Lisbon Valley is a rather nondescript region in southeast Utah about an hour from the farm on which I was raised, not far from Canyonlands and Arches National Parks. There are no bottomless canyons cutting across the landscape here, no fragile arches standing sentinel over the sage and pinyon and juniper. It’s an out-of-the-way, forgotten place used mainly by ranchers for cattle grazing, and desecrated by a sprawling copper mine. However, it’s an area of special note to me and I spent many afternoons and evenings photographing this place before the copper mine brought its ugly open pit, pollution and truck traffic and destroyed its natural beauty.

This image from the late 1990s is what I call an intimate landscape. It focuses not on grand vistas, but rather a smaller, secluded view, one within arm’s reach. I was fascinated by the contrast between the two adjacent boulders in the foreground, how the doughiness of one appears so starkly different from the smooth, lichen-encrusted texture of the other—an almost surreal juxtaposition. The evening light was a glorious salmon hue with a delicate intensity, a softness often found in desert sunsets.

The thing about these unremarkable locales is that very few people, if any, have ever set foot in much of these areas. People flock to Canyonlands and Arches National Parks for good reason, of course—to be mind-blown by the outrageous showmanship of nature’s rugged chisel and brush, and never even notice these lesser-known places where desert life plays out in secret and beauty on a different scale is on hidden display. I left many footprints in the sands of Lisbon Valley over the years, and always considered it one of my favorite areas for intimate landscapes amid the silence of the stones and the pungent aroma of sage, junper and pinyon. It’s been many years since I last visisted this place, and I fear it’s likely unrecognizable now. My memories live on in my photographs, and they will last forever. (Canon gear, Fuji Velvia ISO 50)

Lisbon Valley is a relatively nondescript region in southeast Utah near Canyonlands National Park. While its redrock sandstone formations don’t rival the majesty of those found in Canyonlands and Arches National Parks, it has its own hidden marvels, its own unique personality. In the late 1990s, I spotted this rock formation while exploring one late-autumn evening. I was intrigued by several aspects of this scene: the contrasting, opposing oranges and blues; the split-personality of the formation, with half in bright sunset light and the other half in dark shadows; and the looming presence of the formation compared to the diminutive form of the lone juniper tree on the left. And above all, a contemplative stillness. Some might say there’s a David-and-Goliath theme here, a sense of immutable power being challenged by stalwart–if fragile–determination. However, I see something else here…a sense of sorrow, a reaching-out from weakness to strength as the tree casts its shadow on the base of the tower in supplication, as if seeking consolation. A sense of loneliness and isolation. I identify with that juniper tree. I feel deeply that sense of yearning to be a part of something but always finding myself standing on the outside, looking in. Try as it might, the closest that tree will ever come to connecting with that rock is by casting its shadow upon it once a day just before the cold night falls. Such is life in the desert; such is life in this world. (Canon gear, Fuji Velvia ISO 50)

I was raised on a farm about an hour from Lisbon Valley in southeast Utah. It’s an out-of-the-way place of red rock formations and sage-sprinkled canyons used for cattle grazing and open-pit copper mining (and yes, both activities have damaged the land considerably). I photographed this scene one summer evening in the late-1990s as the sun slanted toward the horizon and shadows encroached upon Big Indian Rock (upper left). I was intrigued by the strong diagonal slope my vantage point provided, as well as the bold blocks of color. It was a contrasting scene due to the brightly lit rock formations and the shadows, and because I was using slide film (which has a significantly narrower exposure latitude than negative film), I was unsure if I could render the scene properly exposed and still capture shadow details. The motto for photographers who use slide film is “Expose for the highlights and let the shadows fall where they may.” My goal here was to focus on composition and color, so I decided against using a graduated neutral density filter, which would have created more balance between the highlights and shadows. I thought that allowing the shadows to block-up a bit simplified the image and helped it adhere to my philosophy of quiet contemplation in nature. Busy photographs are chaotic and cause tension, and I sought peace and stillness here, so the fewer distractions, the better. There is still detail in the shadows, but not enough to distract from the tranquil feeling these rocks convey. I like the composition here, with the two rock formations standing near diagonal power-points in the scene against the brilliant blue sky and dark shadows. The rocks glow with the warm tones of the lowering sun and contrast well against the cool blue and black hues. (Canon gear, Fuji Velvia ISO 50)