This may be my all-time favorite photograph of Monument Valley. It is certainly my most treasured experience there. In late May...

Golden

Monument Valley Navajo Tribal Park, Utah

This may be my all-time favorite photograph of Monument Valley. It is certainly my most treasured experience there. In late May, 2006, my wife and I made the Grand Scenic Tour of Southern Utah, starting in Moab before continuing to Monument Valley, and then to the Grand Canyon. The weather was unseasonably hot, we were tent camping, and we had our two new Greyhound racing dog rescues with us. In Moab, daytime temperatures were over 100 degrees and the ambient temperature did not drop below 90 until after midnight. Days were long as we were only a few weeks before the Summer Solstice, and being eager to take advantage of the Golden Hour at both sunrise as well as sunset, we were burning the candle at both ends. We fell asleep each night about 2AM, when the temperature finally fell below 80, only to wake up at 4AM to drive to our designated location for sunrise at 5. During the day, the only way to escape the heat was to stay inside our 4Runner with the AC blasting cool air. Since the dogs were not allowed inside any of the stores or restaurants, and it was too hot to leave them in the car, our exhaustion quickly reached critical levels. To make matters worse, in an effort to cool the dogs, we waded into Mill Creek with them and let them quench their thirst, unknowingly introducing Giardia bacteria into their delicate Greyhound digestive systems. After a few exhilarating, exhausting, unbearably hot and miserable days and nights in Moab, we were scheduled to move onto Lake Powell, which we hoped would be at least a little cooler. Having planned the trip to maximize photographic opportunities, we passed through Monument Valley late in the afternoon, as I had planned to take advantage of the late afternoon "golden hour." Unfortunately, the sky was completely overcast with no sunlight getting through to the valley. Prospects seemed remote, and my wife reminded me we still had a two hour drive and had to set up our tent and campsite. I weighed the pros of setting up camp before dark against the facts (a) we were here, (b) at the right time of day, (c) the right time of the year, and (d) the dull light and seemingly completely overcast skies. I hesitated, not wanting to give up too soon, but also not wanting to leave without getting at least something on my first trip to the archetypical photographic location in the American West. Then I noticed a slight gap in the clouds, just above the western horizon--hope! If the sun hits that gap, there could be a moment or two of really great light. I set up my tripod, got the camera unfolded, mounted the lens, screwed in the cable release, and found a composition in the dull light. The only thing left to do was...wait. As I waited, I checked my film holder case, and discovered I had only one double-sided film holder unexposed. Without realizing it, in the heat and exhaustion of working early mornings to late evenings in Moab, and with precious little sleep, I had exposed all of my film except for two sheets. What to do? Did I have time to unload and load more film using the changing bag? No, if I went back to the car and buried my arms in the changing bag, I might miss the slim opportunity to get the shot. So, this was it. I had to get the shot with only two opportunities. I waited another 10 minutes, then the sun finally began to peek out from the edge of the massive storm cloud. I could see the light starting on the midground, see it slowly expanding its coverage, slowly getting warmer and stronger. When should I expose my first sheet? I didn't want to miss the peak of the light, but I also did not want it to start fading out before I exposed my first sheet. Finally, my heart pounding, I thought "okay, it might get better, but this is good." I exposed my first sheet, replaced the dark slide, removed and flipped the film holder for my second and last exposure. The light kept getting warmer, stronger and more intense--truly golden light trapped beneath the massive storm cloud that masked the blue reflected light of the sky above. When I couldn't believe the light could possibly get any more golden, I exposed my last sheet of film. Within a minute, the light faded back to the dull light of overcast. We had been waiting for two hours, we still had a long drive and work to do to set up camp, and I was exhausted. And ecstatic.

Photo © copyright by Michael Lynn Roberts.

Ultimate Quality Satin Finish Canvas Print

Golden print

These Giclee canvas prints are like nothing you have seen. They are created with 8 color OIL BASED PIGMENT INKS on the finest canvas using custom tone curves. You will be blown away by the oil like original quality of these Ultimate Quality Satin Finish Canvas Prints. These prints have incredible photographic resolution, clarity, vibrancy and Dmax, producing amazing photographic image quality. Ultimate Quality Satin Finish Canvas Prints are waterproof and don't crack like water based canvas.

Characteristics:

VIBRANT COLORS

OIL PAINTING QUALITIES

RICH DEEP BLACKS

These are Gallery-Wrapped, UV-protected canvas prints, unframed, and ready-to-hang. For details, see this page.

If needed, custom sizes also can be provided. Contact Michael if you need a custom size.

Please allow 21 business days for printing, finishing, and delivery.

Select a print size:

Lumachrome TruLife Ultimate Acrylic Print

Golden print

LUMACHROME TruLife Acrylic: The ULTIMATE in acrylic fine art prints.

Lumachrome luxury fine art prints face-mounted to TruLife Acrylic exceed the limitations of traditional printing processes. Lumachrome prints allow 3D-like details to emerge from the depths of the image. The transparency layer is infused with iridium particles and encapsulated between the TruLife Acrylic and the white poly surface base layer.

Qualities include: • Brilliant Colors Lasting Over 120Yrs • Superior Color Gamut vs Traditional Fujiflex Prints • Incredible 3D Depth and Dimensionality • Unsurpassed Detail and Ability to Hold Highlights • Superior Shadow Luminosity and Detail • Radiant Glowing Response Under Art Lighting

These are face-mounted, UV-protected acrylic prints, frameless, and ready-to-hang. For details, see this page.

If needed, custom sizes also can be provided. Contact Michael if you need a custom size.

Please allow 21 business days for printing, finishing, and delivery.

Select a print size:

Prints are delivered by FedEx and should arrive within 3-4 weeks or sooner. I will email you the tracking link once the print(s) have shipped out.