Expose your photos correctly while climbing Mt. Rainier

When climbing Mount Rainier you will encounter conditions like you've never experienced before.  So will your camera.  There are two photographic problems and two very simple techniques that will help you mitigate them.  You will greatly improve your images when shooting on the mountain if you follow these recommendations.  Yeah!  It should be noted that I am only offering "quick and dirty" techniques in this article, that can make huge strides in your images with very little "know how."  If you are interested in pro level control, please check out our Photography Workshops on Mt. Rainier.

The first problem you will encounter is that the snow will deceive your camera's built in light meter and result in severely underexposed images.  You might have seen or taken images in the past that were taken on snow where the snow looks drab and gray, and the person whose picture you were taking is nothing but a black silhouette.  The second problem is only a problem during sunrise and sunset, BUT these are the times that are best for photography so listen up!!

Let's start with getting proper exposure when shooting in any uniformly bright environment..... like snow.  The light meter in all cameras thinks that the world is 18% gray (middle gray).  This value works well for an "average" scene, whatever that may be, but fails when the world is "really light."  This is where digital cameras make it VERY easy to compensate in a controlled way.  Each manufacturer and camera model vary, so get out the camera manual and learn these functions.  You will need to "compensate" for the camera's attempt at a proper exposure by using the exposure compensation function.  Snow should not be gray, it should be white, which is 1 to 2 stops brighter than middle gray.  The quick and dirty solution is to set the exposure compensation in the range of +1 to +1.5.

The overall effect will lighten up the snow and expose your dark subjects more accurately.

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The second issue is one of white balance.  What is white balance you ask.  In the old days you had daylight balanced film and tungsten balanced film.  If you shot under tungsten lights with daylight balanced films the pictures looked yellow.  Add fluorescent lights, sodium vapor, etc. and the mix got quite complicated.  Luckily today, no matter what the "color temperature" of the light source, you can tell your camera that white is white, and your pictures will look correct.  Most people leave their cameras set on "automatic white balance."  Depending on your camera, it can do a pretty good job, most of the time. (Especially on snow!)  The problem that arises is when you are capturing climbers at sunrise/sunset and the mountain is glowing with beautiful reds and oranges.  Your auto white balance will decide that there is a reddish color cast and correct for it.  AAAAGGGGGHHH!!.....Skillfully rendering your beautiful sunset WHITE.  The solution is simple.  Just set your automatic white balance mode to "daylight."  This is effectively the same as shooting with daylight balanced film.  You can leave your white balance set to daylight during the rest of the day too.  Just remember to switch out of "daylight white balance" for the celebratory beers in the tungsten lit bar after the climb!

The Right Camera for Climbing Mt. Rainier.

You've spent a year training to climb Mt Rainier.  You've bought the gear, hired the right guide, taken the time off work, bought the plane tickets AND you want a great new camera to capture the whole experience.  The options these days are numerous and constantly in flux.  By the time you read this article new cameras will be released and others taken out of production.  This is an exciting time to be a photographer, and your climb of Mt Rainier will no doubt provide many opportunities for dramatic images.  It was the mountain after all that led me to photography in the first place.  So, what are my recommendations?

First, let me tell you that for me image quality is paramount.  In the past this absolutely meant bringing along a digital SLR with interchangeable lenses.  These cameras have large sensors and are easy to operate even with gloves on.  They also capture RAW files for professional output.  The ability for a camera to capture RAW files is absolutely necessary if you want to produce high quality images.  There are volumes and volumes of books, as well as workshops, that focus on processing your camera's RAW output for optimum results.  Luckily there are a few "point-and-shoot" cameras available now that produce RAW files.  A camera with the ability to shoot RAW comes at a premium though.  These cameras will cost a little more than the basic point-and-shoot cameras available today.  It is worth mentioning though that you pretty much get what you pay for when it comes to cameras and camera accessories.  If you are serious about high quality images then spending as much as you are comfortable with is probably a good idea.  Even if you don't know how to work with RAW files, you can set the camera to capture regular jpeg images and RAW files simultaneously.  That way if you get "The Shot," you can have a high end printer process and work the RAW file with you for output in a professional environment.

To get a camera that captures RAW files, you will be looking at high-end point-and-shoots such as the Canon G10, or the Panasonic LX3.  The other option is to bring a Digital SLR with interchangeable lenses.  While a D-SLR will provide you with the best possible image quality, you aren't going to get that many shots if the large camera is living in your backpack.  I usually carry a D-SLR, but it is very liberating to travel light, and the new cameras that I mentioned above do a very good job.  I can't overstate the importance of bringing a camera that you can actually use.  With a high end point and shoot, you will be able to keep the camera in a jacket pocket and shoot with one hand, so that the other hand can still participate in your primary activity of the moment... CLIMBING.  As an added bonus to having it handily parked in a jacket pocket, the battery will stay warm and last quite long.

When picking a camera for the climb I would guide my purchase using these priorities... followed in parentheses with the camera that excels in that quality.

1. Does the camera produce RAW files?  (G10 or LX3)
2. Is the camera "pocketable?"  (LX3)
3. Does it have an optical viewfinder so that you can save battery power? Note that the LCD's while very good, are hard to see in very bright light and with Polarized sunglasses.  (G10)
4. Can I operate the camera with gloves on?  One hand? (G10 or LX3 with a slight upper hand to the G10)
5. Low light capabilities? For shots in the tent.. monks in monasteries on future trips!  (LX3)
6. Video?  Many of todays pocketable cameras capture pretty descent HD Video.... Why not have that too?!?  (LX3)
7. Built in lens cap? Don't want something to drop!!!  (G10)
8. Price.  (LX3)

In conclusion, I can tell you that the person with the least amount of extraneous C@#P and the lightest pack on the mountain will have more fun than the others, and today's new RAW capture point-and-shoots are just the ticket that we have been waiting for!  Have fun, climb safely, and bring back some great images!

Adam

For more information or to purchase most of the equipment that I use please visit here.

Please Visit www.MtRainierPhoto.com

You can find more information about Adam and view his images at www.AdamAngel.com.

Make sure to check out Adam's Kilimanjaro/Serengeti Photography Workshops run through International Mountain Guides.