Going Into The Wilderness Alone?

Since I started photography I’ve always wanted to photograph Jefferson Park Wilderness in the Central Oregon Cascades. Jefferson Park is one of the most stunning places to see in Oregon. Ever since I saw the images from other photographers, I knew that I would have to visit this place someday. Every summer for roughly 2 weeks a year this area fills up with wildflowers. A few years ago I had signed up for a photo tour in Jefferson Park but due to weather the venue was moved to the Three Sisters Wilderness. So my dream would have to be put on hold for the time being. As every summer approached I anticipated getting up there but for one reason or another people could not join me; Jefferson Park Wilderness is one place that should not be traveled alone. In past years I had tried but by the time I made my move up there I was too early or too late. So this year I figured it would be the same thing and somehow I would miss my open window. This year has been on odd year for wildflowers in the Pacific Northwest with everything almost a month behind. The night before I get a phone call from fellow Photo Cascadia member Adrian Klein mentioning he was going to do the 11 mile round-trip into Jefferson Park. Here was my chance to visit this place that had seemed to have eluded me until now. Hesitantly I asked if I could join and concern came up whether I could make it because of my replacement hip. I told him I would keep my backpack to 20 pounds and hike slow. Needless to say the very next day I found myself at the beginning of the trailhead everything ready to go. For the first 5 miles, we casually hiked while we reminisced about the past year. Just as we were coming to the top, something had gone terribly wrong with my hip. After further walking I had realized my hip popped out and I was 5+ miles from the car. After hobbling the last half-mile to the campsite, I told Adrian to go ahead and scout out some possible locations. I could not move at this point and decided to lay out in the dirt as I could not muster the strength to even put my tent up. In past similar experiences a few hours of doing nothing helped my hip but not this time. As sunset neared I asked Adrian if he could just carry my camera and tripod roughly 100 m to the first spot I could find flowers near the campsite. I ended up firing away a few shots and waited for Adrian to finish. Hobbling back to my camp I decided to turn in early. I went to bed assured that I would feel better tomorrow as long as I got a good nights rest. The next day I woke up and I could not even put any pressure on the leg or hip. I was not going to be able to shoot sunrise at the very minimum. Realizing we had no cell reception and no spot messenger to call emergency services, I would now have to hike out of here on my own two feet. After a discussion with Adrian about what to do next we decided he could carry a good portion of my camping gear; so we made some makeshift crutches for hiking poles and began the journey back down. In the end, I made it back to the car after a full day getting back, which should have only taken a few hours. If it had not been for my friend’s generosity and backpacking skills, I could have been in serious trouble. The ten essentials that Adrian always carried in his backpack came in very handy. The point of this story is that when traveling in the wilderness you should always travel with someone. You never know when something might happen that limits your mobility and puts you at risk. I also learned another lesson to expect the unexpected and always carry the ten essentials when backpacking. I will never forget this outing to Jefferson Park wilderness.

Using Filters To Overcome The Challenges Of The Palouse

Rewards And Challenges of the Palouse

Every year I anxiously await the arrival of spring and its colors. And there is no better place to visit in spring then in the Palouse. The Palouse region can be found in southeastern Washington and also parts of North Central Idaho. It is the richest wheat growing area in the United States for many reasons. It also grows peas, barley, wheat, hay, lentils, and canola. But perhaps the Palouse is better known for its endless rolling hills of vivid green, rustic rural barns, spring wildflowers, and pastoral vistas that visually amaze the senses. To a photographer this is a dream of sensual landscapes and visual designs where the opportunities to shoot are everywhere. The pastorals are unique to the eye in color, pattern, and designs. And every photographer sees different designs and concepts. Spring is the best time to visit for the lush vivid greens; this is just after the seeds have been planted but before the harvest season. In the following weeks, after seedling, nature will spring from the ground its very own designs like an artist painting. As photogenic as the Palouse is, it can present many challenges when it comes to capturing what the scene looked like at the time of shooting. This is why I never make a trip to the Palouse without all my filters. Opportunities present themselves but exposures can be very tricky when trying to handle the light on the Palouse. This is because the weather conditions in the Palouse are always changing and trying to capture the light is challenging, as it is always moving. Within minutes weather can turn as weather systems move in. Not only do you have to be ready to move with the light, you need to also be able to handle the different exposures that change depending on where you are. Some of the following scenarios are very common and often a variety of filters are called for depending on the situation.

