From Limestone to Pasture: How the People of Inis Mór Created Soil on this Aran Island

Beneath the green fields of Inis Mór lies a remarkable story of persistence as generations of islanders created fertile soil atop bare limestone.

Standing atop the cliffs of Dún Aonghasa on Inis Mór (Inishmore), one is struck by contradiction. Beneath your feet lies a landscape of exposed limestone, fractured and weathered into the unmistakable geometry of karst. These unworked, barren slopes have a pale green covering growing seemingly on air. The Atlantic crashes hundreds of feet below, while inland the island stretches toward Galway Bay in shades of gray and pale green. It seems an improbable place for agriculture.

Yet there they are: fields enclosed by dry stone walls, dotted with cattle and thick enough with grass to sustain them. Looking out across this island, a question naturally arises. Where did the soil come from?

Click the link for my Getty IStock photography of the Aran Islands

The answer is simple to describe and astonishing to contemplate. The soil of Inis Mór was, in large measure, made by human hands.

The Aran Islands are composed primarily of limestone deposited some 350 million years ago when this part of the world lay beneath warm tropical seas. The shells and skeletal remains of ancient marine organisms accumulated on the seabed and, through immense pressure and time, became stone. Today, limestone accounts for the overwhelming majority of the islands’ bedrock.

Limestone landscapes possess a severe beauty. Rainwater, slightly acidic from dissolved carbon dioxide, which in turn slowly dissolves the rock, creating fissures known as grykes separated by flat blocks called clints. Soil drains rapidly through these cracks. Left to natural processes alone, only thin accumulations of organic material develop and much of the landscape will resemble a stony pavement.

For generations, survival on Inis Mór required transforming that pavement into productive land.

Islanders gathered seaweed from the shoreline, hauling it inland by cart and hand. The seaweed provided organic matter and nutrients, particularly potassium and trace minerals. Sand from the beaches added texture and volume. Mixed together atop the limestone surface, these materials slowly decomposed into something capable of supporting plant life. Over decades—and in some places centuries—layers accumulated.

The process demanded persistence. Storms could strip away exposed earth. Atlantic winds threatened erosion. Each year required renewal: more seaweed, more organic matter, more labor. Roots from grasses and crops helped bind the developing soil together. Animal manure returned nutrients to the ground. What had begun as an artificial growing medium gradually became a living soil ecosystem.

As understood by modern soil science, soil formation is often explained through five factors: climate, organisms, relief, parent material, and time. On Inis Mór, all five are present, but there is a sixth factor impossible to ignore: culture.

Without human intervention, much of the island would likely remain dominated by exposed limestone and sparse vegetation. Instead, generations of residents imposed patience upon geology. Their work transformed an inhospitable environment into a functioning agricultural landscape.

The dry stone walls that divide the island tell the same story. Built from limestone cleared from the fields, they required no mortar. Each stone was carefully selected and placed, creating boundaries that controlled livestock, sheltered plants from relentless winds, and marked family holdings. The walls themselves became part of the ecological fabric, providing habitat for insects, mosses, lichens, and wildflowers.

Visitors often admire these walls for their picturesque quality. They are indeed beautiful and are also evidence of necessity. Every stone removed from a field made space for soil to deepen and grasses to spread. The very act of creating pasture simultaneously generated the material for the island’s defining architecture.

There is poetry in this relationship between hardship and abundance.

In many places, fertile soil is taken for granted. Deep glacial deposits or river sediments create agricultural wealth with little awareness of the thousands of years involved in their formation. On Inis Mór, however, the origins of fertility remain visible. The limestone still protrudes through the fields. The seaweed-strewn shore lies only a short distance away. The walls reveal the labor embedded in the land.

To walk these fields is to encounter a collaboration between people and place extending across centuries. The islanders did not conquer the landscape so much as negotiate with it. They worked within its constraints, borrowing from the sea to enrich the stone and relying upon time to complete what effort had begun.

The resulting landscape offers a quiet lesson. Soil, the foundation of civilization, is created through intricate interactions among rock, water, organisms, and time. On Inis Mór, soil also represents inheritance: the accumulated labor of countless individuals who refused to accept barrenness as destiny.

Viewed from the heights of Dún Aonghasa, the green fields scattered across the gray limestone are miraculous.

Not a miracle of sudden transformation, but one measured in generations—made from seaweed and sand, from patience and persistence, and from the enduring belief that even the most unpromising ground can, with enough care, be coaxed into life. 

The answer is simple hard work, hundreds, a thousand years of hauling seaweed and sand, mixing it on the barren limestone, allowing the rot of time to work. Hold it down with roots, till and refresh.

Click me for the first post of this series, “Horse Trap on Inishmore.”

