Another early morning, another bad pot of coffee. Regardless, we're out the door by 6:15 with our destination just 10 minutes up the road: Courtyard of the Patriarchs.
I was set to scramble down to the river for what I thought would be some nice valley-and-river sunrise shots, but Dan gently suggested that we head up the hill behind us for a grander view of the Patriarchs. And, yes: he was right. A short asphalt 'trail' leads to a viewpoint -- already manned by a photographer -- so we clambered up higher and higher. We finally reached a glorious spot probably 100 meters higher than the road, unobstructed by trees (no mean feat) with almost a 180° view of the ramparts in front of us. We had again arrived in time to capture the pre-dawn glow I so like. 
Soon the sun's rays hit the top of the cliffs and how quickly the light changed. From a soft, warm, orange-ish fuzz to bright yellow and quickly (too quickly!) -- once the shadow curtain has completely fallen -- to a harsh white light. I capture the progression of the sun's path on the far walls in both color and IR, before we and the dawn quit.
Down the hill and to the Virgin River we go, as I originally wanted. Good thing that Dan suggested uphill for the sunrise: the view of the Patriarchs was significantly blocked from the river side. I capture a few nice reflections in the rapidly flowing river and manage to lose one of my tripod's rubber foots in the soft, enveloping mud. (Note to tripod manufacturers: do something about this. Do I have to super glue all of those rubber buggers?)
Next stops, the ranger station to pick up a permit for The Subway and then some real coffee again at Mean Bean Coffee House. The Subway has become one of those iconic locations that we so love to discovery and then love to death. What Delicate Arch is to Arches National Park, The Subway is becoming to Zion, or so I submit. In its favor, it is a slog of a hike from the Left Fork trail head, as I find our fairly quickly. This and the permitting system which limits the number of people in the canyon on a daily basis, prevents hoards of casual hikers from cluttering up the view and experience. A short 15 minutes from the trailhead we start the steep 250 meter descent to the Left Fork of North Creek. The guidebooks suggest you wander upstream looking for trails on either side of the fortunately low creek. We do this and it is a slow 4 mile hike to the first set of miniature falls that mark the near-beginning of The Subway proper.
The creek itself is beautiful with high sandstone walls on either side that keep us almost perpetually in the shade. We see occasion rockfalls that look quite recent and I am reminded how nothing is static; that this landscape is dynamic, just on a scale difficult for us to appreciate. We encounter a fellow explorer/photographer at the first set of small cascading falls. Up until this point the solitude was sublime. 
Proceeding a bit further upstream we encounter another photographer who has lugged a heavy 8 x 10 large format camera and has it positioned with his almost equally heavy tripod over a joint in the sandstone that is overflowing with rushing water.
Around the corner lies The Subway, certainly one of the most amazing canyons I have seen. The approach to the narrow funnel is long and I can only wonder at the force of water that courses through during flash floods. 
Dan tells me that the log in in this image was further upstream the last time he was here.
The pools coupled with the strangely warm glow of the Subway itself make extremely compelling photographic subjects. 
I spend well over an hour within a 10 meter square area composing and shooting long exposures, trying to capture the unique nature of this space. The rock is wet, slick and tricky to walk on 
and soon my feet are chilled to the bone (as they say) and I need to seek the sun of the outer canyon while Dan works his 4 x 5. The day .jpg)
grows long and based on Dan's previous experience (best left to him to tell) and advice, you don't want to be caught in the canyon after dusk, so we begin to head downstream.
Some of the cascades are still partially in the sun and make interesting visual compositions but the dappled nature of the water and rock don't translate well via a camera.
However, the sun continues to drop and we reach a stretch of shaded creek that is absolutely gorgeous and amazingly rich with copper tones. Dan has to practically drag me away from the scenes and the logical part of my brain says "go, fly with the light!" or some such poetic nonsense.
The slog out is long but our way is helped by the discovery that the main section of the unmaintained trail stays pretty much on the right-side (faced downstream) of the creek and so our journey is quicker than our way in. Nonetheless, the sun has already set by the time we reach the base of the cliffs and the steep climb out of the canyon. Up, up, up we go.
