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  • Photo: Woods Wheatcroft

    A Backyard Playground in Sandpoint, Idaho

    Woods Wheatcroft didn’t have to travel far to get this shot of his friend Andy Feuling paddling under the Long Bridge, on Lake Pend Oreille, during low water last fall. “This spot is almost in my backyard,” says the photographer, who has lived on the banks of the 43-mile-long lake for the past 13 years. “It’s like a big playground. I’m not sure I’d live here if it weren’t for the lake.”

    THE TOOLS: Canon 5D Mark II, 135mm f/2 lens, ISO 200, f/2.8, 1/250 second

  • Photo: Michael Hanson

    Getting Lost on Caddo Lake, Texas

    While paddling a rented canoe on Caddo Lake, near the Texas-Louisiana state line, Hanson came across these two men creeping through a corridor of cypress trees as the sun started to rise. “You can get lost so quickly in the maze of those trees,” says Hanson, who grew up in Atlanta and now lives in Seattle. “The South has always been my favorite place to take pictures. It’s layered with history and characters.”

    THE TOOLS: Canon 5D Mark II, 70–200mm f/4 lens, ISO 400, 6/6.3, 1/80 second

  • Photo: Tom Fowlks

    Spirals in Great Salt Lake, Utah.

    Since 2011, Tom Fowlks has been photographing land-art installations around the Southwest. Last spring he captured his father, Bob, in front of Robert Smithson’s Spiral Jetty, built in the 1970s on the north end of the Great Salt Lake. “I’d been doing research on these sorts of art projects and wanted to convey the idea of open-space viewing, in contrast to what you might experience in a museum,” says the Los Angeles photographer. “We’d get to those places and often spend the night. The whole thing was like a visual expedition.”

    THE TOOLS: Horseman 4x5, 150mm f/5.6 lens, ISO 100, f/32.3, 1/2 second

  • Photo: Chris Werner

    Parting Shot: Santa Barbara, California

  • Photo: Franck Berthuot

    Above the Wave in Maui, Hawaii

    When setting up this shot of Kai Lenny at Jaws on Maui’s north shore last April, Berthuot knew he wanted a different perspective than the other photographers would get. “Most people shoot from the cliff in front of the wave,” says Berthuot, of Maui. “Instead, I ran as fast as I could out to the left side of the wave to be parallel to Kai. It was worth the extra work. This ended up being my favorite shot of the day.” Exposure, June 2014.

    THE TOOLS: Canon 1D Mark IV, 600mm f/4 lens, ISO 100, f/5.6, 1/1,250 second

  • Photo: Paris Gore

    Getting Big Air in Virgin, Utah

    At the 2013 Red Bull Rampage mountain-bike competition in Virgin, Utah, last October, Gore got this shot of Brendan Fairclough gapping a canyon by pointing his camera up from a ravine 30 feet below. “Brendan built the same feature the previous year but never attempted it because he crashed higher up,” says the Bellingham, Washington, photographer. “This time there was a crash pad set up at the bottom, and we photographers were all waiting to see what happened. He got his redemption with a clean landing.” Exposure, June 2014.

    THE TOOLS: Nikon D4, 16mm 2.8 fish-eye lens, ISO 800, f/11, 1/4,000 second

  • Photo: Michael Hodges

    Parting Shot: Yosemite National Park, California

  • Photo: Jordan Manley

    Rolling the Seymour River, B.C.

    Last June, to photograph John Irvine in the middle of a kayak roll on British Columbia’s Seymour River, Manley set his camera to time-lapse mode and fastened the 20-pound underwater housing to Irvine’s boat—a risky enterprise, considering that the housing doesn’t float. “It’s part of my never-ending book project shooting various sports from point-of-view angles,” says Manley, of Vancouver. “Lucky that John is as strong as he is. I had him do about 70 rolls that day.” Exposure, May 2014.

    THE TOOLS: Nikon D600, 17–35mm f/2.8 lens, ISO 3,200, f/2.8, 1/1,000 second

  • Photo: Klaus Thymann

    Navigating the Arctic Circle

    Last August, while documenting glaciers in the Arctic Circle for Project Pressure, a photo-archiving organization, Thymann discovered this tunnel cut by hot air from the ground below, rising and melting the ice. “The striations in the walls are almost like rings on a tree, indicating thaw and freeze over time,” says the London photographer, who had to navigate a stream of glacial melt to set up the shot. “But what really struck me was the color of the ice. It’s extraordinary.” Exposure, May 2014.

