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Revisiting the White Mountains

Friday, July 27th, 2012

Just a few posts ago, I mentioned how I spent several summers working in the White Mountains of eastern California when I was in graduate school.  The Whites are an interesting mountain range.  Comprising the eastern border of the Owens Valley, they are certainly imposing, with California’s 3rd highest peak (White Mountain Peak, 14,252′) as well the highest point in Nevada (Boundary Peak, 13,147′), but despite their prominence, the Whites are visited far less than the nearby Sierra Nevada.

The Sierra is a relatively wet mountain range, receiving anywhere from 20-80 inches of precipitation a year (for the arid west, that’s wet).  The Whites, in the rain shadow of the Sierra, stand in stark contrast, fully embodying the characteristics of the Basin and Range province, to which they are included–dry, windy, desolate, and strikingly beautiful.

Detail of a bristlecone pine trunk

In the Details, July 2012

I have always loved the Whites, primarily because the lower elevations remind me of my home in northwestern New Mexico: piñon-juniper scrubland and sagebrush dominate the landscape, giving way to primarily lower-growing sage above about 8,000 feet.  Deer, coyotes, wild horses, pika, and marmots are common here.  However, the real draw–accounting for the bulk of visitation–is the presence of the Great Basin bristlecone pine (Pinus longaeva).  With the exception of organisms that self-replicate (clones), bristlecones are the longest-living organisms on earth.  One tree in the Whites, Methuselah, is estimated to be 4,500 years old.   If the Whites have a persona of incredibly difficult growing conditions, then the bristlecones fit that quite well.  Their gnarled trunks and otherworldly shapes are a favorite of photographers.

Great Basin bristlecone pine (Pinus longaeva) and summer storm clouds

Weathering the Storm, July 2012


After nearly seven years away, I recently returned to the White Mountains.  Walking around in the ancient bristlecone pine forest is an act of humility.  Before leaving on my recent trip, a friend and I had a conversation about life and the value of living in the moment.  This conversation was heavy on my mind as summer storm clouds moved through the Whites at sunset, giving these grand trees an equally grand backdrop.

Of all things on earth, these trees have given their best shot at living forever, and even they can’t quite do it.  Once they die, the dry air preserves them leaving funky skeletons on several hillsides.  What advice would they give, after 4,500 years, to someone just starting out?  Would it be to live in the moment, to not let the little things get you down, and to hold close the things in life that make you deeply happy?

I’m anthropormorphizing a little bit more here than my contract allows, so I’ll stop.  Suffice it to say, I think that’s pretty good advice.

Great Basin bristlecone pine (Pinus longaeva) and storm clouds, California

The Sentinel, July 2012

We spent one night at 11,000′ in the bristlecones, and I was reminded of a few things that have kept the White Mountains on my mind all these years:

  1. Yes, it can snow in July in California.  Even if only for a few minutes.
  2. The White Mountains are the only place I’ve ever experienced altitude sickness (manifested by trouble sleeping).  I attribute it to the dry air.
  3. The warm-toned trunks of the bristlecones contrast very nicely with stormy skies.
  4. Everyone should experience quiet like the Whites afford once in their lifetime.
  5. Everyone should experience a night sky like the Whites afford once in their lifetime.

From a photographic point of view, I find it amazing that several images can come out of one place in a short amount of time.  This is probably due to luck, inspiration, and visualization, but I have been updating my portfolios with new images and have added several from the White Mountains.  Please visit my Mountains and Intimate Perspectives portfolios to see these and other new images.


It’s funny how some places can be a huge part of our lives, exit for several years, and then re-enter.  I guess they never really leave us.

Sunset in the Patriarch Grove of Bristlecone Pines

Pastel sunset, July 2012

Seeing Beauty

Tuesday, June 19th, 2012

The comments on my last post brought up something I hadn’t originally thought of in the context of photographing archaeological sites: the joy of discovery.  In photography, and life in general, we live in a world of guidebooks, whether it be a guidebook to the greatest photo location, or a step-by-step instruction guide to being able to make agave nectar-glazed salmon just like that guy on TV.  The idea of “winging it” seems to be out of style.  Many thanks to Jackson and Guy for getting me thinking about the joy of discovery a bit more.

