In the cool predawn, strangers from every background climb a stone stairway above Phoenix, trading city lights for desert silence as sunrise spills gold across Piestewa Peak.
Arriving at 5 am there is a line of trucks and cars and Piestewa Peak parking almost full when I grab a spot in the predawn darkness. The desert air has that deep, merciful coolness it offers before sunrise, edged with the long-remembered scent of creosote. Car doors close with soft thuds, headlamps blink on, and a loose procession of strangers begins to funnel toward the trailhead like pilgrims, even now white and red headlamps sprinkle the upper slopes.
At first the climb exists only in a narrow cone of light, my lamp illuminates the scant gravel, uneven steps, and each scuff of boot or shoe sounds loud in the hush. Somewhere below, the city hums, but here the conversation is mostly breath and the occasional murmur of greeting as we fall into the rhythm of the climb.
My beam catches a young couple just ahead, their hands knotted together. They speak Spanish, laughing quietly as they miss a step and bump shoulders. Behind me an older man in a Veterans cap leans heavily on trekking poles, his companion—maybe daughter, maybe friend—matching her shorter stride to his with patient care. A group of women in bright leggings and braided hair moves past us in a burst of energy, their languages overlapping—English, maybe Vietnamese, something I cannot place—like the weaving of a rug. A man passes me, a drum on his back. Piestewa draws them all, before dawn, to this rib of stone in the center of the Phoenix basin.
As I stop to rest myself and turn off my headlamp, ahead the trail tilts steeper the steps fade to rock, irregular and unforgiving: a stairway carved from ancient volcanic bones. With my dark adaptation, surfaces reflect star and city light, leading the eye down the ridge toward the dark quilt of neighborhoods below. Later, captured in the photograph, those steps will twist away like a stone dragon’s spine, the city waking beyond in soft pastels. Now they are simply work for legs and lungs.
The desert plants materialize around us as shapes before they acquire color. Saguaros stand like sentinels along the slopes; their arms lifted in silhouette. Ocotillo rise as witchy bundles of sticks, each spine leafed out from October rains the leaves catching a little light. On a small plateau a family has paused; the father adjusts a tiny headlamp on his son, no more than six, who is insisting, with fierce determination, that he can carry his own water. “Almost there, campeón,” his father says, and the child straightens like a soldier.
The dark begins to soften at the edges. Over the eastern horizon a thin band of orange appears, a delicate seam between night and day. In one direction, the city stretches out in a glittering net of streetlights, the squares of parking lots and subdivisions catching the last of the darkness. In the other, the mountains are still black cutouts, their profiles sharp as paper against a gradually brightening sky. One of my images will hold that moment: the jagged ridge of Piestewa in shadow, the valley below already spangled with light, a single towering saguaro rooted at the cliff’s edge like a punctuation mark.
November 2025 while visiting Pam’s family in Phoenix
Higher up, the trail narrows and the rock turns rougher. We fall into single file, strangers linked by a line of effort. A runner comes flying down, feet barely touching stone, breath steady and controlled. “On your left,” he calls, and we part for him like water. A woman with a hijab tucked neatly under her ball cap leans against the retaining wall, stretching a calf muscle, her friend counting in accented English: “Ten more seconds, you can do it.” Near one bend a hiker pauses to press a hand against the rock face, whispering a quiet prayer in a language I do not recognize. It is a small, intimate moment, gone almost before I register it.
The last push to the saddle is steep, the steps uneven, the sky now a cascade of colors—copper, rose, faint lavender melting into a high dome of blue. The silhouettes of distant ranges sharpen: the Estrellas?, the Superstitions?, low ridges whose names I do not know. On the horizon, the first thin line of sun breaks free, setting fire to the edges of clouds. In another photograph, framed by dark rock and desert trees, that sunrise becomes a golden portal at the end of a shadowed corridor of stone.
We reach a broad ledge just shy of the summit as the light finally spills over us. People are already gathered there: a trio of college students taking selfies, a pair of retirees sharing thermos coffee, a solitary man sitting cross-legged with eyes closed, face open to the warmth. The city below is suddenly transformed. The carpet of lights dims, replaced by the clear geometry of streets and rooftops, golf courses and parking lots, all laid out like a model at our feet. The mountains that hem the basin—once anonymous shapes—now reveal their ridges and ravines in sharp relief.
For a few minutes conversation dies away. Everyone seems to feel the same thing: that fragile instant when the sun clears the horizon and the desert shifts from silver-blue to gold. The rocks around us, sharp and broken in the photographs, glow honey-colored. Saguaros catch light on their spines, each thorn a tiny ember. Even the dusty air seems to shimmer.
Down below, a new wave of hikers starts up the trail, latecomers walking into full daylight. We, the predawn climbers, share a small, quiet complicity. We have seen the city from the backside of night, watched the day arrive from a perch of jagged stone. Piestewa Peak has turned us, for an hour or two, into a single, breathing organism: many hearts, one climb, all of us stitched together by the steep path and the slow unveiling of the sun.
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Copyright 2025 All Rights Reserved Michael Stephen Wills
Along the luminous seam of surf and sand, a heron reads the tide’s slow grammar, patience embodied, until water yields a silver secret and morning becomes ceremony.
We walk the long seam where the Atlantic writes its restless script, and our beachcombing becomes a study in attention. The shore’s edge—where foam loosens shells from sand and the wind arranges salt on the tongue—draws other walkers too: grey herons, patient and arrow-straight, patrolling the surf line as if reading a language older than tides. They halt us without trying. We stand, quieted, while they work the boundary between water and land, between hunger and satisfaction.
I pack an iPhone sometimes for beachcombing as a lightweight alternative to SLRs. This post features iPhone photographs.
Along this narrow world of sand and surf, herons keep two distinct manners. Some linger near anglers, learning the thrift of handouts and the craft of appearing inevitable. Others refuse that bargain and hunt on their own, staking the wash with a slowness that is not delay but method. These independent operators move along the ocean’s margin: high enough to let the breakers fold ahead of them, low enough that their long legs stir the small lives hidden in the cross-hatching currents. To follow one with the eye is to adopt a different clock. Sandpipers skitter and dash; the heron lengthens time.
A perfect place to stalk the surf
At first the bird seems merely spellbound by light on water. Then a shift: a narrow cant of the head, the smallest realignment of the eye to the glare. The neck—serpentine and stored with intention—uncoils quick as a strike, and the bill cleaves the surface. The world either yields or it doesn’t. Often it doesn’t. When it does, the beak lifts an impossibly large, glinting fish, as if the ocean had lent out a secret.
Success!!
