The complete index
Galleries
Every photograph lives in more than one collection. A frame made in Grand Teton belongs to the park, to the mountains, and to winter all at once — so browse whichever way you think.
18 collections · 227 photographs
Places
Collections built around a single landscape — the parks, deserts, islands, and countries I keep going back to.
National Parks
I spent several years living in southern Utah, close enough to Zion, Bryce, and the Grand Canyon that a free Saturday meant a trailhead. That's a lucky thing, and it taught me that famous overlooks are often just the front door. The parks keep their better secrets a little further in — a side canyon, a lone tree, twenty minutes after everyone else has turned back.
81 photographs
Desert Southwest
I moved to southern Utah looking for my next adventure in a new ecosystem, and came away a full-blooded desert rat. It's a landscape that rewards patience and persistence — you have to commit before it lets you in. Once you do, it's everywhere: ferns seeping out of a slot canyon wall, a hundred million years of sediment stacked up and color-coded, bands of wild horses constantly on the move. More life than the word barren has any business implying.
69 photographs
Yellowstone & Grand Teton
Most of my time in Yellowstone and Grand Teton has been spent sitting still — in the Hayden and Lamar valleys, or out on the plains under the Tetons, watching the herds move and the predators work the edges. These are the most dynamic parks we have, and the tradeoff is that nothing here repeats. The basin you photographed last spring has rearranged itself. The elk herd whose movement patterns you thought you had dialed in is completely different this season.
27 photographs
Scottish Highlands
I got the coming-home feeling in Scotland, which was strange, since I'd never been. It landed somewhere on the road into the Trossachs and never really left. The rain helped. It comes in sideways, clears for ten minutes, and closes again — and in those ten minutes the whole country lights up like it's showing off.
19 photographs
Japan
I loved Japan from a distance for most of my life before I ever went, which is usually a good way to ruin a place. It didn't. The whole trip stayed surreal start to finish, and I still catch myself recollecting it at odd hours. Not the sights so much as the feeling of them, the particular way a crowded street moves, the customs, the quiet harmony.
30 photographs
Hawaii
There's so much packed into these islands that a single day can feel unreasonable. Mountain fog before breakfast, jungle by mid-morning, an afternoon on the reef with manta rays going past and whales somewhere further out, and a volcano a few islands over still building new land. Epic beaches at both ends of it.
21 photographsSubjects
What is in front of the lens, wherever it was found.
Wildlife
Standing in an Alaskan river while thousand-pound grizzlies fish around you does a lot to clarify what you're doing out there. Wildlife is the least cooperative subject I photograph and the one I keep going back to. Every encounter asks something different, and you don't get to find out what until it's already happening.
35 photographs
Mountains
I was raised in the Midwest, where the foothills of the Appalachian Mountains meet the plains. Our mountains are craggy, heavily wooded, and largely unassuming. I didn't understand what I'd been missing until I moved to northern Utah and had real mountains outside the window. They dominate the skyline, they build the weather, decide where the water goes, and everything below learns to live around that.
26 photographs
Trees & Forests
I'm always looking for the old ones — the gnarled, the stately, the trees that have clearly been through something. A tree that's stood in one place for a thousand years has a story to tell, and you can read a lot of it in the bark and the twist of the limbs. I practice bonsai at home for the same reason, in miniature: there's something in the shape of an old tree that I can't stop paying attention to.
25 photographs
Waterfalls
Waterfalls have always attracted our attention. They're a full-sensory experience with their hypnotic sights and sounds. I've stood under 400-foot ribbons so thin they never touch rock on the way down, and next to cascades loud enough that you feel them before you hear them. They engage all our senses at once, from the cool mist on skin to the earthy smell of wet moss and the musical roar of the drop.
20 photographs
Paths & Roads
Every photo I take, I'm thinking about where the viewer's eye lands first and where it goes from there — what pulls them in, what walks them through, whether the photo lets them go afterward or holds onto them a little longer. A road or a path solves that cleanly. It gives the eye a job.
13 photographs
Castles
A knight on a quest — I built castles out of couch cushions as a boy, letting my imagination run. Standing at an actual one changes what you notice: the hill it's built on, why the lake or the cove is positioned exactly there, how much of what looks decorative was actually strategically essential in a fight. It's the fastest way I know to feel a few centuries away from yourself.
12 photographsSeason
The two times of year worth planning a whole trip around.
Winter
Winter photography is mostly just work. Not much daylight to use, the cold gets into the gear like it gets into you, and getting out of a warm bed for it takes real negotiation with yourself. I've never even lived anywhere with serious, reliable snow — every shot here meant going and finding some.
14 photographs
Autumn Splendor
Fall is my favorite season, both for its explosion of vibrant colors and its fleeting, ethereal nature. Maple and sumac going red and orange, cypress turning copper, cottonwoods lighting up the riverbanks, whole mountainsides of aspen going gold at once. Nothing else on the calendar moves me to get up early like this does.
24 photographsWays of Seeing
Not what I photographed but how I chose to look at it — take the colour out, shoot the reflection instead of the thing, move in until scale disappears, or go wide because one frame could not hold it.
Black & White
I started on Kodak T-Max 400, hand-developing negatives in a darkroom, and whatever I've learned about composition mostly traces back to that — when color isn't available to save a bad frame, you find out fast whether the frame actually works. Each frame meant slowing down and checking every detail.
31 photographs
Reflections
There's something about a reflection that gets past the analytical part of your brain — a mirrored lake stops reading as water and starts reading as a door to somewhere else, a different dimension folded in right next to this one. We've probably all been susceptible to that since we first saw our own face in a pond.
19 photographs
Textures & Abstracts
Textures and patterns have always attracted my attention and fascinated me — there's a version of interesting art that tells you exactly what you're looking at, and a better version that leaves you to work it out. Cracked, dried earth. Cerulean waves foaming over themselves. Rock swirled and petrified long before anyone was around to watch it happen. A colony of moss working its way across a sandstone boulder.
37 photographs
Panoramic
Panoramic is the format I actually live with — it's what's hanging over my desk, so most days it's the thing I see a hundred times a day when looking up from my screen. A quick glance up and I'm back in a fall forest in Colorado, or a saguaro sunset, or some island I haven't been back to in years. No other format does that as convincingly.
19 photographs