(Click on image for a larger view).

The highlight of my trip to the Trappers Lake and the Flat Tops area was hanging out with my dad in a rustic, 400-square-foot cabin in the woods. I cooked up spaghetti with red wine sauce one night, and we polished off a bottle of Plungerhead — which plunged my head pretty badly the next morning, but man, it is such a good wine.

Sure, the lake was beautiful. Sure, the respite from the city was needed. But there’s nothing that compares to good conversation with a good friend over good food and good wine. It made the trip.

While we chatted, I set up my Canon 5D Mark II on a tripod outside the cabin and captured two 20-minute exposures of the night sky with a Canon 24mm f/1.4. This is a situation where the quality of this gear really comes through. Both the camera and the lens are remarkably clear when it comes to shooting the night sky.

There were other guests at the Ute Lodge cabin resort, and since it was so dark out there, I set up a bright white plastic chair next to the tripod so no one would run into my rig. The end result, was pretty cool.

I love star-trail shots. Photography is 99.5% about capturing a moment. This 0.5% of my repertoire is about capturing our place in the spinning heavens. If you look closely in the above image, you might be able to see a straight dotted line, the product of a satellite passing overhead. I had not had this much fun shooting the night sky since Puglia, Italy in 2008. Maybe when I return to the mountains in early October for fall color, I’ll give it another shot.

It took nearly an hour to discover what was happening.

We had hiked up to this meadow just outside Zermatt, on the trail that eventually leads to Zmutt and the North Face of the Matterhorn. It was getting hot, and Varenna was inspecting the gravel on the trail, handing her best specimens to Mom, and then pushing her stroller like the big girl she was proclaiming to be (“bick guhr! bick gurh!). We were all content, and not planning to go too far. After all, this appeared to be it: the iconic view of the Matterhorn, the one that conjures visions of alpenhorns and men yodeling “Ri-co-la” into the crisp glacial air.

But as we turned to head back to town, the moon was suddenly quite noticeable and on a very interesting course.

(Click on image for a larger version)

And so, over the course of maybe 20 minutes, it swooped low, landed on the summit of the Matterhorn, and temporarily turned the world’s most famous mountain into a Santa hat.

It disappeared, then reemerged, like an arrow piercing the heart of Switzerland and coming out the other side. It was our second-to-last full day in the country, but it felt like an apt conclusion to the trip.

Here’s my dilemma: I have too many good photos from the Berner Oberland for one post.

This has little to do with me and my photography skills. It has everything to do with the extreme beauty of the area. Never before have I been anywhere as dramatic and scenic as this alpine region smack in the middle of Switzerland. We spent almost an entire week here, and it still wasn’t enough. Every day was different, and we kept moving, but even then, I can’t pretend that I am a fountain of definitive photography knowledge on the area.

But what I did learn, I’m putting here, so hopefully there are a few kernels of insight.

In full disclosure, I ran out of time (and money) in the valley to shoot the following areas: Interlaken, Brienzsee, Thunersee, Jungfraujoch, Shilthorn/Piz Gloria, Schynige Platte, Gimmelwald, Grindelwald, First/Bachalpsee and — tops on my Unfinished Business List — Hinteres Lauterbrunnental.

That’s a ton. In fact, if you are reading this because you are researching a vacation in the area, it may sound like I didn’t see any of the big sights. Not true. There’s just simply that much to see and shoot in the Berner Oberland.

This post covers the following subjects:

• The Lauterbrunnen Valley
• The Jungfrau
• The Jungfraubahn

Part 2 will cover:

• The Eiger
• The Mönch
• Staubbach Falls
• Mürren
• Swiss life
• Cows, cows, and more cows.

I’ve included a Google Map of these places — and where I took these images — at the bottom of this post.

Photographing the Lauterbrunnen Valley…
The only way I can describe this area is to compare it to two places I’ve never been (how stupid is that?) — imagine Yosemite Valley with the Himalaya plopped on top of it. Hyperbole? Not really. The town of Lauterbrunnen, at the bottom of the valley, sits at an elevation of 2,608 feet. In addition to having the 1,000-foot-tall Staubbach Falls dumping huge volumes of water on its head, the town is overwhelmed by the 13,642-foot Jungfrau, which soars over the valley just 4.5 miles away. Basically, in the distance between Central Park and the Brooklyn Bridge, the Jungfrau rises 11,000 feet higher than Lauterbrunnen, the equivalent of nine Empire State Buildings.

Capturing the beautiful colors and textures of the Lauterbrunnen Valley is easy — capturing its massive scale is extraordinarily tough.

