Hudson Terraplane

Canon 30D, Canon Camera, Lookback Photos - One Year Ago, Project 365 - Photo-a-day, Season, Summer, Vehicle

During evening meals as I and my brothers grew up my father would look back to his boyhood days and share stories and facts about the world surrounding him. Talk would often revolve about different outings and that his mum, my grandmother loved a Sunday drive in the landscape surrounding Moncton, New Brunswick where he grew up. It did her good to be with her family and to see the world beyond her home. A blue 1938 Pontiac transported them – a few years ago my aunt showed me a picture of the car with my Dad and his younger brother eating picnic sandwiches sitting in shade on the car’s running boards. Cars do double as portable homes or perhaps rooms and during transport they group a family together. Everyone has common vision, all staring down the road with the driver.  Cars become a place to catch-up on things, a place to talk things through, places to share news – in transport, you’d not be the same person getting out of the car as you were getting in to it.

While cars did seem to be a family thing, a fact that I continue to be amazed at is that my father only learned to drive after completing his Ph.D. at the age of twenty-five or twenty-six; perhaps he anticipated family as his next step. And, maybe there’s some truth in that because during his university years at Mount Allison (Sackville, Nova Scotia) and at St. Mary’s College (London, U.K.), he hadn’t needed a car but had been able to make his way around Europe on train, by bus, on bicycle or hiking.  And, it seemed that such travel was much more of a social thing with much more grace being there as fellow-travellers or friends in the act of travel.  Perhaps there was that common purpose of travel in that former time – to ‘see’ the world (which also meant to experience it).

Dad had ideas about cars, about how long they should be driven before a new one should be bought.  He had ideas and biases about good and better cars. He enjoyed a car that had what he would term ‘pep.’  It’s tempting to look at the cars Dad has owned and driven as associating to different points of development among our family – a 57 Ford Consul (marriage), a 64 Pontiac Beaumont (the family populates), a 69 Pontiac Parisienne (the family’s middle years), a 76 Chevrolet Caprice Classic with 74 Ford Gran Torino (the family’s later middle years), an 81 Oldsmobile Cutlass Supreme (kids almost ready to move out), an Oldsmobile Delta 88 with Dodge Aries K Car (first years of empty-nest), two Nissan Maximas (later empty nest and retirement) and a Nissan Altima (later years of retirement).  You could almost use the technology available at each stage to chronicle the evolution of cultural norms within society … possible Masters thesis for someone.

On occasion, cars – what they were about, their history and their potential for each aspiring driver in our family – would be the center of discussion at evening meals. One vehicle Dad commented on with regard to its history was a car alluded in terms of character name in the Disney/Pixar movie, Cars.  Paul Newman provided voice-over for that car, now animated, Doc Hudson. Last summer I got to see a Hudson Terraplane, not one from the fifties or forties, but a Hudson Terraplane from the thirties, a pet project for an autobody repairman and tow-truck driver from Nanaimo.  These photographs are taken at the end of July, 2011.

Quote to Inspire – “The question is not what you look at but what you see!” – Henry David Thoreau

Listening to John Mayer sing Route 66 from the Cars Soundtrack; the same soundtrack has Rascal Flatts singing Life is a Highway.  After that it has been listening to Tom Cochrane and Red Rider in the Edmonton Symphony Sessions recorded at Edmonton’s Jubilee Auditorium – Avenue A, Bird on a Wire, Big League and Boy Inside the Man … all, good, good tunes.

First Light’s Drama Reflected Earthward

Canon 60D, Light Intensity, Photography & Conceptualizing Beauty, Project 365 - Photo-a-day, School, Sunrise, Vehicle, Weather, Winter

Thursday was a photographer’s morning. A warm change in weather brought colourful, early morning, sustained, sky drama of first light reflected earthward among clouds. Entering school, I set-up my camera, deposited my camera bag and moved out our east doors to click and capture the following images.

