This is a draft of an article printed in the February 1994 PSA Journal (a publication of the Photographic Society of America)
In mid-January of 1993, I was one of six North Carolina photographers who spent a week photographing Yosemite Valley in California's Yosemite National Park.
Ernie Masche, a professional stock car race photographer and PSA member, organized the trip. Also attending were: Tamara Bowman, who possessed an extraordinary talent for finding alternative perspectives; Carl
Moser, APSA, formerly one of the top color slide exhibitors in the world, and a long-time PSA, Southeastern Council of Camera Clubs, and camera club officer; Mike Morrison, a camera store owner and officer in his
camera club; Brian King, a photographer of a few years' experience and great motivation; and me, an active participant in local and regional organizations, in color slide salons, and in PSA.
YOSEMITE VALLEY
We arrived in Yosemite after dark, on a rainy night with little visibility. We had no idea of the visual magic awaiting us. The first morning light revealed a wall of granite rising 3800 feet above the
Yosemite Valley floor just 1/4 mile from our cabins. The towering rock enclosing the valley made me feel rather insignificant.
Yosemite Valley is about six miles long and about a mile wide, and runs east-west. The valley floor is at 4000 feet elevation. Granite cliffs form the valley walls, some rising over 8800 feet above sea
level. The Merced River snakes through the valley, offering a myriad of reflections for the observant photographer. A well-maintained one-way loop road winds counter-clockwise through the valley.
We found plenty to photograph from parking areas along this road or on short hikes from the road.
The valley floor had about 18 inches of snow cover, but deeper snow was evident at higher elevations. The high country above the valley was mostly inaccessible by car, since the roads are closed all
winter. Avalanches are a common occurrence - about two or three per hour. We would first hear a low rumbling resembling distant thunder. The volume increased as we searched to find the
source. Seconds after we spotted the slide, it was over. If we were ready with a hand held camera with a long telephoto, we could capture the event. They were too brief to allow time to change
lenses or to fiddle with a tripod. The avalanches were far enough away not to threaten us at the valley scenics.
Rock slides are less common, but while we were there one closed one of the two wintertime roads out of the valley. Dynamite was needed to clear the road a few days later. The rock slide prevented our
guide from getting home the evening he helped us.
OUR GUIDE
Early last year, Tamara had seen a television program documenting photography in Yosemite, featuring Ansel Adams Gallery photographer Michael Frye. Ernie contacted Michael about guiding us on our visit.
Michael agreed, but a few days before our trip had to cancel because of a family obligation. He referred us to an associate and friend, Jeff Grandy.
Jeff guided us for most of our first full day in Yosemite, showing us both the obvious and more secluded valley vistas. He discussed the time of day for best lighting, and suggested alternate approaches to
these much photographed scenes. He marked a valley map with locations to try and suggested what to look for. He also told us how to watch for weather conditions which would produce the magic light needed
to lift the pictures above the ordinary. Unfortunately, sunlight was in scarce supply during our visit.
Later in the day, Jeff introduced us to Michael Frye, our original contact, and to Keith Walklet, the Public Relations manager for the Curry Company, the lodging and concessions vendor in the park. All three
are exceptional photographers, frequently published in books, posters, and postcards available throughout the park. They all took an interest in our progress throughout the week, and in chance-meetings,
suggested new vistas to try.
Jeff charged us $75 for his services. This was a pittance considering the wealth of information he provided as a photographically knowledgeable park insider.
THE WEATHER
The weather was mixed. Only one day was partly sunny. The valley received a wet heavy snow the night before. Tree branches were weighted with the glistening snow, inviting us to shoot them against a
cobalt sky. By noon, high clouds had crept in, and much of the snow had melted from the branches. Two days were rainy with low, fast moving clouds. While it was miserable weather for us humans, it
provided outstanding photographic opportunities. We juggled plastic bags, umbrellas, ponchos, and towels to keep ourselves and our equipment as dry as possible as we continued working. Clouds swirled
around Half Dome and El Capitan, changing the scene literally by the second. Light would occasionally break through, spotlighting selected areas.
Most days were occasionally misty with low clouds. This weather provided moody, but a little less dramatic than the heavy weather described earlier. However, it was more comfortable. One day had
high clouds that completely flattened the lighting to shadowless. While not the best day for scenics, it was wonderful for macrophotography of the hairy lichen growing on tree trunks, time-motion studies of
cascades rolling around snow-covered rocks, and attempts at photographing the coyotes begging for scraps illegally thrown from passing autos.
