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Oxbow Bend in the Fall, Grand Teton National Park Oxbow Bend in the Fall, Grand Teton National Park
There are few landscape photography locations more popular than Oxbow Bend, near Moran in Grand Teton National Park. This location is especially favored during the week or two in late summer when the aspen trees take on their brilliant fall colors. However, on a calm morning with interesting clouds in the sky, those colors are just icing on the cake.
 
When the wind dies down, most often early and late in the day, the Oxbow Bend area of the Snake River becomes glassy and only the jumping fish and feeding ducks remain to mar the mirror-like surface of the water. The highlight of this location is Mount Moran along with the other nearby mountain peaks and a telephoto lens best emphasizes distant mountains. I took a few telephoto pics here, but ... I couldn't resist framing the scene wider, including the reflections of the photogenic clouds present on this great morning.
 
I always say that a great landscape scene can be made greater by reflecting it and I think this theory holds true at Oxbow Bend. Within this theory, vertically centering the top edge of a large reflecting surface (such as a body of water) usually works very well.
 
Even though there are many dozens of photographers targeting Oxbow Bend at sunrise, there is plenty of room for everyone to find a good shooting location. Schedule your presence here for mid-late September (this image was captured on the 19th) if you want the yellow aspens in your frame.
 
41mm  f/8.0  1/30s  ISO 100
Grand Teton National Park Pronghorn Buck Grand Teton National Park Pronghorn Buck
The pronghorn is a beautifully-colored animal and this sharp-looking buck gave me a glance perfectly timed with a brilliantly-colored background.
 
I shared the pronghorn chase story (with me being chased most of the time) before, but got around to processing another favorite from that experience. I won't tell you the same story twice, but head over to that page if you do not remember reading the story and strategy before.
 
The 5D Mark IV is a great general purpose camera and wildlife photography is just one of many excellent uses for this model.
 
Do you have your fall photography plans in place?
 
600mm  f/4.0  1/1000s  ISO 320
The Chapel of the Transfiguration, Grand Teton National Park The Chapel of the Transfiguration, Grand Teton National Park
There are few churches with a view comparable to that from The Chapel of the Transfiguration in Grand Teton National Park. I'm thinking that this view would be a strong distraction from the sermon.
 
The next time you visit Grand Teton National Park, make sure that The Chapel of the Transfiguration is on your to-photograph list. It is as attractive outside as it is inside. Morning is the best time of the day to photograph at this location as the tall mountains go dark when the sun sets behind them. A visit timed for the right week (late September) results in brilliantly colored aspen trees for the mid-ground layer of interest (though the aspens are only barely visible in this image).
 
Obviously, I went inside to capture this photo. My goal was to see the mountains through the window while capturing most of the interior of this little log-constructed church. My preference was to see the mountain peaks in the window and this meant a low shooting position at the back of the sanctuary was required. That position seemed to work well for the rest of the scene, so I went with it.
 
Though a steady stream of people were coming through the little church, there were enough breaks that patiently waiting was all that was needed to capture a wide range of exposures. Because the dynamic range was extreme, the wide range of exposures were required. I later used a manual HDR technique to composite several of those images into a balanced final result.
 
The Canon EOS 5Ds R and EF 16-35mm f/4L IS USM Lens were the perfect combination for this photo.
 
16mm  f/11.0  2.5s  ISO 100
Fall Aspens in Sunlight at Oxbow Bend, Grand Teton National Park Fall Aspens in Sunlight at Oxbow Bend, Grand Teton National Park
Wildlife photographers can spend many days or weeks working with the same subject at the same location and, due to ever-changing behaviors of their subjects, they can continuously capture unique images. Sports photographers have unique action at every game/meet/match/race/etc. at the same field/track/event location. Street photographer are always finding new entertainment at the same locations. Wedding, event and portrait photographers have a steady stream of new subjects coming through the same locations. But you, landscape (and cityscape) photographer, usually find the same subjects in the same positions each time you go back. However, you still have reasons for going back.
 
Basically, you most often go back in hopes that something might be different this time.
 
Perhaps you didn't get it right the first time. You didn't provide adequate depth of field or didn't focus to the right distance to keep everything in the image sharp. Or, perhaps you want to use a wider aperture lens to better define the primary subject. Perhaps the focal choice was not ideal and part of the scene was cropped too tightly. Maybe you were too close or too far away and didn't get the ideal perspective. You want to move up/down, left/right or closer/farther to get it right the next time.
 
