Thayer Hut

 
Thayer Hut.

Thayer Hut.

After carrying a heavy pack over the rough moraine of Castner Glacier for seven miles, I wasn't in the mood to scale a treacherously steep and muddy slope. The sun had already set and the purple twilit sky hung over the glaciated peaks of the eastern Alaska Range surrounding me. The dark crevasse at the bottom of the slope was choked with rocks from previous mudslides and, looking up, it appeared there could be another mudslide at anytime. I had scrambled up the same slope three years before and vaguely recalled fearing for my life, but the promise of mountain luxury awaited me and I reluctantly began the ascent.

As I crested the edge of the alpine meadow at the top, there it was: the Thayer Hut. The hut is impossible to see from below on Castner Glacier, and I've encountered people who failed to find it after making the same arduous trek—probably because they imagined it sitting atop a much shorter, less steep slope. For those that do find it, it's like stumbling onto an oasis in the desert, at least for summer visitors; in winter, finding the hut can be more like waking after a heavy snowfall and realizing you have to shovel the driveway before going to work. Fresh Dall sheep tracks crossed my path as I walked the final length to the hut, and when I followed them with my eyes I found three rams sitting on the edge of the meadow. They looked puzzled as I untied the rope holding the hut's door securely closed, but they didn't run away or even stand up. A bulge in the floor prevented the door from opening more than halfway but I managed to squeeze through, then quickly dug my sleeping bag out of my pack and went to sleep. 

I awoke the next morning to something banging on the side of the hut. I looked out the window and saw two marmots scampering away across the meadow. Marmots used to occasionally chew their way through the floor of the hut and wreak havoc inside, but it seems the marmot-proofing measures undertaken over a decade ago have reduced them to nibbling on scrap wood outside the hut and the shiny aluminum sheeting which covers the hut's exterior. I didn't know what time it was, but the weather outside was unusually spectacular, so it was time to get up.

The view of Mt. Silvertip from the alpine meadow where Thayer Hut sits.

The view of Mt. Silvertip from the alpine meadow where Thayer Hut sits.

When I stepped outside, it was like stepping into the iconic opening scene of The Sound of Music. Mt. Silvertip (a popular target of climbers) towered over the meadow filled with wildflowers, shining brilliantly in a clear, blue sky. A few streams emanating from the lingering snow patches around the hut trickled over the alpine tundra. Looking over the edge of the meadow I saw a vibrant blue-green pool of water on a small bench just a few dozen feet below, with water roaring across the glacier's surface much farther down. The marmots whistled at me, an arctic ground squirrel chirped at me, and I was even yelled at by a collared pika.

I quickly began suffering from a case of "hut lassitude", a term I picked up from reading the entries of past visitors in the hut's logbook. My legs were aching from the previous day's hike and I told myself I would be more productive the rest of my trip if I rested them for a day. I spent the morning photographing in and around the hut, then spent the afternoon cooking the two pounds of frozen chicken I had brought. I tried to light the hut's 30+ year-old Coleman stove, but it was rather rusty and the fuel tank didn't seem to hold pressure when I operated the pump, so I gave up and improvised with my Jetboil to cook the chicken. I made rice as well, then buried the leftover chicken in the snow for the next couple nights' dinners. 

Rice and pan-seared chicken for dinner.

Rice and pan-seared chicken for dinner.

I got ready for bed, then curled up with the logbook and a thermos of steaming hot chocolate. The log contains decades' worth of entertaining stories, thoughts, hyperbole, and even artwork from past visitors. One backcountry skier staying at the hut wrote about witnessing the amazing March 1989 aurora borealis display caused by the biggest geomagnetic storm in recent history. A climber wrote a heart-wrenching account of losing his dog in a crevasse on the way back from White Princess in 2006. In the early 1990s, a pair of spring-breakers from Fairbanks deserted their tent on Castner Glacier within view of the meadow and hightailed it back to the highway when they encountered bitter cold (of the forty-below-zero variety), and several hut visitors expressed concern and posited humorous theories in the log about the mystery tent until a team came to retrieve it. Many of the entries from the 1960s (when the hut was built) and 1970s seemed like they could have been written yesterday; I suppose that's because fifty years later the mountains are still in the same places and everyone still relies on crampons, rope and ice axes to climb them—and yes, you can still get a greasy burger in Delta Junction on the drive back to Fairbanks. 