PHOTOGRAPHY IN AND AROUND THE VALLEY
The Yosemite Valley scenics are familiar, and were easy to spot from the road. We tried to remember to look around whenever we stopped, since there is an abundance of secondary subjects. With all the huge
monoliths surrounding us, we needed to remind ourselves to look for the little details. Evenings, we thumbed through all the postcards and books that we could find for additional ideas.
Jeff, our guide, suggested shooting Half Dome from Camp 6. Camp 6 is a residence camp for workers in the park. It's not marked on many maps, so it affords a less typical vantage point. Camp 6 is
across the main road from the Yosemite Village road. We walked to the back of Camp 6, then left to the bend in the Merced River, finding a wonderful reflection of Half Dome.
Crossing to the north side of the Swinging Bridge, then east up the bank about 60 yards, we found more reflections in the Merced.
At Valley View, we used wide angle lenses and a very low perspective to work the foreground rocks and reflections into our compositions. Both El Capitan and Half Dome are prominent from this vista. We
photographed the view of both Upper and Lower Yosemite Falls at the Yosemite Falls Vista trailhead, then continued about 1/2 mile to the base of Lower Yosemite Falls. The early morning light caused a rainbow
in the mist of the falls.
A short trail leads to the base of Bridalveil Falls. We followed the right branch of the trail to the falls. The left path treated us to several cascades.
From a higher elevation vista called Tunnel View or Inspiration Point at the east end of the tunnel on Route 41, we photographed the entire valley. Sometimes the valley was filled with clouds, with its famous
rocks poking through. Other times, we had a clear view of all the valley details. Both were inspiring, especially late in the day.
Coyote shots were difficult since the coyotes avoided areas where people got out of cars. They seemed to appear only on curvy sections of the road where stopping completely would be hazardous. We shot
through the van windows, slowing or stopping with emergency blinkers flashing, cautiously watching the rearview mirror for unsuspecting motorists. The coyotes waited, hoping for a handout. But if we
tried to get out of the car, the coyotes retreated.
One afternoon we drove to the Mariposa Grove in the southernmost part of the park. There is a stand of giant sequoia trees we hoped to see. After driving 90 minutes, we found the road to the grove
closed. If we wanted to see the sequoias, it would require a four mile round-trip hike on an icy, unmaintained path. We didn't try it. Instead we photographed deer in a field near the Wawona Hotel,
and the nearby covered bridge built by a homesick New England native. These were poor consolation prizes compared to photographing the valley. The moral of the story is to check road conditions at the
Visitors Center in Yosemite Village.
SERVICES IN THE VALLEY
Yosemite Village isn't really a town. It's a congregation of concessions on a side road in the valley. You'll find a post office, general store, a deli, a gift shop, the Visitors Center, a limited garage,
emergency medical and dental, the Ansel Adams Gallery, and a small photography shop. Also in the valley, Yosemite Lodge has a few gift shops, a cafeteria, a nicer restaurant, and a cocktail lounge. The
Ahwahnee Hotel has a few shops and an elegant restaurant. Camp Curry has a mountaineering shop, a small general store, and a pizza shop serving limited breakfasts. You won't find a K-Mart or McDonalds,
so plan accordingly. We were surprised that prices for most items were not inflated. Mike had to endure some teasing when we found camera batteries 10 cents cheaper in Yosemite than in his store in North
Carolina.
DINING
Food was moderately expensive in the cafeteria and the deli. The quantities were generous, but the quality was what you would expect in a cafeteria. We typically paid $5-7 for breakfast, $6-8 for lunch,
and $7-10 for dinner.
As a treat for our final night in the park, we ate at the restaurant at Yosemite Lodge. We averaged about $30 for cocktail, appetizer, entree, and tip. Nobody had room for dessert. The food was
generous, but uninspiring. We agreed that the cafeteria provides better value. We were dressed casually, still wearing boots. However, we were dressed slightly better than the wait staff whose
uniforms were jeans and plaid flannel shirts.
We never tried the food at the Ahwahnee, since we didn't bring jackets and ties, and we were trying to watch our funds.
