Happy New Year from Northern New Mexico!
It’s been more than a decade since the Las Conchas Fire burned more than one hundred fifty six thousand acres (244 sq. miles) in the Jemez Mountains leaving a huge burn scar in its wake. Two years later the Thompson Ridge Fire took another fifteen thousand acres. While I mourn the loss of those large areas of forest, I recognize the photographic opportunities the burns produced.
The low clouds partially veil the burned trees in this photograph. There is an obvious contrast between the live trees in the middle ground and the seemingly endless ranks of burned, dead ones on the hills in the background.
Nikon D810, Nikkor 24-120mm f4, 1/640, f8, ISO 640
I used my 80-200 telephoto zoom to isolate these fir trees in the frame. They are losing their bark and what bark remains is burnt black; the result is an almost abstract image. I also made a landscape (horizontal) version of this image, but the strong vertical lines of the trees lend themselves better to the portrait orientation.
Nikon D700, Nikkor 80-200mm f2.8, 1/400, f8, ISO 400
I processed this photograph in a way that emphasizes its airy, dreamlike quality. It was snowing and the clouds were low, so I used a fast shutter speed to freeze the flakes in the frame. This is a relatively “high key” image for me, but I think it does a good job of expressing the mood of the experience.
Nikon D810, Nikkor 24-120mm f4, 1/1000, f11, ISO 640
These trees were coated with a filigree of hoarfrost on this cold morning. The delicate icy branches against the black trunks and the cloudy sky creates an interesting visual contrast. Again, I chose a vertical orientation to accentuate the strong vertical lines of the dark trunks.
Nikon D700, Nikkor 80-200mm f2.8, f8, 1/640, ISO 400
Here is the view looking west along highway 4 from Corral Canyon, a beautiful area just west of the Valle Grande. This image shows the indiscriminate path of the fire, leaving large swaths of forest incinerated and others unscathed. Again, I was drawn to make this image by the visual, as well as the conceptual contrast of the scene.
Nikon D810, Nikkor 24-120mm f4, F11, 1/200 ISO 1250
I noticed these horses grazing at the foot of a burned mountain. This is the area where the Las Conchas fire started. I wanted the horses to be dwarfed by their surroundings to lend a sense of scale to the image. Even so, I had to use a 200mm focal length to produce the framing I desired.
Nikon D700, Nikkor 80-200mm f2.8, 1/640, f11, ISO640
Doorways are often used as a metaphor for life: oopurtunities, events, seasons. They are usually spoken or written. But, in the context of this article, they are visual.
I made this photograph in 2012. At that time, I was spending a lot of my time exploring a particular area in northwestern New Mexico. My intent when I released the shutter was to say something about impermanence, more specifically the slow erosion of the adobe buildings which were built and inhabited by people whose way of life disappeared long ago. This doorway–which no longer exists–is an metaphor for that irrevocable past.
Nikon D700 Nikkor 16-35 f4 F22 1/10 ISO 100
At one time, this hall was full of children going about the business of aquiring an education. Now it is empty and decaying. While I was making this image, I closed my eyes and tried to imagine the bustle of its former life. I often do this while photographing abandoned buildings or ruins; it helps me to better understand my subject.
Nikon Df Nikkor 24-120mm f4 F10 1/60 ISO 400
Inevitably, the constructs of man give way to nature when left unattended. This adobe ruin with a tree growing in the entry is a good example. The colorful grafitti provides a visual as well as a metaphorical contrast to the scene.
Nikon Df Nikkor 24-120 f4 F8 1/320 ISO 400
While I was preparing to make this image I considered moving the tire out of the picture, but in the end, I left it in place. It serves as both a visual and a symbolic element. It is important to take the time to think about what you intend to say with a photograph if you want it to be more than just a representation of the scene.
