Parting Ways – 2000 GMC Sierra

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Tomorrow, after a day of school between 4:00-5:00 p.m., a salvage company will come to my house and tow away my 2000 GMC Sierra half-ton pick-up truck. Today, I checked with my wife and she agreed to my signing off the vehicle to my insurance company – the truck has been written off. The truck, a former Cargill elevator truck, has an ever-running small Vortec V8 engine and has had nothing but synthetic oil and regular maintenance through its 286,000 km history. The transmission has been upgraded to allow for the hauling of a motor boat during summers by its previous owner. While not a top of the line truck, it has been a presentable vehicle in terms of shape, chrome and gleam – at twelve years of age there is little rust.

I liked that.

The truck has required some mastery to drive. A two-wheel rear drive unit, without a load in the box, the light back end on icy winter roads takes a while to get to cruising speed. All season passenger tires on the front have made the steering a bit sloppy, as well.  Coming down the three kilometre hill from Twin Lakes, Alberta toward High Level in heavy snowfall has been more of a skiing event than rolling forward with steering, brakes and engine.  I’ve mastered much of that; but, obviously not enough to avoid last week’s buck.

With photography, I’ve appreciated having windows on all sides of me in the cab and the immediacy of light which well allowed me to sense direction, colour and intensity in considering possible photographs. Tonight, I have looked back through the past two years for photos of my 2000 GMC Sierra and found these four.

Quote to Inspire – “When I think of why I make pictures, the [only] reason that I can come up with just seems that I’ve been making my way here. It seems right now that all I’ve ever done in my life is making my way here to you.” – so says Robert Kincaid, in the movie and novel, The Bridges of Madison County by Robert James Waller; notable to me, not as romantic, but as photographer and GMC truck owner is that Robert Kincaid, a National Geographic photographer enters and leaves Madison County in a forest green 65 GMC pickup. Good schtuff!

Listening to Lucinda Williams from her album World Without TearsRighteously, Ventura and Bleeding Fingers; reminded that Sarah McLachlan adores Lucinda William’s album, Car Wheels on a Gravel Road.

What Happened Here ….

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Early Fifties Two-door Sedan - Blue Hills

Car photography especially of early fifties vehicles, for me, derives from my learning to steer a car and then to drive one sitting next to a favourite, older cousin in his copper brown and white 1951 Mercury four-door.  Strong-arm steering meant that effort was needed to guide the Mercury down dusty gravel roads. These drives usually followed Sunday get-togethers of my family from Edmonton with his in Rimbey, Alberta. The event, recalled to memory is that of a late spring or early summer drive, following an evening meal and Walt Disney.  I might have been nine or ten years old when I first took the wheel for some good, adventure-filled times before saying our goodbyes, parting company and returning home in an hour-long drive to Edmonton.  Always, my aunt, uncle and three cousins would wave to us from their porch as we left. Our families might see each other again in a month or two. Those were good times.

My starting point for this photograph is curious. I am unable to determine the make of this early fifties two-door sedan. Given that this Blue Hills’ farm and its woods have seemingly been left as if in the middle of things, its abandonment indicates something unfinished in not just one life but in the lives of a few. Here, what is sacred is often about the conception of ‘what-has-happened-here.’  It associates to memory that will not fade and cannot be left. With this image, just as in no-trace camping the art is to pass through an area without disturbing it, this photograph presents the necessity of capturing something seemingly sacred without disturbance – reverence and respect are needed.

Listening to the Dave Matthews Band from the album Stand Up and the childhood/teen reminiscences of Old Dirt Hill, a song that recalls my go-cart, our garage and back alley … and friends at Easter break in Edmonton in grade 5 – 1972 … what a week (and to be grounded part-way through).

Quote to Inspire – “A photograph is a secret about a secret. The more it tells you the less you know.” —Diane Arbus

Plymouth Savoy Still Life

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Plymouth Savoy - Colourful

With this image, I’m beyond camera in post-processing toward this colorful result.  The Plymouth Savoy plays its own part in longer term decay among this still life.  I like it.

Listening still to www.ckua.org and Hole in the Wall by the Bobby Blue Band from their album Year of Tears.

Quote to Inspire – “Light glorifies everything. It transforms and ennobles the most commonplace and ordinary subjects. The object is nothing, light is everything.” — Leonard Missone

Visual Treasures Before You

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Weathered Shed and Rusted Alberta Plate

With photography, there’s a subtle contemplative side which must be settled into and found; then, ‘click’ you’re in … amid revelations of colour, texture and visual treasure, all sitting there, before you. Right?