When I last visited Thayer Hut in July 2014, someone had donated a half-full bottle of Jameson Irish Whiskey a couple days prior marked "July 4th". Somewhat surprisingly, the bottle was still there untouched three years later. Only four or five people had left entries in the log since then, with the most recent being in September 2016 by Alaska's famed mountain runner Matias Saari. The lack of entries in recent years may simply be the result of the current logbook running out of room, but the unconsumed bottle of liquor tells a different story. 

Once upon a time, there were plenty of new routes still left to be pioneered for climbers and skiers in the "Delta Mountains" (as the surrounding mountains are nicknamed), and Thayer Hut was much easier to access when the shrinking Castner Glacier filled a greater portion of the valley. I suspect many people simply opt to camp lower on the glacier now (as I have done myself), but I worry there is also less of a draw to the hut now that its first generation of patrons has grown old and alternate forms of recreation in Alaska have grown in popularity, especially motorized off-road vehicles. It's sad to think this comfortable piece of history sitting in one of the most idyllic locations in the Alaska Range may be going to waste.

Reading the logbook. The hut is well-stocked with fuel, cooking utensils, and other gear, but some (all) of the food could use tossing.

Reading the logbook. The hut is well-stocked with fuel, cooking utensils, and other gear, but some (all) of the food could use tossing.

The next day I strolled up the northern "Silvertip" branch of Castner Glacier. Descending the steep, rocky slope on the west side of the meadow was slow, but once I reached the glacier I found easy walking on the moraine. After a short distance, bare ice appeared on my right but there were still a number of snow patches scattered around and it seemed most of them were hiding small crevasses. As I wound along a stream flowing down the surface of the glacier, I found part of a sheep jaw and several more bone fragments nearby. A climber wrote in the logbook that he found an entire sheep skeleton on the glacier while returning from climbing Mt. Silvertip about a decade prior, and I assumed these were the remnants. Perhaps the sheep was killed by a grizzly, wolf, or wolverine, all of which roam the upper reaches of Castner Glacier despite the barren landscape. It could have even died in a fall and met a fate similar to Ötzi, emerging from the glacier after being encased in ice for many years. 

Part of a sheep jaw on the surface of Castner Glacier.

Part of a sheep jaw on the surface of Castner Glacier.

I continued all the way to the base of Mt. Silvertip. Thick slabs of blue ice spilled down its heavily-glaciated southern face, and impressive waterfalls poured over the cliffs at the mountain's base. I spied what I thought was a crevasse-free, walk-up route to the summit, but I wasn't about to climb on the mountain without a partner and a rope. Rock and ice completely surrounded me, but the sound of falling rocks and rushing water coming from all directions made the lifeless landscape feel quite alive. Though it was mid-June and the sun was shining bright, my fingers still went numb working the camera, and after I stopped to eat some cheese and a protein bar for lunch I had to start hiking quickly down the glacier to warm back up. I stopped to check out a waterfall spilling over a lingering sheet of ice on the east edge of the glacier, then laboriously hopped up boulders back to the hut. 

Rock and ice near "Item Peak" above the north branch of Castner Glacier.

Rock and ice near "Item Peak" above the north branch of Castner Glacier.

That night, after laying down and closing my eyes to go to sleep, I was startled by a sudden, loud rumble. Seconds later, the hut began shaking. Earthquake! 

Before I could react, the shaking stopped. Having spent most of my life in Florida, this was the first perceptible earthquake I had ever experienced and I had no idea at the time how strong it had been. I checked UAF's Alaska Earthquake Center website when I got home and saw it was only a 2.9 magnitude quake centered on the nearby Canwell Glacier just five miles away. I visited the Lower Canwell Hut a month prior, and I imagine the shaking would have been a bit stronger over there. 