There are three ways to approach this potato — (a) from the valley floor, (b) from just above Lauterbrunnen, and (c) from the top looking down.

I’ve always felt the latter fails to do a place justice photographically speaking, but if you have to get that all-incompassing wide-angle shot from the top, the terminus of the Männlichen lift above Wengen is the place to go (see photo at the top of this post — that’s the view from the Männlichen looking over the Lauberhorn to the Eiger, Mönch and Jungfrau, rather than down into the valley).

A far better option to capture the scale of the Lauterbrunnen Valley is along the cog-railway route from Lauterbrunnen to the town of Wengen. The first view opens up shortly after leaving the Lauterbrunnen train station. The railroad bends uphill, crosses the Weiss Lütschine River and reveals a magnificent view of Staubbach Falls, the town’s chapel, the valley cliffs and the snow-draped Alps in the distance (first photo in this section).

The other priceless view of the valley opens up just before the train reaches Wengen. Make sure you are seated on the right side of the train just after the Wengwald train stop. The view (above) lasts for only 20 seconds or so, but it encompasses the falls, the massive cliffs, the summits of the Breithorn and Jungfrau, and a magnificent foreground of Swiss chalets and emerald pasture. Since you are shooting from a moving train, be sure to have a faster shutter speed. I even went so far to shoot on a motordrive to increase the chances I’d have the right cropping when all was said and done.

Photographing the Jungfrau…
I will admit that I missed a key component to the “Jungfrau’s experience” — at more than 100 CHF roundtrip, we opted to skip the Jungfraujoch, the high-altitude train station situated on the saddle between the Jungfrau and the Mönch that is marketed as “The Top of Europe.” It was sacrificed at the altar of 6 CHF bottled water and all the other gouge-jobs speckled across this beautiful country. We’d just had enough of doling out the cash, and ultimately figured we had plenty to enjoy underneath the Jungfrau.

Frankly, I have never seen a mountain more domineering than the Jungfrau. It’s sheer volume, scale and steepness brought an instant dose of humility. Ultimately, I found dozens of great vantage points to shoot this peak, even during early morning strolls outside our hotel in Wengen, where I snapped this shot. Ultimately, the best place to capture the rugged and imposing soul of the Jungfrau is right underneath it, where trails bisect lush meadows (above image), quaint little trains chug by on the Jungfraubahn and Wengenalpbahn, and traditional Swiss huts are overwhelmed by the mountain’s scale. We took the train to the Eiger Glacier station and hiked down to Kleine Scheidegg and Wengenalp. With our daughter it took the better part of a day, but at every turn, a new face to the Jungfrau was revealed.

The other “must” for shooting the Jungfrau is from the Mürren side of the Lauterbrunnen Valley, particularly in the town of Mürren itself, where you face the narrowing chasm of the Lauterbrunnen Valley and the sheer western wall of the Jungfrau. The quaint little choo-choo ride from Grütschalp to Mürren is also great for the precision art form of hanging-out-the-window photography. (Or, you can walk the trails in the area, too, and get the same killer views with better foregrounds … we had a baby on board).

Photographing the Jungfraubahn…

At certain points on the trip, I found myself wondering if certain attractions are more about the Swiss engineering than the natural features of the land. Few tourist draws demonstrate this better than the Jungfraubahn, which burrows into the face of the Eiger, hangs a sharp right, burrows through the guts of the Mönch and pops out at the Jungfraujoch, a snow-and-ice clad saddle at 11,332 feet. There, a whole tourism infrastructure of amusements has been erected, including an observatory atop a rock outcrop called The Sphinx.

The Jungfraujoch is the tallest railway station in Europe, which begs the question: there’s a railway station higher than this? (Yes. The Tanggula Railways Station in Tibet is a ridiculous 16,627 feet high). More incredibly, the tunnel and railway were built between 1896 and 1912. I think lightbulbs were also a rather novel new invention at that time.

Well, Swiss engineering aside, the Jungfraubahn is really a beautiful train to look at, and its bright red trolley cars chugging underneath the burly mountains is really one of the most romantic — and iconic — images of Europe. All along the hiking path between the Eiger Glacier train station and Kleine Scheidegg, there are great views of the Jungfrau, Mönch and Eiger with train tracks running in the foreground, and since the train goes by roughly every 10 minutes, its photographically like shooting fish in a barrel. What makes it such a striking image is the bright red of the train cars contrasted with the various shades of green and blue in the landscape. You get bonus points if you can somehow capture the wildflowers, too, but I was unsuccessful.

