No Boundaries

One of Dozens of Several Hundred Foot Lamoille Canyon Waterfalls

This Post and accompanying gallery addition were intended to include a fairly comprehensive shoot of  two important examples of the sky-island aspect of saline environments: Great Basin National Park and Lamoille Canyon in the Ruby Mountains. Both are isolated high-elevation alpine ecosystems in Central Eastern Nevada.

Things often don’t go as projected, so I can only provide a few good images from what was a largely botched expedition. Fortunately, I can blame almost everything on the weird weather that we’ve been having this year. One of the problems with a winter that extends into June is that, eventually, it has to warm up, and when it does, Summer temperatures ensue without regard for those absent Spring months which have fallen by the wayside, discarded by mother nature. Then months of snow melt are compressed into days or weeks and havoc reigns at elevation.

The general concept of the sky-island is an easy one to explain. Millions of years ago the rocks of the great basin were pulled apart resulting in what is called basin-and-range topography: long north-south oriented high-elevation ridges separated by similarly oriented flat valleys. Thousands of years ago, when everywhere was cool and wet, all of this terrain was covered with either forest or alpine tundra above the forest. As global warming progressed, long before human utilization of fossil fuels, things heated up and dried out. The valleys became desert and the ranges became isolated, forested ecosystems. These small mountainous regions are similar because they share their beginnings in a unified whole and have had a similar environmental history, but all are also somewhat different because they have been isolated from one another, by the intervening desert, for some time.

If you are interested in a more involved and informed explanation please consider “The Sagebrush Ocean: A Natural History of the Great Basin” by Stephen Trimble or “The Desert’s Past: A Natural Prehistory of the Great Basin” by Donald K. Grayson. These are the best books on the subject. The first is more of an extremely-well curated photography exposition and fluid narrative  intended for layman readers while the second is a scientific treatise valuable to those of us willing to put up with large amounts of dry text in order to find answers to the perpetually recurrent question: “I wonder how they figured that out?”

The thing that most people miss when considering the mountains of the great basin is that these are, although limited in aerial extent, serious kick-ass mountains. The elevation of Wheeler Peak at the tippy-top of Great Basin National Park is 13,063 ft — exceeding the tallest peaks in Idaho, Arizona and Montana and just a bit shy of the top spots in Utah, Wyoming and Nevada (in the Sierra Nevada). When you toss in the associated facts that the great-basin high points are often little used and visited, haven’t anything resembling cell-phone service, are largely lacking in navigable roads to the top-parts (or lower-middle-parts even), have lousy trail systems, and are often only accessed by traveling dozens and dozens of miles on dirt, these can range from daunting to downright intimidating.

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Pepper: The Official Photography Project Dog

It has been a miserable spring here in the mountains of Utah. Very similar to the Cubs season this year, the weather has reached 500 (the statistical midpoint between a good year and a bad one) numerous times only to collapse into an abhorrent free-fall requiring a good sense of humor.

This unfortunate spring has been made all the worse by the fact that my children were attending different high schools and their vacations did not coincide. So the photography project should evolve into an almost year-long thing in this instance. Hopefully anyway.  This year, in particular, I’m looking forward to my kids’ release from academia more so than are my kids.

Right now I’m fleshing out my new site with photography and illustration galleries that have been long promised but not delivered. Something more important invariably pops up. I’m giving it a good go now so I should be posting quite a bit of the imagery that has been laying about my desktop for a while.

These should include some studio food and spirits and portrait work (separate projects), Vancouver photography from last November, Saline Environments project work as it crops up, and some more resort HDRI.  That’s all I can think of at the moment, but there are probably more bunches of unprocessed photos in hiding here and there on the occasional hard-drive.

I’ll also be posting the periodic babble regarding the state of the digital world, films and so forth. So I should be hitting the blog a bit more than I have lately over the next month or so.

I’m switching over to a Cannon 7D as my main camera and am tempted to include a bit of video here and there as well.

The Saline Environments Project, thus far, has brought Kate and I out on four short trips. One to Stansbury Island and the Saltair area on the southern shore of the Great Salt Lake, two to Antelope Island (an island on the southeast side of the lake populated with, ironically, bison) and a very early Spring trip across the Utah West Desert on Route 80 to the Bonneville Salt Flats ( in the vicinity of Wendover Nevada), which were, at the time, covered with water. It is a pleasure doing a project that has so many pieces so close to home.

I vividly remember my first trip to Death Valley National Park about five or six years ago. It was intended as a three-day excursion from a longer trip in Las Vegas. We drove well into the night, camped and, on waking, took a short drive in the middle, lowest elevation parts of the park, only to realize that we had gone so far and had ended up in what is, essentially, the Great Salt Lake (hotter, drier version). We do intend to make it back there as part of this project, but largely as a matter of completeness. It is, after all, the capital of the terrestrial-brine world.

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Warning:  This is a long and boring post.

It’s been a few months since the Fall ’08 release of Adobe CS4 and I’ve moved slowly through the various learning curves of the Design Premium products.  I’d like to preface my thoughts with a few statements.  I use both Windows and Mac operating systems at various times, mainly having to do with whom I’m working for or with.  The Adobe interface is generally the same on both platforms.  However many of the programs in the creative suite perform differently on the two platforms and the version of the operating system being run.  I’m not a participant in the Window’s versus Mac debate.  I think they both have upsides and downsides and leave that to the really big thinkers.  I work with mining companies sometimes and they simply don’t do the Apple thing.  Next, I’ve been an Adobe devotee of sorts for a while now.  So I come to every new release with a real sense of jump-up-and-down, yippie, it’s-Christmas-morning giddiness.  And, last, I use the Design Suite only, though I’m toying with Flex.  Where it falls into the system that Adobe uses to organize its products is somewhat unclear to me.

Now on to the brass tacks: Continue reading