Today, being considered is a newer used vehicle. With one household vehicle being all-wheel drive, a fuel-efficient car might be smart (perhaps a VW Golf or Passat). Another consideration would involve spending a minimum of money on a vehicle that is 4×4 and wouldn’t be too much of a loss if it were to break down; here, I’ve owned three early 90s Nissan Pathfinders and they worked for me along the corduroy roads in and out of Wood Buffalo National Park through six years. And, in the back of my mind is the surety I encountered driving a Chevrolet, 2500 series, manual transmission with 4×4 in a snow storm travelling down Alberta Highway 63 from Fort McMurray to Edmonton early-on in the 90s. The overall sensible choice may be a 1999 Toyota 4 Runner with 309000 km that should run for a few more 100000km and can be purchased in a private sale in Peace River.  This vehicle should provide safe travel in and out of 4×4 throughout all seasons, no matter who was driving it.  It would hold the road well.

Listening to Canadian Melissa McClelland sing Victoria Day (April Showers and May Flowers) from her album of the same name.  Other songs standing out this morning have been Snow Patrol’s Lifeboats, Ray Lamontagne’s I Still Care for You and For the Summer.  Jack White has featured among the Raconteurs in Steady as She Goes.

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

Anticipating Spring’s Arrival

Canon 60D, Canon Camera, Light Intensity, Photoblog Intention, Project 365 - Photo-a-day, Spring, Winter

Yesterday contained opportunity for a photowalk with photographers and a chance to witness the world with growing intensity of light and warmth late on a Thursday, winter afternoon in High Level, Alberta – all were giddy with being outside and anticipating spring’s arrival … still a month away.

Listening to several songs this evening. First, my daughter asked me to find and download four Glee tunes (Animal, Dog Days are Over, Bad and Smooth Criminal). Next, we loaded Adele’s 21 album/CD (a Christmas gift) onto our iTunes account; my daughter likes Set Fire to the Rain. Twice this week, I’ve returned home at day’s end to huge decibels of Adele preceding the dinner hour. Beyond this, we’ve downloaded Schubert’s Ave Maria, the music accompaniment to her current ballet performance, music for her to practice with. Of the songs that have played through, tonight, while editing photographs the ones that stand out are those from my father’s time If I didn’t Care, by the Inkspots, I’m Looking Over a Four Leaf Clover, by Bix Beiderbecke.  I’ve been listening to the Get Low soundtrack which has eight songs involving Jerry Douglas and his dobro in a Bluegrass sound, one of the primary sound elements undergirding the music of Alison Krauss with Union Station.  And, then the iTunes music shifted to Foster the People and Pumped Up Kicks … a catchy tune that stood out for me at West Edmonton Mall’s ice rink as Edmonton youth waited to personally meet Selena Gomez back in October prior to her concert.

Quote to Inspire – Look and think before opening the shutter. The heart and mind are the true lens of the camera. — Yousuf Karsh. If you are a photographer in need of inspiration I would point you to a podcast called The Naked Photo offered by Rianne de Beer, a Canadian photographer on Canada’s west coast (between Vancouver and Salt Spring Island); in episode 5 he looks at Yousuf Karsh’s approach to creating a portrait of Winston Churchill, a photograph commissioned by the Canadian government. There is a ton of insight to be gleaned on forethought and the process to capture essence … of the subject.  http://thenakedphotopodcast.com/

Those Who Go Before Us …

Canon 30D, Canon Camera, Cemetery, Home, Lookback Photos - One Year Ago, Project 365 - Photo-a-day, Still Life, Winter

