Introspection

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A dew-covered world

Monday, September 9th, 2013

This last weekend, my family and I visited the eastern Sierra for an event I was attending.  We had a few extra hours on Saturday afternoon and decided to drive up to Tuolumne Meadows.  On our way up Tioga Pass, I wondered if we would see any evidence of the Rim Fire.  Highway 120, which connects Yosemite’s high country to the Valley is currently closed, so it was very quiet in Tuolumne Meadows, and as I expected, a very large smoke plume was evident across the western and northern skies.   As evening arrived, the wind shifted and heavy smoke moved into Lee Vining Canyon, filling the Mono Basin.

Negit Island Mono Lake

Negit Island and smoke from the Rim Fire

Although it’s now 80% contained, the Rim fire has been burning since mid-August, and has charred over a quarter of a million acres, making it one of the most destructive fires in California’s history.  Fire is becoming more and more a way of life in the West, but in the face of a blaze this size, outdoor enthusiasts, photographers, hikers, and simply the general public have stood in awe and horror as fire crews scrambled to get the upper hand in hot and dry conditions.

Unlike most people, when I think of Yosemite, I don’t think of the Valley.  I think of Tuolumne Meadows and the granite domes, Mts. Dana and Gibbs and the Cathedral Range (one of my favorite mountain chains anywhere).  This is the Yosemite I know.  Standing there on Saturday, looking at the smoke, something didn’t feel right.   I know I’m not alone in this feeling.

In the face of such destruction, whether it’s a forest fire or something more personal and human, we experience a visceral suffering.  Pico Iyer had a wonderful op-ed piece in this Sunday’s New York Times, “The Value of Suffering,” in which he concludes that with love and trust, maybe we can be strong enough to witness suffering, and freely admit that we will never get the upper hand over it.

To put it another way, consider the interesting Japanese word nen.  Nen is the smallest unit of time any human being can experience, and in any nen one can return to something, anything…whether it’s a breath, partner, path, or choice.  This decision to return is the foundation of Zen practice.

In any nen–whether watching the Rim Fire from a distant Tuolumne Meadows or thinking about a loved one, we have the choice to return.  I don’t want to distract from the mess that the Rim Fire has caused and allude to any single benefit, but we are an angry enough world as it is; it’s time to return to a more compassionate path and be thankful for the dew that covers the meadow each morning.

Mono Lake sunset

Black Point Fissures and smoke from the Rim Fire

Unicorns, Rainbows, and Website Design

Friday, August 30th, 2013

Over the last few months, I’ve been working on a website re-design, which I finally have implemented in the last week.  You won’t see many changes here on the blog, but my image galleries have changed significantly, and I hope you’ll take a few minutes, using the links to the right, to look around and tell me what you think.

Rebuilding a website is not easy, especially for someone like me who doesn’t do it everyday.  In fact, it’s exhausting; I would often walk away from the computer feeling like my brain had turned to mush.  This is the total opposite of what I wanted to feel; I wanted to be exhilarated as i watched my website change, like unicorns and rainbows had surrounded me.  That feeling hopefully will come later, now that I have finished the task and have had some distance from the monotonous coding.  Despite the fact I feel like I lost some brain cells from the process, I do feel like every photographer should be either rebuilding their website or at least reevaluating it every couple of years.  Here’s why.

In thinking about my project, I started in the most logical place: the image.  The focus of a photographer’s website should be the photography.  I began at the ground level, working upward by re-editing almost every image on my site.  The creative process of photography, as you probably already know, only begins in the field, and it is too easy to edit an image, save it, sit back, and let it rest on its laurels for the remainder of its life.  By doing the opposite and revisiting each image, I accomplished two goals.

First, I was able to spend time with every image and decide whether I wanted to include it in my body of work.  As you browse my site, you’ll see that each image has its own devoted page.  The focus is on the photograph, and collectively they speak to who I am as an artist.  I’ve taken thousands of images, but my website has fewer than 100 on it right now–why wouldn’t I want to put my best foot forward?

Second, in the time since I’ve made some of the images on my website, my image processing skills have improved and I’ve got more tools in my digital toolbox.  Applying those has the ability to enhance images already in my portfolio.

Deciding what images to include is always a challenge.  Having edited and finalized my “candidates,” I pushed forward, choosing to include images that, despite not necessarily being huge crowed pleasers on social media sites, were consistent with my own artistic vision.  Am I saying that every image you see on my site is terribly unique?  No.  However, every image tells a story, and I hope the viewer can connect with it in some way.  Creating a personal experience for the viewer was not without sacrifice however, because I chose to eliminate certain images that may be more popular on social media, etc, at the cost of staying true my ideals.  For a photographer connected to his/her work, that can be painful and difficult, however I feel that it’s a critical and crucial step in developing as an artist.

