Radio and Magazines!

Seven page portfolio in the June 2015 issue of Alaska magazine.

Seven page portfolio in the June 2015 issue of Alaska magazine.

I promise I will get trip reports from my last two expeditions up soon. I have two things to keep you entertained until then.

I was a recent guest on the popular Alaska Public Media show Outdoor Explorer. This was my second time as a guest on the show. This time I was talking with Charles, the host, about wilderness photography. Dan Bailey was the guest on the first half of the show, I am the guest on the second. You can listen to it here:

Alaska Magazine has published a seven page portfolio from the Alaska Range Project in their latest issue (June 2015). I have been a contributing photographer to Alaska Magazine for over ten years. My work has appeared in 15 different issues including three featured portfolios. Thanks again Alaska Magazine for all the years of support!


Telephoto Landscapes

Cool ice and Mount Deborah.

Cool ice and Mount Deborah. Taken at 200mm.

People are always surprised when I tell them that I rarely use a wide-angle lens for my photography. I prefer to work with a 70-200 lens, in fact, over 80% of my images are with that lens.

A wide-angle lens generally needs a close foreground subject that anchors the image or directs the viewer to another object in the distance. This is often referred to as a near-far composition. The foreground is the often main subject, while the distant subject establishes the environment or sets the mood. Sometimes the foreground is just a guide, that leads us to a more dominant background subject.

Beautiful mixed light, Hayes Glacier, eastern Alaska Range.

Beautiful mixed light, Hayes Glacier, eastern Alaska Range. Taken at 400mm.

Using a wide-angle lens effectively is much harder than one thinks. Wide-angle photographs often include more of the scene then what we want. Including too much in our photographs is possibly the most common error that leads to disappointment in our work. I was once given the advice: “Once you composed the perfect image, to move in 20% closer.” I continue to encourage my workshop students to do the same.

1:00am sunset lights the rain, sky and river.

1:00am sunset lights the rain, sky and river. Taken at 70mm.

It takes practice to really isolate “what” we like from a scene. When we realize what is really attracting us to a particular landscape,we can use a telephoto lens to “reach out” and grab the elements in the scene that we had been seduced by.

A telephoto lens compresses a landscape, creating layers of land and light that appear close to each other, even though they could be separated by miles and miles. Light and shadow are major elements in a telephoto landscape, they add depth to a scene that has been smashed into a two-dimensional image. Deep, long shadows and bright, dramatic highlights are the best for telephoto landscapes.

Sy and Chris descend through the upper Kahiltna Icefall, Mount Foraker is in the background, Denali National Park and Preserve

Sy and Chris descend through the upper Kahiltna Icefall, Mount Foraker is in the background, Denali National Park and Preserve. Having people in this images gives a sense of scale and really completes the image.

A telephoto landscape can bring out the graphic, abstract qualities of photography, light and the landscape. That is usually a good thing, but sometimes, its more powerful to have a small object in the frame, like a person or a tree, which adds a sense of scale to an image. So next time leave your wide angle at home and try and photograph some landscapes with just a telephoto, you will amazed by the results.


K.I.S.S. in the Mountains

Function over fashion. Getting organized before an expeditions will pay dividends in the mountains.

Function over fashion. Getting organized before expeditions will pay dividends in the mountains.

I try to follow the acronym K.I.S.S when preparing for an expedition and when out in the field. I try to keep everything simple and organized. When it’s cold and ugly out, it pays to “Have all your ducks lined up.” as my Dad would say.

My gear is often laughed at by fellow photographers, it’s well-worn and covered in bright-colored tape. But I believe in function over fashion. Much of my photography happens during the dim light before sunrise and after sunset. I have lost many a cable release and lens cap during these dark hours. And though neither is a trip killer, it can be frustrating and just adds an unnecessary complication to an expedition.

It also pays to keep track of batteries and memory cards, especially in the cold when I am frequently rotating them around like musical chairs.  Batteries always fail right when the light is really good, cards also fail or magically fill up right when things start to get exciting!

These are my accessories for my upcoming trip into the Gillam Glacier, Eastern Alaska Range.


Aerial Photography in the Alaska Range

The yellow sea, Neacola Mountains.

The yellow sea, Neacola Mountains.

The Alaska Dispatch, Alaska’s leading online newspaper has an article on the Alaska Range Project with an emphasis on the aerial photography aspect.

Check it out at:

Working With The Light You’ve Got: Rain

Part two of my little series on working with what you got.