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Hepatica at Fillmore Glen: Quiet Wonders Beneath the Leafless Trees

On a quiet April walk in Fillmore Glen State Park, I found Hepatica acutiloba blooming beneath leafless trees—small, luminous flowers that turned the still-brown woods into a meditation on patience, renewal, and grace.

On April 11, 2026, I walked Fillmore Glen State Park beneath trees still bare, their branches opening the woods to the cool, unguarded light of early spring. The forest had not yet put on its full green speech. Last year’s leaves still covered the ground in shades of russet and tan, and among them, close to the earth, I found Hepatica acutiloba beginning to bloom.

These are flowers that ask for slowness. No one hurrying through the woods would fully see them. I had to kneel, lower myself into their world, and let my eyes adjust to their scale. Only then did they begin to reveal themselves: first as closed buds, pale and self-contained, then as opened white blossoms shining from the leaf litter like small votives in the dim cathedral of the spring woods.

This flower was a light lavender blossoms, still closed, rising from the forest floor on a delicate stems. The sun had reached in, and I made the image handheld, steadying the camera on the ground. Even unopened, it seemed to hold light within itself, as though the day had touched it but not yet persuaded it to unfold. I have always loved that about hepatica. It does not fling itself into spring. It listens first. It waits with an old intelligence, answering warmth and brightness in its own time.

Lavender Hepatica Blossoms, closed

A second cluster of closed blossoms rested among evergreen fern fronds, which appear to be Christmas fern, Polystichum acrostichoides. Their leathery green pinnae, carried through the winter, formed a fitting companion to these early flowers. Together they seemed to embody one of the quiet truths of the April woods: that renewal does not come as a sudden trumpet blast, but by degrees. First the fern still holding its winter green. Then the bud. Then the opening. Then the day when the whole hillside begins to feel like a promise being kept.

White Hepatica Blossoms with Christmas Fern

The last three photographs showed the same group of white hepatica blossoms growing on a south-facing slope beneath a tree root. By then I had placed the camera on my Manfrotto BeFree tripod, and I worked more deliberately, grateful for the patience that such flowers invite. One image was made in sunlight; the others when the sun had passed behind a cloud. That change mattered. In the sun, the white blossoms seemed almost to ring like little bells of light. Under cloud, they grew quieter, softer, more inward. The mood deepened. The exposed root above them became a rough shelter, a woodland lintel, and the blossoms beneath gathered into a hidden chapel of spring.

Hepatica acutiloba in sunlight on an early spring afternoon. Fillmore Glen New York State Park, Cayuga County, Finger Lakes Region, New York State. April 2026

I stood there for a long while, looking not only at the flowers but at the place that had made their blooming possible. A south-facing slope gathers warmth earlier in the season. The root held the bank in place and offered a small measure of protection. The leaf litter insulated the soil. The ferns kept their green nearby. Nothing in such a scene is accidental. The woods are full of these small negotiations between light, temperature, shelter, and time. Hepatica, for all its delicacy, is a master of them.

Here a cloud hid the sun, the blossoms in side view.

We call these flowers spring ephemerals, and the name is true in one sense. Their season of bloom is brief. Before long, the trees overhead will leaf out, and the bright interval in which they thrive will begin to close. Yet “ephemeral” can sound too fragile a word for a plant so well adapted, so seasoned in its timing. Hepatica does not merely appear and vanish. It endures. Its leaves persist through winter. Its flowering is tuned to a narrow ecological opening, one shaped by the still-bare canopy of the deciduous forest. For a few precious weeks, before shade deepens, it steps into the light and makes use of what the season offers.

The sun still hidden by a cloud, the blossoms face on.

Perhaps that is why hepatica has so often found a place in literature and nature writing. It carries a symbolism that feels earned rather than assigned. It arrives when the world still bears winter’s austerity, and so its bloom seems less decorative than revelatory. Generations of observers have seen in such flowers a sign that the year turns first in whispers. Not through spectacle, but through fidelity. A small flower opening under bare branches can change the whole moral weather of a walk.

That was how it felt to me at Fillmore Glen. The woods were still mostly brown and gray, still waiting for leaf and shade and birdsong in full chorus. Yet these blossoms had already crossed some invisible threshold. They were spring in its purest form: not abundance, but inception. Not the full choir, but the first clear note.

Photography, in such moments, becomes for me an act of receiving. The changing light, the choice of aperture, the longer exposures when the sun went behind a cloud, the shift from handholding to bracing to tripod—all of it asked for attention. Hepatica does not yield itself to haste. It asks me to be present enough to notice what kind of light it is standing in, what kind of slope it has chosen, what old leaves still surround it, what green companions remain from winter. The camera only deepens that act of seeing.

