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.
In my previous post: Roaming The San Juan Basin, I described a two-day journey through a place with landscapes as varied as they are timeless. At one point during that journey, I passed a nondescript cattle guard on San Juan County Road 7650. To the north, a little more than a mile from the road is a ridge that has been eroded over time, and which now displays all the telltale signs of a badlands: deeply eroded gullies with unevenly spaced bands of color, large areas of red deposits, and the unmistakeable outlines of hoodoos against the smoother walls of hardened ash and clay. I filed it away for future reference.
Actually I had been aware of this small badlands for several years, but had never explored it. I decided to make the effort in the near future. So, a few weeks later, Robin and I loaded up the car and headed out to the Fossil Forest. At the top of my list was finding a certain petrified tree stump that overlooked a drainage to the south. I had found a photo of the stump online and had a copy of the image on my phone; as it turned out, it was an invaluable aid in ultimately finding the location of the fossil.
From the parking area on the road we walked about a mile to the north until we reached the small drainages and scattered hoodoos that marked the boundaries of the badlands. We then explored some of the drainages to see if there was an obvious, or easy way to the top. No such luck. Eventually, we came across a relatively wide ravine near the eastern edge of the ridge. I recognized a petrified log I had seen on the BLM website; it was partially buried and lying near the mouth of the the wash. This seemed like a good place to begin the climb to the ridge top.
Actually, it was more of a scramble than a climb. There is about a one hundred foot elevation gain from the mouth of the drainage to the crown of the ridge, but it was steep. Once on top, we surveyed the area from our new perspective. To the east lay a jumble of clay hills with bands of black (lignite) and daubs of red (clinkers). To the north and south were more banded hills that fell away into the steep sided ravines which emptied onto the desert floor.
Now that we were on top, we began looking for the features that were visible in the photo I had on my phone. We came across several petrified logs most of which were eroded and broken into small pieces. At each of the promontories that intersperse the ravines, I walked to the point to compare the features. It was after several failed attempts that I looked across the next channel and spotted the stump.
There is a feeling of accomplishment that comes after searching for and finding something that is situated in a remote location, especially if that something is a millions year old relic of a former time. As I made these images, I tried to imagine the way the world was when this remnant of a lost age was intact and alive. It is not unlike the emotion I experience when I stand among ruins that were constructed by unknown hands thousands of years ago.
We spent a half hour or more working the scene from different perspectives before deciding to begin the hike back to the road, the car, the present world. After negotiating the way down from the crest of the ridge, we followed one of the many washes that empty into a series of small arroyos that drain this part of the San Juan Basin. On the way, we passed a mound of mudstone and lignite that was just beginning to reveal its secrets: yet to be formed hoodoos, still uncovered petrified trees, possibly the petrified bones of an, as yet, undiscovered dinosaur. What will this landscape look like a hundred thousand years from now? Will there be anyone around to wonder at its past?
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…
The plan was to explore a small badlands on the Navajo Reservation. It is close to the settlement of Burnham, which is about half way between New Mexico Rte. 371 and US 491. I packed up the car early on July 4th and headed into the expanse of the San Juan Basin.
I have been wanting to make the drive across route 5 for some time, but I always put it off. The first half of the drive is unremarkable: a straight track across high desert grassland. As the road drops off the plateau, however things begin to get more interesting; the view opens up and you can see across the lowlands clear to the Chuska Mountains along the Arizona border. There are several volcanic plugs visible, including Shiprock on the distant northwest horizon.
These first two images show the landscape looking across the badlands from the top. One shows Shiprock in the distance, and the other is a view of the main part of the badlands area. The route to the bottom is gained by finding a trail across the bentonite hills and between the numerous small washes that drain the uplands. This is where a good GPS system was invaluable, The “breadcrumb” feature made it relatively easy to follow the path back to my car.
When I reached the bottom, I made my way to the most prominent feature, a tall gracefully eroded hoodoo atop a small mound. The colors are mostly yellows, blacks, and reds, the subtle gradients made an interesting compositional element, as did the small boulders strewn across the floor of the wash.
I had heard about a petrified stump somewhere in the area and I set out to locate it. I started by skirting the margins of the flats, moving in and out of each small drainage. I really had no point of reference, but since these badlands are relatively small, I felt confident that, if I kept looking, I would find the stump. I stopped to make a photo near the southern edge of the main wash and as I turned around to continue my search, I saw what I was looking for on the opposite side of a low outcropping. What I found most interesting about this particular piece was the nearly intact root extending down as if it was still doing its job of delivering water to the tree; such a commonplace relationship frozen in time and space.
I continued exploring for the next couple hours and found more petrified logs and small hoodoo groupings before making my way back to the car. As I began the climb back to the top, I made a photo across one of the tributary washes to the jumble of bentonite mounds that surround the lowlands.
As I continued the climb out, I made several more images, including the one below, looking westward to the Chuska Mountains. I was thankful for my GPS, I had to reference the “breadcrumb” feature a couple times to find my way out of the maze.
