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”.
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…
The title of this post has nothing to do with color correction, or the temperature and tint of images. It has to do with the feeling that comes over me when I find myself enveloped in a cloud, surrounded by a world of white.
A good snow has become a rare thing here in the Jemez Mountains. So, it was a pleasure to wake up to nearly six inches of wet, white stuff recently. I dug my snow boots out of the back of my closet and ventured out into the white.
Growing things become dormant during the winter, but they are still an integral part of the landscape. I found these elongated clusters of seed pods and I was struck by both the contrast between and the similarity to the cottonwood trees in the background. The snow on the branches and on the ground served to intensify the graphic elements of the scene.
This scene of a snow covered bridge over the Jemez River needed only one element to make it complete: a human figure. Since I was the only one around, I volunteered myself. I set the timer on the shutter release and walked across the bridge.
These snow covered cholla cacti caught my eye; their prickly spines covered with a fresh coat of soft snow provided a conceptual as well as visual contrast.
The spring run-off usually happens in late April to mid-May. This is the earliest I have ever seen the river running this high and murky. I used a 3 stop neutral density filter to slow the shutter to 2.5 seconds in order to render the water as a smooth, chocolate colored flow with vanilla streaks. The background is lacking the rincon (a curved cliff face) which is normally visible from this vantage, but it is obscured by the low-hanging clouds.
The chiseled geology of Soda Dam is softened somewhat by the snow. There is never a lot of snow around it due to the warmth of the ground. Soda Dam is formed by a small warm spring that has laid down the calcium-carbonate deposit over thousands of years. The small waterfall was in deep shadow, so I made two exposures, one for the scene, and one for the waterfall. I then blended the two in Photoshop using a layer mask.
This final image was made in my driveway. I love the contrast of the trees against the nearly featureless, white…ish background. The normal view includes a ponderosa pine covered ridge.
By mid-afternoon, the world was back to normal, and most of the snow was melting. These ephemeral transformations are short-lived, but they serve to emphasize the things that I love about the place I chose to make my home.
I am a photographer, I consider myself an artist. I don’t want to take pretty pictures. I strive to make moving images. A deep green reservoir and a late winter storm moving across distant mesas,
or a lone tree trapped in its winter slumber while light dances on a faraway butte, I had an emotional response to these encounters. As a photographer and an artist, I want to capture not just the way these things appear, but the way these things feel. For me, the making of an image does not stop after the shutter is released. I am not one of those photographers that proudly proclaim that they only strive to capture the image the way it was; total objectivity and nothing less.
Art is not objective. By its very nature, it must be more than that. The artist attempts to convey a certain feeling to those who view his work. This can only be achieved by making an image that is more than just a representation of a scene. To do this requires what some condescendingly call “manipulation”. I call it creating the image and I will make no apologies for that.
Imagine a watering hole miles from any village or human activity. Now imagine a bovine visitor that plods through the dry, cracked, yet still soft earth that lines the edges of the oasis. The sky is overcast and the light, while soft, still shapes the edges of the cracks and lends a beautiful glow to the surface of the moving water.
In order to make these things tangible within the constraints of a two dimensional photographic image, some work must be done beyond the framing, composition, and exposure that make up the original capture. There must be some intention to the final outcome
There are many circumstances where I am challenged to make an image that is different from those that came before. From an oft viewed roadside scene to a sudden ethereal display of atmospheric magnitude, the real challenge is not just to capture a technically acceptable representation of that scene or phenomena, or to use some cliche template to compose it, the challenge is to render it in a way that is unique to my vision.
By doing so, I hope to evoke some response to my work, to kindle in the viewer an appreciation of the world beyond the pavement where they may never have been, or where they may have been, but have never really seen.
In one of his contributions to Eliot Porter’s book “The Place No One Knew: Glen Canyon On The Colorado”, Frank Waters wrote: “We measure minutes, the river ignores millennia.” And, although he was referring to the Colorado River, we can still make the same statement about any river. They carve and shape the lands they flow through not judging or playing favorites, and at times they provide a striking contrast to the arid environment that borders their banks.
The Rio Chama is such a river. It makes its way through north-central New Mexico flowing past some remote, but memorable scenery along the journey to its confluence with the Rio Grande. If you throw in just the right amount of foreboding skies and ethereal light, the scene becomes magical. It is my job to capture that magic and to cause those who view my image to be drawn in by it, to wonder what may lie beyond that bend. I hope I have succeeded.
What promised to be a day of amazing atmospheric conditions and light came with an unexpected bonus during a recent trip to the Rio Puerco Valley. Those of you who are familiar with my work know that this is one of my favorite locations.
We were looking for something a little different, but, after all, how often can you visit one place and expect to come up with something fresh? I made a turn onto a side road that I had driven past many times; it headed off across a low mesa toward the double peaked Cerro Cuate. Out of nowhere came a small herd of horses. We could see by their brands that they were not wild. Their gregarious nature confirmed it.
One horse in particular took to Robin and she was enchanted.
As we wandered around the fringes of the band, they went about their business. These three stuck together and moved a short distance away from the two more friendly members of the group. Although I am no expert on horses or their behavior, I’m pretty sure they are mares.
I was amazed by the relaxed, friendly demeanor of these gentle animals. They are obviously used to being around people. These two struck a familial pose for me.
With the volcanic neck of Cabezon as a backdrop, these two males (I didn’t get close enough to be able to tell if they are stallions or geldings) proceeded to play with each other as if they were showing off.
In all, we spent about forty-five minutes with our new-found friends working the horses as I would a model in a portrait shoot. I was looking for something as I photographed and when I saw this frame I realized that this was it.