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Fallen Roof Ruin

Sometimes a cherished memory starts with a rumor. I had heard of several ruins lying not quite forgotten in the serpentine canyons of Cedar Mesa in southeastern Utah. It was while researching one of them that I discovered another, less well known, but no less visually compelling.

fallen-roof-ruin-series-5

Fallen Roof Ruin,which is actually a group of granaries, is located in Road Canyon which meanders in a, more or less, easterly direction from it’s head, in the heart of Cedar Mesa, to it’s final destination in Comb Wash. The single element that sets it apart from the numerous other ruins in Road Canyon is the staining in the roof of the alcove in which the ruin is located. A large section of the ceiling has fallen, leaving exposed white stains–most likely from minerals in the groundwater which leeched from the mesa top–that are painted across the newly exposed strata.

fallen-roof-ruin-series-7

The hike to the ruin is just under two miles. The trail crosses the mesa top for about a half-mile before dropping over the edge into the upper reaches of Road Canyon. The descent is about one-hundred-fifty feet, and then the trail follows the canyon bottom pretty much staying in it’s watercourse. There is some rock-hopping involved along with some route-finding in the places where the trail leaves the drainage to make it’s way around some of the bigger boulders in the path.

fallen-roof-ruin-1

I was not quite prepared for the impact of being in that place. There is something about the essence of these ruins that set them apart from other ruins I have visited. So, as is the case with all of my photography, I attempted to reveal at least a part of the soul of this extraordinary place through my compositions and processing. The large slabs of stone scattered across the floor of the alcove serve to tell some of the story; they are also useful as compositional elements in the images.

fallen-roof-ruins-series-hands-2

One of the most poignant pieces of this nearly thousand-year-old tableau is the presence of several hand pictographs above the entry to one of the small granaries. These were probably made by placing a hand on the stone and then blowing a powdered dye through a reed. Hand pictographs are common in the ruins of the desert southwest, and are thought to be a way of saying: “I was here”.

2015’s Best Part 2

As the title suggests, this is the second installment of my favorite images from 2015, and, as I mentioned in my previous post, the year was a departure for me in many ways. It is important for me as an artist to feel that my work is progressing. Last year I was able to move my work in new directions while exploring some new territory geographically as well.

In-Wild-Harmony

As August gave way to September, I was eager to explore the Taos Plateau which I had photographed briefly while driving across it in August. At that time of year, the plateau becomes a sea of yellow due to the chamisa and snakeweed blossoms. The wildflowers, like the mountain asters in this image, accent the scene with bursts of color.

Nikon D810 with Nikkor 24-70mm f2.8 lens: 125 sec., f16, ISO 32

The-Rio-Grande-Gorge

The ultimate goal of this trip was the Rio Grande Gorge which cuts across the plateau to a depth of over a thousand feet. Most people see it from the Gorge Bridge west of Taos on US highway 64. But, there are many places along its length where you can drive to within walking distance.

Nikon D810 with Nikkor 24-70mm f2.8 lens: 130 sec, f16, ISO 50

In-Velvet

I tell the students in my Beginning Digital Photography class that you don’t need to drive to exotic places to make good photographs. Of course, it helps if you live in a beautiful place. I made this image of a mule deer buck in velvet in my yard. The blooming chamisa provided the perfect backdrop.

Nikon D300 with Nikkor 80-400 lens: 1200 sec, f8, ISO 1250

Robin-In-The-Slot

In mid-September, we went to Kasha Katuwe Tent Rocks National Monument which is located just south of Santa Fe where the Rio Grande finally exits the gorge after enduring the indignity of being impounded in Cochiti Lake. The hike to the top where the best views of the tent rocks are to be had passes through a narrow slot canyon which affords a cool respite from the late summer heat.

Nikon D810 with Nikkor 24-70mm f2.8 lens: 1320 sec., f13, ISO 800

The-Path-Less-Travelled

My favorite images from that trip were these two of Robin in the slot. The second one became the title image for my show at the Jemez Fine Art Gallery: “The Path Less Travelled”.