The next morning was rather cloudy, but I saw some patches of blue sky further up the eastern "White Princess" branch of Castner Glacier and decided to explore in that direction. I avoided the muddy slope I climbed on the night of my arrival and instead traversed over lower angle rock past the crevasse field on the hut's south side. A few Dall sheep ewes were grazing on the slope and they quickly retreated to nearby cliffs when they saw me, where they cautiously watched me until I was at least a quarter-mile away.

As soon as I reached bare ice, I encountered two circular snow patches on the glacier next to each other. Streams flowed into both of them but no streams came out the other side, a sure sign that moulins were lurking underneath. Moulins are deep, vertical shafts leading straight into the dark interior of a glacier, and most are wide enough for a person to fall through and some are big enough for a car to easily fit inside. I widened a small hole in the snow covering one of them and tossed some large rocks in, listening for several seconds until each one crashed against the ice in the darkness below.  

One of the narrow crevasses I hopped across on the White Princess branch of Castner Glacier. Black Cap is in the background.

One of the narrow crevasses I hopped across on the White Princess branch of Castner Glacier. Black Cap is in the background.

Farther ahead, I encountered a very narrow crevasse that ran across the entire half-mile width of the glacier. The dozens of streams running down the glacier's surface emptied into the crevasse and their collective echo sounded like a roaring waterfall even though most of the streams were barely more than a trickle. I stepped over the crevasse and continued up the ice until it became mostly covered in snow, then started walking along the bare rock of the lateral moraine. An actual roaring waterfall was carving away at the side of the glacier in one spot, and just beyond it the glacier cascaded down in a series of jagged blue walls as its slope abruptly increased. Several small crevasses began appearing on the moraine as I neared the O'Brien Icefall at the head of the valley, and I hopped over them or walked circuitous paths around them. I stayed on exposed rock as long as I could, but the crevasses became completely covered under weak snow bridges and I eventually had to stop when crossing snow became the only way forward. 

I had a clear view of Black Cap but, disappointingly, I hadn't gone quite far enough to see White Princess around the bend in the valley. As I took pictures, two jets from Eielson Air Force Base painted twisting contrails in the sky over the O'Brien Icefall and blasted out a pair of sonic booms, almost as if they were putting on a private air show for me. I expect by July it would be easy to hike all the way to the base of the icefall without having to worry about hidden crevasses, and a nearby hill would provide an amazing place to camp.  

The O'Brien Icefall.

The O'Brien Icefall.

On the return, I climbed up to the hut the same way I had descended and found it to be much easier and safer than the other two routes I tried. Drizzling rain fell the rest of the evening, but the sun peeked through the clouds just before falling behind Mt. Silvertip and I was able to snag a couple shots of the front of the hut in direct sunlight, a rarity because the sun is either behind the hut or blocked by mountains most of the day. I scanned the lower glacier for people and animals, but everything was quiet below. Four straight days of unusually great summer weather in the valley and I was the only one around to enjoy it.

The view climbing up "the easy way" to the Thayer Hut from Castner Glacier.

The view climbing up "the easy way" to the Thayer Hut from Castner Glacier.

On my final morning at the hut, I washed dishes, packed up my gear, swept the floor and wrote an entry in the log. I had gotten used to life at the hut and told myself next time I would bring more food so I could stay for an entire week or two. I measured the elevation of the hut using my InReach and found it sat around 4950 feet, a little higher than the 4800 feet quoted by the Alaska Alpine Club. I descended to the glacier below via a steep scree slope on the southwest corner of the meadow, and while it wasn't too bad going down, the footing was much too loose for me to consider going up that way in the future. I measured the elevation at the glacier to be around 4300 feet. No wonder it takes the better part of an hour to climb up to the hut. 

Even though my pack was ten pounds lighter and I was heading slightly downhill, the return trip took just as long as the forward journey since I was in no rush to leave. I stumbled upon two rock ptarmigan nests camouflaged on the glacier moraine, and both times the adorable flightless chicks peeped as they waddled away from me in multiple directions while the mother tried to get me to chase after her. The final mile to the glacier's terminus is always the toughest because the terrain is so hilly and the thin layer of soil and rock covering the ice tends to slide out from underfoot on relatively gentle inclines, and this time was no exception. I finally crested the last hill and stood looking down at the swift, turbulent water of Castner Creek below, and from there it was simply a matter of walking a short distance along the unmarked trail beside the creek back to my car. As I rounded Donnelly Dome on the drive home, I glanced to the south at Mt. Silvertip glowing in the golden evening sun, and I knew Thayer Hut was sitting empty on the other side. I hope it doesn't stay empty for long.