I left Fillmore Glen feeling that I had witnessed something both small and immense. These flowers were no larger than a coin, yet they altered the whole forest around them. The leaf litter no longer seemed merely dead, but sheltering. The bare trees no longer seemed empty, but expectant. In the presence of hepatica, the woods felt poised on the edge of utterance.

That may be the lasting wonder of these early blooms. They do not overwhelm. They steady. They remind me that beauty often comes close to the ground, half-hidden, speaking softly. In the leafless woods of April, that soft speech can feel like grace.

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Glacial Kettle Bog Wonders: Photographing Pitcher Plants at the O.D. Engeln Preserve in Freeville

Step onto Freeville’s O.D. Engeln Preserve boardwalk and meet purple pitcher plants in a glacial kettle bog—carnivorous beauty, hidden blooms, and macro-photo magic.

Seen from 1000 feet above in Google Earth, the O.D. (Von) Engeln Preserve at Malloryville Road lays itself out in two glacial “kettles,” pond and bog; a simple diagram drawn by ice and time, then complicated by everything that has happened since. In my photograph, taken from the bog observation platform on a July morning, the sky is rinsed blue, clouds billow, conifers stitch along the rim around open space. Step closer, or lower your lens, and the openness resolves into a crowded, intimate architecture of sedges and moss, twigs and standing water, sunlight and shadow.

I came here for a plant that does not announce itself the way wildflowers often do. The purple pitcher plant, Sarracenia purpurea, is a quiet scandal: a green vessel in a place where green should be satisfied simply to survive. I arrived equipped for attentiveness—an iPhone for the broad scene, and a Canon DSLR with the F2.8 100 mm macro lens for the stars of this bog. The macro lens is an instrument of humility. It forces you to admit that the important drama is often no bigger than your palm.

In earlier years, the pitchers could be found right where a visitor naturally looks—within the central cut-out of the observation deck, close enough to lean over and study. But the bog is not a museum display; it is a living negotiation. This season, highbush blueberries pressing in from the margin had crowded the pitchers out, pushing the flowering plants into the grasses eight to ten feet away. The shift is small in human terms, the kind of distance you cross without thinking. In bog terms, it is displacement—an erasure of a familiar scene, a reminder that rarity is not only about numbers but also about space.

The pitchers themselves—those “turtle socks,” as they’ve been nicknamed—sit at ground level in a rosette, their mouths open to weather. Sunlight floods the cups and turns them into something both domestic and uncanny: a set of green, veined slippers left out to air, or a cluster of small amphorae awaiting an offering. In the bog’s thin soil, nourishment is hard-won. The pitcher plant answers that poverty with invention. Instead of arguing with the chemistry of peat, it borrows from the animal world—luring and taking what the air can spare. The cup is a trap, yes, but also a reservoir: rainwater gathered and held, a miniature wetland that mirrors the preserve’s larger one.

There is a tension here that never quite resolves: the plant’s beauty, and the plant’s appetite. We admire the cup’s red veining, the glossy rim, the way the opening flares like a lip; then we remember what the lip is for. We admire the flower’s elegant sheltering forms; then we realize the shelter is also a funnel, a choreography. This is not cruelty—no more than winter is cruelty. It is adaptation made visible, a lesson in how form follows need, and how need can produce something unexpectedly lovely.

And yet the real marvel—the reason I came that day—rises above the traps on a strong stalk, lifted clear of the dangerous mouths below. The flower is not purple in the obvious way its common name promises. It is subtler and stranger: a suspended structure with the poise of a lantern and the protective logic of armor. It struck me as a flower unlike any I have experienced, resembling an insect carapace, with the reproductive element underneath a hood. That hooded design feels less like ornament than strategy—an architecture that guides a pollinator’s route, controlling entrances and exits the way the pitcher controls the fall of an insect.

Even the flower’s back side refuses to perform for the camera. From the posterior angle, “there are only bracts”—plain supporting structures, the botanical equivalent of scaffolding left in place once the facade is finished. The bog, too, shows its scaffolding everywhere: dead stems, old wood, peat-dark water, last year’s leaves. A preserve is never only what is blooming. It is what persists.

I found myself thinking about the details I wanted but could not quite capture that day: the downward facing hairs inside the pitcher—those one-way bristles that make retreat difficult once a victim has slipped in. I or my lens was not up to this challange. The shortcoming was minor, but instructive. The bog offers glimpses, not guarantees. It invites return visits, different light, different seasons, a different kind of patience.