Nikon D810 with Nikkor 24-70mm f2.8 lens: 1160 sec., f10, ISO 1250

Dunefire

In September, we also made a trip to White Sands. As detailed in a previous post, the main reason for the trip was to photograph the White Sands Balloon Invitational, but Mother Nature had other plans. The lightshow at sundown was spectacular as this image attests.

Nikon D810 with Nikkor 24-120mm f4 lens: 6 sec., f16, ISO 32

White-Sands-Blue-Hour

I love to break the rules. Dividing the frame in half is supposedly bad form, but with this image, I intentionally centered the top of the dune horizontally I think it works pretty well.

Nikon D810 with Nikkor 24-120mm f4 lens: 18 sec., f16, ISO 32

Breathing-The-Soft-Light

The combination of the color and the peaceful quality of the dunes created a dreamlike atmosphere which I think I managed to capture pretty well with these last two images from White Sands.

Nikon D810 with Nikkor 24-120mm f4 lens: 1.6 sec., f16, ISO 32

Witness

Both were captured near twilight; the intensity of the reds in the sky increased as the evening progressed. By reducing the clarity in Lightroom, I was able to enhance the dreamlike quality of both photographs.

Nikon D810 with Nikkor 24-120mm f4 lens: 2.5 sec., f16, ISO 32

The-Sound-Of-The-One-Hand

On the return trip from White Sands, we made a small detour to Three Rivers Petroglyph Site. There are over 21,000 petroglyphs on the rocks which cover the top of a ridge a little over a half mile long. Again, the weather cooperated and the light was perfect. This image of a hand petroglyph is my favorite from that shoot.

Nikon D810 with Nikkor 24-70mm f2.8 lens: 115 sec., f16, ISO 32

Reaching

In October, we made a journey to to southeastern Utah. The first night we camped at Goosenecks State Park and explored the surrounding area. In the Valley of the Gods, I saw this lone juniper tree perched on a rocky slope below a sandstone fin.

 

Nikon D810 with Nikkor 16-35mm f4 lens: 115 sec., f16, ISO 32

Across-The-Abyss

On the second day, we drove up the Moki Dugway and then out to Muley Point. This was the surprise of the trip and we spent several hours climbing around the sandstone mounds that lie along the edge of the precipice overlooking the Goosenecks of the San Juan. In this image a small juniper clings precariously to its niche overlooking the serpentine canyons and the monoliths of Monument Valley on the horizon.

Nikon D810 with Nikkor 24-70mm f2.8 lens: 18 sec., f16, ISO 32

Camping

Our ultimate destination was Monument Valley. It had been nearly forty years since I was last there, and while there were some changes: notably, the View Hotel, the prospect out over the valley and the sandstone buttes was unspoiled. We camped within view of the Mittens. I made this image of our campsite on our first evening there.

Nikon D810 with Nikkor 24-70mm f2.8 lens: 133 sec., f16, ISO 32

Cloudrider

John Ford Point was made famous by the director of the same name in his 1939 movie “Stagecoach”. I did make my own version of the iconic image: a native on horseback gazing into the distance from the point. But, my pick is this image of a rider moving away from the point while clouds hang low over the valley, partially obscuring the mittens.

Nikon D810 with Nikkor 24-120mm f4 lens: 1640 sec., f16, ISO 1600

In-A-Waking-Dream

As we were driving down into the valley on our first day there, I noticed this raven perched in a juniper right by the roadside. I moved slowly at first , not wanting to spook him before I could get the shot, but the more we photographed, the more I realized that he wasn’t going anywhere. As we packed back into the car, he began squawking. I think he was expecting a tip.

Nikon D810 with Nikkor 24-70mm f2.8 lens: 110 sec., f16, ISO 32

Ansel's-View-Monument-Valley

This image is a replication of a photograph that Ansel Adams made in 1958. I don’t make a habit of shooting from other photographer’s tripod holes, in fact I will go out of my way to avoid doing so. But, hey, he’s Ansel Adams.

