Medium Format Desert Photography of Capitol Reef National Park
Capitol Reef National Park and its surrounding areas offer a contrast of landscapes, from sandstone cliffs to fall foliage, and this series of images explores both the vistas and intimate details of Utah's canyon country, captured using two distinct medium format camera systems: a technical camera setup combining an Arca-Swiss Rm3di with a Hasselblad CFV 100C digital back, and the Fujifilm GFX 100 II medium format camera.
While both systems share the same 100mp medium format sensor, they serve different purposes for me. The technical camera, which I typically used for landscape photography, encourages a slower, more deliberate approach to image-making. The GFX medium format camera system, which I primarily used for commercial work, offers modern automation that better integrates with architectural and commercial photography practices. On this trip though, I brought both.
This collection was created during Hunter Page's Capitol Reef & Utah Badlands photography workshop, where the emphasis was on crafting compelling imagery throughout the entire day, not just during traditional golden hours. The workshop's approach centered on finding simple, balanced compositions within the desert's complex landscape while utilizing the unique characteristics of reflective canyon light.
The technical challenges of this project were considerable, with many images requiring exposures of 20-30 seconds at ISO 320 to 800 and f/11. In these extremely low light conditions, each system presented distinct challenges. The Hasselblad CFV 100C's screen was unusable. However, the Arca Swiss's precise helical focusing and my pre-marked infinity settings for each lens allowed shooting when it was too dark for the screen to display the scene in front of me.
Low light conditions presented a significant challenge with the GFX system's longer lenses as well. Both the GF 500mm and GF 100-200mm rendered the viewfinder and screen nearly unusable for focusing in dim light, though interestingly, the GF 32-64mm lens maintained normal brightness levels. While other workshop participants with Canon and Nikon cameras had no such difficulties, I was left wondering: is this a characteristic limitation of medium format gear, or simply user error? Further testing is needed to determine the cause.
The following sections present these photographs organized by camera system and lens, showcasing how different optical tools can shape the way we see and interpret the landscape. Throughout the workshop, my compositional goal was to emphasize simplicity and balance, which is especially impactful in this desert landscape.
The locations photographed include Capitol Reef National Park, Factory Butte near Hanksville, South Cainville Mesa, and surrounding areas. Each location presented different opportunities for both grand scale and intimate landscape photographs.
Images made with the Fujifilm GFX 100 II
The GFX system's modern capabilities allow me to work more intuitively with the landscape. The ability to quickly change lenses or zoom with the GFX zoom lenses helps me explore different focal lengths and rough compositions. Then the camera's excellent handling means I can freely work handheld - adjusting height and moving around the scene until I find exactly the right perspective. Once I've found the right composition, I set up on a tripod for the final capture. These benefits are particularly helpful during the fleeting moments of twilight, when the desert's colors shift dramatically with each passing minute.
Fujinon GF32-64mm F4 R LM WR Lens
The GF32-64mm F4 proved invaluable for photographing wider landscapes throughout the workshop. The Castle at Dusk and Factory Butte in twilight are good examples of the lens's ability to include both foreground elements and distant features to help create layered compositions.
1. The Castle at Dusk
My exploration of this scene began about 100 yards from the final camera position - the GFX's handling allowing me to freely work in the diminishing twilight until I found this precise composition. Layered elements build from foreground to background, with desert grasses providing a textural foundation, leading to a row of autumn cottonwood trees in the middle ground. The trees are deliberately positioned to be framed entirely by the landscape, avoiding any overlap with the clear blue sky above.
At the highest point of the composition, Castle formation sits against the deepening blue sky. The diffused light conditions of twilight reveal subtle luminosity throughout the scene - from the gentle glow in the desert grasses to the delicate highlighting of the rock formations. While this image captures the last light of day, the next image explores similar exposure techniques in the pre-dawn twilight at Factory Butte.
2. Factory Butte at Twilight
Rising dramatically from the desert floor, Factory Butte fills most of the square frame, with its eroded flanks creating a pattern of ridges and gullies. I chose the square format to emphasize the monumental presence of the butte, allowing its dramatic form to dominate the composition.
Pre-dawn light bathes the scene in subtle purple hues, while the upper rim catches slightly warmer tones against the twilight sky. Leading lines formed by desiccation cracks in the desert floor draw the eye toward the butte. Through a 10-second exposure in low light conditions, subtle textures and tones emerge in both the cracked earth and the butte's erosion patterns.
Fujinon GF100-200mm F5.6 R LM OIS WR Lens
This lens was used for both distant and close-up compositions. For Factory Butte's erosion patterns, it allowed for tighter, more abstract framing that emphasizes geometric patterns and subtle color variations. The lens also proved capable in close-up work, as shown in the mud crack image where it revealed textures and reflected light on the desert floor.
3. Erosion Patterns at Factory Butte
Using a telephoto perspective transforms Factory Butte's geological features into an abstract composition. The soft illumination of early morning reveals diagonal lines that create rhythmic patterns across the frame. The main face emerges in deep violet tones, while the sculpted ridgelines catch the first hints of sunlight in amber hues.
4. Desert Patterns in Blue
Through the telephoto lens, these mud cracks become a more abstract interpretation of the desert environment. By isolating these easily overlooked patterns, I aimed to transform them into form and texture, where the interplay of light and shadow reveals the desert's hidden geometries.
Images Made with the Arca-Swiss Rm3di and Hasselblad CFV 100C
Working with the technical camera system creates a meditative space where I can fully immerse myself in the scene before me. The precise movements and deliberate setup process naturally lead to more contemplative compositions.
Schneider-Kreuznach Apo-Digitar 5.6/120 asph. Lens
5. Cottonwood and Canyon Wall
6. Backlit Cottonwood Study
7. Fallen Cottonwood Leaves
Nikkor M 200mm f/8 S Lens
8. Autumn Palette at South Cainville Mesa
9. Blue Hills of South Cainville Mesa
10. Chinle Formation and Cottonwoods at Dusk
Closing Thoughts on Photographing Capitol Reef National Park and Utah's Badlands
Capitol Reef National Park and Utah's Badlands offer unique photographic opportunities due to the interplay of reflected light in the canyon environment. The towering walls and deep canyons create an abundance of reflected light throughout the day, revealing subtle details and colors in shaded areas.
Hunter Page's workshop provided access to lesser-known locations while demonstrating how reflected canyon light can transform seemingly ordinary scenes. The workshop format offered dedicated time to explore different approaches with both camera systems - from technical movements with the Arca-Swiss to the versatility of the GFX system. Workshops like this provide valuable opportunities to explore new locations with experienced guides while practicing and refining photographic technique in the field.