I pass a young man sitting on a rock who asks for water (which I give, having drank little of it myself) and wonders aloud whether he can make it. I tell him that he is less than 45 minutes from the trailhead and victory will surely be his soon. (The drill sergeant in me wants to add: "if you stop complaining, get off yer arse and start putting one foot in front of the other!" - but, I refrain.)
Once on top, the last 1/2 hour goes quickly but not without a wee bit of confusion. In the gloom of post-dusk, my night-adjusted eyes can follow the trail through the junipers with no problem until I reach a wash where tracks go in every which direction. I can't really recall the wash when we hiked in some 6 hours earlier, but I make a decision to continue out of the wash on the now faint and fading trail, which of course turns out to be the correct decision. At the trailhead, wishing for a beer (ALWAYS pack a cooler with beer for trail's end, dude!) I watch the moonrise and capture a last night shot.
Dan's knee is killing him (2 weeks shy of surgery) and so it's an early night and dinner back at the motel restaurant, the Switchback Grill. Not bad at all and the beer is cold.
The time change (fall back!) contributed to the early morning freshness I was feeling when the alarm rang at 5:15 (O'dark-thirty!). The terrible in-room coffee left the proverbial bitter taste in my mouth but did the trick, further contributing to my wakefulness. (Note to hotels: not all Americans prefer the stale, acrid but thin brew you so quaintly label Coffee!)
Out the door at 6:15, the goal was to capture the early light and sunrise on the Towers of the Virgin, just behind the old Visitor's Center (now administrative offices and a museum). Dan warned me that other photographers would likely be there and he was right. The meadow was large and the tripodists but a handful, so no one appeared in anyone else's viewfinder, that I was aware of anyway.
The pre-dawn light was smooth, soft and cast a warm glow on the mammoth rock face before us. I'm always amazed at the amount of light that can be gathered before the sun rises or after it has set. Don't wait for the sunbeams...the light is already there! As evidenced by this 4 second exposure.
In fact, though the sun elicited an a-ha effect when finally its rays shone on the sandstone ramparts, the quiet, even early light is what I favor. Nonetheless, as the light curtain continued to crawl down the canyon walls we kept shooting, documenting the growing dramatic contrast between bright, orange-ish cliffs and the dark foreground.
I process most of these shots to reveal some foreground detail, so contrast is dialed back a bit. Infrared images, however, have no such latitude. Deep, inky blacks and brightly lit rock produce chiaroscuro drama unrivaled in color.
Once the orange light began turning to a more prosaic white, we packed up our gear and headed to the Mean Bean Coffee House for some REAL coffee and an apricot scone.Replenished our next photo stop was back up the canyon, where the river makes a large horseshoe around Angel's Landing. Called the Big Bend, the Virgin has cut a graceful river bottom ripe with cottonwoods. Longish exposures and the use of HDR photography allow me to capture bright, high cliffs and their reflections in the smoothly flowing but dark waters. 
We find an old uprooted tree that has much character. These are the kinds of "props" that you find, without knowing that you are looking for them. 
Morning moves on and so must we: to the Narrows we go...Wandering up the short Riverside Walk -- the 'civilized' stroll path that leads to the Narrows proper -- we look in vain for a stray red maple or two. Instead we stop to photograph a rich -- in texture and contrast -- weeping wall.
This is perfect fodder for B&W photography and Dan begins the arduous, 20 minute process of setting up his 4x5 field camera for a shot, or perhaps two. He draws many comments from passersby and being the patient and pleasant guy that he is, happily answers questions that I'm sure he's answered countless times before. As he is fielding questions and setting up for his shot (or two, mayhaps), I blithely click away with both my Pentax K20D DSLR and my infrared-sensitive Fuji IS-1. Both smallish cameras, I feel like the little kid with a cheap plastic toy truck standing next to his older sibling with his solid die-cast monster Tonka dump truck. A slight feeling of inadequacy that would be called. 
I get over it and am relatively happy with a shot. Just before the Narrows we find a wonderful stretch of the river that offers multiple opportunities to capture water crashing through a rollicking tumble of boulders. It's amazing how the proverbial time flies: we easily spend 45 minutes in a 15 square meter space shooting the river from different angles and directions. 