Fall leaves and bear tracks, Chugach State Park, Alaska. The perfect subject for a rainy day.

Fall leaves and bear tracks, Chugach State Park, Alaska. The perfect subject for a rainy day.

To be a successful mountain – wilderness photographer, you need to learn to work in most situations, this is especially true if your on a paid assignment. The editors don’t really care how bad the weather was, they just want images.

In Alaska, your pretty lucky to get trough an entire trip without getting rained on at least once. Usually, your lucky if you get a day or two of nice weather, during a week of rain. When I look back at last summer’s trips, rainy days were the norm, over sixty percent of the days in the field it rained.

The first thing to do is get outside! Don’t sit around in your tent feeling sorry for yourself, there will be plenty of time for that at night! You spent all that money on those fancy Gore-Tex items, so put them to use.

At the Headwaters of the South Fork of Eagle river near the Flute Glacier. Another rainy Chugach scene.

At the Headwaters of the South Fork of Eagle river near the Flute Glacier. Another rainy Chugach scene.

You will quickly realize that hiking in the rain can be very pleasant. If it’s really windy or raining hard, head for the forest. Wet foliage is beautiful and the dampness can really accentuate the colors. Again, its time to focus on the details. Intimate macros and mid distance forest studies are best on  cloudy, rainy day.

This is about the only time I use a polarizer, it helps remove the glare and reflection off wet items. This is also a good time to call to duty that len’s shade you keep dragging around but never use.

beautiful, wet forest

Beautiful, wet forest. Chugach State Park, Alaska

I sometimes bring along the secret tool of backcountry guides in Alaska, an umbrella. Yep, sounds silly at first but an umbrella is a great way to boost your wet, soggy clients morale. Umbrellas are also great for keeping rain off your gear when photographing. They can also help prevent camera shake from wind and on sunny days they can create shade for close-ups and block glare from the sun! Pretty useful.

In the woods or when photographing plants, I try to use a fast shutter speed to stop any motion caused by the rain hitting the subjects. When photographing water or clouds, I will sometimes use a slow shutter speed, to emphasize movement.

Beautiful mixed light, my favorite light for landscape photography. Hayes Glacier, eastern Alaska Range.

Beautiful mixed light, my favorite light for landscape photography. Hayes Glacier, eastern Alaska Range.

Mixed light reflection, unnamed tarn, Chugach State Park, Alaska

Mixed light reflection, unnamed tarn, Chugach State Park, Alaska

Dark, gloomy days can also make for interesting landscapes. In Alaska, you frequently get “sucker holes” that let light in for a fleeting moment. The mixed light created by these holes in the clouds, are my favorite and if there is any chance of light coming through I am happy hang out in the rain.

Photographing on rainy days isn’t that hard, its more of a state of mind. When I look back at many of my favorite images over the years, many are the ones taken on  rainy days.

Sunset from Steamroller Pass, Chugach State Park, Alaska. After nearly forty days of rain in  the Chugach, this sunset was a welcome surprise.

Sunset from Steamroller Pass, Chugach State Park, Alaska. After nearly forty days of rain in the Chugach, this sunset was a welcome surprise.

Planning a Remote Wilderness Photography Trip Using Google Earth

I have six major trips planned this year along with a handful of shorter jaunts. I have spent the lasts few weeks digging through maps and staring for hours at Google Earth.

Obviously, the first thing I considered is “What areas offer the best chances for successful image making?” For some of my trips, there is a at least one major objective, and for the Alaska Range project, it’s usually a big mountain.

After I choose an objective, I look for bodies of water or other features that could add to an image of the major objective or just give me more variety. Other mountains in the area, steep valleys that could have waterfalls, glaciers that may have caves or interesting features and of course lakes, especially ones that have chances for reflections. Variety is key. There is always a good chance that your main mountain will never be seen, so there should be plenty of other interesting things to go explore.

Google Earth helps me figure out if a location has enough variety. One of the main issues I have found by using only topo maps is that its hard to figure out if you will be able to see your objectives. I have been in valleys that were too tight to see the actual mountains and have had views blocked by small hills that I hardly noticed on the map.

Google Earth’s Street View isn’t exact and should be only used as a guide but its usefulness can’t be denied. Once you have found the location you can use Google Earth’s night/day feature to determine if and when light will actual hit you main objectives. You can also get exact sunset and sunrise times along with the moon’s cycle. You just type in the exact dates of your trip and watch the screen as the light crosses the landscape, pretty cool.

lima bean lake

Google Earth View of Lima Bean Lake (it’s the blackness in the front) This is the Street View. This tells me that the mountains are in view from the lake shore and that there is potential for a reflection type shot.

