Seeing Beauty

Written by Alpenglow Images on 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

 

Ethics, Photography, and Archaeology

Written by Alpenglow Images on June 4th, 2012

Almost two years ago, Kah Kit Yoong published two blog posts on, “Art Appreciation in the Digital Age,” and, “Photographing Art and Museums,” that have been poignant enough to stick in my mind all this time for a couple of reasons.  First of all, he raises big picture questions in my mind like, “Why are we so drawn to art?” or “Why do photographers feel driven to make art from art?”  However, I find it curious that even though a dusty canyon in the Southwest might feel like it’s a world away from the Louvre or the Met, in some ways it is closer than we think.

Photography of Native American rock art and architecture seems to be a niche that landscape photographers fill somewhat naturally.  Perhaps it is because we are already in the field, and taking a photograph of a pictograph panel or ancient dwelling adds a nice element to the image.  Or, maybe the reason is deeper.  Maybe we can relate to the original artist’s feeling of connectedness to the landscape, allowing our imaginations to wander, trying to imagine what this canyon might have looked like 800 or 1,000 years ago.

Ancestral Puebloan granary

House On Fire

I have written before about my early years in the outdoors, backpacking in the Cedar Mesa area, which is one of the most archaeologically-rich areas in the world.  A Bureau of Land Management archaeologist once told me that there is an estimated 2,000 sites per square mile on Cedar Mesa and in the Grand Gulch drainage in southeastern Utah.  Granted, my idea of a “site” is quite different from an archaeologist’s but there is no arguing that is an impressive number.  When I was young I enjoyed pretending that I was the first person to discover these sites since the original tenants left.  Today, I enjoy visiting because there is a peacefulness in these places; I feel humbled and placed when I visit them.  My youthfulness still lives on, however, as I enjoy the “treasure hunt” involved with looking for a particular rock art panel or ruin.

Regardless of why they are photographed, there are some archaeological sites in the Southwest that are becoming part of the landscape photographer’s repertoire, such as the “House on Fire” ruin in southeastern Utah.  If you don’t know it by name, you have surely seen an image of it (you have now, anyway).  And for good reason–it’s very photogenic.  Others are less well known, but with some research, can be found online or in guidebooks fairly easily.   Still other sites are–quite honestly–damned hard to find.

Pictograph on the San Rafael Swell in southern Utah

Ghostly Figures

As the interest in these places continues to grow, it brings up some ethical questions, especially regarding those locations that are difficult to find.  For instance, how much information should a photographer share about the location of a site (see here and here for great discussions on this subject)?  Much unlike the Mona Lisa, these works of art do not have the protections that would keep vandals, or even an ignorant visitor capable of unintentional damage, out.

Would we want those protections in place?

Being able to photograph and experience these sites untethered is one of the joys of visiting them.  Even if a simple cord or chain were to form an artificial boundary, there is no one preventing a breach of that line.   In some ways, it seems that keeping quiet about specific locations of these sites is the best way to protect them.

In the former of the two blog posts mentioned at the beginning of this post, Kah Kit Yoong says, “Now I’m aware that tourists are just enjoying themselves and it’s not hurting anyone. Nevertheless it is annoying to see masterpieces relegated to props for snapshots.”  I agree.  While part of me feels it’s important to appreciate our cultural history, the rest of me hates to see a ruin go unappreciated, or be part of a photographer’s Southwestern image harvest, with no real knowledge of the site.

I hope this doesn’t read like an elitist rant about visiting archaeological sites; I am by no means pulling the ladder up behind me saying that no one else can “come play” in these places.  What I am suggesting is that photographers think about the value of an archaeological site to themselves, to science, as well as to the descendants of the people who once lived there.  On my website, I purposely don’t give much information on the sites I have images of, but am always happy to talk one-on-one with other interested people about these places.

Whether you’re in the Louvre, the Musee Rodin, or the Colorado Plateau, works of art surround you.  Do you think they all deserve the same respect and protection?  Why do you think we enjoy visiting these places so much?

Ancestral Puebloan Dwelling

 

Camas

Written by Alpenglow Images on 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

Written by Alpenglow Images on 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)

 

(Digital) Darkroom Confessions, part II

Written by Alpenglow Images on April 26th, 2012

In my last blog post, I talked about my opinion regarding “rules” in photography.  In short, I believe it is okay to manipulate exposure or crop (for example) in order to take an image from visualization to the final product.  In this post, I would like to revisit the image I introduced last time and dissect it a bit.

Navajo Sandstone Cliffs

Sandstone & Clouds, March 2012

In the field

I am not normally a “grand landscape” sort of photographer; I tend to focus more on intimate scenes.  However, when I saw these cliffs, what initially struck me was the fact that the buttresses were receding away from me.  Although the mid-morning light had eliminated some of the shadows, I liked that each buttress was casting a bit of a shadow on the buttress behind it.  This alternation of light and dark creates a wonderful sense of depth in images, and was a compositional element I wanted to take advantage of here.