Non-photographers may not "get it," (though certainly their spouses have had to put up with it!), but if the light is good (to be defined at the time and place), hours can be spent in one relatively small space exploring lines, shapes, colors and contrasts. The intention is not to explore the confines of the Narrows-- we'll leave that for another day, another trip. Instead, after a quick lunch, we back to what I now call the Glowing Wall ravine, off of the road to Checkerboard Mesa. Once there, Dan has in mind a series of B&W compositions with his 4x5 of a large dead tree. That occupies him for the better part of an hour as I wander up 
above the ravine and 
look for lines, angles and shapes.
Since we know what to expect now for sunset: glorious dying sun colors and the silver dollar orb of a luminous full moon, by later afternoon we are again set up in 'our' Checkerboard Mesa spot. 
In time to catch some glowing light reflecting off of the etched sandstone edifices...just before the moon begins its westward rise and journey.We are further rewarded when shortly Earth's satellite begins its arc. 
I quickly realize that my Sigma 18-50mm is not going to yield the images I want and grab my Pentax K10D which I fortuitously had pre-mounted with my Sigma 50-500mm on a separate tripod (really, you can never have too many camera bodies, lenses or tripods!)
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The moon is stunning in its size and clarity and I shoot well past the fading golden glow.
We are both looking forward to that first beer and meal, whatever it may be. But before heading back into Springdale, I convince Dan to pull off the road just past Canyon Junction so that we can do some moon-washed photography. Never having done this before, I help Dan with some settings on his camera (always good to help a pro!), and we take some shots of canyon walls just before the moon crests over the east ridge 
(such as this purplish 30-second exposure) followed by some shots of the west walls when the moon is finally bathing them in its reflected light and the stars are shining in the deepening skies. 
The results are always stunning and Dan is amazed that his sensor can yield such images, in such diffused light.
It's finally time for that aforementioned beer and tasty dinner at the top-notch (but not terribly expensive) Flangan's Inn & Restaurant. It's been a long, but rewarding day. I don't know it yet, but tomorrow will be even richer.
It had been 27 years since I last gazed firsthand at the towering sandstone monoliths and ramparts that define our 16th National Park, Zion. Too long. 
Invited by Dan Hendriksen -- a local semi-professional photographer who primarily shoots large-format (4 x 5) -- to accompany him on his yearly Fall colors trip to canyons and plateaus of the Virgin River, I jumped at the opportunity.
The weather portended to be optimal for touring and hiking (cool mornings, warm afternoons, no rain), if imperfect for shooting (we photographers love glorious, billowy clouds and indirect sunlight!). We arrived Halloween Day, after a seemingly short 4 hour drive from Salt Lake, in the mid-afternoon and immediately headed up Scenic Drive to the end of the road, at the Temple of Sinawava, and the entrance to the famed Narrows of the Virgin River. Our goal was to shoot lots of Fall foliage: the brilliant flame-reds of the slope-side maples and the shimmery, bright yellows of the river bottom cottonwoods. We got half the equation: most of the maples had already dropped their leaves and we were lefty with a smattering of burgundy here and there and many yellow plus green-to-yellow transitional cottonwoods. Dan was severely disappointed and though I knew not exactly what I was missing (I was last here in summer: the height of green), the occasional maple that had not lost all gave me a teasing taste of what it must have been like, several weeks before.
Photographers have no more control over the environment than other mortals, so we adjusted and began shooting the river as it was. The light was leaving the deepening canyon but some nice shots could still be had. With some foresight, I had brought my below-the-knee boots that I use on muddy days out at the Great Salt Lake. Wearing these boots, the water in the river was not so deep that I could not -- with some judicious foot placement -- wade into the river for a few waters' eye view photos.
With the tight canyon coils now in ever-lengthening shadow, Dan decided to take us up the Zion-Mount Carmel highway and into the light of a side ravine off that road and on the way to Checkerboard Mesa. In this cleft we found a small patch of red maples in front of an incredibly glowing, high sandstone wall. 
The reflected late afternoon sunlight appeared to gave the sheer, brick-red sandstone a warmth from within. Hard to capture with a camera it was a treat nonetheless to gaze at.
Easier to photograph were the few deep pools with the high sandstone buttresses still in the sun, reflecting in the dark pools. Our last photo stop of the day was off the 
highway and in front of the aforementioned Checkerboard Mesa. We scrambled to catch the dying light AND the rising of the almost-full moon. 
