…strange how old, obsolete buildings and plants and mills, the technology of fifty or a hundred years ago, always seems to look so much better than the new stuff…Nature has a non-Euclidian geometry of her own that seems to soften the deliberate objectivity of these buildings with a kind of random spontaneity that architects would do well to study.
Zen and the Art of Motorcycle Maintenance
Random spontaneity; you can’t get much more un-deliberate than that. Robert Pirsig hit the nail right on the head with that one. Time and the elements have a way of blurring the lines, by the weathering of old wood, by the erosion of brick and adobe, and by the desaturation of colors that seem to make these old, ruined structures a cohesive part of the landscape.
I’ve driven for hours over backroads and two lane blacktops that (refreshingly) haven’t been repaved for decades. One of those roads brought me to Claunch. The village still has a functioning post office, but not much else. This old adobe with just the right amount of color added sits alone waiting for passersby to whom it can tell its story.
The front of this small bungalow near the village of Cerrillos is a hodge-podge of materials; stucco, fake brick, and, underlying it all, plywood. The door is beautifully weathered and the textures are all the more evident due to that weathering.
The thing I like best about this photograph is the cutaway caused by erosion of the adobe wall. It’s like a glimpse into the lives of the long gone inhabitants. The double doors were obviously a replacement of a larger one. The melting adobe gives it all an organic feeling. To me, these elements speak of lives lived here in times past.
This old wooden shed has been surrounded by Chinese Elm trees. They have grown around its perimeter in an opening gambit to reclaim the ground on which it sits. The scene has a sense of serene finality about it.
The title of this post may be somewhat deceptive. Most of us think of writing on the wall as actual markings of some kind made by man (or woman) for the purpose of communicating something to others. And, while a couple of the images included here do feature pictographs and petroglyphs, Most do not. Instead, they are images of natures writing.
This pictograph is on a wall about a quarter mile from my home. It is on the side of a state road, but most people who drive by it are unaware of its presence. Like most drawings of this sort, the meaning is unclear, and lost to the ages but someone in the distant past felt the need to scribe these images onto this rock.
This canyon wall and talus slope is located along the Green River near Hardscrabble Bottom in Canyonlands. I was attracted to the contrast between the rock wall and the living tamarisk as well as the no longer living cottonwood tree. I love the desert varnish on the sandstone and the beginning erosion of what will one day probably be an amphitheater.
These petroglyphs are in the backcountry of Monument Valley. They are called the Eye of the Sun Petroglyphs because of their proximity to an arch bearing that name. It is perhaps someone’s tale of the animals he came across that day, or perhaps a boastful recounting of the game he had killed.
These young aspen trees are growing against a sandstone wall which is covered with lichen. The combination creates a tapestry in which the trees reflect the stains on the wall and overlay them with a filigree of branches.
Here is another example of cross-bedded sandstone. I made this photograph while kayaking with my daughter and her husband in the Apostle Islands on Lake Superior. The colors of the stone combined with the intersecting fracture lines, the lichen, and the small, but tenacious, plants caught my eye almost immediately.
In my travels photographing the roots of my home state, I have travelled mostly the two lane blacktops, what William Least Heat Moon called blue highways because that was how they were shown on maps. The back roads of New Mexico often bring surprises, things that are unexpected, things that fire the imagination. I have included a few of these treasures here. There are countless others out there waiting to be rediscovered.
This road grader sits in a yard behind a gabien/rail fence. It was owned by a friend of mine who died several years ago. He was a good man, a hard working man who did not tolerate fools. When I saw it with the falling snow I made this image without much thought other than of the technical aspects.
The Ayers Family built this house from a kit sold by Sears in the 1920s. Now it sits slowly deteriorating near Estancia, NM. I wanted a somber, brooding sky to emphasize the haunted look of the place. The two dead trees complete the picture and the feel of decay. While making this image, I felt the ghosts of the place not far from the surface.
This building, an old neighborhood bar, sits on the edge of a small village in the Rio Grande Valley. From the outside, it doesn’t look like much. I was drawn to it because I noticed the tree growing inside, but I was not expecting the eye; it seemed so out of place. Looking closely, it appears as though it has been there for quite a while. Whatever its origin, it adds an eerie presence to the scene. I shot through the opening to frame the interior and to reflect the shape of the opening in the far wall. This also has the effect of preserving the secret hidden within.
In the early days of the Manhattan Project, a woman named Edith Warner was living in a small house along the Rio Grande where the one lane Otowi Bridge crossed the river giving access to the Pajarito Plateau and Los Alamos. She often hosted the scientists and dignitaries who worked at and visited the site. The house on the right was her residence and the small building on the left was the tea house where she served many people over the years including friends from nearby San Ildefonso Pueblo.
I was on a one lane dirt road near the Rio Grande Gorge when I came upon this 1940 something Chevy pickup buried to its wheel wells in the sandy earth. There was not a single soul that I had seen within a mile of the place. After I finished photographing, I had my lunch while sitting on the fender enjoying the solitude.
