The car door slammed, frustration evident not only in his body language but expression. "Trouble?"

Brent deposited the camera into my lap and shook off his hat. "The damn wind."

I looked outside at the field of wild daisies and sure enough, they were dancing around in the wind, white waves upon green stems. "You’re trying to photograph the flowers, right?" He nodded. "Why not try photographing the wind instead?"

His expression twisted strangely. Slowly, the light bulb went off. With a grin, Brent grabbed the camera and was out into the chilly spring air again.

A long time ago a photography teacher told me that if you go out to photograph with a goal in mind, you often miss out on the other possibilities. Leave the agenda at home and stay open to whatever you find. When the wind won’t work with you, why not work with the wind?

Photographing the wind is a real challenge because you can’t see it directly. People rarely think of the wind as a photographic subject. You can’t do morning light on wind. Front light has no effect. Learn to pay attention to the effect wind has on subjects and before you know it, you may not be photographing the wind directly, but you will be photographing the wind.

On a windy day, head out into the forest. The thick bases of tree trunks keep the trees fixed in the ground, but their highest reaches sway back and forth in the wind, and even their leaves shimmer in the lightest breeze.

In the low light levels of most forests, slow shutter speeds are easy to get. Slowed down to 1/2th of a second or even a full second, depending upon the wind speed and tree movement, you can capture some amazing images of the movement of the tree tops. Get down low to look up at the still tree trunk bases and capture the motion high above you. A wide angle lens accentuates the wide tree base and the soaring height of the trees.

If you are catching the motion, blur the movement with slow shutter speeds. If you want to stop the action of falling leaves or crashing waves, choose a high shutter speed. The drama of an image capturing the wind is enhanced if it includes objects in the same picture that move along with things that don’t move. The effect is much more surreal and dramatic.

Capturing the wind’s effect on subjects does mean working with slow shutter speeds. The slower shutter speeds allow your subject to move back and forth across your frame during longer exposures, showing the motion. Blessed with a day with a moderate to low light level, a day with clouds, slow shutter speeds come easily. They can also be found in the morning or afternoon when the light level is lower. On a bright sunny day, you can add a polarizing filter to cut 1 to 3 stops of light for the slower shutter speed you need.

As your subject is moving, you need to make sure your camera is stabilized solidly to enhance the motion effect, keeping the still items still and the moving parts in motion. A solid sturdy tripod will give you the stabilization you need. A light tripod will shake and vibrate in the wind. Watch out for camera straps and camera lens covers dangling in the wind, too, causing the camera to shake.

In strong winds, such as those along ocean coast lines or during storms, you might weight down the tripod for more stability by hanging your camera bag or plastic sacks filled with sand, dirt, or rocks from the center of the tripod. We’ve even used gallon plastic milk jugs or 2 liter soda bottles filled with water hanging from a bungie cord from the tripod.

Looking for wind

As we’ve said, the wind itself is almost impossible to photograph, but its effects aren’t. Winds’ effect on nature helps to mold mountains and hillsides as it blasts away on one side and softly drops off on the other. As it hits the ground, the wind picks up dust and dirt, scouring the land and carrying them along until the wind speed drops or the objects meet resistance. The particles are deposited in piles or ripples, building up slowly over time unless they are blown or washed away. On the top of Hurricane Ridge in the Olympic National Park, the winter winds batter the snow covered ridge, lifting the snow in drifts resembling ripples in a lake over the frozen slow.

The brush of wind against the surface of a body of water creates dancing patterns in the water, enhanced by reflections of the trees and surrounding landscape. Patterns become abstract, dissolving in the motion of the wind across the water.

The wind helps plants and trees spread their seeds across the land, scattering seeds of all shapes and sizes through the sky. Look for helicoptering maple seeds whirling down, or dandelion golf ball-like seed heads releasing their seeds into the wind. In the fall, the leaves drift down from the trees to cover the ground below, insulating it naturally against the coming winter.

Grasses sigh with the motion of the wind as it moves across the fields. Clouds are pushed around by the whims of the wind, flying across open skies and lifting and swirling around mountain peaks. Fog moves through valleys at the slightest nudging from the wind, moving through trees and up and down the hillsides. Look for lighter evidence of the wind in dust devils, or the swirl of white caps on the sea or a lake.

