“Lone Cone & Wild Flowers”

Lone Cone & Wild Flowers, near Groundhog Reservoir, SW Colorado (c) Mike Utley

The Lone Cone is a local icon in southwest Colorado. Located in the San Miguel Mountains about 24 miles from the town of Telluride, its 12,618-foot cone can bee seen from many miles in all directions. It resembles a pyramid on the horizon, and was clearly visible from the farm on which I was raised in southeast Utah. It’s a favorite local attraction of mine and I have several images of this peak. This particular image was made just beyond Groundhog Reservoir, about an hour and a half from where I live. It was early summer of 1995 and the wild flowers (mule’s ears, monkshood and lupine in this case) were just beginning to proliferate in the mountains. This vast meadow leading to the Lone Cone was awash in yellow and purple, and the late-afternoon sun warmed the flowers and the peak while a host of perfect summer clouds caressed the the sky.

This image was selected by the Bureau of Land Management’s Anasazi Heritage Center near Dolores, Colorado for the cover of an archaeology textbook and accompanying CD in the late-1990s. Art Director Wayne Rice used the image as a background and layered several graphic elements on top. The original cloudy sky was removed and replaced with a gradient fill to allow the text to stand out more effectively. I was given proper credit for the use of my photograph on the credits page inside the book.

Textbook Cover–Wayne Rice, BLM

In 2001, this same image was again chosen by the BLM’s Anasazi Heritage Center for a poster commemorating National Archaeology and Historic Preservation Month in May of that year. Once again, Art Director Wayne Rice replaced the sky with a gradient fill and added graphic elements to the image to convey some of the historic aspects of Colorado’s past. A total of 7,000 posters were printed for this project and distributed throughout Colorado. After the release of the posters, I was told that Gale Norton, then-U.S. Secretary of the Interior, had one of the posters on display in her office in Washington D.C. What a thrill this was for me! It’s next to impossible to see, but the last two lines in the credits at the bottom of the poster list my name as the photographer. As a perk for contributing to the project, I received five copies of the poster.

Poster–Wayne Rice, BLM

It was a pleasant experience to work with Wayne Rice at the Anasazi Heritage Center on these two projects, and I was honored to be recognized in the credits of both projects as the creator of the image. Seeing up-close the process of a single image making its way into a finished product was intriguing and satisfying. (Canon gear, Fuji Velvia ISO 50)

“Columbine Cluster on Talus Slope”

Columbine Cluster on Talus Slope, Alta Lakes, SW Colorado (c) Mike Utley

Alta Lakes are a handful of small alpine lakes in the Uncompahgre National Forest near the town of Telluride in southwest Colorado. Perched above 11,000 feet in elevation, these tiny lakes epitomize the wild, rugged beauty of the Colorado Rockies. As I hiked near the lakes one summer afternoon in the late 1990s, I came across a talus slope at the foot of a cliff near one of the lakes. The broken rocks were painted with multi-hued lichen, and navigation of the slope was treacherous (these rocks were real ankle-breakers). Columbines clung to life amid the slabs of stone, and this particular cluster nestled precariously on the steep slope. The overcast lighting was perfect to enhance and saturate the already brilliant colors of the flowers and lichen and to eliminate harsh shadows—perfect lighting for flower photography. I like how the blossoms and leaves are separated along a diagonal line, and how the textures of the stones just seem to beg to be caressed. The contrast between the harsh, rough surfaces of the rocks and the delicate softness of the blooms and leaves is startling, and shows how tenacious life can be in high-altitude alpine settings. There’s a timeless feeling to this place, a silence that permeates the forest and peaks, an almost reverential hush in which these flowers exist but for a moment in the eternity of the embrace of the mountains. (Canon gear, Fuji Velvia ISO 50)

“Rocky Mountain Columbine Cluster”

Rocky Mountain Columbine Cluster, Taylor Mesa, SW Colorado (c) Mike Utley

F39-1(S)—Rocky Mountain Columbine Cluster, Taylor Mesa, SW Colorado
One long-ago overcast summer afternoon I wound my way along a lonely dirt road on Taylor Mesa in the mountains of southwest Colorado. I was looking for wild flowers, and it was the height of the season for columbines. I came upon a lush meadow which was liberally sprinkled with these flowers and others, and as I stopped and began to walk around, this cluster fairly screamed at me for attention. It was as though they had expected my arrival and had dressed up in their Sunday-best and posed for me. I was more than willing to oblige them. The lighting was perfect for wild flower photography—high overcast, no shadows, brilliantly saturated colors—and the verdant green of the meadow provided an ideal background to make the flowers’ colors pop. Columbines are beautiful, but being long-stemmed, they tend to move around in even the merest suggestion of a breeze. Fortune smiled upon me that afternoon, however, and the day was calm and tranquil. In a strange way, the manner in which these four flowers are posed reminds me of a choir, and I can imagine them singing nature hymns in voices only mountains and trees and clouds can hear. (Canon gear, Fuji Velvia ISO 50)

“Fleabane & Dead Log”

Fleabane & Dead Log, Taylor Mesa, SW Colorado (c) Mike Utley

F43(S)–Fleabane & Dead Log, Taylor Mesa, SW Colorado
I’ve always liked the stark contrast between the small flower and the “eye” of the dead log–sort of a counterpoint of life and death, color and a lack thereof, softness and the dry, almost bone-like texture of the wood. There’s a sense of longing in this photograph, a loneliness, as though the flower is looking skyward in search of hope and compassion, and the “all-seeing eye” is perhaps blind to its supplications for love and mercy. This image was probably my late-mother’s favorite of all of my nature photography. She kept a framed 8×10 of this image on the wall for decades. It brings back a lot of memories. (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)

“Sheep Mountain & Wild Flowers”

Sheep Mountain & Wild Flowers, near Trout Lake, SW Colorado (c) Mike Utley

M10-1(S)—Sheep Mountain & Wild Flowers, near Trout Lake, SW Colorado
Sheep Mountain is located near Trout Lake, about ten miles from the small tourist town of Telluride in southwest Colorado. This image was made a couple of miles from the lake one summer evening. Due to the contrast in lighting between the sunlit mountain and the open shade of the meadow and distant forest, a soft-edged two-stop graduated neutral density filter was used to balance the exposure of the scene. This image was made before digital photography became mainstream, so all technical effects had to be made in-camera at the time of exposure without having any way to review the final image until the slides arrived in the mail later. Digital photography makes exposure-balancing effects such as this much easier with post-processing tools such as HDR (High Dynamic Range), which can balance the lighting in a scene by combining multiple exposures of the same subject. When this image was made in 1995, photographers had to know how to do all the tricks in-camera before pressing the shutter button. (Canon gear, Fuji Velvia ISO 50)

“Rocky Mountain Columbine”

Rocky Mt. Columbine, Taylor Mesa, SW Colorado (c) Mike Utley

F38-1(S)–Rocky Mt. Columbine, Taylor Mesa, SW Colorado
This is my favorite flower. It grows up in the mountains where it’s cooler and shady. In the summers you can find meadows covered with columbine of various colors, including variations of purple, yellow and even red. This columbine was found growing beneath the lower branches of a dying conifer, whose brown needles serve to magnify the brilliant purple, white, yellow and green of the flower. (Canon gear, Fuji Velvia ISO 50)