You now have better skills. Closely aligned with getting it right this time are your improved photography skills. You are now better at reading a scene and better able to select the composition, perhaps including a foreground element or better aligning the background within the foreground framing.
 
You go back to work on your creativity. The more bored you become with photographing a scene, the more likely you are going to find a creative new way to photograph it.
 
You go back because you have better gear. While we sometimes think that camera and lens technology is not moving forward fast enough, what is available today is far better than what was available not long ago. Taking your new camera(s) and lens(es) to a past-visited favorite location is an easy recipe for bettering your portfolio. Your higher resolution, lower noise camera and sharper lens will create results that look better, especially at high resolution. Taking a circular polarizer filter, a neutral density filter, etc. that you did not originally have can make a huge difference in your repeat visit results.
 
You go back in hopes for better weather conditions. You hope for better skies, a better sunrise, a better sunset, better clouds, more/less fog, less (or possibly more) wind, warmer light, etc. Everyone loves a fiery sunrise or sunset and those don't happen every day – you might need to go back repeatedly to find these. Fog? Some locations have it with some regularity, but many others have it only occasionally.
 
You go back because the timing is different or better. You may have better water flow, creating better waterfalls that give images a completely different look, one well worth the effort of a revisit. The seasons of the year provide a very different look to many locations. Spring brings bright green foliage and (usually) good water flow. Summer brings darker foliage and warmer weather (required for the snow to melt enough to access some areas). Late summer and fall brings amazing color to the trees in many areas. Winter brings snow, completely redecorating the landscape.
 
The timing of the visit also dictates the position of the celestial bodies. Go back when the sun, moon and/or stars (the milky way) are better aligned. Perhaps the sun shines between two mountain peaks at a certain time of the year. Perhaps you want to go back when the milky way is best aligned over a scene. The same applies to the moon with a specific desired phase and position.
 
Perhaps the scene has indeed changed and is no longer physically the same. While there are not usually macro changes occurring to landscape without a significant environmental disaster (such as a tornado, hurricane, fire, etc.), micro changes frequently happen. Trees fall, erosion occurs, sediment moves in streams during strong flows and fields have a different crop in rotation. If the scene is significantly altered, new images will be more current than those taken before the alteration. Before and after photos may be valued in this case.
 
Sometimes, you go back just because things can happen. Wildlife showing up can add a prize-winning element to any image.
 
If you are considering going back, the location is probably amazing and somewhere you love to be. That alone is a great reason to go back as just being there is awesome. There is no reason why the same location cannot be enjoyed time and time again. If you like the location that much, perhaps you want to share it with a friend or friends.
 
You go back because the location is a known entity. You know that it is repeatedly good for a quality image – an image worth sharing is sure to come out of the effort.
 
You go back for practice. If the location is relatively close to home, visiting the location to practice skills and technique prior to a big photo trip is a great idea. Unlike riding a bike, more like distance running, photography requires practice to stay in top shape. It also affords the opportunity to test the camera gear that will accompany you on the trip.
 
Again, a primary reason to go back is that something might be different this time and the reason that different is desirable is for, minimally, variation and, ideally, for bettering. Photographers are constantly striving to better what we have already done, to raise the bar, to take another step forward in our passion/profession.
 
The previous time I visited Oxbow Bend, Grand Teton National Park, was convenient, but not so well-timed for photography. It was mid-summer (not bad in itself). The sun was high and the leaves were green. The sky was forest fire-hazy. While my cameras and lenses were the best-available at the time, they were not as good as those I'm using today. While I was happy with my results at the time, they do not hold nearly as much value to me from a photographical perspective now.
 
Late this past year, I was blessed with a revisit to this very photogenic location. And, the results from my revisit were much higher grade in many accounts. Though I'm missing the moose that was in my first set of images (it was so small in the frame that I didn't know it was even there until reviewing the images back at home), but my late summer (photographer's fall in this location), early morning timing for the second visit to Oxbow Bend combined with my now-current camera gear and 9-year-upgraded skillset turned in much better results this time around. I'm sharing one of my favorites with you today.
 
70mm  f/8.0  1/100s  ISO 100
Schwabacher Landing, Grand Teton National Park Schwabacher Landing, Grand Teton National Park
Schwabacher Landing is without a doubt one of my favorite places in Grand Teton National Park. This picture was taken just as the rising sun lit up the mountain tops. This location is an easy, short walk from a small parking lot. It was recommended to me that I arrive very early to beat the crowd - to get a prime shooting location before sunrise. Getting there early enough to see the sunrise was the only requirement I found this mid-August weekend day as there were only a couple of other friendly photographers joining me.
 
