The Subway: November 2024

Last sunlight on the canyon floor.

Last November I had the great pleasure of revisiting, for the first time in over 15 years, the Left Fork of North Creek in Zion National Park, what is for me, the seminal landscape. This landscape, this canyon in particular, inspired me to become a landscape photographer. It’s also a place where I learned a lot about photography, an often painstaking process with film.

Not sure if this is Scarlet Monkeyflower or Crimson Monkeyflower blooming in November.

The Subway top-down route is an introduction to canyoneering. It’s more than a hike; it requires off trail navigation, swimming through cold pools, and a few short rappels. It requires a little bit of gear and the better part of a day. In fact, I’ve hiked out in the dark more often than I’ve hiked out in the light, and this trip was no exception. This time it was mostly due to the lack of daylight in November, rather than an overly late start or poor navigation. Photography did slow us considerably though.

Keyhole Falls

It was a slightly inauspicious start to the day, the morning of the hike, when I struggled to procure coffee in Springdale, before picking up the permit at the Zion visitor center wilderness desk, where the ranger was visibly annoyed with us. Note: When obtaining a Zion National Park canyoneering permit from the daily lottery, even though you must go in to pick up your permit in person, it makes things go more smoothly if you accept and pay for the permit online in advance of showing up to the counter. That was the first reason the ranger was annoyed with us, then, when her second question was, “Wetsuits or drysuits?” and our answer was, “neither”, her disdain was apparent. “You won’t have any fun.”

Hallowed halls and scalloped streambed.

…”It’s been freezing overnight and even though the forecast for Zion is 60 degrees today, it’s not going to be that warm where you’re going.” Her warning was certainly making me second guess our objective. Maybe we should just hike up from the bottom to see the Subway and avoid the swimming up-canyon. Nah, we came to do the top-down route. We knew we were going to be up against some cold water. Let’s go for it, we’ve got a good forecast and drybags to keep our warm clothes dry.

Glowing light in the Subway.

That water was possibly the coldest I’ve ever submerged my body in. We did see thin sheets of ice in the still water just upstream of the mandatory swim. Feeling came back after ten or fifteen minutes. We did opt to climb up and crawl across the muddy ledge to bypass an additional swim just down canyon, but we did have fun. The mandatory exposure to cold water is short enough that warm dry clothes afterwards were enough for us on this lovely November day. But, I get it, I’m sure the park service is sick of constantly having to rescue boneheads from the backcountry.

From the core to the sky.

I’ve lost track of the exact number of times I’ve hiked the Subway, but it’s got to be close to a dozen. There were a few firsts on this trip. It was the latest in the year I’ve ever made the trek; I’ve been through in October before. It was also the first time I’d ever done this hike with just one other person. As it turned out, we were the only ones to go top-down that day and as a reward we had the canyon to ourselves all day.

Magic

It was also the first time, while getting the permit, the ranger asked if we had rope, helmets, harnesses, dry bags, wag bags, and headlamps. It was also probably the first time I could answer yes to all those questions. Every other time but one, I’ve used a handline for the drops, I’d never brought a helmet before, and I was unaware of the existence of the wag bag in my early days running the Subway.

That famous Subway crack.

The one thing about the canyon that had changed dramatically since the last time I’d been there, and really every other time I’d been through, was the deep pools in the Subway, behind the Subway, and below Keyhole falls were completely filled with sand. Large pools, that were more than four feet deep in some cases, were completely filled with hard packed sand with an inch or two of water flowing over the top.

Resistant block.

After leaving the Subway it took us nearly an hour to travel the next quarter mile as we relished the evening light and the tasty scenes. Every new perspective demanded to be photographed. And it wasn’t just me this time, in fact, I had to keep dragging Nikcole away from these beautiful scenes. I knew we had a long way to go, but I had forgotten how rugged the lower canyon is. You’re constantly crossing the stream, going over, around, between, and under boulders and logs. Bomber trails are few and far between and often climb needlessly, only to deliver you back to the stream.