Food is not permitted in the lodging areas. The park wildlife will do their best to invade a cabin that contains food. Although bears hibernate during the winter, there were ample warnings to hide food
left in cars. Bears will break windows to get at food, and they recognize coolers as a food source.
LODGING
Lodging in the valley ranges from over $200 per night at the Ahwahnee, to $27.50 per night for a platformed but unheated canvas tent. Camping in your own tents is permitted, but we did not find this prospect
very appealing. We rented heated cabins with bathrooms at Camp Curry. These cost $57.25 per night during the week, and $62.25 per night over the Martin Luther King holiday weekend.
Our cabins were rustic. Uninsulated walls and single-pane, drafty windows made the cabin temperature uneven. The mattresses were comfortable, and towels and sheets were changed daily, but the carpet was a
tattered indoor/outdoor variety, much in need of vacuuming. The bathrooms were 1940's era, and in need of maintenance. If the cabins were anyplace other than Yosemite, I would have been outraged.
CLOTHING
We were well prepared for bitterly cold weather, but it was never very cold. While it was sub-freezing at night, daytime temperatures reached into the high forties.
Instead, we had to cope with rain. Several members of our group had Gore-Tex outerwear, and remained reasonably comfortable. Gore-Tex is a waterproof but breathable material. It allows perspiration
to pass to the outside, but doesn't allow rain to pass through.
The shell of my jacket was made of Supplex, a water resistant material. It wasn't water resistant enough for a day in the rain. The jacket's insulation was Polartek, and I was wearing a wool sweater under
the jacket. Both Polartek and wool retain their insulating ability even when wet, so I never got cold. I also tried using an inexpensive vinyl poncho, but found it to be cumbersome with my photo
equipment. Since vinyl doesn't breathe, my clothing became very clammy.
Next time, I'll invest in uninsulated Gore-Tex outerwear. The uninsulated variety will allow me to layer an appropriate amount of clothing underneath, providing flexibility for all seasons.
Waterproof boots were always needed. The existing snow was very wet, and the rain worsened the situation. There were slushy puddles everywhere. Those with Gore-Tex lined hiking boots were very
comfortable. I used a pair of high-top "ducks." I needed to treat them with mink oil after the first day to completely waterproof them. They didn't breathe well, and got quite damp from
perspiration. I also found them to be too deficient in support to wear for an entire week. Mike wore a pair of pacs, a type of boot with removable heavy felt liners. He found they also lacked
support, causing sore feet, ankles, and calves. Gaiters were very helpful for keeping snow out of our boots. Cheaper nylon gaiters proved adequate for our needs.
It was warm enough that light gloves were sufficient. I wore a pair of polypropylene glove liners when I wasn't manipulating camera controls. These kept my hands warm while carrying a tripod. I
brought rag wool mittens to wear over the liners, but never needed them because of the warm temperatures. I kept two pairs of liners handy, so I could change gloves when one pair got wet. Others wore a
glove/mitten combination. When dexterity was needed, the tip of the mitten was pulled back, leaving fingertips exposed through tipless gloves.
Dressing in layers is necessary since temperatures changed throughout the day. I started the day with expedition weight polypropylene long underwear. I wore a pair of jeans over these, topped with nylon
wind pants. On my upper body, I wore a rag wool sweater over the long underwear, then a Polartek 200 vest, topped with a Polartek 300 jacket with an integral Supplex shell. For my feet, I chose
polypropylene liner socks, heavy Thermax outer socks, then insulated, waterproof boots. Polypropylene glove liners and the unnecessary rag wool mittens, and a rag wool knit cap completed my outfit. I
removed or added layers for comfort throughout the day. This was amply warm for any conditions we encountered, and I felt confident that I would have been comfortable in a range of 0-60 degrees F.
TRANSPORTATION
The park service runs shuttle bus service through the east end of the valley, but there is no service to the west end or to Tunnel View. Cars were necessary to get us to all the valley photo spots in reasonable
time. We rented two Ford Aerostar minivans at the Fresno airport. These cost about $270 each for the week, including taxes. The vans were comfortable for three photographers and their gear.
An additional photographer would have been cramped.