24mm  f/11.0  1/8s  ISO 100
Fall Morning at Schwabachers Landing, Grand Teton National Park Fall Morning at Schwabachers Landing, Grand Teton National Park
Schwabachers Landing in Grand Teton National Park is a huge favorite location for photographers, especially in the fall. There is good reason for this of course. The Grand Teton range is incredible from many vantage points, but with several beaver ponds making reflections possible, Schwabachers Landing offers twice as many mountain peaks in images captured here.
 
I captured many composition variations here, but in this simple example, I wanted to emphasize the distant mountains and the 53mm focal length was effective at keeping them large in the frame. Though wide angle focal lengths also created nice compositions here, the mountain peaks were rendered small and much less significant.
 
The angle of the mid-September morning light is rather flat on this mountain range, but I think that the color of the trees more than offsets this time-of-the-year deficiency.
 
53mm  f/8.0  1/160s  ISO 100
Inside The Chapel of the Transfiguration, Grand Teton National Park Inside The Chapel of the Transfiguration, Grand Teton National Park
The Chapel of the Transfiguration is a little chapel with big character. And, the view out the window of this Grand Teton National Park place of worship is surely distracting to anyone attending a service here.
 
After waiting for a clear moment in the (relatively light) crowds, I squarely-positioned (or nearly so in a questionably-square old building) the Canon EOS 5Ds R-mounted Canon EF 16-35mm f/4L IS USM Lens in front of the window and captured an exposure-bracketed set of images ready for manual HDR processing.
 
With the mildly-complicated post-processing work completed, the dark building still seems like a dark space but the easily-visible log lines lead the viewer's eyes to the centerpiece, the window-framed Grand Teton mountain range fronted by fall-color glory and a silhouetted cross.
 
This camera and lens have been one of my most-used combinations since they were released. The image quality they deliver is simply impressive and the range of angles of view provided by 16-35mm are extremely useful, especially for landscape photography (or perhaps interior architecture photography in this case?).
 
16mm  f/11.0  .5s  ISO 100
Signal Mountain, Oxbow Bend, Grand Teton National Park Signal Mountain, Oxbow Bend, Grand Teton National Park
Have you heard of Oxbow Bend in Grand Teton National Park? That answer is most likely "Yes!" Oxbow Bend is a mandatory bucket list location for any photographer remotely interested in capturing landscapes. Aside from being incredibly beautiful with a potentially huge mirror surface in the foreground waiting double that beauty and create vertical symmetry, you can drive up to this large area alongside the Snake River and photograph with little or even no hiking involved. The imagery to effort ratio is potentially huge.
 
This is not the first image I shared from this morning and place (and I have more favorites yet unshared). But, with ever-changing cloud patterns, new scenes were continuously presented and a huge range of focal lengths could be utilized to isolate only what is considered positive to the composition. On that latter note, at the time this image was captured, I was having trouble determining what should be isolated. After capturing a variety of images, I opted for a 2-image panorama framed to include the most of the amazingness in one pair of images. I figured that, after creating the higher resolution stitched image, I could later decide what the final crop should be.
 
24mm  f/8.0  1/80s  ISO 100
Jackson Lake, Grand Teton National Park Jackson Lake, Grand Teton National Park
The sun sets over Mount Moran and Jackson Lake in Grand Teton National Park. This perspective is from the lake shore near Jackson Lake Lodge. Early morning is the best time of the day to photography the Teton mountain range, but the mountains provide a great foreground to the setting sun. I removed some boats from the lake for a more natural end result.
 
24mm  f/10.0  1/160s  ISO 100
Bison and Mormon Row Barn, Grand Teton National Park Bison and Mormon Row Barn, Grand Teton National Park
Bison are very large (up to 2,000 lbs) and can be very dangerous. I was not far away from this heard of about 50 Bison, but there was a barbed wire fence between us. I was comfortable with them getting as close as about 20' from me. The heard was filing through an opening in the fence about 100 yards/meters away and out into a vast Sage Brush plain. I was busy shooting and enjoying nature when I heard a deep grunt close behind me. I turned to see a large bull coming around my SUV. I quickly went the other way and jumped in the passenger door - and shot from inside the balance of my time there.
 
In this shot, a lone bull approaches a bull tending a cow.
 
