Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
July 2011, deeper into Upper Antelope — Tsé bighánílíní to the Navajo, "the place where water runs through rocks." Here the walls close overhead and the passage turns back on itself. A single patch high in the fold catches direct sun; everything else in the frame is lit only by what bounces off it. The camera is on a tripod, pointed up into the fold, gathering light over several seconds; nothing in a slot canyon moves, so the time buys detail rather than blur. There's no floor in the frame and nothing to indicate which way is down. Tripods have since been banned in the canyon.
That lit patch is the source for everything else. Light striking it scatters to the surrounding walls, and each bounce subtracts the cooler wavelengths and leaves the warmer ones — so colour here is a function of how far the light has travelled from that one point: fired orange where the sun lands directly, ochre and gold a bounce away, violet and near-grey deep in the folds where almost nothing gets through.
ChromaLuxe Metal — Dye-sublimation handles the warm-to-cool transition with unusual purity, and the absence of surface texture on aluminium suits an image where the rock reads as continuous form. White Glossy is the high-gloss white base that amplifies colour, and the most popular choice for vibrancy; White Semi-Glossy gives a soft shine with rich colour; White Matte holds colour vivid with minimal glare.
Also available in: Standard Acrylic version · TruLife Acrylic version · Gallery Metal version · Fine Art Paper version
Made to order · Allow 2–3 weeks for production and delivery · Shipping charged at cost, never marked up · Shipping & Returns
The watermark shown here protects the online image only. Your print arrives clean.
July 2011, deeper into Upper Antelope — Tsé bighánílíní to the Navajo, "the place where water runs through rocks." Here the walls close overhead and the passage turns back on itself. A single patch high in the fold catches direct sun; everything else in the frame is lit only by what bounces off it. The camera is on a tripod, pointed up into the fold, gathering light over several seconds; nothing in a slot canyon moves, so the time buys detail rather than blur. There's no floor in the frame and nothing to indicate which way is down. Tripods have since been banned in the canyon.
That lit patch is the source for everything else. Light striking it scatters to the surrounding walls, and each bounce subtracts the cooler wavelengths and leaves the warmer ones — so colour here is a function of how far the light has travelled from that one point: fired orange where the sun lands directly, ochre and gold a bounce away, violet and near-grey deep in the folds where almost nothing gets through.
ChromaLuxe Metal — Dye-sublimation handles the warm-to-cool transition with unusual purity, and the absence of surface texture on aluminium suits an image where the rock reads as continuous form. White Glossy is the high-gloss white base that amplifies colour, and the most popular choice for vibrancy; White Semi-Glossy gives a soft shine with rich colour; White Matte holds colour vivid with minimal glare.
Also available in: Standard Acrylic version · TruLife Acrylic version · Gallery Metal version · Fine Art Paper version
Made to order · Allow 2–3 weeks for production and delivery · Shipping charged at cost, never marked up · Shipping & Returns
The watermark shown here protects the online image only. Your print arrives clean.