What follows is ceremony. The heron stands and calibrates, turning the silver length with almost invisible nods until head and prize agree. A sharp jerk aligns the fish with beak and gullet; the upper throat swells, accepting the whole, unchewed. Two more pulses and the catch is a memory traveling inward. It is an astonishment every time, not because we do not understand what is happening but because we do, and still it exceeds us.
We carry a smart phone on these morning circuits, a slim stand-in for heavier glass, enough to witness without intruding. Backlit by the early sun, the herons are cut from bronze and shadow, working the luminous edge while the day composes itself behind them. In the afternoons we meet fewer of the solitary hunters when the strand belongs more to the opportunists near the thinning knots of anglers. Why the shift, we cannot say. The ocean has its schedule; so, it seems, do its readers.
If we keep our distance, we are permitted to watch. Cross a line we don’t perceive and the bird will rise all at once, the long body unfolding, the voice a rasping scold torn from the throat of reed beds and marsh dawns; but, grant it enough space, and the heron returns us to the lesson it keeps teaching: that patience is a kind of movement; that the boundary of things is where change is clearest; that the most astonishing acts require the courage to do very little, very well, for a long time.
We come to linger where the waves erase our tracks, apprenticed to that slow grammar, trying to learn the tide’s careful verbs before the light turns and the day becomes something else—a different text, the same shore, the heron already a thin signature against the horizon.
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Copyright 2025 All Rights Reserved Michael Stephen Wills
Discover the Buttonbush (Cephalanthus occidentalis), a wetland shrub of spherical blooms, sustaining pollinators, birds, and waterfowl while reminding us of life’s enduring cycles
In the quiet wetlands of late summer, when cattails lift their brown torches above the reeds and dragonflies skim the still water, there is a shrub that speaks in spheres. Its language is not the pointed spear of grass or the broad fan of lily pads, but the perfect symmetry of globes—round, intricate, and startling in their precision. This is the Buttonbush, Cephalanthus occidentalis, a native of swamps, pond margins, and the soft, yielding soils where water shapes the land.
At first glance, its clusters might be mistaken for something fashioned by human hands: spiky balls arrayed along slender stems, each one a small planet bristling with tiny cells. Only in memory can we recall their summer incarnation, when each ball was a constellation of snowy blossoms, white tubular flowers extending like delicate pins from a spherical center. Bees and butterflies crowded them then, drunk on nectar, wings glinting in the sun. Hummingbirds darted in as though drawn by an unseen magnet, their beaks fitting perfectly into the narrow blossoms, a partnership written long ago in the shared script of evolution.
Buttonbush (Cephalanthus occidentalis) at Sapsucker Woods, Cornell Lab of Ornithology
Now, in August’s waning light, those blossoms have folded back into seed, transforming into the russet orbs captured in the photograph. What was once nectar is now promise—food for ducks, shorebirds, and the small lives that depend on wetlands for sustenance. In the hands of buttonbush, time itself is circular. Flower becomes fruit, fruit becomes seed, seed becomes shrub, and the cycle spins quietly on, just as the spheres themselves suggest: complete, unbroken, eternal.
A Wetland Companion
Buttonbush is rarely alone. It thrives where cattails whisper, where pickerelweed thrusts up spikes of purple bloom, where the air holds the scent of waterlogged earth. Its roots grip the muck at the edges of ponds and rivers, holding soil against the restless tug of currents. In doing so, it becomes part of the unseen architecture that holds wetlands together, slowing erosion, filtering water, providing shelter for fish in the shade of its stems.
Pickerelweed (Pontederia cordata) at Sapsucker Woods, Cornell Lab of Ornithology
This shrub, unassuming in stature, is an engineer of stability. It creates thickets where red-winged blackbirds perch, where frogs crouch in shade, where turtles bask on half-submerged branches. The wetlands of North America would be poorer without its presence, for it provides not just beauty but the scaffolding upon which entire communities of life depend.
The Human Thread
To the human eye, the buttonbush’s spherical blooms are so striking that they demand metaphor. Some have called them pincushions, others tiny planets, others fireworks arrested in mid-burst. Native American peoples, however, looked beyond metaphor to medicine. The bark and roots were used in remedies for ailments ranging from headaches to fevers, though with caution, for the plant holds mild toxicity when consumed raw. It is a reminder that many gifts of the natural world are edged with danger, and that wisdom lies in balance.
Today, gardeners and conservationists plant buttonbush intentionally. It is welcomed into rain gardens, where its thirst for moisture makes it a perfect ally for absorbing stormwater. It is used in wetland restoration projects, where its deep roots anchor new life. And it is cherished by those who walk the edges of ponds and discover in its round blossoms a geometry that feels both wild and deliberate, a gift of design from the living earth.
Fourth of July, 2019, Stewart Park
The Sphere as Symbol
Rachel Carson once wrote that in nature, “nothing exists alone.” The buttonbush embodies this truth with clarity. Its spheres are invitations, junctions where plant and pollinator meet, where flower and bird share a moment of mutual necessity. They are offerings to the eye as well, challenging us to see patterns where we might otherwise see only happenstance.
Standing before a buttonbush in bloom, one feels an almost childlike wonder: how could such symmetry arise unbidden from soil and sunlight? Yet this is the miracle of evolution, that order may spring from chance, that beauty may serve survival, that what pleases our senses also sustains life.
A Closing Reflection
In the wetlands, where water mirrors the sky, the buttonbush offers its own reflection of completeness. Its seed heads persist through autumn and winter, small orbs clinging even when leaves fall, reminders that the cycles of life turn steadily beneath the stillness.
To linger with buttonbush is to be reminded of nature’s quiet insistence on wholeness. It speaks in forms: round, repeating, enduring. To walk away from it is to carry a sense of connection, to know that in the pattern of its blooms we glimpse a truth both humble and profound—that life is not a line but a circle, and in every turning there is renewal.
For Further Reading
USDA NRCS. Plant Guide: Buttonbush (Cephalanthus occidentalis L.). United States Department of Agriculture, Natural Resources Conservation Service. Available online: https://plants.usda.gov – Provides detailed information on identification, habitat, and ecological role.
Lady Bird Johnson Wildflower Center. Cephalanthus occidentalis (Common Buttonbush). Native Plant Information Network. Available online: https://www.wildflower.org/plants/result.php?id_plant=ceoc2 – Covers botanical features, bloom time, wildlife value, and landscape use.
Dirr, Michael A. Manual of Woody Landscape Plants: Their Identification, Ornamental Characteristics, Culture, Propagation and Uses. 6th Edition. Stipes Publishing, 2009. – Authoritative horticultural reference on Buttonbush and other shrubs.