Though there were no clouds to give us a glorious burst of color, we committed to arriving at this spot again earlier the next night to better prepare and capture the dual beauties of sunset and moonrise.
After checking in at the Best Western Canyonlands (recommended: quiet, convenient and reasonable) and a nice Mexican dinner at Oscar's (also recommended...the flautas were quite tasty) washed down with the local suds (Zion Brewery), we were ready for a night's sleep and an early sunrise at the Towers of the Virgin.
In the past couple of months I've been asked, "My computer is getting long-in-the-tooth (well, really not many people use that expression much anymore, but you know what I mean) and I was wondering if I should pick up one of those new ultra-light laptops...wadda you think?" I don't follow all the techno-trends and am certainly not an early adopter of new gizmos for the sake of being an early adopter (evidence: I was late to the CD revolution and I still have a boat-load of vinyl and cassettes; I still own VHS tapes -- sorry no betamax -- in addition to my extensive DVD collection, and have no intention of jumping to BlueRay anytime in the foreseeable future; and while I have a BlackBerry and two iPods, I have no interest in an iPhone or iTouch, etc., etc.). I prefer to move to new and/or improved technology devices when there is a demonstrable need to make such a move. That is why I recently picked up a Netbook even though I have a perfectly fine MacBook Pro.
I love my MacBook. With a 300GB hard drive loading with graphics' apps, Windows via Parallels, the Office suite, etc. and 4GB of RAM powering a dual-core 2.4GHz Intel processor, it has plenty of umph to compete with my Windows desktop computer. (True, it "only" has the 15" screen, but I didn't want to buy all new carrying bags and just try opening one of the 17" laptops in coach class!) The downside is that battery life is poor and it weighs over 5 pounds. Drag a couple of extra batteries along and we are now around 9lbs! The final limitation is size. Open that beautiful 1440 x 900 pixel resolution screen in coach class and all is fine until the gent in front of you puts his seat back. If you happen to be "fortunate" enough to fly in one of the upgraded planes that have TV screens on the back of every seat, you have lost several more precious inches. I briefly thought of adding a MacBook Air to my computing arsenal. Elegant but its small hard drive and dearth of ports coupled with its high price make it a non-starter make for me. Then I heard about a minor phenom in the computing world called Netbooks. Really, this is nothing new: people have been downsizing laptops for decades. The problem was that you always gave up something essential when going small: screen size, screen resolution, keyboard, trackpad, power, flexibility, versatility, etc. And, frankly, that's still the case. The big difference is that our computing needs and purchasing expectations are now more in sync with each other.
What dost that mean? The Netbook concept fills the need (for some) to have a light-weight computer for travel that can act as foundation for three activities: email, browsing the Internet, and light-duty work. It is not suitable for processor intensive computing, watching movies (no internal DVD drive and though you can buy an external drive, generally the anemic processor found in most Netbooks cannot play the movie seamlessly) and gaming. It is a great second computer for the person on-the-go. It is a terrible choice for a primary computer. Match your needs with the true expectations for the device. My needs were a platform that was light and compact, with ample storage space for image files. I wanted long battery life without dragging along multiple batteries and I needed to be able to open it in coach class, where I now consistently find myself when I flying overseas. It had to be sufficiently powerful enough (coupled with enough RAM) to open and run PhotoShop for the occasional image I might want to edit, but I did not expect to engage in any heavy-duty processing of multiple images, like I do on either my desktop or my MacBook Pro. The screen resolution had to sufficiently large enough that when I opened up a RAW file in Adobe Camera Raw I could access the controls without scrolling. And, it had to have video, audio and multiple USB ports. Finally, it needed to be less than $500.
As of this writing really only one netbook fit those needs: the Gateway (yes, GATEWAY!) LT3103u (catchy, huh?). Sporting a 11.6" screen coupled with HD resolution, 2GB Memory, an AMD Athlon 64 Processor and a 250GB hard drive. Battery life? On a return trip from Slovenia, I was able to use this little guy for almost 2/3's of a 10.5 hour flight from Paris to SLC. I was pretty amazed by that. I just checked on the Best Buy site and can no longer find that model. Yes, I did buy it in August but really that is only 2 months ago. My how time flys...