I photographed this church in Taiban, NM long before it became a destination for social media photographers. I looked for quite a while for the right composition and finally settled on this head-on perspective with the dead shrubs in the foreground. They seemed to fit the mood of the moment and the lonely desolation of the scene.
I was about as far off the beaten track as you can get, even for central New Mexico. The windmill lying by the side of the road seemed bigger that it would look in its accustomed place: high on a tripod along a single track ranch road. It was November, so the trees were in various stages of decline; I would not not have made this image in the spring or summer when the trees were leafed out.
A while back, I wrote a blog post about the Fallen Roof Ruin on Utah’s Cedar Mesa. I stumbled upon it while researching another, more well-known, ruin which is located close by.
House On Fire Ruin is situated in the south fork of Mule Canyon which runs roughly parallel to Utah Rte. 95 about twenty miles west of Blanding. It gets its name from the way the alcove in which it is located lights up as it catches the reflection of the morning sun from the opposite canyon wall. When this happens, the texture in the ceiling of the alcove causes it to resemble flames coming from the top of the ruins. This phenomenon occurs mid-morning between 9 and 11 o’clock depending on the time of year.
This first image is pretty representative of most of the images I have seen made at the House On Fire Ruin. It does a good job of showing the ruin and the overall effect of the light reflection. But, I like to have a little more depth in my images, to tell more of the story of the place.
To do this, I simply backed off a little and changed to a portrait orientation to enable me to capture some foreground. This version seems less pinched to me than the first; it shows the floor of the alcove, which lends some context to the scene, and allows for some visual flow.
This final image is a portrait of Robin and me sitting in front of the ruins. I am always a little awestruck when I stand in a place where the ancients stood before me. This setting was even more powerful because of the interaction of the rock with the light. I wonder if the inhabitants of these ruins were as moved by the spectacle as we were.
These images were made in the fall of 2016. I had begun the draft, but, for some reason, never completed it. So, I am publishing it now, more than five years later. A lot of water under the proverbial bridge since then.
Along the route and at road’s end, the decay of man’s dreams and the simple elegance of the natural scene have been the premier attraction. The pattern of dunes, the color of sheet metal, the weathering of wood, and the changing sky are images that are as important to me as the ‘grand view’.
John Kiewit; from the preface to Gone to Sanctuary from the Sins of Confusion
As I mentioned in a previous entry, I have been travelling around the state making images of a decaying way of life. A project and a journey inspired by a book. I wish I could have known John Kiewit, I think we would have had a lot to talk about..
Cuervo, New Mexico straddles what is now Interstate 40. In Cuervo’s heyday, it was Route 66. This deteriorating frame house is in the section of the town that sits on the south side of the freeway. I was drawn to make this photograph by what remains of the cedar shake shingles on the roof. As with most of the photographs I have made for this project, I shot the subject straight on. I think of these images as a hybrid of objective documentary and subjective, expressive photographs.
The rusty, scavenged hulk of a car is as common in the rural New Mexican landscape as crumbling adobe. This one–I believe it’s from the 50s or early 60s– was parked near a small, completely abandoned village in Eastern New Mexico. There are many of these disappearing places and eroding vehicles along what was once “The Mother Road”.
I made this image in a small town that like many in that part of New Mexico is mostly a ghost town. The old picket and wire fence overgrown with weeds makes a perfect foreground for the faded pink wall and the glassless window. The rusted cans on the sill speak of former inhabitants, now long gone. I included just a little of the corrugated roof to provide contrast to the wall. As with most of my images, I made several versions, most of them wider views of the entire house, but I like the intimacy of this one.
I long ago outgrew the desire to use my camera as a Xerox machine. Standing amidst a throng of people with cameras on tripods to bag a “trophy shot” holds no attraction for me. That being said, when I saw a photograph by John Mulhouse of this quirky, timeworn truck parked in front of a now defunct resturant in Tucumcari, I knew I had to make my own photograph of it.
I love the mottled look of the adobe on this house. The rusty corrugated tin roof creates tension. The curtained windows led me to suspect inhabitants, but there were no other signs of anyone living there. I wandered through this town for more than an hour and talked with one resident, but he confirmed that most of the residents were gone elsewhere.
This steel suspension bridge over the Rio Puerco no longer carries traffic. I can remember crossing it while on a road trip with my young family back in the eighties and, further back, I probably rode over it as a hitchhiker in the late sixties. Now it stands playing an uncertain role between the freeway and the frontage road. It’s been disignated a historic bridge and is on the national registry; the small, dented, rusting sign on the western end of the bridge tells us so.
Early spring and the elms and cottonwoods were leafing out. I was on a part of old route 66 that still has a few towns that are relatively well populated. As I drove through this village, I spotted this shuttered service garage. It is right on the main drag, but no one was around to fill me in on its history. I stayed there for a while because it felt like someone could walk out the door at any second. My patience was not rewarded.
This sunlight reflecting off the broken windshield drew my attention to this old rusty chevy. It was parked back off the road between two buildings. I had to wait for the sun to move so the glare was off the glass. There is something poetic about these old vehicles, something almost natural about the rust and the paint and the shattered glass.
