At the Ready

Backlight, Barn, Best Practices - Photography, Canon 60D, Canon Camera, Canon Live View, Farm, Farmhouse, Gas Station, Homestead, Journaling, Light Intensity, Photoblog Intention, Photography & Conceptualizing Beauty, Project 365 - Photo-a-day, Sigma Lens - Wide Angle 10-20mm, Still Life, Vehicle, Vehicle Restoration, Winter

Ford One Ton Tow Truck – McLure BC 1

Ford One Ton Tow Truck – McLure BC 11

Ford One Ton Tow Truck – McLure BC 10

Ford One Ton Tow Truck – McLure BC 9

Ford One Ton Tow Truck – McLure BC 8

Ford One Ton Tow Truck – McLure BC 7

Ford One Ton Tow Truck – McLure BC 6

Ford One Ton Tow Truck – McLure BC 5

Ford One Ton Tow Truck – McLure BC 4

Ford One Ton Tow Truck – McLure BC 3

Ford One Ton Tow Truck – McLure BC 2

A 1938 Ford one-ton tow truck sits, seemingly at the ready, gazing out to the highway. Yet, at the ready, looks a lot like ready to sell.

Static, the Ford’s paint flakes away and metal beneath oxidizes into rust, colourfully. Curves are the thing, in the shape and detail of the cab, in each window, throughout the length and nose of the hood, in the catch-all of the fenders and in the perfect circles of the lights; straight lines add contrast to these curves with the verticals and horizontals of the running boards, bumper and grill; and then there are the diagonals associated with the structure for leverage, towing and pulling other vehicles. There’s remarkable engineering, here, both in the original build of the Ford and in the impromptu innovation of the towing structure … someone has the knack for towing vehicles. The whole vehicle is architecture, engineering, shape and detail from a former time, a time that preceded me, a time that was my father’s – all pull my interest to this Ford. And, there’s anticipation of how it would drive and how it would ride … the finding of gears, the getting it to move and remain moving … there’d be the unique bounce and shift of weight as the truck moves over terrain … there’d be the rhythm of engine combustion idling and working, pacing out each mile … and there’d be the view from within while piloting this vehicle – all intrigue me.

Automobiles that have left the road have been set back on the road surface by this Ford. Remnants of collisions – damaged vehicles, damaged people and damaged egos, their aftermath has needed transfer to homes, autobody shops and junk yards, something this Ford has provided regularly. In extreme and extraordinary winter weather this Ford has been one to venture out on uncertain roads and perhaps there would be no safer place than in an outfitted Ford one-ton tow truck with a rested driver who understands people, the road and his machine. This Ford one-ton tow truck is for sale down around McLure, British Columbia; the first person with $2000 or so dollars takes it.

Listening to – Tom Cochrane’s ‘Big League’.

Quote to Inspire – “Buy a good pair of comfortable shoes, have a camera around your neck at all times, keep your elbows in, be patient, optimistic and don’t forget to smile.” – Matt Stuart

Erode & Gleam

Backlight, Best Practices - Photography, Canon 30D, Canon Camera, Fall, Light Intensity, Lookback Photos - One Year Ago, Project 365 - Photo-a-day, Season, Sigma Lens - Wide Angle 10-20mm, Still Life, Vehicle, Vehicle Restoration

Plymouth Savoy – Beaverlodge, Alberta 1

Plymouth Savoy – Beaverlodge, Alberta 2

Plymouth Savoy – Beaverlodge, Alberta 3

Plymouth Savoy – Beaverlodge, Alberta 4

No longer gliding forward on each tire’s balloon cushion this vehicle slumps to the earth in resignation. Snow’s first fall dusts this Plymouth Savoy’s pitted hood, scars of gravel-sprayed journeys. Paint erodes, chrome still gleams. The vertical of trees’ up and down becomes contrast to rounder more human car curves.

Listening to – Lenka’s ‘The Show.’