Archangel Cascades

Navigation went pretty well, I remembered the way in for the most part. We did end up on the wrong side of Russell Gulch at one point and had to drop down, cross, and climb back to the route, but we were only off course by a couple hundred feet, and easily got back on track without wasting more than a couple of minutes. Finding the exit in the dark was a little bit trickier. The ranger had warned us not to take the use trails that try to climb up too early and don’t go anywhere. Since I’ve had some first hand experience with that scenario, I was focused on staying at stream level, but we blew right past the exit. We must have been on the wrong side of the stream and didn’t see the sign in the dark. I’m assuming there’s still a sign.

Yeah, we’re going to be hiking in the dark.

Nikcole saved us from wasting too much time, with her All Trails app. When she checked the app, it said the trail was above us. I didn’t believe it. I wanted to press on because the rim looked too high, but the trail we were on quickly petered out. We backtracked to a large stream side carin and took a direct route up a steep rubble filled gully that had been well traveled but ended up not intersecting the actual trail till near the top. Next time, I’ll backtrack a little further. Car to car it took us about 9 hours 20 minutes to complete. I’m guessing there was at least 2 hours of picture taking. My kind of day.

Last flush of light on the canyon wall.

Red-breasted Merganser

Red-breasted Merganser Mergus serrator

After “getting into” ducks a few years ago, the Red-breasted Merganser became an instant favorite with its spindly features, shaggy crest, and long thin bill. Somehow it seemed almost exotic; this is not a common bird to me. This image is from my first close encounter with a group of Red-breasted Mergansers from the edge of a pond under my gillie blanket. I was thrilled when I saw them heading my way in the golden hour light. I fired off as many shots as I could as they passed my position, and I struggled to keep track of them as they dove and emerged from the water. This was my favorite frame with great sharpness, eye contact, and another hen perfectly positioned to create a halo effect behind the subject’s head.

Tried and True Technique

Black-necked Stilt Himantopus mexicanus, Salt Lake County, Utah

My favorite avian images from the past three years have all been captured in the same way. I go to a place where I’ve seen birds before, a place where I know birds like to be; typically I set up at the edge of a pond where I’ve observed activity previously.

I plan on being in position an hour to an hour and a half before I want to take pictures. From my experience this is how long it takes waterfowl and wading birds to come around once I’ve intruded into their space. If I’m targeting the sunset hour, I want to take pictures in the light from one hour to thirty minutes before sunset, so I need to be in position at least an hour before that.

I’ll lay my closed cell foam pad down at the very edge of the pond, lie flat on my belly and pull a gillie blanket over me entirely, with just the barrel of my Nikon 500mm PF lens poking out. I just rest the camera and lens right on the ground; one reason I use a neoprene LensCoat.

Key to this set-up for me is a right angle finder. It allows me to stay in this position for hours without wrenching my neck to look through the lens. The more comfortable I am the less I squirm around which leads to more close approaches by my avian friends.

I’ll usually shoot wide open at f5.6 for velvety soft backgrounds. I set my shutter speed to 1/1000 of a second and my ISO to auto. This technique has yielded great results for me, it’s gotten birds to come much closer to me than I could ever approach them. This Black-necked Stilt came so close I could no longer fit its body in the frame, a few inches more and it’s beyond the close focus of my lens.

A Matter of Perspective

Brewer’s Blackbird Euphagus cyanocephalus, Salt Lake City, Utah

I wasn’t targeting Brewer’s Blackbirds when I made this image, but it quickly became a favorite because of that stare. Something about the pale iris of the male Brewer’s Blackbird that just makes their gaze intense. What really makes this image sing, what makes the isolation of that gaze possible is the perspective. Bird’s eye level perspective; no room for a tripod, camera and lens resting on the ground. Besides the obvious engagement with the bird, this perspective allows the plane of focus to be perpendicular to the ground, which means the background is distant and rendered extremely soft with a wide aperture.

Escalante Adventure 2021: Color Portfolio

Looking at these photos in December, I’m less disappointed with them than I was in April. As the intensity of the moment fades from my memory, from the tiny scorpion hanging out in the sand at the door of my tent, to the bite of a chill wind and even a few snowflakes, to the exhaustion of hours of cross-country travel, clamoring over slickrock ridges and across deep sand plains, to the dizzying ledges and walls that looked too steep to walk on, the images become better surrogates of the experience.