Big winds are more dramatic in their evidence and results. In some cases, a slow shutter speed is not as desirable as you photograph the dramatic impact of high winds such as hurricanes and tornadoes, stopping the action in its tracks. In the middle of a harsh storm, photograph the driving rain and/or snow to show the wind’s affects. After a serious wind storm, walk through a forest to find trees uprooted or snapped off like twigs, revealing the power of the wind’s fury.

Nature isn’t the only host for wind’s effects. Look around for flags, windsocks, kites, skirts, and scarfs blowing in the wind. With today’s modern technology, wind mills have made a comeback as they harness the energy from the wind to generate electricity in many parts of the world with consistent high winds. Things that move have little chance against the pressure of the wind.

Growling bears, hissing cats, snorting beavers, splashing otters, howling wolves, calling eagles, screeching sandpile cranes, bugling elk…these are the sights and sounds that accompany you on your tour through the various native species of the United States Pacific Northwest when you visit Northwest Trek.

Located near the foot of Mt. Rainier not far from the town of Eatonville, about 1 1/2 hour drive from Seattle, is the unique wildlife park, Northwest Trek. Founded with a family land donation to Pierce County, Northwest Trek has grown to become one of the best animal rehabilitation and education centers for wildlife native to the area. They have helped restore many animals near extinction back to the wild while preserving others unable to return. Their educational programs are outstanding, done around the state in classrooms as well as at their facility. They even offer training courses for teachers and nature professionals and enthusiasts.

Visiting Northwest Trek is always an adventure. It is an unusual zoological park as they have worked from the beginning to create natural “cage-less” habitats for the wildlife. Visitors walk along wooded paths to step into a small enclosure across the water from the wildlife or from up high enough to allow easy viewing of the animals below while maintaining a distance for their safety and yours. The wolves can be easily viewed from a walkway that passes over part of their enclosure. Manmade barriers are few, and those that are present are usually hidden behind vines or other plants. The animals wander through natural vegetation and ground cover, nesting or resting in trees or areas that are “natural” and not made of cement and man-made materials, giving you a sense of peeking into the real “wild” world.

Plan to spend a whole day at Northwest Trek. The park is divided up into several areas for exploration. The walking tour covers the wildcats, owls and eagles, bears, wolves, otters, porcupines, and many others. A hiking area provides a variety of trails to explore typical Pacific Northwest habitats and creatures where you can spend a few minutes or a couple of hours. Helpful signs identify the different species of plant and animal life. The Cheney Discovery Center provides children and visitors with a chance to get up close and personal as they learn about the different wildlife and how they live. There are hands-on displays and many different exhibits to help visitors better understand the animals and their reliance upon their environment and the responsibility we have to protect it for them.

Most popular is the Tram Tour which leaves every hour on the hour (April – October) from the Tram Station. This open window tram takes visitors on a ride through the largest part of the park, 435 acres, passing through woodlands, open fields, and wetlands. Visitors get a chance to see the animals safari-style, meeting elk, deer, bison, and others, as well as many birds, especially the native wild turkey which tend to put on quite a show during mating season. Sandpile Cranes love to hang out by the Tram Station during migration season, making a huge racket of honking and screeching sounds.

For the photographer, the walking tour, hiking areas, and tram are the best bets for excellent photographic opportunities. For excellent photographic access from the tram, you can participate in a photographic tram tour led by a wildlife specialist and/or wildlife biologist from the park. They can provide excellent educational information as well as bring the tram close to the wildlife for the photographers. Contact Northwest Trek and check their web page for more information.

Fall and Spring are the best time to photograph Northwest Trek. A high overcast day is even better, providing even light on your subjects. Fall offers mammals with their healthy winter coats and fattened up bodies ready for winter. Spring offers great opportunities for baby mammals and birds. These are also prime bird migration times, and many pass through Northwest Trek taking advantage of the water, food, and resting areas.

A tripod is a must, as the light in western Washington State is often low, even during the day. The dense foliage of the forest in and around the park and the trails also make for low light levels. A flash, especially a full-powered flash with a long range and a “flash extender”, is recommended, especially for the dark burrows and caverns for photographing “underground” or night creatures. Working with fill flash helps to overcome some of the shadows found on a bright sunny day, and to add some punch to the overcast days. When working under low light conditions, we recommend pushing 100 speed film 1 stop to ISO 200 or using one of the new higher speed films, but for normal conditions, using ISO 100 should be enough.