Unnamed mountains reflected in Lima Bean Lake (local name), central Alaska Range

Lima Bean Lake, Denali National Park and Preserve. My study of Google Earth showed possibilities at this lake and  it proved right.

I never plan a trip where I am trapped by the terrain. I like to explore and if the there is just one possible angle of a mountain and not much else, then its just not worth the trip. If there are impossible icefalls, dangerous rivers, steep terrain or just too much bush whacking, then I look somewhere else.

Google Earth is really good for determining where the “green zone” is these days. Most topos of Alaska are over fifty years old. The green zone on those maps (the areas with bushes and trees) has changed dramatically. Some areas that were pretty easy to access just ten years ago are now nightmare bush whacks. Google Earth can also show you how far the glaciers have receded, which I find very useful since most of my trips involve glaciers! Pay attention to the date the images were taken (its in the lower corner of the screen), this can  help you decide when to go and what the terrain really looks like. Some images were taken in winter, which really doesn’t help you plan a summer trip. But I find late season images great for planning routes, especially on glaciers.

The next question is if you can actually get to your location? Are there lakes a float-plane could land on? long enough glaciers with enough snow coverage? Or gravel bars that a tundra plane could land on? There are plenty of secret strips in the mountains of Alaska and sometimes I can spot them on Google Earth.

Probably the most valuable tool for me, is using  Google Earth to identify mountains I have taken photos of, especially aerial images.

Google gives a pretty wide angle images but its still very useful for indentifing Mountains.

Google Earth gives a pretty wide-angle image but it’s still very useful for identifying Mountains. Can you see the shot below in the Google Image above?

The Citadel and Peak 8505, Mount Iliamna in the distance.

The Citadel,  Peak 8505 and Mount Iliamna in the distance. These peaks were easy to identify using Google Earth and a topo map together via the Hillmap Website.

If you don’t have two big monitors then its difficult to use a topo program and Google Earth at the same time, which can be frustrating. Luckily there is an awesome website called Hillmap. It splits your chosen topo with Google Earth and seamlessly moves them together, so what’s on one side is mirrored on the other, Brilliant! Their website is

Google Earth has its flaws of course. Most of the remote areas have poor resolution, making the usefulness of the images questionable. We should try not to get our hopes up either. It’s always best to enter a remote area with a fresh mind, open to new things and not filled with all the possibilities you saw on a computer screen hundreds of miles away.

Happy Travels!

Working With The Light You’ve Got: Bright Sun

Even though modern cameras seem to able to see in the dark, we still need some type of light to create an image, whether it be light provided by us or by the moon, we need light. There are generally two ways to approach light in landscape photography, find the subject and wait for the light or wait for the light and find a subject that is illuminated beautifully by it.

Moss Campion

Moss Campion and the Raven Glacier. The light was high and bright, but the unique combination of colors, the low angle, use of a polarizer and the direction of the camera made it a successful image.

For me it usually is a combination of both. It’s pretty rare that light perfectly illuminates my pre-composed scene, I often need to recompose when the light  I am waiting for finally arrives. Other times, I have to completely change location, with heart pumping and emotions high.

The late Galen Rowell was a believer of the second approach. To him, photography was all about light, subject came second. He was famous for literally running, often long distances, to match a subject with the developing light.

I believe in the power of subject. I usually wait for a subject to reveal itself to me and then decide if the light matches. Of course, light itself,  can often be the subject.  Light can also be a guide and frequently all you can do is follow it as it travels across the landscape, photographing whatever it reveals.

There is no correct way to approach light and subject. Having strong knowledge of weather and its many phenomenon is good, however, the best thing we can do is practice our awareness of our surroundings, step out of our own mind and live in the moment.  If we can abandoned any preconceived ideas and quiet our thoughts about our day-to-day life, we will be able to adjust with what is developing around us, we will be able to create images quickly and with great impact.

The beautiful north face of Avalanche Spire, central Alaska Range

The beautiful north face of Avalanche Spire, central Alaska Range. Taken around noon.

Direct Sun

” If there is light, one can photograph.” Alfred Steglitz

Like an elusive animal, the majority of landscape photographers only appear before and after sunset and sunrise. Their prey is that mysterious “Magic Light”, that for a brief moment, paints the landscape. But when traveling through remote wilderness, wilderness that chances are, you will never see again, it is important to learn to create images with the light you’ve got. It’s a valuable tool if you ever plan to do assignment work or travel in places that you will only see once.