Escalante Adventure 2021: Monochrome Portfolio

I was blessed to spend a week in April backpacking in the Escalante wilderness with two of my favorite people in the world, in one of my favorite places in the world. The Canyons of the Escalante is a true wilderness; rugged and austere, seemingly impenetrable, vast and incomprehensible. I find it incredibly challenging to capture images that express the visceral and emotional intensity of being there.

Seems like it should be easy, point your camera in any direction, click, and presto you’ve got an instant classic. Everything looks amazing as you move through the landscape, your mind effortlessly removing the clutter, and your eyes simultaneously revealing detail in bright skies and shadowed canyon walls. I worked hard to put some of that beauty and grandeur I was seeing on my memory cards, but I’d be lying if I said I wasn’t disappointed with my efforts once I got home.

This portfolio is a response to that disappointment. In some cases an attempt to simplify and distill the graphics even more. In some cases a way to push the processing further; to pump up the contrast without moving the colors into the garish and unreal realm. I don’t think any of these images end up in my greatest hits, but I do like the cohesion of this portfolio. Like puzzle pieces, together these images start to tell the story of this singular place.

My Pandemic Project

I guess this could be called my 2020 project, but I like the alliteration; and the pandemic did play a part in this project. All of these images were created between February and December of 2020 at three Northern Utah locations; The Bear River Migratory Bird Refuge in Box Elder County, Farmington Bay Waterfowl Management Area in Davis County, and Lee Kay Ponds managed by the Utah Division of Wildlife Resources in Salt Lake County.

Initially, it was the combination of a newly procured 500mm lens, and the pandemic keeping me away from all my favorite trails in the Wasatch, that had me spending a lot of time in the marshes on the east side of the Great Salt Lake. These locations did prove to be good for social distancing.

Ultimately, it was an intensified interest in birds and bird photography, and a personal discovery of ducks and grebes in particular that captivated me, and kept bringing me back. I had some incredibly enjoyable photo sessions last year. I discovered that lying under a gillie blanket at the edge of a duck pond, surveying the less than three degree angle of view through the lens, along the surface of the pond, waiting for ducks to swim into frame, is powerful meditation.

Pied-billed Grebe Podilymbus podiceps: Farmington Bay Waterfowl Management Area, Utah

Western Grebes Aechmophorus occidentalis: Bear River Migratory Bird Refuge, Utah

Neotropic Cormorant Phalacrocorax brasilianus: Farmington Bay Waterfowl Management Area, Utah

Great Blue Heron Ardea herodias: Farmington Bay Waterfowl Management Area, Utah

Snowy Egrets Egretta thula: Bear River Migratory Bird Refuge, Utah

Black-crowned Night-Heron Nycticorax nycticorax: Bear River Migratory Bird Refuge, Utah

Mallard hybrid ♂: Lee Kay Ponds, Utah

Northern Pintail Anas acuta : Farmington Bay Waterfowl Management Area, Utah

Gadwall Anas strepera ♂: Bear River Migratory Bird Refuge, Utah

Northern Shovelers Anas clypeata: Farmington Bay Waterfowl Management Area, Utah

Cinnamon Teal Anas cyanoptera ♂: Lee Kay Ponds, Utah

Greater Scaup Aythya marila ♀: Farmington Bay Waterfowl Management Area, Utah

Common Goldeneye Bucephala clangula ♀: Lee Kay Ponds, Utah

Common Merganser Mergus merganser: Lee Kay Ponds, Utah

Ruddy Duck Oxyura jamaicensis ♀: Farmington Bay Waterfowl Management Area, Utah

Hooded Merganser Lophodytes cucullatus ♂: Lee Kay Ponds, Utah

Hooded Mergansers Lophodytes cucullatus ♀: Lee Kay Ponds, Utah

Killdeer Charadrius vociferus: Farmington Bay Waterfowl Management Area, Utah

American Avocets Recurvirostra americana: Farmington Bay Waterfowl Management Area, Utah

Greater Yellowlegs Tringa melanoleuca: Farmington Bay Waterfowl Management Area, Utah