The Thayer Hut in the evening sun with the familiar lantern hanging in the window.

The Thayer Hut in the evening sun with the familiar lantern hanging in the window.

Interested in exploring Castner Glacier? Check out my Black Rapids Tours offerings.

 

How To Photograph An Ice Cave

 
A stream from a nearby waterfall runs beneath the ice of Root Glacier, Wrangell-St. Elias National Park.

A stream from a nearby waterfall runs beneath the ice of Root Glacier, Wrangell-St. Elias National Park.

Google “Alaska ice caves” and you’ll see dozens of similar pictures of the stunning caves within Mendenhall Glacier near Juneau. These caves have gained significant fame due to the surreal images people have captured of them over the past several years. While the Mendenhall Glacier caves are very well known, ice caves form in most of the glaciers across Alaska, coming and going as water carves its way through the glacier ice. I’ve personally photographed dozens of caves across nine different glaciers, with each one offering unique opportunities for creative photography. If you’re hoping to photograph an ice cave, but aren’t sure what to expect, this overview will help you capture some winning shots.

Here’s a brief list of recommended equipment:

  • Camera with manual controls, preferably a DSLR or mirrorless camera with good high ISO performance

  • Tripod

  • At least one light source (flashlight, lantern, headlamp)

  • Warm, waterproof clothing and footwear

  • Helmet

  • Crampons or ice cleats

Some caves require crampons or ice tools to explore, but most caves I’ve entered have only required caution while walking (or sometimes crawling) inside. Still, it’s a good idea to use a pair of crampons or ice cleats to make walking less hazardous, especially if carrying expensive camera gear. If you are participating in a guided tour, any specialized gear will likely be provided, but ask in advance. In summer, the temperature is still near freezing inside an ice cave and water will be everywhere, so bring appropriate clothing and footwear. 

Safety
It is much more dangerous to explore an ice cave in the summer when the ice is actively melting. Rocks on the edge of a high slope above an ice cave entrance will continuously tumble down as the ice melts, making entering and exiting a cave treacherous; avoid passing directly beneath the fall line as you quickly enter/exit the cave, covering your head if not wearing a helmet. Glacier ice contains rocks and other debris that fall out of the walls and ceiling of a cave as the interior melts, so be wary of a high ceiling and make certain to look up. The freezing glacial streams that run through most caves in the summer can also be hazardous if the flow is great. Even in winter, large pieces of ice that are visibly cracking away from the interior or exterior of a cave can be dangerous. Use common sense: if you see significant crumbling or collapsed ice around the entrance or inside, the cave is probably dangerous, and if you see overhanging ice that looks thin, poorly supported, or significantly cracked, don’t stand underneath. The ice cave entrance often features the thinnest, weakest ice. Heed any warnings from guides, rangers, or others about current ice instability. Last, but not least, most ice caves lie in difficult-to-reach areas of the backcountry, so you should be thoroughly prepared for traveling over rough terrain on unmarked trails, far from rescue personnel and safety.         

This ice arch unsurprisingly collapsed the same summer this photograph was taken. Beware of poorly supported ice, cracking, signs of recent ice collapse, high ceilings, and rockfall when exploring ice caves and other formations on glaciers.

This ice arch unsurprisingly collapsed the same summer this photograph was taken. Beware of poorly supported ice, cracking, signs of recent ice collapse, high ceilings, and rockfall when exploring ice caves and other formations on glaciers.

