Road Trips – Page 41 – On the road with Jim

Swilling Cabin Window Picture of the Week

This week’s story has all the ingredients of a great Hollywood Western movie: plantations, young love, war, drugs and alcohol, heartbreak, gold, bright futures, despair, stage robbery, friendship, false accusations, and tragic death. I don’t know how to tell it all in 500 words and still explain my weekly photograph in the third paragraph. I’ve found several books and articles about Jack Swilling, but there haven’t been any films. That’s a shame because I can visualize it like the Steve McQueen movie Tom Horn.

Every school kid in Phoenix knows how Jack Swilling—or one of his friends and crew, Phillip Duppa—tossed out the mythical bird’s name for the small town they were developing. Swilling filed a land claim around present-day 32nd Street and Van Buren Road for the rest of you. He wanted to grow hay to sell to the cavalry at Fort McDowell, so he copied the Hohokam method of using Salt River water for the fields by digging new canals to his property. The visionary Swilling (I suggest casting a 20-year-old Jeff Bridges) played an essential role in the layout and alignment of the new town. A couple of years later, he lost interest when the council—or whoever decided those things—moved downtown three miles west to its present site. Jack threw his hand up in disgust, and he and his wife, Trinidad (my casting idea would be a 17-year-old Natalie Wood), moved to Gillett—a mining ghost town three miles south of Black Canyon City.

In Gillett, they built a cabin along the stage route and provided travelers and horses food, water, and rest. It helped to supplement his paltry mining income. His health was failing from his old head and bullet wounds he got as a younger man. He took morphine and drank whiskey to counter the constant pain, but now the drinking got worse. When he got word that Colonel Jacob Snively—his old Indian war buddy—was killed near Wickenburg by Apaches, Trinidad encouraged him to retrieve the body and give Jacob a proper burial. Jack enlisted the help of a couple of neighbors and rode out to recover his friend. During that same three-day period, a stagecoach was robbed—also in Wickenburg—and the robbers murdered everyone on board. After Jack returned and buried his friend, he was at the bar when he heard about the stagecoach massacre. Jack cracked a joke about how robbing the stage is the only way to make big money these days, and the vague description of the robbers could include his retrieval party. They were arrested on the spot and shipped off to Prescott for trial. Since the Feds had charged him, too, the territorial government dropped their complaints to save money. The marshalls transferred Swilling to the Yuma prison, where his health took a turn for the worst, and he died before his trial. Shortly after his death, the law identified and caught the real robbers. Jack was already buried in the Yuma Prison cemetery before they notified Trinidad of his death.

When I decided that October’s subject would be Black Canyon City, I did my research, and there, I discovered the cabin ruins were in town. I wanted to photograph them, but they’re not on a map. That’s because they’re on private property and not open to the public. I stopped and talked to the tourist info people, who gave me directions to the house. When I drove to the residence, the owner came out and chatted with me. When her parents built her home, they bought adjoining lots to keep the stacked stone cabin intact. Black Canyon City doesn’t protect historic sites like other cities, so they took that task upon themselves. She permitted me to roam the property and to photograph the cabin with two caveats: don’t lean on the walls—they’re fragile and will quickly crumble, and don’t take any of the artifacts she has on display. A very reasonable request, I’d say.

Of the shots I took, I liked this variation best because of the window and the light filtering through the mesquite trees. Jack’s one-room cabin may not seem like the palace that the Father of Phoenix (and Mother) should have lived in, but examining the rock work made my sciatica nerve go off. It’s on a quiet cul-de-sac surrounded by modern homes near the Agua Fria River. I stood for a while and listened to the breeze blowing through the tree canopy, and I could see how it might have been to live there a century and a half ago.

You can see a larger version of Swilling Cabin Window on its Web Page by clicking here. I hope you enjoy viewing this week’s post and return next week when we show another featured image from Black Canyon City. “Oh!” you say. “But Grandpa, what about the rest of the story—where are the parts about the plantation, the Mexican-American War, the Confederate Lieutenant, Peeples Valley, Rich Hill, et al.” Well, you’ll have to wait for the movie or pick up a book.