70mm  f/8.0  1/320s  ISO 160
Snake River and Teton Mountain Range Snake River and Teton Mountain Range
The Snake River presents a reflection of the beautiful mountains and clouds. The picture was taken just as the sun was reaching the foreground while leaving some areas still shaded.
 
24mm  f/13.0  1/30s  ISO 100
Grand Teton Mountain Peak Grand Teton Mountain Peak
This shot was taken from a mountain peak across Amphitheatre Lake from Grand Teton. A circular polarizer was used for this shot.
 
105mm  f/9.0  1/50s  ISO 100
Grand Teton Mountain Range Panoramic Grand Teton Mountain Range Panoramic
This panoramic image is the result of stitching many single frames together in Photoshop.
 
24mm  f/11.0  1/60s  ISO 100
Surprise Lake, Grand Teton National Park Surprise Lake, Grand Teton National Park
A circular polarizer filter helps darken the sky over Jackson Hole - the background of this picture of Surprise Lake. This is a glacier-formed, very round lake near the top of the Grand Teton mountain range.
 
28mm  f/8.0  1/60s  ISO 100
Sunrise at Schwabacher Landing, Grand Teton National Park Sunrise at Schwabacher Landing, Grand Teton National Park
A rising sun lights the mountain in pink. Dramatic clouds help make the picture. The sky exposure was different than the water- Photoshop was used to create the final image.
 
24mm  f/11.0  1/10s  ISO 100
Sunset over Mount Moran, Grand Teton National Park Sunset over Mount Moran, Grand Teton National Park
The setting sun outlines Mount Moran across Jackson Lake near Jackson Lake Lodge.
 
84mm  f/9.0  1/80s  ISO 100
Alpine Glow on Grand Teton Mountain Peak Alpine Glow on Grand Teton Mountain Peak
The rising sun touches the tip of Grand Teton. This shot was taken at Schwabacher Landing in Grand Teton National Park.
 
200mm  f/11.0  1/8s  ISO 100
Grand Teton Peak and Whispy Clouds Grand Teton Peak and Whispy Clouds
The Grand Teton peak rises up well beyond the tree line. Whispy clouds add interest to the deep blue sky. A circular polarizer filter was used in this shot.
 
98mm  f/9.0  1/50s  ISO 100
Alert Pronghorn, Grand Teton National Park Alert Pronghorn, Grand Teton National Park
I love Pronghorn most because of their colors. But, they have many other great qualities. The dark, semi-heart shaped horns are one and that mohawk hair style is great.
 
600mm  f/4.0  1/2000s  ISO 2000
Base of Grand Teton Mountain Range Base of Grand Teton Mountain Range
This is the parking lot perspective of Grand Teton. Trails leading to the top wind endlessly back and forth, gradually taking the climber closer to goal.
 
I had lots of gear along on this trip, but I primarily used the Canon EOS-1Ds Mark II DSLR and the Canon EF 24-105mm f/4 L IS USM Lens in the Tetons.
 
32mm  f/11.0  1/50s  ISO 100
Old Barn on Mormon Rowe near Grand Teton National Park Old Barn on Mormon Rowe near Grand Teton National Park
A famous old barn sits off of Mormon Row, a gravel road near Grand Teton National Park. Early in the day is the best time for photographing this barn as the sun casts shade on it after mid-day.
 
80mm  f/11.0  1/60s  ISO 100
Mount Moran Picture Mount Moran Picture
Mount Moran is the prominent feature in this picture, but Jackson Lake, clouds and glaciers add to the image.
 
105mm  f/9.0  1/60s  ISO 100
Black Marmot Picture Black Marmot Picture
A Black Phase Marmot stands alert in the rocks at the top of a mountain near Amphitheatre Lake in Grand Teton National Park. It allowed a close approach and then ran directly up between the rocks you see in the top left of the picture..
 
105mm  f/5.0  1/40s  ISO 400
Morning at Schwabacher Landing, Grand Teton National Park Morning at Schwabacher Landing, Grand Teton National Park
The sun is just starting to reach the trees in the valley while the Grand Teton mountain range behind them is fully lit. A pair of ducks hunt for breakfast in the mirror-like Snake River.
 
30mm  f/11.0  1/15s  ISO 100
Jackson Lake, Wyoming Sunset Jackson Lake, Wyoming Sunset
The sun has set behind Mount Moran and its neighboring peaks behind Jackson Lake in Grand Teton National Park, Wyoming.
 