Nikon D810 with Nikkor 24-70mm f2.8 lens: 120 sec., f16, ISO 32

The-North-Window

When we pulled into the North Window parking area, I saw this dead juniper along the roadside and was immediately drawn to it. There is something about the bare bones of a twisted juniper tree in this landscape that just fits together.

Nikon D810 with Nikkor 24-70mm f2.8 lens: 120 sec., f16, ISO 32

 

The-Last-Stand

In November I travelled to Las Cruces to photograph a group of women for a Women in Science, Technology, Engineering, and Math calendar. On the way I took a detour through Lake Valley and came across this stand of cottonwoods still in their autumn colors. I was attracted by the contrast between them and the drab landscape, and the low-hanging wintry sky.

Nikon D810 with Nikkor 24-120mm f4 lens: 14 sec., f16, ISO 32

2015’s Best Part 1

2015 was an exceptional year for me in terms of photography. Not just for the images, but for the experiences as well. I made an effort to be more adventurous, and spontaneous in my choice of subject matter. I also vowed to be more responsive to the images themselves when it came to post processing. In all, there are thirty-seven photographs, so I will present this post in two parts. I hope you enjoy viewing them as much as I enjoyed making them.

Soda-Dam-Winter-Sepia

In late January we had a heavy snowfall which made it impossible for me to drive out of my driveway. So, I walked down to Soda Dam to photograph it in its winter splendor. This image seemed to be a black and white candidate from the start.

Nikon D800 with Nikkor 24-70 f2.8: 1.3 sec., f20, ISO 50

Superstition-Sunset

March took me to southern Arizona to photograph desert wildflowers. I didn’t find the showing I had hoped for, so I contented myself by pursuing Teddy Bear Chollas. When photographed in the right light, they have a luminous quality about them. I made this image at sunset in the Lost Dutchman State Park, east of Pheonix. The fabled Superstition Mountains lie on the horizon.

Nikon D800 with 24-70mm f2.8 lens: 1.3 sec, f16, ISO 50

From-Now-To-Then

I’ve been to Ah Shi Sle Pah Wash many times over the years, but I seldom explore along the southern edge. In April I decided to change that; I made this image looking northwest from the top of the southern rim. This is the section I call the Yellow Badlands. It’s like taking a look back through time.

Nikon D800 with Nikkor 24-70 f2.8: 1sec, f18, ISO 50

An-Unexpected-Encounter

In May while exploring a part of Ah Shi Sle Pah Wash I had never been to before, I came across this incredible hoodoo hidden in a small ravine along the northern edge of the main wash. I stayed and worked the area for nearly two hours. This is the first of many compositions using what I call the Neural Hoodoo as the main subject.

Nikon D800 with Nikkor 16-35mm f4 lens: 130 sec, f16, ISO 50

Synapse-Sepia

This black and white image was made from the opposite side of the Neural Hoodoo. If forced to choose a favorite, this would be it.

Nikon D800 with Nikkor 16-35mm f4 lens: 125 sec, f16, ISO 50

Neurality

This final image of the Neural Hoodoo was made from the same general location as the first, but I zoomed in to capture a more intimate portrait.

Nikon D800 with Nikkor 16-35mm f4 lens: 115 sec, f16, ISO 50

The-Dragon's-Lair

At the same time I was exploring the far reaches of Ah Shi SlePah, I was discovering some of the amazing and convoluted drainages along the southern rim of the wash. I made this image on a stormy evening in late May. I could not have asked for more appropriate light for this scene.

Nikon D800 with Nikkor 24-70mm f2.8 lens: 160 sec, f18, ISO 50

Earthdance

In early June I went out to the Bisti Wilderness. At the far reaches of the southern drainage, I made this image of a multi-colored grouping of hoodoos. I had photographed this same group several times in the past, but I think this is my favorite. The clouds seem to reflect the lines of the caprocks.