Although I do not shoot much during the day usually, in the Palouse I am always out in the field. I look for conditions of storms and high winds mixed with the sun. These dark clouds present high contrast scenes that call for Graduated Neutral Density Filters to capture detail in the sky. Often the sun is filtered through the clouds illuminating the foreground, and at the same time the darker clouds foreshadow what is to come. It is important in my images to show the mood that these clouds convey. I will spot meter the scene to accurately capture detail in both the foreground and background. I will often have to change quickly the number of stops on my Graduated ND filter to balance the scene and change in light.

Another situation that often occurs in the Palouse are fantastic sunrise/sunsets with spring wildflowers in the foreground. I need to capture the color in the foreground wildflowers and at the same time balance the colorful skies. To achieve this I need a Warming Polarizer to reproduce the stunning color in the wildflowers as well as balance the warmth of the skies with the foreground. I combine this with a Graduated Neutral Density Filter to expose for the foreground and retain detail in the sky as well as keep the saturated skies that balance with the foreground wildflowers.

The most exciting time in the Palouse is when the storms arrive and the wind creates a complete different scene. I try to scout ahead of time for potential scenes that will lend themselves to stormy weather conditions. This weather can make dramatic images with fast moving clouds taking on a life of its own. This is where I like to be creative by using a combination of the Singh-Ray Vari-ND filter and the Mor-Slo ND filter. I will look to combine an element in the scene that is static with an element that is intentionally blurred. The two elements together inject movement into the scene. This can only be achieved by combining the two filters for a long exposure where the static subject is juxtaposed against the blur of the subject.

This combination of filters can also be achieved in situations that are not weather related. An example of this can be the blurred movement of a waterfall against the backdrop of a canyon. The stacking of filters blocks out enough light that subjects in the scene begin to take on new shapes and forms otherwise not seen without a longer exposure.

The most important filter I need to capture the beauty of the Palouse is the Singh-Ray LB Color Combo. This is the filter I use most, as it helps me recreate the stunning colors of the scene I saw with my eyes. I will often return many times within months to capture the few weeks of vibrant greens that seem to last for a short while. Once this occurs I only get one opportunity to capture the color. To get the most of the greens, I will find a composition I like beforehand and wait to capture the scene after the ground has become wet from the rain. The rain helps saturate and add an ethereal quality to the greens. The LB Color Combo allows me to capture the saturation of the fields without a loss of detail and balance this with the deep blue skies. Detail is so important when trying to capture saturation in high contrast scenes. The ambient light from the mix of clouds and sun can really enhance the greens of the pastorals and it is important to have the right filter to capture that moment.

Overall, a visit to the Palouse can be very rewarding yet challenging at times. Having the use of Singh-Ray filters at my disposal to handle the variety of difficult situations has helped re-establish the things I love most about the Palouse.

I hope you enjoyed this blog and if you have any questions do not hesitate to ask me. If you have never been to the Palouse this is one place you have to visit, especially in the Spring.
If you are looking to get here but not sure where to go join us on our workshop here in May where we will take you to some of the best locations in the Palouse and prime time.
For more information please check out our website at http://www.nwphototours.com

Big Announcement ! Arrival of PhotoCascadia Is Here !

I have been lucky enough to join a great group of Pacific Northwest photographers who share similiar goals, passions, and a love for nature at its finest. Today is the arrival of this new beginning and I look forward to the opportunities that will arise with the new challenges.

Check out the intro video here to see more PhotoCascadia

Check out the brand new website here:
PhotoCascadia

“Photo Cascadia is a team of six of the Northwest’s best outdoor photographers who were brought together by their mutual passion for pushing the envelope in creating powerful fine art photographs of the natural world.  Photo Cascadia forms a platform from which we can have a meeting of the minds and a way to a share our imagery, knowledge, experience and vision.  Our goals are to promote conservation, provide learning opportunities for aspiring photographers, be a valuable resource for publishers, photo buyers and photographer colleagues and to share our photographs with a large and growing audience of like minded adventurers, nature lovers, photography appreciators and art collectors.”

