Golden Aspen Glade
Golden Aspen Glade
Golden Aspen Glade
Golden Aspen Glade

Christopher Burkett

Golden Aspen Glade

Colorado, 2005

Original Cibachrome Photograph

Pristine condition

certified authentic
Add to Collection $2,000.00
Golden Aspen Glade
Golden Aspen Glade
Golden Aspen Glade
Golden Aspen Glade



Original Cibachrome photograph individually handmade by Christopher Burkett from 8×10-format transparency film, mounted on cotton rag Antique Rising Museum Board. Signed in pencil on mount with title, date and edition number on verso.

The 24×62″ Museum Edition is limited to 15 total and only one is available: edition 15/15. Due to the size and delicate nature of the artworks, they must be shipped directly to a professional framer of your choice. For clients in the Bay Area, we also offer framing and installation services. Please contact us for additional information.



“When my wife Ruth and I first arrived in Colorado in October 2005 to photograph, we were found the aspen trees to be in full color and to begin with we had great sunny weather. We ended up staying five days in Colorado taking seven photographs which I was able to make into exhibition quality Cibachromes.

We started off photographing for two days in the Grand Mesa area with the perfect weather conditions of full sun and no wind. Full sun can give harsh, overly contrasty lighting in many situations but in the aspen forests light fills up the forest, with the white trunks, the gold leaves and the pastel ground foliage all reflecting bounce fill light everywhere.

As the weather changed we moved to the Kebler Pass area. A storm was coming but we still had a few days to photograph before the storm would hit and the aspen trees were still in full color so we continued to be optimistic.

We were traveling in our camper van with our two miniature schnauzers and all the camera gear, a bit tight but quite cozy. We had parked our van overnight on an obscure dirt road which lead deep into the forest. The next morning was overcast with scattered showers and unsettled weather. Although the aspen leaves had began to fall the forest was still gorgeous and dense and I knew there were possibilities of incorporating the soft lighting and weather conditions in an aspen photograph.

We were all by ourselves in the forest, quiet and peaceful. There was light rain which came and went, dampening the leaves and bringing out more color. The rain intensified the nutlike fragrance of recently fallen aspen leaves. Leaving Ruth and the dogs in the van, I walked in the light rain through the forest searching for an image. I was looking for something that might convey the peace, quiet and vibrant sense of life that I was experiencing at that moment.

It took some time before I realized that a panoramic format image would best convey the enveloping sense of the forest that surrounded me. I can use my 8×10 camera to make panoramic images by masking off one half at a time to make two 4×10 exposures on one piece of film.

When I found the composition I was looking for I called Ruth using our two way radios and she drove the van over to where I was. With her help I set up the camera and then waited for the weather to cooperate. Normally I don’t wait for weather to cooperate since it’s uncertain and unpredictable but in this case there was a good chance that everything could come together.

Still, the rain came and went, the wind would gust and then be calm. The storm was definitely developing. At least three times we had to take the camera off the tripod, cover the tripod and wait in the van with the camera, bellows extended and two wet dogs for the rain to pass.

But between the rain showers I was able to make four exposures of this scene, this being the last one and the best. A view camera has no view finder so I had to memorize the exact framing of this image while waiting for the clouds and the lighting to come together. The clouds were rapidly moving and I waited until they complemented the composition, with a light band of white clouds between the tops of the background trees and the dark clouds overhead. I used a 240mm lens at f/22 for 1/15 second.

This was the last photograph of the day as the storm came in heavy and strong. We retreated for two days to an excellent hotel in Crested Butte which had bargain off-season rates. When the storm was over we discovered that all the aspen leaves were on the ground so we packed up and headed east to the Appalachian mountains, but that’s another story.”


All Christopher Burkett photographs sold at Photography West are new and in pristine condition. HD videos of the individual piece you are purchasing are available upon request. For more information, please


Christopher Burkett has labored for over four decades to create what many regard as the most impeccable and luminous color photographs in the history of photography. Gifted with a contemplative spirit as well as painter’s eye, Burkett has an uncommon ability to capture the natural world in a manner that simultaneously reflects “the world behind the world” as Minor White and Paul Caponigro might have put it. And although Burkett has been compared by curators to American color landscape photographers Eliot Porter and Ernst Haas, whose genre of American landscape photography he extended, neither of them exclusively developed their own film, nor attempted the darkroom standard clearly in evidence upon viewing Burkett’s original Cibachromes.

christopher burkett in his darkroom


Cibachrome, also known as Ilfochrome, is among the most stable of all color photographic processes. The dyes reside within the emulsion layers, giving the photograph its characteristic color saturation. The base is a polyester triacetate, rather than fiber-based paper, which adds to the longevity. It was a positive-to-positive photographic process based on the Gasparcolor process, created in 1933 by Bela Gaspar, a Hungarian chemist. Purchased after the merger of Ilford UK and Ciba-Geigy Photochemie of Switzerland, the process was first trademarked and marketed as Cibachrome in 1963. Each Cibachrome is composed of ten layers containing various combinations of light-sensitive silver halides and dyes that are sensitive to blue, green, or red light waves, which gives it an incredible depth and three-dimensional quality. After exposure of a positive, either through an enlarger or direct contact, the Cibachrome must be developed with black-and-white developing chemicals. This step creates a silver negative image within the layers. Next, the photograph must be bleached. The bleaching rids the photograph of dyes in proportion to the amount of silver that has been developed in the previous step and produces a positive dye image in color. In 2011, Cibachrome/Ilfochrome products were discontinued and it is now considered a historical process.