The chase: Netbooks are not for primary computers, but potentially perfect if you know what you are going to use it for. This one -- while certainly slower than my MacBook -- will be in my bag when venturing overseas.
If you plan on shooting a range of subjects from landscapes to intimate village scenes, you will obviously need an equally wide range of focal lengths. I usually cover from 12-200mm with three relatively fast lenses: a 12-24mm f/4.5-5.6, a 18-50mm f/2.8 and a 70-200mm f/2.8, all Sigma lenses. Fast is good. Slow lenses are lighter but suffer not only in their poorer light gathering capabilities but usually the optics are not of the same quality as an equal focal length sized fast lens. Do you really need a sub f/3.5 lens? Again, if you are not planning on shooting a variety of subjects, then perhaps not. But I have often found that the extra stop or two, coupled with image stabilization and medium-to-high ISO will land you acceptable shots in those dim churches and dusky dark labyrinthial alley ways of ancient villages. What about primes? With some exceptions (below paragraph) leave them home. Great for one mode of shooting, they are too limited for most travel photography.
The above is my basic and essential lens kit. With these 3 lenses I will usually shoot around 90+% of a trip’s worth of images. With these lens, I could easily and happily “get by” but instead I typically weigh myself down a bit more. Depending upon my destination, I may pack a variety of special purpose glass. In this category I would include fisheyes. My Sigma 15mm f/2.8 yields great architectural effects and is a lot of fun in dense forests. Rounding out my “essential plus” lens kit I will often have a macro -- in my case a Sigma 105mm f/2.8 -- and more recently I also pack a Lensbaby 3G selective focus lens. All three of these lenses lend themselves to pretty specialized types of shooting, so more often than not they sit in my hotel room and only come out to play when I am in the mode for some extra creative (okay, some might say gimmicky) photography. Is it worth bringing the extra weight and bulk for a relatively small percentage of images? Perhaps not, but they are fun lens in their unique ways and sometimes that overrules the more prosaic of concerns like comfort. However, for future trips where mobility is essential (think a train ride to Lhasa), these will be the first three to stay home.
In an entirely different class, on a few trips I have lugged one of two super zooms I own. Either a heavy Sigma 50-500mm f/4-6.3 or a lighter (but still massive) Sigma 170-500mm f/5-6.3. The range of both lens is exceptional: both in terms of sheer reach and in terms of limited subject applicability. One can also imagine that the weight/size of these lenses exact a comfortable-carrying penalty that further limits their consideration for trips, and you would be correct. Finally, lenses of this size require a very rigid tripod foundation (more on that later) for blur-free images. So, these big boys only travel overseas when my research tells me that there are going to be some very good photo ops for them. Wildlife is obvious -- such as these extreme close-ups of puffins in Iceland -- but less intuitive may be the capture of architectural elements such as gargoyles on the St. Vitus cathedral in Prague.
Speaking of telephotos, a word on teleconverters. Love the concept: a lightweight and compact method for gaining between 50% and 100% more focal length. Downside? Expect not only a loss in available light but more importantly you will take a hit in image quality. Notwithstanding this, I currently always pack a 2x teleconverter on my trips. It is rarely used, but it is so compact that I can bring it and be assured of the extra focal length with little penalty to my bag (or back). Ideally, I would love to find a fast (defined as <=f/3.5) 100-300mm (or even better 100-400mm) and leave the teleconverter AND my 80-200mm f/2.8 home.
Bodies? I pack two DSLRs: currently the 14MP Pentax K20 and the older 10MP Pentax K10. I’m Boy Scoutesque in always being prepared, so the K10 acts as a spare in case of damage to my primary shooter, the K20, or -- worse case scenario -- in case of loss, theft or otherwise. (This scenario actually played out -- unfortunately -- in southern France where our car was broken into and I lost approx $2000 in camera gear. The upside was that a) I had a spare and a couple of lens with me, b) I lost only one roll of exposed film and c) it finally convinced me to migrate to digital.) However, the 2nd body doesn’t always sit lonely in the hotel room. Often I will mount another lens and go armed into the streets of a mediaeval village with a super wide zoom (say, the 12-24mm) and my 80-200mm. This allows me to easily and quickly capture a wide variety of scenes and shots without having to change lenses. I also pack two other cameras. I do a lot of infrared digital photography and have recently converted an older Pentax DSLR (the *istDS) to an IR-only camera, courtesy of Spencer’s Camera. Subject of a future post, suffice it to say now, that this camera is my black & white vehicle of choice, so it travels with me always (usually with a Sigma 28-70 f/2.8 mounted). The other camera is the only film camera I still regularly use: a Hasselblad XPan II with a 45mm f/4 lens. I shoot transparencies with this 35mm panoramic camera and scan the film which yields an incredible amount of detail.