How To Get Started In Winter Photography

Winter is a special time for photographers who enjoy the challenges and the rewards that come with winter photography. Dedication comes to mind, when we think of photographers that enjoy adventures in subzero temperatures, to capture images that other photographers would not be willing to even consider. A trip to the park in summer means hot weather, overcrowding, and congestion. On the other hand, winter is the perfect time to try shooting some unique perspectives of your favorite places. The solitude and peacefulness of a winter scene takes on a new persona and allows the photographer to see it in a whole new light. What really makes winter special for the photographer is the chance to be out in nature on a more intimate level. This time alone in nature makes one really think about what it is they are to trying to capture, and how they are going to relate this to their audience. Winter photography can be very rewarding if one prepares themselves for the challenges of colder temperature. There are a few simple tips that will make your winter adventures more enjoyable. The following three concepts are equally important to the enjoyment and longevity of winter photography: clothing, camera equipment, and the picture making process. Common among these elements is the notion of preparation for any kind of winter conditions. An absence of planning in winter can deter any photographer from further experiencing the true beauty of winter.
When it comes to shooting in the winter, weather can be unpredictable. The best way to prepare for weather is to expect anything in the winter. Therefore, dressing appropriate for the situation can be fundamental in winter photography. When it comes to dressing, it is necessary to plan ahead for situations of changing weather. Preparing the body for winter includes wearing something light and loose, so the body can regulate the escape of body heat. Shooting in colder temperatures, the body temperature changes dramatically between hot and cold depending on the activity. As photographers are well aware of, photography can vary in terms of activity levels. Anticipating this level of activity means wearing clothing that can be easily opened with zippers in specific areas of the body for fresh ventilation and not wearing multiple layers that cause the body to overheat. For a photographer who already carries heavy camera equipment, dressing in layers is not ideal. The kind of clothing recommended is some form of loose fitting, breathable jacket that has zippers, allowing the photographer to quickly open and close depending on the level of activity. Also, it is important to wear clothes that leave no area of the body exposed to the colder temperatures. Always wear a warm hat to avoid excessive heat loss through the head. Research shows that seventy percent of one’s body heat can be lost by not wearing a hat in colder climates. In addition to a warm hat, wear pants that are fully waterproof, yet comfortable so that different types of shooting can occur. For example, photographers sometimes like to kneel in the snow to get closer to the subject. The ability for a photographer to move around comfortably and stay dry is critical. In terms of footgear, boots need to be waterproof, insulated, and high enough around the ankles to prevent leakage of snow. Recommended are gators, which are water resistant equipment that goes around footgear from the ankle to the knee, and keeps the snow from getting inside the boots.

The one piece of equipment that most photographers wear incorrectly is gloves. Although most photographers wear some form of warm lining or gloves, most will wear gloves that do not have fingertips. They believe that fingerless gloves can help the photographer manipulate easier the camera controls. The truth is, most winter conditions are cold enough that exposed fingertips will hinder any finer control movements of the camera, thus being unable to operate the camera properly. The better option is to wear gloves that have removable fingertips that are held by strings from the body of the glove to the fingertips. Depending on the activity the fingertips can be easily removed or put back on. When it comes to enjoying your time in winter, the right type of clothing can make all the difference between a good and bad day.

The most neglected area of winter shooting is winterizing camera equipment. They are a few important considerations to be aware of when preparing camera equipment for winter. Depending on how cold the temperature is, one common problem prevalent among photographers is short-term battery life on cameras. Results vary on temperature and camera model, but it is safe to assume that batteries might only last a few minutes in cold weather. Therefore, always carry extra batteries in the winter. Carry the extra set in a warm area like a pocket close to the body. Hence, this keeps the spare batteries warm and ready to switch out when the current batteries lose their power. Throughout the day continue to switch out the cold batteries with the warm ones for longer shooting.

Make sure to come back or be notified in a few days when I post Part 2

 

 

 

Another common problem with camera equipment in winter is the condensation that occurs on a camera from changes in environments. Such that, when a camera comes from a colder temperature of outside environment to a warmer area like a heated vehicle, the camera consumes water vapor that evaporates inside the camera. This moisture can then cause the electrical components of the camera to malfunction and corrode the camera. To avoid this, bring a large Ziploc or large trash bag to keep the camera inside until the temperature inside the bag is roughly the same as room temperature.

