Showing posts with label fall color. Show all posts
Showing posts with label fall color. Show all posts

Monday, December 9, 2024

Guadalupe Mountains, Texas and New Mexico

Our Lady of Guadalupe on a wall in Oaxaca, Mexico (2007).
(Click images to view larger)

In 1531, a Mexican peasant named Juan Diego and his uncle, Juan Bernardino, reported seeing several apparitions of the Virgin Mary, a.k.a. the Virgin of Guadalupe and Our Lady of Guadalupe, near Mexico City. Subsequently, depictions of the purported traveling virgin became iconic, and innumerable places throughout Mexico and the Southwestern U.S carry her name. On a recent outing, we visited the Guadalupe Mountains of SE New Mexico and West Texas, a National Park and home to Carlsbad Caverns and it’s Brazilian free-tailed bat population, which had already migrated south for the winter when we were there, leaving only its guano behind. Summer visitors can watch thousands of bats emerge from the cave at dusk and spiral into the night sky.

Mid- to late-November is autumn in West Texas, but fall color doesn't come to mind in the desert, so we were surprised to learn that trailheads would likely be packed with leaf-peepers. After the five-hour drive from Silver City, we walked to Smith Spring, a short hike into the foothills from a historic ranch. A ranger told us that autumn foliage at the spring was spectacular despite peaking a week or so earlier, but we were skeptical as we walked across the Chihuahuan desert towards a dry-looking canyon. But inside the canyon, clear pools of water seeping from a sandstone layer beneath limestone cliffs created a wet micro-environment supporting a lush grove of yellow Gambel’s oak, red and yellow bigtooth maple, bright green ferns and grasses, and a few pale yuccas and cacti to remind us that the desert wasn’t far away. It was surprisingly spectacular. 

 

We spent the rest of the week exploring the Guadalupes and Carlsbad Caverns. We hiked up Guadalupe Peak, the highest point in Texas (8,751’), and looked down on a limestone buttress called El Capitan. Larry Scritchfield and I bootlegged a mountain bike ride beneath El Capitan on a rest day during a Hueco Tanks climbing trip sometime in the 1980s or 90s (I can’t remember exactly when) before the Park was so popular (and so well patrolled) and before I had a bike with shocks. Ellen and I hiked into McKittrick Canyon, another autumn color destination where a petroleum geologist named Wallace Pratt built an inviting stone cottage in the 1930s that he later donated to the Park. We climbed the three easiest rock routes in Last Chance Canyon, a limestone gorge north of the Guadalupe Mountains know for harder climbs in steep alcoves. And we hiked 750’ down into the earth through Carlsbad’s natural entrance on the switch-backing asphalt tourist trail. It led us and a bunch of other people, some making videos of every feature with their phones (I pity their friends and families), through a labyrinth of passages and rooms and eventually to the underground restrooms and snack bar (closed) near the elevator that most visitors use to exit the cave. We chose to hike out the way we’d come in and were lucky to have the cavern to ourselves after the last tourist entries at 2:30 p.m. passed us on their way down.

 

We’re told that spring is also lovely in the Guadalupes, with wildflowers and white madrone blossoms set off by the mahogany-brown bark. We'll return, and if we’re lucky, Our Lady of Guadalupe might appear in our latte foam at the Blue House Cafe in Carlsbad if we stop there to for a pastry and a pick-me-up on our way home. 

Smith Spring in Guadalupe National Park. 

Yellow bigtooth maple at Smith Spring.

Fall colors at Smith Spring.

Limestone fins in viewed from the trail up Guadalupe Peak.

El Capitan from the Guadalupe Peak Trail with West Texas stretched out to the south. 

Ellen near the summit on the Guadalupe Peak Trail.

A lone bigtooth maple in McKittrick Canyon.

Looking down into the maw of Carlsbad Caverns from the natural entrance. The trail descends 750 vertical feet into the cavern but doesn't reach the lowest levels.

The Virgin of Guadalupe peers out from a window in Oaxaca, Mexico (2007).






Wednesday, November 24, 2021

Photographing Autumn in the Shadow of Eliot Porter

 

Maple Canyon, Utah. October 2021 
(Click on photos to view larger versions)

Eliot Porter's (1901-1990) photographs evoked his love of the natural world, and his work has influenced photographers for decades. He was an early advocate for color in fine art photography, an innovation resisted by photographers and critics who saw color photography as purely documentary even into the 1980s. In black and white prints they insisted, colors are rendered as tones at the discretion of the photographer, and these choices are the basis of art. In the book, Eliot Porter, he reported that Walker Evans, another influential photographer, once griped, "...in I suspect a reckless, not-to-be-quoted moment, that color is vulgar, nature is trivial, and beauty is not important."1 Porter believed just the opposite.

