The “Grandest” Canyon Painted by Snow
Article & Images by Todd Federico

© Todd Federico, Field Contributor
Recently, during the winter I had the opportunity to spend several days at one of the most frequently visited National Parks—The Grand Canyon. This was a great way to avoid the massive crowds that gather along the South Rim at the peak tourist season. Logistically, the Grand Canyon in the winter was easier to plan—the rooms along the rim were more readily available and I was able to get a cabin within yards of the canyon rim on short notice because there are far fewer tourists to contend with during the off-season. There is much more room to maneuver, not just along the rim, but in the stores, restaurants and historical sites such as Kolb Studio. Although some facilities, for example, the Arizona Room steakhouse and the ice cream shop (who wants ice cream in winter anyway?) were closed for the season, there is no shortage of amenities.
The snow falling on the canyon creates unique views that do not occur in most visitors’ travel photographs. The white snow contrasts the red, orange and brown tones in a complimentary fashion. There is also a symbolic contrast – snow in an area typically associated with the desert heat of Arizona. Photographically speaking, the opportunities along the South Rim in the winter seemed greater in the winter than they had when I have previously visited the area during the summer tourist season. One of the main complaints of photographers (and some visitors) when visiting the Grand Canyon is the haze that appears and hangs over the canyon during the daylight hours. The haze is created by pollution from near and not-so-near urban areas like Los Angeles. The haze makes the crystal clear photographs that appear in publications elusive to the photographer visiting the canyon with limited time. The haze is greatly reduced after thunderstorms, but the tourist/photographer may not chance upon that opportunity unless visiting during the monsoon season. In the winter, however, the better air quality and reduction of haze will produce photographs that will more closely match the clear shots that appear in books and magazines.

© Todd Federico, Field Contributor
If your winter shots are going to contain actual white snow and not turn slightly grey, you must set the automatic exposure compensation for +1 to +2. You can also spot meter on the white snow and compensate by approximately +2 stops according to the zone system. In the alternative, you can shoot in RAW and alter the exposure later. If you are like me, however, the less time spent on the computer correcting the image, the better. I prefer to get the exposure correct in camera to avoid time in front of a computer monitor. As a result, I frequently check the histogram to ensure that the exposure is precisely the way I prefer it to look and to ensure the snow is actually white. The sensors in our cameras will tend to turn the snow grey if left set on autoexposure and some compensation is required in camera if you want to avoid post-production tinkering to obtain “pure” white snow.
You must also take care to protect your equipment the same as you do in other winter photography. Most modern camera equipment is fairly sturdy and can withstand the winter cold with no difficulty. Some protection, however, from snowfall may be required. I have found that the shower caps that come complimentary in most hotel rooms are quite sufficient for everything short of complete downpours or blizzards. I also attempt to avoid changing lenses while it is snowing and carry two camera bodies when it is possible to avoid any chance of exposing delicate internal components to snow and rain. The real danger is from condensation when your photographic equipment is brought back indoors from the cold outside. I purchased plastic zip seal bags at the grocery store that were large enough to hold my entire backpack for my outdoor excursions.

© Todd Federico, Field Contributor
After some recovery time at the bottom of the canyon for my bottom, I discovered that there are some fantastic photographic opportunities on the canyon floor that I did not anticipate. I long to return more properly equipped. The mule rides limit photographic equipment to one camera and lens. The rest of your “luggage” must fit into one small plastic bag, so an equipment junkie such as myself was left longing for my camera backpack safely locked at the top of the canyon. There was a family of mule deer that seemed to have made their home in the vicinity of Phantom Ranch and were clearly somewhat accustomed to the presence of humans. I did not foresee that there would be any opportunities for wildlife photography and consequently, I did not plan accordingly. Furthermore, the skies in the evening were much clearer than those experienced in urban areas. The opportunities for nighttime photography, including experimenting with star trails, are enhanced in the clear winter skies due to better air quality. Also, the evenings are comfortable at the bottom of the canyon in the winter given the increased temperatures near the Colorado River. A zoom lens with a broad focal range such as an 18-200mm or 24-120mm would have been ideal given the wide range of subjects available and will be my choice of lens for my next visit to the bottom of the canyon.

© Todd Federico, Field Contributor