Nikon D800 with Nikkor 24-70 mm f2.8 lens: 140 sec, f16, ISO 50

Rio-Puerco-Summer-Guadalupe-4

One morning in late June I noticed the chollas around my house were blooming. I set out the next morning for the Rio Puerto Valley to capture the splashes of color in that dramatic landscape. I made the first image (above) in the ghost town of Guadalupe. The return of life to the desert seemed coincidental to the ongoing decay of the adobe buildings.

Nikon D800 with Nikkor 24-70mm f2.8 lens: 16 sec, f16, ISO 50

Rio-Puerco-Summer-1

In this image, a blossoming cholla stands at the head of a deep wash as a rain cloud passes over Cerro Cuate in the distance. Even the slightest precipitation sustains life in this environment.

Nikon D800 with Nikkor 24-70mm f2.8 lens: 110 sec, f16, ISO 50

Hoodoo-And-Mound-Burnham-Badlands

Early on the morning of July 4th, before the road was closed for the parade, I slipped out of town and drove out into the San Juan Basin. I didn’t really have a plan other than to visit the Burnham Badlands, which lies to the west of the Bisti Wilderness, and covers a relatively small area as badlands go (about one mile by two miles). This graceful hoodoo sits smack in the center of it.

Nikon D800 with Nikkor 24-70mm f2.8 lens: 120 sec, f16, ISO 50

Tsé-Bit´á-i

After completing my exploration of the Burnham Badlands, I drove west through the heart of the Navajo Reservation and arrived at Shiprock in the early evening. I drove one of the dirt roads that runs along the lava dike until I found a spot I liked. I set up my camera and tripod then waited for the light. Over the next two and a half hours, I made almost a hundred exposures as the light changed and the sun crept toward the horizon. This is my pick.

Nikon D800 with Nikkor 24-70mm f2.8 lens: 16 sec, f16, ISO 50

Petrified-Stump-Fossil-Forest-2

Hidden in plain sight, just a few miles north of Ah Shi Sle Pah is the Fossil Forest. At the end of a low ridge which runs east to west, you can just make out the telltale signs from the county road: the striated color, and the deep cut drainages where geologic treasures lie exposed. I went there with an agenda: to find a fossilized tree stump. I’ve related the whole story in an earlier post, so I’ll just say here that we were able to locate the stump after some scrambling and sleuthing.

Nikon D700 with Nikkor 16-35mm f4 lens: 125 sec, f16, ISO 100

Vulture-Idyll

In July, I made a trip to visit my daughter Lauren in Madison, Wisconsin. She accompanied me on the return trip. Early on the second morning, somewhere in central Kansas, she mentioned the large birds roosting on the fence. I had driven past and hadn’t noticed them, so I backtracked until we found them. The birds turned out to be a committee of turkey vultures sunning themselves and drying their wings. I was able to get pretty close to them without distressing them, and I managed to capture quite a few exposures. This is my favorite.

Nikon D700 with Nikkor 24-120mm f4 lens: 1640 sec, f9, ISO 500

Adobe-Abstract-Picuris-Pueblo

In August we set out on the high road to Taos. The way passes through many small villages: Chimayo, Truchas, Las Trampas, and Picuris Pueblo to name but a few. At Picuris, we visited the plaza, and there, I noticed the shapes and texture of the adobe walls of a small church. This is the result of my efforts there.

Nikon D700 with Nikkor 24-120mm f4 lens: 1400 sec, f14, ISO 1600

Mountain-Asters-Tres-Ritos

Farther up the road, we took a fork to visit the village of Tres Ritos. There, in a meadow by the side of the road, was a spray of mountain asters with a small wetland full of cattails just beyond it. The dark foreboding sky intensified the saturation of the colors and was the perfect backdrop for the scene.