Cemeteries, for most people, are places of foreboding – we understand that we too shall end-up, here. Beyond the fact that we usually find ourselves at cemeteries on the other side of saying goodbye to loved ones and good friends, cemeteries also point us to the consideration of the life we are living. At our life’s end, we may be more in a state of regret having conformed our lives to the expectations of others, failing fully to step up and into the Life that is truly ours. On the other hand, on our death bed, it would certainly be something to smile, roguishly, and to own to others that we’d certainly taken ‘a good squeeze out of life.’ My wife’s friend from church, Herman Peters, passed away a week or two ago and his funeral and eulogy embraced his feisty, roguish approach to Life and seeing it through well. Herman’s eulogist, throughout his eulogy, would often lean over and look at Herman within his casket and ask, “Do you think it would be okay if I tell them about the time we did…?”  Wow!  What a way to go! Good schtuff, Herman – thank you to who you have been to all others and the friend and elder you’ve been to my wife. John O’Donohue and his Greenbelt lecture on the Imagination have been much on my mind as I’ve considered this photograph, tonight.

Listening to Pierce Pettis sing Love Will Always Find Its Way from his album,Everything Matters; other good, good songs include Neutral Ground and Just Like Jim Brown (She is History).

Quote to Inspire – “No place is boring, if you’ve had a good night’s sleep and have a pocket full of unexposed film.” – Robert Adams, Darkroom & Creative Camera Techniques, May 1995

Rocky Lane - Cemetery Headstones

A House Does Not Make A Home

Canon 30D, Canon Camera, Farm, Home, Homestead, Lookback Photos - One Year Ago, Photoblog Intention, Project 365 - Photo-a-day, Winter

Home and homesteads are the subject of this evening’s perusal through photographs. In the U2 canon, Paul Hewson (Bono), the younger of two siblings asserts lyrically that ‘a house does not make a home,’ something he’s needed his father (Bob Hewson – Catholic) to understand about their shared life, a life without a mother who’s passed on (when Bono was 16 years of age). His lyrics point to the heart of home life – the void Bono’s encountered and what should be there. Another song from the U2 canon references yearning for his mother (Iris Elizabeth Hewson – Protestant) and her example – there’s vertiable duality in his ‘I will follow‘ lyrics  – Bono surfaces his mother, here, as well as redemption through saviour and salvation. The essence that’s there, throughout these songs, is that much of what home is about revolves around the care and direction we receive from that parent who is our mother. Here, in tonight’s photographs, more than you’d expect, home is the key anchoring ingredient to Life on our frontier (yours too).

Listening to much of U2’s All That You Can’t Leave Behind album – New York (a secondary home-base for U2 and anchor), Grace (that awkward yet overcoming force/intention) and Kite (that song made gospel in Joey Ramone’s deathbed hearing).

Quote to Inspire (and to chuckle at) – “I shutter to think how many people are underexposed and lacking depth in this field.”

Beaverlodge Grain Bin – Spring Light

Canon 30D, Canon Camera, Light Intensity, Lookback Photos - One Year Ago, Photography & Conceptualizing Beauty, Project 365 - Photo-a-day, Season, Spring, Still Life

Beaverlodge Grain Bin - Spring Light

Last February, my wife’s aunt was struggling with cancer at the Grande Prairie hospital. She went in during the Christmas break and remained there until May when she succumbed to the disease.  In February, when this photograph was taken I was making time to be away from the hospital to see what was happening in the world.  I got out toward Beaverlodge, Alberta. This photograph impressed me as one landmarking a period of time in which the intensity of light grows greater, day-by-day as we move forward from winter into spring – there’s something of ‘hope’ in it. Again, its subject is another grain bin; but, it sits upon a field that soon will grow black as snow melts into earth and then will grow green with as it’s planted and left to respond to the sun.

Again, listening to Liz Longley sing her song, Unraveling about her grandmother from her album Hot Loose Wire.

The chorus:

I’m the only daughter of her oldest son

I knew well before her spirit was gone

And her life is a thread woven into every part of me

She is unraveling, she is unraveling.

Quote to Inspire: “A good snapshot stops a moment from running away.” — Eudora Welty

Parting Ways – 2000 GMC Sierra

Canon 30D, Canon Camera, Fall, Lookback Photos - One Year Ago, Photography & Conceptualizing Beauty, Project 365 - Photo-a-day, Spring, Summer, Winter

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 ….