Long lenses are preferred for the larger mammals and the eagles and owls as they tend to stay further back in their enclosures. Shorter lenses are needed for the burrowing and smaller creatures as they are closer to the enclosure barrier.

Working with the burrowing creatures, Northwest Trek has provided underground viewing for many of them with glass barriers between you and the animal. The beaver dam is a prime example with a wonderful viewing window into their burrow, a sight rarely seen. Working with glass as interference, you will need to work with an off-the-camera flash cord and hold the flash at an angle to the window to prevent reflection of the flash into the camera.

The access to various owls and the two native eagle species is excellent, allowing visitors to view and photograph birds rarely seen in the wild. The owl enclosures recreate habitats comfortable and familiar to the birds, and the barn owls perch on the facade of an old bar, much as they have become accustomed to do in the “wild”.

A photographic trip to Northwest Trek means arriving early. Organized photo tours usually begin before the park opens, often following the feeding trucks around to get access to the more reclusive animals. If you come as an individual, be one of the first to walk in when they open at 9:30 AM (year around) during the winter so you can take advantage of some morning light. Closing at 3:00 PM during the shorter days of the year in the late Fall through early Spring, you can take advantage of the warmth of sunset when it sets early, if weather permits. It happens fast so you need to be prepared for the light. Storm-light also offers wonderful lighting opportunities for photographing at Northwest Trek. The ever-changing light, sometimes soft, sometimes unusually warm, creates some great challenges and chances for great photographs.

As with all such parks and preserves, watch backgrounds for signs and man-made objects, as well as bright lights or highlights can cause distracting elements in your images. Many animals have been rescued and are injured and unable to return to the wild. If you are photographing images for future sale, take care to avoid ear tags, scars, or other “unattractive” elements unless you have a particular market for such images.

Northwest Trek is also very suitable for organized groups and photo club excursions. Arrangements must be made in advance and they take extra special effort when working with photographers to transport them around before the park opens during the feeding of the animals, bringing the wildlife closer to the trams. Naturalists accompany the group tours, providing extensive information about the wildlife and habitat and answering questions.

Visit the Northwest Trek web site for more information and instructions on how to get there and take advantage of the wonderful facilities they have to offer.

Photographing mountains is like photographing the history of the planet. Mountains wear their history from the inside out and back again. They are great repositories of natural history, archeology, geology, and climate change. They house a good majority of the planet’s fresh water reserves, influence the weather, and determine which side gets the water and which side doesn’t. They are natural obstacles in our path, yet goals to be scaled. Mountains play important roles in our lives, and they are wondrous subjects to photograph.

No matter where you point your camera on a mountain, from great distances or up close, the subject diversity is amazing. For those who enjoy the scenic view, mountains offer spectacular landscapes, clouds dancing around the pinnacle or low around the base, or dark with forests and rocks and patches of white snow. For those who like the closeup perspective, the geology alone can captivate a photographer for years.

Mountains are exciting to photograph today because they are associated with wilderness. Anywhere you go in the world where there are mountains, you may still find wild streams, uncultivated trees, wild animals, and natural areas. The reason for this is that it is very difficult to tame a mountain, to build buildings and to develop them. Hundreds of years ago, the prairies and the plains of North America were also wild places but today these have been almost completely taken over by agriculture and cities, and the wildest places we have left anywhere in the world are in the mountains. The elk, bear, wolf, and many birds and other animals used to range the prairies and low lands of the planet, but now humans have pushed them into the mountains, their last sanctuary.

Mountains are big rocks. Most people think of mountains as tall craggy spires, but mountains come in all kinds of different shapes and sizes like the sharp pointing peaks of the Cascade and Rocky Mountains or the rounded and strange formations in the Garden of the Gods, Colorado. Mountains come in red, green, white with snow, dark in silhouette, golden with trees, and all colors in between.

Where the sedimentary layers are exposed, you can find a wide range of patterns and textures. Understanding the geological forces behind what you are seeing helps you recognize photographic opportunities representative of those forces of nature like the basalt formations, earthquakes, earth shifts, and more.

Mountains Expose Their Age

The shape of the mountain is based upon its age and wear and tear from wind, rain, and glaciers. Older mountains have been exposed to the weather for a longer period of time so the sharp points have been rounded and the highest points worn down. The Ozark and Appalachian mountains are considered the oldest mountain ranges in North America. Only a few thousand feet high, they have been ground down into rounded “hills” over time.

