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  • Photo: Hansi Johnson

    Floating on Ice in Duluth, Minnesota

    While fat biking in Duluth, Minnesota, last winter, Johnson stood on the edge of an ice shelf above the 33-degree waters of Lake Superior to shoot his friend Casey Krueger riding the floes along the shore. The city had endured the longest string of below-zero days in its history, and the photographer, who lives nearby, wanted to capture the icebergs and gargoyles that had formed along the beaches at Park Point. 
“It looks like we could have been in the Arctic,” Johnson says, “but we were so close to Canal Park that even if I’d fallen in, I could have gotten out and walked to a coffee shop three blocks away.”

    THE TOOLS: Canon EOS 5D Mark II, 24–105mm f/4 lens, ISO 320, f/8, 1/125 second

  • Photo: Paolo Marchesi

    A River Ride in Missoula, Montana

    To shoot Missoula, Montana, river surfer Ian Stokes carving this icy wave last June, Marchesi, who lives in Bozeman, traveled to northern Idaho’s Lochsa River. Stokes grew up riding ocean breaks near Tamarindo, Costa Rica, but four years ago he discovered river surfing. “Once you adjust to the fast-moving water, it’s phenomenal,” he says. “It’s like an endless wave. As long as you stay on your feet, you can keep making turns forever.”

    THE TOOLS: Canon Mark III, 70–200mm f/2.8 lens, ISO 200, f/10, 1/20 second.

  • Photo: Wiktor Skupinski

    Climbing a Waterfall in British Columbia

    Last February, Skupinski photographed British alpinist Tim Emmett and Slovenian Klemen Premrl on the final pitch of a climb leading out of the Helmcken Falls spray cave in British Columbia’s Wells Gray Provincial Park. The photographer, who lives in Calgary, rappelled down the side of the waterfall until he found an angle where he could capture the scale of the 460-foot plunge. “The falls are so powerful they never really freeze, even when everything around them is coated in ice,” he says. “My camera was getting sprayed the whole time.”

    THE TOOLS: Canon EOS 5D Mark III, 17–35mm f/2.8 lens, ISO 200, f/4, 1/320 second

  • Photo: Daniel Sohner

    High Above Telluride, Colorado

    In May, Sohner and his girlfriend, Janelle Huelsman, traveled from their Denver home to traverse the Via Ferrata, a horizontal climbing route in Telluride, Colorado, consisting of a series of step-like iron rungs embedded in the rock face. As she made her way across, Huelsman, who was new to climbing, found her stride. “I don’t think she looked back once,” says Sohner, who shot her with the 365-foot Bridal Veil Falls visible in the distance.

    THE TOOLS: Canon EOS 5D Mark II, 24–70mm f/2.8 lens, ISO 200, f/7.1, 1/60 second

  • Photo: Jordan Manley

    Parting Shot: Dubai, United Arab Emirates

  • Photo: Theo Allofs

    A Surreal View Above Namibia

    During a trip to Namibia’s NamibRand Nature Reserve in March, Allofs was hoping to take a few bird’s-eye shots of the area’s wildlife from a powered paraglider, 600 feet above the ground, when he noticed these fairy circles. While some scientists believe they’re etched into the landscape by desert termites, the photographer’s vantage gave them an expressionistic appeal. “The patterns were so otherworldly,” says Allofs, who lives in Santa Fe. “I felt like I was shooting a 15-mile abstract painting.”

    THE TOOLS: Nikon Coolpix P7000, 28–200mm f/2.8–5.6 lens, ISO 200, f/6.3, 1/250 second

  • Photo: Krystle Wright

    Parting Shot: Western Colorado

  • Photo: Charlie Munsey

    Buckle Up on Oregon’s North Umpqua River

    Photographer Charlie Munsey knew he’d snagged a classic shot when he captured Canadian kayaker Katrina Van Wijk dropping over 80-foot Toketee Falls on Oregon’s North Umpqua River last March. “The falls are runnable only a few weeks out of the year because of hydro-project diversion,” says the White Salmon, Washington, photographer. “Katrina was the first woman to ever tackle it.” Van Wijk’s line was clean, but the entry was harder than she expected. “She broke her nose on the deck of her boat when she hit the water,” says Munsey. “She’s one tough woman.”

    THE TOOLS: Nikon D700, 70–200mm f/2.8 lens, ISO 800, f/5, 1/640 second

  • Photo: Jeremy Koreski

    Looking Down on Tofino, B.C.

    Despite freezing December temperatures, photographer Jeremy Koreski couldn’t miss the opportunity to scramble an open-air floatplane and shoot aerials of longboarders waiting for a swell off the coast of Tofino, in British Columbia. “This is one of my favorite stretches of water, and I had this image in my head before we took off,” says the photographer, who lives nearby. “Still, after only 15 minutes in the air, we were completely frozen. The first thing we did when we landed was grab a hot drink.”

    THE TOOLS: Canon EOS-ID X, 70–200mm f/2.8 lens, ISO 400, f/5.6, 1/1,250 second

  • Photo: Francois-Xavier De Ruydts

    Exploring the Depths of Guangxi Province, China

    During a nine-day caving expedition in China’s Guangxi province last January, photographer Francois-Xavier De Ruydts captured Belgian caver Nicolas Borchers as they were both about to enter the Jiangzhou system at a confluence of three giant passages. “From there we surveyed 35 pitches on rappel and five pitches of climbing, opening up six miles of new passages,” says the Vancouver, British Columbia, photographer. “But the best surprise was the subterranean river we discovered on the second day. It reinforced my reasons for getting into caving. The days are dark, wet, and cold, but the challenge is incredibly rewarding.”

    THE TOOLS: Nikon D800, 24–70mm f/2.8 lens, ISO 1,250, f/2.8, 1/50 second

  • Photo: David Fleetham

    Parting Shot: West Maui, Hawaii

  • 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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