“Big Indian Rock”

Big Indian Rock, Lisbon Valley, SE Utah (c) Mike Utley

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)

“Spruce Sprout on Stump”

Spruce Sprout on Stump, Abajo Mountain, SE Utah (c) Mike Utley

While exploring the Abajo (Blue) Mountain in southeast Utah in the summer of 1996, I came across this tiny blue spruce sprout growing on an old blackened stump. I was struck by the brilliant green—the color of youth and vitality—and how it contrasted with the dark tones of the stump—age and fatigue. The textures were also a study in contrast, with the smooth, supple flesh of the sprout defying the harsh, rough wood of the base of the old dead tree. I’m fascinated by contrasts in nature, and this mini-tableau was brimming with them. Life and death? Youth and old-age? Color and a lack thereof? Tenderness and harsh reality? Perseverance in the face of all odds? The inexorability of life where none should exist? Anyone who knows me will realize the main emotion I felt when I saw this scene was one of quiet stillness and contemplation. This sprout speaks to me on a fundamental level, telling me there is hope—always, there is hope—even in death. If we take the time to actually see what is around us in nature, we can sense change in our lives and an invigoration of our spirits…and because of this intrinsic truth, it’s all the more important that we are good stewards of our earth. Nature nurtures our souls, and once it’s gone, then there will be no more hope for us. (Canon gear, Fuji Velvia ISO 50)

“Split Rock & Pinyon Pine”

Split Rock & Pinyon Pine, Lisbon Valley, SE Utah (c) Mike Utley

I’ve posted several images from Lisbon Valley in southeast Utah. It’s an out-of-the-way region that lacks the deep canyons and arches of its neighboring national parks, yet it has a charm all its own. While photographing Big Indian Rock years ago, I came upon this large boulder that had tumbled down onto the valley floor below and split apart. Aside from the marvelous texture and color of the boulder, what really struck me was what grew on top: a stunted pinyon pine. These trees, and junipers as well, eke out a hardscrabble existence in the desert of the Colorado Plateau, seemingly surviving in the most inhospitable locales. How this little tree managed to flourish left me nonplussed. I use the word “tenacity” to describe desert life, and it’s an apt term in this instance. This scene spoke to me of isolation, loneliness, determination, tenacity and the will to survive despite the harshest odds. From a technical standpoint, due to the strong direct lighting from the evening sun, the rock face was extremely bright and glary, so I employed a polarizer filter to eliminate the glare in order to allow the texture detail to show. The polarizer also eliminates glare from atmospheric dust particles and haze, thus darkening the sky. This was a conscious choice regarding the sky, as I wanted a deep cobalt blue to provide contrast to the brilliant orange of the boulder. The cirrus clouds added a surreal touch to the sky. The way the shadows blocked up completely black made the color and texture of the rock pop. And the pinyon pine? It seems to glow of its own inner light, a strange sort of confidence and serenity. Despite its hardships and travails, it’s found its peace atop its own personal mountain. (Canon gear, Fuji Velvia ISO 50)

“Balanced Rock & La Sal Mountains at Sunset”

Balanced Rock & La Sal Mountains at Sunset, Arches National Park, SE Utah (c) Mike Utley

Balanced Rock is one of the most notable features in Arches National Park. Rising 128 feet above the desert floor, this curious rock sits precariously atop a sandstone spire, sentry-like, watching over neighboring red rock fins, pillars, arches, and the distant La Sal Mountains. For this image from March 1996, I isolated Balanced Rock and its accompanying tower against the pale winter dusk sky to portray the silent, lonely feeling this icon has always instilled in me. From varying angles, this rock looks remarkable different, and one could almost say its personality changes depending upon one’s vantage point. It inspires contemplation and awe, and speaks to both the tenacity and fragility of this planet. Erosion will eventually topple this rock, but for now it stands in defiance of gravity and the weather. (Canon gear, Fuji Velvia ISO 50)

“Rocks & Tower at Big Spring Canyon”

Rocks & Tower at Big Spring Canyon, Canyonlands National Park, SE Utah (c) Mike Utley

Big Spring Canyon, located in Canyonlands National Park in southeast Utah, offers an intimate view of the majesty of the region’s canyon country. It’s a microcosm of the vastness and diversity of the park, sporting canyons, sandstone towers, sheer cliffs, overlooks, and a variety of geological formations. During this particular visit, I caught the late-evening light bathing the landscape in a warm glow as distant storm clouds hovered above the horizon beneath a sheet of cirrus clouds. The multi-layered cloudscape added character to the scene, and the blue sky contrasted nicely with the varied earth tones of the rocks. I like the way the lighter-toned rock in the foreground, replete with lichen whorls, stands out against the darker formations and anchors the scene as the distant brooding clouds ponder the arid landscape. (Canon gear, Fuji Velvia ISO 50)

“Textured Boulder & Big Indian Rock”