Contrast that with the newer mountain ranges of the West, the Rockies, Cascades, Sierra Nevadas, and the Alaska and Brooks ranges. The Olympic Mountains of Washington State are rising approximately one centimeter a year. The volcanic action of Mt. St. Helens, also in Washington, and active volcanos along the Aleutian Range in Alaska are changing mountain range profiles all the time.

The newer ranges are formed by volcanic action as well as shifts in the plates of the earth, called tectonics. The plates of the earth’s surface collide, with one shelf rising as the other pushes under, and the higher shelf becomes the mountains. As one plate pushes upward, the sedimentary layers are revealed, exposing its geology. Here you will find fascinating layers, textures and patterns to photograph.

Long dormant volcanos tend to feature round, smooth tops. The explosive force of a recently active volcano reshapes the mountain’s profile, changing dome crowns into giant holes, sometimes filled with water or ice. The force of the blast can dramatically change the surrounding landscape as mud, rocks, and ash are smashed into neighboring mountains and areas. Lava flows down the mountain sides, changing the landscape even more as it sculpts and cools.

As lava cools, it forms a volcanic rock known as basalt. As it cools and shrinks, cracks develop along the blackened surface, forming a cluster of hexagons like a honeycomb. These cracks extend the full depth of the rock, making vertical columns of basalt. This is common throughout the Columbia River Gorge of Oregon, Devil’s Postpile National Monument in California, Hawaii, and other volcanic areas.

But volcanic action isn’t just millions of years old and found in the rocks. It is found today on many active volcanos around the world. Hawaii still features red hot lava flows spilling into the sea and changing the shape of the islands. Mt. Rainier in Washington State is considered active, though barely. Even if the volcanic activity isn’t visible to the naked eye, it is still going on. On March 23, 2004, a series of small earthquakes rattled the Three Sisters volcanic center in central Oregon’s Cascade Mountains. While these were minor earthquakes, the experts say that the regional seismic network detected approximately 100 earthquakes up to about 1.5 magnitude centered five kilometers west of South Sister volcano. Since 1997, the ground has been uplifted by 25 cm (about 10 inches), believed to be “the continuing intrusion of a modest volume of magma (molten rock). The magma appears to be accumulating at a depth of about 7 kilometers (4 miles) below the ground surface and now measures about 40 million cubic meters (about 50 million cubic yards) in volume.” They are expecting more earthquakes in the area as the Earth’s crust shifts and moves to accommodate the heat and gases.

Mountains in Motion: Glaciers

Glaciers leave their marks on the landscape in many ways. Their surging ice flows pick up rocks large and small and transport them along their path to deposit them miles away. Glaciers are formed when the snow falls and accumulates faster than it melts and builds up over years or thousands of years. The weight of the snow on top compacts the oldest layers of snow into ice at the bottom, putting the most pressure on the lower parts. When the mass gets large enough, it starts to slide downhill under its own weight and the process continues for hundreds of thousands of years to form a river of ice that may be hundreds of meters thick and may move several meters a day. Between May 1956 and the summer of 1957, Alaska’s Muldrow Glacier surged four miles, and at its maximum speed moved almost ten inches a minute. The world’s fastest moving glacier is currently Alaska’s Columbia Glacier, moving 35 meters a day.

The ground underneath the glaciers are worn by the constant movement of the ice. Any rock or mountain section that is loose or weak is picked up and carried along with the glacier and those bits scour the landscape they pass over, like sandpaper, wearing it down. Tiny particles of rock are formed and collected in the glacier and the “rock flour” remains suspended in the water. These particles scatter the light and give the blue color to high mountain glacial lakes such as Lake Louise in Banff National Park in Canada.

Glaciers leave behind characteristically U-shaped valleys, as opposed to water carved valleys which tend to be deep gorges like the Grand Canyon. Into these valleys come plants and animals, protected by the refuge created by the glacier’s path.

Watermarks

Water cuts as it flows through a valley, but it’s not as “tough” as ice. While a glacier actually grinds its way through the mountains, a stream will cut through the softest part of the rock layers, leaving the hardest stuff behind. Narrow canyons and gorges with rough sides are smoothed in the places where water has polished it and rough in places where the rocks have broken off. As snow melts from the mountain tops and sides, small branching streams carve into the sides as they seek the path of least resistance, creating a network of branching patterns.

The areas of the mountains with the hardest rock resist the water’s forces so the water pushes around them, sometimes causing pillars to separate from the main mountain like in the Grand Canyon and the Garden of the Gods.