It is imperative to realize that mistakes are common when you are new to winter photography and every individual will have different things that work for them. Success comes with perseverance, and learning from mistakes, is the key to continued involvement in shooting. Try different things by experimenting with different types of adventures, varying length, weight load, and locations. Take some early trips near home and figure what works for your style. These starter trips also give the body a chance to acclimatize to the colder conditions and build tolerance over time. Once everything is ready to go with your clothing and equipment, the only thing is to reward the winter experience with some great images.

Photography in the winter is a lot different then any other time for a variety of reasons. The main obstacle in the picture making process is the challenge of exposure. Exposure with the camera is challenging, as factors have to been considered that are not relevant to any other time of the year. When evaluating exposure, the camera meter cannot give an accurate reading for white subjects like snow or ice. This is because snow fools the camera meter in trying to average out the luminosity of the snow, and ends up turning the snow grey rather then white. To get around this exposure challenge you must open up one or two stops on the camera to retain the highlights. Proper exposure varies depending on the light available. It is recommended to bracket images whenever the camera’s meter cannot give an accurate reading. Bracketing in one-stop increments beginning at an even exposure bias (0) and extend the exposure bias by plus/minus two stops at either end. A common solution to this exposure challenge is to take an average reading with your camera’s spot meter of a subject such the base trunk of a tree.

The single most important element in improving winter photography is controlling the light. In wintertime, the light quality is unique, as frequent changes in weather take place. These weather changes make the clouds susceptible to more movement, thus more opportunities to capture the transient light. Transient light can be described as changing light that occurs as clouds interact with the sun’s luminosity. This diffused light at sunrise or sunset can lead to dramatic lighting that is accentuated by the contrast of the white snow. As well, in winter, light at sunrise or sunset lasts longer allowing the opportunity for longer periods of shooting. To capitalize on this opportunity look for situations that allow for side lightning that pronounces a subject’s features. Side lighting not only enhances the contours and shapes of the subject but it gives the image depth. Depth to an image draws a viewer into an image and makes it more interesting.

To make the most of winter weather, track weather systems in your local area and be present when these weather changes occur. Snow is a natural reflector of light so incorporate subjects into your composition that will reflect color into the image. Subjects that can improve compositions in winter situations are icicles, ice rim, frosted subjects, and natural shapes outlined in the snow. Capturing light in winter can lead to very dramatic images that stand out. Impact is important in pleasing images, and balancing composition with stunning colors is the way to achieve this. Rewarding winter images are possible when you learn to read and understand the light. Preparation is essential and visualizing your subject beforehand and how it will react with the light is important. Once you learn how to control the light you can use the combination of winter elements to make available light work to your advantage.

In conclusion, preparation is the unifying concept that ties all these recommendations together. It’s the combination of successful planning that makes it even more pleasurable when everything comes together out in the field. Success follows those that prepare and envision what they are trying to capture. Winter is a great time to get out and try something new. Take time to enjoy what you are doing and make sure to come back with some great images.

Exposure Fusion – Best Way To Blend Images

Exposure Fusion

This week I am going to talk about a topic that confuses a lot of people. The subject of blending images together from separate images is a tough one. There are a few ways but the main ones are manual blending images together in Photoshop through and the second option is using a third party plug-in to blend images automatically. The latest concept is called Exposure Fusion which can be found within the program Photomatix Pro.

Exposure Fusion is not HDR but is a new concept of processing a series of bracketed images, which result in a low dynamic range image. To summarize it takes the best tonalities from each image in the sequence and combines them to create a single image. To be more specific what is actually happening is that the fusing process assigns weights to the pixels of image in the sequence according to luminosity, saturation, and contrast, and then carefully balances the three to make a single image. In layman’s terms what is happening that the best part of each image gets recorded and fused together to combine all of the best elements in final image.

How is Exposure Fusion Different Then HDR?

Exposure Fusion is quite different in many ways then HDR. The only resemblance the two have are that they combine a sequence of bracketed images together. That is where the similarities end. First of all Exposure Fusion is a low dynamic range result rather then a high dynamic range. This means that the final product looks more realistic to how the scene really would like. This means that the shadows maintain a certain amount of shadows and the highlights remain brighter in higher tonalities then a high contrast scene. HDR takes the sequence of images and blends the images seamlessly but does its best to even the tonalities in the extreme tonalities of shadows and highlights. This is what gives HDR the appearance of artificiality and unnaturalness. Exposure Fusion after fusing the images together keeps the tonalities how they would appear if one was to be looking at the actual scene being photographed. When one views a HDR image a keen photography eye can spot the uneven transition between the luminance and can therefore lose the appeal of realism. Now I am not saying that one is better then the other in terms of an artistic point of view but that Exposure Fusion produces results that are truer to the scene that the photographer is trying to capture.

