www. a r i z o n a h i g h w a y s . c o m 1
The Parsons Trail: A Religious
Experience in Sycamore Canyon
Rosie Larsen: Yes, She’s Still Alive
Intrigue on the Drive to Chavez Pass
Sonoita for Fried Chicken? Do It!
THE PHOTOGRAPHY ISSUE
E SC A P E . EX P LOR E . EX P E R I ENCE
FEATURING: Our 2010 Photo Contest Winners • The Iconic Work of Jay Dusard
Something Very Special From Our Vault (We Really Do Have a Vault) • And More!
Photo montage by Jay Dusard.
See pages 9 & 18
◗ Windy Hill Cove, Theodore Roosevelt Lake,
Tonto National Forest. | DEREK VON BRIESEN
FRONT COVER Weaver Mountains From Canyon
de Chelly is actually a composite of two imag-es,
with the mountains near Prescott super-imposed
upon the canyon in Northern
Arizona. | JAY DUSARD
BACK COVER Fall-colored Arizona sycamore
leaves at Virgus Canyon. | JACK DYKINGA
Canyon de Chelly
• POINTS OF INTEREST IN THIS ISSUE
Prints of some photographs in this
issue are available for purchase. To
view options, visit www.arizonahigh
waysprints.com. For more information,
2 EDITOR’S LETTER
LETTERS TO THE EDITOR
5 THE JOURNAL
People, places and things from around the state,
including the spirited owner of Rosie’s Den near King-man,
the resurgence of the river otter, and a great
answer to the question: Why would I drive to Sonoita
for a piece of fried chicken?
Ansel Adams was famous for his black-and-white
photography, but he also did some amazing work in
color. Like his former instructor, Jay Dusard is multi-talented,
too. Although he’s best known for his cowboy
portraits, his first love is landscape photography, and
it shows — especially in his shots of Canyon de Chelly.
PHOTOGRAPHS BY JAY DUSARD
As co-founder (with Ansel Adams) of the world-renowned
Center for Creative Photography in Tucson,
John P. Schaefer is an authority on the subject. He’s not
just a curator, though. The man can shoot, especially
cactuses. “I started photographing them in black and
white,” he says. “Then the silly things started blooming.”
PHOTOGRAPHS BY JOHN P. SCHAEFER
Landscapes, portraits, nature shots … we spend a lot
of time looking at photographs, and we’re fortunate to
have access to some of the best in the world. In Sep-tember,
we’re exposed to even more during the annual
Arizona Highways Online Photography Contest.
Like every other year, we were inspired by this year’s
EDITED BY JEFF KIDA
When you’ve been around as long as we have (since
1925), a lot of incredible images tend to pile up in
your vault — yes, we do have a vault. Among the most
impressive are the portrait photographs by Laura Gil-pin,
which, in her words, “record the emotion felt upon
viewing that scene.” Look closely and you’ll see what
PHOTOGRAPHS BY LAURA GILPIN
New York, San Francisco, maybe Los Angeles … there’s
a handful of cities in which you’d expect to find the
greatest collection of 20th century American pho-tography,
and Tucson wouldn’t be among them. Nev-ertheless,
there they are, more than 90,000 images
— the best of the best — all at the Center for Creative
Photography in Tucson.
BY KELLY KRAMER
Visit our website for details on weekend getaways, hiking,
lodging, dining, photography workshops, slideshows and more.
Check out our blog for regular posts on just about anything
having to do with travel in Arizona, including Q&As with
writers and photographers, special events, bonus photos,
sneak peeks at upcoming issues and more.
Join our Facebook community to share your photographs, chat
with other fans, enter trivia contests and receive up-to-the-minute
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at Arizona Highways.
GET MORE ONLINE
52 SCENIC DRIVE
Chavez Pass: Lush pine forests, mountain lakes
and shimmering plains make this historic route
one of our favorites.
54 HIKE OF THE MONTH
Parsons Trail: For anyone who worships Mother
Nature, this trail in Sycamore Canyon is a
56 WHERE IS THIS?
2 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 3
Beverly Copen didn’t have to go far to capture the
image Sunset of the Century (page 36), which won
our 2011 Arizona Highways Online Photography
Contest. “It was a moment in time that lasted
less than 10 minutes in our front yard here in
Sedona,” she says. Originally from Atlanta, Copen
has traveled throughout parts of Africa, Europe
and Latin America. She’s also lived in Costa Rica
and Japan, but living in Arizona is a dream come
true. “Friends often say, ‘You’ve lived and traveled
so many places, if you could live anywhere in the
world, where would it be?’ My answer is always
‘Sedona,’ ” she says. “My inspiration and creativity
have improved substantially since moving here.”
JOHN P. SCHAEFER
As one of the founders of Tucson’s Center for
Creative Photography, John P. Schaefer’s Arizona
roots run deep. One of his first photography
experiences involved making images of bullfights
in Nogales. Later, he worked with Ansel Adams,
and now he serves as president emeritus for the
University of Arizona. “I enjoy the desert and the
mountains, and the landscape is just spectacular,”
he says. In Close-Ups (page 26), he explores the
brilliant blooms of cactus flowers. The images
are part of a larger exhibit at Phoenix’s Desert
Jay Dusard is best
known for his images
of working cowboys
and landscapes. This
month, we celebrate
the latter — in par-ticular,
of Canyon de Chelly
(see Landscapes, page
18). “I love the place,”
he says. “I’ve done
black-and-white workshops there, and it’s a magnificent area with beautiful landscapes.“
Dusard, who was born in St. Louis, moved to Arizona in 1963 and embarked on a teach-ing
career that took him to Prescott College and numerous photo workshops. His images
have been published in several books, including the critically acclaimed The North Ameri-can
Cowboy: A Portrait. He was awarded the Guggenheim Fellowship in 1981.
It’s amazing what can happen in a month. Four weeks ago, almost to the day,
I was sitting exactly where I’m sitting now, writing my August column, and
lamenting the effects of the devastating wildfire in the Chiricahua Mountains.
As I write this column, that fire — the Horseshoe Two Fire — is still burning. And
so are several others, including the massive Wallow Fire, which didn’t even exist a
month ago, but is now the largest wildfire in Arizona history. Normally, I use this
space to write about what’s in the current issue and give you a glimpse behind the
scenes, but not this month. This month I have to write about the fires.
As editor of Arizona Highways, I’m often asked about my favorite place in the state. It’s
an impossible question, because there are so many places, but when I’m pressed, I usu-ally
admit it’s a tossup between the North Rim of the Grand Canyon and Hannagan
Meadow in the White Mountains. But now, because of the Wallow Fire, it’s hard to
imagine there will be anything left of Hannagan Meadow and the surrounding forest
when the fire is finally out. I haven’t been down there yet, but based on what I saw three
days ago when I was given access to the evacuated area around Alpine, just north of
Hannagan, I’m not optimistic. The towering matchsticks that used to be evergreens are
gravely reminiscent of what was left after the Rodeo-Chediski Fire, which is now the
second-largest wildfire in Arizona history.
It seems like just yesterday when that inferno was raging, but it’s been almost 10 years.
And time isn’t healing the wound. Not for me, anyway. I still get blue when I drive across
the Mogollon Rim and see the wreckage. It’s upsetting, and so is the Wallow Fire. Upset-ting,
depressing, sorrowful ... there aren’t any words strong enough to describe what I’m
feeling as this one burns. I never thought I’d live to see anything as bad as Rodeo-Che-diski,
much less something worse. Like so many other Arizonans, I’m in a bit of shock.
It’s the same shock we feel during any other disaster. Certainly, you can’t compare
Engelmann spruce and Douglas firs to the victims of a tsunami or an earthquake, but
there is a similar feeling of helplessness and hopelessness when you see the dramatic
photos, and when you think about what’s been lost and how that will cripple the local
economies. And just when you think you couldn’t
feel any worse, you think about how the Wal-low
Fire shouldn’t be burning at all. Although
lightning fires do occur, this one was started by a
The details are still being investigated, but
according to officials of the Apache-Sitgreaves
National Forests, it was caused by a campfire that
somehow “escaped.” I presume it was inadvertent,
but that doesn’t make me feel any better, and it
doesn’t let the perpetrator off the hook. I was for-tunate
enough to be raised by an avid outdoorsman
who taught me how to be careful in the forest and
how to properly extinguish a campfire. But even
without that training, you’d think common sense
would prevail when it comes to fire. It doesn’t. It
certainly didn’t for the individuals responsible for
the Wallow Fire, the Horseshoe Two Fire and the
Murphy Fire, a blaze that scorched 68,078 acres
and destroyed the historic Atascosa Fire Tower,
which is where writer Edward Abbey spent the
summer of 1968 working as a ranger.
Ironically, unlike a wildfire, it’s pretty simple
to put out a campfire. When there aren’t any fire
restrictions in place, and you’re at a campsite
where fires are allowed, use only established fire
pits, and put out your fire at least 60 minutes
before you start to break camp. Let the fire die
down, then pour water over the wood and ashes
and cover them with soil. Mix the soil, water and
ashes until the fire and any embers are completely
out. Then, wait around for at least another hour
to make sure it’s safe to leave. Again, use common
sense and always adhere to the Leave No Trace
Time will tell what’s left of the woods when the
Wallow Fire has finally finished burning, but this
much is certain: One of the most beautiful places
in the world, one of my favorite places in Arizona,
is being dramatically altered, and it’ll never be the
same. Not in my lifetime, not in your lifetime, and
not in the lifetime of the dope who ignited this
mess. I don’t know if the authorities will ever track
down any of the people who started the fires that
are burning in Arizona, but at the very least, I hope
they’re sitting at home, glued to their televisions
and thinking, How could I have been so stupid?