Quote to Inspire – “I don’t believe a person has a style. What people have is a way of photographing what is inside them. What is there comes out.” – Sebastiao Salgado

Gehenna, Ge-Hinnom & That Film

Backlight, Canon 60D, Canon Camera, Canon Live View, Christmas, Light Intensity, Night, Photography & Conceptualizing Beauty, Sigma Lens - Wide Angle 10-20mm, Vehicle, Winter

Henday S-Curve – Edmonton, Alberta 1

Henday S-Curve – Edmonton, Alberta 2

Henday S-Curve – Edmonton, Alberta 3

A Sunday evening, alone – wife and daughter at fellowship within our Church care group. And, me … I’m dealing with the sore reality of a yet to be diagnosed stomach ailment, something beyond the jungle tummy that’s been making its way round the globe. My wife has brought me a DVD to watch tonight and I’ve found it to be something powerful, something to recommend and something I’m sure I will own – ‘Being Flynn’ with Robert Deniro and Paul Dano. The movie grapples well and quite realistically with open-your-eyes-wide issues of broken families, homelessness, what lives amount to in their totality and moving on with Life despite the muddles encountered. ‘Being Flynn’ is a narrative of making that quantum leap to put the mess behind you and about getting to that strong and compassionate state that underscores the ‘why’ in contributing to make a better world for coming generations. The film is personal commentary about family and families for each of us as much as it is social commentary about something more than societal malaise … it chronicles the downward spiral of human life discarded and disposed of, Gehenna’s trash heap, before one encounters death; Lives are lost while the world looks beyond the down and out. ‘Being Flynn’ is essay as much as it is narrative film.

The image presented here is an array of street lights that light Anthony Henday Drive in Edmonton – the S – Curve attracts my attention as does some of the roadway architecture as Gateway Boulevard meets Anthony Henday on Edmonton’s South side near Ellerslie Road.

Listening to – ‘Know My Mind’ by Bo Weitz, ‘It’s What I’m Thinking’ by Badly Drawn Boy and ‘Mother in Law,’ by Allen Toussaint.

Quote to Inspire – “What I did, anybody can do.” – Weegee

Derelict House – Day’s End

Backlight, Canon 60D, Canon 70-200 mm 2.8 IS L Series Lens, Canon Camera, Canon Lens, Christmas, Farm, Farmhouse, Home, Homestead, Light Intensity, Season, Vehicle, Winter

Derelict Farmhouse 1

Derelict Farmhouse 2

Friday, following Christmas, after time away from Edmonton at Elk Island National Park photographing bison, there, we took the backway into Edmonton, leaving the park and coming into Edmonton through Fort Saskatchewan. Near Lamont we found this derelict farmhouse. I took some shots while my son read a novel in our SUV; curiously, he may have been reading Charles Dickens’ ‘Bleak House,’ a novel sorting through the estate of someone who has passed … the clarity and speed of action within Britain’s legal system at the time is slower than a snail’s pace and those to whom the estate would benefit are in some cases reduced to poverty with the waiting … that’s gone on for what seems a generation; it’s social commentary and plot. With the image, here, the sun was moving toward the horizon and gives partial corona to the roof at each leftmost edge near the eaves trough. The textures and muted tones appeal. In looking through the image, the landscape that the house is set in seems to collect the unused, as well – day’s end for a few things.

Listening to – Cold Play’s ‘Violet Hill’, ‘Yellow’ and John Farnham with ‘The Voice’.

Quote to Inspire – “Everything shifts as you move, and different things come into focus at different points of your life, and you try to articulate that.” Chris Steele

Dodges, Pontiac and Ford – All Start

Canon 60D, Canon 70-200 mm 2.8 IS L Series Lens, Canon Camera, Canon Lens, Canon Live View, Christmas, Light Intensity, Photography & Conceptualizing Beauty, Still Life, Sunset, Vehicle, Vehicle Restoration, Winter

38 Ford 1 – Lamont, Alberta

38 Ford 2 – Lamont, Alberta

38 Ford 3 – Lamont, Alberta

38 Ford Grill Work – Lamont, Alberta

My mind seems to be within the years tonight, thinking back to Ardrossan, out east from Edmonton, to Ivan’s country estate, an expansive, one-level home set on an acreage lot with a shop big enough to accommodate a semi-tractor unit (or perhaps two). Within the shop there’d be a mocha Chrysler New Yorker with black vinyl roof, a white Dodge 100 shortbox (his father’s) with a camper on top, a gold and brown Dodge Mirada and an old, old, blue Ford tractor with blade behind it to grade the snow and gravel.

On a Saturday or Sunday in the eighties I’d bring his daughter (now my wife) out to the acreage – she’d spend time with her mother in the house and I’d spend time out in the shop chatting – looking at the world with a sideways glance with Ivan. We’d reason our way through a few things. We’d work on the brakes for a motorbike for his son or replace a piston or piston ring on his skidoo. And, we talk all the way through it. He’d have an old, old Coke Machine in the corner stocked with eight or nine flats of beer … sodas, he called them … and in the course of an evening a chunk of a flat would disappear.

