credit: Heather Hummel Photography
Winter in the Colorado Rock Mountains is magical. While most were on the famous ski slopes, I was found spreading pixel dust on winter scenes. For this particular shot, I went with a higher depth of field because it was a crystal clear day. It was my goal to give credence to every snowflake. I also wanted to ensure the viewer's peak of Mt. Sopris in the distance, which creates the desire to run down the street to view it in its entirety.

Photo Credit: Heather Hummel Photography
Springtime in the Blue Ridge Mountains is one of the most welcoming experiences. This string of pear trees in Staunton, Virginia, quickly became a fan favorite. Of these examples, this one in particular speaks to the child in each of us. Spring represents rebirth and growth, and these trees make you want to climb them, and if you skin your knee, so be it. You are free!

Photo Credit: Heather Hummel Photography
Follow Heather Hummel on Twitter: www.twitter.com/HeatherHummel
This post originally appeared on the Huffington Post.  
 

Want to learn how to master low light photography and to capture your own low-light photos? My book MASTER LOW LIGHT PHOTOGRAPHY is available on Amazon.

Tripods: The Key to Low-Light Photography

Many photographers dread pulling out their tripod, because they're a bit on the heavy side and can be a hassle to carry around, especially when out in nature. However, using a tripod can make the difference between an amateur shot and an epic shot.

Taking the time to set up the three-legged gadget that every photographer should have in their toolbox can benefit the end results in compelling ways.

Steady Means Sharp
The best argument for using a tripod is to increase the camera's stability. That's what they were made for, and when stability is on your side, razor-sharp images are more likely to be in your future. The extra bit of time it takes to unpack and set up a tripod tends to discourage a lot of amateur photographers. Yes, it does take extra time. Nevertheless, isn't it better to ensure a selection of sharper images? If you spend all that time heading out into the woods, fields, rivers, mountains, oceans or wherever else your photography muse takes you, then certainly coming home with blurred images (and possibly a few ticks or mosquito bites, too) will defeat the purpose.

To forgo a tripod and only hand holding a camera in low light increases the odds that the shot will be blurry, especially with a shutter speed of less than 1/250. This will be especially evident when the image is enlarged.
In photography, the equation is simple: Shaking equals blurring. With a tripod, the shutter can stay open as long as needed -- minutes and even hours -- and as long the camera remains still, the picture won't be blurry. Note that there will be times when Mother Nature can interfere, such as during high winds, which can obviously rattle a tripod and camera around a bit. In conditions such as these, further adjustments will need to be made.

Setting Up and Setting Seconds
The best approach for setting up a tripod is to find solid and stable footing. Uncertain footing beneath your camera, which can be common in landscape photography, can be expected. This is why tripods have a multitude of adjustments. Adjust the individual leg lengths to accommodate for ground that isn't level. For example, one leg may end up on a rock while the other two are in sand or dirt.
Once the camera and tripod are set, use the two second self-timer to ensure your fingers don't shake the camera. If you aren't sure how to set the self-timer, check with the camera's user manual, or do a quick Google or YouTube search. The answer is bound to be out there, especially for current digital cameras.

Sunsets and City Lights

Shooting a sunset, full moon, or cityscapes are three of the most popular low light shots. However, any photographic situation that involves slowing down the camera's shutter speed, such as this sunset shot I captured in Boise, Idaho, will require a tripod.

Depending on the ISO setting and which camera mode is set -- Manual, Program or either Aperture or Shutter priority -- a slow shutter speed (under 1/250) is likely in low light. Naturally the ISO can be set high, such as 3200 or 6400, to be able to increase the shutter speed, but the end result could mean a grainier image (for most cameras).

Depending on the creative effect desired, going with a lower ISO for sharper images will mean a slower shutter speed and the need for stability. In this sunset image, I set the ISO at 200, the aperture at f/16, and the shutter speed at 1/13. I also used a neutral density gradient filter to mask the sky, allowing even light across the entire image. For added insurance, I set the self-timer set for two seconds, but I have also used a remote shutter release, which are very inexpensive and easy to use.

Have you ever wondered how a photographer captures car lights streaking down the highway, like in this image of downtown Boise, Idaho? To capture this image, I set up my Canon on its tripod on a hill overlooking downtown Boise, which was actually the Boise Depot. I set my ISO, and since I use the Manual setting, I set the aperture, f/stop, and shutter speed, too. Next, I waited until the street lights changed from red to green and for traffic to start moving before pressing the shutter button, which triggered the two second self-timer. With my camera on a tripod, I set the ISO to 800, which was higher than the sunset image because it was quite a bit darker and I didn't want the shutter speed to be too slow. The aperture was set at f/20, and the shutter speed was 5 seconds -- long enough for the lights to create the stream, but not too long.
As the shutter remained open, all of the headlights and city lights are recorded onto the camera's image sensor, creating the streaking effect from the moving lights while the building lights remained sharp.
Without a tripod, nighttime images turn into a blurred mess. The tripod is what creates truly amazing images.
Take these extra few steps, and you will soon see a big difference in the quality of your images.