Finally, as I said above, I wanted each image to have its own dedicated page, such that any individual photograph is not lost in the mix, so to speak.  I purchased my WordPress theme several years ago (during another website redesign) from a photography-oriented vendor, but have never been completely satisfied with their options for galleries.  The dust has cleared this week, and I realize all I’m really using the theme for now is the built-in CSS (which every WordPress theme should have), but also the menu options.  Everything else is homegrown or third-party plugin (for SEO, etc).  I think it illustrates that pre-built themes can be a good starting point, but even photographer-centric companies still don’t have everything we are looking for.

Although it’s a lot of work and can involve some ruthless culling from the herd, revisiting your portfolio from time to time can give you a good opportunity to examine and reflect on the current state of your vision, processing, and presentation.   Don’t expect any unicorns or rainbows, though.  At least not right away.

Aspens and granite boulders

Preserving Wildness

Friday, August 16th, 2013

If you keep up with my blog, or if you’ve purchased our ebook, An Honest Silence, some of the themes in this essay, even some of the direct words, will seem very familiar to you.  I consider all of these thoughts an ongoing synthesis of experiences, and the repetition–in my mind–is part and parcel of the evolution of these thoughts.  My apologies if it seems derivative.

As we board our homeward-bound flight, the sun is disappearing over the Rocky Mountains, reminding me of my early childhood years living in Denver.  The sunset becomes more intense as the plane is pushed onto the runway, takes off, and moves quickly over the Front Range, leaving the city lights behind.  Flying westward, the Earth’s Shadow and Belt of Venus seem to be unable to let go of the day, keeping me company as I look out the window over my sleeping son’s head.

Below us, lights from the small towns of the West are starting to come on.  However, the empty spots—the growing blackness between the towns—are what capture my imagination and attention tonight.  I’ve been a passenger on this route enough times to know what’s below me:  the foothills of the western slope of the Rockies, the Green and Colorado Rivers, the white rim of the Canyonlands, the Grand Canyon, the Basin and Range province, and eventually John Muir’s beloved Range of Light.


Like so many others, I first discovered these places while on summer vacation with my family.  We drove through the national parks and along lonely highways, filled with buttresses, canyons, peaks, and monoliths; they stuck in my memory as I returned home, and I read everything I could get my hands on about the adventurers who explored these wild, remote, isolated, and dangerous locations.  As often as I was able, I ventured out in search of my own adventure.

Today, more than 20 years later, I am finally beginning to understand the value of both wilderness and wildness in our lives.  The architects of the Wilderness Act envisioned wilderness as a place “untrammeled by man,” essentially to remain a blank spot on the map.  Indeed, we find ourselves in a world where we try to be big.  Everywhere, we are connected—via 3G—to the civilization that surrounds us, the number of empty places we experience is decreasing rapidly.  When we take the courageous leap, hit “Command-Q” on our keyboards, and venture out into these blank spots on the map, we are able to acknowledge that we are indeed small in this world, that we are connected to—not isolated from—nature.

Our nation’s Wildernesses represent much more than acreage and species diversity—things that can be quantified.  They offer a place for us to experience a quality of life—the wildness Thoreau wrote about in his now famous passage, “In wildness is the preservation of the world.”  Earlier this year, a close friend was backpacking alone in a California Wilderness area; his first evening out, he realized he was being stalked—at close range—by a mountain lion.  It was a long, sleepless night for him, but everything turned out all right.  Facing the prospect of moving down on the food chain, my friend experienced a visceral, almost ancestral, reaction to the wilderness.  We should all be so lucky.  We go to the wilderness to find true wildness, and while it may come in forms that sometimes surprise us, hopefully we will come out kinder, gentler, sweeter human beings.

(Thoreau believed that we should embrace this sort of wildness on every walk in nature.  In his essay Walking, he wrote, “We should go forth on the shortest walk, perchance, in the spirit of undying adventure, never to return; prepared to send back our embalmed hearts only, as relics to our desolate kingdoms.  If you are ready to leave father and mother…never to see them again…then you are ready for a walk.”)1

After nearly a quarter century of wandering our nation’s wilderness in search of excitement, solace, adventure, and myself, I am watching my son discover his own wild nature through play in the outdoors.  In observing him, one becomes keenly aware that there is a quality of wildness in the wilderness experience.  Much emphasis today is placed on protecting wilderness as a parcel of land, but saving our own wild nature is just as important.  In wildness is the preservation of us.