Another confession: guys like me do not normally score skies like this.  Cloudless blue skies are the story of my life.  However, on this particular day, I was loving these high clouds; they were constantly changing and they added a great geometric element to the scene.

For me, the decision of how to balance the composition was pretty easy, and despite the fact I like to think of myself as a rebel, I roughly divided the composition into thirds. I wanted the sky to be the star of the show, so I gave it 2/3 of the frame, and I let the cliffs occupy the remainder.  I like sagebrush, and wanted to leave some foreground in as well; this also gives a good visual “root” for the cliffs to sit on.

To expose the frame, I had a couple of choices.  To underexpose would have meant preserving the shadows that attracted me to the scene.  But, it would also introduce shadows to the foreground, which I did not really want to do.  The alternative I had was to overexpose to the point where the shadows were not as dark while maintaining detail in the rest of the frame.  You have probably heard the phrase, “expose to the right;” that is what I chose to do here.  Phil Colla has a concise and clear explanation of the technique here.

You can always darken a scene in post-processing, but to lighten it up risks introducing noise.

To get the exposure I wanted for the lower part of the image, I had trouble preserving detail in the bright white clouds, so I made two exposures, 1 stop apart from each other.

At home

I opened the RAW files together, and in Adobe Camera RAW I adjusted the images based on the vision I had in the field.  After opening the images in Photoshop, I continued this process.  First I blended the images using a technique I learned several years ago from Younes Bounhar.  You can read about it here.   After checking carefully to make sure the images had aligned properly and there were no artifacts, I made my initial adjustments largely using Nik’s software plug-ins.  The two I used here were the ‘Tonal Contrast’ filter (in Color Efex Pro), and then I used Silver Efex Pro to get the black and white conversion I wanted.

I do not have a lot to offer in terms of strategic choice on this (I did what looked best to my eye), but I only made subtle adjustments and I made careful choices based on my vision.  In choosing the black and white filter, I made sure to keep  the detail in the clouds, but also to make them stand out.  I also kept an eye on the tonal contrast between the sagebrush and the beginning of the cliffs.

I applied a global curves layer, and then used separate levels to mask the cliffs, and selectively darken the shadows.  I saved the TIFF file (with all of the layers), and then flattened, sharpened, and saved a JPEG for the web.

The beauty of image processing is that there is definitely more than one way to skin the proverbial cat.  When you start with a creative vision, you learn ways to arrive at the final product in post-processing.  As you gain experience, you build skills that will eventually become a tool kit that you can selectively choose from when you process more challenging images.

 

(Digital) Darkroom Confessions, part I

Written by Alpenglow Images on April 23rd, 2012

When I look in the mirror, I see a man with secrets.

You see, I have broken the rules.


Not only do I consider Alister Benn a good friend, I also consider him a mentor; if I have learned anything from Alister, it is to take control of the image-making process, from visualization to capture to processing in the digital darkroom.  The more I work to embrace this philosophy, the more I realize it involves breaking the rules.  But it also requires a strong understanding of my own vision, as well as the technical capabilities of my equipment.

I have heard the argument several times that photographers should “get the composition right in the camera,” or “get the exposure right in one frame.”   To some extent, I completely agree with the opinion that one should not make a frame with the intent of cropping out an annoying foreground element, or bracket haphazardly, without much thought–these behaviors are often regarded as laziness or a display of lack of knowledge.  As an analogy, this is similar to a student choosing every possible answer on an exam because, “one of them has to be correct.”

However, the other side of the coin dictates that a strict adherence to these “rules” (and others) severely limits the artist’s creative process.  For instance, the image I visualize in the field may not fit perfectly into a 3:4 or 4:5 aspect ratio, and exposing multiple frames for stitching later may not always be practical.  Similarly, if one understands the technical limitations of their camera in exposing for a scene with a high dynamic range, it should be perfectly acceptable to bracket exposures.

In other words, when breaking the rules is in line with vision and an understanding of what the scene demands, it should be encouraged.  Be rebellious.


So, how does an image evolve?  When I was recently in Zion National Park, I was driving along the road and saw a scene that jumped out at me.  Sometimes scenes really present themselves to you.

Navajo Sandstone cliffs

Navajo Sandstone & Clouds, March 2012

It was mid-morning, and I loved the way the clouds contrasted against the cliffs, and the way the buttresses in the rock created layers.  I wanted to emphasize this in the final image, but was presented with a few choices as to how to do it.

In my next post, I will go through my thoughts in the field and a few of the processing steps that led me to the final product.

 

Silence

Written by Alpenglow Images on 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

Written by Alpenglow Images on 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

 

 

Review: Seeing the Unseen

Written by Alpenglow Images on March 11th, 2012

As a curious diurnal species, the night has always held a sense of mystery and intrigue for us.  It is indeed the source of our legends and fears, our dreams and imaginations.  It should come as no surprise, then, that the night is where most photographers venture at one point or another.  The moon, being simply a large reflector of the sun’s light, provides illumination, and the stars produce an extraterrestrial feel to almost any image.