The train + landscape shot is easy pickings. But getting the story behind the train, and the sheer madness of its existence, is another matter. I managed to photograph the fleeting moment of a tourist smiling out the window of the train as it chugged out of the Eiger Glacier station with a tilt-shift (above left). Pure luck, but it was about the closest thing I got to capturing the excitement of the Jungfraubahn.

Part 2 will include more on the area, including the Eiger and cows.

(Click on images for a larger view)

Go ahead. Ogle all you want.

Words often fail me. They fail me the most when it comes to mountains. Grandeur. Majesty. Magnificence. Please: those words are chumps when you are beneath the Jungfrau (above two images), a hulking mountain that towers over the Lauterbrunnen Valley like a glacier clad bully. It’s name (roughly translated as Young Girl in German) is hardly worth dissecting. It makes little sense. This peak is a beast.

It’s neighboring two peaks — the Mönch and the Eiger — fit into a little folktale. The Young Girl protected by the Monk from the frightening Ogre. How quaint. Our first full day in the area — in mid-June mind you — was spent underneath the Eiger’s legendary North Face watching mini-avalanches, snow plumes and chunks of ice fall off its sheer walls. The Eiger is less like Shrek, more like an assassin.

And then there is the Matterhorn, the world’s most recognizable mountain. On the approach to Zermatt via the train from Visp, not a seat is used by the passengers. They are all standing, dangling out the windows hoping for that first glimpse of its iconic, snowclad summit peaking over the shoulder of the hills.

So magnetic is the mountain’s pull, people travel across the world to its remote little corner of the Alps, drop $350 CHF a night at a Zermatt hotel, eat $40 CHF pizza, and simply stare at its broken-nose summit. Slipping under the radar are its equally grand neighbors, like the cut-glass peak of the Weisshorn (above left) or the hulking, glacier-clad eminence of Monte Rosa, the tallest peak in Switzerland. “Meh,” the tourists seem to say with the direction of their turned heads. “Just look at the Matterhorn!”

I’m an English major from The Colorado College, and I remember one particularly frustrating lecture that was devoted entirely to “the gaze.” The implications of a character gazing at another. What does it mean to gaze? To pine? To possess with the eyes? Yawn. Maybe it was because we were reading Wordsworth’s poetry, but I thought it was a rather dumb topic.

But if the lecture was on mountains, then I would have gotten it.

Yes, sitting by a lake and staring at a towering, rippled, snow-covered peak is a noteworthy action. You are possessing something with your eyes. The strength, the unflappability of a mountain that has stood there for eons. An undaunted thing that rules over its subjects. An unmoved mover.

What man doesn’t have some stupid, innate, overinflated sense of self worth that he wants to possess the character of a hulking mountain? I don’t know one.

Lucerne is said to be one of Europe’s most beautiful cities. I still have a lot of Europe to cover, but its hard to imagine a cleaner, more idyllic, more photogenic city than Lucerne. The place seems designed for postcards, coffeetable books and small 1-inch-by-1-inch decorative chocolate wrappers.

To get my best shots in Lucerne, I made my way to these places:

Capturing Blue Hour

There is a certain moment at dusk when an urban landscape looks its best. The grit fades into the shadows, the sky holds an ethereal cobalt, and the light of the buildings and streetlamps twinkle to life. It doesn’t last long, and in Lucerne I only had one true crack at it: the last night we were there. The previous two evenings I was too exhausted and jetlagged, and because the sun sets so late in Switzerland in June, I ducked in early before blue hour happened.

Fortunately, in the limited window I had, I lucked out and found one of the best vantage points in Lucerne. In the Google Map, I’ve labeled this image Jesuit Church at Blue Hour, and it was taken along the northern shore of the Reuss River.

Elements of Lucerne remind me of Venice — the stately bridges crossing placid water, the waterside restaurants with tourist menus in four languages, loads of drunks shouting into the wee hours (just add a thick cloud of rotting fish to the air and it might complete the vibe). This location, I feel, showed Lucerne at its romantic best.

Here’s another angle I played with while I had a quasi-blue hour. Like much of Europe in summer, dusk seems to last forever. It wasn’t really dark until 10pm or so, and since we were traveling with a 1-year-old, it was hard for all three of us to stay up that late. Still, from about 8:45pm to 9:45pm, there is a dwindled light that is fun to work with. From the Lake Bridge, you have this beautiful angle of both the Chapel Bridge and the Jesuit Church, with white swans in motion.