Aldo Leopold wrote, “To those devoid of imagination a blank place on the map is a useless waste; to others, the most valuable part.”  Tonight, sitting on this jet with a bird’s eye view of the West, I have to wonder where my imagination would wander if there were no blank spots on the map.   If the peaks and mesas below me had been leveled, if more lights dotted the landscape, these places—as well as our experience of wild nature—would change forever.


1I do not completely agree with Thoreau; I do not believe we need such harrowing experiences to appreciate either the Wilderness areas that have been set aside by Congress, or to understand our own wild nature.  First, encounters like my friend’s have the tendency to make all but a few people fearful to be in the outdoors, and the preservation of wildness is diminished dramatically if we pit ourselves against perceived dangers, whether biotic or abiotic—the Other.  We share common elements with all of nature that are billions of years old, elements forged in stars that are light years away; we have a primal connection to the landscape and its creatures.  Acknowledging and embracing this is perhaps the ultimate act of courage and humility—the first steps in realizing our smallness in the world.  Second, I believe we need wilderness because of the connection that is fostered, as Wallace Stegner wrote, “even if we never once in ten years set foot in it.”  Knowing it’s there gives our daydreams a place to drift to, maintaining sanity and health.

Dolomite Dawn

A Canyon Offering

Friday, June 21st, 2013

Once I got to the ground, I laid down on the cold Navajo Sandstone, preparing to belay  my friends who would be joining me by rappelling over 300 feet into this remote canyon nestled deep inside the Colorado Plateau.  A few minutes ago, on the canyon’s rim, the morning sun warmed me, but now as I lay on the cold rock inside of this deeply shaded crevasse, I become chilled quickly.  Laying on here, I quickly realize that sandstone makes a crummy pillow, and it is my body that is forced to conform to the curves in the rock, not the other way around.  Still, although I have never been to this particular place before, I feel comforted and relaxed by my surroundings and I wonder to myself, “How much is it possible to love a place?”

My friends have joined me now, and the rope has been retrieved.  In a sense, we are now cut off from the world.  For the next several hours, we will work our way through the obstacles in our path.  Of course we will laugh (a lot) and enjoy each others’ company, but for me it is also a time of quiet contemplation, walking alone for brief periods as I soak up my time here.

Canyon Abstract 1

Inside of a canyon, we must embrace the notion that we are very small beings in a very large world.  It is one thing to be awed by a large ponderosa pine that has become lodged twenty feet up between a canyon’s walls.  It’s entirely another to return the next year only to find that the tree is gone, vanished.  Trying to understand the force that a flash flood exerts as it moves through a place like this is utterly impossible.  To escape from these forces inside of a canyon would be equally impossible: we would be crushed and our bodies washed away like the ponderosa pine.  Yet the rock endures, over time becoming more sensuously curved and beautiful in spite of (and because of) the nature of the destructive forces that shape it.

Canyon Abstract 2

We spend much of our time in everyday life searching for the bigger picture.  As I walk through the canyon, I can see pine trees hundreds of feet above me, and  I know that the world is going on “up there,” but I am not a participant in it today, however I have fallen into rhythm with the canyon, engaged in life down here.  There is something strangely liberating about surrendering to a world that rapidly–and voluntarily–becomes small and very focused.  As a reward for relinquishing my place in the world today, I am treated to some of the most sublime light imaginable.  Before my eyes, the canyon’s walls shift between shades of red, orange, purple, magenta, and blue that seem to exist only in dreams.  I can feel the peace deep inside of my soul.

Visitors to pretty much any national park in the American southwest will get a taste of canyons, whether they look in from the top of the Grand Canyon, or upward at the towering sandstone cliffs in Zion.  Of the millions of visitors to these and other parks each year, very few will experience a canyon close-up, and still fewer will get to experience the silence that true solitude can offer in between these extraordinary sandstone walls.

I am, I’m unashamed to say, in love with this place.

Canyon Abstract 3

In Defense of the West

Friday, May 3rd, 2013

As something of a disclaimer, I know not all of my thoughts here may make sense, and I know my connection between environmental issues in the West and landscape photography is tenuous at best, however because I believe so strongly in a strong sense of place guiding the production of quality landscape photography, I do believe there is a connection here.  So, please humor me, and if you have any thoughts to add, feel free to leave a comment.  

A little bit over a year ago, I wrote a blog post, “Citizen of the West,” in which I began to think about the landscape of the West, not just in terms of the topography, but of the culture, the art, and history as well; I was intrigued by how all of these components intersect to shape the West we live in today.  The general idea I wanted to convey is that landscapes like those of the West are more than just named places on the map–because of an inherent sense of place, they become part of who we are.  The places–just as much as the experiences–are what define us.  For many in the West, these bloodlines, as they are, run thicker than clay red Colorado River mud.