Peterson, Roger Tory, and Margaret McKenny. A Field Guide to Wildflowers: Northeastern and North-central North America. Houghton Mifflin, 1968. – Classic field guide covering buttonbush’s wetland habitat.
Carson, Rachel. Silent Spring. Houghton Mifflin, 1962. – Source of the quoted passage: “In nature nothing exists alone.” (Chapter 2, “The Obligation to Endure”).
Moerman, Daniel E. Native American Ethnobotany. Timber Press, 1998. – Comprehensive reference documenting traditional medicinal uses of Buttonbush among Native American peoples.
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Copyright 2025 All Rights Reserved Michael Stephen Wills
At Ashford Castle, swans glide on the Cong River’s glassy waters, weaving together myth, history, and cinema in a timeless reflection of Ireland’s enduring spirit.
Headed south from Cong Village, past the venerable Cong Abbey then Saint Mary’s Church of Ireland, the road bends into the Ashford Castle estate. Time seems to shift here. The stonework of the abbey lingers in memory, only to give way to manicured parkland, ancient trees, and the shimmer of water. The road itself, aptly named Ashford Castle, carries the traveler to a place where history, nature, and imagination meet.
I do not recall passing a guard box on my first visit, though one now stands firmly on the roadside, manned and proper, as though the estate were never meant to be entered without ceremony. In truth, Ashford Castle has always carried the air of a threshold—between village and wild, past and present, myth and reality.
Soon the road brings one to the banks of the Cong River. Here the water widens, flowing calm and sure, and across it rises the battlemented silhouette of Ashford Castle itself. Its towers, turrets, and stony walls seem to grow from the riverbank like something inevitable, a fortress transformed into elegance. The castle’s mirrored reflection on the water doubles the grandeur, as though the real and imagined castle exist side by side.
It is no wonder filmmakers found inspiration here. Scenes from the classic 1952 film The Quiet Man—the tale of Sean Thornton, played by John Wayne, and the fiery Mary Kate Danaher, embodied by Maureen O’Hara—were shot on the far bank of this very river. To watch them walking by these waters is to see Ashford Castle woven into Hollywood’s Irish dreamscape, a backdrop both romantic and enduring.
Yet long before cinema, the river was already a stage. The Cong River is a natural marvel. It emerges from the same Carboniferous limestone that shapes the Burren of County Clare—an austere landscape of limestone pavements etched with fossils and caves, where rare alpine and Mediterranean plants thrive among ancient tombs. Through fissures in this ancient bedrock, the waters of Lough Mask find their way underground before rising again at Cong. This subterranean journey, through stone filters laid down some 350 million years ago, leaves the water clarified, luminous, and cold. By the time it slides past Ashford Castle, it has the purity of glass.
It is in this clarity while walking the opposite bank on a different morning I found a parent swan and its cygnet feeding. The adult glided, immaculate, its long neck bowed as drops of river fell from its beak. At its side, the cygnet paddled with earnest strokes, gray down still clinging, a fragile shadow of what it would one day become. Together they traced a quiet path across the water, ripples fanning behind them.
Few images so perfectly match their setting: a medieval castle, guardian of centuries, reflected in the same waters where these swans carried on their timeless rhythm of nurture and growth. It was as if the river itself composed the scene—a blending of stone, water, bird, and sky that belonged nowhere else but here.
The swan has long been a symbol in Irish lore. The Children of Lir, cursed to live as swans for nine hundred years, are among the most haunting figures of Celtic mythology. To see the white bird with its offspring before Ashford Castle was to glimpse that myth breathing still, alive on the Cong River.
Photographers know the difficulty of capturing water and stone without losing the life between them. On that morning, however, the river gave freely—its surface alternately smooth as glass and dappled with breeze. Stones at the water’s edge appeared like stepping-stones into history. Each frame revealed another face of the estate: the wide reach of the Cong, the castle framed by trees, the play of cloud shadows across the current.
The castle itself, though reshaped as a luxury retreat, still speaks of older times. Founded in the 13th century by the Anglo-Normans, Ashford passed through centuries of conquest and change before becoming, in the 19th century, a romantic Victorian pile. Today its battlements remain picturesque rather than defensive, but the sense of continuity—of lives unfolding along these banks—has not faded.
Standing there, camera in hand, I was struck by the layered meaning of this place. The Cong River flows from unseen caverns, purified by limestone older than memory. It nourishes swans, reeds, and trout alike. It reflects both a castle and a sky. Along its opposite bank, legends of cinema and Celtic lore alike find footing.
As the swan and cygnet drifted slowly downstream, I thought of them as part of the same enduring thread. Parent and child mirrored castle and village, past and future, permanence and change. The ripples they left widened until they touched both banks, an unbroken gesture across centuries.
A walk through Sims-Jennings Preserve unveils ancient cliffs, vibrant bird calls, and the quiet wisdom of maples and waterfalls along Cayuga Lake’s forested edge.
I arrive early, the sun still climbing its slow arc, brushing the eastern sky in pastels as I step into the Sims-Jennings Preserve at Cayuga Cliffs. The trailhead, tucked neatly along NYS Route 34B, is a doorway into an ancient chapter of the Finger Lakes—one rich with the scent of moss, the hush of leaf-dappled silence, and the layered echoes of stone and birdsong.
The first thing that strikes me is the expanse of mowed meadow, rimmed with goldenrod and patches of milkweed. From here, the land rolled gently westward until it ends abruptly in cliffs that plummeted toward Cayuga Lake. A map at the entrance speaks of the Sherburne and Renwick Formations, shale and siltstone laid down when the land was covered in warm Devonian seas. The cliffs themselves stand like watchmen over time, protecting 4,000 feet of lakeshore from erosion, whispering tales older than mammals.
A side trail leads to this mowed meadow and Cayuga Lake overlook
On the meadow edge is this Carya ovata, or shagbark hickory, unmistakable from its elongated leaflets and distinctive bark that peeled in long, curled strips. The leaves shimmered in the breeze, their green etched with pale speckles of recent rain, as if nature herself had hand-painted them.
Shagbark Hickory on the edge of meadow.Leaves of the Shagbark HickoryShagbark Hickory bark / trunk
I follow the yellow-blazed trail into a thicket where tall sugar maples—Acer saccharum—arched overhead. Their leaves caught the morning light, each palm-sized blade glowing like a shard of stained glass.
Throughout the preserve I find large holes like these in a pine tree snag, the work of a Pileated Woodpecker.