I recently looked through my personal favorite images from the last few years.  What I found was that most of my favorites–the ones that have stood the test of time (in my eyes, at least)–are the ones scenes I did not expect to find.  I think sometimes photographers put too much pressure on themselves to get “the shot” of “that icon” that they fail to see beauty as they walk past it.  Thus, going for a walk with no expectations can lead to very inspired and personal photography.

Unique abstract patterns in sandstone

Convergence, June 2012

 


“In the depths of our darkness there is no one place for Beauty. The whole place is for Beauty.”

–René Char, Leaves of Hypnos, 1946


One of my greatest sins as a photographer is saying, “I don’t want to shoot there, there are prettier places.”  Beauty is indeed all around us.  As a photographer’s personal style develops, an “eye for beauty” should develop along with the requisite technical skills.  I think this eye for composition and learning to simplify and single out the important aspects of a scene is one of the greatest if not most difficult skills to master.

In seeking this beauty out, the ability to discover and recognize it in the most unexpected of places is perhaps the best gift there is.

Out of chaos comes elegance and grace.

Manzanita, genus Arctostaphylos

Manzanita Abstract, June 2012

Camas

Thursday, May 31st, 2012

Today I received in the mail my Summer 2012 issue of Camas, a publication put together by graduate students in the Environmental Studies department at the University of Montana.  Camas celebrates the literature and photography from the West; the theme for the summer issue is ‘Restoration.’

Although not quite made in Montana, an image I made in southern California’s San Bernardino Mountains is featured in the summer issue.  Many of the West’s forests have been devastated by bark beetle infestations, leaving forests of skeletons, rather than trees.  To me, this image communicated the theme of restoration, in that some of the forests in the West are starting to recover from these insects through the use of controlled burns, cutting of infested trees, etc.

Scene in the San Bernardino National Forest

These sorts of university literary publications are common in the West (I’m not sure about other parts of the country); the University of Montana has Camas, and the University of Wyoming has the Owen Wister Review, for example.  I am happy to have my work be a part of this type of publication because they strike me as very grassroots, and are oriented towards a sense of place.  I’ve written before about how I’m proud to be a citizen of the West, and I’m proud to have my work featured in Camas.

Camas is published biannually (summer & winter) and contains literature and photography from the West.  I’m looking forward to digging into my issue.

Camas--The Nature of the West

Camas, Summer 2012

Little Wildernesses

Monday, May 21st, 2012

As the urban/rural boundary has blurred over the years, I’ve come to see that growing up in the city had its rewards. The inner-city life has adventures all its own, but I was also lucky to have grown up in the city when I did, when there was still some open space around – untended little wild spots, overgrown orchards, vast open fields that seemed to stretch forever without a building, dense arbors in urban parks where we could hide securely from school and cops.

-Ernest Atencio

Open space was a huge part of my childhood.  Every day after school, my friends and I would gather at the vacant lot near our houses, building jumps for our bicycles that were destined to break at least a few bones (although somehow they never did).  We went home only when our parents came looking for us.

For those few hours after school each day the city we lived in seemed to melt away, and we could pretend to take our bikes to anyplace in the world we wanted.

As we grew older, we ventured further from our neighborhood, eventually making our way out to the piñon-juniper woodland that surrounded my hometown in northwestern New Mexico.  There, we encountered coyotes, deer, as well as mysterious noises in the bushes that were probably nothing more than a deer mouse scurrying around, however it was enough to stir the remnants of an overactive childhood imagination.

So it was that my formative years were not spent in ‘wild’ wilderness necessarily, but it was wild enough to spark my curiosity, to make me want to see more wild places, and to instill in me a sense of adventure and stewardship.  It was in those pygmy forests of the Four Corners that my lifelong relationship with wilderness was born.


