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№ 75 Posts

Tomorrow is cast in the oven/ Lucid dreaming on the clock

Crescent Bay, February 2009

I actually dreamt about this photograph, which is a new one for me.  I always dream about 9-5 work,  but never about taking pictures, or the pictures themselves, which is just now striking me as fantastically odd. Most of my dreams are simple filterings of the day’s minutia, but with the workfront quiet and anxiety on the rise, this one danced in my head even while the negative remained undeveloped and nestled away in the film holder overnight.  This dream was like  a sleepwalking grant,  a shift paid to spend on the bench, supervised by particle drift and accelerating erosion with no clear task, shoes tied to the wings of scavenging and brawling birds, pecking at my kneecaps before ultimately climbing into the ribcage to roost.

After developing the picture it couldn’t not disappoint, but I’m hoping for a sequel, or a least some Cliffnotes.

The road in

Abandoned Road, Lake Crescent, February 2009

The dogs and I made another trip up this miniature mountain and I had a another silent… remark… about the difficulty of it. I noticed the recently planted and flagged seedlings are mostly confined to the logging road in- the inclines are left for natural progressions to fight over. Even in the roads, it must be a struggle for the seedlings against the burgeoning alder. This spot has great southern exposure so it’ll be quite a show to see the alder come up so quickly. A reliable way to find old roads if you’re lost out here somewhere is to seek out and and follow the stripes of alder back to civilization.

I notice my work is trending dark, and low-fi. There’s a chronic dusk in this threadbare economic  environment; if not so much a nuclear winter then a wherewithal winter, and the uncertain shadows and  bony periphery seem to suit it.

A mindbend in the river

Salt Creek, February 2009

I’ve been messing with the color scheme here and on my website. The black background with white text used previously was good for some interesting cluster headaches, which in turn made me flee the computer and seek out some shady areas with my camera. Beneficial, ok; I know headaches can be a significant part of my personality, but lets not get carried away.

The shade is perpetual in this spot, as is the quiet. I’m not sure I would have noticed it without the mindbender. It’s a visual anesthetic of sorts, which feels oddly different in the eye with the headache. Interesting, at least for now.

Scope creep and circus glass

Lake Crescent, February 2009

So I thought that thinking about what to do and where to go with this project might be much easier at the lake…especially at dusk way in tight with an ancient wide angle… just punish the lens when you’ve nothing else to say. The lake was at a time central to the area’s industry, a sort of catch basin for all that is profitable, and exhaustible. Also regrettably a basin for hydraulic fluid, diesel…  It’s a similarly abused source of inspiration, though my pollution is symbolic at best, hack.

Wait..wait……lost it.

Stump purge

The stumps are really piling up, so it’s time to bleed off a few.


Sadie Creek, January 2009

Striped Peak, January 2009

Reclamation

Road In, January 2009

Often an outfit will punch a road in an impenetrable wall of growth like this and pluck out a few acres’ worth. It leaves a tidy forested road, a shell around the activity. To stop and listen is unearthly, an claustrophobic orchestration of whistle toots, chainsaws and diesel motors on par with the density of vegetation. Like straining to see in the dark, open your eyes all you want but there’s no seeing.

I’ve been experimenting with splitting the 5×12 frame to 2.5 x 12.  I ought to try to get two shots on one sheet of film but, in true frontier spirit, I think I’ll just take my half out of the middle.

Make a hole

North Incline, January 2009

I’m always surprised when I start scrambling up one of these inclines how much work it is. Not so much the climb as the scurrying over the 1000 acre basket weave of limbings, windfall and rot that is the ground cover. It looks innocent enough from the ground. It’s not unusual to have a entire leg disappear into a rotted-out stump cavern or keyhole a foot in a tangle of limbs and trip spectacularly every other step. Due to the sudden and dramatic changes in… orientation, I really have to cinch my pack down tightly so it doesn’t accidentally sail over my head and knock me unconscious, so that makes breathing a bit harder, and  I have a nasty habit of getting a bit careless as I tire out. Even bringing the dogs along to trail blaze isn’t much help, they tend to fall in behind and get closer and closer until I hear clop of our Lab’s jaw; she is so close that I’m actually clipping her in the chops with a heel on each step. I’m not sure if they are worried that I’ll somehow abandon them there, or if they’re just drafting, but only a moment or two after making her back off I hear the soft clop…clop..clop.

So, this plant a flag shot. The effort, or at least the spectacle of it, seemed to demand it.

Waltz of the profiteers

Sol Duc Valley, December, 2008

The snow stuck with us for a while over most of December and into the first week of January. Unusual for the lowlands, valleys and even the foothills nearby. But great fun to wander in. The way the light tends to  break, I’m glad I thought to buy some gaiters over the summer for this winter. I can now wade in and stand thigh deep in the snow for the half hour it sometimes takes to set up a shot or wait for the clouds to part and not loose feeling to the knees.  It’s so magnificent, even among the destruction of storms and logging, that it’s difficult to focus, literally. I sometimes draw out the minutia of taking a photograph, even standing in knee deep in melting snow, and fumble clumsily even with my own breathing.

But it is startling, these voids where once were dense forests. Incredible new views are opening up, which is a guilty pleasure to say the least. As with Striped Peak, the Sol Duc Valley now is lousy with photographic possibilities. This guilt seems to want to exclude it from alignment with any pure notions of beauty. Not sure why exactly,  except for extemporaneous, politically correct reasons. But still, I’m not really sure how to feel about it yet. Certainly I’ll take advantage until I sort it out. Which might take some time: my deepest thoughts this week have been if I should print this series in Albumen, or Saltprint, or some such hollow gimmick to match the period feel of the project? I really need to snap out of it.

The very bones of cliche

Striped Peak, December, 2008

Today I’m painstakingly doubtful of my ability to say anything of note in this project- everything I’m coming up with seems mere scaling of the usual cliches- on many levels. The perspective of history and industry is not a static thing, ever changing in a crucible of science, demand and public opinion. I’m not convinced I have the mental chops to be here. I generally try to work above my skill set, but this feels different. The void feels altogether different here than staring out into the Pacific, and it irritates me when I try to use the same meter on it.

Who the hell am I, anyway? I liked the initial project idea of charting my own evolving opinions, but surely this is an old trick; and the fact is I’m relatively static in my own buffeting ignorance, or indifference. The winds don’t move me so much as muss my hair. This feels like getting old,  a brain pinching shut. What happens next? The suspense is excruciating.  Ok, maybe not so much.

Tableau vivant

Striped Peak, January, 2009

The notion of presenting this project as children’s fable did occur to me, a sort of Sendakian parable of the grotesque, populated with anthropomorphous events and shapes. But the fact is I’m having difficulty finding movement or personality in the wreckage, other than the occasional monstrous stump of course. But I do really like the unnatural uphill movement of this image, a land wave of cataclysmic predation, flailing monster at its crest, ready to devour the remaining trees.