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Desert: The Mojave and Death Valley, by Janice Emily Bowers
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The Mojave Desert occupies over 35,000 square miles. Within its boundaries thrive at least 100 species of rare plants and creatures. This photographic book captures its extraordinary blossoming desert plants, accompanied by text from botanist Emily Powers.
- Sales Rank: #205270 in Books
- Brand: Brand: Harry N. Abrams
- Published on: 1999-10-01
- Original language: English
- Number of items: 1
- Dimensions: 11.50" h x .75" w x 11.25" l,
- Binding: Hardcover
- 143 pages
- Used Book in Good Condition
Amazon.com Review
When rain finally comes to "the land of little rain," the results are spectacular. Desert washes run thick with water only to become, a few months later, a raging current of wildflowers. But even drought doesn't drain the desert of its stark beauty. In Desert, Jack Dykinga has assembled a stunning collection of photographs that shows the Mojave Desert in all its moods.
The images are truly remarkable, particularly those with the warm colors and long shadows of dusk and dawn, when more than half of the 80 photographs were taken. Mountains, rocks, and water are typical winning subjects, but wildflowers are particularly well served by Dykinga, a Pulitzer Prize-winning photographer with two other books on desert landscapes. That wildflowers should be so prominent is no surprise, since many photographs document the sensational desert bloom that followed the El Niño winter of 1997-1998.
Janice Emily Bowers, a botanist and writer, brings the desert to life with her first-person narrative of kit fox sightings, wandering boulders, and basic desert ecology. She also describes the increasing threats to the more than 100 rare plants and animals in the Mojave. Dykinga's selectivity--not one photograph shows any trace of human activities--is balanced by Bowers's portrait of a desert at risk. They succeed in their mission to make new friends for the desert and renew old ones. This elegant book is really a reminder that the Mojave and Death Valley are worth protecting, saving, and visiting. --Pete Holloran
From Library Journal
Covering large areas of Southern California and Nevada as well as portions of Arizona and Utah, the Mojave Desert (the smallest North American desert) and Death Valley remain a mystery to most Americans. This collection of large-format color photographs by Pulitzer-Prize winner Dykinga and accompanying text by nature writer/naturalist Bowers should help to demystify the area and demonstrate the stark beauty to be found there. The book's topics include mysterious moving rocks, singing sand dunes, desert flora and fauna, and the need for continued protection. Coinciding partly with an Arizona Highways traveling photography exhibition, this book is recommended for all regional and most public and academic collections. [BOMC selection.]ATim J. Markus, Evergreen State Coll. Lib., Olympia, W.
-ATim J. Markus, Evergreen State Coll. Lib., Olympia, WA
Copyright 1999 Reed Business Information, Inc.
Review
Janice Emily Bowers's text is a heartfelt, closely observed testimonial to the desert's unexpected beauties. -- The New York Times Book Review, Scott Veale
Most helpful customer reviews
16 of 17 people found the following review helpful.
A mastefterful work by one of the world's best photographers
By Ellis D Vener
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.
1 of 1 people found the following review helpful.
The book contains at least seven great images.
By Tom Brody
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.
POSTSCRIPT. I posted this review in 2008. But it was not until a few years later, that I actually had an opportunity to explore the deserts of southern California (the topic of this book). During the years 2012 and 2013, I made 7 trips to Death Valley, 18 trips to Joshua Tree National Park, 4 visits to Anza Borrego State Park, 2 visits to Red Rock Canyon State Park, 1 visit to Coachella Preserve, and 1 visit to Kelso Dunes. At Death Valley, I spent most of my time exploring the Mesquite Dunes dune field. At Joshua Tree National Park, I spent most of my time searching for and finding boulders having unusual shapes. All of these boulders were about 15-20 feet tall, and in the shape of perfect Valentine's hearts, perfect spheres, obelisks, and large sausages the size of a schoolbus. But it was not until I made my first few trips to Mesquite Dunes, that I realized that my life had changed forever. Unfortunately, I have acquired a perspect that enables me to see Mr. Dykinga's photographs in a different light. Aside from the photographs of the flowers, I have discovered that I am now under the impression that the photographs in this book are not very good (sob, sob, sob). Mr. Dykinga did not in any way exploit the magical images of the Mesquite Dunes that can be captured in the time frame between 7 am and 9 am, and between 4 pm and 5 pm. To quote from Susan Sontag's book, it is the case that Mesquite Dunes are truly "photogenic." Ms. Sontag's definition of "photogenic" is that the photograph actually looks better than the real subject. That is the quality of Mesquite Dunes, in the early hours, and in the late hours. Also Mr. Dynkinga really did not attempt any portraits at Joshua Tree National Park. What is missing, for example, is that astonishing sphere that is perched at the top of a cliff, in JUMBO ROCKS area. This sphere can be seen from the southern trailhead of the SKULL ROCK tail. Also missing, is the 15-foot perfect Valentine's hearts that can be found a ten minute stroll to the east, from WHITE TANK area. If you situate yourself at the northeastern corner of the WHITE TANK area, and then walk directly towards the radar station, you will find the Valentine's heart. Another Valentine's heart is situated on top of a cliff in the middle of WHITE TANK area. It is so perfect in shape, that you will be shocked. Yet another Valentine's heart is located 500 paces to the north of the OYSTER BAR parking lot area. A perfect face of a man can be found in a cliff inside of HIDDEN VALLEY. The face can best be seen very early in the morning. To find it, go in the main entrance to HIDDEN VALLEY, and once you are in the "valley" (it is really an area surround by a circular mountain), look to the east and look up. A collection of inspiring obelisks can be found across the street from the WHITE OAK area. Just drive your automobile for about one minute northwards from the WHITE OAK area, and then park by the road at the turnout. Look to the east. You will see a tall obelisk looking like an upside-down ice cream cone. Then walk to the ice cream cone. Once up the hill, you will discover that the ice cream cone is surrounded by a dozen very photogenic obelisks. For reasons unknown, the boulders that I now describe from Joshua Tree National Park have never been published in a photo book. Actually, the sphere on top of the cliff, and also the face in Hidden Valley, have been published, but none of the Valentine's hearts have been published.
9 of 10 people found the following review helpful.
Dry, but not Arid
By Conrad J. Obregon
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.
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