The Wild West is perhaps the most enduring of American myths, but the reality is even more compelling. It's a magical place of extraordinary people, exciting events, and stunning scenerybig sky, wide-open spaces, epic grandeur, and pristine wilderness. National Geographic brings together award-winning photographers to capture this outsized land of majestic dimensions and emotive power. Unparalleled imagessome iconic, some rarely or never-before seenspeak to the powerful forces of nature and culture at work in the West and showcase the region as never before.
Divided into four chaptersLegends, Encounters, Boundaries, and Visionsrenowned National Geographic photography, past and present, brings the magic and the mystery of the American West alive through the best of its collection. From red-rock waves of stone to rugged snow-capped mountains, from ghost towns to prairie dog towns, from cowboys to wild horses, National Geographic Greatest Photographs of the American West captures it all in spectacular color photography augmented by periodic archival photographs. The photographs weave together a visual tapestrycomplemented by informative captionsof this rich, varied, and enduring landscape that is the American West.
James C. McNutt is President and CEO of the National Museum of Wildlife Art in Jackson, Wyoming. He has directed museums and produced exhibitions and publications for museums for thirty years. From 2003 through 2006 he served as a board member of the American Association of Museums. His past work includes ranch women, cowboy poetry, ethnic festivals, and western art and history. His current interests include wildlife photography and the interface between art and human understandings of the natural world. The author lives in Jackson, Wyoming.
On a chilly morning in November, 1903, Theodore Roosevelt and John Muir awoke near the top of Glacier point, high above the Yosemite Valley, shook the snow from their blankets, and embarked on an 11-mile hike that Roosevelt was soon describing as “the most wonderful day of my life.” The two men posed for a photograph that eventually reached millions of people through the distribution of stereographs by the hugely successful company of Underwood and Underwood and in many later publications, including National Geographic. The image, with Yosemite falls prominently in the background, shows Roosevelt dressed for hunting, Muir for the classroom, gazing at the camera as if to prove the existence of the spectacle behind them.
Muir had deliberately postponed, at the last minute, a planned journey to Asia to accompany Roosevelt on a three-day camping trip and sought the president’s support for the preservation of the stands of gigantic redwoods around Yosemite. Around the campfire, he did not hesitate to ask Roosevelt why he continued to hunt animals, a childlike pursuit in Muir’s eyes. Nor did Roosevelt shrink from pointing out that Muir knew plenty about trees and mountains but did not recognize the songs of birds in the area that he himself knew intimately. The two men became strong allies in the conservation of wilderness areas as national parks, forests, and monuments: Muir’s preservation efforts, legendary in themselves, perfectly matched Roosevelt’s desire to promote his own sense of the West, imbued with glories of the hunt and exploits of explorers and cowboys.
The popular reception of these early photographs by the public was in part due to the daring nature of the photographers themselves. The development of photography could not have had a more dynamic subject than the settlement of the American West by easterners rushing for gold and seeking renewal after the losses of the Civil War. The people who understood the power of photography quickly grasped the significance of easily reproduced images. As the Philadelphia Independent newspaper reported in 1904 about Theodore Roosevelt: “While talking, the camera of his mind is busy taking photographs” (Edmund Morris, The Rise of Theodore Roosevelt, 1979). The statement says much about Roosevelt’s tireless engine of self-promotion but also about the acceptance of photography as a medium in his time. In a little more than 50 years, photography had become so pervasive that it served not only as a documentary method but also as a metaphor for human memory. The American West had already become a standard by which to measure human endeavors—and the public has remained hungry for images of the West to this day.
This book gathers the best images of the West published by National Geographic over its 125-year history, and also reveals some surprises from the National Geographic Image Collection. Many of the images will be instantly recognizable for their subjects; others less so. Arrayed together, they tell a story about imagination, spectacle, adventure, and surpassing beauty, together with startling views into the daily struggles of people and animals in a vast and often intimidating territory.
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