Until next time — jw

Saguaro Grove Picture of the Week

When I was roaming around Black Canyon City a couple of weeks ago, I was on a street with homes along the right side and open land on the other. On the hillside was a dense stand of saguaro growing, and I knew I wanted to capture their image, but the field had a barbed wire fence. As I drove further down the street, I found an open spot. A gravel road led onto the property, so I parked the truck and got out for a closer look.

I’m usually cautious about trespassing, so I always look for Keep Out signs. After all, this is Arizona, and I’m allergic to bullets. I saw no postings nearby, but a sign was down the road. It read, “Agua Fria National Monument.” I thought, “There’s a national monument? Here, this close to Phoenix? Why don’t I know about this?” All the open areas from Black Canyon City to Cordes Lakes and east of Interstate 17 were given monument status in 2000 because the Agua Fria River is a treasure of ancient dwellings, petroglyphs, and artifacts. There are no freeway signs, visitor centers, or entrance fees. There is a hiking trail that runs its length, and you can walk, bike, or ride horseback. Bloody Basin Road cuts through the monument; from it, you can access a couple of rugged jeep trails. So, I’ve already mentally filed it away as a future project.

Meanwhile, back at Black Canyon City …

Saguaro grows exceptionally well on well-drained south-facing slopes, so when you see a grove like this, you can tell the compass direction—like moss on the north side of trees. The overhead clouds are remnants of Hurricane Rosa, which dumped enough rain to plump up these giant cacti. They look like my uncle making his way to the couch after Thanksgiving dinner. I could have titled the image with a snarky name, but I didn’t. It’s merely titled Saguaro Grove.

~~You can see a larger version of Saguaro Grove on its Web Page by clicking here.~~ I hope you enjoy viewing this week’s post and return next week when we show another featured image from Black Canyon City.

Until next time — jw

Perry Mesa Needle Picture of the Week

Phoenix only has two interstates that will get you the hell out of Dodge; Interstate 10 which either takes you west to California or east to everywhere else, and Interstate 17 going north. Driving I-10 in either direction always seems like a dreary, endless drive through the desert, while I associate I-17 with good times, like playing in the snow or—during summer—just escaping the heat. I think it’s because of all the different climate zones it goes through, like the desert, grasslands, riparian, and alpine forests.

The first change that you come to when heading north is the grade at Black Canyon City. It’s an abrupt transition from the Sonoran Desert to riparian grassland—saguaros are at the bottom, and they’re not at the top. It freezes more often at higher elevations, and the giant cacti can’t tolerate it. Black Canyon City is distinguished by being the northern edge of the Sonoran Desert; I know that because it says so on their welcome sign.

Most Phoenicians consider Black Canyon City a suburb populated with free-spirited residents. It’s the bottleneck on the highway where heavily ladened trucks insist on passing one another up the steep grade, or traffic is backed up to Prescott because a crash closed the freeway and there’s no other way around. During heavy rain, the community makes the news because the Agua Fria River floods and people get trapped in their homes or cars. If you do stop in town, it’s to get a slice of pie at its famous restaurant. I wouldn’t be surprised if most Phoenicians didn’t know Black Canyon was in a different county—Yavapai. I know that I didn’t, and that’s why I chose Black Canyon City as my place to look for October’s art.

I saw the subject of this week’s photo as I was driving around town. I-17 divides Black Canyon City in two. The business district is on the freeway’s west side while on the east is mostly residential and a few light industries. The needle can be seen on the east side but not from the interstate. That’s why I didn’t know it was there. It’s like a smaller version of Weaver’s Needle in the Superstitions, but as much as I searched, I couldn’t find its name. There was nothing on my topographic maps, highway maps, the Gazetteer or the city’s website. I saw this neat YouTube drone video, but it doesn’t list a name either. It’s on the southwest corner of Perry Mesa (sounds like an excellent name for a lawyer, doesn’t it?) where Squaw Creek runs into the Agua Fria River, so I used that moniker for the photo’s name—Perry Mesa Needle.