Wind takes longer to erode, a matter of force, being even weaker than water. Wind picks up light particles of sand and dust that sandblasts the mountains over time. Areas exposed to the direct wind get worn away more quickly. Wind that has time to pick up sand and dust and spread itself over a wider range creates softer, rounder mountain peaks. Where the wind meets resistance or loses its strength, it leaves deposits of sand and dust, piling up into new sedimentary layers.

Shake, Rattle, and Roll

While we can’t see deep beneath the earth’s surface, earthquakes and shifts in the earth’s surface can be photographed indirectly by finding the cracks in the rocks and mountain’s sides, or in crevices that form as the ground shifts underneath.

The Canadian Rocky Mountains offer many excellent examples of the forces of nature at work. These mountains were formed by the movement of two tectonic plates against each other, resulting in the uplifting of the mountains on one side, and the side that lost the war against the stress forces slides down and under the winning side. The upper layers are shoved skyward, often exposing their strata, or layers, to examination. These Mountain are jagged and almost torn looking as the weaker edges tumble away as the push from the planet’s Pacific plate continues to grind forward.

As the two land masses fight against each other for space, earthquakes result and the land shifts under the pressure to conform. Cracks form, great crevices, rough and ragged, splitting open to reveal the layers of sediment and stone exposed in lines, twists, and curves. The forces can be read like the lines in the palm of your hand, telling the story of the land.

In Israel, there are three “craters” which tell all of the above stories in combination. The original mountains were formed ages ago through the great pressures in tectonic shifts from the Syrian-African Rift, forcing the land masses on either side to rise up and tear each other apart. Seas covered them repeatedly over the millennia. Where the sedimentary layers were made of the hardest rock, they resisted the pressures of the water and tides. The limestone layers left behind by the receding sea were soft and didn’t withstand the wind and rain, so over time, they wore away leaving the stronger edges rising up from the desert floor, creating a crater which is really a mountain turned inside out. Along the edges of Maktesh HaGadol, Maktesh HaRamon, and Mahktesh HaKatan, you can see the layers of hard rock sediment pushed up by the geological forces. On the inside, they drop away to the bottom layers of what once was a mountain. The colors in the sand and grains left behind by the layers that once covered the mountain paint the crater floor with intense shades of black, red, green, and pink.

Weather Makers and Takers

Not only do mountains create weather, they stop the weather. Mountains have sides. Where the western slopes of the Olympic Mountains meet the sea, the mountains hold back the rain creating a temperate rain forest with trees covered in layers of green mosses. On the other side is a dry, rain shadow area, creating good pasture land that gets moderate rainfall of 16 inches a year compared to the 150 inches of rain on the seaside’s Hoh Rainforest. The same is true for other large mountains ranges like the Cascades and Rockies. On the weather side you will find luscious green forests accommodating the high rainfall, and on the other will be harsh desert lands.

Pollution affected by weather in the mountains is becoming a major concern. Not only do the mountains stop weather, they act as a barrier to halt air pollution from passing over. Instead, the mountains catch the polluted air from the cities below, and the pollution is trapped in the falling snow and rain. As the mountains are a major source of fresh water, this trapped pollution becomes a health problem. Acid rain is formed by the rain water passing through the toxic air, depositing the poison on the mountain below. Acid rain is destroying much of the plant life and trees in the Smokey and Blue Ridge Mountains on the east coast of the United States, and it wears down the rocks. The Athabasca Glacier in the Banff/Jasper National Parks of Canada feeds water to three oceans and it is under threat from pollution’s effects, too.

Photographically, the increase in particulates in the air creates dramatic sunsets and sunrises. Air pollution also creates a haze, making it difficult to even see the mountains in the distance, or the valleys below when you are in the mountains. If you are planning to travel to photograph mountains near high pollution zones, like the Blue Ridge Mountains, consider visiting after a hard rain or during the winter when the storm winds clear the air.

Mountain Compositions

While the geological formations are fascinating and make excellent subjects for photographing the natural history of a mountainous area, take time to leave the analyst behind and become an artist. Look for echos in the shapes and patterns that repeat themselves between the background and foreground. Look for fascinating patterns and shapes, recognizable subjects and abstracts that attract your attention. Patterns can be found in the lines and designs, cracks and crevices, and also in the shifts of color. Lichens add colors to the rocks and are part of the story of the mountains and their exposure to the weather. Common mountain patterns feature S-curves, strong vertical and horizontal lines, jagged edges, triangle and pyramidal shapes, branching, and fractals. Learning to recognize the patterns in nature will help you find even more compositional opportunities within the mountains.

