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Arizona Highways A PORTFOLIO EDITED BY BARBARA GLYNN DENNEY & JEFF KIDA 7 DECADES OF IN JANUARY 1955, WE WELCOMED DAVID MUENCH David MuenchTO THE PAGES OF ARIZONA HIGHWAYS. HE GOT THE COVER THAT MONTH, AT THE AGE OF 18. SINCE THEN, THERE HAVE BEEN TOO MANY PHOTOGRAPHS TO COUNT. WHAT WE DO KNOW IS THAT MR. MUENCH HAS BEEN SHOOTING FOR US FOR PARTS OF SEVEN DECADES, AND HIS BODY OF WORK IS AS IMPRESSIVE AS IT IS EXTENSIVE. 10 DECEMBER 2015 www.arizonahighways.com 11 Preceding panel: time,” he says. “You’d fog makes this image pull Muench into I was developing my Above: While Kida No matter how have to be extremely for me. The ambient the image, however, own style with this appreciates the many times David lucky to catch these light.” and he looks at it ripple cascade and juniper branches Muench visits Monu- within hours, or they’d in its entirety as something close going as a frame in this ment Valley, he’ll start melting. A lot Left: In this, another an example of his all the way up through photograph of attribute many of his of my work revolves photograph from framing photographs the middle ground to Monument Valley, photographs of the around the ‘timeless Monument Valley, either very high or very the top one-eighth of Muench disagrees. “It region to luck — as moment.’ You have both Photo Editor low. “We’ve all seen the image. I do that a isn’t really a frame, he does with this things that happen, Jeff Kida and Editor Monument Valley,” lot. In this case, the but it is quite scrappy,” one, which he made and then they’re gone. Robert Stieve are he says. “So how do middle ground is the he says. “It shows during a particularly There’s the past and drawn to the tuft you do it differently? I real story. Usually the wildness of the heavy snowstorm. the future — and then of grass in the was concerned about that’s the hard one country, and the “Storms like these there’s that image foreground. The that, about how to to find.” Mittens are well lit, so used to happen all the right in between. The ripples in the sand make things work, so it has lasting power.” 12 DECEMBER 2015 www.arizonahighways.com 13 14 DECEMBER 2015 www.arizonahighways.com 15 “In my day, David set the bar for anyone doing scenic photo graphy. He is one of the greatest landscape photographers of all time. Many of us envied the work he did.” — PHOTOGRAPHER JERRY JACKA Preceding panel: Muench says. And for Left: A sifting of snow image ties together,” is the same size, and like this, it’s just Snow served as a Kida, the reds of the over Wupatki National he says. “The repeat- I like it.” natural.” For Kida, this natural reflector pine trunks, along Monument helped ing of the snowmelt photograph’s strength for this photograph, with the cool blue create circular forms on the slick-rock — Above: “When I’m is in its soft light, and which Muench made of the light, create and patterns that, I just go to that. With walking, I go on Muench believes he on the South Rim of leading lines up and to Kida, make the the ball court in the momentum, and made the photograph the Grand Canyon. into the image, while image. For Muench, foreground, I could get I’m always looking on an overcast day. “Ponderosa pines the color contrast though, playing off close to it and make for foregrounds,” “You dream of that in are great, and if they adds interest. those patterns is just it bigger or get way Muench says. “When this situation,” he says. get a little wet with a matter of instinct. back and it would just you get something snow, even more so,” “Everything in this be incidental, but this that’s timed perfectly 16 DECEMBER 2015 www.arizonahighways.com 17 “He was a force of nature. David changed every ­ thing in the world of color landscape photo graphy. When I was living in Chicago, his style defined my concept of the American West. He had a Wagnerian sense of light.” — RICHARD MAACK, FORMER ARIZONA HIGHWAYS PHOTO EDITOR Because the Grand Canyon is the best-known and most frequently photographed destination in Arizona, it’s challenging to make a unique image of it. But thanks to an inversion, delicate light and being in the right place at the right time, Muench made this photograph stand alone. “The fog just floats there,” he says. “And look at the little bit of sun on the top. Everything is formed in a ‘V.’ It feels like everything is just nestled in there, and, again, there’s a very high horizon.” 