Working With Perspective

The crown jewel of Lucerne is the wooden Chapel Bridge, or Kapellbrücke, which spans the River Reuss on a diagonal. Dating back to 1333, it is historically important on two accounts: It is the oldest covered wooden bridge in Europe and the world’s oldest surviving truss bridge. It’s long corridor is decorated with paintings depicting the city’s history, though, tragically, many of these were lost in the 1993 fire that devastated much of the bridge (a boat moored to the bridge caught fire and it quickly spread).

Draped with colorful pansies and crowned by a stately brick tower, the Chapel Bridge’s exterior captures all the postcard attention. But I found the interior of the bridge provides more opportunities for creative photography. The bridge’s natural linear perspective, its artistic details, and the opportunity to incorporate the cityscape into the shot, all pose unique challenges.

The locations for the above and below photos are listed on the Google Map as Interior Chapel Bridge Shots and Interior Blue Hour Chapel Bridge, respectively.

The Postcard Shot

On the one sunny day we had in Lucerne, I rose early and so did my daughter, and the two of us cruised around the quiet city for a good 90 minutes. She’s only 1-year-old, and usually patient with me and my happy snapping. The biggest thing in Lucerne that really got her excited were the swans, and this location below — labeled Chapel Bridge and Mt. Pilatus — not only kept her happy and smiling, but it produced one of my favorite shots of the trip. I will post some tilt-shift images from here in a later post.

Beauty in the Details

Later on our trip, we went to Zermatt, where it is easy to get lulled into the habit of placing the Matterhorn in the background of every shot. The Chapel Bridge in Lucerne has a similar effect. It’s kind of like that guy at a wedding who seems to poke his head into every person’s photo and mug for the camera. Truthfully, I’m not sure I got enough variety to my Lucerne shots, but one subject that would have been fun to play with more are the town’s murals.

Colorful, vivid and lively, these painted walls decorate a few of the buildings (mostly restaurants) in the old town quarter of Lucerne. This one (above right, labeled Old Town Murals on the map) seemed to depict the harvest season, hell, and all the reasons why I hate clowns.

And this one (Zunfthaus zu Pfistern) suckered me in because I had never seen a golden pretzel before.

Finally, this fairy-tale like mural lies just across from the Harvest/Hell/Clown Show building. My one struggle in all of this was finding a unique way to frame these paintings. It just felt all too easy to crane my neck up and take a picture like a tourist. Oh well.

And because it’s like that dude at weddings who sneaks into every shot, here’s the Chapel Bridge one more time, from a vantage point labeled Quintessential Chapel Bridge.

On the Friday morning before Thanksgiving, I had a feeling my brother was trying to talk us out of going to Waimea Canyon. It was a long drive, he noted. Time on Kauai was precious, and Varenna — our 8-month-old daughter — would be facing backwards for the whole ride. Poipu had a baby beach.

But I acted like the typical younger brother: the more he discouraged it, the more determined I was to go. This was a verdant miniature Grand Canyon, and at the end of the road was a window to the Na Pali Coast. Yes, time on Kauai is precious. But for me, that meant not letting a week slip by without seeing this magnificent sight.

True to his prediction, Varenna had her cranky spells. Who could blame her? Two hours of driving in paradise, facing backwards, on windy roads? Yeah, we were asking a lot of her. And yes, my brother and his family were probably having an awesome time snorkeling with tangs, Moorish idols and sea turtles in Poipu. But fortunately, Varenna’s crying always had a remedy: fresh-air and time in our arms.

She slept from Kapa’a all the way to the State Park’s edge, where we couldn’t resist stopping the car (and therefore, the nap) at a surreal red-water cascade. The series of waterfalls was like a Zen garden on the surface of Mars. I’d never seen anything like it, and truthfully, it was the prettiest scenery of the whole Waimea Canyon area.

A little up the road, we came up the canyon’s main lookout, which we had to share with another 100 people or so. And while overlooks are frustrating for a photographer (little room for creativity, chain-link foregrounds, the same photo everyone else has taken), the gorge’s majesty wasn’t lost on me. Here on a tiny speck in the Pacific Ocean was a mile-wide canyon. How arbitrary.

I had fun trying something new with a tilt-shift lens, and then we moved on.

It had been uncharacteristically dry on Kauai leading up to and during our visit, which unfortunately meant that Waipoo Falls was dry and not even visible.

Beyond the Waipoo Falls turnout, views of the canyon come to an end, and the road climbs up into Kokee State Park. We stopped at a gift shop/restaurant, chased some roosters in the big field across the parking lot, and then made the final push to the two lookouts that gaze down at the Na Pali Coast from a cloud forest ridge.

