Telling a story about a place using images isn’t necessarily as straightforward as it may seem. There are many layers of information; some need to be added to, others subtracted from. In the case of the badlands of the San Juan Basin, the latter is the case.
The landscape itself is in fact formed by subtraction. It is eroded by the force of wind, and water over time. Things are not always as they appear. The tree trunk in the first image is no longer composed of wood; it has, over time, become transformed by minerals that replaced the dead organic matter, making it a petrified semblance of its former self.
This layered channel sandstone was infused with minerals which leeched into the ground making it harder than the surrounding matrix. As the accumulated sedimentation eroded, the harder stone was left exposed.
Much like the landscape, these photographs were created by removing some of the information, more specifically, the color. A black and white image presents the bare bones of the subject and allows the viewer to see the underlying structure.
Most of us are subconsciously influenced by colors. We make associations between colors and a certain emotion or mood, so removing the color eliminates the preconceived idea, which in turn leaves us free to experience an image in a more visceral way.
The badlands are a visual experience; the textures, shapes, and patterns inherent in the stone and clay are extraordinarily diverse. So, whether the image is one of more intimate proportions as in this photograph of a small alcove in Ah Shi Sle Pah, or of a grander scale like the image of the Bisti Arch shown below, the simplicity of the black and white image allows the landscape to stand on its own merits.
And while the yellows, reds, browns, greens and magentas which paint these amazing places with an astounding palette, play a role in telling the whole story, the absence of those colors conveys the essence of their austere beauty.