18 DECEMBER 2015 www.arizonahighways.com 19 20 DECEMBER 2015 www.arizonahighways.com 21 Preceding panel: nose on so many of rock and the view. You Cathedral Rock,” Above, right: This standard Monument As Muench’s work these photographs,” could cram it together Muench says. “It’s that photograph is Valley shot,” he says. evolved, Kida says, he says. “With this and get the same fleeting, ever-changing interesting because “I like the light because “It was pretty amazing, all the places that were open the photographer one, there’s a real effect — just let the light,” Kida adds. “You the second Mitten the moon has good tended to find vistas ‘near-far’ feeling, but sky give you space, waited until the sha- isn’t revealed in its detail. This was just at the time. Looking back on it, now, with the permits, you can or foregrounds that there’s also a big sky. which the country is dows hit Oak Creek entirety, Kida says. the right time — the other people hadn’t. I always try to work notorious for. And it’s and exposed for the What’s more, there’s photographer’s But for Muench, around the sky, just special. More special highlights in the rocks. natural color contrast moonrise.” go here, [but] you can’t go there. It’s just amazing the window making photographs open it up and let it now than ever.” That allowed form to between the ink of the like this, from Luka- happen. I moved this become the dominant sky and the yellow- of time he had and we had as a family, going to places.” chukai, was a result of rock up enough so Above: “There’s late aspect of this image.” orange of the moon. very little planning. “I there’s just a little light in this photo- Muench agrees. “This — ZANDRIA BERALDO, DAVID MUENCH’S DAUGHTER was just following my room between the graph of Sedona’s is different than the 22 DECEMBER 2015 www.arizonahighways.com 23 24 DECEMBER 2015 www.arizonahighways.com 25 “David combined landscape with adventure, taking us from mountaintops to deserts. He’s created a body of work that will endure well beyond his years, and it will be an inspiration to future generations.” — PHOTOGRAPHER JACK DYKINGA Preceding panel: the guys at this time Muench found himself very nice. Maybe it 7,000 to 8,000 feet in narrowness,” he says. “Petrified Forest is were very helpful. This there one snowy was the storm that elevation. If it’s a good “Vertical composition one of the most was summertime, morning. “I was just said, ‘Be awake in the year, a storm will pass in a horizontal country. underplayed national maybe May. The being crazy,” he says. morning. Be aware.’ and leave some snow It was exciting to parks,” Muench remnants of a storm.” “Halfway up, there I just went right up. on the range.” get up into this little says. “Permission to was a road up the To have to do that niche. That’s part get to these places Above: Most people south side. I parked again, I’d have to Right: Muench is fond of the involvement to photograph was never find their way and slept there and spend three months of this image, which with the place — sometimes very sticky. to Mount Bangs, in then just took off in just waiting, then he made on White just responding to Sometimes I didn’t the far northwestern the morning, knowing prepare, because the Mesa, because of its something so close.” even want to ask, but corner of Arizona, but something could be Virgin Mountains are lines. “I love it for its 26 DECEMBER 2015 www.arizonahighways.com 27 28 DECEMBER 2015 www.arizonahighways.com 29 “David Muench is one of our ‘founding fathers.’ It was his fore­ grounds that captured me. Boulders, flowers, tumbling streams, jutting rim rocks, blam, stuck right in front of your nose, set against what other photographers would consider enough — the back­ Preceding panel: very early, and it has Above, left: This says. “The water Above: “The line of you have to go back ground. The depth, the counterpoint, the balance (or tension) of “This was spring, when to be April. It feels like photograph of a makes this special. color drew me to this up into that [upper the brittlebushes the light is southward. reflected Spider I like the light. It’s very image of Canyon de left] corner and finish were blooming away The Ajo Mountains in Rock is unlike any late, but it’s angular, Chelly,” Muench says. off. Something’s near­to­far burned into my brain. Along with dramatic weather in Organ Pipe [Cactus the background make we’ve ever seen from not straight from the “I like the autumn happening there you National Monument],” the image three- Canyon de Chelly.
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