Standing on the platform I felt the preserve’s central truth: these are landscapes shaped by constraint—by ice, by water, by nutrient scarcity, by the slow encroachment of shrubs—and yet they keep producing improbable forms. The purple pitcher plant is one of those forms: a green cup that drinks rain, a flower that wears a hood, a turtle sock that turns hunger into design. In a place where the ground itself seems to refuse abundance, the plant answers with a different kind of richness—an elegance that is also a solution.

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The Dún Aonghasa cheval de fries field

…this defensive structure evokes the enormous scale of the struggles around this place of defense. 

A span of 10,000 years spreads between now and the first possibility of settlement on the island of Eire, then swept clean to bare rock by the weight of ice.  Current scholarship of the Dún Aonghasa ruins, Inishmore, County Galway, the Irish Republic place a settlement within the inner of the four dry stone rings after 6,500 years (1,500 BC or 3,500 years ago).  By way of scale, the first settlement took about 30 times the duration of the U.S. Constitution ratification through 2025: the last state, Rhode Island, ratified the Constitution 1789.

By 700 BC, 2,700 years ago, a series of upright, closely placed stones, were erected between the second and third rings called a cheval de fries field (“Frisian horses” in English) today, this defensive structure evokes the enormous scale of the struggles around this place of defense.  

This is a portion of that field, I believe, taken as Pam and I approach the inner ring entrance, walking a wide path cleared of barriers.  Click the photograph for a larger image with caption.

Click the link for my Getty IStock photography of the Aran Islands
Click me for the first post of this series, “Horse Trap on Inishmore.”

References: search wikipedia for “Dún Aonghasa” and Google “cheval de fries definition” and “Dún Aonghasa.”

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University of Arizona Homecoming 2003: Cheerleading, Tradition, and Tucson

At my first UA Homecoming since ’75, I stepped back into the parade, camera in hand, capturing three airborne moments that felt like returning home.

In November 2003, at fifty and traveling Arizona with my son Sean, I returned to the University of Arizona for my first Homecoming since graduating in 1975. I’d made the freshman cheerleading squad my first year in Tucson, and when the alumni invitation arrived, I couldn’t resist.

ArizonaCheer2003
ArizonaCheer2003

At the cheer alumni reception on November 7, the room felt instantly familiar—handshakes, stories, and a current squad packed with scholars as well as athletes. I mentioned to advisor Phoebe Chalk that I hoped to photograph the parade. “The squad already had photographers”, she said, so I planned to work from the sidelines.

ArizonaCheer2003
ArizonaCheer2003

I came prepared the next day with a Sony Cybershot F828. It was “Sony’s flagship prosumer digital camera” at the time. It worked well that day, the variable lens was especially helpful.

ArizonaCheer2003

At the staging site, I solved access with a simple ask. I approached UA President Peter Likins, explained I wanted to photograph the cheerleaders, and he nodded, made a quick call, and waved me on. The team recognized me from the evening before, and I fell in step with them at the head of the procession

ArizonaCheer2003
ArizonaCheer2003

As we passed the Flandrau Science Center and crossed Cherry Avenue, a stunt group set quickly: bases J. Justin VandenBerg, Ricardo Abud (captain), and Robert Scoby with flyer Taylor Hendrickson. They launched her high for a full flip and clean catch. I caught the moment of collective focus—an image I call Mind.

ArizonaCheer2003

We progressed until the stunt group reset. This time I framed the instant of takeoff—limbs aligned like clockwork—I call this image Aerialists.

ArizonaCheer2003

The next flyer to launch was Kristen Ortega, here standing on the shoulders of her partner.

ArizonaCheer2003-1

In front of the review stand, flyer Kristen Ortega rose into a poised extension and flight returned safely to the same three pairs of hands. Grace is the image title. 

ArizonaCheer2003-1

The rest of the parade streamed past in a blur of alumni, bands, and banners. Afterward, a squad member took a picture of me with the team—two eras in one frame. The cheers change; the spirit doesn’t.

ArizonaCheer2003-1
ArizonaCheer2003-1
ArizonaCheer2003-1
ArizonaCheer2003-1
ArizonaCheer2003-1
ArizonaCheer2003-1

Click link for another posting about Arizonians, “Portrait of a Navajo Guide.”

Click link for another posting about Arizonians, “History and Ghosts of the Triangle T Ranch.”

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Stargazing Winter’s Crab: Watching the 2019 Total Lunar Eclipse Near Cancer’s Beehive Cluster

Join me as a full moon slips into Earth’s shadow, turning copper beside Cancer’s Beehive—science, illusion, and wonder entwined in a winter night.

