Bozeman, MT / Bozeman, MT
LengthRapid City, SD / Rapid City, SD
LengthIn the summer of 1874, a photographer named William H. Illingworth loaded nearly 400 pounds of wet plate equipment into a wagon and rode into the Black Hills alongside George Custer's military expedition. The Black Hills were largely unknown to the outside world at the time — sacred to the Lakota, rumored to hold gold, and entirely undocumented by camera. Over the course of the expedition, Illingworth produced around 70 glass plate negatives, the majority of them landscapes of the Black Hills and portraits of the soldiers who accompanied him. They were technically accomplished, carefully composed, and historically irreplaceable — the first photographs ever made of this landscape.
Because of Illingworth's images, historians have been able to determine the exact boundaries and layouts of several of the expedition's camps, the condition of the Black Hills forests along its route, and the appearance of the soldiers and civilians who were there. That's the power of a photograph made in the right place with genuine intention — it outlasts everything else. The hills themselves haven't changed much. The granite Illingworth photographed is among the oldest exposed rock on the continent, pushed upward over a billion years of pressure, and it will look largely the same for a billion more. What changes is who shows up to photograph it, and why.
The Badlands & Black Hills: The Wild American West workshop covers the same essential terrain Illingworth first put on film — the dramatic granite formations of the Black Hills, the sweeping prairie corridors, the layered rust-and-cream badlands rising from the plains to the east. The difference is that you're not hauling a darkroom on a wagon through territory that may or may not be hostile. You're based in Custer State Park, steps from the Wildlife Loop Road, with six days to work the Needles Highway at dawn, chase bison light along the grasslands, and plant a tripod at the Badlands rim as the formations shift from pale pink to deep amber in the span of ten minutes. Illingworth had one shot at each frame. You have every one you need.
Grand Junction, CO /
St. George, UT
Length
8 Days/7 Nights
Fitness Level
Level 1 - What's This?
Group Size
Up To 7 Guests
John Karl Hillers didn't set out to become a photographer. He came to the American West as a boatman, hired for John Wesley Powell's second expedition down the Colorado River in 1871. He had no formal training, no credentials, no particular plan beyond the river. What he had was an eye, and the willingness to learn from whoever was holding the camera. When the expedition's photographers cycled out one by one, Hillers stepped in, picked up the techniques, and never put the camera down. By the time Powell's party had worked its way through the canyons of the Colorado Plateau, Hillers had become the expedition's chief photographer — and the Colorado Plateau had found its first serious visual chronicler.
Over the course of his career, Hillers produced roughly 3,000 negatives from the Powell surveys alone, and his association with the Bureau of Ethnology added another 20,000. But the images that endure most powerfully are the ones made in the canyon country of southern Utah — the sandstone walls, the river corridors, the vast layered formations that most Americans had never seen and could barely imagine. Hillers made them real. He worked the same landscape that would eventually become Zion, Bryce Canyon, Capitol Reef, Canyonlands, and Arches — the five parks that define the Colorado Plateau for the world — decades before any of them had a name, a boundary, or a paved road leading to an overlook.
The Utah's Mighty 5 workshop follows Hillers' territory across eight days and all five parks, from the massive sandstone fins of Arches and the sheer canyon drops of Canyonlands to the hoodoo amphitheaters of Bryce, the remote dome country of Capitol Reef, and the towering Navajo sandstone walls of Zion. The geology Hillers documented with wet plate glass is still here, still shifting color through the same golden hour light that stopped him in his tracks. What's changed is the access — you're moving through the landscape efficiently, with a guide who knows the light and a small group that keeps things flexible. Hillers earned his images by running rivers and hauling equipment through unmapped terrain. You just have to show up before sunrise and be ready when the canyon walls start to glow.
Bishop, CA / Bishop, CA
Length
6 Days/5 Nights
Fitness Level
Level 1 - What's This?
Group Size
Up To 7 Guests
Join Backcountry Journeys for one of our most beloved and visually diverse photography workshops, a six-day deep dive into the spectacular landscapes of California's Eastern Sierra Nevada. Few places on earth pack this much photographic variety into a single itinerary, and we've crafted this trip specifically to put you in front of the most compelling subjects this region has to offer, at the best possible light, with expert instruction every step of the way.