So, there you have it…well, not quite. Add a range of neutral density filters, various polarizers, a soft-shoe mountable flash, spare cards and batteries, and now we are set, right? Almost. Ever had a dirty sensor in the field, on a trip? I certainly have and for those hopefully fairly rare occasions, I pack a small blower, the Arctic Butterfly and some sensor swaps with solution. Finally? Nope. Remember that mention of a tripod? Until recently I have packed the relatively heavy and bulky Manfrotto 440 Carbon One with a hydrostatic ball head. It’s a great carbon-fiber tripod that is incredibly sturdy but I found that -- due to its weight -- I was either leaving it home or, if it made the long voyage over an ocean, propped in the corner of my hotel room. Before this most recent trip (to Slovenia) I dropped a pretty penny for the sub 3lb. Gitzo Traveler. Wow. Unbelievably light, compact AND sturdy. For a change I found myself carrying it almost everywhere. It’s relatively unobtrusive and incredibly quick to set up, both attributes missing from the Manfrotto. Most positively, I found myself setting up for more deliberate shots, longer shots, using more of the light. Only complaint (other than the price!) is that the head is pretty weak. But at least it comes with one! I also pack the Gitzo Mountaineer monopod with a small Manfrotto ball head which at less than one pound also subs as a hiking staff. What’s left? Image storage and a good camera bag.
Like with their cameras, photographers get very personal/passionate about their bags. They also go through a lot of them trying to find the Perfect ONE. It doesn’t exist, but we try to get close to it anyway. For over 7 years I have been using Lowepro’s Rover II bag for both my local day hikes and multi-week travels. After suffering damage to a lens that was bag-checked, I now carry all cameras and lens in my Rover for my flights. Yes, all four bodies, and up to 8 lenses have been (over-)stuffed in that bag. Security invariably wants to peak, poke and prod, but once they see that I am merely a scruffy photographer with a boat load of gear, they are happy to send me on my way. (Cleaning accessories, the flash, filters, chargers, spare batteries and cards, and the tripod/monopod are well packed in checked luggage. The goal should be that if your checked luggage is mis-routed, you should be able to shoot for at least a day or two with what you have carried on.) The shoulder pads on this bag are completely packed out so I am considering the CompuRover so that I can stuff my laptop in as well (instead of packing it in a 2nd carry-on, as we currently are doing).
Image storage could and probably should be a whole post in and of itself. Did I say that I was paranoid about image loss? Do you back your images up at home (or your office, or wherever you do your photo work)? If you don't, then never mind. But if you are careful at home to ensure at least 2 copies of each image stored on separate computers/media perhaps even in different rooms or (gasp!) off site, then you should be equally diligent (read: paranoid) when traveling. For this reason, at the end of the day, I copy all images off of the media cards onto my laptop, then copy that day's worth of shooting onto an external drive. If you are REALLY paranoid, you will then physically separate that external drive so that if something happens to the laptop your drive will be safe (or vice versa). I especially do this when traveling (by whatever mode). If I had had all my exposed film in my camera bag when my car was broken into I would have lost over a week's worth of images. Gear can be replaced. What you've captured with that gear cannot.
If you have made it this far in my post, you have probably figured out why I call this: Traveling Light(er). I am not yet traveling light, in my estimation, but certainly doing better in some ways than before. It is in my nature to always want to take more gear because there may be that ONE shot that requires that ONE piece of equipment I just happened to leave home. No doubt my mind playing tricks on me and one of these days I will get it under control. Until then, I'm the guy you are stuck behind at airport security as TSA (or the overseas equivalent) proceeds to re-empty and re-run my bag for the nth time. Sorry.