Colored lights of our skies are lifelong triggers for the imagination. On any moonless, crystal night—far from the town-glow—three thousand or so stars and the wandering planets scatter across the dark. We read them instinctively, stitching patterns the way our ancestors did, turning a brilliant chaos into stories. Along the ecliptic, twelve of those patterns became the constellations, a starry calendar by which careful observers told the seasons. When Cancer, the Crab rides high, winter has the northern hemisphere in its grip

Click Photograph for my OnLine Galleries
Click photograph for my OnLine Galleries. Clicking the other photographs in this post will yield a larger image.

On the night of January 20–21, 2019, a full moon climbed from the horizon and slid into Earth’s shadow, transforming a familiar face into a copper coin. As it rose, that low-horizon “larger” moon—an illusion born of context—felt close enough to pocket. Hours later, the moon darkened to a dull copper color and appeared to float amid Cancer’s dim stars.

I set up a Canon DSLR on a tripod with a 24mm f/1.4 lens, pushed the ISO to 3200, and shortened the exposure to 1.3 seconds—a compromise between freezing star points and preserving the feel of the sky. The moon, of course, was overexposed in that wide frame; later, I overlaid a correctly exposed moon (from a telephoto shot later in the night) at its true apparent size to match the scene as the eye saw it. Is it the most “technical” astrophotograph of the eclipse? No. But it is faithful to the moment I witnessed and good enough to carry the story forward.

The Moon on the Crab’s back

Cancer is never an easy connect-the-dots. Its stars are modest, more suggestion than signature. Look just to the side of the moon’s position that night and you come to Delta Cancri, the orange giant nicknamed the Southern Donkey. Draw a mental line down and slightly right to the faint pair Nu and Gamma Cancri—white stars that only masquerade as twins. They are not physically bound, merely near each other by line of sight: Nu about 390 light-years away, Gamma at 181. Scatter in Alpha and Beta off the Crab’s back and the outline becomes more plausible, the way a minimal sketch becomes a creature once the eye knows what to look for.

The Beehive

Between Nu and Gamma, edged closer to the moon, lies the real prize: the Beehive Cluster—also known as Praesepe or M44. Even with modest binoculars, Praesepe explodes into a field of delicate sparks, a thousand stars loosely wrapped into a hive. Galileo famously turned his early telescope on this cloud and teased forty separate points from the mist; modern optics reveal a populous neighborhood of stellar siblings in shades from ice-blue to ember-red. It is one of those sights that converts a casual sky-gazer into a repeat offender.

Click for more information about this view

Click photograph for a higher resolution version
Total Lunar Eclipse and Surrounding Sky with labels for primary element of the Cancer constellation

Later in the night I lifted the telephoto—70–300mm at 300mm, ISO 3200, 3.2 seconds—and let the moon fill more of the frame. At totality, the light thinned to a clay-jar red as Earth’s atmosphere bent sunlight around the planet and into its shadow. The effect is both simple and profound: every sunset on Earth happening at once, projected onto the moon’s face. Craters and maria softened into relief, and the globe stopped being a flat disk and became a round, ancient body again. Even without Delta, Gamma, Nu, and the Beehive in that tighter field, the sense of placement remained; I knew the Crab’s back was there in the dark, and that the moon had joined it—just for an hour—as a guest at the manger.

Click photograph for a higher resolution image
“Beehive” with Total Lunar Eclipse with labels for primary elements of Cancer Constellation

The Total Eclipse

What I love most about an eclipse is its pace. Nothing is impatient: the bite appears, the light drains, the color warms, and the world around you changes temperament. As the bright glare wanes, neighborhood sounds recalibrate—the hush between footfalls, the small click of a door, even the steadying breath you didn’t know you were holding. A total lunar eclipse is an astronomy lesson that behaves like a poem; it teaches by arranging time and light until awe and understanding meet.

Click photograph for larger image

And then, quietly, it returns what it borrowed. A thin wedge of white blooms at one edge, a rehearsal for dawn. Copper gives way to pearl, and the old moon looks new again, just higher and smaller against the deepening night. Cancer recedes into suggestion; Praesepe goes back to being a faint cloud to the unaided eye. The camera is packed away, the tripod shoulders its own shadow, and you keep the best exposure of the night where it can’t be corrupted: in memory.

Click photograph for larger image

If you have binoculars, mark Cancer on a winter chart and step outside when the sky is clear. Find Delta, sweep toward the dim pair of Nu and Gamma, and then rest your gaze on that hazy patch between them. Bring a friend into the circle and let the cluster resolve, star by star, into something alive with depth. It will not be the last time you look for it. And if you’re lucky enough, as we were that January, the moon will pass nearby, reminding you that even the most familiar companion can be made strange and beautiful by the turn of a shadow.

The sky is a storybook, yes—but also an instrument. Nights like this tune both.