Outside his shop, one time, we ran oil or power steering fluid through the running carburetor of my father’s 69 Pontiac Parisienne. The engine coughed and coughed and sputtered; it may have died. And, then with some skilled cranking of the starter Ivan brought it back to life with a roar – the carburetor now clean and optimized. I’m sure he was having some fun with me … seeing where my worry and trust would lie.

A few years later he set me to work polishing a four-door, cream coloured Ford Gran Torino, a vehicle our family bought from our uncle in Rimbey. This was the four door version of the 76 Ford Gran Torino made more notable by the Starsky and Hutch television series in the late seventies. With our Ford and with a professional polisher, rubbing compound and glaze I worked on the car for four of five hours. Ivan had me wash down the engine in addition to washing the exterior. When it came time to drive home the Gran Torino wouldn’t start. And, when I went up to the house I found that while my girlfriend (now wife) and her mother were watching television, he was sleeping in his chair. Not wanting to disturb him, I went back down to the shop, hooked up some booster cables between the Ford and his Dodge Ram, not knowing anything about reversed polarities on the Dodges of the day.

Hmmh … Now two vehicles wouldn’t start.

I had to roust Ivan from his sleep and let him know that in addition to my not being able to start my vehicle, I now couldn’t start his. The language was colourful, yet mindful of not wanting to go too, too far. He seemed to know within minutes that water under the distributor cap of the Ford was the problem; we dried it with a rag. And where there’d be an electrical etching in the top of the distributor cap, he knew to take a pencil and draw two lines, one on each side of the etching, perpendicular to it; that limited the problem. We boosted the Ford … still using his Dodge, his way. The Ford started. I’m sure he was happy to get me on my way. And, he was certain that he’d have his truck running within moments after I left. Ivan was a Dodge man.

Ivan was one of the first people I’d heard refer to rust on a vehicle as it being cancered out or having cancer … something he knew how to remedy in an autobody shop. The Ford image presented here is one found a few miles from the southern gate of Elk Island National park; the nearest towns would probably be Lamont or Bruderheim. To some extent the Ford has its share of cancer; but, in totality there is more there of the car than not there, making it an excellent candidate for restoration. The vehicle has had me thinking back to Ivan and the early days of dating my wife. 🙂

Listening to – ‘The End of Illness’ by David B. Agus, MD, a book looking at a systems approach to good health … it’s about understanding your body’s system and how it works, for you.

Quote to Inspire – “Taking an image, freezing a moment, reveals how rich reality truly is.” – Anonymous

Former Edmonton Sights

Canon 60D, Canon Camera, Home, Night, Sigma Lens - Wide Angle 10-20mm, Vehicle, Winter

Edmonton’s Low Level Bridge 1

Edmonton’s Low Level Bridge 2

Edmonton’s Low Level Bridge 3

Former Volkswagen Shop – Edmonton 1

Former Volkswagen Shop – Edmonton 2

Former Volkswagen Shop – Edmonton 3

As a child growing up in Edmonton’s Ottewell community in the sixties and seventies walking and cycling were my chief means of getting around our community. Travel in Dad’s Beaumont or Pontiac Parisienne would take us to the Bonnie Doon Mall each week for groceries, a place we could explore while our parents shopped. Longer excursions would perhaps take us downtown to shop at The Bay or Eatons or Woodwards. And, there were times when a cold or flu bug would direct us towards a visit with the family pediatrician, Dr. Selby, at the Allin Clinic. Needles, minor surgeries, vaccinations and prescriptions were given to my brothers and me by Dr. Selby.

Travel was a longer affair.

There would be traffic lights we’d encounter on 75th Street as we travelled west on 90th Avenue. We’d move past Bonnie Doon High School to the traffic circle taking the second exit towards Connor’s Hill and downtown. Descending Connor’s Hill we’d drive under a ski jump that would hurl out skiers onto the Connor’s Hill ski area; the hill is where the Edmonton Folk Festival now sets up each August. On our right, roughly where the Muttart Conservatory is now situated we’d move past the City of Edmonton incinerator with its tall, tall brick chimney and garbage trucks moving about. We’d cross the North Saskatchewan River on the Low Level Bridge and then climb Grierson Hill under the Chateau Lacombe and the Hotel MacDonald. We’d travel west on Jasper Avenue and make a right on 120th Street finding a parking space on the street or within the clinic parking lot.

Travel was a family affair; much was discussed within the car … questions could be asked and digested and concerns diluted.

The images presented here are current view of Edmonton’s former Volkswagen shop near the James MacDonald Bridge and of the Low Level Bridge from its northwest corner – both were sights to be taken in during our longer family excursions across Edmonton.