Inside a crevasse, Matanuska Glacier.

The direct, overhead light illuminated this crevasse perfectly.

The hardest light to work with is summer, mid day, direct sun.  There are plenty of photographers on-line that like to preach that “Trying to create meaningful images in anything besides the magic hour is pointless.” These “all-knowing”  landscape photographers love to drive into their herd’s minds that not a single good image can be taken during the middle of the day. Sure, it is not easy and it’s not always possible, but it can be done.

The main issue is the harsh, contrasty, over-head, light of the middle of the day. Yes, for most subjects, it doesn’t work. What we need to do is see if we can find a subject that benefits from such contrast. Steep mountains always have a side that looks great during the middle of the day. Another approach is to shoot into the light, using things like trees,  rocks or even a person to block the sun itself.

Birch Bark Detail#1

Birch Bark. Using my body to shade the bark from the direct sun created nice diffused light.

Sometimes it pays to get close, really close. Macro photography can be done during the middle of the day. Simply use your body or some other object to shade the subject, creating even, diffused light. You can also search for transparent subjects like ice or leaves. I like to explore narrow canyons and cliffs during the middle of the day, looking for subjects in the shade. A polarizing filter can help remove harsh glare off subjects and can help enhance colors.Sometimes I will use a really strong ND filter to emphasize movement, which we rarely see in images on bright sunny days.

Melt water stream on the Backside Glacier. It was abright and sunny day so I had to use a ten-stop ND filter too slow down the exposure, central Alaska Range.

Melt water stream on the Backside Glacier. It was a bright and sunny day so I used a ten-stop ND filter to slow down the exposure.

On rare occasions I will use a portable strobe. Using a flash to fill in harsh shadows can make an image. People and macro photography can be very successful in direct, mid-day sun when a fill flash is used.

With all those ideas, sometimes we need to just let go of a scene or subject. If possible, we can return during better light, but if you’re travelling through a landscape, then maybe sitting back, with feet up and enjoying the glorious sun is a much more rewarding of an experience than trying to capture a photograph.

In the next post I will talk about working in terrible weather.

Tips for Using Ultra-Light Tripods in the Field

Last light on Mount Hunter and Denali, central Alaska Range

Even with the constant improvements to image stabilized lenses and bodies along with the amazing high ISO capabilities of the latest digital cameras, a good old-fashioned tripod is still an essential tool to a professional outdoor photographer.

My work takes me to some of Alaska’s most remote and unforgiving environments. The weight of my gear, both camera and outdoor gear, can make or break one of my expeditions. Excessive weight on adventures that involve traveling through rugged or technical terrain can be dangerous. Lightweight tripods are also essential for international  travel, where baggage weight restrictions continue to get stricter. A small, light weight tripod doesn’t scream “pro” and is easier to maneuver through crowds.

Choosing a Tripod

Tripod design hasn’t changed a whole lot in the last few years, but the materials that are used to make them has. The latest carbon fiber can be made thinner and the diameter of the tubes smaller, than their counterparts of a few years ago. Tripod heads have also gotten smaller and lighter without losing holding strength or durability.

When I bought my first tripod, twenty-four years ago, the rule of thumb was “choose a tripod that has a maximum weight capacity that is double your heaviest camera-lens combo”. I have no idea where that theory came from, or if there is any truth to the statement, but it’s been one of those “golden rules” that many photographers have used over the years.

For my expedition work, my heaviest camera/ lens combo is about five pounds, a Nikon D800e and a 24-70 f2.8 lens. My lightest ball head weighs in at about a pound. That six pounds total, if I follow the old school rule, I would need a pair of “sticks” that can hold twelve pounds.  My current tripod, a Gitzo Mountaineer has a maximum weight rating of eleven pounds, close enough! The Gitzo Mountaineer weighs in at 1.6 pounds, add the pound of my ball head and I have a support system that is super compact with a fighting weight of 2.6 pounds.

What about the head? Through my extensive experience and testing I have found that heavier ball heads are essential on really lightweight legs. A little extra weight adds to the stability. I actually double the old tripod rule when it comes to heads. Sure, there are plenty of super-light ball heads that could hold my six pound camera-lens combo but those heads mounted on top of a ultra-light leg set-up are not very confidence inspiring. I would choose a heavier head over a lighter weight one with the same maximum weight capacity.