I’m looking back through my McNaught Homestead photos again this evening – this image surfaced in terms of colour, form and texture … and thoughts about what I’d do with it, anew.

Quote to Inspire – “I see something special and show it to the camera. The moment is held until someone sees it. Then it is theirs.” — Sam Abell

Listening to www.ckua.org ; it’s Friday night and Liz Mandeville belts out Corner Bar Blues from her Red Top album.

Capturing Experience As Fact

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Moody - Plymouth Savoy 2

At an age when wearing glasses assists me in my day, my experience of working with a camera through to editing an image often is about revisiting subject and context to see what else is there; it is actual re-view (review). The process is similar to gleaning feedback in using a personal journal. And, in journaling, one point of revelation has been sorting through the conception that memory, perception, thought and even feeling are only what they were on the day that they occurred. In that portion of experience in which they occurred they were what truth was – they became the facts in response to Life’s events for that duration of time. Without a record, the memory that is carried forward can shift, adjust and change over time … with new thoughts, feelings, perceptions and influences – memory is or becomes malleable. Just like a journaling process, creating a photograph isolates the truth of ‘what was’ for the duration of time in which it occurs. What is also valuable about a journal and photographs produced by the photographer and camera is that you can revisit subject and context to see and appreciate more of what else was there. The journal and photograph inform you and other readers/viewers about the personal narrative of the writer/photographer. The feedback of what else was there, that you now see, informs future action.

Listening to Neil Young’s Old Man and reminded that Lizz Wright also sings this song; there’s not so much experientially that separates us, the older and younger; it does seem to be a father-son song and the son’s revelation of greater similarity than difference.

Quote to Inspire – “Photography, as a powerful medium of expression and communications, offers an infinite variety of perception, interpretation and execution.” — Ansel Adams

Sifting Photographs and A Drizzled Day

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Plymouth Savoy - McNaught Homestead

I’m sifting photographs on my computer, tonight, aiming to locate photographs taken of the road among mountains between Grande Prairie and Banff, Alberta, a trip taken this fall in early October. To refer to them will allow future planning of High Dynamic Range (HDR) shots; but, photographs have been shifted between my C: drive and L: drive within the past three months and am having no luck, tonight. Sifting at a later date will yield them.

A photograph has caught my eye, a reward for my look-back – a photo of an early fifties Plymouth Savoy dragged into the woods behind the McNaught homestead, home to Alberta artist, Euphemia McNaught. She’s had some intention in dragging the vehicle to where it sits among Aspen willows spaced with what appears to be regular rhythm as you look across the car from front to back and diagonally from driver’s side to passenger rear. This back drop changes in colour with the seasons – whites and blacks in winter, greens in summer and the reds of leaves in fall.

Those who discover and view the vehicle orient themselves to still life juxtaposition, a car oxidizes among the regular cycle of life and death of plants and greenery; the scene is a treasure in terms of colour, shape, context, season, light and themes of still life. The day amidst its drizzle did get cold but not before two hours had gone by looking through my camera lens at the car, its situation and the play of light.

Listening to U2’s One, tonight from the U218 Singles album.

Quote to Inspire – “You don’t take a photograph, you make it.” ~ Ansel Adams.

Looking Up – Time for Macro

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Winter Greenery - Along a High Level Photowalk

Again, today – out and about on a photowalk … others’ fresh perspective has me looking up and looking at things. Green needles of a conifer remind and point towards spring … loving the colour and background, here.

Listening to U2’s Mysterious Ways … the subject and content of the lyrics are something good to unravel, in their unraveling.  Coldplay’s In My Place, is up next, reminding of U2, Paul McCartney, Coldplay and the Verve’s Richard Ashcroft (Bittersweet Symphony) and the world-wide Live 8 concert and the Gleneagles decisions made by G8 leaders … some good, that day!  Brian Adams kicked things off in Toronto followed in the day by The Tragically Hip and Great Big Sea.

Curious Quote to Inspire – “In photography there is a reality so subtle that it becomes more real than reality.” – Alfred Stieglitz

Impermanent Things … and Deer

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2000 GMC Sierra - To be Written Off

Deer – three does chased by a stag crossed Alberta highway 88 as I traveled eastward from High Level to Fort Vermilion at 8:00 a.m. on January 23, 2012; the three does made it across safely between myself and oncoming vehicles.  I slowed my truck down on the icy road but not enough to miss hitting the stag.  I stopped further ahead and turned around to see about animal remains that might need to be hauled from the road.  Nothing was found.  There was a swale in the snow where the deer had drifted into the ditch on the north side of the highway. But, the stag and does had taken off.  My truck, on the other hand, received damage – the grill and light housing mainly and the radiator and transmission cooler were pushed back toward the engine.  I checked it out and watched the gauges – it held together for another 160 km and still is driveable today.  Despite being in immaculate shape, at 286 000 km, this 2000 GMC Sierra is considered a write-off as the cost to repair the truck exceeds the value of the truck.

