Fairyland Point, Bryce Canyon National Park, Utah

Some places have names that sound as though the tourism department worked a little too hard.

Fairyland Point is not one of them.

Standing at the northern end of Bryce Canyon National Park, itis hard to find a better word for what spreads out below. The landscape looks less like something carved by ordinary erosion than something imagined—ranks of hoodoos, towers, fins and broken walls in shades of cream, gold, orange and red.

And then there is the scale.

A photograph can show the formations, but it struggles to convey just how much country is out there. In the foreground, individual pinnacles rise from the slopes. Beyond them are ridges and valleys, then still more ridges fading toward the horizon. What first looks like a collection of unusual rocks turns out to be an entire landscape built from them.

Fairyland Point sits a little apart from the busier overlooks along Bryce Canyon’s main scenic drive. That seems appropriate. The view feels less like looking into a single amphitheater and more like looking across a vast piece of southern Utah.

The hoodoos are the stars, of course, but they are only part of the picture. Dark green pines cling to slopes and ledges that seem barely able to hold them. Farther away, the colors soften into muted bands beneath a huge western sky.

On the day this photograph was taken, the clouds added another layer. Sunlight broke through in places while other parts of the landscape remained in shadow. That constantly changing light is part of what makes Bryce so difficult to photograph—and so hard to stop photographing.

Geologists can explain what happened here: layers of sediment, uplift, frost, rain, and millions of years of erosion. Water entered cracks, froze, and expanded. Softer rock disappeared faster than harder rock. Walls became fins. Fins became windows and eventually isolated spires.

All perfectly reasonable.

Then you stand at Fairyland Point and look at the result.

“Reasonable” isn’t the first word that comes to mind.

Fairyland will do.

Photo: October 5, 2015


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Flag at Alpine Visitor Center, Rocky Mountain National Park

September 2, 2009

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What’s Hitler Got?

The Big Question this Spring - What's Hitler Got?

The Big Question this Spring – What’s Hitler Got?1

This illustration is a famous American political cartoon created by illustrator Robert Malone.

The illustration was published in April 1939 in the anti-fascist literary and political magazine Ken. It captured the deep geopolitical anxiety of the Western world during the spring leading up to the outbreak of World War II, as European powers and the public watched Germany’s rapid territorial expansion and wondered what Adolf Hitler’s next aggressive military move would be.

Read more at The Hard Years.


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Into darkness

Black Sunday: The Day the Great Plains DisappearedOn April 14, 1935, a beautiful spring afternoon turned into midnight.

An enormous wall of dust swept across the Great Plains, swallowing entire communities and plunging thousands of Americans into darkness. History would remember it as Black Sunday.

But the disaster had begun long before that afternoon. Just three days earlier, an Arkansas newspaper was reporting that families were abandoning their farms, livestock were dying, and dust from the western plains was settling over Fort Smith.

And the worst was yet to come.

The story of Black Sunday is about much more than a spectacular dust storm. It’s about what happens when drought, economic desperation, and human decisions collide.

Read: Black Sunday: The Day the Great Plains Disappeared


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My God! It’s Carl Mydans!

Internees Arriving in Santo Tomás, 1942Internees Arriving in Santo Tomás, 1942

Carl Mydans had photographed some of the hardest years of the Depression for the Farm Security Administration before becoming a LIFE magazine photographer.

Then the photographer became part of the story.

Captured by the Japanese in Manila in 1942, Mydans and his wife, Shelley, spent more than a year in civilian internment camps before being released in a prisoner exchange.

In February 1945, Mydans returned to Manila with the advancing American forces. He went back through the gates of Santo Tomás—the camp where he had once been a prisoner.

Inside, amid darkness, gunfire, confusion and thousands of desperate internees, Mydans finally identified himself.

For a moment there was silence.

Then came a woman’s voice:

“My God! It’s Carl Mydans!”

It is an extraordinary firsthand account of war, imprisonment, liberation—and a photographer suddenly finding himself inside the history he normally recorded.

Read the full story of Mydans’ return to Santo Tomás: My God! It’s Carl Mydans

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