Here's a side by side comparison between an HDR (high dynamic range) image and a single exposure.

The image on the left was created by combining three exposures using Photomatix Pro 3 software. Tone mapping was performed using the Photomatix tone compressor engine. I made adjustments for brightness, tonal range compression, and contrast adaptation. The image on the right is the best single exposure from the set. I've added a slight S-curve in Photoshop to help make it pop. I should note that I've still used my trusty graduated split neutral density filter for capturing this image. Without it, I would have needed to combine a wider range of exposures in Photomatix, and my single exposure would be completely unacceptable.

The HDR image looks much richer. Highlights are toned way down while shadow areas show much more color detail. I'm sure it would be possible to get similar results using Photoshop alone, but it would be much more tedious and time consuming. However, I do prefer the way Photoshop renders blue skies compared to Photomatix, not a big issue in this image, but as I've been working with Photomatix I've noticed some color shifts in areas of solid blue sky that I haven't particularly liked. 

I spent the night on top of the Pfeifferhorn in order to take this image at sunrise. Not really a great place to camp, but I wanted to be able to stay put after a sunset photo session and just slide out of my bag to photograph the sunrise. This was the second time I spent the night on top of a mountain, at over 11,000 ft. elevation. The chance for unique photography is enhanced by the fact that most people don't ever see summit views at the edges of the day. I love how the high western wall of Hogum Fork hides the Salt Lake Valley. Only the Oquirrh and Stasbury mountains in the distance. This view into the heart of the Lone Peak Wilderness, in close proximity to over a million people, is truly wild.

This image was taken near the summit of the Gobblers Knob, in the Wasatch Mountains, in July. The Gobblers Knob is on the ridge seperating Mill Creek Canyon and Big Cottonwood Canyon. The most direct route is from Mill Creek through picturesque Alexander Basin. This view is looking south into Big Cottonwood. Stormy conditions help create drama in the sky as well as soft light that makes the foreground flowers pop. I set-up my tripod low to the ground and as close to the nearest paintbrush as possible, while still keeping the distant Cottonwood Ridge and the flowers in the range of apparent focus. I used a 28mm lens set to f22 on 35mm Fujichrome Velvia film. I also used my 2 stop graduated neutral density filter and a cable release. As is often the case with mountaintop wildflower photography, wind was an issue, which makes the use of a cable release a must. For optimum sharpness you never want to touch your camera while making your exposure. You can do this without a cable release with the camera's self timer. However, a cable release allows you to expose the film or sensor at the exact instant the flowers stop moving and before they start moving again.

This image was taken in the Sierra Pinacate in northwestern Mexico. The cloud cover creates defused lighting without harsh shadows in this desert landscape. The black volcanic soil makes the cholla and brittlebush really stand out, highlighting their unique beauty. One of my favorite parts of this image is the distant cinder cone fringed in red. Wow, what a rugged and beautiful landscape.

I was drawn to the color and texture of these decaying leaves. The natural ridges of the leaves create an abstract pattern of color and lines.