Listening to – Led Zeppelin’s ‘When the Levee Breaks, U2’s ‘Where the Streets Have No Name’ and ‘Sunday Bloody Sunday,’ The White Stripes’ ‘Icky Thump’ and the Raconteurs’ ‘Steady As She Goes” – all are part of the DVD, ‘It Might Get Loud.’

Quote to Inspire – “I think good dreaming is what leads to good photographs.” – Wayne Miller

Image Design, Picture Perfect – Prints Printed

Best Practices - Photography, Canon 60D, Canon 70-200 mm 2.8 IS L Series Lens, Canon Camera, Canon Lens, Canon Live View, Farm, Homestead, Light Intensity, Lookback Photos - One Year Ago, Photoblog Intention, Photography & Conceptualizing Beauty, Project 365 - Photo-a-day, Season, Still Life, Vehicle, Vehicle Restoration, Weather, Winter

Chevrolet Grain Truck 1

At day’s end, cold yet indoors, changing tack on the day’s direction – printing two or three images, ones that I might have done as canvas prints. I chatted with Image Design Pros in Grande Prairie – cost and size of the image that can be produced are both attractive elements within my decision. Shutterfly is another option, an option my wife has talked around with her colleagues.The Picture Perfect Frame and Gallery in Grande Prairie may also serve as framing point for prints. I discovered that Dan Kameka who has photographed many retrospective farming tribute photos as well as the Dunvegan bridge has been former owner of this same Picture Perfect Frame and Gallery. Upstairs the gallery contains two or three remaining prints of Dan Kameka’s – farming tribute … black and whites with selective colorization (retro greens and reds from the forties, fifties and sixties), nostalgic prints holding memories for people within and around Grande Prairie. There are artists from within the regions – Klaus Peters, Robert Guest and Frank Martel. I bought a Martel work for my son for Christmas – there’s an intensity in the use of colours that is vibrant and energizing.

In printing photos tonight I am pleased with the colour fidelity between monitor and actual print. It’s been ‘Homestead & Winter Skies,’ ‘Winter’s Wraith-like Wisps,’ ‘Rivetting – Edmonton’s High Level Bridge,’ and ‘Gorge – Englishman River Falls, British Columbia.’ The photos presented here tonight are a quartet of winter images of that Nampa grain truck, a Chevrolet three-ton from a few posts back.

Listening to – The Road Home with Bob Chelmick, CKUA streaming via the Internet … two poems by Lorna Crozier begin the show; one’s called Patience; then it’s Things to Do by Calgary’s John Rutherford.

Quote to Inspire – “A photo is a small voice, at best, but sometimes – just sometimes – one photograph or a group of them can lure our senses into awareness. Much depends upon the viewer; in some, photographs can summon enough emotion to be a catalyst to thought.” – W. Eugene Smith

Chevrolet Grain Truck 2

Chevrolet Grain Truck 3

Chevrolet Grain Truck 4

B-Side Catch-all & Round-up

Best Practices - Photography, Canon 30D, Canon 60D, Canon Camera, Canon Live View, Farm, Farmhouse, Flora, Lookback Photos - One Year Ago, Photoblog Intention, Photography & Conceptualizing Beauty, Project 365 - Photo-a-day, Spring, Still Life, Summer, Vehicle, Vehicle Restoration, Weather, Winter

1956 - Pontiac Star Chief 1 — 1956 – Pontiac Star Chief 1

1956 - Pontiac Star Chief 2 — 1956 – Pontiac Star Chief 2

A Car Crafter’s Dream

Ford - Show and Shine 1 — Ford – Show and Shine 1

Ford - Show and Shine 2 — Ford – Show and Shine 2

B-side images, ones that haven’t made the first cut reveal in their review how often I am impressed with technology’s artistry that comprises what becomes a vehicle. A veritable used car lot, these images display resurrected lives of vehicles, being breathed into new Life through the artistry of a would-be car crafter. Winter grain stocks hold interest in their various settings.

Listening to – Aqualung’s Strange and Beautiful (I’ll Put A Spell On You), the Volkswagen Beetle tune from a few years back.