A sudden fluting note from the trees stops me in my tracks. “Ee-oh-lay,” the Wood Thrush sang, its call cascading through the forest like water over stone. Moments later, the rapid, accelerating trill of an Ovenbird joins in—a sound like “teacher-teacher-teacher” echoing from the understory. The forest is alive.
Watch on YouTube for the best experience.
I descend into the shade. A narrow stream runs over the flat gray ledges of the Ludlowville Formation, forming delicate waterfalls no taller than a man but intricate as lace. One fall, framed by a colonnade of black cherry and beech trees, poured over stone like a ribbon of silk. The water’s voice changed with each ledge—first a murmur, then a chuckle, then quiet confidence as it wound through the woods.
Here, a Scarlet Tanager flashes like flame through the canopy, its red feathers shocking against the sea of green. Above, the Eastern Wood-Pewee calles its own name from a high perch—“pee-a-wee”—a humble herald of summer. Lower down, a Tufted Titmouse flits from branch to branch, a gray blur with a whistle like curiosity incarnate.
Further along, a looping vine coils around a pair of trees like an ancient signature. Possibly a native bittersweet, its woody stem thick as a child’s arm. It reminds me of how all life here is entangled—flora, fauna, stone, and stream woven into one vast web.
I pause at the overlook, where the trail skirts the cliffs. From this height, the view opened to Cayuga Lake, vast and gleaming in the morning light. Across the water, the hills of the western shore softened into a watercolor horizon.
Crowbar Point on the west lake shore is visible, partially hidden by trees. Sims-Jennings Preserve at Cayuga Cliffs, Finger Lakes Land Trust on a May morning 2025, Lansing, Tompkins County, Finger Lakes Region
On the walk back, a robin sings its measured phrases from a nearby hawthorn, and I think how common birds often hold the deepest solace. The robin’s voice rises above the silence, not grand, not rare, but reassuring in its familiarity—like a good friend’s greeting.
A shale ledge, Renwick Formation (?)
I leave the preserve changed gently, like the soft indent of a footstep in moss. The Sims-Jennings Preserve at Cayuga Cliffs is a place that reminds you to listen. To the birds, to the trees, to your own breath. And in listening, you remember what it means to be wholly present in the world.
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Copyright 2025 All Rights Reserved Michael Stephen Wills
On a serene May morning, a small flock of Rose-breasted Grosbeaks graced the author’s yard, showcasing their vibrant plumage and bringing beauty to the tranquil scene of nature.
It was a gentle May morning, the kind that seems to hush even the wind, as though nature were holding its breath for something wonderful. Through the kitchen window, just past the black iron gate entwined with the fresh green of climbing rose, I spotted them—feathered heralds of spring’s deepening promise—perched like jeweled notes on a musical staff.
The Rose-breasted Grosbeaks had arrived.
May 3, 2025 Four Male Rose Brested Grosbeaks visited our backyard bird feeder during spring cleanup.
Not one or two, but a small flock, draped in raindrops, feathered in contrast and charm. They gathered around our backyard feeder like guests invited to a familiar table. At 5:56 a.m., the camera captured the first image: two males on the feeder and one each on fence and chair, a bold bib of crimson splashed across snowy chests, huddled against the gray of the feeder, their plumage brilliant even in the diffused dawn light. I couldn’t help but smile. This was a scene of quiet splendor, a symphony for the eyes and soul.
The males, unmistakable in their attire, wore tuxedos of black and white, with the defining rose-red marking on the breast that gives the species its common name. Their scientific name, Pheucticus ludovicianus, is less poetic but equally telling. “Pheucticus” comes from the Greek pheuktikos, meaning “shy” or “avoiding,” reflecting their reclusive habits in forested nesting grounds. “Ludovicianus” refers to Louisiana, an early French colonial name for a vast region including their breeding range—a nod to their North American roots.
At 5:58 a.m., the lens captured more details: a male with slightly mottled wing feathers, suggesting he was a younger bird, still dressing up in adult finery. The trio clung to the feeder’s edge, their heavy, conical beaks—perfect for cracking seeds—clearly visible. That oversized bill gives them the name “grosbeak,” from the French gros bec, literally “large beak.” Functional beauty, you might say.
May 3, 2025 Three of the Four Male Rose Brested Grosbeaks visited our backyard bird feeder during spring cleanup.
Then, at 6:08 a.m., came the contrast—the female. Subtly adorned in warm browns, with creamy streaks and a wash of yellow near the wings, she perched beside her flamboyant mate, as if to say: elegance need not shout. The two birds looked momentarily toward each other, and I was struck by their balance—his flair and her grace. Her eyebrow stripe, called a supercilium, lent her a composed, alert expression. While the male might catch the eye, the female commands attention in her own, quieter way.
May 3, 2025 Male and Female Rose Breasted Grosbeaks visited our backyard bird feeder during spring cleanup.
Rose-breasted Grosbeaks are migratory, long-distance travelers who winter in Central and South America and return each spring to North America’s deciduous and mixed woodlands to breed. Here in upstate New York, our yard is a brief rest stop on their northward journey—or, if I’m lucky, a summer home. They often nest in dense foliage, and their song, a melodic, whistled warble—like a robin who’s taken voice lessons—is often the first clue to their presence.
This morning, no song was needed. Their silent presence was enough.
Watching them, I felt time slow, the kind of moment when the ordinary yard becomes cathedral. Watching them, I felt time slow, the kind of moment when the ordinary yard becomes cathedral. The wet fence and chair under the feeder, even the crumpled leaf bag—everything was blessed by the company of these birds. Rain softened the world, and the birds brought color to its hush.
Later that day, reviewing the photos with metadata timestamps from my iPhone—each image like a verse in a poem—I marveled at what I had witnessed. These weren’t just birds. They were stories in flight, living punctuation marks in the sentence of my morning.
Nature gives us these moments, brief as birdsong and just as sweet. You only have to be still, and ready to receive them.
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Copyright 2025 All Rights Reserved Michael Stephen Wills
References
Pheucticus ludovicianus (Rose-breasted Grosbeak). Cornell Lab of Ornithology – All About Birds.
Jobling, James A. The Helm Dictionary of Scientific Bird Names. London: Christopher Helm, 2010.
Merriam-Webster Dictionary: Etymology of “Grosbeak.”
iPhone 14 Pro Max image metadata (May 3, 2025; 5:56 a.m. to 6:08 a.m.; Ithaca, NY).
Two men experience the breathtaking beauty and vastness of Monument Valley, reflecting on nature’s timelessness while feeling small against the grandeur of the landscape at dusk.