Where To Go
Besides Mendenhall Glacier near Juneau, you can easily find guided tours of Alaska ice caves in the summer at Root Glacier near Kennecott, Matanuska Glacier along the Glenn Highway, Spencer Glacier near an Alaska Railroad stop, and Valdez Glacier in Valdez, with some outfits offering winter tours as well. (Update: There were no accessible ice caves at Mendenhall Glacier in summer 2018. Ice caves change quickly in the summer and can disappear altogether, so check conditions before your trip and consider a winter visit to avoid surprises.) I've also been impressed by photographs I've seen of Iceland ice caves. I often photograph ice caves at Castner Glacier, Canwell Glacier, and Black Rapids Glacier in the Alaska Range, which typically contain several caves each, and I offer tours of these glaciers in winter as well. Black Rapids Glacier is my personal favorite, but that glacier requires considerable physical effort to access. 

Camera & Tripod
Because you will be shooting in low light, a tripod and a camera with good high ISO performance are recommended to achieve the sharpest, highest quality photos. Don't expect to take any great shots with a cell phone or a basic point-and-shoot camera, except possibly near the entrance where there is ample light. A higher-end point-and-shoot camera that you can manually control should take some decent shots, but a DSLR or mirrorless camera is highly recommended, and a full-frame DSLR or mirrorless camera will provide the best image quality while also providing a wider field-of-view than a crop sensor camera, which is crucial when trying to cram more ice into the frame. A tripod is absolutely necessary for exposing details in the shadowy areas of an ice cave, where multi-second exposures may be required even at high ISOs, but a tripod will also allow you to shoot at lower ISOs and narrower apertures in lighter areas of a cave, reducing noise, improving sharpness, and providing a greater depth-of-field in your images. I used the Canon 6D to shoot ice caves for several years, recently upgrading to the Canon 5D Mark IV, and I've been completely satisfied with the performance of both, though any newer DSLR (less than 5-10 years old) should perform well.

Shooting in total darkness beneath Canwell Glacier. I manually focused on my lantern, then used a wireless shutter release to take a picture while standing as still as possible. Canon 6D, Canon 24-105mm f/4L @24mm, f/4, ISO 3200, 4 sec, tripod.

Shooting in total darkness beneath Canwell Glacier. I manually focused on my lantern, then used a wireless shutter release to take a picture while standing as still as possible. Canon 6D, Canon 24-105mm f/4L @24mm, f/4, ISO 3200, 4 sec, tripod.

Lenses
Ultra-wide angle zoom lenses excel at fitting all the interesting details on the ceiling, walls, and floor of an ice cave into the frame, while providing the flexibility to zoom in for tighter shots without having to change lenses in a harsh environment. I use the Canon EF 11-24mm f/4L and the Canon 16-35mm EF f/2.8L III on a full-frame camera, which both deliver excellent image quality and very wide angles-of-view. The NIKKOR 14-24mm f/2.8G ED lens would be a great option for Nikon users. Lenses like these are very expensive, but they can be rented from local camera shops or online vendors such as LensRentals.com. Several quality third-party ultra-wide zoom lenses are available for crop-sensor DSLRs, such as the Tokina 11-16mm f/2.8, though there aren't as many for full-frame DSLRs.  

That being said, it’s still easy to find creative uses for most lenses. A longer focal length may work better for portraits of people in the cave, or getting close-up shots of details in the ice. I frequently carry only a 35mm prime lens when shooting customer portraits on ice cave tours. In one lengthy tunnel, I even utilized my 300mm prime lens to snap a photo of my companions at the opposite end. "Fast" lenses with maximum apertures of f/2.8 and wider are not replacements for a tripod, but they will allow you to shoot in dimmer areas of the cave handheld (while sacrificing depth-of-field), and you can certainly get creative with blurred backgrounds of blue ice. 

Details in the ice of a cave within Canwell Glacier. A longer focal length or a macro lens could be used to zoom in on rocks, bubbles, or cracks in the ice. Canon 5D Mark IV, Canon 11-24mm f/4L @24mm, f/8, ISO 100, 2.5 sec, tripod.

Details in the ice of a cave within Canwell Glacier. A longer focal length or a macro lens could be used to zoom in on rocks, bubbles, or cracks in the ice. Canon 5D Mark IV, Canon 11-24mm f/4L @24mm, f/8, ISO 100, 2.5 sec, tripod.