Based out of the charming mountain town of Bishop, your first days are filled with breathtaking diversity. The rugged Sierra escarpment rises dramatically from the valley floor, creating photogenic backdrops at every turn. You'll photograph sweeping valley vistas where the mountains reflect the colors of first light, explore alpine lakes tucked into granite canyons, and venture high into the mountains to photograph some of the oldest living things on earth, ancient and wind-tortured trees that have survived 4,000 to 5,000 years of sun, cold, and relentless wind. Their gnarled, sculptural forms offer some of the most compelling close-up and landscape work of the entire trip.
We'll also photograph a truly otherworldly landscape where geothermal activity meets high alpine scenery, steam rising from the earth with the Sierra peaks towering behind, and visit one of California's most iconic natural wonders, an ancient lake nearly a million years old whose shoreline is lined with remarkable limestone towers that seem to belong on another planet. Sunrise and sunset here are simply unforgettable, with the towers glowing against the mountains and the still water doubling every image in reflection.
From Bishop, we make our way south to Lone Pine, where the scale of the landscape shifts dramatically once more. Here, at the base of the highest summit in the contiguous United States, you'll work among extraordinary rounded granite boulders and natural arches that frame the towering peaks above in ways that feel almost too perfect to be real. This is one of the most iconic and productive photography locations in North America, offering incredible compositions at every hour, from the warm blush of sunrise through the arch-framed peaks, to the Milky Way arching overhead in near-total darkness.
Whether you're working intimate details on ancient bristlecones, chasing reflections on a still alpine lake at first light, or setting up a long exposure under one of the darkest skies in California, this workshop puts you in front of subjects that genuinely challenge and inspire. You'll come home with a portfolio you're proud of, and the skills and creative vision to keep building on it long after the trip ends.
Throughout, your professional photo guide will be at your side, helping you read the light, work your compositions, and make the most of every moment in the field. Small group size means personalized attention, real-time feedback, and plenty of room to shoot. All logistics, accommodations, and meals are taken care of so you can focus entirely on your photography.
Spring & Autumn Departures
This workshop is offered in both spring and autumn, each bringing its own spectacular character to the Eastern Sierra. In spring, fresh snow crowns the peaks, wildflowers push through the desert floor, and the creeks run full, adding energy and color to every landscape. In autumn, the canyons and valley corridors transform with warm tones that contrast beautifully against the granite and the still-brilliant mountain light.
Carleton Watkins didn't know he was going to change American history when he loaded a mammoth-plate camera and a stereoscopic rig onto a pack mule and headed into Yosemite Valley in the summer of 1861. He came back with thirty mammoth plates and a hundred stereoview negatives — some of the first photographs of Yosemite ever seen in the East. They were exhibited in New York, passed around Congress, and placed in front of Abraham Lincoln. His photographs are said to have been a major factor in Lincoln signing the Yosemite Grant in 1864, the bill that declared Yosemite Valley inviolable — and that paved the way for the creation of Yellowstone and the National Park System itself. A photographer with a camera and a clear eye at the right moment in the right landscape shaped the conservation arc of an entire country.
What Watkins understood intuitively — and what his images prove in every frame — is that the Sierra Nevada doesn't need embellishment. The light does the work. The scale does the work. The granite does the work. He was described as a "master of the reflected image," drawn to the way the Yosemite mountains doubled themselves in still water — a compositional instinct that still drives landscape photographers to the Eastern Sierra's alpine lakes every single morning before sunrise. The subject hasn't changed. The obsession hasn't changed. Only the equipment has.
The Eastern Sierra Photo Workshop covers terrain that would have been deeply familiar to Watkins in spirit if not in name — the sweeping Sierra escarpment rising from the high desert valley floor, ancient bristlecone pines in the White Mountains that were already thousands of years old when he walked through Yosemite, the tufa towers of Mono Lake reflecting the peaks at first light, and the rounded granite boulders of the Alabama Hills framing Mount Whitney in the kind of compositions that feel engineered by the landscape itself. Watkins made his case for preservation through still images on glass plates. You'll make yours on a memory card. But you're both chasing the same thing — that moment when California light lands on Sierra granite and the image makes itself.