When we got there, we were greeted by a wall of white. A gauzy mist hung in the air, obstructing the entire view of the Kalalau Valley. Fortunately, we’d read that this was the norm in the afternoon, and that to turn around and head back would be a mistake, as conditions are quick to change.

We spied a bright red songbird flying by, most likely an apapane, a species that only lives in the Hawaiian Island chain and which is critically endangered. It was a reminder that this wasn’t just some brochure paradise. It was a rare and fragile island ecosystem hanging by a thread.

The gauze began to separate within five minutes of our arrival, revealing the most vibrant blue I’ve ever seen in nature — the Pacific Ocean beneath the Na Pali Cliffs. Undulating green and red walls emerged, their sinewy shapes more reminiscent of muscles than mountains. And at last, a full view of the Kalalau Valley, one of the most famous sights in the Pacific.

We lingered for almost an hour, just quietly observing nature in motion. Smokey mist evaporating, then condensing, then lifting, then drifting over the tree tops. It reminded me more of Monteverde, Costa Rica than any other place in Hawaii, with one major difference: in place of distant monkeys calling, I heard the thumping rotors of tourist helicopters.

Oh well. You can’t claim Kauai is perfect, but its a pretty awesome island to behold.

I’d hesitate to say I’m “into gear.” I’d rather read a personal finance blog than the Digital Photography Magazine Buyer’s Guide. In writing, gear is just not interesting.

Where things get interesting for me is when gear enables new techniques. Last year, I used BorrowLenses.com to rent a 200mm prime lens and a 24mm tilt-shift for Holy Week in Mexico. To have two new weapons in my bag made the week’s imagery 100% better. The 200mm allowed for more intimate candid shots during the processions, while the tilt-shift opened up hundreds of doors of creativity for my cityscape and architecture. It was like shooting in a third and fourth dimension.

For Kauai, I once again rented two lenses: this time, a 24mm–105mm zoom lens (a must for the helicopter tour) and a 45mm tilt-shift lens. Once again, the tilt-shift rocked.

Kalihiwai Beach; Canon 45mm TS-E, ISO 400, 1/2500 sec, f5

Tilt-shift photography is a bit hard to explain, so here’s the Wikipedia page. But in essence, its about manipulation. Tilting manipulates the plane of focus, while shifting reorients the subject in the image area without moving the camera back, thereby eliminating converging lines (handy in architecture imagery). The lens actually moves on the camera body. A knob pivots the lens up and down for tilting, while another knob slides the lens across the front of the camera. A third button rotates the lens on the camera body, so pretty quickly you can get funky.

In Kauai, I was shooting landscapes, and didn’t end up shifting as much as tilting, so all of the images in this post are the product of angling the lens up or down and rotating it on the camera body, and not shifting. I did a brief illustration on the above image to show how tilting alters the plane of focus. On conventional lenses, the focus is related to the distance from the camera (e.g., everything 10 feet away is in focus, while everything closer and further is out of focus). Think of that focused area as a plane. With tilting, that plane is redirected. Suddenly, a swath across the image will be in focus, which in the above image includes my brother Ben and his son Jeremiah some 30 feet away, footprints on the beach 25 feet away, and the surfers bobbing in the distance, some 200 yards away. Meanwhile, the waves 25 feet away, as well as the distant palms trees and nearby footprints, are heavily out of focus. At that moment, I wanted to train the viewers eye to my brother and the surfers at the same time.

Kalihiwai Beach; Canon 45mm TS-E, ISO 400, 1/3200 sec, f5

Here again I tilted and tried to get the plane of focus to follow the surf line into the distance. I almost nailed it. Because of its nature, shooting with a tilt-shift is all manual focus, so getting it exact is a challenge.

Waimea Canyon; Canon 45mm TS-E, ISO 200, 1/500 sec, f6.3

Everybody’s favorite effect with the tilt-shift is to “miniaturize” a landscape. By shooting down from a high vantage point and altering the plane of focus, you can make a landscape look like a handcrafted model. My best effort at this is the top image of the Hanalei Valley Lookout, but it also works well here on Waimea Canyon. Again, the key is having an elevated position and tilting down on the scene.