Situations That Do Not Use a Tripod
Certainly there are times when photographers can't or don't use a tripod. These are usually the photographers in action who develop other skills to compensate for not utilizing a tripod. They are the ones who may also need to remain inconspicuous. Photojournalists or underwater photographers are two great examples. Rarely will they lug the extra weight of a tripod in the field or under the sea. These photographers have developed the skill of keeping steady and shooting quickly.

Recommended Tripods: 

Manfrotto MKCOMPACTADV-BK Compact Advanced Tripod with 3-Way Head (Black)

MeFOTO C1350Q1T Carbon Fiber Roadtrip Travel Tripod Kit (Titanium)

Sirui T-005KX 52" Aluminum Alloy Tripod with C-10X Ball Head & Case (Black)

This article originally appeared on the Huffington Post.
Follow Heather Hummel on Twitter: www.twitter.com/HeatherHummel

Want to learn how to master low light photography and to capture your own low-light photos? My book MASTER LOW LIGHT PHOTOGRAPHY is available on Amazon.

Featured Photographer: Jim Jordan

I am truly honored to welcome world renowned fashion, commercial, and celebrity photographer Jim Jordan as the guest today. He was most gracious about submitting four images, two of which are shared today, including this one of Charlize Theron and her dog on the cover of Vanity Fair that I just love, and two of which will be shared down the road. Enjoy!

Growing up as a skater and surfer in sunny, Southern California, Jim Jordan spent his high school days scouting models and finding the next great faces of the coming generation. With a passion for beauty and styling, Jim quickly became a highly respected hair and makeup artist, traveling the world and working with the biggest actors, actresses and supermodels of the time, such as Cindy Crawford, Elizabeth Taylor, Sophia Loren, Farrah Fawcett, etc. He worked with the world’s best photographers, such as Herb Ritts, Peter Lindbergh, Steve Meisel, Patrick Demarchelier, to name a few, and after many years of behind the scenes experience as a hair and makeup artist, Jim picked up a camera and immediately developed his own unique style as a photographer. Jim now shoots celebrities such as Leonardo Dicaprio, Drew Berrymore, Charlize Theron, Marisa Miller, to name a few, and shoots for clients such as Vogue, Vanity Fair, Elle, Marie Claire, etc. Jim also directs and shoots seamless campaigns for clients such as Mercedes Benz, J Crew, American Express, Warner Brothers, and many more. Jim has many sponsors who stand behind his work including Canon, Sony, Lexar, Wacom, Profoto, California Sunbounce, Broncolor, PhotoShelter, Phase One, Tamrac, LiveBooks, Seagate, Drobo, and Agency Access. Jim now lives in LA and NYC, and shoots in the most picture perfect places around world.

Where else can you find Jim Jordan's work? Here are just a few places: 

Website: http://www.jimjordanphotography.com

Facebook: http://www.facebook.com/jimjordanphoto
Twitter: http://www.twitter.com/jimjordanphoto

Ever wonder what kind of equipment world-renowned celebrity / fashion photographer, Jim Jordan uses when he is on a big shoot? Yes, he shared that as well!

Leica – S-System S2 camera body, 35mm F2.5 lens, 70mm F2.5 lens, 120mm F2.5 lens
Canon – 5D MK II camera body, 5D MK III camera body, 24-70mm F2.8L lens, 85mm F1.2L lens, 50mm F1.2L lens
California SunBounce – Micro Mini Reflector (silver/white & black/white screens), Mini Reflector (silver/white & black/white screens), Pro Reflector (silver/white, black/white & zebra/white screens), Sun-Swatter, Wind-Killer
Broncolor – 6′ Para Umbrella, Scoro A4S Powerpacks,
Elinchrom – Octa Light Bank 74″ (with diffusion panel)
Lexar – Professional 600X & 1000X UDMA compact flash cards
Tamrac - Big wheels rolling photo backpack, Big wheels rolling strongbox LP2, Lightspeed 4 rolling light cases, Location light stand bag, Medium rolling studio equipment bag
Seagate - Barracuda 3TB internal hard drives
Drobo - Drobo Pro (8 bay), Drobo (4 bay location drive)
Wacom – Intuos4 tablet