Exposure Fusion Advantages Over HDR

Exposure Fusion processing times takes much less due to a absence of a intermediate HDR image that must be created before one can tone map a HDR image. Thus, processing times are twice as fast when transferring back into Photoshop. The most important advantage in Exposure Fusion is the lack of halos that appear around objects that occur with HDR. Often when combining images HDR produces a very three-dimensional image that looks very impactful but when viewed closer the halos become more evident. As a side note eliminating those halos in HDR can be quite difficult and time consuming. To get around the problem of halos in HDR layer masks and careful brushing is essential.

One very important advantage of Exposure Fusion is that it can combine a series of bracketed images with different depths of field that extend the Depth Of Field in an image and give the perception of more three-dimensional qualities in the image. This presents an advantage to many obstacles when it comes to nature photography. For example, shooting a wide perspective of a scene with wildflowers and a mountain in the distance would normally require a f/16 at least to get everything in focus. The problem arises if there is strong wind or low light and a faster shutter speed is needed to freeze the detail in the foreground wildflowers. It is then necessary to shoot at f/8 for the foreground and combine it with the rest of the images which can be shoot at f/16 to capture the background mountains. Before Exposure Fusion combining a series of images with different Depths Of Fields was limited to only those with the best of Photoshop skills.

Where Can I Find Exposure Fusion?

Exposure Fusion is still fairly new and shows so much promise already that I cannot wait to see what comes next. Presently, Exposure Fusion comes in a few third party programs but not as a plug-in for Photoshop. It presently can be found with PTgui and the preferred Photomatix Pro. If you own a copy of Photomatix Pro, Exposure Fusion comes free with the update to the software. To see more information on Photomatix Pro see above notes to website.

How Do I Get Started With Exposure Fusion
Often the hardest part to any new software is where to begin and how to work it into one’s already present workflow. The good news is that Exposure Fusion is much more straightforward then most third party plug-ins for Photoshop. There are a variety of ways to get started but the easiest way is to choose the series of images in your Photo Media browser and drag onto the Photomatix icon in the dock. I use Adobe Bridge that comes with Photoshop so the two work seamlessly for me. I choose the first image of the series and Shift-Click on the last to include the complete series of bracketed images.





From there, you can right click to open a series of options that ask you how you would like to open these images (then choosing Photomatix Pro) or dragging the set of images on top of the Photomatix Pro icon. Both ways work well and lead you to a very simple dialog box that asks you to choose either: Generate an HDR image, Fuse exposures, or open files only.

For Exposure Fusion choose : Fuse exposures and this leads you to an option box that asks you to confirm that these are the images you would like to use. Within that confirmation box you are also asked if you would like the sources images aligned whether you want them to match features or horizontal and vertical shifts. This is very important to leave on the default of matching features and not the latter.

Exposure Fusion does what it does best and merges the series of images into one single image and Press OK
You are brought to one final dialog box that gives you a variety of options in terms of luminance, saturation, and contrast. I encourage you to leave it on the default and leave Photoshop to make these adjustments, as this is what Photoshop does best. One last option at the top of the page is how you would like things to merge and again leave on the default of Highlight & Shadows – Adjust. And click Process.

Once this occurs the final adjustments are made and you are asked if you would like to save and where would you like it saved. I automatically bring into Photoshop from here and doing my major adjustments in Photoshop.





All of the above seems quite daunting but let to its defaults the whole time from start to finish is less then a minute. Not bad compared to processing times of an HDR image. I am often asked why not make adjustments in Exposure Fusion and the reason is that the adjustments are permanent lacking the flexibility of layer masks and opacity with Photoshop. Always when processing include within a workflow a way to always avoid permanent adjustments and allow a way to go back and make changes without harming the pixels of an image.

Future Of Exposure Fusion
As mentioned earlier the concept of Exposure Fusion is in its early stages and there is great strides made from the days of HDR. I look forward to the advancements of this software and predict that cameras will one day strive to do what Exposure Fusion does but in the camera.