Nikon Df Nikkor 50mm f1.4 F8 1/250 ISO 400
I have mentioned in some of my previous posts that I do a lot of driving to make photographs, and while that’s certainly the case, there are times when the images come to me. I live in a cabin on a river in north central New Mexico, so it’s not uncommon to see wildlife on my land. I use a long lens when photographing wildlife both for their comfort and my safety, but, long lenses aside, there have been times when I have gotten quite close to my subjects.
This doe was browsing along the edge of my road and she posed for me as I drove by. I like the contrast of the gourds along the bottom edge of the frame and the sere grasses in the background.
Nikon Df Nikkor 24-120mm F6.3 1/125
There are several bucks that frequent the area where I live. They use my property as a corridor to access the river. They are a part of a family which also include as many as eight does, their fawns and an ever-changing number of yearlings. As is typical with mule deer, the males only congregate with the females and young during the rut. For the remainder of the year, they live a mostly solitary existence.
Nikon D500 Sigma 150-600 F8 1/800
I made this photograph in late September. Mule deer coats become darker, a greyish brown, going into the winter months. You can see the difference in color if you compare this with the previous image. I’m pretty certain it’s the same individual in both photos.
Nikon D500 Nikkor 80-400 F8 1/160
When the males are young, they sometimes travel in small bachelor groups. These two showed up together regularly through the summer, but as fall arrived, they went their separate ways.
Nikon D500 Sigma 150-600 F8 1/500
This bull elk is a frequent visitor. Here he is in early March looking pretty rough after a hard winter. His fur is matted and almost mangy looking; his antlers have just begun regrowing after shedding those of the previous year.
Nikon D 500 Nikkor 200-500 F 8 1/500
A month and a half later, the same bull is looking much better with a healthier coat and a sizable spread on his antlers. Being in such intimate contact with these animals always leaves me with a sense of wonder and privilege.
Nikon D500 Nikkor 200-500 F8 1/400
The back roads of northern New Mexico are a treasure trove for a photographer willing to spend the time and energy driving from one remote village to another. I happen to live in one of those villages, so for me, it’s like visiting the neighbors.
I’ve discovered I have a thing for windows. More to the point, I have a thing for old windows in old walls. This first image required several trips before I got it right. I wanted to get the frame just so; the weathered log post plays an important part in the composition and the elevation proved to be tricky–I finally returned with a ladder in order to capture a satisfactory version of the photograph.
Nikon Df Nikkor 24-70mm f2.8 F8 1/80 ISO 400
These adobe walls are about worn to the nub and the window frames, along with the viga used for a header, will eventually join the pile of rubble. As I drove past, I noticed how the windows were aligned and that is what drew me to make a photograph. The sage in the foreground also provides a nice anchor for the scene.
Nikon Df Nikkor 24-70 f2.8 F11 1/500 ISO 800
This scene literally jumped out at me as I rounded a curve in the road just south of Taos. I spent quite a while shooting from different angles, and when I edited the images, I chose this version because I like the spatial relationship between the tree and the mailbox.
Nikon Df Nikkor 24-70mm F8 1/400 ISO 400
I saw a photograph of this bar in a book titled Gone to Sanctuary From the Sins of Confusion that my friend Robin had loaned me. The book is a compilation by photographer John Kiewit who traveled the west for three decades from the late sixties through the late nineties making images of the places he saw along the way. The book was published in 1997 and, sadly, John died a few years later. But I was so taken by his work and the subject matter that I started driving to the places from the book which were relatively close to me. It became akin to a pilgrimage. Unfortunately, most of the locations have changed so drastically they are no longer worth photographing. This scene, however, was virtually unchanged from the image John made all those years ago. This one photograph made the entire quest worthwhile.
Nikon Df Nikkor 24-120mm f4 F8 1/640 ISO 400
I wish I could have visited this bar in it’s heyday, I’m willing to bet it was a pretty rowdy place, like something out of The Milagro Beanfield War–just my style. But now it sits abandoned, nothing more than a curiosity for passers-by and wandering photographers. Viva el Norte.
Nikon Df Nikkor 24-70mm F8 1/160 ISO 400