When I reached the car, I realized that it was still relatively early in the day. Looking out over the landscape, I once again saw Shiprock on the horizon and decided to drive there to photograph it at sunset, hoping for some nice color in the overcast sky. I returned to IR-5 and continued west to its junction with US 491 and then headed north to my destination.
I drove onto the dirt road just east of the lava dike and followed it for a couple miles until I found a good spot and began the wait; there was still a couple hours to go before sunset. I set up my camera and tripod, made a few exposures, and repositioned the setup. I then settled in to wait for the anticipated light show. I made exposures whenever the light was interesting, and read a book I had brought along to help pass the time. In the end, sunset was not what I had hoped it would be, the clouds grew more dense obliterating the evening light and muting what little color there was. But, I had plenty of images with some nice light to choose from. This is my pick out of those, the side-lighting does a nice job of revealing the rugged texture of Shiprock, and also casts a nice glow across the foreground.
I drove to Farmington to spend the night satisfied that I had come away with some good images. I decided that I would extend the trip through the next day and see where the wind would take me.
The Rio Puerco Valley is an arid place. The colors are usually limited to browns and sparse, muted greens. But, in a good year, when there are generous spring rains and a healthy monsoon, the desert comes alive; late spring, and early summer will see an abundance of colorful blossoms on the cacti, and the shrubs that grow and cover the landscape as far as the eye can see.
Since we are currently experiencing those very conditions here in the high desert of northern New Mexico, I was excited to see a cane cholla covered with reddish-purple blossoms as I was driving home a few days ago. The next day I packed my gear and headed into the expanse of the Rio Puerco Valley, certain that I would find it full of blooming chollas.
My expectations were confirmed as soon as I turned onto the county road that leads into the valley. The rolling plains on both sides of the road were covered with cane chollas and flowering plants in bloom. As I made my way through the small village of San Luis and deeper into the broad valley, my excitement grew. Everywhere I looked, it seemed, were colorful blossoms–mostly reddish/purple or yellow.
The day was pregnant with possibilities; the weather was stormy, and as I watched from deep in the wilderness, a cloud opened and began dropping virga over the landscape. Virga is an observable precipitation that drops from a cloud, but evaporates before it reaches the ground. I managed to make several good images that contained the event before it dissipated.
By the time I reached the ghost town of Guadalupe, I had already made over two hundred images and there was still plenty more to do. I parked the car and walked through the familiar landscape. I had photographed in Guadalupe many times before, but never with the desert in bloom the way it was now. This was a remarkable contraposition between the hope of prolific reproduction and the disappointment of broken dreams.
When you have photographed an area as much as I have photographed Guadalupe, it can be difficult to remain fresh, to create something new, but the chollas, which I usually see as just another part of the landscape, were now transformed into something more. I was able to see and use them as elements of counterpoint in my compositions. I think that made a big difference in how I saw the scene, and created the images.
One image in particular required that I step out of the box. There is a section of wall that remains standing while totally separated from the rest of the building it had been part of. Several years ago, I made an image of the wall with a crumbling two-storey building visible through the door opening. Being a creature of habit, it tried (unsuccessfully) to frame both the building and a blooming cholla in the opening. I finally gave up, and as I was walking away, I turned and saw what became the above image. I love it when failure leads to success.
After spending several hours working the location, I decided to pack up and head home. I made one last photograph before getting to the car to the drive back to the highway. But, before leaving I decided that I had to see inside an abandoned dwelling that I had (again) photographed several years previously. I wanted to see if any of the things that made the scene seem melancholy to me were still intact. The place had since been boarded up, but one of the doors was still ajar, and sure enough there was the shirt and hat hanging on the pegs above the turned down bed in the ruined bedroom of a two room shack. It made the setting seem, somehow, even more wistful than it had been when Robin and I first stumbled upon it.
So, I drove back toward the paved road promising myself that I would return again soon to photograph this place that I have come to love as much for the associations that it has as for the scenery. As anyone who knows me will tell you there is no such thing as a last photograph. Just south of San Luis I saw this image right along the edge of the road. For me, this says it all, while beauty is certainly in the eye of the beholder, I can’t imagine anyone seeing a sight like this and not being filled at least to a small degree with awe .
I have photographed and written about Ah Shi Sle Pah Wash extensively. The place is a unique environment and the relatively small area of interest is still revealing new secrets to me. But, as I stood on the edge of the wash recently, I looked to the horizons and wondered what else might be hiding in that seemingly featureless landscape. The thought stayed with me, so one morning I opened Google maps and began searching for telltale signs of eroded areas along the edges of the wash. As I moved west, I eventually came across a region that looked promising. I then began looking for means of access and found a road that ended right at the edge of the area on the map. A quick look at Garmin Base Camp identified GPS coordinates and I was on the road.
Exploring at home on a computer is quite a bit different from driving out into a remote place where you have never been. The dirt two track off the main dirt road seemed endless–even though it was actually only a little over two miles from start to finish. At one point I drove into a section where the road became extremely sandy, and I had to backtrack or risk getting stuck. I eventually found my way to the end of the road and parked. on one side was the broad expanse of Ah Shi Sle Pah Wash, on the other was a wall of incipient hoodoos emerging from a black hillside. It looked like my hunch had paid off.