The antlered stag, imagistically recalls U2’s Electrical Storm video, its being written about Ireland’s Easter Day Accord, and the ghosted image of the stag in the Electrical Storm video – a subject I’ve commented on on the old U2 Zoo Station (Zooropa) website.

Listening to – Impermanent Things by Peter Himmelman from his Stage Diving album.

Quote to Inspire – “There are always two people in every picture: the photographer and the viewer.” -Ansel Adams

Alone – A Life Resigned, Complete

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Vale Island - Boat in Woods, Hay River, NWT

The photograph presented, here, is one of the five boats on Vale Island at Hay River, NWT. While several wordpress blogger photographs this week explore the theme of ‘simple’ in a weekly photo challenge, this photograph more accurately conveys the sentiment of ‘being at rest or at peace.’ This photograph is quirky, though, a boat dragged among the trees, a boat left to rot away … and still the lighting, the subject and boat’s shape suggest simplicity, perhaps a simplicity in resignation. As a concept, simple can be construed to mean the basics involved in the minimum equation for living; it can refer to what one finds easy to do and tangentially it can refer to limited cognitive capacity, perhaps a capacity less than what is required in order to live. Again, the photograph really presents the simplicity of resignation – a life resigned, something complete, something simple.

Listening to The Good in Me is Dead sung by Martyn Joseph in his album Don’t Talk About Love, Volume 1

Quote to Inspire – “There is no such thing as ‘correct’ composition, just bad composition, good composition and inspired composition.” ~ Andrew S. Gibson, Beyond Thirds – A Photographer’s Introduction to Creative Composition

Vale Island – At the Corner of 100th St. and 102nd Ave. NW

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Vale Island Boats - Hay River, NWT

On Vale Island, part of the old Hay River town site, at the wooded corner of 100th Street and 102nd Avenue, if you look into the trees of the northwest corner the sight you’ll see is that of four or five derelict wooden boats of various sizes, some small enough to have navigated the east channel alone, others with size enough to have been considered, in their day, seaworthy on the Great Slave Lake. Three of these boats are the subject of my second high dynamic range (HDR) photograph, boats well-past their prime, dragged to higher ground to rot away among the aspen willows. They will no longer be a nuisance there and they’ll need little upkeep.  In actual fact, what I’ve come across is the cemetery plot for these old boats.  While life has gone out from them, these vessels, without doubt, saw service in my life time; but, would they have been built in my life time?

The picture and this present consideration of boat-life reminds of a reader colleague and friend who pointed me toward Alice Munroe’s 2001 novel about the different ‘ships’ we sail within throughout our lives; it’s entitled Hateship, Friendship, Courtship, Loveship, Marriage, and has now been republished with the title ‘Away From Her.’ Within each state we act and move with different intents and purposes.  But, a ship graveyard such as this found on Vale Island reminds that our journey within these collective or collected states has beginning, duration and an end, as well.  The book was a tough go reading-wise, more something exposing malaise and truth than … hope?

The boats of Vale Island while having had lives that preceded this photograph, have certainly ferried human lives living within the various ‘ships’ that Alice Munroe has proposed in and around Hay River, NWT. These boats still hold their line and shape.  Now, beyond their service, they are in demise.  And, the winds blow from the Great Slave Lake through Vale Island, among these boats and into Hay River.

Listening to Ride Forever, sung by Paul Gross as part of the Due South soundtrack, a single song referencing the Great Slave Lake, living in Alberta … and matters of growing old.

Quote to Inspire – “Where I come from the challenges are quite different.  There are no drug dealers or pimps, few thieves to bother with.  There was only the environment and surviving in the face of it is the challenge of the Inuit. A mother gives birth somewhere out on a glacier field, hundreds of miles from the nearest outpost and she knows that the odds are stacked against her son even living to see the spring with disease, lack of food or the elements.  And, even if they should survive and if he should grow to be a boy, she knows very well that all he has to do is lose his footing on the smooth surface of a glacier and that’ll be that.  In other words, she should know that if her son cannot live … why should she try?  Well I know this woman. I helped deliver her son. She was weak and undernourished. The next morning she stood up and she picked her child up into her arms and she set out again into the blinding snow.  And, I think that was one of the most courageous acts that I’ve ever seen.” ~ Paul Gross, Fraser/Inuit Soliloquy – Due South

Thank you, kindly.