Let’s learn from their mistakes, and let’s hope
history quits repeating itself. Meanwhile, let’s
all pray for rain. It’ll be good for our forests, and
it’ll give you a chance to curl up with our fourth-annual
Photography Issue. As you’ll see, it doesn’t
need me to sing its praises. It speaks for itself.
ROBERT STIEVE, editor
Follow me on Twitter: www.twitter.com/azhighways.
Leave No Trace
S E P T EMB E R 2 0 1 1 V O L . 8 7, N O. 9
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Letters to the Editor
2039 W. Lewis Avenue
Phoenix, AZ 85009
JANICE K. BREWER
Director, Department of Transportation
JOHN S. HALIKOWSKI
Arizona Transportation Board
WILLIAM J. FELDMEIER
BARBARA ANN LUNDSTROM
FELIPE ANDRES ZUBIA
VICTOR M. FLORES
STEPHEN W. CHRISTY
KELLY O. ANDERSON
— Interviewed by Daniel Jacka
The aftermath of the Wallow Fire along U.S. Route 191 between Alpine and Hannagan Meadow.
4 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 5
letters to the editor
If you have
we’d love to hear
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85009. For more
THE JOURNAL 09.11
people > lodging > photography > centennial > dining > nature > things to do > > > >
Located just north of Flagstaff,
SP Crater is one of many cinder
cones in the San Francisco
Peaks volcano field. It erupted
approximately 71,000 years
ago, and today it’s possible to
climb to its rim — an 800-foot
ascent. Information: Flagstaff
Convention and Visitors Bureau,
800-379-0065 or www.flag
I just wanted to say thanks for
such a great magazine. I’ve been in
Afghanistan for some time now, and
I miss my beloved Arizona. We have
subscribed to your magazine for a
few years, and it was instrumental
in convincing my wife to move. We
love it there, and I cannot wait to get
home! I will admit that the copies she
has sent have suffered some abuse
after being passed around to the
guys I’m here with. Some never knew
Arizona was so beautiful. They have
always pictured Arizona as nothing
more than desert. Now they know
different. Once I finally get the maga-zines
back, I remove the photos and
put them on my walls — a little piece
of home in this desolate and danger-ous
TIMOTHY GAGNON, SOMEWHERE IN AFGHANISTAN
With the Wallow Fire burning
during denning season, there is not
only concern for the adult Mexican
gray wolves in the area, but for new
pups as well. So far, according to the
U.S. Fish & Wildlife Service, which
posts updates about wolf sightings,
the Rim, Bluestem and Hawks Nest
Packs seem to be safe. Fire moving
through the areas of their dens was
spotty and burning with either a low
or mixed intensity, and those dens
seem intact. The fact that the adult
wolves in each case continued to use
the den area seemed to indicate the
pups were OK. As of this writing, the
Paradise, Fox Mountain and M1183
on White Mountain Apache Tribe
packs still had the potential to be
affected by the fire. The San Mateo,
Dark Canyon, Middle Fork and Luna
Packs appeared to be denning, but
were thought unlikely to be affected
by the fire. One of the things neces-sary
for all of us to remember is that
even the most apparently volatile
wildfires are spotty. Not all the area
within a perimeter will burn. What
we saw in Yellowstone, once the fires
were out, were large tracts of burned
trees and, within those areas, areas
of unburned trees. Fire has its own
life, and its own course. And, while
it is heartbreaking to see the wild
country you love burning, and infu-riating
when wildfire is caused by
human carelessness, for the land, fire
is a rejuvenating event. And a natural
RUTH RUDNER, HARRISON, MONTANA
EDITOR’S NOTE: Ruth Rudner is the author of Elusive
in Nature, a story about Mexican gray wolves. The
story ran in our July 2011 issue.
Today I got my Arizona Highways from
my uncle and aunt in Tucson (thanks
Eugen and Elly). Last year I visited
Arizona with my little sister for a few
months. Before that, I’d never been to
America. I never knew that Arizona
had such a great landscape. But now
it’s what I never want to forget: the
beauty of Arizona’s nature! Arizona
Highways helps me to remember this.
KLARA MERZ, STUTTGART, GERMANY
ON THE HOUSE
Thank you sincerely for the great
spread on The Elks Opera House in
the June 2011 issue. You chose a fine
writer who was meticulous in her
research, and Nick Berezenko did his
usual pro job of photographer, as well.
ELISABETH F. RUFFNER,
ELKS OPERA HOUSE, PRESCOTT
STAMP OF APPROVAL
I am 85 years old and still enjoy your
magazine very much. I thought you
might be interested in a little tidbit
about history concerning your publi-cation.
In 1945 and 1946, I was a par-cel
post clerk at the Old Pueblo
Annex post office in Tucson. At that
time Arizona Highways was packaged
in cardboard cylinders with postage
of 3 cents. My job was to attach a
stamp to each one. [Longtime Arizona
Highways photographer] Josef Muench
was a good friend of Harold Hickman,
our superintendent of mails. He used
to come to the post office with his big
camera when he visited the desert to
photograph the cactuses in bloom. I
wish I had been more interested in
LOIS PETERSON, ABERDEEN, WASHINGTON
6 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 7
THE JOURNAL > people
— Dave Pratt is the author of
Behind the Mic: 30 Years in Radio
ROSIE LARSEN GREETS ALL of her good
customers with a smile and a hug. Larsen,
who turned 85 in January, is
the life force of Rosie’s Den, a
café, bar and de facto com-munity
center surrounded by
desert in White Hills, Arizona.
The establishment is a hub for travelers on
U.S. Route 93, a solitary stretch of pavement
that connects Las Vegas and Kingman. Fifty
miles from the lights of either city, this red-roofed
haven sits amid scattered Joshua trees.
Rosie and her restaurant are inseparable.
Larsen, whose green eyes shine beneath
black eyeliner and a short blonde bob, doesn’t
look — much less act — her age.
“I’m here all the time,” says Larsen, who
started a new business when most people
begin thinking about retirement. “This place
is my hobby. We’ve got a neighborhood bar
and no neighborhood.”
Larsen was 58 when she saw an adver-tisement
for the property in a magazine. At
the time, she was investing in real estate in
Florida, but six weeks later, Larsen signed
Rosie’s Den into being.
“I was never in the restaurant business, and
I wasn’t sure I’d be able to handle it,” Larsen
says. “Twenty-seven years later, here I am.”
Larsen says she started with 11 plates
and a staff of one. “I worked from 6 a.m. to
midnight. I cooked, cleaned toilets, washed
dishes,” she says. “While I was cooking for
one person, I’d wash dishes for another.” Sev-eral
of the menu offerings, including the chili,
hamburgers and spaghetti sauce, are Larsen’s
Today, 22 employees keep Rosie’s Den
running 18 hours a day, seven days a week.
Larsen says she still stays up until midnight
working on the restaurant’s books. “I’m a
night person,” she says.
Rosie’s Den boasts the second-highest
lottery sales in the state. It’s also famous for
letting customers drive motorcycles up to
their table of choice on the outdoor patio.
Regulars and tourists alike inquire about
Rosie. “They want to know if I’m still alive,”
she says, laughing.
Larsen says when people sign her guest-book,
they say “thank you” for three main
things: good food, smiles and hospitality. The
latter extends not only to customers, but
anyone in need.
“People know if they can get to Rosie’s,
they’ll get help,” Larsen says. “The Highway
Patrol always called me ‘Mother of the Des-ert,’
because they knew if they picked up a
hitchhiker, I’d give them a ride or pay them
money to mop the floor.”
Larsen talks at length about the Den,
but sums up her previous life in a few short
sentences. She grew up in Washington
state, “where it rained all the time.” In 1950,
she moved to San Diego, “where it was foggy
until 10 in the morning.”
Ten years later, she and her husband,
Norm Larsen, relocated to a farmhouse
Route 66 has its share of iconic eateries, but only Route 93
has Rosie’s Den, a red-roofed café and bar that reflects the
inimitable spirit of owner Rosie Larsen. Rosie alone is worth the
trip, but the food is something special, too.
By LEAH DURAN
What Laura Says
Favorite memory of growing up in Arizona?
I loved going anywhere along or just below
the Mogollon Rim. Childhood summers spent
running through Tonto National Forest stick
When you tour, what do people ask most
They’ll look at a postcard of saguaros and ask,
“Do the cactuses really look like that?”
What’s in your backpack when you go hiking?
Water. Sunscreen. No, scratch that. Snacks.
Best place to grab a bite to eat after a concert
in the Valley?
The Chuck Box in Tempe.
If you could rock out with an Arizona icon,
who would it be?
Write a three-word song about Arizona.
Very varied flower ….
What Laura Says
is based in
The band’s album
Talk is available
Records and on
in Pennsylvania that they shared with
their three sons: Brad, Norman and Randy.