I was actually back off the highway several miles when I came across this old adobe ruin. The vigas still sit on the walls, but the roof has long since given way to decay and gravity. It’s a small dwelling that harkens back to a time when quality was more important than quantity. It’s fortunate that I made this photograph in early spring; the elm tree was still pretty bare which, I think, suits the image.
After more than a week of unfulfilled promises from the weatherman, and several half-baked attempts, we finally got a substantial snowfall here in northern New Mexico. So, I awoke in the pre-dawn of the new year to find a foot of fresh snow and more coming down.
I made this image of my home from the southern boundary of my property. The rincon along the edge of Virgin Mesa is just visible through the falling snow to the north. I made several compositions and settled on this one. My main concern during the processing was to preserve the ethereal quality of the light through the snow on the distant rim.
Nikon Df, Nikkor 24-70mm f2.8
I call it the Number 10 Cabin, but it’s really just an old barn/shed. I have photogrphed it many times over the years–it is located a couple hundred yards from my house. This image was made, obviously, during a snowstorm. I love to photograph in these conditions; the world seems to shrink down to just the elements within the frame. I used a relatively fast shutter speed to freeze the falling snow, which gives the photograph an almost pointillist feel.
Nikon Df, Nikkor 24-70mm f2.8
This river runs through my land. I made this photograph from a wooden bridge located just north of my house. Normally when photographing moving water, I use a slow shutter speed to smooth the flow, but on this cold, snowy morning, freezing the movement with a fast shutter felt like the best way to portray the scene.
Nikon Df, Nikkor 24-70mm f2.8
South of the village, the canyon opens up and the bosque has room to breathe. These cottonwoods on the edge of a small meadow stood out againt the low clouds. The world was reduced to the immediate surroundings. As I said previously, these are my favorite conditions to work in. Again, I used a fast shutter to freeze the falling snow, which adds another dimension to the image. I made another exposure using a slow shutter to mask the snow and this version is by far my favorite.
Nikon D810, Nikkor 24-120mm f4
You can feel the silence and the mystery of the winter forest in this image. The trunks of Ponderosa Pine and Fir trees seem to go on forever and the veil of frozen air in the low clouds adds to the effect. I used a long lens to compress the separation between the trees. The sliver of snow covered ground at the bottom of the frame is essential to the composition; without it the image becomes more abstract.
Nikon D810, Nikkor 80-200mm f2.8
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
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
This is my first post in more than a year and a half, but that doesn’t mean I haven’t been busy. In fact I travelled and photographed more in 2020 than in the previous three years combined. What has changed is my approach to my photography and the subject matter. First of all, I have commited the ultimate sin for a landscape/nature photographer: I have pretty much left my tripod at home; most of the photographs I have made in the past two years have been shot handheld using a Nikon Df along with an assortment of lenses. As for the subject matter, I have been attempting to capture the detritus of a disappearing culture in a way that makes it pleasing to the eye.
This first image is of a quirky fence in the village of Cerrillos. I liked the way the winter weeds contrast the hard edged outline of the fence slats and the way the fence itself mimics the Ortiz Mountains in the distance.
Nikon Df, Nikkor 24-120mm f4 F11 1/640 ISO 400
This roadside tableau caught my eye as I was driving along a two lane blacktop in northern New Mexico. Actually, I made the first version in the spring when the leaves were green and new, but the image didn’t have the feel I was looking for, so I returned in the fall and got it right.
Nikon Df Nikkor 24-120 f4 F8 1/100 ISO 800
Most small rural villages in New Mexico have more than their share of abandoned homes and buildings which are slowly melting into the landscape. The broken window and the off-kilter door draw the eye to the reflection of the dead tree.
Nikon Df Nikkor 24-120mm F7 1/160 ISO 400
The shirt hanging on a carved door in a crumbling adobe is a bit eerie and, at the same time gives this image a human touch. I have come across several scenes like this in my travels and they always make me wonder about the lives of the people who called those places home.
Nikon Df Nikkor 50mm f1.4 F4 1/500 ISO 800
This last photograph is one of my favorites. The missing window pane, the tattered curtain, the broken stucco are all given a sense of hope (and a splash of color) by the blooming trumpet vines.
Nikon Df Nikkor 24-120mm F8 1/80 ISO 400
At last, a real winter! One we denizens of the Jemez Mountains can be proud of. We’ve had two substantial snowfalls within the past two weeks, and there is more in the forecast. The day after Christmas I awoke to a world of swirling white. I quickly got dressed and grabbed my gear. There is nothing like being cloaked in the clouds during a fresh snowfall to bring the world into focus.
Jemez Springs has become a “destination”, the road and the village are typically busy with tourists, so it was a welcome relief to see it relatively abandoned with clean, new snow covering the small cluster of buildings that comprise the heart of the village. Luckily, the road hadn’t even been plowed yet.
The Jemez Historic Site (the pueblo of Giusewa) is about halfway between the village and my home. I have been wanting to make this image for quite a while, but due to a lack of the white stuff, I had put it off. This was my chance, and I think I made the most of it. This is what I consider to be the best of a series of seven exposures I made of this scene.