Nikon D700 with Nikkor 24-70mm f2.8 lens: 1640 sec, f16, ISO 1600

Earthdream

In late August on a trip to Denver, I drove up highway 285 instead of using the interstate. Late in the day, the clouds were hanging in tatters from the peaks of the Sangre de Cristos to the east. The grasses were just beginning to turn and the colors filled the spectrum. When I came across the trees, it all came together.

Nikon D700 with Nikkor 24-70mm f2.8 lens: 1sec, f11, ISO 50

Chamisa-Sage-Mountain-Moon

On my return from Denver, I was driving across the Taos Plateau and the nearly full moon was climbing through the clouds above the Sangres. The Chamisa was in bloom and all I needed to do was find the right combination.

Nikon D700 with Nikkor 80-200mm f2.8 lens: 1500 sec, f13, ISO 800

Enlightenment

Still on the Taos Plateau. The texture and colors in the grasses and sage, along with the rays of sunlight piercing the dark clouds caused me to pull over again (at this rate, I would never get home). The lonesome Ponderosa Pine anchors this image, but the thing that really ties it all together is the thin strip of light colored ground below the mountains.

Nikon D700 with Nikkor 80-200mm f2.8 lens: 1500 sec, f11, ISO 800

 

 

 

 

 

 

 

 

 

 

 

 

Monument Valley

From the north, you can see it coming from a long way off. The spires and monoliths peek above the horizon to give you a preview of the awe inspiring landscape you are about to encounter. Monument Valley: the quintessential western landscape.

Monument-Valley-Vista

Approaching Monument Valley from the north

From the campground located near the entrance to the valley, the well known Mittens and Merrick Butte are front and center. As we made camp, my attention was continuously drawn to the expansive landscape; I felt like I had fallen into an old TV western.

Camping

Our campsite in Monument Valley

One hundred and ninety million years ago this area was covered by sand dunes much the same as the Great Sand Dunes in south-eastern Colorado. Over the intervening time, the dunes were compressed, hardened, and finally eroded until they formed the sandstone buttes, mesas, and pinnacles we see today.

Cloudrider

A Navajo rider under a stormy sky

The landscape here is unique. Perhaps not geologically, but visually it is different from any where else on earth. And, it is recognizable due to its connection to the movie industry. So, making images of the valley that are fresh can be a challenge.

The-Totem-Poles

The Totem Poles

The atmospheric conditions that prevailed throughout our trip ensured some dramatic, and at times forboding, skies. The low hanging clouds shrouded the monoliths and helped lend a bit of mystery to an already awe inspiring landscape.

The-North-Window

The North Window view of the East Mitten

One of the best ways to assure that your images are different is to move away from the proscribed “scenic views”. For this image I made of the North Window, I walked away from the area where all the photographers were and found this weather beaten, dead juniper by the side of the road.

Navajo

A lone Navajo rider in an iconic view from John Ford’s Point

But sometimes, you just need to go with the flow and make a photograph that’s been made a thousand times before. This is one of several photographs I made at John Ford’s Point. The first one showing a horse and rider moving away from the point under low clouds is more spontaneous.

Juniper

A view of the West Mitten with Big Chief, and Stagecoach Butte in the distance

It seems that everywhere you look there is a photograph to be made. The expansive views, the weathered junipers, and the unique rock formations are an image maker’s dream come true. It is no wonder this place has become a mecca for film makers and photographers.

Monument-Valley

A view of the Mittens and Merrick Butte from “Ansel’s Rock”

Ansel Adams was one of my very early inspirations to become a photographer. In 1957 he made an image in Monument Valley and I could not resist the chance to pay homage to the man by making my own version. Standing there and seeing this same view that he recorded all those years ago was a moving experience for me.

In-A-Dream

My favorite image from Monument Valley

There are times when everything just seems to come together; serendipity is a beautiful thing. When I noticed the raven perched in the juniper with the West Mitten as a backdrop, I rushed to get into position to capture the moment. Luckily, the bird seemed to be in no hurry to leave his perch and I was able to work the scene until I found the right composition.