Photographing In Low Light
When you enter a cave, your eyes will take time to adjust to the dim lighting. Waiting for your eyes to adapt will make it easier to compose shots and focus. Remember to reduce the brightness of your camera’s LCD screen so your photos don’t look brighter than they actually are, possibly misleading you into underexposing your images. On my Canon 6D and 5D Mark IV, I’ve found using an LCD Brightness setting of “2” works best when working in very dim lighting or total darkness. Utilize the histogram display on your camera to ensure proper exposure, if available. Also, don’t forget a flashlight! Besides needing one to find your way around in a dark ice cave interior, a flashlight can be used to illuminate the part of the cave where you are trying to achieve focus. I generally bring both a headlamp and a small flashlight in case I lose one or the batteries die. Other light sources such as lanterns, flares, torches, etc., can add an interesting touch to a photo. Many camera/lens combinations will struggle to autofocus in dim lighting, and it can be close to impossible to manually focus while looking through the viewfinder; if your camera features a “Live View” function (i.e., the LCD display can be used to preview your exposure), you can use this mode to achieve pinpoint focus by zooming in on the LCD display, then manually focusing the lens. A circular polarizing filter could conceivably reduce reflections in the ice, but any filter will also reduce the amount of light hitting your camera's sensor, forcing even longer exposures, so I wouldn't utilize filters unless in a well-lit area of a cave. 

ISO, Aperture, Shutter Speed
In general, ISO should be set as low as possible. For tripod-mounted shots, this generally means using ISO 100, although you may need to increase it to minimize subject blur if you are including a person in the frame. If you’re not using a tripod, you may still be able to take sharp photos handheld near the entrance where there is plenty of ambient light, but you will be forced to shoot at a high ISO and/or wider aperture in dimmer lighting. Brace yourself against the wall of the cave or find a rock or ledge where you can rest the camera to keep it steady. A flash can help, especially for portraits, but beware of the flash reflecting off the ice surface. Remember the reciprocal rule, which says the reciprocal of your shutter speed should be at least as large as your focal length in millimeters to take a sharp handheld photo. (Example: shutter speed should be faster than 1/20 sec if shooting at 20 mm.) I try to avoid shooting above ISO 800 if possible, but virtually never shoot above ISO 3200. You may find your camera stops providing acceptable image quality at a lower or higher ISO, depending on its capability and your personal preference.

I used a 10-sec time delay to get in place and bumped the ISO to 800 so I only had to stand still for about a second. The more blue ice in the frame, the better. Canon 6D, Canon 11-24mm f/4L @11mm, f/8, ISO 800, 0.8 sec, tripod.

I used a 10-sec time delay to get in place and bumped the ISO to 800 so I only had to stand still for about a second. The more blue ice in the frame, the better. Canon 6D, Canon 11-24mm f/4L @11mm, f/8, ISO 800, 0.8 sec, tripod.

I prefer shooting in “aperture priority” mode and adjusting the exposure compensation up and down as needed to control highlights or brighten shadows. Generally, I shoot in the f/8 to f/11 range on a full-frame camera to maximize depth-of-field and optimize image sharpness, but I may open the aperture wider when handholding the camera for candid shots of people or to focus on interesting objects (rocks, odd ice formations, etc.) inside the cave. Many times, the same composition can work at different exposures—especially if facing the cave entrance where you can expose for the scene outside or go for a “light at the end of the tunnel” effect. Experiment by increasing and decreasing your exposure by one or two stops—you can figure out which one works best later. HDR is a useful digital technique for capturing the shadowy details in a cave while also preventing any highlights from being blown out.  

Handheld shot near the entrance of a Canwell Glacier cave. I shot at a wide aperture and high ISO to minimize blur from the movement of my subjects and from camera shake. Canon 5D Mark IV, Canon 11-24mm f/4L @24mm, f/4, ISO 800, 1/60 sec.

Handheld shot near the entrance of a Canwell Glacier cave. I shot at a wide aperture and high ISO to minimize blur from the movement of my subjects and from camera shake. Canon 5D Mark IV, Canon 11-24mm f/4L @24mm, f/4, ISO 800, 1/60 sec.