Continuing up the road, I came to Soda Dam. I have made many photographs of Soda Dam over the years; it’s only a five minute walk from my house. With the snow still coming down, I decided to give this image the same treatment as the one of the village seen above. I used a relatively fast shutter speed of 1/250th of a second to freeze the motion of the falling snow. The resulting image puts the tableau in context and serves to convey what I was feeling at the time I released the shutter.
After leaving the Soda Dam, I continued north on the highway into the Santa Fe National Forest. The most striking scenes I found were the ones of areas of forest burned in recent wildfires, their branches covered and defined by the snow. They provided a visual as well as a thematic contrast, and the photographs are a combination of realism and the abstract.
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,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.
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.
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.
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”.
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.
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: 1⁄25 sec., f16, ISO 32
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: 1⁄30 sec, f16, ISO 50
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: 1⁄200 sec, f8, ISO 1250
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: 1⁄320 sec., f13, ISO 800
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: 1⁄160 sec., f10, ISO 1250
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
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: 1⁄8 sec., f16, ISO 32
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
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
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: 1⁄15 sec., f16, ISO 32
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: 1⁄15 sec., f16, ISO 32
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: 1⁄8 sec., f16, ISO 32
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
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: 1⁄640 sec., f16, ISO 1600
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: 1⁄10 sec., f16, ISO 32
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: 1⁄20 sec., f16, ISO 32
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: 1⁄20 sec., f16, ISO 32
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: 1⁄4 sec., f16, ISO 32
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.
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
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
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: 1⁄8 sec, f18, ISO 50
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: 1⁄30 sec, f16, ISO 50
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: 1⁄25 sec, f16, ISO 50
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: 1⁄15 sec, f16, ISO 50
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: 1⁄60 sec, f18, ISO 50
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: 1⁄40 sec, f16, ISO 50
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: 1⁄6 sec, f16, ISO 50
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: 1⁄10 sec, f16, ISO 50
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: 1⁄20 sec, f16, ISO 50
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: 1⁄6 sec, f16, ISO 50
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: 1⁄25 sec, f16, ISO 100
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: 1⁄640 sec, f9, ISO 500
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: 1⁄400 sec, f14, ISO 1600
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: 1⁄640 sec, f16, ISO 1600
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: 1⁄5 sec, f11, ISO 50
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: 1⁄500 sec, f13, ISO 800
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: 1⁄500 sec, f11, ISO 800
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.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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.
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 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.
My previous post: Roaming The San Juan Basin-Part 1, was about the first day of a two-day road trip through the expanse of a great bowl shaped depression in the middle of the Colorado Plateau in northwest New Mexico. I spent Saturday night in Farmington and awoke early on Sunday. I had planned to head straight home from there, but as I prepared to leave, I thought better of it and decided to do some more exploring. As I drove up the road that leads from Farmington to the edge of the basin, I began to formulate a plan. I decided that I would avoid any of my normal haunts: the Bisti Wilderness, Ah Shi Sle Pah, etc. and that I would try to stay on dirt or gravel roads as much as possible. With this blog post in mind, I also decided to take a photojournalistic approach to making my images as opposed to my usual process.
I left the paved road about forty miles south of Farmington and immersed myself in the rolling, broken landscape. The San Juan Basin has numerous drainages of all sizes that carve the washes and valleys that form the irregular surface and expose the long buried geological features. I turned south on a road I knew would take me past Ah Shi Sle Pah…forbidden territory on this trip. I noticed three abandoned dwellings off to the west. The walls were of rock; the roofs, non-existent or barely there. They had a melancholy look to them; it was as though they were being swallowed by the great expanse that surrounded them.
A few miles further along the road, I saw a band of horses; one group of seven animals, and a mare and foal off by themselves. I stopped the car and walked to the side of the road to set up my tripod and the larger cluster immediately moved farther away from me. I made a few exposures and decided I would try to get closer, but the horses ran to the edge of the wash while the closest one–a stallion and probably the alpha–stood his ground and began to snort and pound the ground with his hoof. From this behavior, I surmised that this was a wild band; the tame horses I have encountered are typically friendly and will even approach to within an arm’s length.
I took the hint and returned to the car. I didn’t want to alarm the animals any more than I already had. I didn’t make it more than a half mile further when I spotted a smaller group of three white horses on the south side of the road. These were more friendly, but still more stand-offish than usual. They continued their grazing, but were wary of my presence.
Now I dropped down into Kimbeto Wash, a key drainage for this part of the San Juan Basin. I came to a tee in the road; to the left, Ah Shi Sle Pah, to the right, unknown territory. I turned right and crossed Kimbeto Wash. Less than a quarter mile further along was a road to the left and a sign: Chaco Canyon miles. The mileage was illegible. Onward.
I was excited to find a back way into Chaco; connecting the dots on a map has always been satisfying for me. The road crossed a grassy plain with a low mesa on the southern horizon. The only other visible feature was a lone hogan about a hundred yards off the road to the west. After about ten miles there was a sharp left turn and the track dipped down and crossed Chaco Wash before continuing up to the top of a high plateau.