Light on the mountains is something very special. Mountains that are quite high will catch the first and last rays of sun long before or after the surrounding landscape, so the last light of the day will strike the top of the mountain just as the sun disappears over the horizon. This is the time when the sunlight travels the greatest possible distance through the atmosphere, losing all the blues due to scattering as it passes through. What is left is a red or pink color that can turn the glaciers and peaks a wonderful glowing red color called “alpenglow”.

It usually lasts a few seconds to a minute before it fades and disappears. Don’t give up when you see the sun has set because the best part of the show may come a few minutes later. When you see a sunset, not only watch the sun go down, but turn around and see what is being lit by the sun. That quite often will be the much more exciting picture.

Weather creates dramatic light in the mountains, often different from what is seen below in the valleys. Mountains create their own weather, changing minute by minute. Storm light, dramatic storm clouds, crepuscular rays, and fog can all be found in the mountains. Photograph through snow and rain as they act as a giant diffusion filter, softening the effects.

Look for a vantage point where you can see a series of ridges, one behind the other, usually early in the morning or late in the day, the farther ridges will be a lighter color because of the haze over the longer distance. Photograph them with a medium to long focal length lens to fill the frame with the layer patterns of mountains. The telephoto lens compresses the perspective and makes them appear closer together.

If you are in a place where you don’t have that vantage point or you don’t have layers of ridges, you can fake it with double or triple exposures, adding a sense of drama. This works particularly well with silhouettes. A sunset sky and the jagged black silhouetted mountain stack up in the frame. Pay attention to the profile of each exposure so the second or even third exposure complements the first. The viewer will see all the layers at once but you have to remember while you’re composing.

Clouds and fog add an interesting dimension to your images of mountains. They can act as separators between mountains and ranges of ridges. If the mountains are all monochromatic, the nearest ridges fade and disappear against the farther ridges. Fog or clouds that sit in the valleys between the mountains separate the layers and add some visual interest to the photograph.

Look for opportunities to photograph the sun as it peeks above or drops behind a mountain. The burst of light at that instant is magical. The mountain itself becomes a silhouette, and the sun makes a star burst that can turn an ordinary afternoon into a special photographic memory.

Climb Every Mountain…

Mountains have winding roads, tunnels, rivers, waterfalls, streams, and a diverse climate and plant life range as you pass through the different altitudes. Make it a habit to keep your eyes open as you drive or hike, and stop often to look around to see what’s in view. The profiles and outlines of the mountains capture the drama of the erosion that they have undergone. Mountains can be photographed by themselves or in combination with other things. Explore their history and delight in their revelations. Most of all, photograph them well.

The Jewish Quarter of the Old City represents the second smallest area of the Old City. The Armenian Quarter is the smallest. The word “quarter” is not meant to represent the four parts of the whole Old City, but the sleeping “quarters” of the different populations. Currently, there is the Moselm Quarter, Christain Quarter, Jewish Quarter, and Armenian Quarter, and a small area near the Citadel called the Citadel Area. The Jewish Quarter is the newest and offers interesting architecture combing the old ruins with the new construction, and hosts some of the best archeological remains.

The Jewish Quarter

Restored since 1967, the Jewish Quarter is an area of contrasts between old and new, traditional and modern, preserved and reconstructed. Access into the area is mainly up the staircase on the southwest corner of the Western Wall Square (check out the excellent perspective of the Western Wall at the top of the staircase) or through Misgab Ladach Street or the Jewish Quarter Road, both heading south from David/Bab el-Slisileh Street into the Jewish Quarter.

There are many amazing archeological museums and uncovered ancient ruins within the Jewish Quarter worth exploring. Highlights include the Wohl Archaeological Museum and the Museums of the First and Second Temple Periods. You may photograph within these facilities with permission only. Other highlights include the Cardo, the Broad Wall, the ruins of the Hurva Synagogue, and the Burnt House.