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Monarch Butterfly Life Cycle: Egg to Adult (Danaus plexippus) with Photos

From milkweed egg to striped caterpillar, jade chrysalis, and fluttering monarch, witness metamorphosis, migration, and our role in protecting Danaus plexippus across North America today.

On the underside of a milkweed leaf, the world begins small enough to miss unless you kneel and look closely. In this first photograph the newborn is still a whisper of life, a pale pinhead egg collapsed into a glistening scrap, the tiny caterpillar beside it like a gray comma punctuating the green. It has just eaten the soft shell that cradled it—its first meal, its first thrift. The leaf’s pale roads of veins radiate around the hatchling; within that simple map lies all the geography it needs.

By the second photograph appetite has taken its proper throne. These pilgrims wear a uniform of warning: bands of yellow, black, and white—stripes as bright as hazard tape, a heraldic banner advertising the bitterness borrowed from milkweed. Each bite draws down defensive latex; yet the caterpillars feed undeterred, pausing to snip the leaf’s veins to quiet the flow. Their black, threadlike “tentacles” nod as they travel, and their peppery pellets—frass—collect like midnight hail. Five times they will outgrow themselves, shrugging off skins to reveal wider, hungrier versions within. The room is strewn with green rib and ragged edges; the air has the gentle smell of cut stems. All the while, milkweed’s poisons, the cardenolides, pass into growing bodies and become their bodyguard.

At last a hush. A final meal, a purposeful wander. The caterpillar chooses a high eave of the world—a stem, a stick, the corner of your rearing tent—and hooks itself into a downward J. Within hours the skin splits like a soft zipper; the striped creature pours itself out of itself and seals into a smooth chrysalis.

Here, the caterpillar has attached itself to a silk pad from which it hangs. Underneath the skin, the caterpillar is transforming to the chrysalis. In these photographs the silk pad and chrysalis attachment from a previous transformation are in the foreground.
Macro of the Monarch butterfly chrysalis. The black stalk attached to the silk pad is call a cremaster.

The following photograph and video catch the moments into becoming: the jade lantern has become transparent, darkening, its gold studs glinting like constellation points, and through the thinning walls the folded wings show, orange smoldering under smoke. Inside, old tissues have dissolved into a living broth; imaginal discs—tiny blueprints carried since the egg—have flowered into legs, eyes, and flight. To call it “metamorphosis” is correct; to call it mystery is truer.

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When the case opens the butterfly backs into the bright. It clings while the crumpled wings fill and flatten, hemolymph pumping life into every cell. In the next image the adult drinks from a petunia trumpet, a jeweled ember with white-spotted hems. The monarch—Danaus plexippus—tests the wind with new, purposeful wings. Its scientific name nods to ancient stories: Danaus after the Greek mythic king of Argos, a father who fled with his fifty daughters across the sea; plexippus for Plexippus, a figure of the same old tales—his name carried forward into this wanderer of the sky. The English name “monarch” is said to honor both its regal size and domain, and, some say, the orange-and-black of William of Orange. Kings and myths gathered like cloak and scepter around a creature that weighs less than a paperclip.

No butterfly has entered human life more completely. Schoolchildren cradle jars of milkweed sprigs and tape handwritten labels to chrysalides lined like seed pearls along a classroom window. Taggers kneel in September light, add a tiny disc to a wing, and write down time and place so the journey south can be traced. In the mountains of Mexico, where oyamel firs hold winter like a secret, people fold the monarch’s return into the Days of the Dead, believing that souls ride home on those wafers of flame. Gardeners tuck swamp milkweed into narrow beds and call their yards “waystations.” Photographers, such as myself, record the stories that happen leaf by leaf.

In early July a Monarch caterpillar revels in milkweed flowers.

Yet our touch is not simple. Fields simplified by herbicides have shaved milkweed from fencerows; tidy mowing removes nectar from roadsides in the tender weeks of migration; captive rearing in vast numbers, though done with reverence, may carry unintended risks of disease and weakened orientation. The monarch asks us to enlarge our sense of home beyond the fence: to let patches of milkweed lift their pale crowns in rough corners; to choose late-blooming asters and goldenrod; to keep a few ditches shaggy until the travelers pass. Conservation, like metamorphosis, is work that happens inside ordinary days.

Watch the cycle again in my images—egg to appetite, appetite to stillness, stillness to wing—and hear what it whispers in the steady voice of milkweed leaves and soft fall air. Rachel Carson wrote that “those who contemplate the beauty of the earth find reserves of strength that will endure as long as life lasts.” Here beauty wears stripes and beads of gold, sips from garden petals, and threads a continent with its frail insistence. The monarch’s life is a ribbon we can follow with our eyes and, if we are willing, with our hands—gentle hands that leave room for milkweed to rise, for caterpillars to feed, for a chrysalis to darken and a window to fill, one bright morning, with wings.