“Without any remaining wilderness we are committed wholly, without chance for even momentary reflection and rest, to a headlong drive into our technological termite-life, the Brave New World of a completely man-controlled environment.” writes Wallace Stegner in his ever-poignant Wilderness Letter.

Stegner continues, “We need wilderness preserved–as much of it as is still left, and as many kinds–because it was the challenge against which our character as a people was formed. The reminder and the reassurance that it is still there is good for our spiritual health even if we never once in ten years set foot in it. It is good for us when we are young, because of the incomparable sanity it can bring briefly, as vacation and rest, into our insane lives. It is important to us when we are old simply because it is there–important, that is, simply as an idea.”

Barcroft Plateau, White Mountains, California

The Barcroft Plateau, White Mountains, California

What Stegner is saying is that every one of us needs wilderness.  I worked for several summers doing biological data collection in the White Mountains of eastern California.  One summer a volunteer in our lab came to the field with me for the first time; he grew up and spent almost his entire life in Los Angeles.

 

The Barcroft Plateau, White Mountains, California

The Barcroft Plateau, White Mountains, California

After leaving the pavement, he said to me, “I didn’t know there were any dirt roads in the U.S.”  That day, things I naïvely thought were commonplace appeared as a whole new world to him: deer, hawks, wild horses, violent but brief thunderstorms, and views that stretch on forever transformed his perception of the world before my eyes.

This is the wellspring of my hope.  Everyone perceives “wilderness” differently, and we have all been introduced to it in different ways.  We all have our own personal reasons to fight for its protection.  Yet, we need it, according to Stegner, for our spiritual health.

Our spiritual health.

Perhaps it is something rooted deeply in our evolutionary past, but wilderness is healing, a place of solace and comfort.  As far as efforts to protect wilderness go, we as a people have unity in our diverse perceptions of wild places.  Some wildernesses are little, some are big, but they are all equally valuable.


I wonder what those piñon-juniper forests of my youth would look like today, seen through older eyes.  I know at least some of it has gone away to make space for homes.  However, selfishly, I like to think they remain a place of hope, sanity, imagination, and peace.  Who knows, maybe some kids are building their own bike jumps there right now.  That may not be such a bad thing.

When it comes to things I care deeply for, words sometimes fail me.  I make photographs that (I hope) express my emotions for wild places.

What experiences formed your relationship with wild places?  Where are the places you seek comfort?

A small child in the outdoors

My son, 2 years old (photo by Brent Deschamp)

Silence

Monday, April 16th, 2012

I recently returned from my first trip to the Colorado Plateau this year.  After an extremely busy few months, I welcomed the chance to slow down and relax, as well as to revel in the warmth of the spring sun on the red rock.  I went alone.

While I wanted to explore a few areas that I had not been to before, I also wanted to take some time for introspection; growing up as an only child, I have grown to value silence.  After setting up my tent, I took a walk through a piñon-juniper forest that burned several years ago.  As the red ochre-colored hills receded toward the distant cliffs, the lifeless skeletons of these trees stood before me, each one seeming to take on a different, animated, pose.  I sat for a while, admiring the stark and barren, but pleasant scene.  In the West especially, fire is part of our ecology.

A burned pinion-juniper forest in the Kolob Terrace area of Zion National Park, Utah

The burn, March 2012

I often notice that when walking alone, I find myself whispering.  Why not talk to myself at a normal volume, or like some people, take the opportunity to scream out, knowing my confessions will be my own only?  I have never been a screamer, in fact when I have something important to say, you will find me saying it quietly to myself.  I am not sure whether this is a good trait or not, but part of me hates to muddy the already sweet sound of the wild.  On this particular trip, western bluebirds had already moved into the area (a sure sign of spring) and their song is surely better than anything I could say.

Silence.  When I whisper no one answers back.  At the same time, it can be comforting and empty, exciting and lonely.