Between the Jewish Quarter Road and Habad Street you will find The Cardo. The Cardo is the restored and semi-reconstructed remains of the ancient Roman entrance into the city. Originally constructed by the Roman emperor Hadrian in 135 CE, the Cardo was the main street of the city of Aelia Capitolina, built upon the ruins of Jerusalem, and completed in the fourth century. Hadrian’s city plan is essentially the format of the city today. The “Cardo Maximus”, meaning “main street”, began at Damascus Gate and continued to the south to the exposed part of the road today. The original width was about 73 ft (22 m) and about half of the width is revealed today. Along the reconstructed remains you get a feel of the ancient street and the small shops that would have lined it, evidenced by some of the shops occupying part of the Cardo.

Photographically, most of the Cardo is undercover, so a flash is recommended. Watch for details in the textures and patterns of the columns and walls. Along the road there are interesting archeological remains and remnants including an ancient water storage cistern and an interesting reproduction of an ancient mosaic city map.

On Jewish Quarter Street, in the middle of the length, you will find restrooms to the east along a narrow street. Past the restrooms on Tiferet Israel Street you will enter a triangular square which reveals the archeological remains of the Broad Wall, a 23 ft (7 m) thick wall believed to be built by Hezekiah, King of Judah (700 years BCE), to protect the city against an Assyrian invasion, as mentioned in the Old Testament (II Chronicles 32). An interesting map of the different occupied areas during the history of Jerusalem helps you to understand the historical layout of the city during its different incarnations. The main interest of the Broad Wall is understanding the layers of history upon which the city is built. Do take time to look up and around at the new construction of homes around the Broad Wall. Passing south along the road past the exposed area you will be on Tiferet Israel Street leading to the Burnt House and the staircase to the Western Wall.

One block south of the street to the Broad Wall along Jewish Quarter Street you will find a narrow staircase that heads up to the ruins of the Hurva Synagogue. Occasionally you will find some religious Jews worshiping within the entrance to the ruins, and others just paying tribute to the ruins. An arch remains among the ruined walls and alcoves of the synagogue. Originally built in 1700 with money borrowed from the local Arabs, in 1720 the synagogue was burned down by the Muslim Arabs in retaliation for failure to repaid the loans. In 1862, a modern synagogue was built on the ruins, it’s high dome a landmark in the Jewish Quarter until its destruction during the 1948 War of Independence by local Arabs, leaving the arch as it stands today. Difficult to photograph on a bright sunny day, arrive early in the morning or in the late afternoon to capture some soft light and clouds that may appear at that time of day. The arch can be used to frame some of the surrounding buildings for an interesting perspective.

Western (Wailing) Wall

While photography is not permitted during Shabbat (Friday sunset until Saturday sunset), the Western Wall is open 24 hours a day to explore and photograph. Life at the Wall is never ending, with people of all varieties turning up. From barefoot hippies to overdressed Hasidic, you will find everyone and anyone at the Wall. The colorful flow of people, representing all the nations of the world, create an interesting tapestry to photograph. Not all desire to be photographed, so do take care and ask permission when possible. In general, with the high security, the Western Wall is very safe, but do pay attention to the temperment of the crowd, obey the security police, and use common sense.

Close to the wall, women are only allowed within the smaller women’s section, and men are confined to their section to the north. Approaching the wall, you are required to wear a hat or head covering. Some people frown upon any behavior considered disrespectful, but they usually respect your right to be there. Expect to be thoroughly inspected through the security check points at all entrances into the Wall area.

Photographic elements include the Wall itself, especially capturing the many notes stuffed into the cracks in the wall with a long lens, as well as the people praying or visiting the wall. Women may photograph the men’s section from within the women’s section by standing upon one of the many chairs lined up along the divider so female family members may watch bar mitzvahs and other ceremonies by the men. Men typically do not stand on the chairs or look into the women’s section unless it is to tease or harass the women who pray in the traditional style, a form objected to by most Orthodox Jews. For over 15 years these women praying in the ancient traditional ways, and have kept a 24 hour vigilance at the Wall as their case moved through the court system. In 2000 they were finally given permission by the court to worship in the ancient fashion, with prayer shawls and kippas. It is still being debated and the threats of the resentful men continue from time to time. Occasionally the harassment can turn violent with rock throwing, so take care to avoid injury or confrontation. With the Dome of the Rock and Al-Aksa Mosque overhead, Arabs tend to throw rocks over the wall to the worshipers below, too, so do take care. The Wall can be a hotspot, so closely monitor the crowd and the situation to keep yourself safe.