“When my husband died in 1970, I took the
kids and moved to Singer Island in Florida
because I couldn’t afford the big farmhouse,”
Larsen says. “I thought humidity was just a
word in the dictionary.”
Of the four corners of the United States
she’s lived in, Larsen says Arizona has the
best climate. “Why do I want to go back to
any of those other places? So I’m sentenced
for life,” she says. “I’ve thought about retiring
— where would I go? I’m too old to start over.
I wouldn’t get my hugs!”
Brad Larsen, Rosie’s youngest son, man-ages
Rosie’s Den with his wife, Sheila. “They
call Rosie ‘Mother of the Desert’ because
she’s everyone’s mother,” Sheila says. “Now
she’s becoming the grandmother and we’re
becoming the mother and father.”
“This is her legacy,” says Brad, who has
been his mother’s business partner for 10
years. “She still runs things here.”
Larsen points out a windowsill to be
dusted and instructs Brad to order more
T-shirts. “This [place] has been my hobby,
work, love, husband and kids,” Larsen says.
Two years after moving to Arizona,
Larsen threw a party at the restaurant for
her 60th birthday in an effort to meet more
people and gain customers. More than 100
guests attended. Now, she celebrates her
birthday in a similar style — but only every
“I can’t ask these people to come every year,
so I said I’ll have them come every five years,”
Larsen says. She also has a policy of not
attending weddings or funerals, Brad adds.
When Larsen turned 80, she drove eight
laps in a NASCAR vehicle with the Richard
Petty Driving Experience at the Las Vegas
Motor Speedway. “What I’d like to do is take
out a spaceship,” she says.
She also plans to travel to Asia with her
eldest son, Randy. “I don’t want to go unless
I have at least a month,” says Larsen, who has
set foot on six continents. “It takes time to
see the backcountry.”
These days, Larsen says she spends most
of her time “being a hermit” in her office
and home, a trailer tucked beneath a Joshua
tree. She adds offhandedly that she has
survived three different types of cancer —
throat, left lung and right lung. “My doctor
calls me the ‘miracle patient,’ ” Larsen says.
She’s been in remission since last April.
A small, nondenominational chapel next
to the dirt parking lot invites Rosie’s patrons
to “Pause, Rest, Worship.” Its stained-glass
windows mirror the outside landscape with
depictions of yucca and Joshua trees. “I told
the Lord if I ever have any money, ‘I’ll build
you a home wherever I am,’ ” Larsen says.
When the chapel was nearly complete,
a customer offered to make the windows
for the price of the glass. “I’ve been help-ing
people all these years, and I’m always
rewarded,” Larsen says. “The Lord has
always guided me, and when it’s time
to go it’s time to go,” she adds. “I’m told
where to go,
P R A T T ’ S Q&A
THE JOURNAL > people
Rosie’s Den is located at
19949 N. U.S. Highway 93 in
White Hills. For more informa-tion,
Rosie’s Den is the de facto community center in White Hills, Arizona. | DAWN KISH
W H I T E
H I L L S
8 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 9
The Positive of Negatives
As a verb, Photoshop conjures some negative images, but photo alteration was
around long before that computer program went mainstream. For decades,
photographers have been doing some of the same things in the darkroom,
mostly through the use of multiple negatives, black paper and patience.
By JEFF KIDA, photo editor
HALFWAY THROUGH MY FIRST evening at Quailway Cottage, I begin to suspect the place
has been misnamed. Located 5 miles from Southeastern Arizona’s Cave Creek area, near
Portal, the 600-square-foot cottage was named for the Gambel’s quail that are year-round
But on this September day, most of the action is at the hummingbird feeders. The air is thick
with whirs and squeaks. Making use of the cottage’s birding guides, I pick out scores of broad-tailed
and rufous hummingbirds. Even the tiny calliope — the smallest feathered creature in the
United States — makes an appearance.
Flipping through the visitors journal, I realize I’m not alone in my fascination with these
gem-like creatures. I feel a kinship with the caretaker when I read her opening entry. “Legends
say that hummingbirds float free of time, carrying our hopes for love, joy and cel-ebration,”
she has written. “The hummingbird’s delicate grace reminds us that life
is rich, beauty is everywhere, every personal connection has meaning, and that
laughter is one of life’s sweetest creations.”
Hummingbirds inspired even the poet Keats, and it’s easy to see why. Extraordinary fliers,
some ruby-throated hummingbirds cross the Gulf of Mexico without rest. Hummingbirds fly
at full speed almost from takeoff, and stop as abruptly. They can fly in any direction with ease,
hover motionless and fly upside down. Curious, bold and exceptionally brave, hummingbirds
seem to live with the intensity of a pure, blue flame. And Southern Arizona is one of the best
places to see them.
The caretaker tells me Quailway Cottage is popular with herpetologists and hikers, but bird-ing
is the main attraction. The most popular season here is spring, with birders descending for
spring migration. I discover on my trip, however, that the reverse migration in fall has its own
pleasures. These include apples picked fresh from the trees. There are six types of apple trees
here — all organic — including a graft from a tree Johnny Appleseed is said to have planted.
This Place Is Humming
There’s nothing fancy about Quailway Cottage. No expensive linens, no
exquisite breakfasts, no pampering of any kind. What it does have, however,
are hummingbirds. Lots of hummingbirds.
By KATHY MONTGOMERY
Sitting on the back porch, watching the
dozen or so bird feeders, I find more than just
hummingbirds, of course. I do spot a covey
of the namesake quail, as well as curved-billed
thrashers; pyrrhuloxia; acorn, Gila and
ladder-backed woodpeckers; Bullock’s ori-oles;
cactus wrens; and mourning, inca and
I sit, captivated, until distant lightning
illuminates a darkening sky and the sound of
crickets replaces the chatter of birds. I sit so
long, I nearly go hungry.
Quailway Cottage has a full kitchen, but
I have not come prepared. So I head into
nearby Rodeo, New Mexico. But just past 7
on a Tuesday night, the restaurant, bar and
market are dark. The market and restaurant
in Portal is also closed by the time I get there,
though a kindly store clerk lets me in and
allows me to buy a few supplies. I settle for
a can of soup and microwave popcorn, and
head back to the cottage.
Nothing about the cottage is fancy. But it
contains that kitchen, laundry facilities and
an amazing backyard, with a watering hole
and bird feeders of every type. It’s also pri-vate.
And quiet — at
least until morning,
when the air fills
again with the chatter
of the birds.
Quailway Cottage is
located at 152 W. Portal
Road in Portal. For more
information, call 520-
558-0019 or visit www.
With live-view mode,
you can press the
zoom button on your
camera to check your
focus with more ac-curacy
prior to pulling
the proverbial trigger.
The live-view function
is particularly helpful
when it comes to veri-fying
sharp focus for
macro and odd-angled
shots, especially when
it’s difficult to see the
THEJOURNAL > photography
THE JOURNAL > lodging
JAY DUSARD IS BEST KNOWN for his documentary portraits of North American cowboys, but his real passion
is black-and-white abstract photography. Dusard is a longtime fan of Jerry Uelsmann, who is famous for creat-ing
composite photographs using multiple negatives. Both photographers created surreal abstractions on film
and in the darkroom long before Photoshop was ever conceived. To create a print like Anasazi Waterfall (above),
Dusard uses multiple enlargers that contain the different negatives he wants to combine. Because every nega-tive
is different, each exposure has to be calculated, and the placement of the various images on a single piece
of paper is critical. He then masks certain areas of the print from exposure to exposure using black paper to
block the light. The photographic paper is then developed, washed and dried in a normal fashion. The entire
process can take six to 10 hours.
Anasazi Waterfall | JAY DUSARD
DEREK VON BRIESEN
O N L I N E For more lodging in Arizona, visit www.arizonahighways.com/travel/lodging.asp.
Look for our book Arizona
Guide, available at book-stores
O N L I N E
For more photography
tips, visit www.arizona
P O R T A L
10 s e p t e m b e r 2 0 1 1
ARIZONA WAS AT THE forefront of several
national news stories between 1972 and 1981,
some of them jubilant and some of them tragic.
Early in the decade, in 1972, the plight
of American farm workers emerged as a
national issue when Arizona-born Cesar
Chavez fasted for 25 days at a Catholic
church in downtown Phoenix. He was
protesting a new law that prohibited farm-worker
strikes or boycotts, and his sit-in
brought to the city other national civil rights
leaders. Ultimately, Chavez and Dolores
Huerta founded the National Farm Worker’s
Association, which later became the United
Farm Workers, a union dedicated to protect-ing
the rights of farm workers nationwide.
About a year later, Metrocenter Mall
opened in Phoenix. It featured five anchor
department stores, making it the largest
shopping mall in the nation at the time.
Around the same time, in an effort to prove
that “big” wasn’t limited to commercial proj-ects,
the citizens of Phoenix overwhelmingly
approved $24 million to create the Phoenix
Mountains Preserve, which was touted as
one of the nation’s most ambitious city pres-ervation
Things got even bigger in 1974, when
construction began on the Central Arizona
In Arizona’s seventh decade of statehood, the plight of American
farm workers took center stage in Phoenix, an investigative reporter
was car-bombed in broad daylight, and Sandra Day O’Connor
became the first woman to serve on the U.S. Supreme Court.