It's pretty obvious that with the 21st century concerns of security constraints, weight limits, and the high incidence of lost/delayed luggage, traveling light(er) generally means traveling easier. Easy (a relative term) however, comes at a cost: making decisions about clothes (no biggie for most of us) and photo equipment (muy biggie for photographers who use anything more than a point-n-shoot or their iPhone) are two considerations that must be weighed (no pun intended).
Gone are the "glorious" days of slow travel via ship and coach with teams of porters or horses (or both) carting steamer trunks full of clothing (one must simply have a dinner jacket, shooting coat, smoking jacket, shoes and boots for every eventuality, and various caps and hats to complement every outfit!) and other sundry "necessities."
Assuming, in the 21st century, that on your travels you don’t need formal wear nor are bringing your great-grandfather’s favorite meerschaum pipe, super light-weight, synthetic quick-dry clothes can easily replace the cotton and wool wear of yore. For a two week trip, we have gone from 14 pair of underwear, 14 pairs of socks, 5 pair of pants and an equal number of shirts to essentially 3 of every category of clothing. Yes, we have to do laundry every other day or so and some hotels actually still frown on using your bathroom as a drying rack, but even more provide clotheslines and if you stay in an apartment, you’ll often find a clothes rack. Do we get tired of seeing each other wearing the same outfits? We make jokes about it but it beats schlepping those heavy bags up the stairs of medieval-era hotels.
What about guide books? Leave the pretty, glossy, picture-surfeit versions, such as Insight and Eyewitness, home. Those are fine for your initial trip research, but are heavy (glossy stock) and short on needed details. I like fact-rich guides with copiously detailed, well-drawn maps. Cadogan, Rough Guide, Blue Guide and Brandt (no order implied) are good examples of these. Generally, despite their reputation, I find the Lonely Planet Guides info-light. Both Michelin Green Guides' and Baedeker's alphabetical organization is not conducive to exploring by region and the Fodors/Frommers books are for the organized group tour crowd. There was a time not to long ago when I brought multiple guides in my burgeoning suitcase: I was more worried about the gaps than the overlaps. Now, I just perform a careful review and even though I will likely use multiple guides for my research, I bring only one book. One basic tour book that is. Since we hike a lot on our trips I often also bring specialty books with titles such as Trekking in Corsica and Walking in Sicily. There are several really good publishers of international hiking/trekking/walking guides and I count Cicerone Press, Trailblazer Guides and Rother Walking Guides among my favorites. An interesting series for those that are interested in pre-planned car touring itineraries is Thomas Cook's Signpost Guides. Finally, Sunflower Landscapes produces a hybrid series that features walks and car tours.
I also believe in having a minimal grounding in the local language, so I will always have a pocket phrase book and sometimes even a pocket dictionary. Finally, If you are driving (highly recommended for European trips, at the least), you will need a detailed road map. Rental car agency maps are terrible. The larger the scale (meaning you see more detail on the map) the more chance you will have finding that gem of a ruined castle off some isolated country road. Scale -- like many things -- is relative. For most mid-sized European countries, 1:250000 or 1:300000 should suffice. Avoid small scale maps (1:1000000) such as multi-country maps. Not only will roads be missing, but that perfect 12th century Romanesque chapel will also be mysteriously gone. As far as more detailed maps for trekking or hiking, plan on buying those super detailed maps in country.
If you are not a photographer, you are finished packing! For the rest of use, the real challenge now begins.
In Part II of this blog, I will detail what camera gear I bring and why.