105mm  f/9.0  1/100s  ISO 100
Mountaintop View of Jackson Hole, Wyoming Mountaintop View of Jackson Hole, Wyoming
Bradley and Taggart Lakes can be seen far below in the Jackson Hole valley. A crecent moon can be seen between the clouds in the upper right.
 
This view is from near the peak of the mountain many hundreds of feet above Amphitheatre Lake in the Teton mountain range. I love to share my experiences with the family and this was one such occasion. However, pulling or carrying my 5 year old daughter for 5 miles up the mountain prevented me from taking extra gear. Since I was tripod-less, image stabilization was really helpful up here. The hand-held shutter speed is not anything special until you understand the extremely high wind speeds at this elevation.
 
24mm  f/10.0  1/60s  ISO 100
Pronghorn, Grand Teton National Park Pronghorn, Grand Teton National Park
Pronghorn were on my to-photograph list for my time in Grand Teton National Park and I had some success in this pursuit.
 
Upon arriving at the park, I made a scouting drive around the main loop and then drove through Antelope Flats where a large heard of bison roams and pronghorn are frequently found. In this last section of the drive, a line of short trees in brilliant red and orange fall colors caught my attention. I made a mental note about working these trees into an image, perhaps as a background to a bison or pronghorn portrait.
 
The next morning, the buck pictured here and I spent some quality time together. It didn't care that I was there and I was mostly moving away from it to maintain my distance. The pronghorn was walking and feeding in what appeared to be a random route. After about 30 minutes and over a mile covered, this buck crossed the road and unbelievably walked right up into the beautiful red and orange trees I had been admiring. I was of course seeing what could unfold in front of me and made sure that I was in place to capture the visualized image.
 
Pronghorn are most typically seen with grass and sage surroundings, so capturing one in front of fall foliage was unique for me.
 
The Canon EOS 5D Mark IV performed splendidly behind the EF 600mm f/4L IS II USM Lens and another favorite image joined my collection.
 
The 5D IV's increased resolution over the 5D III was appreciated in this situation. While the entire frame looked nice, I decided that modest cropping would greater-emphasize the beautifully colored animal.
 
I very much appreciated the 5D IV's fast 7 fps high speed continuous frame rate as I was able to select an image with both good body position and good alignment with the background. The animal was in constant motion, so AI Servo AF mode was selected with a single point selected and held on the eye or base of the horns. I rapidly changed the selected AF point to match the animal's current position (this is often a challenge).
 
With heavy cloud cover yielding a varying amount of light, a relatively neutral-brightness subject/scene and my focus being on getting a well-framed shot, I gave the camera the job of determining the brightness. Although I utilized the camera's AE capabilities, I still used manual mode so that I could choose the aperture (wide open f/4 for maximum light and background blur) and shutter speed (I adjusted this as needed to keep the subject sharp). The Auto ISO setting took care of the brightness (I adjusted this image +.13 EV in post).
 
Note that I was using a monopod instead of a tripod in this situation due to the faster setup and height adjustment it afforded as I worked fast while maintaining good position with the pronghorn. The downside of this strategy was the challenge of keeping the animal in the frame due to very strong winds I was shooting in. This large lens catches a lot of wind.
 
A tripod would have better kept the lens in place and made the job easier (if I could have set it up in time). However, this better support would not have resolved the issue as the tripod head would not have been tightened due to the animal being in constant motion and the wind would have remained an issue. Removing the large lens hood could have helped greatly, but I was shooting in rain some of the time and even the huge hood was not deep enough to keep all of the rain off of the front lens element.
 
Grand Teton National Park is a very popular photo destination – for more than one good reason. The wildlife is one of those reasons and I was able to check off the pronghorn line item on my to-photograph list during this trip.
 
600mm  f/4.0  1/1000s  ISO 320
Amazed Pronghorn, Grand Teton National Park Amazed Pronghorn, Grand Teton National Park
The obvious reason to use high speed burst mode to photograph wildlife is because wildlife moves and you want to capture the ideal body position and behavior. Use your fastest frame rate to capture the frame with the perfect body/angle/leg/wing positions against the best possible background. When the wildlife is in fast action, that motion is obvious and further discussion is probably not warranted. But, the motion can be more subtle – I'll call it "micro-motion" – and micro-position differences matter.
 