This trip is now a fond memory, but I know I will be returning soon to this magical place where time (and the birds) stand still.

Mexican Hat Dance

A recent rip to Monument Valley yielded an unexpected, but memorable side-trip. While researching places to camp on the trip, I came across Goosenecks State Park near Mexican Hat, Utah. It’s only twenty-five miles from Monument Valley, and it’s right next to Valley of the Gods. What better place to use as a base camp?

The-Goosenecks

The Goosenecks of the San Juan River from Goosenecks State Park north of Mexican Hat, Utah

The thing about the Goosenecks is, it’s hard to capture an image that shows the true complexity of the twists and turns the river takes as it flows through this stretch. Maybe a drone next time. Nonetheless, we set up our camp right near the edge of the gorge. As we got in the car to leave for Valley of the Gods, the wind began picking up, so, not wanting to come back to find our tent had blown into the chasm, we collapsed it and weighted it down with rocks.

Reaching

In The Valley Of The Gods

I took less than thirty minutes to reach Valley of the Gods from our campsite. As we entered the valley, we were nervously eyeing the heavy rain that was moving across the southern horizon. The sky was black and the features of the landscape were obliterated by the walls of falling rain. The dirt road that runs through the Valley of the Gods is seventeen miles long and the last thing we wanted was to get stuck in the middle of it in a downpour. The soil has a high clay content which means that, when wet, the roads quickly become impassable. But, as we drove into that beautiful landscape, our worries about the weather vanished and were replaced by awe inspiring views.

Campsite-Goosenecks

Camping on the edge of the gorge

As it turned out, we made the drive without incident, and when we returned to camp, the sky had cleared enough to give us a nice view of the waxing crescent moon. The next morning, I was up before dawn, we made breakfast, struck camp, and were on the road soon after. The destination for the day: Muley Point via the Moki Dugway.

The-Moki-Dugway-2

The Moki Dugway is a gravel road that climbs twelve hundred feet in a little under three miles.

The Moki Dugway is a road carved into the side of Cedar Mesa. It was made in the 1950s by a mining company as a way to transport uranium ore from the mine to the mill near Mexican Hat. It climbs over twelve hundred feet in a little under three miles by a series of switchbacks. As we drove the road, we saw a rusted hulk lying on a bench about a hundred feet below, someone missed a turn. About half way up the route, there is a turn out and we stopped to make some photos before continuing on to the top.

From-Muley-Point

From Muley Point, you can see across the Goosenecks clear to Monument Valley.

The first thing you notice when you reach Muley Point is the expansive view; looking south the incredible complexity of the Goosenecks of the San Juan River is front and center, and the sandstone monoliths of Monument Valley are visible on the far horizon. We began to explore the terrain along the edge of Cedar Mesa and were rewarded with some breathtaking vistas. I made lots of images, it seemed that around every turn there was something worth capturing.

Muley-Point-Tinaja

A tinaja near the edge at Muley Point

I was on a natural high the whole time we spent at Muley Point, and looking at these images on my monitor at home still gives me that feeling: grounded, yet chaotic, like the landscape. The next time I go I plan to camp right there so I can explore in a more leisurely fashion.

Johns-Canyon-And-The-Goosenecks

A detail of the canyons of the Goosenecks with Monument Valley on the horizon

Each of these images was made from a different perspective, and although they are essentially of the same place, they each tell a different story about how it all fits in the broader landscape. There is no shortage of great foreground elements at Muley Point, but beyond that the serpentine canyons cut by the San Juan River and the tributary ravines like Johns Canyon put on a show that changes constantly with the light.

Across-The-Abyss

Another view across Johns Canyon to Monument Valley

I was reluctant to leave Muley Point, but I promised myself that I would return soon. So, we packed up and drove back down the Moki Dugway and past Valley of the Gods, southbound toward our ultimate destination: Monument Valley.