Kalapaki Beach; Canon 45mm TS-E, ISO 100, 1/1600 sec, f4
Hanalei Valley Taro Fields; Canon 45mm TS-E, ISO 200, 1/5000 sec, f4

Shooting vertical images with a tilt-shift lens can present its own challenges. I think that’s because I often go vertical when I’m looking up a bit, so as with the sailboat masts on Kalapaki Beach above, or the foreground/mid-ground/background of the taro fields at dusk, executing the right plane of focus can be difficult. Sometimes it works for completely the wrong reasons. The sailboat shot is actually mostly out of focus, but the bow on one boat, the surf and the clumps of palm trees are crisp, giving the shot a surprising intimacy (not what I was going after). On the taro field shot, I should have done a diagonal plane of focus going the other way with the sunbeams. Oh well.

Here are some other experiments:

Palms on Kalapaki Beach; Canon 45mm TS-E, ISO 100, 1/200 sec, f4

Wailua Falls; Canon 45mm TS-E, ISO 400, 1/640 sec, f4
Anini Beach; Canon 45mm TS-E, ISO 800, 1/320 sec, f7.1

Outrigger Canoe on Kalapaki Beach; Canon 45mm TS-E, ISO 400, 1/250 sec, f4

Palms on Kalapaki Beach; Canon 45mm TS-E, ISO 100, 1/1600 sec, f4

While on Kauai, Hailey and I took a 90-minute helicopter tour of the island with Jack Harter Helicopters. The tour was billed as a photographer’s tour because it went slower and took its time with each section of the trip. Because of this alone, I highly recommend it. Kauai’s interior and much of its coastline is inaccessible (to most of us) and seeing it by air is really the only way to truly get a sense for the island as a whole.

However, don’t kid yourself. Just because its labeled a “photographer’s tour” doesn’t mean you’ll get great shots. In fact, its very hard work to get semi-pro to professional quality shots from these kinds of tours. I’d even go so far as to say you can’t get professional grade images unless you go on a windowless/doorless flight, and risk getting wet (which you will, when the tour heads to Mount Waialeale, the wettest spot on Earth).

Obviously, my No. 1 reason to do the helicopter tour was to get amazing images of the Garden Isle. We dropped a lot of money, and learned a lot along the way. I figured it was worth it to do a photographer’s scouting report for those of you considering a similar trip. Here are six tips to make the most of it:

1.) Try to minimize switching lenses and bring two cameras if you have to – Jack Harter (and probably all other helicopter tours) don’t allow bags, and once you are on the chopper, its easy to see why. Space is tight, and between the straps, life preservers and headphone cords, a bag would be a tangled-up nightmare. So, without a bag, you have to be judicial with what you take. Your chief camera should have a zoom lens (24mm–105mm is ideal). The second camera can have a longer telephoto range or an experimental lens. I had good luck with a prime 200mm f/2.8 lens, but I’d imagine a 300mm would be too close to be practical. Hailey had the second camera and was trying to rock a 45mm tilt-shift, which was incredibly difficult under the conditions, but when it worked, it was amazing (upper right). Also, keep in mind that things happen fast on these tours (and I was on the 90-minute flight), so always stay one step ahead of the pilot in terms of what’s coming up and be prepared to have the right settings ahead of time. The last thing you’d want is to see Weeping Wall, frame the shot, and decide to switch lenses for a better focal length. The view will be gone by the time you’re set.

2.) Don’t fight glare. You can’t win. Just enjoy the views for a moment – Unless your tour is windowless, glare is inevitable, and can be frustrating if you let it bother you (see two examples above … and for the record, that is not a butt crack). They tell passengers on this tour to wear dark clothing to minimize glare, but that didn’t help us: our pilot wore shorts and his thighs were the leading contributors to glare from our angle. My advice? If the glare is bad, put the camera down and just enjoy the moment. You can’t fight it, but you can quickly fail to register just how spectacular that waterfall on the other side of pilot’s thigh-glare is.

3.) Be prepared for any seat in the house – The tour company will seat you specifically based on weigh distribution on the helicopter, so calling shotgun will do you no good. I was seated in the back row middle, which I thought would be the worst seat in the helicopter. It wasn’t the best, but it wasn’t horrible. I had good luck with the long lenses (24mm–105mm and my 200mm prime) from this spot, but glare was exaggerated from here, especially at wider than 50mm. Hailey was on the left side, back seat, and had less glare, but a whole different problem: the warped glass. Front center and front right would have probably been the best seats for shooting, but they also may have had significant glare. Hard to tell without sitting in that spot.

