We finished off Part 1 of our amazing Eastern Sierras photography tour about to head to Yosemite for the first time.

Day eight arrives and some of the group headed off for a chopper flight over the mountains before we packed up to make our way to Yosemite over the Tioga Pass. We stopped many times along the way to take advantage of the fall colours and then as we reached the gates to the park we were advised by the ranger that the park was closed and that the highway only to be treated a through road with no stopping for photographs allowed. Yeah, right! Nonsense.

We had only travelled a few minutes when we came across the first group of people stopped and it was the same all the way across. Our first images inside Yosemite were looking across a partially frozen stream to the distant mountain ranges. Wonderful!
 

We had a fantastic trip over to our huge  house at The Redwoods in Wawona, right inside Yosemite. It was a trip of continuous 'wow' moments and when we caught our first glimpse of El Capitan, Half Dome, Glacier Point and the rest of the incredible sights of Yosemite we were awestruck. Stopping at Tunnel View we photographed the iconic scene looking up the valley along with other people who were taking advantage of a very empty car park. We almost had the place to ourselves. 

Day nine and sunrise from Tunnel View was a must. We had wanted to shoot from Glacier Point but unfortunately that road was closed with locked gates barring the way. We then headed out of the park for breakfast followed by a trip to Nelder Grove to see the huge Sequoia Trees. 'Big Buck' was over 100 feet in circumference and over 2700 years old. Amazing. 

Day ten was our first venture down to the valley floor. The plan was to park up and walk in along the road but we came across a ranger manned road block that diverted us past where we had planned to go. Instead we stopped further around at a place which we would probably overlooked and were rewarded with a fantastic session with wonderful reflections. 

There had been a lot of progress with the government negotiations and there was a good chance that the park would open the next day, our last day in Yosemite as we were departing for San Francisco. We did another loop back to where the ranger was stationed to see if we could get an update but the park was still closed at that stage. The ranger was very helpful and advised us that he was the only ranger on duty and he wouldn't be moving from that spot. Basically, go for it :-)

Which we did. Sunset from Tunnel View was spectacular as the alpine light brushed the top of El Capitan. 

Day eleven and as we were having breakfast at the Wawona Lodge we received news that the park was open. Woo hoo, we  had done it again. We fueled up and headed in to Glacier Point to take in the stunning panoramic vistas. And then we down and into the valley proper for the first time. 

We had had been on the lookout for Black Bear for our entire trip and as we entered the park there he was. Our first and only bear encounter. Excitement was at an all time high so we quickly changed lenses and tried to grab a shot, along with dozens of other people. 

Although there were a lot of people in the reopened park, the numbers were nothing like what would normally be there. People we spoke to told us of huge traffic jams and long delays getting around being the norm. The government shutdown and subsequent re opening of the park on our last day there had really played into our hands. 

We spent way more time than was originally planned before heading to San Francisco. It was quite an experience arriving into San Francisco in heavy traffic and negotiating our way to the Rex Hotel in the heart of town. We made it without incident, dodging cable cars along the way. 

Day twelve and it's time to photograph the Golden  Gate bridge. We drove along the coastline first and were amazed at the birdlife nesting on the small off-shore island. Literally thousands covered the islands. We made our way to the northern end of the bridge. Someone should have told the fog Gods we were coming because there was no bridge to be seen. It was a different story on the other side though with spectacular views back to the bridge as the fog layers rolled in and out. 

 We continued our journey and went on to the huge Redwood forests of Muir Woods. These trees were immense and thankfully Muir had had the sense and foresight to lobby for their preservation many years ago. 

We took in sunset from Manon Point looking east to the Golden Gate Bridge and were rewarded with a stunning full moonrise beyond the bridge. 

As this was officially the final day of the workshop we headed into the heart of the city for a superb farewell dinner. We were told of a laneway where there were numerous restaurants to choose from and we were not disappointed. 

Day Thirteen and it's checkout day with some staying on and others leaving. I had a 5:30pm flight to LA to link up with the midnight flight back to Australia so I had time time up my sleeve. Four of us headed to the airport for a chopper flight over the Golden Gate Bridge and remarkably, as it turns out, under the Golden Gate Bridge. Stunning, amazing, wow!!!

Afterwards we made our way to the renowned fishermans wharf and Pier 39 for lunch at the Wipeout Bar. The activity on the bay was spectacular with numerous sailing boats out taking advantage of the strong breeze. And then there were the Sealions. I'd heard about the sealions in the bay coming up onto the wharf but I wasn't prepared for the sight of hundreds of them jostling for position or just lazing in the sun. 