Seriously...I do speak VERY little Slovene. But, I ALWAYS make an effort to learn some of the language of whatever country I visit. It isn't always easy. French, Italian, German and Japanese were a piece of cake compared to Irish, Czech, Polish, Slovak and now Slovene. I dread (from a learn-the-language perspective) visits to Turkey, Rajasthan, Bhutan and Hungary. Nonetheless, when it comes time to travel to the lands of the Magyars, Hittites and Rajas, or when I finally do set my eyes on the fabled Hidden Kingdom, you can be sure that I will also have a fist-full of phrases in the local patois. Why bother, some might ask? Three reasons, two pretty obvious and one, less apparent and more personal. Let's start with the obvious: First, I ascribe to the thought that my traveling is not a god-given right to see the world on my terms but rather a by-product of my natural curiosity to explore the world around me crossed with the fortunate set of circumstances that lead to my birth in an affluent country where such desires can be pursued. I am traveling not just as an American, but as a citizen of the world; an ambassador from my land to theirs. Would it not be the height of arrogant presumptiveness of ME to assume that those in Ljubljana speak English?! Locals really do appreciate if you make an effort to discourse (or at least ask a few questions) in their language. Not only may they be impressed (read: minor ego boost!), but more importantly, they may feel more inclined to communicate with you. Reason two (dva, as they say in Slovene): a bit of self-preservation. If I can ask, Where are the toilets, please? or Do you speak English? or Do you have red wine? travel-life can become so much satisfying, if not just plain survivable. Indeed, a base requirement for travels with Bonnie, is the obligatory "Moja žena vegetarianski." Can you imagine being a vegetarian and traveling to Germanic and (worse for her!) Slavic countries!? (Me, I eat everything, her...well, not so much.) An ambassador with self-preservation on his mind...not so difficult to understand, ja? Believe it or nay, I actually also enjoy learning other languages. (Learning…well, that perhaps may be a stretch of the verb. I don't speak fluently, but I try to speak with the proper accent and intonations. I also have difficulty understanding the natives' responses, but that's also partially a result of my creeping deafness!) I find language learning a (fun) challenge but importantly (pay attention here!)I also find it a way to gain a deeper understanding of the people and culture. Language, literature, history and geography: this is the four-legged stool upon which a greater understanding of a people sits. And, I like the view from this particular perch.
I was set to scramble down to the river for what I thought would be some nice valley-and-river sunrise shots, but Dan gently suggested that we head up the hill behind us for a grander view of the Patriarchs. And, yes: he was right. A short asphalt 'trail' leads to a viewpoint -- already manned by a photographer -- so we clambered up higher and higher. We finally reached a glorious spot probably 100 meters higher than the road, unobstructed by trees (no mean feat) with almost a 180° view of the ramparts in front of us. We had again arrived in time to capture the pre-dawn glow I so like. 
Soon the sun's rays hit the top of the cliffs and how quickly the light changed. From a soft, warm, orange-ish fuzz to bright yellow and quickly (too quickly!) -- once the shadow curtain has completely fallen -- to a harsh white light. I capture the progression of the sun's path on the far walls in both color and IR, before we and the dawn quit.
Down the hill and to the Virgin River we go, as I originally wanted. Good thing that Dan suggested uphill for the sunrise: the view of the Patriarchs was significantly blocked from the river side. I capture a few nice reflections in the rapidly flowing river and manage to lose one of my tripod's rubber foots in the soft, enveloping mud. (Note to tripod manufacturers: do something about this. Do I have to super glue all of those rubber buggers?)
The creek itself is beautiful with high sandstone walls on either side that keep us almost perpetually in the shade. We see occasion rockfalls that look quite recent and I am reminded how nothing is static; that this landscape is dynamic, just on a scale difficult for us to appreciate. We encounter a fellow explorer/photographer at the first set of small cascading falls. Up until this point the solitude was sublime. 
Proceeding a bit further upstream we encounter another photographer who has lugged a heavy 8 x 10 large format camera and has it positioned with his almost equally heavy tripod over a joint in the sandstone that is overflowing with rushing water.
Dan tells me that the log in in this image was further upstream the last time he was here.
I spend well over an hour within a 10 meter square area composing and shooting long exposures, trying to capture the unique nature of this space. The rock is wet, slick and tricky to walk on 
and soon my feet are chilled to the bone (as they say) and I need to seek the sun of the outer canyon while Dan works his 4 x 5. The day .jpg)
grows long and based on Dan's previous experience (best left to him to tell) and advice, you don't want to be caught in the canyon after dusk, so we begin to head downstream.
The slog out is long but our way is helped by the discovery that the main section of the unmaintained trail stays pretty much on the right-side (faced downstream) of the creek and so our journey is quicker than our way in. Nonetheless, the sun has already set by the time we reach the base of the cliffs and the steep climb out of the canyon. Up, up, up we go.