By JANA BOMMERSBACH
Project, a massive canal system that
delivers Colorado River water to Cen-tral
and Southern Arizona. That same
year, Congress set off a tremendous
culture clash when it called for the par-titioning
of tribal lands. Washington
had stepped into the age-old conflict
between the farming Hopis and the
sheepherding Navajos, demanding the
division of the Hopi Reservation, which
resulted in the relocation of both tribes.
Although neither tribe was pleased
with Washington, the federal govern-ment
did make strides with the nearby
Havasupai people. On January 3, 1975,
President Gerald Ford signed a law
that significantly increased the size of
Grand Canyon National Park and the
adjacent Havasupai Indian Reservation.
Arizona also experienced several “firsts” during this decade. In
1976, San Jose State University professor John Sperling created the
University of Phoenix and, as a result, became a billionaire. In 1977,
the U.S. Supreme Court used Bates v. State Bar of Arizona to strike down
state laws and bar association rules that prohibited lawyers from
advertising. In 1979, Mel Zuckerman and his wife, Enid, opened Can-yon
Ranch on an old dude ranch in Tucson. It was America’s first total
vacation and fitness resort, and today, it remains one of the nation’s
premier health spas.
But not all of the news out of Arizona was good. The national press
rushed to Arizona in June 1976 when a car bomb took the life of Arizona
Republic investigative reporter Don Bolles. Although three men went to
prison for the crime, the case was never fully solved. Another unsolved
mystery was the 1978 murder of actor Bob Crane. The Hogan’s Heroes
star was bludgeoned to death in Scottsdale.
On the political front, Arizona showed off its diversity when Raul H.
Castro became the state’s first Mexican-American governor. That was
in 1975. Later, President Jimmy Carter appointed Castro to be ambas-sador
to Argentina. Native son Bruce Babbitt became governor in 1978
and proved himself a progressive leader, settling decades of debate over
water use with the state’s Groundwater Management Act in 1980.
Perhaps the proudest moment of the state’s seventh decade
occurred on July 7, 1981, when President Ronald Reagan announced
his nomination of Arizona native Sandra Day O’Connor to the U.S.
Supreme Court. O’Connor, who would become the first woman to
hold such a position, was sworn in on September 24, 1981, after being
unanimously confirmed by the U.S. Senate.
THEJOURNAL > centennial THEJOURNAL > centennial
EDITOR’S NOTE: In February
2012, Arizona will celebrate
100 years of statehood,
and Arizona Highways will
publish a special Centennial
issue. Leading up to that
milestone, we’re presenting
a 10-part history of the
state. This is Part 7.
ARIZONA: THEN & NOW
LIONS AND TIGERS AND BEARS. You’ll find those animals and more at the Phoenix Zoo,
which first opened its doors in 1962 and was the brainchild of Robert Maytag. The zoo is
located on 125 acres in Papago Park and is home to more than 1,300 animals. In April, the
zoo opened its “Orang-Hutan: People of the Forest” exhibit, which provides a new home
Auto aficionados gather at a new-car tradeshow at Phoenix for the zoo’s four resident orangutans.
Civic Plaza in 1974. | ARIZONA STATE ARCHIVES
1 9 7 2 - 1 9 8 1
February 9, 1971:
“Antiwar Groups Plan Big Protest
Rallies Tomorrow in D.C. Over
Expansion of War Into Laos”
— The Arizona Republic
December 2, 1972:
[Educators unite to combat attempts
by ultraconservatives to control
— Arizona Daily Star
November 18, 1973:
“Recap Shows Klahr Tough
in Most Precincts”
[Independent Phoenix City
Councilman Gary Peter Klahr broke
the control of charter government
in city elections.]
— The Arizona Republic
January 17, 1975:
“Bruce Babbitt Backs
Open Meeting Suit”
[The Arizona Press Club filed a lawsuit
in an effort to attend open meetings of
the Arizona Board of Regents.]
— The Arizona Republic
June 2, 1976:
“74 Legislators Are Supporting
— The Arizona Republic
June 3, 1976:
“Republic Writer Is Maimed
in Gang-style Car Bombing”
— The Arizona Republic
June 6, 1978:
“Babbitt Signs Money Bills
for 2 Prisons”
— Yuma Daily Sun
IN THE NEWS
JEFF KIDA ARIZONA STATE ARCHIVES
• Turquoise became
Arizona’s official gem-stone
• Arizona’s first heart
at the University of
Medical Center in
• Bisbee’s Lavender Pit
Mine, which at one
time was the nation’s
top copper source,
closed in 1975.
• Salt River flooding in
1978 and 1980 caused
millions of dollars of
• Apache Junction was
incorporated in 1978.
www. a r i z o n a h i g h w a y s . c o m 11
12 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 13
THE JOURNAL > centennial THEJOURNAL > centennial
One day, when he’s big enough, Johnny Smallhouse will take
over the day-to-day operations of the Carlink Ranch. But for
now, his dad, Andy, and his mom, Stefanie, are in charge of the
cows that roam their 6,000 acres in the San Pedro River Valley.
For Andy, who represents the fifth generation of Smallhouses
who have tended this land, ranching goes beyond just making a
living. “The ranch encompasses my family’s heritage, our values
and our business history,” he says. “We’re dedicated to ensuring
that ranching survives as an industry and a way of life for our
children and other ranching families in Arizona. Ranching is
productive, it feeds and clothes our population, and it serves
as a management tool for the practice of conservation for our
water and land resources.” Scott Baxter photographed Andy
and Johnny Smallhouse in June.
THE CARLINK RANCH,
BY K ELLY K R AMER | P HOTOGR A PHS B Y S COTT B A XTER
EDITOR’S NOTE: “100 Years, 100 Ranchers” has been designated an official
Centennial Legacy Project. Each month, we’re featuring one of the ranchers.
It’s part of our own Centennial coverage, which will continue through
February 2012. For more information about “100 Years, 100 Ranchers,”
14 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 15
THEJOURNAL > nature
THERE ARE MANY REASONS to visit Sonoita Mercantile in Southern Arizona, but don’t
go there thinking you’ll figure out Toni Enriquez’s secret fried chicken recipe.
“There is no secret,” says Enriquez, who grew up in Patagonia and is the weekday cook
at the mercantile. “It’s actually a frozen product. All I do is put it in the fryer.”
Even though she has no secret to tell, Enriquez fries about 60 pieces of
chicken a day, and sells every piece.
The country store and deli offers other foods, too, but the chicken is nibble-on-the-bones-
after-eating good, always moist and juicy, not too spicy and slightly breaded.
There are only three tables inside the mercantile for deli diners, but plenty of others
grab something to go for a front- or back-seat snack on their trips east toward wine coun-try
or Bisbee, or southwest to Patagonia or Nogales.
By the way, not all of her food comes from a freezer bag. “We make the pizza from
scratch,” she says. “Some days I also make [from scratch] biscuits and gravy, pulled-pork
sandwiches, macaroni and cheese, and Mexican food, but people come in all the time look-ing
for the chicken.”
Locals like the mercantile a lot, and some of them stop and talk awhile. Around lunch-time,
there’s a constant stream of regulars sitting at the wooden tables, which are covered
in clear plastic tablecloths.
Most people are in the store for only a few minutes, usually to pay for their gasoline —
there are pumps out front — or grab a snack or a cold soft drink. Enriquez knows many of
Beating the Drumsticks
Biscuits and gravy, pulled-pork sandwiches, mac and cheese ...
the menu at Sonoita Mercantile offers something for everyone,
but most people go nuts for the famous fried chicken.
By BRUCE ITULE
the customers and greets them by name.
“Hi, Granny. Whatcha doing?” she asks
Granny isn’t talkative today, and she
walks out after paying for her gas.
“She’s a lady we’ve known all our lives,”
On the outside, the wood-sided Sonoita
Mercantile looks like an Old West build-ing.
Inside, it’s like a countrified 7-Eleven.
Local wines and other souvenir items
are sold there, as are packaged foods, ice
cream, sodas and beer.
One table at the mercantile displays
a variety of items in jars, such as pickled
eggs, hot dill pickles and jerky.
There’s also a jar of saladitos, which are
dried, salted prunes.
“Try one,” Enriquez says. “You’ll either
love it or hate it. Some people put them
in the middle of a lemon or orange, or in a
No need to fig-ure
out the secret
Sonoita Mercantile is
located at 3235 Highway
82 in Sonoita. For more
information, call 520-455-
THEJOURNAL > dining
otters are about as intimidating as
bears — teddy bears, gummy bears,
Cal Bears. They’re relatively nonthreaten-ing,
in part because of their chocolatey-brown
fur, webbed feet, amber eyes and
Measuring just over 3 feet and weighing
12 to 20 pounds, these semiaquatic furry
mammals are known for their expert swim-ming
skills and their ability to stay fully
submerged for up to eight minutes, swim-ming,
diving and hunting. Their swimming
skills can be attributed to their elongated
bodies, which have streamlined tails that
taper from a thick base to a pointed tip, as
well as a flattened head and small ears.