By now, I was firmly into a spontaneous wandering frame of mind; I took a turn onto a two-track that seemed to lead to the plateau’s edge, but the road curved back and dead-ended at an abandoned homestead, complete with old cars and trash burn barrels. I’ve seen hundreds of these forlorn dwellings scattered across the remote desert areas I frequent. They always put me in a pensive mood.
Back on the main road, I soon came to an intersection that put me on the main road into Chaco Canyon. I decided to make a quick tour of the loop.
One of the most interesting elements of the ancient pueblo culture for me is the kiva. There are different kinds of kivas: many were used as places for social gathering, but most of them were ceremonial in nature. These adjacent kivas at Chetro Ketl–the second largest pueblo complex in Chaco Canyon–were used for religious ceremonies. Standing near these centuries-old subterranean enclosures made me feel connected to the ones who contrived and built these amazing communities.
Chaco Canyon is actually comprised of many pueblo complexes which were built over a span of four centuries and housed thousands of permanent residents and visitors from outlying sites. Of these complexes, Pueblo Bonito is the largest with more than eight hundred rooms. Like most of the pueblos in Chaco Canyon, Pueblo Bonito is built close against the wall of the mesa.
A little further along the loop road from Pueblo Bonito is Pueblo del Arroyo. It is situated along the edge of Chaco Wash and had three hundred rooms; it is thought to have been built by residents of Pueblo Bonito who moved due to overcrowding in the larger site.
I had already spent more time at Chaco Canyon than I wanted to, so I made for the exit that brought me to Hwy 57 heading south. As I passed the boundary I stopped to make a photograph of Fajada Butte which rises 440 feet above the canyon floor and is home to the most famous of all the Chaco sites: The Sun Dagger site. Three slabs of rock are set up and arranged in such a way that shafts of sunlight shine through them and onto specific parts of a petroglyph carved on the rock wall of the butte on each of the solstices and eqinoxes. More proof that these early Americans were far more advanced than the “savages” they have been depicted to be.
So, with these thoughts bouncing around in my head, I left Chaco behind and continued my exploration of the San Juan Basin. New Mexico State Road 57 is not what you might expect from the designation. Soon after it starts at US 550 between Huerfano and Nageezi, it sheds its asphalt coat and becomes a dirt road in the truest sense of the word. A good rain will quickly turn it into a quagmire of greasy clay, the kind that will defeat even the most serious four-wheel drive vehicle.
So, although I truly enjoy a good thunderstorm, I couldn’t help but hope that the building thunderheads would hold their water at least until I made it to the pavement of Indian Rte. 9 twenty-five miles to the south. I was about half way between Chaco and the paved road when over a rise in the road came two beautiful horses. One of them, a mare, turned sideways in the road and seemed to be bowing to me. I was enchanted; I spent over half an hour with them and when I finally left them behind, it was with some reluctance.
The remainder of the drive on NM 57 was relatively uneventful. There were a few small clusters of hoodoos and several small herds of livestock and then, suddenly I was at the intersection with the paved road. I looked back the way I had come, again with some reluctance, and then turned onto Indian Rte. 9. Almost immediately I came across three horses drinking from a water barrel. The scene seemed to say a good deal about the nature of this remote area, so I made a photograph of it.
After its intersection with NM 57, Indian Rte. 9 climbs onto a low mesa and emerges at Pueblo Pintado, an outlier of the pueblos at Chaco Canyon. This area is still inhabited by the descendants of the anasazi people, but now they live in houses scattered across the mesa in the shadow of the ruin that was their ancestral home. Another thirty miles brought me to Torreon. It is here that IR 9 becomes New Mexico 197 and turns northeast towards Cuba, NM. I turned onto an un-numbered, but paved road that runs from Torreon to the small village of San Luis in the Rio Puerco Valley. I passed a rock ruin that I had photographed before, but I stopped to make several exposures before continuing on towards San Luis.
As I drew near San Luis and the Rio Puerco Valley, a heavy thunderstorm passed ahead of me, nearly obscuring the volcanic monolith of Cabezon Peak. It seemed a fitting end to my adventure. Even as I neared home my mind began wandering and wondering about another dirt road I had noticed meandering into the vastness of the San Juan Basin…
Wow! Another year fades into memory. I have spent the last couple weeks editing the images I’ve made in 2013 with the goal of culling my favorite dozen. Image editing for me is a labor of love; I have a connection to my work, so picking “the best” out of hundreds candidates is not an easy task.
I knew from the time I made this photo of a bull elk in my yard on January 3rd that I was setting a high standard for the rest of the year. Also, not only was it serendipitous, but the image was a departure from my usual wide angle landscapes. I had been feeling for some time that my work had been stagnating, so I resolved then and there to take it in a new direction.