They drove on through the late November light with the road falling away toward the valley. In the west the sun hung low, a copper disk above the red land. The two men squinted through the windshield. Before them, Monument Valley unveiled itself in towering silhouettes and stone ramparts where the world opened to an ancient scene held in amber light. A long black ribbon of highway led onward, straight and true, toward those looming buttes etched against the sky. The older man eased the truck to the shoulder and killed the engine. In the newfound quiet, they sat as the wind ticked against the cooling hood. Ahead, the valley’s monuments stood waiting in the orange glow of sundown.
“Hell of a sight,” the driver said softly.
Sentinel Mesa and a slice of Big Indian peak to the left. A risen moon above all.As the day progressed here is Big Indian to the left, a portion of Sentinel Mesa with the risen moon above all
To the east, Sentinel Mesa rose broad and dark, its flat summit catching the last aureate light. The mesa loomed like a great natural battlement guarding the valley’s entrance. Aside, a solitary pinnacle known as the Big Indian stood in muted vermilion hues. In profile it did resemble a weathered face—a monumental visage gazing eternally south over the sacred lands. Farther south, Mitchell Butte jutted upward, its sheer walls burnished red-gold on one side where the sunlight still lingered. A mile or so southeast, the land climbed again to the massive bulk of Mitchell Mesa, now mostly in shadow. The sun was dropping behind it, outlining that mesa’s far rim in a halo of pale fire. Near to Mitchell Butte, a tall slender Gray Whiskers Butte rose like a lonely watchman. Its pinnacle was streaked with dusk, the stone fading from blood-red at its base to a somber gray at its crown. One of the men pointed toward it silently, and the other simply watched, understanding the unspoken thought: how small they were below these giants of rock.
Mitchell Butte, Grey Wiskers Butte and Mitchell Butte
High above Sentinel Mesa, the evening swan of this desert had already appeared — a waxing moon, nearly full and ghostly white. It floated just over the mesa’s dark crown as twilight gathered, like an omen or a blessing. The sky behind the landforms had begun to take on the deep indigo of coming night. In the east, opposite the dying sun, the heavens were lavender and faintly banded with pink. The moon climbed in silence, gaining strength as the sun bled out in a final flare of vermilion along the horizon. In that half-light the mesas and buttes became blackened shapes, cut from the twilight itself, their identities merging with the land’s dusk. November’s chill crept in with the dark. The younger man drew his jacket closed. Neither of them had thought to speak for minutes now. They simply wandered a few yards from the truck, eyes turned outward and upward, silhouettes of their own against the dimming day.
Sentinel Mesa with risen moon
His companion nodded. He opened the door and stepped out. “Never seen anything like it,” the younger man said. His voice was reverent, almost a whisper. The driver climbed out too, boots crunching on red grit. They walked a few paces from the road, drawn forward as if on a tide. The evening air was cool and carried a dry, dusty scent tinged with sage. In the far distance, the monuments cast long blue shadows over the valley floor. The travelers stood for a long moment without speaking, each alone with the scale of it.
The land was vast and inscrutable. In the silence it felt holy. It was easy to believe no one else in the world existed at this hour — only these two and the ancient valley spread before them. The wind came from the west in a long sigh, carrying the dust of the desert. It whispered through dry bunches of brush at their feet and stirred a lonely tumbleweed across the cracked earth. The younger man removed his hat and ran a hand through his hair as if to assure himself this was real. The older man stood with thumbs hooked in his belt, head tilted back to drink in the view. His face was lined and still, the dying light painting one side in gentle umber. If either man harbored any burdens or regrets from the road behind, the land seemed to dwarf those worries into nothing. They felt themselves small as insects on an endless painted floor.
After a time, the driver cleared his throat. “We’ll lose the light soon,” he said. His voice was low. He seemed unwilling to break the spell with anything louder.
The younger man nodded again but did not take his eyes off the valley. “Just a few more minutes,” he replied.
“All right.” The driver smiled thinly and pulled out a cigarette. He struck a match and cupped it against the breeze, the brief flame reflecting in his narrowing eyes. In the glow of the match the canyons of his face showed for an instant, then vanished into shadow again. He drew in and exhaled a plume of smoke that the wind instantly seized and unraveled. Sentinel Mesa crouched out there like a great shadow, crowned now by a silver moon that grew brighter by the minute. The older man followed that mesa’s outline with his eyes, tracing the crenellated cliffs and the slope of rubble at its base. “They named that one right,” he said, mostly to himself.
“What’s that?” the other asked softly.
“Sentinel. Standing guard.” The driver gestured with the glowing tip of his cigarette. “Feels like it’s been watching this place forever.”
Sentinel Mesa standing guard with the red desert floor and fauna in the last light of sunset
The young man considered the hulking form of the mesa. In the twilight it did have the aspect of a watchtower keeping vigil over the valley. “It probably has,” he said. “Long before we ever came.”
On the road behind them a faint glint of chrome from the hood caught a stray moonbeam.
The younger man broke the long quiet. “You ever been down here before?”
The older man nodded. “A time or two.”
“You see all this then?”
A chuckle from the older man, low in his throat. “Not quite like this. First time I come through here I didn’t see a damn thing.”
The younger man looked over, puzzled. “What do you mean?”
“Well,” the old man said, “I’d been driving since Durango, and I’d run out of good sense somewhere near Shiprock. Rolled in with the rain. Thought I’d catch a nap and wake up to a postcard.”
He paused, lighting another cigarette, letting the flame flicker in the cooling breeze.
“Only I parked across from a big ridge in the moonless dead wet dark, didn’t think much of it. Woke up next morning to what I thought was the edge of a landfill. Just a big wall of brown rock. Figured I took a wrong turn and ended up behind a gas station.”
The young man laughed. “You’re kidding.”
“Nope. Got out, stretched, cursed the road and the view and the whole damn state. Got out to take a leak, figured I’d head on. And just as I’m zippering up, I look to the right—and there it is.”
He waved his hand toward the black outline of Mitchell Mesa, vast and solemn in the moonlight.
“The whole valley,” he said. “Caught me sideways. I parked blind to all of it. Missed the whole show.”
He shook his head, the cigarette ember glowing orange.
“Spent the next half hour cussing myself out. Sat there red-faced with a thermos of cold coffee like a man at the symphony who showed up deaf and late.”
The younger man laughed, full-throated now. “You mean to tell me you slept in Monument Valley and thought you were behind a gas station?”
The old man shrugged. “In my defense, it was cloudy.”
They both laughed then, the sound rolling out over the scrub and rocks and into the vastness.
