Overlooking Mount Robson, the highest peak in the Canadian Rockies, and Berg Lake, Mount Robson Provincial Park, British Columbia, Canada. Self-timed HDR image.
Many photographers use devices such as the PocketWizard and the RadioPopper system to trigger wireless flash, but many of these also can be used to fire a camera. All you need is a pre-trigger cord. I bought mine from Paramount Cords (paramountcords.com). These triggers not only let you shoot at a greater distance, but with the camera on auto-bracket and a continuous motordrive setting, you even can do self-timed HDR sequences.
Sometimes, even radio triggers don't provide enough reach. On a magazine assignment in 2010, I tried to photograph myself in a pack raft from across a lake. I didn't know I was out of range until I had spent an hour paddling and returned to the tripod to find that not a single frame had fired. For those situations, a device recently developed by San Diego photographer Robert Benson has an even longer range—up to 20 miles. It works with either Canon or Nikon cameras, and requires a pair of walkie-talkies. It consists of a naked circuit board (protected inside a supplied cell phone case) and three wires—one to a 9V battery, one to a walkie-talkie's mini-phone jack and the third to the camera's remote terminal. Press the Talk button on the second walkie-talkie, and the camera fires as long as the button is pushed. It's available from www.robertbenson.com.
Trigger Examples: RadioPopper, PocketWizard Power ST4
FCC rules state that you can only use ordinary walkie-talkies for voice communication, so to be in strict compliance, get a pair of slightly more expensive MURS radios, which allow unlicensed data transmission. Make sure they come with a mini-phone jack. Ordinary walkie-talkies do work, however.
For sea-kayaking self-portraits, I attach a C-clamp, ballhead and camera with a superwide-angle lens to one end of the paddle, just before the drip ring. Using the self-timer, I can photograph myself seeming to paddle from either the front or the rear. The horizon is never straight, but it works as an action shot.
To line up a self-timed photo at long distances, I put the camera on the tripod, frame the shot and decide where I want to be in the photo. I draw an invisible line from the tripod to my future position to a distant feature beyond, such as a mountain or tall tree. Then I make sure I'm in line with the tripod and the distant feature before triggering the camera.
Once, in the Arctic, I saw a landscape so wild and lonely that it cried out for a human element. All I had with me was a tripod. So I walked several hundred yards to the scene and dressed the tripod in spare clothing until it looked like a person (using ski poles for the arms and a cooking pot for the head). Then I went back and shot the landscape with this makeshift scarecrow. No one ever realizes that the person in red isn't a person at all. With a little ingenuity, you don't always need technology to get a distant figure in the photo when you're alone. Jerry Kobalenko's latest book is Arctic Eden. You can see more of his photography at kobalenko.com.
Galen Rowell A Master Of Landscape Self-Portraits
Many of the late Galen Rowell's most inspiring and dramatic photographs contain the image of a person somewhere in the frame. Rowell, who was famous for trekking alone in the hours at the edges of the day, became adept at using self-timers and remotes so he could be in the photograph himself. There simply wasn't anyone else there. His legendary athleticism made it difficult for anyone else to keep up. This was a man who once famously ran up the mountain to Machu Picchu to catch the first light of dawn.
Frequently appearing in silhouette in his photographs, Rowell made the human element into an abstract form that didn't distract from the overall scene. It also gave him the freedom not to worry about his wardrobe, which was particularly helpful when he was on expeditions where base camp was a long way from the nearest laundromat.
Nature photographers who shy away from showing any kind of human intervention on a landscape could learn a lot from Rowell's approach. He ventured to the far reaches of the planet and saw vistas that few people ever would. His thoughtful approach to the landscape drove him to show a personal connection between man and earth.