The state Highway Patrol and the park rangers require the use of tire chains when road conditions become hazardous. You will not be permitted to pass without them. Having been warned of price gouging
nearer the valley, we bought chains and tighteners at a Fresno auto parts store for about $40. Since installing and removing chains is a dirty job, we tried to leave them on all week. This was a bad
idea, since the bare roads wore out the chains in a few days. When the cross links broke, they caused minor fender damage. The chains can be repaired, but we could not find the service in the
valley. Since the chains didn't fit any of our cars back home, we gave the used chains to a gas station attendant on the way back to the airport.
The nearest airport is Fresno Air Terminal, about a 90 minute drive south of the park.
PHOTO EQUIPMENT
Several of us managed our photo gear in medium sized internal frame backpacks. Our tripods were strapped to the outside of the packs. We filled our packs with pieces of foam cut to fit our
equipment. I used a piece of closed cell stranded foam, and was able to obtain better space efficiency and dampness resistance than those that used furniture cushion foam. Two in our group carried large
traditional camera bags without complaint, but I appreciated having my hands free and my gear held tightly to my body for stability.
I made most extensive use of my 25-50 mm zoom lens, mostly at the wider angles. I occasionally used my 80-200 mm zoom to isolate detail. I took a few shots with a 500 mm mirror lens, largely to justify
its existence, and did enjoy my 100 mm 1:1 macro lens when the lighting was too flat for photoscenics. If for some reason you were limited to one lens, a 28-80 mm would cover 70% of your needs.
We all carried two or more camera bodies. I carried a Pentax Program Plus and a Pentax-compatible Ricoh XR-1. The others were using Nikon N8008s, N90, F3 and F4 bodies.
Despite fresh batteries in all my equipment, I had camera difficulties. My Pentax exhausted several new lithium cells in approximately 30 minutes each. I resorted to my old mechanical Ricoh standby.
Before I could get to a photo store, the meter battery in the Ricoh also faded. It too was a lithium. I borrowed a set of silver oxides for the Ricoh, and it worked for the rest of the week. A new
set of silver oxides in the Pentax only lasted a few hours.
The Pentax had been extremely reliable until that point. Apparently, the dampness caused a weak short circuit. Since being home, I've dried it thoroughly, and it's been OK with silver oxide
batteries. I need to isolate this problem before I can again trust the Pentax.
To minimize setup time, we usually left our cameras and the last lens used mounted on a tripod, and simply carried the partially collapsed rig over a shoulder. We most often left the cable release attached,
although this is a good way to lose it or break it. Some of us did end up breaking cable releases. We carried spares, and got replacements at the photo shop and the Ansel Adams Gallery in Yosemite
Village. A polarizing filter was useful on the clearer days. Not only did it enhance the blue sky, it controlled glare off the snow and granite. It also enhanced rainbows, bringing out colors that
weren't visible without the filter. I was momentarily baffled when my rainbow disappeared. A polarizer will eliminate rainbows when rotated at a right angle to the optimum enhancement position.
Graduated neutral density filters were helpful when the scene was partially shaded. We all used Cokin filters, allowing us to slide the graduation to wherever we needed it in the frame. Screw mounted
graduated ND filters are less useful, since you can't slide the graduation up or down. I consider both a 1 and 2 stop graduated neutral density filter a necessity.
While we attempted to apply intelligence to our exposure settings, we bracketed liberally. We figured film was easier to obtain than opportunities to spend a week in Yosemite.
I used Fujichrome 100. Others shot Velvia, Kodachrome 25 and Ektachrome 100X. Ernie also did some 2-1/4 inch monochrome work on T-Max. Between us, we shot nearly 200 rolls of 36 exposure film.
Brian and I mailed batches of exposed film to Fuji Labs during the week. Instead of sending each mailer individually, we sent several in a large Tyvek envelope. Individual mailers require 52 cents
postage. Two pounds of film and mailers, at least fifteen rolls, can be mailed in one package for $2.90. Before the trip, I used a computer to generate address labels, and applied these to my
mailers. This saved substantial preparation time during our trip.
CONCLUSION
A mid-winter photo trip to Yosemite Valley is a spectacular destination, and with advance planning, is quite manageable. It would be easy to spend several weeks in Yosemite Valley, and anything less than a few
days would be a frustrating tease. My venture has yielded plenty of new slides for competitions and presentations, and memories that will last a lifetime.
Copyright 1993, Daniel J. Beauvais, All Rights Reserved |