One of the most frequent subtle wildlife motion issues I encounter is blinking and birds especially cause me grief in this regard. The bird may appear completely motionless, allowing you to take your time to set up for and capture the perfect shot. The image looks great on the LCD, but when you get home and load the images, you realize that the nictitating membrane is covering half of the eye (this is not technically "blinking", but the problem is similar). While this issue can sometimes be remedied in post processing, correction is challenging and time consuming even on the easiest repairs. If 5 or 10 images of the same scene had been captured in rapid succession, the odds are very good that at least one of them would have had a clear eye.
 
Another issue I find problematic is animals chewing their cud. Even when I'm aware that this is happening, it can be quite challenging to capture a single frame without the animal's fast-moving lower jaw in a strange and usually detracting position. Ear position is a similar issue. Certain ear positions are often preferred and since these features are often moving, a burst can help capture the optimal positions.
 
Sometimes it only takes a subtle movement to make a big difference in the desired catchlight in the subject's eye. One of the frames captured in a burst may have this key difference, giving that particular image the extra sparkle needed for greatness.
 
Did you ever have an image degraded by something passing through the frame? This is often a photobombing insect or bird that shows up at just the wrong time. While these can sometimes be removed in post processing, that is not always the case and even if removal is possible, the process may prove time consuming. Grasses blow in light wind, passing into out of ideal positions. Leaves on trees do the same. A frame burst may contain an image void of the undesired objects.
 
Speaking of the blowing, most wildlife photography takes place outdoors and there are many factors out here trying to reduce your image sharpness, including wind. Not every frame may be sharp, but an increased number of images brings an increased chance that sharp images are in the mix.
 
On occasion, I find that I need to merge two or more images from a burst to get the ideal subject framing. Especially when using a long telephoto lens not locked down on a tripod, I often get a modest variety of subject framing in a burst set. While the differences may not be big, I sometimes find it optimal to add a side of one frame to another image to provide the ideal framing or to expand the frame. This is an especially good option to use if the focal length is too long and the scene is being cropped too tightly.
 
Even when not moving fast, wildlife is often moving. Capturing just the right point in time can make a big difference in wildlife imagery and using the camera's burst mode may be all that is necessary to bump your image quality up a notch.
 
In this regard, a camera with a faster frame rate has an advantage over those with a slower rate. The Canon EOS 5D Mark IV used for this capture has a faster frame rate than any 5-Series predecessor, but the Canon EOS-1D X Mark II and Canon EOS 7D Mark II make the 5D IV seem slow.
 
Using a high frame rate-capable camera in high speed burst mode greatly increases the volume of photos captured. Be ready for this and be heavy handed when selecting down the keepers. It is OK to delete good images (and far better to have too many good images than missing the optimal one). You probably can't use them all – keep only the best.
 
Humor has a value in wildlife imagery and a high speed burst rate is advantageous for capturing humor. I photographed this pronghorn having a sit-down dinner (it was eating the green plant in front of it) in Grand Teton National Park in very heavy wind. This wind was so strong that I was having trouble keeping the animal in the 600mm frame. Yes, I had the hood on the lens, increasing the wind load, but it was raining lightly and rain was hitting the front lens element even with this giant hood in place. By using burst mode, I came away with a very satisfying set of sharp, well-framed keepers from this encounter, including this humorous one.
 
I can still hear him saying "Is that a Canon EF 600mm f/4L IS II Lens?!"
 
600mm  f/4.0  1/1600s  ISO 1600
Grand Teton Reflecting in Snake River Grand Teton Reflecting in Snake River
A couple of ducks feed in a slow part of the Snake River in Wyoming. The slow water mirrors the amazingly beautiful Grand Teton mountain and the clouds passing over it.
 
45mm  f/11.0  1/40s  ISO 100
Daybreak at Schwabacher Landing, Grand Teton National Park Daybreak at Schwabacher Landing, Grand Teton National Park
As I've said elsewhere, this is one of my favorite locations in Grand Teton National Park. As long as weather conditions cooperate, it is hard to not get great pictures here.
 
38mm  f/11.0  1/20s  ISO 100
Amphitheatre Lake Picture Amphitheatre Lake Picture
The reward for a very long climb is this view of Amphitheatre Lake and all of Jackson Hole below. Weather conditions at this altitude were very different from those at the bottom of the mountain.
 
24mm  f/10.0  1/60s  ISO 100
Morning in the Tetons Morning in the Tetons
The sun rises to a partly cloudy sky in the Tetons. A large evergreen casts a long shadow across the center this amazing landscape.
 
28mm  f/13.0  1/30s  ISO 100
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