4.) Best light for the Na Pali Coast is evening light – Our departure was at 9:30am, and by 10:15am we were circling over the highlight of Kauai, the Na Pali Coast. Problem was, we were looking back into the light, which would have been fine if I could maneuver to harness the light. But buckled in, and with lots of glare out the right side of the helicopter, it was difficult to compose shots without major drawbacks. My point is this: it may be worth taking the risk to fly in the afternoon. The weather may set in, the crater may be extra cloudy and wet … heck, the flight might even be cancelled. But if you get sunny conditions in the late afternoon, the Na Pali would be a freaking photographic jackpot. Your call.

5.) Be prepared for darker conditions in the craters and inland valleys – This caught up with me at the Weeping Wall (above right) at the end of the tour, the one cloudy spot we encountered on our extraordinarily sunny trip. After firing a few frames, I realized my shutter speed was teetering around 1/60 second, way too slow to be shooting from a moving vehicle. Sure enough, a lot of the images from inland were throw-aways. It’s easy to just keep the camera on one setting the whole trip and forget about it, but the waterfalls of the interior are one of the most stellar sights on Earth. Best not to miss a shot of them because of complacency.

6.) Embrace post-production – While initially flipping through the 449 images we took while airborne, I had a bit of a sinking feeling. It didn’t appear I had much to show for my efforts. But back home, and after loading everything into Lightroom, it became clear I had a lot of good images. Most of this was just contrast adjustment, some of it was just cloning out a minor glare here and there. Nothing too technical, and nothing that altered the reality of what we saw. In the end, I’m just glad I kept shooting.

So remember how a few posts ago, I said that I wasn’t much of a beach person?

Well, I’m back from Kauai, and you can consider me converted: I love beaches … if by “beaches” you mean the stunning, drop-yer-jaw, how-could-God-design-such-a-perfect-thing beaches that seem to be nestled into every corner of the Garden Isle. In fact, after visiting Kauai for eight days, it may be safe to say I’m forever spoiled. The bar will be high for any future strips of sand I encounter (sorry, Chatfield Reservoir).

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We spent so much time discovering new beaches, I’m still picking sand out of my hair. Here are the 10 best I visited, with a few challengers we didn’t have enough time to see.

1. Ke’e Beach (near Haena) – It’s one thing to feel like you are driving to the end of the earth. It’s another thing to see a fiery sunset when you get there. Still another thing to have a rainbow hanging in the sky from where you just came from. Such was the majesty of Ke’e Beach on our final night on the island. Situated at the end of the road on the rugged North Shore, Ke’e Beach is the jumping off point for the Kalalau Trail along the Na Pali Coast, and it beholds a stellar view of the sea cliffs, especially in the evening hour. A ringed reef gives the illusion of safe swimming, but this being winter, the currents were brutal, and swimming was off limits. That was fine: watching the pyramids of rolling water pound the reef was just as thrilling as the misty explosion of light caressing the Na Pali.

2. Kauapea Beach (near Kilauea) – This gorgeous beach is often referred to as “Secret Beach” — “Misnomer Beach” might be more appropriate, especially when its located off of, I kid you not, “Secret Beach Road.” But while it has been discovered, it is still pristine, expansive, and filled with so many intimate coves, tide pools and empty strips of sand, you could spend day after day going back. We trekked down the 1/4-mile-long trail and promptly found a private platform of fine sand — elevated from the rough surf and ringed by black volcanic rock — for our 8-month-old daughter to dig into. A mile down the beach (after passing my brother and his family playing wave chase) we discovered sand-bottom tide pools replenished by the surf. This is how beaches should be … endless, vast and full of treasures.

3. Kalihiwai Beach (near Kilaeua) – To the west of Kauapea Beach lies this local fave on Kalihiwai Bay. My 7-year-old and 4-year-old nephews loved it for boogie-boarding, and I loved it for the curtains of mist that flooded the cove and created incredible light conditions … and seemingly endless creative possibilities for photography. Kalihiwai Stream feeds into the beach, and next time, I’d like to take a kayak up this beautiful river to Kalihiwai Falls.

4. Black Pot Beach/Hanalei Bay (Hanalei) – Here’s what I recommend: go to Java Kai in Hanalei before sunrise and get a cup of coffee and a surfer sandwich (bacon and eggs on an English muffin), and take it to Black Pot Beach where the Hanalei River meets the sea. Try to time it so that you witness the full moon set and the sun rise simultaneously, followed by a long stroll around the bay for as long as your legs can take you. Repeat every morning you’re there.