“I fear silence because it leads me to myself, a self I may not wish to confront. It asks that I listen. And in listening, I am taken to an unknown place. Silence leaves me alone in a place of feeling. It is not necessarily a place of comfort.”

–Terry Tempest Williams


After dinner and a night’s sleep under a blanket of stars, I explore more canyons.  Part of the fun of a trip like this is not having any expectations, taking the time to poke your head into slot canyons, pretending you might find something no one else has ever seen before.  The lack of both a defined plan and a guidebook are two of the best ways to drive creativity in photography, to let your voice be heard.  In silence, I revel at the sky, the clouds moving over the top of me, dappled light falling on sandstone monoliths.

Shadow play.

A sandstone cliff in the Kolob Terrace area of Zion National Park, Utah

Monolithic, March 2012

I spend the afternoon–the next few afternoons–wandering up small canyons alone, admiring the potholes which are full of water from recent rains, watching tadpoles begin to make their transition from aquatic to terrestrial, and confronting the silence head-on.  There is a lot to see in this small corner of southern Utah–I know I will be be back, soon hopefully, for there is a lot left unseen, both in the landscape and in myself.

One of the things that amazes me about silence is that it so boldly opens our souls; this is at odds with the way we close ourselves off in the hustle of our everyday lives.  I am not sure how to reconcile this.  However, I know until I can return to the Colorado Plateau my daydreams will drift to clouds floating in a sky above red sandstone cliffs, of the cool air inside a tight slot canyon, and the way the morning smells when I am waist-deep in sagebrush.

Crossroads

Tuesday, March 20th, 2012

I realize that many of my recent posts have been about life and introspection, and you may be saying, “Hey what happened to the photography?”  Well, I have realized over the last few months that it is impossible to make honest images without first taking a good look at myself.  As a result, my posts have been more philosophical.  Its definitely not a bad thing, as I learn a lot of great things about myself every day.  I hope they come through in my images.


Lying at the crossroads of three major ecosystems, I have always thought Zion National Park is a bit of a confused place.  The Great Basin, Colorado Plateau, and Mojave Desert collide pretty much at the entrance to Zion Canyon, making for a unique landscape of red rock, datura, and ponderosa pines, one that draws thousands of tourists a year.

Lately I have been thinking about decisions, crossroads, and the paths we take in life.  A friend of mine has told me several times that each sunset gives us an opportunity to reflect on our decisions, and each sunrise is a chance to either change them, or stay the course.  The more I think about it, that’s a good way to look at life.  A few months ago, David Leland Hyde guest-blogged for me and wrote about the decisions we make as photographers.  Are we to make our own tripod tracks, letting the world hear our unique voice, or are we to make the derivative iconic images that have been made before?  Is that truly original?

I think there’s more buried in David’s post than there initially appears to be.  What I am realizing more every day is that my decisions as a person shape who I am as a photographer–these two things are not mutually exclusive.  My images are my voice; through them you see the world as I do.  To some extent, you see sadness, elation, and melancholy in my portfolio.  I can feel the days that creativity is flowing inside of me; its like a warmth deep in my bones.  Terry Tempest Williams wrote, “To discount wild beauty is to discount inspiration.  Without inspiration, creativity dies.”  This must surely mean that with inspiration, creativity can thrive–we can choose to accept beauty, and thus to be creative.  Our choices affect us deeply and they shine through in our body of work.

The junction where we find Zion Canyon is arguably one of the more beautiful places in North America.  There is a lot of solace here, knowing that each decision we make has the potential to be very positive, both for our general character, and for our art.  What we do with that knowledge is up to us.

Half-bare Fremont Cottonwood trees in Zion National Park, Utah

At the crossroads, November 2011

 

My Head In the Cloud

Monday, February 20th, 2012

Its either the romantic or Zen Buddhist in me, but I feel like we have a lot to learn from clouds.  A dramatic sunset can connect two lovers, just as it teaches us a valuable lesson on impermanence.  In thinking about our motivations, inspiration, and voice these analogies can make a lot of sense to an artist.  To understand my photographic ‘voice’ a little better, I turned to another type of cloud.