The less legs extensions a tripod has, the more rigid it will. However, more extensions means it will usually extend higher and fold down smaller.  Yes, light-weight tripods don’t extend very high, often less than five feet. Tall photographers will find this annoying. Working with these little tripods is all about adapting, if you need to get high then you will need to get creative! And honestly, how often is the best composition at eye level anyways?

Setting up the tent as the last light fades on Mount Moffit

A tripod is necessary for long exposures and timelapse work.

 Creating a Secure Set-Up

Small tripods are prone to falling over, not because they are terribly unstable, it’s that they can easy be blown over by wind or knocked over by the photographer who isn’t paying attention.

First and foremost, try to find a solid surface and have the legs as wide as possible, with each leg being the same width apart. I look for a large rock to put the tripod on. Sometimes, I will move flat rocks to where I want to set the tripod up at. If there are no flat rocks and the ground is soft and spongy, which is most of Alaska, I will try to pierce the legs through the top surface into the harder ground underneath. You won’t be able to have the legs  stretched to their widest setting but hitting that firmer ground underneath is crucial. Remember, the tripod will sink down lower, changing your angle of view.

What about that little hook on the bottom of the center post? For years, I couldn’t figure out an effective way to use it out in the field, opting to stack rocks on the legs (be careful, heavy rocks can damage the carbon fiber legs)instead. But then one day I came up with a super simple, lightweight solution. I use a  tent guy-line with a “ladder lock” attached. I bring a light tent stake that I secure into the ground and then attached it to the hook with the guy line. Then I use the ladder lock to create the needed tension to secure the tripod. Sometimes I will need to stack rocks on the stake to keep it from coming out of soft ground. Often, I won’t use the stake at all, instead securing the guy-line to a heavy rock. I have also used multiple guys (taken from my tent).

It was a windy day and the ground wet and spongy. I used my tent peg system to help secure the tripod to the ground. I used the telephotos tripod collar to help center the weight of the camera over the middle of the tripod.

It was a windy day and the ground wet and spongy. I used my tent peg system to help secure the tripod to the ground. I used the telephoto’s tripod collar to help center the weight of the camera over the middle of the tripod.

I often work in the snow which can be frustrating with a small tripod. If the snow is firm or has a solid top crust , I will just set the tripod on top and not attempt to sink it into the snow. If the tripod breaks through with the weight of the camera or the snow is just too soft, I will extend the tripod legs the whole way and then close the legs together to where they almost touch the center post. Then I just thrust the tripod through the snow like a spear. It can work pretty well, but if it’s warm then the tripod will get less stable as it warms up and melts the snow around it.

Helpful Accessories

There are some camera accessories that also help. First, use an L-plate. The easiest way to throw a tripod off-balance is to have all the weight hanging off to one side. L-plates allow you shoot vertical shots with the camera on top of the tripod, putting the majority of the weight in the center, equally distributing the weight to all three legs, the most stable position. Even when using lightweight telephotos, I try to use a tripod collar, which also helps balance the weight.

If you are using a DSLR, use the mirror lock-up setting. Use an electronic release or the self timer option, the less you touch the camera, the sharper the image will be.

With all the advanced features that cameras have these days it’s easy to think that tripods are becoming a dinosaur from photography’s past. But it’s quite the contrary, the high-resolution of modern cameras demand stability and in our busy and complicated world, the little extra time it takes to set up and compose an image with a tripod is exactly what we need to get into the moment and create meaningful photographs.

North side of the Hayes Range: Final Post

The snow line slowly dropped and eventually reached our tent

The snow line slowly dropped and eventually reached our tent

The sound was different, it wasn’t the constant thumping we had been hearing for nearly forty hours. It was a softer sound and I recognized it right away, snow. I peeked out of the tent and felt the wet snow pelt my face, it was starting to stick, cooling the fire-red tundra.

The day before was a test of character. It rained the entire night before and continued to rain throughout the day, without a break. I spent the morning in the cook shelter brewing tea and listening to music. I watched the little battery symbol on my Ipod as it slowly reached its end, finally turning red. I became very selective of each song, knowing any one of them could be the last. Jeff Buckley’s Hallelujah would be the last song of the trip, fitting I thought.

Barry came into the shelter, he was rattled,

“I can’t stand the sound of the rain anymore, its driving me crazy.”

“let’s go hiking then” I responded.

“I don’t want to get soaked.” he grumbled. So we had lunch and I then a reluctantly put on all my rain gear and committed myself to being wet. I followed a gentle creek up into the mountains. The bed was a jumble of interesting, colorful rocks. I made some hasty images, trying to keep my gear from getting completely soaked.