He walked a little farther from the road, and the older man paced beside him. Ground crunching underfoot, fine dust kicking up around their boots. They ascended a slight rise where the terrain leveled off in a broad expanse leading toward the valley proper. Beneath their feet the earth was soft and powdery—red earth, lit now by the dim purple of dusk and the growing lunar light. The younger man scuffed the toe of his boot in it, and a little crimson cloud rose and drifted away. By daylight this soil was a vivid rust-red, the color of dried blood. It was as if the ground itself had a memory of violence or sorrow, but the truth of that color was simpler and older: the iron in the earth, left behind by ancient oceans, oxidizing over eons in the sun and airen.wikipedia.org. The land bled red because the very minerals of its making had rusted in the long passage of time. In places the valley floor was cracked clay, in others loose sand, all part of the same great story of stone turned to dust.
The two men walked out a bit further into the open, where scattered plants clung to life in the hardpan. There were low shrubs of sagebrush exuding a faint herbal scent, and clumps of purple sage with gray-green leaves, their summer blooms long spent. Here and there jutted the spiky forms of yucca, bayonet-tipped leaves fanning out from the base of each plant. Most everything that grew here hugged the ground and wore the dusty colors of the soil. In the failing light, the sage and grass tuft looked almost colorless, pale as ash. Only when lightning storms rolled through would the desert briefly bloom green; in these dry weeks of autumn the vegetation lay dormant, patient. A scraggly juniper tree crouched in a shallow gully nearby, twisted by wind and drought, its bark bleached where it faced the sun. These were the survivors of an unforgiving climate – rabbitbrush, snakeweed, hardy shrubs that lived on almost nothing. The young man knelt and pinched a bit of sage between his fingers, releasing its sharp fragrance. This smell, to him, was the perfume of the desert itself.
In the sand at the base of the sagebrush, he noticed a faint track. He brushed aside some dust to reveal the imprint of tiny claws: the delicate spoor of a lizard that had passed earlier when the ground was warm. It wound off between the rocks and vanished. Other tracks crisscrossed subtly in the dirt – a jackrabbit’s long-toed prints, nearly indistinguishable amid scuffs, and the delicate imprints of some small bird that had hopped about pecking for seeds. Life was here, though it was seldom seen. A red-tailed hawk wheeled silently high above, cutting black circles into the dim sky. Perhaps it was hunting one last time before full dark. The younger man stood again and looked out over the valley with new wonder, realizing that countless creatures lived and moved in this terrain largely unseen. In the daytime heat they sheltered in burrows and shadow. At dusk they came forth. He imagined a coyote trotting through a distant wash on soft paws, nose to the ground; a mule deer picking its way among these rocks somewhere beyond sight; a mountain lion watching from high up on a ledge as it had watched all afternoon. This desert did not easily give up its secrets, but they were there.
The older man stepped out onto a broad flat of rock and ground his cigarette butt under his heel. In the silence his companion could hear the scrape of boot leather on stone. The rock was part of an exposed slab that had broken off from a greater outcrop. It sloped gently down into the valley and was strewn with fine gravel from its own slow decay. The driver pressed his bootsole into a brittle crust of the rock’s surface, and it crumbled with a dry sound. These monoliths around them were not as immutable as they looked. Wind and rain had been gnawing at them for ages uncounted. Every thunderstorm that swept these flats cut new gullies in the shale, undercutting the bases of the cliffs. Every hot summer day the rock expanded, and every cold night it contracted, fissures growing by imperceptible degrees. Water trickled into cracks and ice pried them wider in winter. In time, great slabs would calve off with a roar and a billow of red dust, adding another heap of boulders to the talus at a butte’s feet. The valley was strewn with such piles like fallen ramparts. Erosion was the master sculptor here, patient and inexorable, chewing away the softer rock beneath and leaving the harder stone standing in great towers and tablelands. Each butte, each spire, had endured unthinkable ages to remain in this moment as a seemingly permanent fixture—and yet they too were slowly disappearing grain by grain. In a thousand years the difference might be subtle; in a million, perhaps these forms would be gone entirely, ground down to the flatness of the surrounding plain. The land was alive in geological time, though to human eyes it appeared frozen in a grand and silent repose.
They wandered farther, and now the truck was a small shape behind them on the roadside pullout. Neither man minded. The road was empty; no other vehicle had come along for a while, and only a lone set of headlights glimmered many miles away, moving slowly, probably a rancher or a late tourist heading home. The two travelers were alone with the land and sky. Overhead, the first stars were coming out in earnest, timid specks appearing in the dome of night. The moon was higher now and bright enough to cast shadows. The tall profile of Big Indian was cut into the moonlit sky, unmistakable and solemn, and on the valley floor the leaning spire of Gray Whiskers stood lit on one side by the cold glow. Away to the east, the open desert beyond the valley was falling into darkness, a great stretch of unknown country into which the highway disappeared. And still the west flared with afterlight — a band of deep red on the horizon, fading to gold, then greenish and up into the endless blue-black. It was a sky that seemed too vast for the world.
The younger man found a boulder at the edge of the flat and sat down. He removed his hat and set it beside him. The stone felt cool now under his legs. The heat of the day had fled so quickly that the air itself seemed to crackle with cold. He drew a deep breath and let it out. The land gave back only silence. A great and ageless solitude reigned here, the kind that makes its home in deserts and high places where man has no authority. He could feel it pressing in, not unkindly. It was the solitude of a world largely unchanged long before humans and likely long after. Under that eternal sky and the gaze of those stony sentinels, their own lives felt momentarily trivial. Yet the feeling was not bitterness or despair. Rather, it was humbling and strangely reassuring, as if all the griefs and triumphs that had ever marked a human life were nothing next to the calm presence of these rocks. The earth endured. The earth would always endure. Time and wind would wear down even mountains, but until then these mesas would keep witness over the days and nights, the storms and still mornings, the generations of men who came wandering through seeking something larger than themselves.
The older man walked over and eased himself down on the same boulder. He groaned softly as he sat, rubbing one knee. They both looked out over the emerging night. For a long while, neither spoke. Far in the distance, a coyote yipped — a brief, high sound, then silence again. The younger man smiled in the dark.
“The cold is coming fast,” the older man said after a time.
“Yeah. It does that quick out here.” He picked up his hat and dusted it off, though no dust truly could be kept off in this country. Dust was the true sovereign of the valley — red dust that coated boots and clothes, that hung in the air at midday, that settled on skin like a fine powder. It would ride back with them in their vehicle no matter how well they shook their coats. It had a way of clinging on, a reminder of where one had been.
“You ready?” with a tilt of his head back toward the truck.