Though small, those ears do come
in handy while scouting prey. In most
parts of the country, otters hunt at night,
sometimes covering several miles in one
expedition. They like to dig under logs
and scavenge through
the mud in search of mid-night
snacks, usually fish,
shellfish, mice and small
birds. And it takes a lot of
fuel to feed the energetic
swimmers — river otters
consume approximately 15
to 20 percent of their body
weight each day.
When they’re not busy
eating, otters spend a lot of
time playing. They’re known
for their quirky, comedic
behaviors, splashing each
other and darting in and
out of the water. Chalk the
playfulness up to their fast
metabolisms — thus the
hearty appetites — and
their instinct to strengthen
Otters like to play around
when it comes to mating,
too. Unlike similar creatures,
otters aren’t monogamous
and don’t mate for life. Dur-ing
mating season, male
otters typically breed with
several females. Babies are born in litters
of one to six between November and May,
with a baby boom in March and April. After
approximately six months of living with
their mothers, the otters will venture out
on their own.
Sometimes, that’s a dangerous endeavor.
Coyotes, raptors and other large predators
often target young otters because of their
small size. But even at that age, an otter’s
stellar swimming skills come in handy.
There’s not much they can do, however, to
defend against encroachment.
Once abundant in the Salt, Verde, Gila
and Colorado river systems, otters were
displaced by early settlers in Arizona. For-tunately,
for otters and wildlife enthusiasts,
biologists reintroduced the species to the
Verde River in the 1980s, and today, otters
are swimming freely throughout the entire
Gone Fishing Otters are best known for their playfulness, but
all of that frolicking comes with a price. To fuel their systems, river otters
consume up to 20 percent of their body weight every day. That’s bad news
for trout and catfish. BY ALLISON OSWALT
Look inside a hole in a saguaro
and you might be surprised
to find a Gila woodpecker. As
permanent residents of Arizona,
these woodpeckers use their
long beaks to carve out cool, safe
places to raise their young. The
burrowed-out cavities are often
O N L I N E For more dining in Arizona, visit www.arizonahighways.com/travel/dining.asp.
S O N O I T A
16 s e p t e m b e r 2 0 1 1
Celebration of Art
S E P T EMB E R 1 0 – NOV EMB E R 2 7
GR AN D CAN YON
Join 30 of the best artists in the nation as
they showcase the beauty of the Grand Can-yon
on canvas. Proceeds from pieces sold
benefit the funding of an art venue on the
South Rim that will preserve and showcase
the masterpieces owned by Grand Canyon
National Park and the Grand Canyon Asso-ciation.
Information: 928-863-3877 or www.
Bisbee Blues Festival
S E P T EMB ER 1 7 B I S B E E
Bisbee’s blues festival may have started as a
grassroots effort, but it’s since grown out of its britches and moved
into a much larger venue — Bisbee’s historic Warren Ballpark. Be part
of Arizona’s past and enjoy a mix of artists from across the country.
Information: www.discoverbisbee.com or www.thebisbeebluesfestival.com
WILLIAM S. BROOKINS
NOVEMB ER 1 1 S TAT EWI DE
America’s best idea just got better. This
month, the National Park Service cele-brates
Veteran’s Day with free admission
at participating parks and monuments.
Take advantage of this fee-free day at
more than 15 locations throughout Ari-zona,
including Chiricahua National Mon-ument,
Saguaro National Park and Walnut
Canyon National Monument. Information:
Route 66 Photo Workshop
OC TOB E R 1 4 - 1 6 PHOENI X , S E L IGMAN,
A S H FOR K , W I L L I AMS AN D F L AGS TA F F
Take a trip back in time along Historic Route 66, America’s Mother
Road, with experienced Friends of Arizona Highways workshop leader
Richard Maack. Hone your photography skills as you capture all the
quirky and kitschy locations along this historic highway. Information:
888-790-7042 or www.azhighwaysphotoworkshops.com
Celtic Harvest Festival
S E P T EMB ER 24 S EDONA
Discover the magic of the Celtic
arts at Sedona’s Tequa Festival
Marketplace, and experience
shillelaghs, tartans, kilts, colleens,
clans, Celtic music and a Ceilidh
(Irish folk dance) finale. Also
check out “Celtic Ways,” which
features workshops on art, crafts,
music, dance and plenty of food.
Navajo Nation Fair
S E P T EMB E R 5 - 1 1
Celebrate Navajo values, beliefs
and pastimes at the 65th Annual
Navajo Nation Fair, known as
the “World’s Largest American
Indian Fair.” Enjoy arts and crafts,
concerts, horse-racing, a parade,
a fry-bread contest, a rodeo, and
traditional song and dance. Infor-mation:
6478 or www.navajonationfair.com
THEJOURNAL > things to do TAKE YOUR BEST SHOT. Every month, we
photographers in the
world. Now it’s your
turn to join the ranks.
Enter your favorite
photo in our Arizona
You could win an
valued at $2,500 or
a prize package from
Our contest is open to amateur and professional photographers. All photos must be made in Arizona and
fit into the following categories: Landscape, Wildlife and Macro (close-up). Only one image per person,
per category, may be entered.
For details, scan this QR code with your smart phone, or visit www.arizonahighways.com. First-, second-and
third-place winners will be published in our September 2012 issue and online beginning January 15.
BOB LARSEN BRIAN WESTFALL
DAVID SUNFELLOW LYNETTE TRITEL
S E P T EMBER 2 3 -24 SA F FORD
Not for the faint of heart, resi-dents
and visitors alike can vie for
an opportunity to compete in the
Salsa Making Challenge (the hot-ter
the better, we suspect). Enjoy
live entertainment, food, salsa
music and dancing, cooking dem-onstrations,
hot-air balloon rides,
and jalapeño- and salsa-eating
competitions. Information: 888-
837-1841 or www.salsatrail.com
www. a r i z o n a h i g h w a y s . c o m 19
In this image, which he made with a 4x5 view camera,
Dusard captures the exquisite early morning light illu-minating
a cottonwood tree in a side canyon of
Canyon del Muerto. “I loved the light; the cottonwood
was on fire,” he says about his serendipitous find.
“We came around a bend and there it was.”
Ansel Adams was famous for his black-and-white photography, but he also did
some amazing work in color. Like his former instructor, Jay Dusard is multitalented,
too. Although he’s best known for his cowboy portraits, his first love is landscape
photography, and it shows — especially in his shots of Canyon de Chelly.
PHOTOGRAPHS BY JAY DUSARD
18 s e p t e m b e r 2 0 1 1
20 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 21
“I made a promise to myself. Someday I would take up photography
and get good at it,” he says.
As Dusard began to drift away from architecture, that’s what he
did. He studied books by Ansel Adams and attended Adams’ work-shop
at Yosemite, working primarily in 8x10 because it made him
work slowly, contemplatively and accurately.
The idea to combine two landscapes, as he did in this month’s cover
photo, was inspired by photographer Bruce Barnbaum.
“He started making composite landscapes from two negatives, and
that really offended some people,” Dusard says. “I was fascinated by it.”
Weaver Mountains From Canyon de Chelly is one of only two composites
Dusard attempted (the other is on page 9). He thought the images
would work well together because the Weaver Mountains rise out
of a flat plain, and Canyon de Chelly is incised into a flat plateau. To
combine them, he put a negative in each of two enlargers, exposing one
half of the paper at a time with the appropriate image. “The interface
provided a narrow ‘blend zone’ that with a little print bleaching
with a watercolor brush accomplished the result,” he says.
Phoenix Art Museum Director James Ballinger bought the original.
Dusard doesn’t do much darkroom work these days. From a modest
brick home surrounded by horse corrals north of Douglas, Dusard is
currently at work on an e-book titled Vaqueros and Buckaroos.
“I took a riskier path in life and have been proud of what I accom-plished,”
he says. “My wife thought I should have tried to become a
cowboy artist and we’d be rich now. But photography was what I
could excel at.”
— Kathy Montgomery
or many, the name Jay Dusard is synonymous
with cowboys. And not just because Dusard
has earned a few paychecks working cattle.
As a photographer, he is best known for The
North American Cowboy, the fruit of a 1981 Gug-genheim
Fellowship that allowed him to visit
ranches from Canada to Mexico taking por-traits
of ranch hands with an 8x10 camera. But
it was the landscapes he encountered — 20
years earlier — that made Dusard want to be a photographer.
As a student of architecture at the University of Florida, Dusard
embarked on a travel scholarship that changed the course of his life.
“The dean of the college said there’s nothing worth seeing that’s
not on the Eastern seaboard,” Dusard recalls. “So naturally I decided
to go to California and make a big circle. And while I was out there to
study architecture, what I really was responding to was the landscape
of the West. It was sculpture to occupy as a human being, and I knew
that as soon as I got certain obligations out of the way I was going to
live in the West.”
After college and a stint in the Army, Dusard moved to Tucson,
where he worked as a draftsman and designer but never got his license.
“I just couldn’t face up to living in a city and running a business,” he
says. “I knew that I would never be able to pull that off.”
Dusard encountered photography almost by accident during col-lege.
While most of his classmates took a photography elective with
Jerry Uelsmann, Dusard took up painting. But when a friend showed
him a book of black-and-white photos by Aaron Siskind, he was
[ P H O T O G R A P H S C O N T I N U E D O N P A G E 2 2 ]
“It looks like a Manhattan cityscape upside down,” says
Dusard of this panoramic image, made with his large-format
view camera behind Standing Cow Ruin in Canyon del Muerto.