5. Haena Beach Park/Tunnels (Haena) – If for no other reason than to stare at powerful waves for an hour. This was the second beach we saw on the trip, and for a Kauai newbie like me, it was gripping. By late November, the waves get enormous in the Hawaiian Islands, and the breakers pounding the reef off of adjacent Tunnels Beach were easily 20-feet high. Nearby is Maniniholo Dry Cave, which is apparently where Puff the Magic Dragon lives (or where his inspired creators got massively baked and creatively mispronounced the nearest town Hon-uh-LEE!).

6. ‘Anini Beach Park (near Kilauea) – We stayed across the street from ‘Anini Beach, which was a shrewd move with four kids in tow. Nowhere else on the North Shore (or the rest of the island, from what I saw) has calmer waters than ‘Anini. A lengthy reef nearly a mile offshore protects this lagoon, and harbors the perfect habitat for green sea turtles (I swam with four of them in a 20-minute span). It’s not a particularly photogenic beach, but to really have it work its full effect on you, I recommend you go for a swim just after dawn. Do breaststroke, and use the distant Kilauea Lighthouse as your beacon. It will be one of most memorable swims you ever take.

7. Poipu Beach Park (Poipu) – What? A beach on the South Shore? I know: I’m not showing much love for the drier side of the island in this post. We made it down this way thrice: once to drive up Waimea Canyon, once we flew over it, and on the third visit, we actually went in the water. Where we dabbled in the sea and snorkeled with parrotfish was at Poipu Beach, easily the most crowded scene we would encounter all week, but not in a way that inhibited the magic of the place. In addition to the best snorkeling of our trip, we witnessed a magnificent sunset over the tidepools down the road, on the other side of Brennecke Beach.

8. Kalapaki Beach (Lihue) – After three or four visits to Kauai, this might not make the top 10, but it makes my list for nostalgic reasons. We departed on Thanksgiving night, and Kalapaki Beach is where we hung out before our 8pm flight (we also ate at Duke’s, but I’ll leave that for the food post later on). A ukelele duet provided the soundtrack, while the girls danced and the boys rolled on the perfectly manicured grass. It was a place where our family showed just happy and content we all are with life right now.

9. Kealia Beach (near Kapaa) – It’s impossible to miss Kealia en route to the North Shore. Stretching like a lazy hammock under a grove of trees twisted by the wind, this surf-pounded beach is as inviting as they come. It’s also a big surfing and boogie-boarding spot.

10. Larsen’s Beach (near Anahola) – This was the beach that made me realize just how different in character every beach on Kauai is. Located on the northeast corner of the island, Larsen’s feels arid and empty. This is what I imagine Lanai feeling like. Of course, like nearly every beach on this trip, the surf was up and going in the water would have been foolish. So instead my baby daughter tried to eat coral bits on the beach and my nephew discovered a mammoth, grotesque-but-totally-awesome blue lobster head on the beach.

So I was there for only eight days and will admit that I can’t call this the definitive list of Kauai beaches until I visit Honopu Beach, Lumahai Beach, Hideaway’s Beach, Lydgate Beach Park, Mahaulepu Beach, Shipwreck Beach and Polihale Beach. What other beaches do I need to visit next time? Comment below.

More Kauai-oriented posts to come in the next few weeks.

We are in Kauai right now, and it … is … awesome. So far, I’ve photographed sunrise from ‘Anini Beach, lunch at Hanalei Juice & Taro Company, Haena Beach Park, the Kilauea Farmer’s Market (where I ran into a college friend who is now a farmer on this island), and this morning, sunrise on Kalihiwai Bay and morning over the magnificent taro fields of Hanalei.

I’ve always touted that I am not a beach person (as if its something that distinguishes me), and so far, that is only holding up true in one sense, and that’s my favorite two places on this island (at least in the first 48 hours). One, is a bend in the highway between Princeville and Kilauea, where massive, ornate, flat-branched trees rise up over a curve in the highway, and transport the driver to a whole different place, like Japan, China, Taiwan, or the end of Crouching Tiger Hidden Dragon. It is startling and devastatingly beautiful.

The other favorite place is the Hanalei Valley taro fields. This morning, while our daughter napped in the backseat, Hailey and I stared at this valley for 20 minutes, watching the farmers work the taro paddies while stilts (a long-legged wading bird) dashed in the ponds, and a 1,000-foot waterfall plummeted from a mountain in the distance. It was fascinating to watch this scene, pictured above, unfold. While the buzz-buzz of tourists, surfers, snorkelers and hikers zip past this valley lookout, these fields are tended to just as they have been for generations. I found it transfixing.

Oh, and the beaches are spectacular. Its hard to imagine having a better beach experience anywhere. More to come on that another day, but right now I’m on vacation.