The semi-flooded flats south of I-80 lend an unusual beauty to the geometry of barbed wire and high voltage transmission lines.
I used to go everywhere with a tiny pocket-sized camera. Now I take my larger Canon with me. The above image is justification for this habit... After an early morning rise to beat the oppressive Utah heat with its shimmering mirages and blowing dust, I was eager to continue on my highway journey to the Rocky Mountains. Only 20 minutes down the road from the rest stop there was a composition coming together to the south. A section of barren land had filled with water as a result of recent storms. There was a smoky haze in the air, lending a soft quality to the distance between me and the mountains near Salt Lake City. So far, so good. Then the power lines appeared. They marched into the distance both above and below the water it seemed, rigid straight geometric lines contrasting with the blue organic ridges. I parked and took a stroll with the camera and tripod. The edge of the flooded area was spongy and saturated so I was soon ankle deep in gobbity muck, but the shot was out there, a feeling every photographer recognizes, rendering all normal sense of regard for footwear and other bits of clothing out of the question. Several test shots later, with a tripod sunk in gunk, the last element came together in the form of a barbed wire fence, an icon of the American west. Wavy and straight, water and sky, pointed and soft, black and blue - this image provides a richly textured playground for the wandering eye. Reflecting upon that leg of the journey, it turned out to be one of my favorites perhaps because of how close I was to turning back to the Jeep a few minutes early.
The symmetry here really appeals to me, as does the juxtaposition of contrasting shapes and textures. How might you have composed this differently? Leave a comment and we can play with ideas!