Dusard loves the abstract aspects of the photograph — he
says that abstract qualities are often the inspiration for his art.
22 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 23
Vit lacidit atibus si conseribus
dit voluptatem rae prae ipsand-is
ut provit eos de odigenemo-lut
ABOVE: “My vision has been more influenced by
painters rather than photographers,” Dusard says. As a
result, Dusard favors blocking out the horizon, as he did in
this 1971 shot of the Rio de Chelly, so that everything
becomes more painterly, more abstract. “The sun was
directly behind and above me, so this view was illuminated
by direct axis light, in which the shadows of objects are
behind them and do not dominate the scene.”
RIGHT: In a soft, misting rain at Mummy House, Dusard did
something rather exceptional: He pulled back in order to
capture the abstraction — the face. “I saw the eyes in the
shot, that’s what jumped out,” he explains. “The diffuse
quality of light allowed the film to capture the entire
dynamic range from shadow to highlight.”
“What you have caught on film
is captured forever ... it remembers
little things, long after you have
— AARON SISKIND
24 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 25
“These photographs, looked at as a group, become
a primer on the effect of different kinds of lighting
in photography,” Dusard says. And this final image
is a testament to his colleague Bruce Barnbaum’s
assertion that “light determines form.” This is
a classic example of cross-lighting.
“Light glorifies everything. It transforms
and ennobles the most commonplace
and ordinary subjects. The object is
nothing; light is everything.”
— LEONARD MISONNE
www. a r i z o n a h i g h w a y s . c o m 27
CLOSE-UPS PHOTOGRAPHS BY JOHN P. SCHAEFER
Country of origin: Chile
As co-founder (with Ansel Adams) of the world-renowned Center for Creative
Photography in Tucson, John P. Schaefer is an authority on the subject. He’s not just
a curator, though. The man can shoot, especially cactuses. “I started photographing
them in black and white,” he says. “Then the silly things started blooming.”
26 s e p t e m b e r 2 0 1 1
Country of origin: South Africa
28 s e p t e m b e r 2 0 1 1 w w w . a r i z o n a h i g h w a y s . c o m 29
John P. Schaefer moves quietly through the exhibition gallery at the University of Ari-zona’s
Center for Creative Photography, scanning work by co-founder Ansel Adams.
Pausing before an image of Mission San Xavier del Bac, Schaefer recalls the photo
essay Adams did there with writer Nancy Newhall, and how he encouraged Schaefer
to photograph his own.
“I had never done anything like that, so I said, ‘I’ll try it,’ which is how I got to be a
pretty good black-and-white photographer,” Schaefer says. “The statues were patient subjects. If
I screwed up a picture, I’d come back and try to get it right.”
But he vowed not to repeat Adams’ images.
“I took one on the other side of the dome and arches,” he says. “Ansel looked at it and said, ‘I
wish I had taken that picture.’ That made me feel really good.”
Schaefer had been drawn to photography since childhood. “My parents were immigrants,” he
says. “We communicated through photographs, sending pictures back and forth. That was the
way I got to know my relatives.”
He got serious about photography in graduate school.
“I’ve always had an interest in art, even though my background’s in science,” he says. “I could
never draw or paint worth a damn, so photography became a way of creating images that had
an artistic flavor.”
Inspiration for the center arose during Schaefer’s tenure as president of the University of
“I was actually a collector of books for the university,” he recalls. “But it took me only about a
year to realize that Harvard and Yale had a 300-year head start. It occurred to me that photog-raphy
was a very important American art form. It was the way we recorded our history. It was
responsible for social reform. And no university was collecting this material in a serious way.”
Then Adams came to the university for a one-man show. “Ten minutes into the show, I asked
him if he’d like to give us his archives,” Schaefer recalls.
Adams was taken aback, but eventually agreed. So did four others in his circle, including
Arizona photographer Frederick Sommer. Today, the center is home to the largest collection of
20th century American photographs, artifacts and archives in the world.
Schaefer always considered himself a black-and-white photographer, though he had done some
color photography for books on the Papago (Tohono O’odham) and Tarahumara Indians. Then he
started shooting cactuses. “I started photographing them in black and white,” he recalls. “Then
the silly things started blooming.”
To date, he has photographed around 500 species. On his website, he writes that they reflect
“a photographer’s interaction,” not “a botanist’s use,” though he’s arranged them alphabetically,
by scientific name.
He admits it’s partly the intersection of science and art in photography that he finds appealing.
“It’s a physical, chemical process,” he says. “I [could] understand what was going on, brew
things up on my own, do experiments of what happens when you vary one thing and another.”
As Schaefer turns to leave, a black-and-white portrait of Ansel Adams catches his eye.
“By golly,” he says, surprised. “There’s a picture of mine.”
— Kathy Montgomery
Countries of origin:
30 s e p t e m b e r 2 0 1 1 w w w . a r i z o n a h i g h w a y s . c o m 31
“Art is the unceasing
effort to compete with the
beauty of flowers — and
— GIAN CARLO MENOTTI
Tephrocactus articulatus forma papyracanthus
Country of origin: Argentina
Countries of origin: Mexico, U.S.
Countries of origin: Mexico, U.S.
Country of origin: Argentina
Country of origin: Mexico
32 s e p t e m b e r 2 0 1 1 w w w . a r i z o n a h i g h w a y s . c o m 33
Country of origin: Mexico
Parodia schumanniana var. claviceps
Countries of origin:
Argentina, Brazil, Paraguay
34 s e p t e m b e r 2 0 1 1 w w w . a r i z o n a h i g h w a y s . c o m 35
Countries of origin: Mexico, U.S.
Country of origin: Brazil
36 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 37
Landscapes, portraits, nature
shots … we spend a lot of time
looking at photographs, and
we’re fortunate to have access to
some of the best in the world. In
September, we’re exposed to
even more during the annual
Arizona Highways Online
Photography Contest. Like
every other year, we were
inspired by this year’s entries.
What follows are the finalists,
and first up is the big winner.
WINNERS EDITED BY JEFF KIDA
GRAND PRIZE | LANDSCAPE
Beverly Copen, Sedona, Arizona
Sunset of the Century
“This image is a study in light and form. It’s a beautifully
simple photograph, and what stands out is the juxtapo-sition
of colors and shapes,” says Photo Editor Jeff Kida.
“You have these wonderful soft clouds and this vertical,
very architectural century plant. Beverly had the pres-ence
of mind to use fill flash to open up the greens in the
plant. There’s a yin and yang, a warm and cool going on
here. What’s more, she waited for this hummingbird to
come into the frame. It’s a little accent mark, something
extra and unexpected. “
38 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 39
THIRD PLACE | MACRO
Cathy Bruegger, Phoenix, Arizona
“What I really like about this image is the delicacy
and the light,” Kida says. “The image is backlit,
which is why it glows. Cathy took advantage of the
backlight and used a shallow depth of field to further
separate the fern from the background.”
SECOND PLACE | WILDLIFE
Alan Lucio, Snowflake, Arizona
“The first time I saw this image, I was blown away by the
number of elk; I had no idea we had elk herds that large in
Arizona,” Kida says. “Alan had the determination to go out
and endure the elements, and the outcome is this really nice
photo. The space around the photograph gives you a sense
of the enormity of the area and how harsh these conditions
must have been.”
40 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 41
“This is really a study of shapes,
textures and patterns,” Kida
says. “The photographer
chose to utilize great depth
of field by using a small lens
opening, thereby creating
interest throughout the image.
It’s almost monochromatic,
which makes it very simple,
and simple is a good thing
“She has this wonderful little
blue dress on, and I just love
the diagonal line created by
the rays of sunlight,” Kida says.
“Her little left foot is raised off
the ground, so it’s not a static
photograph, and it creates this
anticipation or spontaneity. This
photograph asks the questions,
‘What’s going on? Is something
going to happen?’ ”
“This image is all about timing,
patience and anticipation. You
have to prepare yourself for
something like this,” Kida says.
“Maybe you saw this once, so
you have to put yourself in a
place where you could capture
the image and make the
photograph work. The French
photojournalist Henri Cartier-
Bresson would have called this
‘the decisive moment.’ ”
42 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 43
HONORABLE MENTION | LANDSCAPE
Joe Bridwell, Albuquerque, New Mexico
“This is a great lesson in landscapes, specifically in shooting during
weather conditions, or rather interesting or impending weather
conditions,” Kida says. “The effects of light are so magnificent,
and when you photograph a place that doesn’t change, like
Monument Valley, it’s important to consider what does change —
and what does change, often, are weather conditions.”
HONORABLE MENTION | PEOPLE
Diane Oeste, Scottsdale, Arizona
Spirit Pow Wow
“This image shows movement in still photography,” Kida says. ”We’re
so often taught the image has to be frozen, but I don’t think that’s
the case. Not everything we do in this world is frozen. There’s a real
beauty to this photograph. It speaks to movement and transience. I
also love the color — the color and the movement seem celebratory.”
44 s e p t e m b e r 2 0 1 1 w w w . a r i z o n a h i g h w a y s . c o m 45
PHOTOGRAPHS BY LAURA GILPIN
When you’ve been around as long as we have (since 1925), a lot of incredible images
tend to pile up in your vault — yes, we do have a vault. Among the most impressive
are the portrait photographs by Laura Gilpin, which, in her words, “record the
emotion felt upon viewing that scene.” Look closely and you’ll see what she meant.