Best Practices - Photography, Canon 50mm, Canon 50mm Lens, Canon 60D, Canon Camera, Canon Live View, High Dynamic Range (HDR), Photoblog Intention, Photography & Conceptualizing Beauty, Prime Lens, Project 365 - Photo-a-day, Still Life, Winter

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

Saturday’s Afternoon Drive

Best Practices - Photography, Canon 60D, Canon 75-300 mm, Canon Camera, Canon Lens, Canon Live View, Gas Station, High Dynamic Range (HDR), Prime Lens, Project 365 - Photo-a-day, Winter

Wife at school, prepping; daughter at dance, dancing – this Saturday seems to be mine, a day before me to use at my discretion, and, certainly not a day to pass in front of a computer screen. A breakfast out takes me to the Flamingo Restaurant where my Photo Plus magazine becomes object of discussion between fellow Canon photographer (my cashier) and me; I point him to the Zinio iPad app as the best means to download the Photo Plus, easily, here in High Level.

Onward – my outerwear consists of several items purchased over the years from Mountain Equipment Co-op – ski pants (10 years old), Salomon winter trainers (new, this year) and a down-filled jacket with hood. Set for warmth at -22C, today, I point my GMC Sierra (without grill or driver’s side headlamp) toward Fort Vermilion and La Crete. Music is part of what this Saturday afternoon is about – Sirius Satellite Radio allows for tuning into folk music on Coffee House, news at the top of the hour from CBC and BBC, jazz music and an interview with the bass player working with Miles Davis. Comedy does not attract my attention, today. I had had thoughts of listening to Sid and Mac’s Shuttertime Podcast; but, their podcast is good to digest while out on a walk around High Level … I let the podcast wait.

In Fort Vermilion, Shirley’s Snack Shack allows for purchase of coffee and something unseen before, a Reese’s Peanut Butter chocolate bar. The truck rolls south on the Red Earth road. The first photographs are of a red, mid-sixties, FORD, three-tonne grain truck; the vehicle remains active – it has current plates and tires are full. The next photographs are of cattails, at the northeast corner of a massive field – land, newly broken and newly farmed; the wind stirs the cattails enough that Automatic Exposure Bracketing, while tried, will not allow for HDR results.

La Crete has Quality Motors to check out, a used car lot and a new Subway restaurant. Moving southward from La Crete, Buffalo Head Prairie is next.  A chain of hills loom in the distance, a blue backdrop to this settlement and extends to another thirty kilometres away called Blue Hills. Along the way, different untried back roads are taken and they return to the Blue Hills highway.  A derelict farm house is discovered.  Doubling back, a place to park the truck off the highway is found; there, two relics from the fifties are found among old disused farming machinery (Massey Harris is the emblem on a seed drill, not Massey Ferguson). With so much left scattered around, the farm seems to be left medias res (in the middle of things); has there been a family death? There’s a story of a car that drove onto the Tompkin’s Landing ferry many years ago; its brakes failed and one or all occupants of the car drowned.

The final part of the journey involves crossing the Peace River over an ice bridge at Tompkin’s landing; signs are there to direct vehicles and to advise of a maximum speed of 10 km/h for crossing the kilometre-wide river. Another forty minutes in night’s darkness with only a passenger headlight to alert oncoming highway traffic of my presence sees me home before 7:00 p.m..  Supper is grilled cheese sandwiches.

Listening to Miles Davis from his Kind of Blue album and So What; reminds that I first seriously listened to Miles Davis within the Finding Forrester soundtrack … Bill Frisell is also there with Over the Rainbow and Under a Golden Sky.

Quote to Inspire – “While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.” — Dorothea Lange

Capturing Experience As Fact

Canon 30D, Canon Camera, Journaling, Lookback Photos - One Year Ago, Project 365 - Photo-a-day, Still Life, Vehicle, Winter

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