On a personal note, this season was a success. Monarchs visited our milkweed patch several times allowing me to save/harvest nineteen eggs/caterpillars and raise them until release.

Selected references
Carson, Rachel. The Sense of Wonder. New York: Harper & Row, 1965. (Reissued: HarperCollins, 1998; Open Road Media e-book, 2011.) The quoted passage (“Those who contemplate the beauty of the earth…”) appears early in the book; the Open Road edition places it on p. 41.
Wikipedia contributors. “Monarch butterfly — Etymology and taxonomy.” (useful overview with primary citations).
Oberhauser, K. S., and M. J. Solensky, eds. The Monarch Butterfly: Biology and Conservation. Cornell University Press, 2004.

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Carved by Time: Exploring the Virgin River and Cross-Bedded Sandstone in Zion’s Narrows

A quiet moment along the Virgin River reveals the artistry of nature—where water, stone, and time shape Zion’s majestic Narrows in subtle, surprising ways.

In Zion National Park, where towering sandstone cliffs rise from the desert floor, the Virgin River weaves a persistent and graceful thread through deep canyons carved over millennia. The river is the creative force behind Zion’s signature landscape, sculpting stone with a patient hand. Among its greatest achievements is the Narrows—a sinuous gorge where water and light perform a timeless duet. The two photographs shown here draw us into an intimate corner of that realm, where water flows past a rock face marked by both subtlety and drama.

At first glance, what stands out is the unusual structure on the wall behind the river—a feature that at a distance could easily be mistaken for a man-made stairway. But closer observation reveals this to be a natural element, the result of erosion acting upon cross-bedded Navajo Sandstone. The texture and linearity of these formations are remnants of ancient sand dunes hardened into rock nearly 190 million years ago, during the Jurassic period. What looks like precision carving is, in fact, the legacy of sedimentation, lithification, and the scouring action of water over time.

In the first photograph, the scene is bathed in soft, diffused light, lending a quiet tone to the flowing water and the weathered rock face. The surface of the Virgin River becomes a silky sheet, its motion captured with long exposure so that it seems to glide effortlessly past the cluster of smooth stones in the foreground. Here is a deep calm—the kind that can be heard in the hush of water over stone and felt in the breathless silence of a canyon morning.

Click each photo for a larger view

The second photograph, taken under brighter conditions, reveals the same scene with different character. The increase in light clarifies the water’s transparency, the greens of moss and lichen on the wall, and the golden tones of the sandstone. What you see is a pattern formed by layers of wind-blown sand, once part of vast dunes, now standing as a stone ledger of time. The river, its bed visible beneath the shallow flow, seems to read this text as it passes—century by century, pebble by pebble.

The Virgin River begins high in Southwestern Utah, at the Navajo Reservoir in the Dixie National Forest north of Zion National Park and travels over 160 miles to join the Colorado River, carving through layers of sedimentary rock as it descends. In the Narrows, the canyon walls rise up to a thousand feet while the corridor narrows to just 20–30 feet across in places. The intimacy of the Narrows contrasts with the vast openness elsewhere in Zion, enclosing the traveler in a world of water and stone, shadow and echo.

Walking the Narrows means walking in the river itself—an experience that engages body and spirit alike. The water is rarely still, and neither is the trail. Slippery rocks and ever-shifting current demand attention and balance. Yet, this very immersion invites a deeper kind of awareness. You are observing nature from within it, shaped by nature, and held by nature.

What the photos capture so eloquently is that Zion is a place where the work of nature can appear deliberate, even architectural. The illusion of stairways in the sandstone, carved not by hands but by wind, gravity, and time, is a reminder of how little separates the human sense of design from the forms nature produces. We recognize rhythm and repetition, elevation and flow, and are drawn to interpret meaning from these patterns.

But perhaps the meaning lies not in what we impose, but in what we receive. The Virgin River’s passage through this sculpted corridor teaches patience, resilience, and the beauty of gradual transformation. Its waters do not fight the rock; they yield, swirl, and persist—until the rock, by degrees, gives way. What results is a landscape both eternal and ever-changing.

Zion’s grandeur is easy to admire its many amazing overlooks, but its soul is found in quiet places like this—where sandstone walls, smoothed by water and time, speak not in shouts but in whispers. Here, beside a seeming stairway that leads nowhere and everywhere, we come face to face with the artistry of the Earth.