Cover of Seeing the Unseen

Seeing the Unseen: How to Photograph Landscapes at Night by Alister Benn

Despite the draw of nighttime photography, it is definitely not the same as photography during the day.  There are challenges of focusing in the dark, exposure, and composition, among others.  There are several tutorials online to get you started, but there hasn’t been a definitive guide on the subject until now.  Alister Benn has recently published, “Seeing the Unseen: How to Photograph Landscapes at Night.”  I’ve been a huge fan of Alister’s work for several years, and as we have gotten more involved with each others’ blogs, I have gained even more respect for his work, as well as his approach to life, and motivations for making images.

Seeing the Unseen sets itself apart from other e-books on photography I’ve seen from the very beginning.  Alister has set up a free online forum to accompany the book, where readers can post images, ask questions, or make suggestions based on their own experiences.  It is intended to be a growing database of knowledge for the subject of nighttime photography.  From there, he delves into subjects such as the phases of the moon, exposure, focusing, and image post-processing (including image blending).  All of the technical questions I have always had about shooting after the sun has gone down have been answered in this book.

Sample Page from Seeing the Unseen

Every page of Seeing the Unseen has invaluable and easy to understand information.

In addition to the technical aspects of nighttime photography, Seeing the Unseen touches on “deeper” subjects like composition, and visualization.  If you know Alister, you know he is a big proponent of taking control of your image, all the way from conception to print, and his philosophy definitely shines through in this book.

Each section of Seeing the Unseen has something for the beginning or advanced photographer.  If making photos after the sun goes down is of interest to you, Seeing the Unseen is definitely worth a look.  You can purchase a copy, or learn more about it by clicking this link.

In the interest of full disclosure, Alister provided me with a complimentary copy for review, but after seeing the quality of the book, I purchased my copy for the full price of $15 USD.  In my opinion, this is a real bargain.

 

Citizen of the West

Written by Alpenglow Images on March 5th, 2012

Over the last few days, I have been contemplating some upcoming trips, and after a friend gave me some advice on a location, I pulled out a map to get my bearings; my memory of this particular area just wasn’t cutting it.  I have always liked maps: they tell a story, whether in a particular place name, in my memory of driving through a small town, or of a place I dream to visit.  When I was in college, before graduating to more sophisticated wall decor, it was not uncommon for me to put a map on my wall.

As I looked through my map file the other day, a flood of memories came back to me as I recalled roads I have driven, places I have seen, adventures I have had.  There’s something more tangible than paper here: these maps of the American West are the landscape of who I am.

The West has shown me what a windchill of -60°F feels like, and that those are perfect days to stay indoors.  I know that the radiating heat of 120°F in the Mojave Desert might seem uninviting, but that you can still find active wildlife.    My daydreams often drift to lonesome highways, and I find myself craving the feeling (and aroma) of being chest-deep in sagebrush at least every few months.   Dusty dirt roads were a staple of my childhood; I’ve had friends who give directions to their houses using landmarks and the words, “bear left at the Y then turn left after the cattle guard.”  This isn’t uncommon in the West.

Issues here, whether environmental or social, are hardly ever simple.  My approach to many of them is somewhat moderate.  I believe in wisely managing some of our public lands for more than one use.   The livelihood of many residents here relies on that principle–they count on our natural resources to put food on the table for their families.   That said, I watch news stories about things like coal mining, grazing, and dammed rivers closely.  As insignificant as some of them might seem, these issues ultimately affect every resident of the West.

I admire the people here who are extraordinarily hard-working; many of them know nothing else.  My grandmother is 81 years old and still works hard at least 4 days a week.

At the end of the day, politics do not matter as much as basic respect for your neighbor.  I lived in Laramie, Wyoming through many of the events surrounding Matthew Shepard, a gay University of Wyoming student who was killed as a result of what is essentially a hate crime.  His murder showed that the rot of hatred and ignorance is indeed alive in the West, but it also brought out the best in people. A few months after things settled down, I was loading my groceries into my car, and I looked at the bumper of a beat up old ranch truck parked next to me.  On the bumper was a blue sticker with a yellow, “=”; the sign of equality.  Everyone in Wyoming, from farmers and ranchers to liberal progressives, came together in support of common, simple ideals.  Stereotypes do not hold much water here; what matters most is your character.

My website will tell you I am a photographer.  Indeed, I am.  However, I am more than that.  I am a citizen of the West.  I was born here, have lived here my entire life, and likely will die here.  I’m proud of the people who surround me, for their hard work, their vision, their character; all of these ideals are born from the landscape we live in.  They are as much a part of the West as the iconic landscapes we all chase with our cameras.

The prairie ecosystem near Cheyenne, Wyoming

High Plains Storm, December 2003