Painting With Light – A Beginning Guide

For this blog I am going to be discussing the basics of Night Painting. There are a variety of ways to do it but one thing is for sure when you are talking about painting light.; you need a good subject . There are many popular subjects that people like to shoot at night but the main ones have someone usually in common: history and shape. On my latest trip to the Southwest I was looking forward to shooting some Arches at night. There are so many different shapes and unique formations at Arches National Park; it was just a matter of choosing some that would work well with night painting.

So I decide to try a few different ones and settled on Double Arch and Turret Arch. There were so many but I guess you need to work the ones you have and do the best you can under the circumstances.

When night painting the first thing to do is choose a subject that has strong form and shapes. Think of it this way; would the subject look good silhouette against color. Once you have your subject, try to find a composition that will lend itself to the painting. At this point it can be difficult to see anything and focusing is never easy; but try using a flashlight on what you are trying to focus on and make sure it tack sharp. Once I feel I have the image in focus and everything is sharp I will then do a few test runs at a higher ISO to see that I do have everything as I would like such as composition, depth of field, and the right amount of light. I also use this time to determine the right amount of light needed in terms of time and space. This to me always seems to really depend on the subject I am shooting but use the test trials to figure this out.

Another important part of night painting is what kind of light to use. People use a variety of lights but I like to use LED lights ; using the one I use for a night light on my head. I also will combine this with a flashlight if the subject is not receiving enough light. Just be careful to use light in moderate amounts to avoid blowing out detail in the subject. The test trials are also a good time to try a variety of apertures trying to find a balance between depth of field and time.

Once you are happy with the outcome you are receiving on the back of the LCD of your camera. It is now time to switch the camera to Bulb mode and using a timer remote calculate the time it took at the higher ISO and change it to reflect the longer shutter speed. The reason we want to reduce the ISO to at least below ISO 800 is to avoid noise in the final image. The less you have the better the final image will look. But remember there is a balance and it is important to keep shutter speeds to a minimum if you are looking to get stars in focus behind the subject. If you are going the route of star trails then that becomes another method.

Never keep the light in one area still to long if you want to avoid blowing out highlights in the subject. When painting with light I like to move the light around the whole subject paying attention to the areas I would like to draw the viewer to. One example of this might be to go behind the subject and light up spaces in the subject such as in the arch to give the viewer the belief that there is a light source from behind the subject. This adds mystery and drama to your night painting images.

When should I night paint is probably the most asked question when it comes to night painting? It is important if you want to capture stars in your image to shoot when the ambient light in the atmosphere is at a minimum. So yes a full moon might not be the night you want to go painting if you want to have stars like the Milky Way in your image. So it goes then that the farther you are away from the city the more likely it is you will find it dark enough to capture stars.

Once you feel you are proficient at this it is time to purchase some Roscoe colored gels that can be placed in front of the light source which can add even more suspense to the image. I will discuss this in another blog coming up.

Winter Wonderland At The Grand Tetons

Check out the video below to see some funny stuff …..

Well I have just returned from a couple of exciting winter trips to some of the coldest places during the winter months. My first trip was to the Grand Tetons National Park where a usual trip of twelve hours from Seattle took almost 22 hours as the drive over the passes challenged us with snow and fog for most of the trip. I asked a friend of mine last minute, Scott Pudwell if he would like to go and he was able to shuffle some things to come. It was great to have him there and he kept me in laughs the whole time.

Also what got us through was the excitement of seeing the infamous Tetons in all their winter glory, white coats and pink alpenglow. Once getting there at three in the morning I took a two-hour nap so I could get up at 5 and make sunrise at the Snake River Overlook. Our first sunrise was a bust as a cloudbank on the horizon blocked the sun and by the time had raised above the clouds the alpenglow was non-existent. So we decided to spend the rest of the day driving around in this winter wonderland. For most of the day the temperatures never went above freezing but we did not mind. During our travels we ran into a fellow enthusiast who had a high quality telescope and alerted us about a pack of wolves and bison that were heading toward each other.

The stand off came to a head and the wolves made a few fake bluffs and that was the end of it. We spend the next few days doing the same thing, looking for wildlife and scenic winter scenes. I finally got my sunrise the last morning where the Grand Tetons lit up all pink. If you have never been to the Grand Tetons in winter I would think about getting some serious warm clothing and heading to the Tetons this winter before the snow disappears.