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Discover Cushendun: A Coastal Gem in Northern Ireland

Cushendun (from Irish: Cois Abhann Doinne, meaning “foot of the River Dun”) is a small coastal village in County Antrim, Northern Ireland. It sits off the A2 coast road between Cushendall and Ballycastle.

It has a sheltered harbor and lies at the mouth of the River Dun and Glendun, one of the nine Glens of Antrim. The Mull of Kintyre in Scotland is only about 15 miles away across the North Channel and can be seen easily on clear days.

In the 2001 Census it had a population of 138 people. Cushendun is part of Causeway Coast and Glens district.

SONY DSC

Here are several of the information placards near the harbor explaining some local history.

Ballyteerin townland, where Shane O’Neill was killed, is on the road to Torr Head.

Reference: Wikipedia, “Cushendun.”

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A Whitewashed Memory on Inishmore

I reflect on traditional Aran cottages while journeying to Dún Aonghasa, emphasizing the beauty of simplicity and lasting memories.

It was the kind of overcast morning that seems to cradle the island in a blanket of mist, a gentle hush falling over the land as though even the Atlantic held its breath. Pam and I had arrived by ferry at Kilronan, the main settlement on Inishmore (Inis Mór), the largest of the Aran Islands nestled in Galway Bay. There, amid the bustle of arrivals and greetings, we found our driver—a wiry, weather-worn man with a soft brogue and kind eyes—and his horse trap, a simple two-wheeled carriage with room enough for three and the sounds of hooves to accompany our journey.

We set out up Cottage Road, the stone-paved track winding westward from the harbor. The sea fell away behind us as we climbed, a gray shimmer stretching to the hazy outline of Connemara’s mountains on the far side of the bay. Our destination was the dramatic cliffside ringfort of Dún Aonghasa, a place older than memory. But it was the unexpected moments in between—the ones not printed in guidebooks—that linger longest in the mind.

As we rounded a bend flanked by low stone walls, wildflowers blooming defiantly in the cracks, our driver pulled the reins gently and pointed with his crop.

“There,” he said, nodding ahead, “is a fine example of a traditional Aran cottage.”

And there it was—a vision from another time. The thatched roof curved softly like a that blanket itself, straw golden against the brooding sky. The walls were whitewashed to a perfect matte sheen, gleaming in spite of the cloud cover. A crimson door and two window frames punctuated the front façade like punctuation in a poem. Just to its right, set further back on the hill, stood a tiny replica of the same cottage, identical in every feature. I blinked, half believing it was an illusion.

Click the link for my Getty IStock photography of the Aran Islands
This thatched cottage with matching child’s playhouse is on Cottage Road out of Kilronan Village on the Aran island, Inishmore, County Galway, Ireland.

We only stopped briefly—it was a private residence—but the sight of it left a kind of imprint. I turned in the trap seat to keep it in view as long as I could. The cottage was perfectly placed, facing Galway Bay with a commanding view. I imagined the light pouring across the line of mountains, catching the glint of sea and sky.

“There’s a name for that finish,” I said, recalling something I’d read, “whitewash, or lime paint.”

Our driver nodded. “That’s the old way. Made from slaked lime. We’d call it ‘whitening’ when I was a lad.”

Whitewash differs from paint in the most elemental of ways. It becomes part of the stone, absorbed into the very surface. Like a memory of bone. And yet, it requires care. Apply it to a wall not properly cleaned or moistened, and it flakes, pulls away like a broken promise. But done right, it lasts, breathes with the building.

Upon our return, researching “whitewash,” if found this photograph from the Yarloop railway workshops Yarloop, Western Australia. There, on a shelf, where three old boxes sat like relics: DURABLO, WESCO, and CALCIMO. All contained kalsomine—the powdered form of lime paint. CALCIMO promised to “beautify walls and ceilings” and was proudly marked “LIME PROOF.” There was something quietly heroic in that. Lime-proof, as though against time itself.

Yarloop railway workshops Yarloop, Western Australia Kalsomine, wall ceiling plaster powder. Source: Wikipedia article on White Wash. Author: https://commons.wikimedia.org/wiki/User:Gnangarra

Looking at the box of Calcimo, a product of the Murabo Company of Australia, I was struck by how far the tradition had traveled. From island cottages in the Atlantic to distant corners of the Southern Hemisphere, the language of whitewash—of simplicity and purity—had touched the world.

We returned by the same road, past that same cottage, the small one still keeping watch beside it like a child beside a parent. And I knew then that the islands hadn’t just given me sights—they had offered stories, silent ones written in thatch and stone, in lime and wind.

Sources for this post: search wikipedia for “White Wash”. White wash photo author: Wikipedia commons user Gnangarra

Click me for the first post of this series, “Horse Trap on Inishmore.”

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