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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The Sears Tower: Exemplar of American Ambition

Chicago has never looked better. I’m referring to the city and not my photography. I spent another couple weeks in the city; two days of which were given to wandering around the loop (the city’s lofty core) with a couple of cameras.  I had intended to spend five days photographing but found myself returning to Utah on short notice.  So the diversity of images isn’t as great as I would like. Everything, almost, is wide-angle HDRI of architecture.

I keep finding myself back there. So after another couple of winters I should have a good set of photographs.  The very urban provides a nice balance to the bulk of my nature-based work.

I’m fond of HDRI for a place like Chicago.  The world is crawling with images of the buildings of Chicago and HDRI offers a lot of artistic potential to make things weird when you want to go that way.  Also, the dynamic nature of a big metropolis, where people are of less significance relative to their environment, fits HDRI very well.  Walking people and moving cars on a city street become ghosted and part of the image in a way that suits the ephemeral reality well.

The images were all processed initially with photomatrix and then with camera raw and standard photoshop techniques.  The new photomatrix exposure fusion technique was used extensively (and I really like it).  Several images are blended composite panoramas.

Also I love it when it’s cold.  I think it is the low level of the sun in the sky and clarity of the air, in addition to the hard nature of the subject matter. Chicago photographs best when below freezing.

I’m not sure where the source of Chicago’s current good-looks lies.  The city may simply be all decked out for the Olympics that wasn’t.  Or it could be an artifact of the economy that shouldn’t have been.  Now, the general tone of the people I met, the conversations I overheard, and the chatter over the airwaves was decidedly down.  More so than when I was there this past summer or last winter.

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Sunrise in the Valley of Fire

I have a secret.  It goes like this: Valley of Fire.  Now the cat is out of the bag.  One of the great things about living in the west is the stumble-upon factor.  There are plenty of places that make the pages of national magazines (now being rapidly replaced by travel blogs) on a regular basis.  This is due to either: they are really cool places and everyone should spend some time there before their time is up, or they have retained superlative PR teams and have themselves mentioned in exchange for ad spending on as frequent a basis as they and their guests can afford.  The later creates a less than virtuous cycle.

There is an entirely different category of places which are either intentionally not publicized because the people who visit them realize that publicity would bring catastrophe or those that  can’t be monetized (in terms of touro-dollars) usually because there is nowhere to locate a hotel right nearby.

I’m not sure of the reasons why, but the Valley of Fire, located between Las Vegas and Mesquite, Nevada is one of these places which goes without a whole lot of mention. It used to be almost completely unheard of, but is becoming less so of late.  It offers a taste of the Colorado Plateau experience within easy driving distance of the Las Vegas strip.  You’ve seen it a thousand times even if you’ve never heard of it, because it is often used as the setting for television commercial and print ad shoots.

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Some of Chicago's unrivaled architecture

For a week in early February, I found myself back in the Chicago of my youth. I had moved there when I was seven and left when seventeen.  For some reason, I’ve spent very little time there over the past thirty years and have never photographed the city before. I had my equipment with me, so I hit the streets for a total of a couple days in half-day stints spread throughout the week.  These included periods when the temperature was around one, and others with the mercury hovering just beneath sixty.  Go figure.

I left with a bunch of images that I think are fairly good and a few that qualify as splendid. Techniques used include HDRI with both Photomatrix and Photoshop post-processing, sequences of jpgs for Photoshop panorama blending, and Cannon camera RAW with Adobe Camera RAW and Photoshop post-processing. The areas shot include: Michigan Avenue, the Loop, the island across from Soldier Field, the Near North Side, Rogers Park, Lincoln Park, Belmont Harbor, Wicker Park, Evanston, Old Town and Wrigleyville.

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