What an incredible time we had all had. We'd been rained on in a desert at the lowest point in the USA, snowed on in a ghost town, had a rare snowfall with the fall colours still in full swing, flown under the Golden Gate Bridge  and had one of the most famous parks in the world to ourselves.  Strong new friendships had been forged as we all experienced a once in a lifetime photographic event together.  

Bring on Eastern Sierras 2015!!!!

Every day I have huge flocks of Rainbow Lorikeets come around to the garden to display their amazing colour. I love watching their antics as they hop around squabbling and working out who's the boss. Sometimes I think they all reckon they're in charge. It truly is hilarious. 

I guess, as they are always around, you tend to get a little blasé and just take them for granted. 

Sometimes, though, the camera has just got to come out to capture their amazing display. 

The light was gorgeous but failing fast so I used a little flash fill to bring out the colours of the rainbow. 

Have a great week everyone and enjoy the wonders in your garden

Guest contributor, Julie Roper, shares my philosophy of enjoying and photographing  Australia's landscape and wildlife responsibly. We trust you enjoy her enlightening article.


The Art of Shooting in the Wild 


by guest contributor - Julie Roper

Australia is a continent of wide-open spaces, from its panoramic coastlines to its outback and mountains; there is an abundance of photographic opportunities available for enthusiasts who want to capture the essence of this country’s wilderness. By following a few guidelines about shooting in the wild, you can create stunning vistas and animal portraits on your trek that will be long remembered.

Panoramas
Australia’s landscape is made for the panoramic shot, but this can be difficult to capture on film, with lenses covering up to 90 degrees, so you may find you need to take a series of photographs of your panorama and join them up to create the full effect.
In the old days, this would mean lining the shots up by hand to frame them, but now with the software available, the job is made easier for stitching together shots. You should aim to overlap your shots when you take them by up to 50 per cent so that you make sure you capture the entire subject. Shoot from left to right, so that they are in the correct order and then choose a stitching software package such as Adobe Photoshop, Double Take or Adobe Elements.
Some tips for capturing the best panoramas on your camera include shooting on manual to ensure the exposures have continuity to them. Avoid polarisers and keep the horizon near the centre of your picture so that it doesn’t curve too much.

Shooting the Outback
The Outback has been fascinating photographers for many years, with its lunar like landscape and panoramic views. Understanding this environment is important to being able to capture it successfully. The Outback can reach temperatures of 50 degrees Celsius and you and your equipment need to be vigilant in the heat. Cameras can be damaged by excessive temperatures, whilst photographers become dehydrated quickly. Preparation is the key to an Outback expedition: make sure you invest in the appropriate cover for your gear in case of any accidents and damage occurring. Your equipment is expensive and you need to protect it, particularly out in the open where it is more vulnerable and at the mercy of the environment, or where it might be dropped. Keep your camera in a bag and away from direct sunlight where possible. The dust is another major factor to consider as it can seriously damage your equipment so make sure you only take your camera out when you are shooting.
Another useful tip when shooting in the Outback is to make sure you carry enough water for your trip. A dehydrated photographer will not be thinking creatively about the next shot.
The light in the Australian Outback is remarkable and will give your photographs a unique, surreal look to them, but be careful of glare as this can destroy shots. Adjust your camera to take harsh glare into account and consider using filters to create the effect you want.

Wildlife
The key to photographing wildlife is to focus on the eyes, as this ensures you have the animal in your sights and can capture it accurately on film. A good tip is to shoot quite a few frames, pausing to refocus to make sure you iron out any errors that might show up later on. Wildlife is notoriously difficult to shoot successfully and practice definitely makes perfect. If the subject is still, the job is made easier and you might use a manual focus for a long lens. Remember that the eyes should always be the focal point to your shot and that the centre of the focus will be the most accurate part of the composition. Many photographers use a flash, which is on a low setting when they shoot wildlife pictures. This will fill in any shadows and highlight the eyes, bringing animals and birds to life on film.
There is a code of conduct that photographers should adhere to when shooting in the wild, to avoid too much stress being put on animals and birds in their natural habitats. Observe conservation laws in local areas, taking notice of restricted areas. Obtain permission if you need to gain access to private land. Birds that are nesting may be put at risk by photography and detailed knowledge of the species and their habitat should be sought before shooting takes place.
Shooting in the Australian wilderness is a rewarding experience and, by following some simple guidelines, you should be able to create some stunning photographs of this fantastic land and its wildlife.