Quote to Inspire (or draw one toward reality) – “Photography cannot do much. It provides some level of information, yet it has no pretensions about changing the world.” John Vink

December, Puck & Mr. Keating

Best Practices - Photography, Canon 60D, Canon 70-200 mm 2.8 IS L Series Lens, Canon Camera, Canon Live View, Farm, Homestead, Journaling, Lookback Photos - One Year Ago, Photoblog Intention, Photography & Conceptualizing Beauty, Project 365 - Photo-a-day, Vehicle, Vehicle Restoration, Weather, Winter

Car Between Fox Creek and

December – colder temperatures, cooling the core of you; shortened days, days of the long nights; snow blankets the landscape and falling veils the atmosphere looked through diluting colour into the distance until only the grander forms can be made out. Arriving home for supper, I stumble into Mr. Keating and his students within the latter acts of Dead Poets Society – it’s winter, there, too. At the point where I pick up the story, a student challenges parents’ wishes and takes on the role of Puck within a production of Shakespeare’s A Midsummer Night’s Dream. Neil, as Puck, opens and closes this first performance famously, an outcome that’s would surely catalyze future interest and movement within and toward drama as solid and chosen Life endeavor. His parent’s plan, though, is what it is. There is no room for deviation. Life, moving forward, is their way or not at all. To live-out the parent’s plan, dreams must die. And, dead dreams are no more than that – dead. Neil recognizes that he has known the rapture of bringing the journey of a drama from a good beginning to successful conclusion. Neil takes his Life. Much of what the movie deals with is shaping judgment and pursuing truth – uncovering the core reality of Life. And, the movie shows costs associated with such noble pursuit – ‘O’ Captain, My Captain’. A friend and colleague pointed out that Mona Lisa Smile is the inverse to this film, Dead Poets Society.

While not a December photo, the vehicle within the image is one that was certainly around during the time in which Dead Poets Society was set. In the last third of the distance from Fox Creek and Valleyview, Alberta, this vehicle resides on the north side of the highway, in a farmer’s field. The sanding and the front right quarter panel that needs to be reattached reveal the car to be a project vehicle, a vehicle that someone has had an interest in restoring … and then didn’t. Set within view of the highway, it is certain to draw the attention of another would-be car crafter. For me, I enjoy the shape and look found in this vehicle from a former time. While editing this photo today, I realized that in total I may only have ridden in a handful of these fifties vehicles, maybe only one or two … despite having photographed them so often.

Listening to – Sigur Ros’ Glosoli.

Quote to Inspire in Dead Poets Society terms – “Finally, brothers, whatever is true, whatever is honorable, whatever is just, whatever is pure, whatever is lovely, whatever is commendable, if there is any excellence, if there is anything worthy of praise, think about these things.” Philippians 4:8 – University of Alberta’s motto

Quote to Inspire – “I fell in love with the process of taking pictures, with wandering around finding things. To me it feels like a kind of performance. The picture is a document of that performance.” – Alec Soth

Rivetting – Edmonton’s High Level Bridge

Best Practices - Photography, Canon 50mm, Canon Camera, Canon Lens, Canon Live View, Home, Journaling, Light Intensity, Lookback Photos - One Year Ago, Night, Photoblog Intention, Photography & Conceptualizing Beauty, Prime Lens, Project 365 - Photo-a-day, Vehicle, Winter

Rivet and Girder – High Level Bridge – Edmonton Alberta

At night, light and shadow reveal girder and rivet patterning along the High Level Bridge, a bridge that connects the north bank high above the North Saskatchewan River at the Alberta Legislature ground site to the south bank – an area that becomes entrance to the University of Alberta and Edmonton’s Old Strathcona community. The scene within this image contains the light trails of two cars moving across the bridge while emphasizing perspective with foreground, middle ground and back ground elements – the riveted girders and bridge deck (near), the girder and walkway (opposite – middle ground) and the steam of the petrochemical plants along Edmonton’s baseline road in the distance. The bridge is a landmark within Edmonton and a piece of architecture I have cycled over and under most days during summer’s break between winter and spring sessions at the University of Alberta. At night, the bridge becomes vista from which to survey much of Edmonton – northeast to the legislature, east to the Muttart Conservatory and refinery row, south and southeast to the skyline of Saskatchewan Drive, southwest to the University of Alberta, northwest to a skyline that follows Jasper Avenue west and west toward Glenora’s community. On both sides, the North Saskatchewan River snakes through Edmonton – winding west, past Emily Murphy park and onto Hawrelak park; east past the Rossdale power plant, past the Edmonton Queen sternwheeler and onto Rundle park. At all times of the day and night, the bridge is active conveying people from one side of the river to the other – by foot, jogging, cycling, by truck, bus or car. Within this image, texture and sense of space attract me as do memories of former times.

Listening to – U2’s One, Walk On, Where the Streets Have No Name, Moment of Surrender and With or Without You.

Quote to Inspire – “I really believe there are things nobody would see if I didn’t photograph them.” – Diane Arbus