In early February, I ventured into an area along US 550 that I had been looking at as a shooting location for some time. I was drawn by some red sandstone pinnacles that were visible from the highway. As I walked toward them, I came across this old section of road that is slowly eroding, being reclaimed by natural forces. The scene made me realize how impermanent our impact on nature really is. In the end, this is the image that stood out above the others I made that day. Again: serendipity.
As the year progressed, I found myself revisiting some places I had been before. The image of the church on San Ildefonso Pueblo (a scene I had driven past countless times before) is more about the light than the subject matter. It is also a more visually compressed image than is usual for me due to my use of a longer focal length lens.
Every year at the end of May–Memorial Day Weekend to be exact–the Pueblo of Jemez hosts the Starfeather Pow Wow. Hundreds of native dancers from across the country come to dance and compete. I made hundreds of images that weekend, but this portrait of two brothers stood out. They are dressed in “dog soldier” head-dresses, hair-pipe breastplates, and feather bustles, all made by their father. Just before I released the shutter, I told them to give me some attitude. I think they did a pretty good job.
Anyone who is familiar with my work, knows that I spend a great deal of time in the Rio Puerco Valley. It was near the middle of July and the rains had just started after several months of searing heat and cloudless skies when I made this image. There are many possible causes for this animal’s demise, but the location of its desiccated remains along a now rain-filled wash and the rain falling from a heavy sky tells an ironic story about the uncertainty of life in this harsh environment.
And speaking of harsh environments, the Bisti Wilderness in July can be a sobering place. The temperatures can soar to well over 100°F. I usually try to discourage clients from booking a photo tour during this time, but if the monsoons have started, it can be relatively pleasant and the cloudy skies lend a sense of drama to the scene. I made this image of one of my clients pondering the maze in the Brown Hoodoos section of the wilderness.
From a land of parched earth to a place where water is omni-present; my travels took me to Wisconsin in August. On a day-trip to Olbricht Botanical Gardens with my daughter, I made this image of the Thai Pagoda. Normally I steer clear of this kind of symmetry in a photograph, but the structure, and the entire environment seemed to demand it.
Autumn is the best time to be in the badlands, especially if the atmosphere cooperates. Even though the ground was soft and the washes were running from the rain, there were still cracks in the earth. It was as though the soil had a memory of the scorching it normally receives and refused to let go. After processing this image, I realized that it was best to convert it to black and white.
During the months of September and October I spent a great deal of time photographing the trains of the Cumbres-Toltec narrow-gauge railroad which runs from Chama, New Mexico to Antonito, Colorado. I spent every weekend for nearly a month chasing the trains and the fall colors. In the end, my favorite image had nothing to do with color and everything to do with the train, the track and the trestle.
To most people, in the US anyway, November means thanksgiving. For me it is my annual trip to Bosque del Apache National Wildlife Refuge. Over the years, I have come to relish my time with the cranes, herons, geese, and other waterfowl that call the Bosque home during the winter months. Even though I have thousands of images of the birds flying, taking wing, landing, wading, eating, and doing whatever else it is that they do, I still managed to make two of my favorites there in 2013.
This first is obvious and familiar: a crane in the process of taking off from one of the ponds to fly to the fields where he will spend the day foraging. The second is a departure from my normal Bosque images, but one that illustrates the reason that I keep returning year after year.
In December I travelled by train to visit my oldest daughter (an adventure I wrote about in my previous blog entry). Chicago’s Union Station was a surprise to me. I made several images inside the station and when I wandered out the doors to Canal Street, I found this scene. I was immediately drawn by the fact that while some of the elements had symmetry–there’s that word again–some didn’t. And of course the cherry-on-top: the wet pavement reflecting the lights and columns.
I recently took the Amtrak Southwest Chief from Albuquerque to Chicago. I was excited because it was my first time on a train and the possibilities for meeting people seemed endless.
While I was waiting for the train in Albuquerque, I heard a soft voice say something about standing so close to the tracks, and how dangerous it was. It was Reba the baggage handler. When I assured her that I would move before the train arrived she relaxed and we introduced ourselves. My journey was off to a good start.
Once the train pulled in, the activity on the platform increased: people arriving and departing, hawkers selling southwestern doodads, and the car attendants and conductor directing people to their seats. My excitement about the trip was not because I am provincial; I have travelled quite a lot by plane and by car, but flying is so impersonal and efficient and driving rarely takes me off the beaten path. Taking the train, on the other hand is a mode of transportation that invites interaction with others while affording the opportunity to engage the landscape (even if it is a fleeting engagement).
Along the route, we passed through small towns situated at the edges of the so-called modern world, towns with no big box stores and no motel/restaurant franchise row. The people who live in these places, live life at a slower pace where the most excitement they might have is watching the train come into the station. Lamy, New Mexico is such a place; the last census reported that 237 people lived there. And, even though it is less than twenty miles from Santa Fe, the feel of the place is definitely backroads, small-town.
There are memorable characters to be found just about anywhere, and the train was no exception. Clarence introduced himself to me not more than a minute after we left the Albuquerque station. He noticed my camera and informed me that he had been a photographer for Life magazine. As the trip progressed, I also learned that he was a CIA operative as well as a mortician. It was near the end of the journey when he appeared in this getup and soon had the entire car singing Christmas carols. Clarence didn’t know more than a few words of each song, but that didn’t stop him, he just hummed his way through until he came to a part that he knew.