Textured Boulder & Big Indian Rock, Lisbon Valley, SE Utah (c) Mike Utley

Lisbon Valley is a red rock desert region in southeast Utah which lies a few miles northwest of the farm on which I was raised. Compared to other nearby desert areas such as Canyonlands and Arches National Parks, it’s rather nondescript, lacking the dramatic deep canyons, arches, pillars and rivers of its neighboring kin, yet it holds a special place in my heart. To me, the valley’s stand-out feature is Big Indian Rock, a blade of sandstone reaching above the sage- and boulder-strewn floor below. During my first visit there with my camera, I was fascinated by a huge, angular slab of red rock which had apparently broken off from Big Indian Rock in the distant past and tumbled to the flats below. This boulder was covered in an incredible array of pits, gouges and mottled patches of lighter and darker tones. My first reaction was to juxtapose this weather-etched pattern with the rock tower in the background. A 24mm f/2.8 wide-angle lens was used to exaggerate the distance between the boulder and the tower, and allowed me to get close enough to the boulder to record its dramatic textures while keeping everything in sharp focus. A polarizing filter was used to eliminate glare from midday rock surfaces in order to better record the colors of the stone, as well as to darken the sky for a more contrasting effect. This image was made in late-March of 1996 and there were patches of snow below the tower (barely visible in this shot), but I recall the day being delightfully pleasant, not just because of the weather, but because it was my introduction to Big Indian Rock and this intriguing “illustrated” boulder. (Canon gear, Fuji Velvia ISO 50)

“La Sal Mountains & Lisbon Valley”

La Sal Mountains & Lisbon Valley, SE Utah (c) Mike Utley

Lisbon Valley is located in southeastern Utah and lies a few miles north of the farm on which I was raised. It’s a dynamic landscape of red rock desert and snow-capped mountains that rise incongruously out of nowhere. It’s a place of canyons and sandstone formations, sage brush and rabbit brush, cactus, cheat grass and fox tails, pinyon and juniper trees, as well as coyotes, foxes, mountain lions, jackrabbits and cottontails, mule deer, antelope and elk, hawks, rattlesnakes and other typical desert-dwelling fauna. I photographed this scene from a ridge where the landscape drops off into the desert valley below. Upheaval thrusts are visible, and the La Sal Mountains cling to spring’s last remnants of snow. This image was made in April of 1996 on a bitterly cold late afternoon, where the chill made for numb fingers and frosty exhalations. Metal tripods act as heat sinks during cold weather and freeze hands and fingers. Still, I’m fond of this image as it represents the varied landscape where I was raised. I’ve explored Lisbon Valley numerous times and felt at peace in the vast silence, surrounded by the scents of desert vegetation, warm breezes and clean air, as well as the stark, harsh environment of rock and sand and life that struggles to persist. Lisbon Valley is also home to a large open-pit copper mine (not visible in this image, fortunately) that is extremely unsightly and environmentally hazardous. Local ranchers are rightfully concerned about the high likelihood of contaminated groundwater, but corporate profits are all that seem to matter. Aquifers, habitats, wildlife and natural beauty are no match for some faceless company’s bottom line. (Canon gear, Fuji Velvia ISO 50)

“Sandstone Cliff & Tower”

Sandstone Cliff & Tower, Big Spring Canyon, Canyonlands National Park, SE Utah (c) Mike Utley

NP4-1(S)–Sandstone Cliff & Tower, Big Spring Canyon, Canyonlands Natl. Park, SE Utah
Canyonlands National Park in southeast Utah is known for its expansive canyons, sprawling mesas and towering sandstone pinnacles. It also has an infinite variety of more intimate landscapes such as this rock formation standing sentinel above a small canyon. Not everything has to be immense to hold beauty and meaning. I like the contrasting colors, rugged textures and the hint of towers in the background, as well as the sky which seems to go on forever. On this day, two of my young nephews accompanied me (babysitter Uncle Mike) and I had to keep an eagle eye on them as all they saw were rocks and all they wanted to do was climb them. I had the boys nestled in an alcove off to the left to ensure their safety while I composed this image, then we explored some more and had a fun time. (Canon gear, Fuji Velvia ISO 50)

“Church Rock”

Church Rock, near Lisbon Valley, SE Utah (c) Mike Utley

D49-1(S)–Church Rock, near Lisbon Valley, SE Utah
Church Rock is a unique sandstone formation located a few miles north of Monticello in southeast Utah. It’s a local icon of sorts, readily visible just off the highway. In 1998, I was commissioned by a local museum to photograph old barns in San Juan County, Utah, and Church Rock was on the list. In the 1940s, the land owner used dynamite to hollow-out a section at the base to use for storage for cattle feed. Visible in this image are the remnants of an old corral and a dilapidated windmill to show the scale of the rock formation, which rises 200 feet above the surrounding desert landscape. The weather the day this image was made was windy and the clouds were magnificent and added texture and contrast to the earthy tones of Church Rock. As for its name, the local myth is that in the 1930s a spiritualist and her small cult deemed San Juan County, Utah and Church Rock to be the spiritual center of the universe, and she ordered the complete hollowing-out of Church Rock to serve as her church. The 16’x24′ hollow section was thought to be proof of this but was proven false. (Canon gear, Fuji Velvia ISO 50)

“Indian Paintbrush & Bluebird Feather”

Indian Paintbrush & Bluebird Feather, SE Utah (c) Mike Utley

F25–Indian Paintbrush & Bluebird Feather, SE Utah
I came across this Indian paintbrush one late-summer afternoon at the farm. It was surrounded by dry cheatgrass, and a long-dead pinyon pine stood nearby. At the base of the flower were several bluebird feathers, the remnants of a recent meal left by some small predator (perhaps one of the farm cats). Immediately, I was struck by the three primary colors–red, yellow, blue–and how the neutral tones of the cheatgrass provided the perfect background to amplify the colors. I rarely ever manipulate a scene (aside from perhaps clearing away dead sticks or debris to unclutter an image), but this image demanded a bit of artistic license, so I placed a feather in the flower and was pleased with the resultant image. (Canon gear, Kodak Royal Gold 100)