I recently watched a powerful and somewhat dark short film, The Death of the Bar-T,” directed by Anson Fogel from the Camp 4 Collective, that highlights this uncommon connection to the land and illustrates the complexity of some of the issues Westerners face–the collision of the old and the new West.  The old versus the new; a theme that is ever-present. Another example of this was given just a couple of weeks ago by American Rivers when they named the Colorado River–the lifeblood of the West–as the most endangered waterway in America.  As the population of the West grows (the arid Southwest states are among the nation’s fastest-growing), its precious little water is being strained beyond limit.

To me, landscape photography has an extremely strong Western influence–Ansel Adams’ work in the Sierra Nevada, Eliot Porter’s images of Glen Canyon, Edward Weston’s images from the California coast, Philip Hyde’s work from Utah, California, Colorado–all of these photographers shaped landscape photography as we know it today.  Because of their work, the named places that dot maps of the West are practically ingrained into our DNA and their images give the feeling of a sense of place whether we’ve visited these locations in person or not.  This is why so many flock to the national parks and monuments of the West each year.

As far as places go, these natural icons continue to be sought after by many as the holy grails of landscape photography, and in the name of originality, their portrayal is being pushed farther and farther to the limit of aesthetics.  The old versus the new: the icons as established by the f/64 school of thought, being reinterpreted by technology-driven pictorialists.


Family ranchers are still succeeding in places, but the culture is slowly losing its grip as larger operations take over, among other things.  Landscape photography, too, is changing (much has been written on this–see here or here).  Whether or not you eat meat, and whether or not agree with my thoughts on photography, there is much reason to defend Western culture.

Those who live here know the West is a challenging place–it is hard and arid and unforgiving, with no offering of shade or water in summer and no shelter from winter’s blizzards.  This challenge is the one against which we built everything.  Without it, we have fragments of memories–a mere recollection–of what was.

Things change, shifts in culture and perspective are inevitable.  I understand that, and in some ways, I suppose it’s silly to hang on to the past and avoid facing what’s here.  But, on some level, I feel compelled to think about these things.  All of them, from cows to photographs.  Because they all matter.

Prairie Sentinel

In the struggle lies beauty

Tuesday, April 30th, 2013

One time I saw a tiny Joshua tree sapling growing not too far from the old tree. I wanted to dig it up and replant it near our house. I told Mom that I would protect it from the wind and water it every day so that it could grow nice and tall and straight. Mom frowned at me. “You’d be destroying what makes it special,” she said. “It’s the Joshua tree’s struggle that gives it its beauty.”  —  Jeannette Walls


I am about a mile away from my car in the Lost Horse Valley in Joshua Tree National Park.  Joshua trees are scattered around me, each one seeming as if it’s pointing in a different direction.  Are they trying to confuse me?  Perhaps it’s their cruel joke.  As the sun gets closer to setting, I hear a group of cactus wrens start to raise a commotion about one hundred yards to my right.  What has them riled up?  Ah, a coyote is trotting along the base of the hill.  I wonder if it sees me?  Surely it does–they don’t miss much.  I can hear cars driving by at the head of the valley, their passengers unaware of the story unfolding out here in the valley.


Over the last week or so I’ve spent quite a bit of time out in the Mojave Desert.  During a spring following a wet winter, the flowers in the Mojave can be quite spectacular, however this year things are depauperate to say the least; in southern California we’ve gotten less than twenty percent of our normal rainfall totals this season.

Despite the bleak wildflower viewing, the Joshua tree bloom this year was reported to be the best in recorded history, with trees blooming across their entire range; whether you were in the Mojave National Preserve, the New York Mountains, the Chocolate Mountains, or Joshua Tree National Park itself, the trees were adorned with beautiful white blooms.  Mojave yucca were blooming in profusion in places as well, and of course cacti dotted the hillsides with lovely splashes red, pink, purple, and yellow.


Blooming claretcup cactus

Unless something major like a Joshua tree bloom or the once-in-a-decade wildflower bloom is happening, the desert doesn’t get much press.  Still, life here persists.  Understanding the beauty implicit in the struggle of not only the Joshua trees but of all the plants and animals who live here gives a greater appreciation for the display they put on for the quiet observer.  Is there a metaphor here for our own lives I wonder?


After the sun goes down I shoulder my backpack and start walking back to my car.  Despite the hot April day, darkness will quickly drain the heat from the dry air, and before I get back to my car I am ready for a sweatshirt.  I don’t see the coyote any longer.  If it did see me, it certainly didn’t pay me any mind.  Crickets are starting to chirp, bats are flitting over my head, hawk moths are visiting the opening evening primrose, and the calls of the cactus wren have been replaced by a poor will in the distance.

Life here persists.

Joshua Tree Detail