I was surprised to see a fairly large number of Amish riding the train. I asked one of them about this and was told that they are not allowed to travel by air, so they do their long distance traveling by rail. I photographed this young Amish man along with our train at Union Station in Chicago.
I had never been in Union Station before and as I began making my way up through the bowels of the building to find my connection, I saw a sign that pointed the way to The Great Hall. I followed it and came into this wonderful space. At one time it was the center of activity in the station; now it is used for events and as a tourist attraction: several movies have been filmed there and the architecture is breathtaking.
I was drawn to the stairs that descend from street level. If you have seen the movie “The Untouchables”, you may recognize it as the stairway from the baby carriage scene. As you proceed up the stairs and out onto Canal Street, you will find yourself in this beautiful portico. The lighting was too much to resist.
The next leg of my journey was by bus and I was suddenly back in the rat-race: people plugged into their phones or staring at their computer screens as we crawled through Chicago traffic.
The Starfeather Pow Wow at Jemez Pueblo is a popular gathering among Native American dancers. They bring with them their songs, drums, dances, and dancing regalia. The result is a sight to behold: whirling, colorful costumes, with feather, bone, and beaded accessories provide a visual symphony for locals and visitors alike.
The Starfeather Pow Wow is held each year on Memorial Day and is considered one of the highlights of the Pow Wow season. The first image shows a dancer’s feather bustle swaying with his movement during an inter-tribal dance. The singing for the dances was performed by fourteen individual drum teams from across the country. The drums provide the rhythm for the dance and the vocalizations describe the basis for interpreting the movements.
These two native beauties are from Utah and Arizona. They are dressed in colorful, traditional jingle dresses, and carry eagle and turkey feather fans. Collecting or possessing eagle feathers is against the law except for American Indians who use them for ceremonies and gatherings. To native people, feathers symbolize freedom, honor and strength.
I have lived near and known Native Americans for close to forty years, but when I saw this guy, I immediately thought: quintessential American Indian. He is Mescalero Apache, Comanche, and Kiowa, and lives in southeastern New Mexico. He told me that he’s been dancing since he was three years old.
A transplanted Lakota Sioux who now makes his home in Albuquerque, New Mexico performs in the “Golden Years” dance competition, a special category for those fifty and over.
These two “Little Warriors” captured the imagination of the crowd in their traditional “dog soldier” costumes and headdresses. Notice the “attitude” in their expressions. The hair-pipe breastplates, feather bustles, and headdresses were made by the boys’ father.
The doorways in the pueblo structures are probably the most photographed details of all the architectural features that can be found in Chaco Canyon. The first image was made in the rooms in the eastern wing of Pueblo Bonito, but I shot from the opposite end of the passages from where most people do. I like the vigas above the middle door that are visible from this perspective.
The next two images were made at Chetro Ketl which is the second largest pueblo in Chaco Canyon. The first is a view through a window on the north side of the long greathouse wall looking at what was once an interior doorway. Beyond that is another wall and then the plaza.
The second image is looking into the west wing of the pueblo. An exterior door and two interior doors are visible.
One of the amazing things about these structures is that they were planned from the start; they were built with expansion in mind, so the bearing walls were made strong enough to support the upper stories which, in some cases weren’t built until a hundred years later.
The last image is of a keyhole doorway which is also located in the east wing of Pueblo Bonito. I’ve researched this and have yet to find an explanation. If I had to guess, I would say that this may have been a window that was modified to connect two rooms after an addition, or perhaps it was built that way for some unknown religious or social purpose.
There is no shortage of adobe ruins in the American southwest and there is also no shortage of photographs of those ruins. This poses a dilemma for photographers who want to find fresh ways of capturing an image.
So, how many ways are there to photograph ruins? I decided to share some of my techniques for making eye catching images of an often photographed theme. In the first image, I asked myself: “What drew your attention to this scene in the first place?” The answer: the corrugated tin roof and the color and grain of the door. So, I made a selection of those elements, inverted the selection, converted it to B&W, and added a sepia tint.
I made the second image in the ghost town of Guadalupe, New Mexico in the Rio Puerco Valley. I had photographed the two storey ruin many times, but this time I was looking for something different. I was walking around the small village, in and out of various ruined buildings when I saw this image just waiting for me. By framing the larger building in the doorway, I managed to say more about the entire village while still making a fresh image of the subject.
Here is a more intimate scene. By de-saturating the adobe walls and warming the remaining color, I was able to create the effect of a glow from the inside of this old ruin.
This last image was taken from an overlook several hundred feet above and about an eighth of a mile from the Mummy Cave Ruin in Canyon del Muerto, a side canyon of Canyon de Chelly. I used my 80-200 f2.8 Nikkor lens at 200mm. I thought about putting on my 400mm lens to get a tighter shot, but then realized that this magnification was perfect: it allowed me to show the subject in context; including the towering rock face above the ruin says much more about it than if I would have zoomed in for a tighter crop.