Laura Gilpin made photos of native
people across the desert Southwest,
including these Zuni women and
children, whom she photographed
at New Mexico’s Acoma Pueblo in
1939. The image appears in her
book The Pueblos: A Camera
Chronicle, published in 1941.
46 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 47
aura Gilpin’s contemporaries — Paul Strand,
Leonard McCombe, Clara Sipprell and Barbara
Morgan, among others — were drawn to people
and places. But when Gilpin looked at a scene, she
saw only one thing: emotion.
That’s what attracted her to the
Navajos and the Zunis, to the earthy,
sandstone spires of Monument Valley, to the shadows of
Canyon de Chelly, and into pueblos and onto reservations
across the Southwest.
“Many enter the field of photography with the impulse
to record a scene,” she wrote in the book The Complete
Photographer in 1942. “They often fail to realize that what
they wish to do is to record the emotion felt upon view-ing
that scene. … A mere record photograph in no way
reflects that emotion.”
Born in Austin Bluffs, Colorado, in 1891, Gilpin was
inspired by photography from an early age. Her father
gifted her a Brownie camera for her 12th birthday, and by
the time she was 17, she had made her first Autochrome
print and had moved to New York to study the art. When
she was stricken with influenza in 1918, she returned to
Colorado and into the care of a nurse, Betsy Forster.
The two became companions, and when Forster
received a post with the New Mexico Bureau of Indian
Affairs, Gilpin began her love affair with the desert South-west,
making several significant trips to record the lives of
the native people who inhabit it.
“By the early 1950s, Gilpin had done a few projects in
New Mexico and Colorado, and really wanted to return
to the subject of Navajo life, so she began work on a book,”
says Jessica May, associate curator of photographs at
the Amon Carter Museum in Fort Worth, Texas, which
holds Gilpin’s extensive collection. “The result, The Endur-ing
Navaho, was arguably the most important project of
The book, which was published by University of Texas
Press in 1968, features hundreds of black-and-white images
of Navajos, from sheepherders and silversmiths to medicine
men and mothers with their babies. In it, Gilpin wrote, “It
is my hope that these pages will stir an understanding of
this energetic tribe, and awaken an interest in its imagina-tive
and poetic background.”
Indeed, Gilpin was invested in the desert.
“She was particularly sensitive,” May says. “Historically,
of an unidentified
mother and her
child (above) was
made in 1953. It
appears in her
signature book, The
(right) near Red
Rock in 1934.
she didn’t just visit as a cultural tourist. She considered it
her home in a fundamental way. She was sensitive to the
people. Her photographs have an almost anthropological
bent — she sought out the same families. Her photography
really cuts between the landscape tradition and documen-tary
Although her health was failing, Gilpin made one final
trip to the Navajo Indian Reservation in the late 1970s. She
wanted, May says, to create a book of images from Canyon
de Chelly. The project was never realized — she died in
1979 — but it speaks to Gilpin’s deep relationship with the
landscape and its people.
“She knew she could make a living hocking her photo-graphs
to tourists in New York City,” May says. “But she
was deeply rooted in the canyon lands. She wasn’t inter-ested
in the mythical or abstract idea of the people. She was
interested and invested in their daily lives.”
— Kelly Kramer
[ P H O T O G R A P H S C O N T I N U E D O N P A G E S 4 7 - 4 9 ]
48 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 49
Mrs. Hardbelly and
Her Sister (left) in
September 1953. The
image appears in The
Enduring Navaho, but,
according to Jessica
May from the Amon
Carter Museum, the
image was incorrectly
dated to 1955. Luke
Yazzie (right) appears
in profile in Pine Springs,
Arizona, in 1952.
Laura Gilpin’s photographic collection is housed at the Amon
Carter Museum in Fort Worth, Texas. For more information, call
817-738-1933 or visit www.cartermuseum.org.
50 s e p t e m b e r 2 0 1 1 w w w . a r i z o n a h i g h w a y s . c o m 51
BY KELLY KRAMER
New York, San Francisco, maybe Los Angeles … there’s a handful of cities in which
you’d expect to find the greatest collection of 20th century American photography,
and Tucson wouldn’t be among them. Nevertheless, there they are, more than 90,000
images — the best of the best — all at the Center for Creative Photography in Tucson.
hirty-six years ago, Tucson’s Center for
Creative Photography opened its doors
and began spotlighting the works of its
co-founders, the legendary Ansel Adams
and John Schaefer (see Close-Ups, page 26),
as well as those of Wynn Bullock, Harry
Callahan, Aaron Siskind and Frederick Sommer.
Since then, the center’s collection has grown to
include more than 90,000 images from 2,000 photog-raphers,
not to mention correspondence, manuscripts,
work prints and contact sheets. And the list of pho-tographers
whose archives are housed at the center
has grown, too. The impressive catalog now includes
Edward Weston, Richard Avedon and Louise Dahl-
Wolfe. You’ll also find images from longtime Arizona
Highways contributor David Muench and the late Sena-tor
Barry M. Goldwater.
On August 20, the center launched an exhibition
titled Creative Continuum: The History of the Center for
Creative Photography. Curator Rebecca Senf worked to
pair the images in the show with additional works to
“demonstrate the depth, breadth and diversity of the
holdings in this ever-expanding, world-class collection.”
“I think Ansel Adams would be amazed by the suc-cess
of the Center for Creative Photography,” Senf says.
“It’s a cornerstone among photographic research insti-tutions.
Photographers, scholars, curators and visitors
make pilgrimages from all over the world to visit our
collection in Tucson.”
To enhance the collection, center archivists are
working to digitize each photograph and present
groups of images on the center’s website, meaning that
people around the globe can take cyber tours of the
incomparable works of art.
“I feel incredibly proud to help uphold this legacy,”
Senf says. “Curating this show has only deepened my
appreciation of what a special institution Dr. Schaefer
and Ansel Adams created in 1975.”
ABOVE: Louis Carlos Bernal, Dos Mujeres, Douglas, Arizona, 1978.
©Lisa Bernal Brethour and Katrina Bernal TOP RIGHT: Mickey Pallas,
Hula Hoopers, Chicago, 1958. ©Center for Creative Photography,
The University of Arizona Foundation BELOW RIGHT: Rosalind Solomon,
Bananas, Salvador, Bahia, Brazil, 1980. ©Rosalind Solomon Archive
The Center for Creative Photography is located at 1030 N.
Olive Road in Tucson. Creative Continuum: The History
of the Center for Creative Photography runs through
November 27, 2011. For more information, call 520-621-7968
or visit www.creativephotography.org.
52 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 53
the drive to Chavez Pass is a
sly one. It’s easy just to roll
through the pleasing landscape
that melts from one vivid scene
to the next — lush pine forests,
mountain lakes and shimmer-ing
plains — without realizing
the layers of history you’re
brushing past. This one is
worth a little predrive research.
Start approximately 46 miles
north of Payson, turning west
onto Forest Road 211, off State
Route 87. The dirt road curves
through an impressive park-like
setting of ponderosa pines,
with pools of grasses swirling
around mature trees. Along the
route, the forest ebbs and flows,
with pines and then junipers
crowding the road in dense
groves. Other times, scrubby
meadows sweep the timber
back onto distant slopes.
After about 3.2 miles, turn
right onto Forest Road 82 and
follow it toward Long Lake for
11 miles. Long Lake, Soldier’s
Lake and Soldier’s Annex Lake
are three shallow fishing lakes
perched in high grasslands that
are freckled with volcanic rock
and wind-bent junipers. The
trio is clustered close together,
and each is known for produc-ing
a different species of fish.
They’re a pretty sweet deal for
The lakes lie about a mile
beyond the turnoff for Forest
Road 69B. After visiting the
lakes, backtrack to FR 69B —
the road beyond that point is
four-wheel-drive territory —
and continue northeast toward
Chavez Pass, which is a natural
gap through the rugged country
above the Mogollon Rim.
The pass is named for Colo-nel
J. Francisco Chaves, who
provided a military escort to
Arizona’s first Territorial gov-ernor.
The route connecting
Winslow to Prescott is known
as Chavez Trail, but is actually
part of something much older:
the Palatkwapi Trail, which
stretched from the Hopi mesas
to the native villages of the
Verde Valley. The Palatkwapi
was a section of a prehistoric
trade route that went from
Colorado into northern Mexico.
After 4 miles on FR 69B,
you’ll reach a signed parking
area for Chavez Pass Ruins.
There isn’t a designated trail
— just scramble up the hill
directly behind the sign. Atop
the mesa, you can see the bare
bones of an ancient Sinaguan
village, which had been occu-pied
by as many as 1,000 people
from the years 1050 to 1425.
Look for low-stacked stone
walls, indentations of rooms
and faint rock art traced on
The road pushes through
the pass and breaks into open
plains. The gravel track smooths
out and, for the next 20 miles,
beelines across vast grazing
lands. The volcanic towers of
the San Francisco Peaks rise
to the west. Just as you’re con-templating
the span of history
you’ve already sampled, the
road ends at the entrance to
Meteor Crater, where a fiery orb
slammed into the Earth, goug-ing
out a mile-wide hole some
50,000 years ago.