The more I saw, the more excited I became. Unlike the well-known part of Ah Shi Sle Pah where the features are exposed in an unbroken display several miles long, this small extension seemed to be more recently unearthed in smaller, more intimate areas scattered along both edges of the wash.
I could see more places to the west that looked promising, but by that time, it was getting too late in the day. I wandered and photographed in the immediate area for a couple of hours before deciding to call it a day.
A couple days later, I was on my way to Ah Shi Sle Pah again to further investigate the terrain I hadn’t had a chance to cover on my previous foray. I had identified a place to park that would put me within a mile of the region I wanted to explore. The route took me over a sage covered plain and then dropped into a small tributary wash where I found some hoodoos and petrified wood.
I made a beeline for my ultimate goal, which required several short climbs out of the wash, onto the sage, and back into the wash. I finally arrived at the main wash and began climbing around in the rocks on the northern edge. It was slow going because I had to choose my route carefully due to sudden drop-offs, sink holes, and the possibility of buzz worms (rattlesnakes).
At one point, I looked back to the main wash and across the way I had come and made a photo. But I was drawn by some force to continue to see what lay beyond the next ridge, the next cluster of hoodoos. I came to a crest and dropped into the next tributary. Things were really starting to get (more) interesting. There was an image everywhere I looked.
The landscape was tortured and shattered. Forces of erosion and weather had sculpted an unimaginable (even for that area) jumble of hoodoos, spires, and tables. One small hoodoo bore an uncanny resemblance to a brain on an over-developed spinal cord.
So, there I was thinking it couldn’t possibly get any better, when I caught sight of what is possibly the most bizarre, unearthly formation I had ever seen. It was a hoodoo, but the support column was perforated in places, and the part that remained around the perforations was shaped like some sort of geological accordion. But, my brain stamped it as an exposed part of some mesozoic nervous system.
I spent close to two hours working the thing from all possible perspectives. I was lucky to have an incomparable atmospheric display with light that was constantly changing.
The fluctuating illumination on the scene resulted in mood swings worthy of the subject. In the end, I walked away with close to two hundred images and plans to return at some time in the near future. The fragility of the structure is such that I imagine it could crumble and fall at any time.
But, I have witnessed other such oddities in the vastness of the San Juan Basin that have defied the vagaries of time and weather against all odds for decades, centuries, millennia, so perhaps this wonderful piece of nature’s art will endure for a while.
The one half mile long dirt road that leads from New Mexico Hwy 57 (actually, also a dirt road) cuts through the sage brush prairie with only the slightest sign that there could be anything of interest ahead. The road comes to an abrupt end in a small turn around and a suggestion of a drop beyond the slight rise at the edge of the featureless plain. But, a short walk to the edge of that rise will change any pre-conceived ideas about Ah Shi Sle Pah Wash. The land falls away quickly into a jumble of strange shapes that defy the imagination. Usually, when I make this trip, I walk down into the midst of it all, but on this trip, it was my intention to capture the landscape along this southern edge of the wash, to use the incredible shapes and textures to make more broad landscapes to tell the story of how this place was formed, and how it continues to evolve.
It is here, at the edge, where most of the action is. Hoodoos, their caprocks sitting at jaunty angles, are scattered about in clusters, looking for all the world like groups of alien beings assembled for a social gathering. Petrified logs, looking much the same as they did when the tree fell millions of years ago, emerge from hillsides waiting to surprise and delight visitors. All of these features make great elements for a photographer. That’s one reason why these badlands are destinations for landscape photographers from all over the world.
Something else that stands out here on the edge of the declivity is the color. The soft clay/ash matrix which holds it all together, is a yellowish brown that differs from the whiter color found deeper into the wash, this yellow coloration indicates the presence of iron oxides in the soil. In places, the hue can be more saturated and stand out from the rest, thereby becoming a magnet for the eye, as the hoodoo column in the photo below does.
Standing just about anywhere along this southern rim will give you a good idea of the underlying structure of the area. You can literally see the geologic history of the earth at that place. The deeper into the wash you look, the older the formations are. There’s a lot to see, which means it’s easy to overwhelm your viewers with too much information. When composing an image, it’s important to use design elements like color and light to draw the eye to the main points of interest in the scene.
Of course, the way the light lies on the scene, will play a large part in determining the feeling an image will convey. As the sun neared the horizon to the west, it broke through the overcast in places in a series of rays that shone on the vista and, in turn, caused a dappled light which spotlighted parts of the scene, creating a natural vignette, and reducing the general saturation of the colors. The forms and creases were emphasized by the angled light as well. On the downside, shooting into the general direction of the sun requires that you be vigilant for lens flare (unless it’s intentional), and the dynamic range for such a scene can easily overwhelm your camera’s capabilities. I made five exposures of this image in case I needed to blend them in post processing, but I was actually able to complete the final version using only one exposure.
As I was walking back to the car I was in high spirits because I could feel it, you know, that excitement you get when you know you’ve made some good images and can’t wait to get them uploaded and bring them to fruition. Another lesson learned, or I should say re-learned: change your perspective and do things differently; widen your view and look for the possibilities.