I recently generated a word cloud based on what I think are a few of my representative blog posts in order to gain a better understanding of my own writing and photography.  Click the cloud to see it larger.

word cloud showing Alpenglow Images' most popular posts

Some words immediately jump out at me and catch my eye.  Canyon.  Light.  Hope.  Utah.  Shapes.  Life.  Believe.  Sandstone.  Bryce.  National.  Park.  

Why these words?  The cliffs and canyons of the Colorado Plateau are a constant source of inspiration and creativity for me.  Perhaps its all the hours I spent there early in my life, but now when I need to mourn or celebrate, feel the need for safety and security, am lacking humility, or simply need to escape, I find solace in the red rock wilderness I have come to know so well.

Places like the Kaiparowits Plateau or the Vermillion Cliffs are still wild, largely undiscovered.  Sometimes, when I look at them in the distance, I wonder whether humans have ever seen all the features there are to be discovered here.  I continue to entertain what may be a naïve hope by believing these landscapes will continue to be protected and loved as they are now, that they will remain unchanged, and give my children and grandchildren a place to visit, possibly even to bring their children someday.


In order to photograph a landscape and capture more than just its superficial beauty, it is my belief that you must first know it, study it, learn about its intricacies and nuances.  In my own development, I learned by studying the locations others had visited–by doing homework from a desk chair.  But as I slowly grew to learn the places that I call home, my voice started to be heard through my images.  To an extent, gear matters, but taking off your gear goggles and focusing energy on introspection and self-evaluation is a start down the road of making truly personal images.

By looking at my cloud, perhaps I didn’t learn anything about myself I don’t already know.  However, by studying the words I use over and over again, perhaps, I can learn a little more about my voice, and most importantly what I want my photography to say to the world.

What does your cloud say about you?  About your photography?

Colorful sandstone in Valley of Fire State Park, Nevada

Layers of Sandstone, January 2012

Finding John Muir

Wednesday, February 15th, 2012

This morning, I saw the trailer for a new documentary on the John Muir Trail, “Mile…Mile and a Half.”  It looks like it will be worth a look when it comes out, and I hope I’m able to see it on the big screen.

In 2010, a friend and I hiked approximately the last 1/3 of the JMT, from Devil’s Postpile National Monument to Yosemite Valley.  The scenery is spectacular, showcasing some of the finest peaks in the High Sierra.  Of course, we passed the classic views of the Ritter Range, like Banner Peak, as well as the outstanding Yosemite high country.  The Cathedral Range in Yosemite was among my favorite scenery of the whole trip–the rugged Echo Peaks and Mathes Crest are beautiful.

Our plan was to hike the rest of the JMT, but my friend’s bad knee has pretty much taken him out of the game.  I am now thinking of ways to complete the trail, possibly even by doing it from the beginning in classic through-hike fashion.  There’s something really special about getting in rhythm with the mountain range, and creating your own adventure.

Check out the trailer, which I’ve embedded below.  Hopefully it inspires you to find your own adventure.

MILE…MILE & A HALF (trailer) from The Muir Project on Vimeo.

Braced against the wind

Friday, January 6th, 2012

In Medicine Bow, Wyoming, they say the wind doesn’t blow twenty four hours out of the whole year.  Even in July, the wind is cold, noisy, all-consuming.  One morning, my friend, hiking in the wind near Medicine Bow tripped, and at the last second looked down to see a small prairie rattlesnake strike right between her legs; if she hadn’t stumbled, she would have been bitten.  The wind silenced the snake’s warning rattle.