Lush pine forests,
plains make this
historic route one
of our favorites.
BY ROGER NAYLOR
Note: Mileages are approximate.
LENGTH: 38.5 miles one way
DIRECTIONS: From Payson, drive north on State
Route 87 for 46 miles to Forest Road 211 (near
Milepost 300), turn left and continue 3.2 miles to
Forest Road 82. Turn right onto FR 82 and drive
11 miles to Forest Road 69B. Turn right onto FR
69B, which exits the national forest and becomes
Chavez Pass Road, and continue to Meteor Crater
Road, 4.5 miles south of Interstate 40.
VEHICLE REQUIREMENTS: The dirt roads are
generally suitable for passenger vehicles in dry
weather, although Forest Road 69B is bumpy. After
rains, roads can become rutted and the clay turns
slick and slimy.
WARNING: Back-road travel can be hazardous, so be
aware of weather and road conditions. Carry plenty
of water. Don’t travel alone and let someone know
where you are going and when you plan to return.
INFORMATION: Mogollon Rim Ranger District, 928-
477-2255 or www.fs.usda.gov/coconino
Travelers in Arizona can visit www.az511.gov
or dial 511 to get information
on road closures,
delays, weather and more.
READING: For more
scenic drives, pick
up a copy of our
book The Back
Roads. Now in its
fifth edition, the
features 40 of the
state’s most scenic
drives. To order a
copy, visit www.
O N L I N E For more scenic drives in Arizona, visit www.arizonahighways.com/outdoors/drives.asp.
A P A C H E - S I T G R E A V E S
N A T I O N A L F O R E S T S
C O C O N I N O
N A T I O N A L F O R E S T
FR 211 S T A R T H E R E
Chavez Pass Road
ABOVE RIGHT: Flanked by Chavez Pass
Road (Forest Road 69B), the Chavez
Ditch descends from the pass on
the Mogollon Rim in North-Central
LEFT: Some 50,000 years ago, a
meteorite slammed into the Earth
scarring it forever. Today, Meteor
Crater, as it is commonly known, is
a popular tourist attraction.
54 s e p t e m b e r 2 0 1 1 www. a r i z o n a h i g h w a y s . c o m 55
month OF THE
you probably won’t see any parsons along this trail.
Priests, rabbis, nuns ... none of them. In fact, there’s a
good chance you won’t see anybody. Unlike the Red Rock/
Secret Mountain Wilderness to the east, the Sycamore Can-yon
Wilderness is relatively unknown. But don’t let the lack
of foot traffic give you the wrong idea. This trail explores
one of the most spectacular riparian areas in the state.
The centerpiece of the wilderness, which was estab-lished
in 1935, is the canyon itself. In all, it winds for more
than 20 miles along Sycamore Creek, a spectacular water-way
that might be even more impressive than the canyon.
It’s the water, of course, that gives life to the area’s wide
array of vegetation, including cottonwoods, sycamores
and Arizona walnuts. And there’s wildlife, too. Golden
eagles, mountain lions, bobcats, badgers, great blue her-ons
and black bears all call this place home. Most of these
creatures are elusive, but you never know.
The trail begins with a steep drop of about 200 feet
from the rim to the canyon floor. After that, things remain
mostly level all the way to the spring, which is just shy of
4 miles away. The first thing you’ll notice along the bottom
of the canyon is the trail itself. It’s smooth and sandy and
easy on the feet, and in the fall it’ll be covered with autumn
leaves. You’ll also notice the water. You’ll hear it initially,
then, after about 10 minutes, you’ll come to the first of
many small pools. The first pool even has a miniwaterfall.
Another thing you’ll notice is the quiet. It’s so still that
even the leaves can be heard hitting the ground. Liter-ally.
The trail continues like this for about a half-hour,
at which point you’ll come to the first of several creek
crossings. Although this hike is rated Easy, it does require
some boulder-hopping and some concentration. All of the
crossings are marked with cairns, but some can be hard
to find. This area floods regularly, which obliterates many
of the markers. Look closely and you’ll see where to go.
After a couple more creek crossings and about 15 min-utes
of hiking, the largest pool along the hike will come
into view. To get there, you’ll have to detour off the trail
about 100 feet, but the extra steps are mandatory. Com-pared
to every other water hole along the way, this one is
Lake Superior. It’s gorgeous. And completely unexpected.
It varies in size, depending on the weather, but in general,
it’s at least as big as an Olympic-sized swimming pool.
What makes it even more impressive is the wall of rock
that surrounds it. The cliffs of Sycamore Canyon are a
unique mix of dark columnar basalt, buff-colored lime-stone
and red sandstone. At the big pool, the red rocks are
dominant. Both in scale and color.
Beyond this point, the trail climbs away from the creek
and skirts a canyon wall for about 20 minutes. Then, it’s
back and forth across the creek until you come to Parsons
Spring, which pumps out more than 5,000 gallons a min-ute.
It’s water that turns an otherwise dry streambed into
a perennial creek. As you’re sitting there eating your trail
mix, you’ll be wondering why more people don’t visit this
idyllic place. Although there aren’t any parsons or priests
in the area, the hike evokes all kinds of spiritualism, and
for those who worship Mother Nature, it’s a religious
LENGTH: 7.4 miles round-trip
ELEVATION: 3,775 to 3,671 feet
DIRECTIONS: From Cottonwood, drive northwest on Main
Street and follow the signs toward the turnoff for Tuzigoot
National Monument. Turn right onto Tuzigoot Road,
continue across the Verde River bridge, and turn left onto
Forest Road 131 (Sycamore Canyon Road). From there, it’s
11 miles to the trailhead.
VEHICLE REQUIREMENTS: A high-clearance vehicle is required.
DOGS ALLOWED: Yes (on a leash)
HORSES ALLOWED: Yes, but only to the 3-mile mark at the
third crossing of Sycamore Creek.
USGS MAPS: Sycamore Basin, Clarkdale
INFORMATION: Red Rock Ranger District, 928-282-4119 or
LEAVE NO TRACE PRINCIPLES:
• Plan ahead and be prepared.
• Travel and camp on durable surfaces.
• Dispose of waste properly and pack out all of your trash.
• Leave what you find.
• Respect wildlife and minimize impact.
• Be considerate of others.
PARSONS TRAIL For anyone who
worships Mother Nature, this trail
in Sycamore Canyon is a religious
BY ROBERT STIEVE
PHOTOGRAPH BY DEREK VON BRIESEN
O N L I N E For more hikes in Arizona, visit www.arizonahighways.com/outdoors/hiking.asp.
READING: For more
hikes, pick up a
copy of our newest
book, Arizona High-ways
which features 52
of the state’s best
trails — one for
each weekend of
the year, sorted by
seasons. To order
a copy, visit www.
OPPOSITE PAGE: The
Parsons Trail leads
hikers into one of
the most spectacu-lar
trail guide F
V E R D E V A L L E Y
S Y C A M O R E C A N Y O N
W I L D E R N E S S
P R E S C O T T
N A T I O N A L F O R E S T
C O C O N I N O
N A T I O N A L F O R E S T
T R A I L H E A D
56 s e p t e m b e r 2 0 1 1 w w w . a r i z o n a h i g h w a y s . c o m 3
Win a collection of our most popular books! To enter, correctly identify the location
featured above and email your answer to firstname.lastname@example.org — type “Where Is
This?” in the subject line. Entries can also be sent to 2039 W. Lewis Avenue, Phoenix, AZ
85009 (write “Where Is This?” on the envelope). Please include your name, address and
phone number. One winner will be chosen in a random drawing of qualified entries. Entries
must be postmarked by September 15, 2011. Only the winner will be notified. The correct
answer will be posted in our November issue and online at www.arizonahighways.com
beginning October 15.
BY KELLY KRAMER
PHOTOGRAPH BY DON LUNT
Whereas their human counterparts tend to gather around water coolers for socialization, these
bighorn sheep prefer to gather at a fire hydrant. It’s a common sight in this small town in Greenlee
County. Just as it was in the early 20th century, the main attraction here — other than the local
wildlife — is one of the largest copper mines in the world. This photograph, by the way, was made
by Don Lunt, one of the contestants in our annual online photography contest.
July 2011 Answer:
Phoenix Civic Plaza.
our winner, Kim Hall
of Cedar Park, Texas.
10. Someone else does all
9.The gentle swaying of the
train is like a three-hour hug.
8. You’re encouraged to yell and
scream going through the tunnel.
7. Canyon cliffs and a desert
river are a hard combination
of scenery to beat.
6. After eating there are no
dishes to wash.
5. Bald eagles, dude, bald eagles.
4. It’s educational but so much
fun kids won’t realize they’re
learning until it’s too late.
3. Sit inside or outside;
it’s your call.
2. If you want to sing
Chattanooga Choo Choo,
I’ve Been Working on the
Railroad or even Last Train
to Clarksville, that’s cool.
1. It feels like riding through the
pages of Arizona Highways
2 HOURS NORTH OF PHOENIX AND 25 MINUTES FROM SEDONA
I T ’ S NOT THE DE S T INAT ION;
I T ’ S THE JOURNEY
Reservations • 888-840-1630
TO RIDE VERDE
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