Canyon de Chelly is unique in many ways. It is the only National Park that is contained entirely within a separate sovereign nation: the Navajo Reservation. It is administered by the Park Service, but access is controlled by the Navajo people. There have been people occupying Canyon de Chelly since the days of the Anasazi, making it one of the oldest, continuously inhabited settlements on the North American continent. Members of the Navajo Nation still live and farm the fertile canyon floor, but it has also been home to the ancient Puebloans, and the Hopis.
This first image was made from an overlook on the north rim. It is the point where Canyon del Muerto and Black Rock Canyon meet – Canyon de Chelly National Park is actually made up of several canyons, the two main ones being Canyon de Chelly and Canyon del Muerto.
There are many ruins within the Park, some are located right on the canyon floor like the Antelope House Ruins, which are located at the base of a towering sandstone wall that served as a huge heat sink in the winter. It was inhabited between about 850-1270 CE, and contains about 90 rooms. The remnants of several kivas can be seen in the bottom center of the image. They appear as distinct round structures.
Other ruins are situated high on the walls of the canyon. The Mummy Cave Ruins are located on a shelf which is nestled in a cave three hundred feet above the canyon floor. It is believed to have been continuously inhabited for over a thousand years. Its name comes from the many well preserved burials discovered at the site.
This last image is a view down Canyon del Muerto from the Massacre Cave Overlook. I realize that, visually, it is a bit confusing, but I was attempting to show the complex structure of the rock strata and this location seemed to be the best place to achieve that.
This was a drive-by shooting so to speak. anyone who is familiar with Canyon de Chelly will realize that these images were all taken from the North Rim. I plan to return soon to shoot the other side of the Park. So, look for Vol. 2 in the near future.
If you’ve never been to the desert southwest, you may not be aware of the importance of water to the landscape. Not only is it the source of life for the many hardy species that call this arid environment home, but is also one of the main forces by which the landscape came to be what it is.
These first three images were made in Blue Canyon on the Hopi reservation in northeastern Arizona. Over eons, a small stream and countless windstorms have sculpted the soft sandstone leaving a wonderland of deep chasms and etching the stone with amazing textures.
Just in case you have the idea that this small stream doesn’t have its moments of glory, here is an image of a car that was carried away while the rivulet was in flood. It is now wedged firmly between the walls of the water cave.
This is the place where the stream plunges into the chasm it has carved out over the course over millions of years. I had posted this image in a previous blog about my trip to Blue Canyon, but that was a color image. I made this black and white conversion using Silver Efex Pro and put some emphasis on the structure and texture to show the wrinkles time has etched into the face of this desert landscape
And just so you know that we have our fair share of “Erosion Art” in New Mexico, here is an image I made recently in the Mesa de Cuba badlands in the northwest corner of the “Land of Enchantment”.
These places can mean different things to different people: Some may look at such a place with a mix of wonder (wonder that anyone could find beauty there) and fear-fear of the unknown, fear of what may be lurking around that next bend, and fear that somehow they may, as I did, develop a deep sense of love and respect for such a harsh, unforgiving environment. One thing is certain if you take the time to look around you and think about how things work in a desert ecosystem, you will come away looking at life a little differently from the way you did before your visit.
Happy wandering! Oh, bring a GPS and plenty of H2O.
Blue Canyon is a very special place. Of course it’s special to landscape photographers because of the incredible sandstone formations. But, beyond that, it holds a special place in the hearts and minds of the Hopi people. Blue Canyon sits in the northwestern corner of the Hopi reservation and aside from being a remarkably beautiful place, it also contains the only perennial, riparian ecosystem on Hopi land
I recently spent a day with Leigh Kuwanwisiwma, the director of the Office of Cultural Preservation for the Hopi tribe. We spent a lot of time exploring the area that contains the sculpted, layered formations which draw thousands of photographers to this place. It has been closed by the tribe because they fear that the fragile area will be harmed by too much traffic. I was there to photograph the canyon for a book about the Hopis’ sacred places Leigh hopes to publish.
Most of the sandstone formations are clustered in one relatively small area just off the main road, but I think I could spend a week there and never have to photograph the same formation twice. As I wandered, I recognized several places I had seen as images on some landscape photographers website. I made the obligatory exposures, but I wasn’t there to copy someone else’s work, so you will not see any of those images here. Instead, I tried to get a feel for the place as seen through the eyes of my guide, the people with whom this landscape resonates on an entirely different level.
I mentioned that this place is sacred to the Hopi because it holds the only perennial, riparian ecosystem on their reservation. That can mean many different things depending on a person’s experience. In this arid land where water is scarce, it means a small trickle that brings life to this otherwise harsh environment.
I made this image at the place where the water collects in a small pool before plunging into the deep sandstone slot that it has carved over the millennia. As the stream moves down the canyon it disappears into its sandy bed in places-never far below the surface-and then reappears farther downstream, a constant reminder of the fragile balance between life and death in this hauntingly beautiful place.