The younger man took one last sweeping look over Monument Valley. The forms of Sentinel Mesa and its neighbors were nearly indistinguishable from the dark of the sky now, save where the moonlight etched a line or two along a cliff. The valley floor was lost in shadow. In the east, a few scattered clouds caught a faint silver luminescence from the risen moon. The beauty of the scene was stark and almost aching — a kind of beautiful emptiness that a man carries away inside him, knowing he has witnessed something that can never properly be told. He opened his mouth as if to speak, but no words came. Instead, he simply nodded and got to his feet. They began walking back toward the truck, side by side.
Behind them, the desert night continued its slow unfurling. One by one, stars pierced the darkness. The moon climbed higher on its silent arc. The great stone silhouettes stood unchanged, as they had through countless nights. In a few hours the dawn would come and paint them in rose and gold once more. But for now the valley slumbered under the pale glow of the moon. As the two men reached their vehicle and the engine turned over, its headlights flaring to life, they took one last look across the plains of Monument Valley. Then the truck pulled back onto the highway and receded down the lonesome ribbon of asphalt, two red taillights diminishing and finally vanishing into the boundless Navajo night. The land remained as it was, vast and indifferent to their departure. Sentinel Mesa and Mitchell Mesa stood like opposing pillars at the great gateway of the valley, keeping their eternal watch. The wind sighed over the road and across the sleeping rocks. The footprints the men had left were already beginning to blur with settling dust. Above, the indifferent stars traveled their courses. And the red earth of the desert stretched away in all directions—ancient, patient, and still, beneath the enduring sky.
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Copyright 2025 All Rights Reserved Michael Stephen Wills
The Louisa Duemling Meadows celebrate conservation and biodiversity, showcasing vibrant flora and honoring Louisa Duemling’s legacy as a steward of nature.
The Louisa Duemling Meadows, nestled within the expansive embrace of Sapsucker Woods, offers a vibrant tableau of life, brimming with opportunities for exploration and a sense of wonder. This new trail, winding through golden fields and punctuated by bursts of wildflowers, whispers tales of the land’s natural and cultural heritage.
Louisa Duemling: A Steward of Nature Louisa Duemling, the meadows’ namesake, was a dedicated conservationist and philanthropist who supported the Cornell Lab of Ornithology’s mission to protect birds and their habitats. Her legacy lives on in these serene fields, where her commitment to preserving the environment is reflected in every thriving plant and songbird.
Black-eyed Susans: The Meadow’s Golden Treasure Dominating this summertime landscape with their radiant yellow petals and dark central disks, Black-eyed Susans (Rudbeckia hirta) are a hallmark of the meadows. These cheerful blooms are a delight to the eye, a cornerstone of meadow ecosystems. As members of the Asteraceae family, their composite flowers serve as a rich nectar source for pollinators like bees and butterflies, ensuring the vibrancy of these fields.
Historically, Black-eyed Susans have been used in traditional medicine by Native American tribes for their putative anti-inflammatory properties. Their ability to thrive in diverse conditions also makes them a symbol of resilience and adaptability.
A Symphony of Green and Gold Walking through the trail, one is greeted by the harmonious interplay of goldenrods (Solidago spp.), milkweeds (Asclepias spp.), and asters (Symphyotrichum spp.). Goldenrods, with their feathery clusters of yellow blooms, are often mistaken as allergenic culprits, though it is the inconspicuous ragweed (Ambrosia artemisiifolia) that deserves this reputation. Milkweeds, with their milky sap and delicate pink or white flowers, are vital to monarch butterflies (Danaus plexippus), serving as the sole food source for their larvae.
Among these botanical wonders, the birdhouse stands as a sentinel, a reminder of the intricate relationship between flora and fauna. These wooden structures provide safe havens for cavity-nesting birds like Eastern Bluebirds (Sialia sialis) and Tree Swallows (Tachycineta bicolor), fostering biodiversity within the meadow.
A Horizon Framed by Pines and Clouds The open meadow trails, flanked by clusters of Eastern White Pines (Pinus strobus) and punctuated by the azure sky, invite reflection and renewal. This is a place where the human spirit can align with the rhythms of nature, where each step reveals new layers of beauty and discovery.
Embracing the Spirit of Discovery To wander the Louisa Duemling Meadows is to immerse oneself in the timeless dance of life. The trail, carefully marked yet wild in essence, invites visitors to lose themselves in its beauty while finding solace in its quietude. This is not just a path through nature—it is a journey into the heart of conservation and a celebration of the life that thrives under Louisa Duemling’s enduring legacy.
As you leave the meadow, carry with you not just the memory of golden flowers and vibrant skies but the inspiration to cherish and protect the natural world. The Louisa Duemling Meadows are not only a gift to those who walk its trails but a reminder of the profound impact one can have in preserving our planet’s fragile beauty.
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Copyright 2025 All Rights Reserved Michael Stephen Wills
San Xavier del Bac in the Sonoran desert embodies a fusion of indigenous and Spanish symbolism, showcasing devotion through art and imagery that evokes faith, beauty, and spiritual connection.
In the Sonoran Desert near Tucson, Arizona, San Xavier del Bac rises like a vision out of time. Within its adobe walls and domed ceilings lie layers of symbolism—an indigenous inheritance and Spanish colonial fervor merged into a singular living devotion. The photographs presented here, saturated with morning light, guide us through a meditative journey into this mission’s spiritual and aesthetic soul.
The crucifix dominates the first image—the depiction of Christ crucified, emaciated, bruised, crowned with thorns. His suffering is not abstract but visceral, carved in every wound and strained muscle. This figure of Christ, so brutally human, is draped in a tattered loincloth, a humble covering amid divine sacrifice. At his feet rests an offering: a blue artificial flower, incongruent in its brightness yet perfectly placed, a modern votive that expresses both reverence and continuity. It reminds us that humble devotion endures.
The fresco, with its cross flanked by stylized doves and roses, extends the Passion’s symbolism into sacred geometry. Doves—universal emblems of peace and the Holy Spirit—face one another in symmetrical grace, drawing the eye into the cross they flank. The single length of curling, intertwined golden ropes bind all elements in unity, perhaps reflecting divine infinity. The floral elements speak to rebirth and resurrection, a soft counterpoint to the harshness of the Crucifixion. Here, pain and peace coexist in a visual hymn.
The lion sculpture, oddly cheerful in its golden face, seems at first a puzzle. Yet within Christian iconography, the lion often represents Saint Mark, the Evangelist, or the power and vigilance of God. This lion, rendered with stylized curls and a strong, reclining pose, guards the sanctuary. Its gilded mane mirrors the opulence of heaven, even in this humble desert mission. The lion’s curious gaze invites us to move past fear, toward the mysteries within.