An Ancient Canvas

On the way home after our last trip to White Sands, which I wrote about in my previous post, we stopped at Three Rivers Petroglyph Site. Three Rivers is located about sixteen miles north of Tularosa, New Mexico, and is administered by the BLM. It has one of the largest concentrations of rock art in the American Southwest–more than twenty-one thousand glyphs.

An-Ancient-Canvas

Human figure petroglyph at Three Rivers Petroglyph Site

The petroglyphs were made by a now extinct culture, the Jornada Mogollon, who inhabited the area from 900-1400CE. They are the same people who lived at the more well known Gila Cliff Dwellings located about two hundred miles west. I always feel a connection when I see evidence of these ancient people’s existence. I imagine them there in the dim past, standing in this same spot and creating their art.

Art-Class

Numerous petroglyphs on two canvases

Many of the petroglyphs at Three Rivers can be seen along the one mile trail which follows a basalt ridge. The artists used stone tools to carve their works into the dark patina covering the rocks; and in some places, nearly every square inch of available “canvas” is covered with drawings.

Stonetalking

Mountain goat petroglyph?

Visiting such a place makes me realize that, as an artist, I am a member of a long line of humanity that has felt the need to express their interpretation of things or events which defined their lives. Were these artists-of-their-day respected members of the clan? Were they rebels? Did they rail against social injustice?

The-Sound-Of-The-One-Hand

The Sound of One Hand

The real significance of these works, aside from recounting the lives of a long lost culture, is their ability to connect us, as people, across the chasm of time.

No Balloons, No Problem

The last time I was at White Sands was three years ago for the White Sands Balloon Invitational. Since then, they have been launching the balloons from a park in Alamogordo; somehow, it’s not quite the same. So, it was a pleasant surprise when I discovered that the balloons would be launching from the monument again this year.

Breathing-The-Soft-Light

A lone yucca at twilight in the expanse of White Sands

We arrived in Alamogordo in the late afternoon, made a quick stop at the motel, and drove to White Sands. There were storms over the San Andreas Mountains to the west and the cloud cover resulted in a soft, glowing light, as well as a dramatic sky (right up my alley!)

Evening-On-The-Dunes

A lone hiker on the dunes at twilight

One of the first things I noticed about the dunes was the softness of the texture. Usually, the ripples are sharply accentuated, and side lighting makes them stand out. But, now they were softer, probably from the effects of wind and rain. The whole feel of the place was different from other times I have visited.

Sunset-On-The-Dunes

Near sunset on the dunes

The result was a calm and peaceful energy that found it’s way into my photographs. A distant figure walking on the dunes became a dream-like vision. The rain falling on the San Andreas Mountains twenty miles away was transformed into a sheer curtain partially obscuring the mountains. And all of it was lit by a soft, gauzy light.

Dune-Twilight

Rain over the San Andreas Mountains from the dunes

As the sun began to set, the sky was ablaze, and the dunes were dressed in evening blue. it’s rare that I am so excited by a scene that I can feel my pulse quicken.

White-Sands-Blue-Hour

Soaptree yuccas and a stormy sunset

It was well past sunset when we had to leave for the night. But, I was quite satisfied with the images I had made, and I was looking forward to the balloons the next day.

Sole-Witness

A solitary yucca bears witness to a beautiful sunrise

The next morning, we awoke at 4:30 in order to be at the gate in time for the 5:30 opening. After driving to the parking area near the picnic areas, we set out onto the dunes to find a good spot from which to photograph the mass ascension. But the sky to the east was dark and the winds aloft delayed the 7 AM launch time. We meandered around the dune field making images and soon lost track of time. By about 9:30 we began to realize that the launch was not going to happen. It was somewhat disappointing, but we were having such a good time with our cameras, we soon got over it.

Out-There-On-The-Dunes

Yuccas on the dunes at White Sands

Once again, the atmospheric display made a stunning backdrop for the never-ending story playing out on the dunes. The dark sky provided a stark contrast to the white sand, and the soft glow rendered by the overcast made a fitting palette for the dunes and the soaptree yuccas.

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