Eliot Porter photographed intimate details in natural scenes rather than grand landscapes. Layers of texture and pattern combined to fill his frames, which were at once simple and complex. Weston Naef, in the Afterword of the folio, Intimate Landscapes that accompanied a 1979 exhibition of his work at the Metropolitan Museum of Art in New York, observed that:

"His strongest compositions have the look of carefully planned randomness in which the surface is a tapestry of uniformly significant elements arrayed from one edge of the picture to the other." (pg. 126)2

Eight years later, Martha Sandweiss, a curator at the Amon Carter Museum, in the foreword to the book, Eliot Porter, documenting her museum's 1987 exhibit of his photographs, echoed this view:

"Porter's pictures are generally composed without a single eye-catching focus. Each is carefully laid out from edge to edge, and the picture frame feels full" (pg. 8)1

While the arrangements of elements in natural scenes are deterministic, the result of their interactions can appear random. Over time, Porter became increasingly aware of the paradox of random processes creating harmonious compositions. In the preface to Intimate Landscapes, he says, 

"In mixed woods of pine and maple, the needles of pines drop throughout the year, building jackstraw mats of thin brown bundles on which, at the time of the fall of the leaf, the bright maple leaves settle at random, arranging themselves in harmonious patterns that defy improvement as though placed there intentionally." (page 11) 2

And he notices, not without awe, that: 

"The details of geologic formations exhibit the most extraordinary combination of shapes and colors...and the haphazard occurrence of fractures can be discovered in harmonious arrangements that seem to defy the chance working of natural forces" (pgs. 11-12)2

His fascination with the paradox of harmony in randomness led eventually to a collaboration with James Gleick, who made chaos theory accessible in his book, Chaos: Making a New Science.4 Gleick and Porter published Nature's Chaos in 1990 with text by Gleick and a selection of images by Porter. In the forward to that book, Porter reflected that:

"Although I was aware that it was possible to select and photograph fragments of nature that expressed the idea that nature was an orderly process, I began to realize that my photographs also emphasized the random chaos of the natural world--a world of endless variety where nothing was ever the same." (pg. 6)3

In Intimate Landscapes, Porter succinctly describes the challenge of photographing randomness in a way that highlights harmony:

"In the broadest sense of the term, an optical image is an abstraction from the natural world--a selected and isolated fragment that stands before the camera." (pg. 11)2

This is much more difficult than it sounds, but over his 50-year career, Porter relied on a practiced intuition that resulted in an unmatched body of work. 


Freed from teaching, I spent much of the fall traveling in the West, grateful to wander, watching the seasons and the leaves change. Faced with hillsides and canyons awash in yellow, red, and green foliage; punctuated by aspen, oak, maple, and cottonwood trunks; interrupted by deadfall; fragmented by meshes of bare branches; and all draped over topography and geology, it seemed impossible not to limp along in Porter's footsteps. 


Central Oregon. September 2021

Central Oregon. September 2021

Central Oregon. September 2021

Central Oregon. September 2021

Chuckanut Mountains, Western Washington. September 2021

Manti-La Sal National Forest, Utah (Rt. 31). October 2021

Manti-La Sal National Forest, Utah (Rt. 31). October 2021

Manti-La Sal National Forest, Utah (Rt. 31). October 2021

Maple Canyon, Utah. October 2021

Todie Canyon, Utah. October 2021

Blue Jay and yellow leaves, Hovenweep National Monument, Utah. October 2021

Juniper berries, Comb Ridge, Utah. October 2021.

References

1Eliot Porter: Photographs and Text by Eliot Porter. 1987. Published by New York Graphics Society Books, Little, Brown and Company, Boston, in association with the Amon Carter Museum. 

2Intimate Landscapes: Photographs by Eliot Porter. 1979. The Metropolitan Museum of Art, New York. E.P. Dutton. 

3Natures Chaos. 1990. By James Gleick and Eliot Porter. Viking Penguin. Penguin Books, New York. 

4Gleick, James. 1987. Chaos: Making a New Science. Penguin Books, New York.