Antelope Canyon on the Navajo Indian Reservation in Arizona is arguably the finest slot canyon in the American southwest and certainly one of the most photographed. Although beautiful to witness with the naked eye, these jewels of the desert really shine when a long exposure reveals the view our retinas can’t perceive – the subtle shades and hues of the sunlight as it plays on the wind and water sculpted sandstone. 

Unlike most landscape photography, which benefits from the warm light of dawn or dusk, slot canyons are best photographed mid-day when the greatest amount of light penetrates the steep and narrow canyon walls.  This image was made with a 24mm wide angle lens and a 30 second exposure - no artificial lighting was used.

Contrary to popular belief lightning can strike the same place twice as shown in this timed exposure in the Ajo Mountains of Arizona. Although there are devices available for capturing lightning images, I find that composing a shot and then making a timed exposure of one to three minutes in sync with the rhythm of the strikes works just as well.

This image was made with a 300mm lens at a distance of about ten miles. While heading back from a day of shooting at Organ Pipe Cactus National Monument, I noticed the storm in the distance just after sunset and was surprised by the consistency of the strikes on the ridge. Shooting lightning can be dangerous (a tripod makes a good lightning rod!), but the conditions were perfect on this evening with clear skies above me and the long lens bringing the drama safely into view. The challenging part was actually framing the image in complete darkness using only the light from the strikes to compose. After opening the shutter, I watched and waited as mother nature created her elaborate light painting.

It was banner year for the Antelope Valley poppies.  The El Nino winter followed by warm weather created ideal conditions for the California state flower. Waiting for the constant winds to subside is always the real challenge in capturing these delicate beauties.

The saguaro cactus (Carnegiea gigantea) is an icon of the American southwest. These lone sentinels thrive in the harsh environment of the Sonoran Desert, which can exceed 120 degrees in the summer, but is also one of the wettest deserts in North America.  Encompassing parts of Arizona, California and northern Mexico, this region averages 3 to 16 inches of rain a year and has two rainy seasons, one in the summer and another in the winter, which sustains a wide range of flora in addition to the saguaro.

Mature saguaros can reach up to 50 ft in height. They bloom for the first time when they are 50 – 75 years old and may live to 150 – 200 years (and weigh up to 10 tons). Ironically, the saguaro is so synonymous with the southwest that their likeness has been used in commercials and western films in places like Texas and New Mexico where they have never lived in the wild.

At first glance the desert can seem like a barren desolate place, void of life and beauty. But upon closer inspection it often reveals itself as a delicate world of endless variety and complexity, especially in the spring after a good winter like the one we’re having now.

This image of a natural garden in Plum Canyon in Anza-Borrego Desert State Park was taken with a Nikkor 180mm lens to isolate the scene and emphasize the colors of the cholla and wildflowers. The late afternoon backlight completed the picture by accentuating the detail of the cactus needles and setting them apart from the other elements as if to say, “look, but don’t touch”.

Exploring the balance between these contrasting worlds of beauty and danger is what makes the desert so fascinating. Visually it’s not as accessable as an alpine meadow or tropical rain forest, but for those willing to take a closer look the rewards are often just as great.

HDR (or High Dynamic Range) is an increasingly popular process of combining digital files to create an image that more closely resembles what the eye sees. It’s used primarily when the contrast in a scene exceeds the latitude of what the film or sensor is able to capture in a single shot.

Depending on the amount of contrast in the scene a series of up to 7 identical brackets one stop apart are combined, which represent all of the tonal value from the darkest shadows to the brightest highlights. This image of False Kiva in Canyonlands National Park is very close to what I saw that evening, but the extreme contrast would have made it nothing more than a vision in my mind’s eye if not for HDR.

Photographic purists may balk at the use of such digital wizardry, but in fact it is not unlike the dodging and burning that Ansel Adams used countless times in the darkroom to achieve his magical prints. As he put it, “the negative is the score, and the print is the performance”. I concur, and feel that any photographic process which helps render a natural scene as it was witnessed is acceptable as long as it does not deceive the viewer or alter the truth.

One of the more curious natural phenomena is the occasional tendency for nature to mimic human form. Anthropomorphic images (meaning human characteristics in inanimate objects) can appear in rocks, plants and animals. Typically they appear only for a fleeting moment or from a unique perspective, but like finding an Easter egg they are a photographic treat.

This image of Lady in a Bathtub Butte in Valley of the Gods, Utah was taken late in the day to create a strong silhouette and emphasize the outline of the rock against the blue sky. The back-lit clouds added a nice balance to the whimsical scene.

As a followup to my last post, The Wave is another gem of the southwest that’s a very popular destination with photographers, but also one of the most remote spots on the map. So remote in fact that on my first trip I failed to find it – even with a GPS! 

It’s a wonderful example of chaos theory applied to geology. Basically a petrified sand dune that’s been carved by the forces of wind and water over the ages, it’s easy to see how it got its name. I made this image a few years ago on my second trip to the area, which lies on the Arizona/Utah border southwest of Lake Powell. The image was taken with a 20mm wide angle lens to emphasize the dizzying curves and create a sense that the formation is much bigger than it really is.

Welcome and thanks for stopping by. My hope is that this blog will entertain, inform, and inspire. Please feel free to post a comment or ask a question and I’ll do my best to keep up.