To the south of the Wall you will find the Ophel Archaeological Garden, also known as the Western and Southern Wall Excavations. Uncovered in the 1970s, this area reveals much about the architecture and lifestyles of the Herodian, Byzantine, and Arab periods of Jerusalem. These areas go back to the Second Temple periods, representing some of the ancient streets and routes the pilgrims took to visit the Temple from the main part of the city below it. Look for the patterns and textures in the stone walls, with some stones using weight alone to stand without cement or mortar. For the labyrinth areas of Byzantine dwellings, and for tunnels and low light areas, a flash is a must. The area is not a popular tourist destination, so using a tripod is not usually a problem, but do watch out for the occasional tour group.

A crowded narrow street leads from the Jaffa Gate to deep inside the Old City of Jerusalem, a cobblestone divider between the Christian, Muslim and Jewish Quarters. It descends the gentle slope of the hill toward the Via Dolorosa, the painful path and last walk of Jesus of Nazareth as he carried the cross to his own crucifixion some 2000 years ago. Two narrow stone inclines bridge the steps in the center of the street, spaced just right for the wheels of the handcarts the merchants use to deliver their wares up and down the pitch.

The street is lined with shops, hundreds of shops, none more than a few meters wide. The smells of exotic spices and fresh-baked pitas, the sounds of an oud playing somewhere in the distance, and the calls of the vendors assault the senses. The merchants stand in their doorways or sit on the stoop, smoking a cigarette and inviting passers-by to come in and “Look, please, would you like to look in my shop? It will only take a moment. You don’t have to pay anything to look.” But you can see the lack of enthusiasm and interest in their eyes. Business is not what it was before the latest Intifada. Three years ago, the streets were so crowded it was at times impossible to move without turning sideways and pushing yourself along with or against the flow of people. Today, you can walk side-by-side through empty streets. Where merchants were once busy showing their carpets, hand-dyed scarfs, and olive-wood figures, today they sip tea and hope someone will buy something and pay their rent for the day.

In the doorway of one unnamed shop stands Bedui, the importer and collector of handmade metalwork from all over the Middle East. As we enter he smiles politely and offers to help us. It’s a few moments before he looks at us more intently and says, “I remember you, you were here before, you’re the one with the camera.”

Indeed, I was. Lorelle is amused, because she’s the one who’s always recognized, but this time it’s me, although my camera is buried deep in my pack, nowhere to be seen. We had spent at least an hour in his shop more than a year ago, and he allowed me to photograph his endless array of handmade silver and brass teapots and necklaces and spoons and jewelry boxes and thousands of other objects I don’t even know the names for. We had bought a few things from him, too, but not a lot. He remembers us and wants to know how we have been, and what we are doing in Jerusalem, where are the pictures, and how he can help us today.

I tell him I’m looking for something small and lightweight, something nice, and not too fancy, that I want to send to a friend of mine in Oregon. I want something handmade. Of course, he has several ideas, and runs around the shop, moving urns out of the way so he can climb on a footstool to reach one of the top shelves somewhere. He brings three or four things out for our examination, dusting them off as he winds through the tangle of clutter, a couple of small teapots, an ornamented box, and an intricate silver plate. When I tell him that I like one of them very much, he mentions that he has a similar one in brass, if I would like to see it. Yes, I thought I would. He calls softly to his partner to find the teapot, and they search around and finally find it in the window. But it is only visible through the window from the street. We decide we like it, and ask to see it up close. With not a break in expression, he coos and oos, waddles back inside the shop and he and his partner begin the laborious process of clearing a path through the eclectic clutter of vases, tea pots, tea cups, metal plates, pots and pans, all once sparkling with brass, copper, and silver, now tarnished and dull with layers of oily dust. They struggle to move the things aside without tipping anything over, a great domino possibility in the making, but nothing falls. Within a few minutes, he brings out the small item and I find that it is poorly made, a cheap imitation of what I want. We regret, especially after all the work, that this is not what we want, but is there something else like it, better made? Again, with only smiles of appreciation for us passing his threshold, he hunts around for more treasures from which we can choose.

In the end, our hands dusty and dark from touching all the interesting pieces he digs out from the collage of brass, silver, tin and trash, Lorelle helped me choose a small sugar bowl from his vast selection. Handmade in Iran and brought to Israel by one of the many immigrant families who come here to escape persecution or to find income over the years. It’s a beautiful piece, part of a set, although the other pieces have been lost or hidden over time, the tragedy of so many things. Lives and pieces of lives scattered across time and space.