The creek I followed.

The creek I followed.

Once I reached the snow line I traversed into the fog, skirting around rotten spires of black rock. I then travelled down a long soggy ridge back to camp. The rain had let up a little and Barry was wandering around outside trying his hardest not to go insane. We had an early dinner and reluctantly returned to the tent for a long restless night.

The snow was a welcomed change, anything was better than rain. We made breakfast and packed up the drenched tent. We travelled back across the plateau in whiteout conditions. I focused on trying to not fall into one of the many soggy holes that were now hidden under the snow. We didn’t see any caribou this time, but I am sure they heard us.



We returned to our camp site down in the valley. We called our pilot on our SAT phone and let him know that we were back at the pick up spot. It was now going to be a waiting game, waiting for the weather to improve and then waiting for the sound of the Super Cub. During dinner the wolves began their serenade and I decided I was going to see if I could find them and if I was lucky, get their pictures.

Near the edge of the far bank I came across some new tracks, bear tracks. These were the first signs of bears I had found during the whole trip. As I explored, the fog level sank down to the ground. It was getting dark and difficult to see, with my recently acquired knowledge of our other valley resident, I figured it was prudent that I return to camp.The wolves would stay elusive.

We both slept well and we were excited with the prospect of flying out the next day.

Around 5:30am I heard the wolves again. Like a siren call, I slowly dragged myself out of my warm cocoon.  I didn’t expect to see the wolves but I figured I would see if the fog bank was any higher. I was shocked to see clear skies. I quickly began packing my gear, I needed to have all my stuff packed and at the pick-up site before I ran off to take pictures, just in case the airplane came. The light was getting wild, I cursed as the mountains began to glow a scarlet red. I lugged my poorly packed pack with random pieces of gear dangling off like Medusa’s snakes. I dropped it at the landing strip and then ran to the other side of the valley. I needed to get up on the ridge before the sun came up over the horizon.

As difficult as it was I knew I had to sacrifice the alpenglow on the mountains in order to make it up onto the ridge before the sunrise. My legs burned as I struggled up the steep bank. I was wearing way too many clothes but I knew I would cool down once I got to the top. I had my camera, a lens and my tripod. I had a put few bars in my pocket for breakfast on the run.

I reached the top, sweating profusely. After a quick look around I began the process of trying to find a good composition for the light that was about to arrive. I watched the light hitting the mountains and tried to predict where it would hit along the ridge.

The fantastic light arrives on the ridge.

The fantastic light arrives on the ridge.

This is the game you play in the mountains. You can either find a great composition and wait, hoping the light hits it right or you can wait for the light and then find a subject that goes with it. The late Galen Rowell used to talk a lot about light, how the light choose what he was going to make images of. I try to straddle both styles, get myself into a place I think might work and then if it doesn’t, be ready to abandon my previsualized image and chase the light.

Looking north into the valley where we camped.

Looking north into the valley where we were camped.

And chase the light I did. When the light finally arrived i realized my precomposed image wasn’t going to work.  So I darted up and down the ridge making photographs in all directions, finding subjects that fit the light.

looking north east, the clouds would soon engulf us.

looking north-east, the clouds would soon engulf us.

After over an hour of intense image making, I took a break and ate something. The fog was beginning to form off to the east and soon the sun got absorbed. My concern about the light quickly changed to concern on whether the pilot was gong to make it before the flight window closed.

Fall colors were just beginning to hit their prime.

Fall colors were just beginning to hit their prime.

Last image before the fog rolled in.

Last image before the fog rolled in.

I headed down the steep ridge and met up with Barry at the landing spot. Fog was coming in but there was still a big blue hole above us and all the mountains could still be seen. After a few minutes the plane arrived. Barry went first.

I wanted a little time to myself in mountains, some time to reflect about the trip and maybe get a chance to see those wolves, but they would remain ghosts with only their eerie song embedded in my memory. I thanked them loudly for waking me up that morning, but the only response was my own voice echoing off the mountains.

Glacier Trekking on Alaska Public Media

Inside a crevasse, Matanuska Glacier.

Inside a crevasse, Matanuska Glacier

I will be a guest on Alaska Public Media’s weekly show Outdoor Explorer. We will be discussing a variety of topics related to Alaska’s glaciers and glacier travel. So if you have any questions about glaciers, glacier travel in Alaska or glacier photography, call in or email during the show!

Thursday, June 20th, 2:00-3:00pm on Alaska Public Media