The wind can be harsh, cold, brutal, and at the same time it can be life-giving, sustaining.  It shapes who we are, and what we have yet to become.  If you’ve lived with it for any period of time, you know what I’m talking about.  It may be much more tangible to see how the wind shapes the landscapes we love so much.  I’m excited to present four new images (See the portfolio here, as well as below) from two of our national parks–Bryce Canyon and Death Valley–that are devoted to the wind that shapes these beautiful, mysterious, and awe-inspiring places.

Bryce Canyon National Park is hugely popular, being part of the “Grand Circle” of the Southwest, and its no wonder why.  Bryce’s hoodoos–formed by the brilliantly colorful Claron Formation–simply glow like no other rock in southern Utah.  In concert with water, the wind shapes the hoodoos into various shapes–from hammers, to broken palaces, to entire cities.  Jagged and raw, Bryce inspires imagination and creativity, and as Ebenezer Bryce pointed out, “its a hell of a place to lose a cow.”

Contrast Bryce’s ruggedness with Death Valley’s seemingly endless sand dunes.  The wind shapes the sand into sensuous, almost erotic, curves that perhaps could be an abstract nude study rather than a grand landscape.  The light plays on the dunes on both a micro and macro scale, providing endless shapes and forms.

Hoodoos in late afternoon light, Bryce Canyon National Park, Utah

Bryce Canyon #1, 2011

 

Hoodoos in late afternoon light, Bryce Canyon National Park, Utah

Bryce Canyon #2, 2011

 

Ibex Dunes, Death Valley National Park, California

Death Valley #1, 2011

 

Ibex Dunes, Death Valley National Park, California

Death Valley #2, 2011

These images signify–in part–the forces that have shaped our national parks.  To help with the continued protection of our public lands, I’ll be donating 25% of the profits from the sale of these prints to the Wilderness Society, which works to make visits to our national parks more meaningful and inspiring.  This is not a limited-edition series of prints, and this offer doesn’t expire–I’ll make the donations forever.  Finally, I am offering special pricing for the purchase of all four of these prints, in any size.  Please visit my purchase page, or contact me for more details.

“The truest art I would strive for in any work would be to give the page the same qualities as earth: weather would land on it harshly, light would elucidate the most difficult truths; wind would sweep away obtuse padding. Finally, the lessons of impermanence taught me this: loss constitutes an odd kind of fullness; despair empties out into an unquenchable appetite for life.”   –Gretel Ehrlich

2011 Favorite Images

Thursday, December 29th, 2011

This time of year always seems to dredge up a lot of nostalgia in me, mostly from the disbelief that the year can’t possibly be over.  It also seems to be the time of year when photographers reflect on their art and the direction its taken over the last twelve months.  For me, its been a very instructive and inspirational year, and I’ve made several images I quite like.

Ansel Adams said, “Twelve significant images in any one year is a good crop.”  I used to think this was ridiculous, but the more I photograph and refine my own style, the more I believe this to be true.  With Adams’ thoughts in mind, I chose what I believe to be my twelve most significant images of the year.  I hope you enjoy them!

Star trails over a hoodoo at the White Pocket

Star trails in northern Arizona, August

 

Dawn at Bisti Badlands, New Mexico

Dawn, northern New Mexico, July

 

Joshua Tree National Park Scene

Late-day light, Mojave Desert, California, May

 

Vishnu Temple, Grand Canyon National Park

Greeting the sun, Grand Canyon National Park, May

 

Waterholes Slot Canyon, Navajo Nation Arizona

Sandstone Seduction, northern Arizona, January

 

An intimate scene in Capitol Reef National Park, Utah

Intimate scene, Utah, July

 

Saguaro Skeleton, near Phoenix Arizona

Saguaro skeleton and moon, Arizona, January

 

Narrows of the Paria River, in southern Utah

Into the canyon, Utah, April

 

Factory Butte near Hanksville Utah

Dawn in the desert, Utah, August

 

Dried mud in the Paria River, Utah

Dried mud, Utah, April

 

Ibex Dunes, Death Valley National Park, California

Windstorm, California, December

 

Eureka Dunes, Death Valley National Park, California

Sensuous curves, California, December