In this image, I like the way the low clouds and their shadow frame the subject. The grove of saguaro midway up adds scale to the outcrop. Finally, the recent rains cleared the air and gave me a deep blue sky making the puffy white clouds seem to pop in 3D. As was the case with the Jerome Hollyhocks a couple of months ago, if you know this needle’s name, please email me.

You can see a larger version of Perry Mesa Needle on its Web Page by clicking here. I hope you enjoy viewing this week’s post and come back next week when we’ll feature more from Black Canyon City.

Until next time — jw

Vortex Picture of the Week

Have you ever been to a place, but you didn’t know you were there until you went away? I know that sounds like a Yogi Berra-ism, but it will make perfect sense once I explain. Most of the time when I’m out shooting, I have to come back to the office and scour maps to name the landmarks that are in my pictures—and you thought I was a human geography book. That’s the story behind this week’s featured image that I call Vortex.

For Sedona month, I wanted to get images of the red rocks that aren’t on every calendar that you’ve owned, so I scouted and explored a couple of trails that were off the beaten path. One of them was the Boynton Pass Overlook Trail, and I took the Climbers photo featured three weeks ago from the same place. Back at the office, I searched Google Maps to see if the pinnacle they were scaling had a name. It didn’t (Wrong. According to the site in the following link, its name is Kachina Woman – jw), but—according to the map—I was standing on (or near) the Boynton Pass Vortex. When it comes to those kinds of metaphysical things, I must admit that I’m a skeptic, so I wasn’t searching for a vortex. I was after the view. It’s interesting that there isn’t a marker to show it’s there and I didn’t come away enlightened. I did, however, get two photos from one spot, so maybe …

This smaller turret and the much taller tower as seen in Climbers flank each end of the overlook saddle. Since they’re on opposite ends, if you look at one, you have to turn around to see the other. I liked the shape of this little guy—it kind of looks like an inverted tornado. I don’t know what a vortex looks like, so maybe this is one.

Another thing that appeals to me is the plants. Within the frame, are all the varietals that make up the Sedona chaparral: juniper, sage, prickly pear, agave, and some others that I can’t identify by name. I’d like to think that this shot is a miniature Sedona model—a stack of red sandstone and the plants thriving there. If I had a stag deer majestically posing in the photo, it would have been perfect—or maybe have it spinning through the air like the cows in the movie Twister.

You can see a larger version of Vortex on its Web Page by clicking here. I hope you enjoy viewing this week’s post and come back next week when we’ll start another month in a new site.

Until next time — jw

Well Turned Ankle Utah Photo Shoot

The suffering that I must go through to please you people. As I sit here on the couch and looking at my right leg propped up by a pillow, I see that my ankle is thicker than my calf muscle. I had a friend in high school—a girl—who’s legs looked like this. She always lamented that they installed her legs upside-down. That’s how my right leg looks now.

I managed to injure my ankle by twisting it on the hike back from Coyote Gulch in Utah. My pain worse because I didn’t get the shot I wanted. I was this … close. I allowed four hours to trek out, get a shot, and then hike back before the sun went down. The two-mile trail alternated between fine red-powder sand and slick rock which I preferred because I made better time while I walked it. As I neared the canyon, I was concerned because I couldn’t see it. It’s the same as Horseshoe Bend on the Colorado River, so you have to walk to the edge to look into the chasm. The photo shows just how close I got and when I took it, I was not on the trail. What you can’t see in the picture is that beyond the cairn the trail descends like walking down a ball. To get back up, I would have needed to crawl on my hands and knees. Incidentally, that’s a very narrow ridge to be carrying a camera pack and tripod, so yes, I was a-scared. (BTW—here’s a link to what’s down there. It’s copyrighted so I can’t post it, but I can send you for a look.)

The Top of Hamblin Arch-This is how close I got to my subject. You’re looking at the top of Hamblin Arch, like looking at an elephant’s trunk from its brow. The cairn on the ridge marks the real trail. Behind the cairn, you can make out the arch underside.