We then meet a robed figure in red—another portrayal of Christ, this time during the Passion, perhaps as the Ecce Homo (“Behold the Man”). His upraised hands and expressive face embody pathos and divine forbearance. The red robe evokes both martyrdom and kingship. He does not plead; he offers. The backdrop is simple but speckled with blue floral motifs, creating a visual bridge to the Virgin’s image nearby.
The Virgin Mary appears in blue and white—colors of purity, serenity, and devotion. She stands among votive candles and gazes gently ahead, hands joined in prayer. Her dress flows around her, anchored by a rosary that loops downward like an anchor to the earth. Angels and cherubs flank her in painted stucco, echoing heaven’s embrace. This is not the triumphal Mary of high cathedrals but a deeply human one, a mother, accessible and protective. The candles flickering below affirm that faith is alive here, not simply preserved.
A ceiling medallion next draws us into a more abstract vision. A floral rosette centers on the cross and tools of Christ’s Passion—the nails, spear, and ladder arranged in contemplative symmetry. These instruments of torture are enclosed in beauty, as if the heavens themselves have sanctified the suffering. It is a paradox of faith, this transformation of pain into purpose, death into eternal life.
And in the arch’s corner, an angel descends—painted simply, yet with care. The figure pulls at a rope, perhaps to ring a bell or lift a curtain, a symbolic act of revelation or invitation. With wings green and soft, a skirt patterned in red flowers, suggesting femininity, grounding the divine in local textile tradition. The angel bridges the earthly with the divine, echoing the mission’s purpose: to guide and accompany.
Finally, a carved wood panel—plain, aged, and sacred in its wear. The texture of centuries rests in its grain, the indentations of faithful hands passing by. This is the tactile memory of San Xavier: not only what is seen, but what has been touched, prayed over, believed.
Taken together, these images form a tapestry of devotion, colonial artistry, indigenous fusion, and enduring reverence. San Xavier del Bac is a place where symbols still speak, where color and form do more than please the eye—they lift the spirit. In this space, belief is remembered to be continually reborn.
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Taughannock Falls, a majestic 215-foot waterfall, showcases nature’s beauty and power, intertwining geological history with vibrant ecosystems in New York.
Introduction Nestled in the heart of the Finger Lakes region of New York, Taughannock Falls stands as a testament to the delicate balance of power and beauty in nature. This iconic waterfall plunges 215 feet—one of the tallest single-drop waterfalls east of the Rocky Mountains—into a gorge whose story is written in stone. The park surrounding this natural wonder offers a symphony of sights, from towering cliffs to lush greenery, inviting visitors to explore its ancient secrets and vibrant life.
View of taughannock Falls from the South Rim Trail. Taughannock Falls New York State Park, Trumansburg, Tompkins County, Finger Lakes Region
A Story Written in Stone The rocks of Taughannock Falls tell a story that stretches back 380 million years to the Devonian Period, a time when the region was submerged beneath a shallow inland sea. Layer upon layer of shale, sandstone, and limestone formed as sediment settled to the ocean floor, preserving the fossils of marine life that once thrived here. These rocks have endured the passage of eons, but the gorge itself is a far more recent creation.
Limestone Steps on the South Rim Trail descend to the gorge floor.
It was the retreat of the mighty Laurentide Ice Sheet, approximately 10,000 years ago, that set the stage for Taughannock’s grandeur. As glaciers melted, torrents of water carved the U-shaped valleys that now cradle the Finger Lakes. Taughannock Creek, a tributary of Cayuga Lake, began its work, etching its path through ancient rock, sculpting the gorge we see today. In just 10,000 years—a fleeting moment in geological time—the relentless force of water carved its way 3/4 of a mile upstream, creating the awe-inspiring chasm and waterfall that continue to evolve even now.
Taughannock Creek carved this landscape over thousands of years.
The Gorge’s Living Tapestry Beyond its geological wonders, Taughannock Falls State Park bursts with life. Along the North and South Rim Trails, Eastern Hemlocks (Tsuga canadensis) stand tall, their evergreen branches weaving shadows that dance across stone stairways and forest floors. These silent sentinels are habitats for myriad creatures and protectors of the delicate ecosystem.
Wildflowers were planted by park staff at the Falls Overlook. The bright yellow of Black-eyed Susans (Rudbeckia hirta) and the vibrant purple of Coneflowers (Echinacea purpurea) attract bees and butterflies, their nectar fueling the intricate web of life that thrives here. Along the trail, on the forest floor, mosses and ferns cling to rocks, softening the edges of the gorge with their verdant touch.
Cone FlowersCone Flowers gone to seedFrom a walk around Taughannock Falls State Park “Rim Trails” October 22nd, 2024. Trumansburg, Tompkins County, Finger Lakes Region, New York State.
The Fall’s Eternal Dance At the heart of the park is the waterfall itself, its roar both a hymn and a whisper of time’s passage. The view from the North Rim Trail reveals the waterfall framed by steep cliffs, their striations like pages in a book written by water, wind, and time. The plunge pool below, shimmering in sunlight, seems almost sacred—a place where the forces of nature meet in harmony.
Viewed from the North Rim Trail on a summer morning. Taughannock Falls New York State Park, Trumansburg, Tompkins County, Finger Lakes Region
Even as we marvel at its beauty, the falls are a reminder of the earth’s constant transformation. Each drop of water that cascades down the cliff face carries away tiny fragments of rock, continuing the slow, deliberate work of reshaping the land. What we witness today is but one moment in an ongoing process—a fleeting glimpse of a masterpiece in progress.
A Place of Wonder To stand at the edge of Taughannock Falls is to feel both small and connected. The cliffs, formed over hundreds of millions of years, whisper of ancient seas and forgotten worlds. The gorge, carved in the blink of an eye by geological standards, speaks to the power of water and time. And the vibrant life that fills the park reminds us of nature’s resilience and beauty.
As the sun filters through the trees, illuminating the mist that rises from the falls, it’s easy to believe that this place holds magic. Perhaps it’s in the way the water sparkles like diamonds in the sunlight or the way the breeze carries the scent of pine and earth. Or maybe it’s in the knowledge that here, in this park, we are witnesses to a story billions of years in the making.
Conclusion Taughannock Falls State Park is a place of wonder where geology, ecology, and history converge. It invites us to reflect on the immense forces that shape our world and to cherish the fleeting beauty of each moment. Whether you come to marvel at the towering waterfall, walk among the hemlocks, or simply stand in awe of the gorge, Taughannock Falls leaves an indelible mark on the heart—a reminder of nature’s power, resilience, and enduring grace.
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Copyright 2024 All Rights Reserved Michael Stephen Wills
Michael Stephen Wills Photography 