    THE TOOLS: Canon 5D Mark III, 24–70mm f/2.8 lens, ISO 250, f/2.8, 1/60 second

  • Photo: Nathaniel Wilder

    Parting Shot: Anchorage, Alaska

  • Photo: Scott Rogers

    Gliding Through Moab, Utah

    To get this shot of Kevin Chirico BASE jumping from the top of Looking Glass Rock in Moab, Utah, last July, Rogers stashed his camera at the bottom of the rocks, made the first jump, and rushed to capture Chirico from inside a nearby sandstone arch. “At just 127 feet, this is one of the lowest BASE jumps in the area, which makes for a very technical and immediate deployment,” says the photographer, who lives in Moab. “A lot of people climb and rappel here, but I find that a parachute descent is much faster.” Exposure, April 2014.

    THE TOOLS: Nikon D800, 24­70mm f/2.8 lens, ISO 200, f/8, 1/320 second

  • Photo: Andy Anderson

    Drenched in Forks, Washington

    Last December, when Anderson and Montana fly-fishing guide Jenny Grossenbacher headed for the Olympic Peninsula, near the town of Forks, Washington (of Twilight series fame), hoping for a week of perfect steelhead fishing, they never expected the weather to get the better of them. “It was nasty the whole time, and the fishing was completely miserable,” says the Mountain Home, Idaho, photographer, who spent five days shooting with a vintage camera in the pouring rain. “On the bright side, the conditions made for great lighting.” Exposure, April 2014.

    THE TOOLS: Graflex R.B. Series D 4x5, Pentac

  • Photo: Eric Parker

    Parting Shot: Squamish, B.C.

  • Photo: David Clifford

    Capturing Carbondale, Colorado

    If Carbondale, Colorado, photographer David Clifford had to name the one place he’s photographed more than any other, it would be Aspen’s Highland Bowl, the hike-to terrain off the top of 12,329-foot Highland Peak. “The bowl contains some of the best in-bounds skiing in Colorado,” says Clifford. “I’ve spent countless hours there studying and photographing it. It’s a love affair for the ages.” Exposure, March 2014.

    THE TOOLS: Nikon D600, 50mm Zeiss f/1.4 lens, ISO 200, f/5.6, 1/4,000 second

  • Photo: Jim Martinello

    Perfect Timing in Squamish, B.C.

    When a cold spell rolled through the Sea-to-Sky Corridor near Squamish, British Columbia, last December, Martinello didn’t pass on the opportunity to shoot Tim Emmett climbing this three-pitch feature, formed from frozen spray ice. “Tim had been working on it for two days when it disappeared as a result of warmer weather,” says the Squamish photographer. “Now we’ll have to wait for the next freeze.” Exposure, March 2014.

    THE TOOLS: Canon 7D, 24–105mm f/4 lens, ISO 320, f/5.6, 1/500 second

  • Photo: Jan Kasl

    Parting Shot: Prague, Czech Republic

  • Photo: Krystle Wright

    Parting Shot: Amur River, Mongolia

  • Photo: Grant Gunderson

    Straight Down on Mount Baker, Washington

    Last March, after a blizzard dropped nearly ten feet of snow on Washington’s Mount Baker, Gunderson and ski partner Josh Daiek headed into the backcountry and discovered a series of short cliffs near the resort. To get this shot of Daiek dropping off the rocks, the Bellingham, Washington, photographer positioned himself high on a ridge 400 feet away. Between him and Daiek: an avalanche path. “I was a little nervous to finish the line in the danger zone,” says Daiek, of South Lake Tahoe, California. “But I stayed on my feet and blasted right through to the safety of the trees.” Exposure, January 2014.

    THE TOOLS: Canon 1D X, 70–200mm f/2.8 lens, ISO 320, f/5, 1/1,000 second

  • Photo: Thomas Senf

    Flash Frozen in Eidfjord, Norway

    To shoot climber Stephan Siegrist scaling a frozen waterfall near Eidfjord, Norway, last February, Senf set up three pocket flashes, triggered them by remote control, and captured this single image before the lights burned out a few seconds later. “We’d planned on installing a whole lighting system around the falls, which would have given us more time to work, but the conditions were too dangerous,” says the Interlaken, Switzerland, photographer. “By the time we packed up 30 minutes later, the flashes were covered in ice.” Exposure, January 2014.

    THE TOOLS: Nikon D3, 24–70mm f/2.8 lens, ISO 1,250, f/5.6, 1/2 second

  • Photo: Patrick Branch

    Parting Shot: Mammoth Mountain, California

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