I twisted my ankle a third of the way back, and it’s the third time I’ve injured the same ankle. Each time I was carrying a load and my foot rolled-over 90º so that my entire weight was on that pointy ankle bone. Like the other times, I didn’t have a choice but to keep walking and the two-mile trail turned into four miles, then six. I became concerned that I wouldn’t be able to get back to the truck before dark. I began having thoughts about my demise. I wondered if I’d have to eat the dead, except I was alone. I questioned when my camera and tripod would become so much of a burden that I’d discard them along the trail. In case you’re worried, I didn’t die. I got to the truck at sunset and spent the night alone under the stars. I drove back to town the next morning and called my caring wife to tell her I had to come home early—she would need time to get rid of her boyfriends—the Chippendale Dancers.

I think that after the first injury, my ankle is susceptible to re-injury. I wear good hiking boots, and because of their high tops, they have more support. With all the walking, hiking, and biking I’ve done in the past couple of years, I thought my ankle would be stronger. If I want to get back out there and get those out-of-the-way shots, I’m going to have to do strength training exercises and tape my foot up before a hike.

Instead—I’m buying a drone. The one I’ve settled on has a four-kilometer range, and I could fly it out there and get my shots from the parking lot. I’ve pondered how to get more height in my photos anyway, and a drone is a perfect answer. A drone is a medical necessity—no less than an Iron Lung. The challenge I have is that I want a quality camera equal to my current gear. That camera is $21K, and lenses start at $10K. A drone stout enough to fly it is another $7K, and the controller is another couple of grand. Sure, fifty-thousand dollars sounds like a lot of money, but that’s the cost of an emergency room visit and a couple of nights in intensive care. I wonder if my health insurance will cover it if my doctor writes a prescription.

Until next time—jw

North Side Capitol Butte Picture of the Week

Seeing a photograph isn’t predictable. Sometimes you find a subject and wait for the light to be right as I did for the image Capitol Butte from a couple of weeks ago. Ansel Adams was notoriously patient about doing this. Sometimes he’d wait hours or days for the light to come in. Sometimes you see an image as you’re walking a trail and you drop to your knees to capture it. That’s what happened when I shot last week’s featured image Prickly Juniper. Sometimes a subject will show up through the car window and you’ll have to jump out of the car and grab it. That’s the story behind Ansel Adam’s masterpiece Moonrise over Hernandez. He saw the image forming through the windshield, stopped his car to set-up his view camera and had to calculate the exposure without a light meter. I’m not comparing the two photographs, but that’s also the story of this week’s featured image that I call North Side Capitol Butte—except for the light meter part.

I was driving into town from the hiking trail and I was paying attention at the light on Capitol Butte. While I was driving, I saw the butte framed between two trees, so I stopped the car and got out and moved in for the kill. This framing technique was very popular in the Hudson River School style of painting. The center subject is lit between two darker shapes to keep your eye from wandering off the canvas. The technique fell out of favor as the Impressionist began to gain popularity. Just because something’s no longer popular, there isn’t any reason you can’t drag it out of the closet now and then.

You can see a larger version of North Side Capitol Butte on its Web Page by clicking here. I hope you enjoy viewing this week’s post and come back next week when we’ll present the last image from Sedona Month.

Until next time — jw

Prickly Juniper Picture of the Week

In a place like Sedona, with its canyons and red-rock buttes, it’s easy to get overwhelmed by abundant beauty. I can imagine a project where I simply recorded a catalog of the natural formations along Oak Creek, but that would make for a boring story. A good story changes pace and adds contrast. That’s why, as I scurry about hither and yon at a new site, I keep my eyes open for interesting things below my nose.

This week’s featured image—called Prickly Juniper—is an example of looking for intimate subjects amidst spectacular scenery. I saw this prickly pear along the trail that I wrote about last week. If it were on its own, I probably would have ignored it, but it nestled under the bare branches of a dead juniper tree and together they caught my attention. I liked the light against the dark, the living against the dead, and the prickly pear’s circular pads against the tree’s linear branches. The late afternoon sun was showing off the tree’s texture and the cactus’ lethal thorns. I took a couple of variations of this image and I felt this version was the best.

You can see a larger version of Prickly Juniper on its Web Page by clicking here. I hope you enjoy viewing this week’s post and come back next week when we’ll present another featured image from Sedona.

Until next time — jw