Reducing Vibration
Even on a tripod, a camera is still subject to small movements that can produce slightly soft images if proper care is not taken. Using a remote shutter release (preferably wireless) or else enabling a 2-second time delay on your camera will reduce vibration during the exposure caused by pressing the shutter release button. Some SLR cameras feature a “mirror lockup” setting, which should be enabled to reduce any vibrations caused by the mirror inside the camera swinging up prior to the shutter opening. Remove the neck strap from your camera or ensure it is not dangling back and forth. Turn off any image stabilization/vibration reduction feature on your lens because it may actually cause vibration if your camera is completely stationary. Be careful not to touch the camera or tripod during an exposure.

I used a wide angle and some distance between the camera and subject to exaggerate the size of this Augustana Glacier cave, though it was still really big! Canon 5D Mark IV, Canon 24-105mm f/4L @24mm, f/9, ISO 400, 1.3 sec, tripod.

I used a wide angle and some distance between the camera and subject to exaggerate the size of this Augustana Glacier cave, though it was still really big! Canon 5D Mark IV, Canon 24-105mm f/4L @24mm, f/9, ISO 400, 1.3 sec, tripod.

Finding Interesting Compositions
Translucent blue ice can be mesmerizing, and it's tempting to simply point the camera at it and shoot, but if you want to create images that capture the viewer's eye or tell a story, you'll need to put a little thought into your compositions. Including a person in the frame can provide an important sense of scale and help orient viewers as they try to imagine themselves in the cave, but pay attention to the person's placement and pose. In particular, avoid having your subject blend in with a shadowy background. "Smile for the camera" shots are nice to put in a frame at home, but they're not going to win any photo contests, so try to capture your subject interacting with their surroundings in such a way that the viewer can sense the subject's emotions, or follow their path or gaze through the cave. Silhouettes work well against a cave entrance or potentially against brighter sections of translucent ice. Try to find the most interesting curves in the ice and let them wind around in the frame. Put interesting details in the foreground, like water cascading over rocks on the floor of a cave, or a piece of hoarfrost hanging from the ceiling. The colorful glacier ice is the star of the show, so don't be afraid to include plenty of it in the frame. 

Get creative! You don't have to bring a dinosaur costume with you, but try to find a unique perspective or a novel idea for a shot that others haven't exhausted already.

Get creative! You don't have to bring a dinosaur costume with you, but try to find a unique perspective or a novel idea for a shot that others haven't exhausted already.

Protecting Your Gear
In summer, the interior of an ice cave melts, and the water that continuously drips from the ceiling contains very fine glacial silt, which poses a threat to your camera gear. Glacial silt sticks to everything, and it will try to find its way into the zoom and focus rings on your lens, like sand at the beach. Accessories meant for protecting camera gear from rain can help keep your gear dry, but it's best to keep it stowed if not actively using it. Be prepared to wipe water off the front of your lens with a soft cloth that won’t scratch the glass. In winter, there's no water dripping, but it's still easy to kick up the dry silt on the floor of a cave, not unlike emptying the dust collector of a vacuum cleaner, so you should change your lens outside the cave if possible to prevent contamination of your camera sensor. I try to wipe my camera and lens down before changing lenses to remove any silt that inevitably collects on my gear. 

Processing Your Photos
Digital cameras tend to get confused by the unusual lighting in ice caves when determining the proper white balance (resulting in undesirable color casts in your image), and they cannot handle the extreme contrasts found in ice caves as well as the human eye. If you're reading this article, odds are you're fairly serious about photography, and if you're not already processing your images, you should start! Digitally processing an image can bring it closer to how you actually perceived the scene or the artistic vision you had when you photographed it. In addition, you can fix lens imperfections like vignetting, distortion, and chromatic aberration if you are really in pursuit of perfection. I'll direct you to Google to learn more... 

Conclusion
If photography is your hobby or profession and you're making a once-in-a-lifetime trip to see an ice cave, make sure you bring the right gear, and make sure you will have all the time you need to photograph. Prepare yourself for shooting in low light by practicing at night. (Aurora photographers will have a head start!) Don't forget to take care of your gear as well as your own safety.

Leave a comment or shoot me an email if you have questions. Thanks for reading and good luck!

Want to photograph an ice cave in Alaska? Check out my Black Rapids Tours winter offerings.