5 comments about Desert: The Mojave and Death Valley.

1. DESERT by Jack Dykinga is published by Harry Abrams, Inc., a company that publishes high quality art books and not, for example, vacation tour guide books. DESERT is 143 pages long, and contains 83 full-sized color reproductions. Dykinga uses a 4X5 camera, resulting in a higher quality image.
   
   Many of the images are merely of flowers or of pretty scenes. Here, there is no attempt to produce a photograph of artistic merit. However, this slight shortcoming is overwhelmed by a number of novel and creative photographs.
   
   For example, JOSHUA TREE AT DAWN AFTER SPRING SNOW discloses a dark cloudy sky, tinged with purple, a shadowy snow-covered desert, and a grove of snow-covered Joshua trees--all cloaked with pre-dawn shadows. It is difficult to tear one's eyes away from this photograph.
   
   DAWN ON THE PANAMINT MOUNTAINS and CRYSTALLIZED SALT FORMATIONS are two photographs that continue with the artist's experiments (successful experiments) with pre-dawn photography of the white desert. Here, the whiteness is not from snow, but from white salt.
   
   Jack Dykinga has also focused his attention on cracked lakebeds (dried mud). CRACKED CLAY AND THE MESQUITE FLAT reveals a fascinating heart shape in a patio-like area of cracked sand. The cracked mud area abuts a region of desert that is soft sand.
   
   Another fine shot, MESQUITE FLAT SAND DUNES AT SUNRISE, features a patio-like area of cracked sand, each pentangle of cracked mud is covered with warty clumps of earth. An open area in the middle of the cracked mud patio contains an open area in the shape of a diamond. At the center of the diamond-shaped open area is a small growing bush. The diamond-shaped area with the little round bush resembles an eye.
   
   RACETRACK AT SUNRISE and RACETRACK AT SUNSET are fascinating images--the most unusual in this book. Each shows millions of tiny pentangles of cracked mud, stretching off into the distance. In the foreground are a couple of flattened areas resembling thick ruler-lines. The flattened areas were produced by small boulders, somehow propelled over the mud by the wind. At one end of each ruler-line one finds a boulder.
   
   Again, if one is able to tolerate the abundance of conventional "pretty" scenes of flowers and sunsets, one should purchase this book, if only to view the seven great photographs discussed in this review.
   
   Mr.Dykinga's skill as an artist is further demonstrated by his book, STONE CANYONS OF THE COLORADO PLATEAU, also published by Harry Abrams, Inc. STONE CANYONS is especially distinguished by its focus on a park called, Vermilion Cliffs (Paria Canyon, The Wave, Coyote Buttes), a park that is rarely the subject of published photographs. STONE CANYONS also uses the style of depicting scenes just before sunset (or just after sunrise), when all but a thin line of the horizon is steeped in shadow. Stand aside, David Muench, here comes Jack Dykinga.



2. As I went through this book, I kept asking myself, am I looking at the dessert or am I looking at the landscape photographs of Jack Dykinga? I've been to the Mojave and to Death Valley and I don't remember them looking so beautiful.
   
   Dykinga's style reminded me of the work of Eliot Porter, with modern film stock. Most of his pictures have the same subtle quality, created by the use of analogous colors, that is, colors near each other on the color wheel, and varying only by tint or small changes in hue. A Dykinga picture almost always has one dominant hue like brown or tan or blue, and the hue rarely feels intense, even if it's a field of California Poppies.
   
   It's obvious that Dykinga's work utilizes a large format camera. Everything is in sharp focus from foreground to distant mountains, thanks to small apertures and the ability to twist the light through his camera. This means that the picture is not going to immediately draw your attention to one aspect of the scene by controlled focus. More likely, the viewer will have to work his way through the picture, discovering things along the way.
   
   The layout of the book seems to be well considered. Quite often two plates with similar subject matter will face each other and there is a synergistic effect from the comparison. For example, I delighted in examining two facing pictures of desert sunflowers. In both cases the yellow orange flowers have a hilly background, but one group of flowers is pushing up through dried-out, cracked clay, while in the other picture the flowers are growing from a small body of water collected for a brief time from rainfall. The mud and the water are both magenta in color but the textures are completely different. The thoughts that arose from the juxtaposition were not only about the variety of the desert but also about the nature of color and vision.
   
   I suppose one reason that I never saw the dessert the photographer portrays is because most of the pictures were taken at the golden hours of sunrise and sunset. To have been that many places in the desert at just those times would have taken me months and months. At the very least, I can be a philistine and thank Dykinga for saving me a lot of time.
   
   As to the text in the book, my feeling is that it probably has to be included for marketing purposes. Janice Bowers' essays seemed poetic and show that she loves the desert, but like most such commentaries, they do little to illuminate the photographer's work. I suppose the essays are worth reading once. The pictures on the other hand can bear many, many viewings and add something to the sense of the place each time.
   
   I finally concluded that I was looking at the desert through Jack Dykinga's eyes when I viewed this book. I resolved to return to the actual desert again and see if I could continue to see it through his eyes.



3. This book is a beauty, some of the most beautiful photographs I have ever seen.

   I spent the first week of September in southern California this year, and on Sunday before Labor Day I drove from Los Angeles up to Death Valley. I hadn't been there since I was a child and I have to say although it is a desolate and lonely place (and 114 degrees at Furnace Creek the day I was there) it is also one of the most beautiful places I have ever seen. The sand dunes at Mesquite Flat alone are worth the trip.

   Everyone should see it, but if you can't buy the book. My copy came shrinkwrapped in plastic which I really like, the last thing you want is to buy a nice book like this in a bookstore where someone has spilled coffee on the pages.




4. There is a knock at my door and here is the UPS man delivering my order from Amazon.com. Among the books: Desert, The Mojave and Death Valley Photographs by Jack Dykinga, text by Janice Emily Bowers. I barely had time to read more than a page or two of the text before it made me want to go straight to the photos to see the place she was clearly, and intelligently writing about. And I was not disappointed: It was overwhelmed with joy of at being able to share the keeness of Mr. Dykinga's fine and perceptive photographic vision of that place. This is a more subtle body of work than the previous books based around his photographs.

   The Sonoran Desert had a similar effect on me years ago and expanded my sense of what ilandscape photography could be. Stone Canyons did not have as great of affect on me as the first book

   More than anything else, the images in this book remind me why the large format camera is such a tremendous aid to seeing something more clearly and perceptively than you can with the naked eye. even more so than a 35mm or medium format or easily portable digital gear can. Some of the photos even have a sense of humor to them and when did you last see that in a photograph of a natural landscape? The reproduction of the images appears to be first rate and the design and typography of the book match its contents in quality.

   In short there are wonderful things to be found in this book.




5. This book just shows how spectacular a desert can look with the magnificent photos around the Mojave desert and Death valley of emptiness, stark flowers and blooms and just superb landscapes. It'll give you some inspiration to find something to look for even in a desert.

   I know I will as I will be going to Ayer's Rock (Uluru) in Australia in a few months and it's also a big desert!

No comments about Angel Cat (Special Edition).

1 comments about Pet Souls: Evidence That Animals Survive Death.

1. There is excellent evidence presented (including biblical support) of the afterlife (spirits) of animals; and for those who feel that seeing the "ghosts" of pets is a subjective, emotional (wish) fulfilment, it would be hard to explain how a vet sees a ghost horse that the former owners do not,and the vet has no previous knowledge of this horse's existence; this is only one example Note: This vet is now a teacher at Purdue University

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No comments about Animal Angels: Paws to Remember.

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No comments about Life Without Copper: The Love and Loss of a Pet.