One Man’s Junk…

I’ve been asked why it is that I prefer to photograph old things, junk to some people. This has caused me to spend quite bit of time thinking about this subject and why it is I am so often drawn to it. One reason for my attraction to the subject, but not necessarily the most important, is the pure connection to history.

I enjoy history, learning about significant events, and trying to put myself in that time and place. I live in southern California and travel back to North Dakota in the summer and I am struck by the differences between the two with regard to their history. In California the population has increased dramatically in recent decades and the continuous construction and redevelopment is associated with this increase has hidden this history or removed it from its context. Urban redevelopment places new retail centers where quaint seaside villages once were and homes cover the rolling hills of what used to be vast ranchos so much so that it is difficult to see the place as connected in any way to an earlier time. A good example is Rancho Buena Vista Adobe, an historical rancho in the city of Vista. Some of the original buildings have been preserved and some converted into museums complete with relics and photographs but it is set so deep into urban sprawl, development, and the daily activity that accompanies such things that it has taken on a Disney Land-like quality. I am not trying to belittle the effort that so many have put into preserving a place like this but I am suggesting that a thing loses some of its historical significance when the context changes so radically as it has in Southern California. By changing the surrounding area some of the connection to history has been lost. The same is true for museums: In a museum historical artifacts are cleaned up and shown in such a way that they are hopelessly removed from from their context leaving the visitor’s experience altered from an actual encounter with history to viewing a show or commercial display. I am not alone in recognizing this as you can frequently see museums trying to change a visitor’s experience in an effort to reconnect it with the original human experience. It is a difficult task for sure to try to put a visitor into a point in time. In North Dakota, as in much of the Midwest, the places I visit and the things I photograph are not removed from context at all. In fact they reflect the very history of which they are a part. Time is evident in their very condition. Rust freezes machinery in the place they were left after their last day of work, wood erodes as it confronts the relentless wind of the prairie just has it has always done. A person can experience the history of that place as it is happening. In these places time has not stopped and the history of the place is laid bare. The are no obstacles between the visitor and the place, no filters, no Disney Land. Because of this, the experience is somehow more real for me.

Ceramics 2011


Every summer I enjoy working with clay. I am certainly no potter or ceramicist but it is fun. These pieces and more can be seen in an earlier post  in their green state.

I think the slip made of some indigenous clay turned out quite well. Unfortunately the clay was not compatible with the glaze and it crackled. This isn’t such a bad thing as it actually looks quite nice but it renders the work unsuitable for foodstuffs.

I like the form of the cup in the top right hand corner. I think this years pottery will look very much like this one!

A film camera, why?!

BindweedDetourRawscan copyGovernmentGraineryMachineAtRest

A few of the photographs made at the studio last summer are pictured above. When I am working with photography I am distinctly aware of the role that chance plays in the successful capture of an image. Naturally, digital photography lends a high degree of control over an image and I understand the usefulness of this process. Traditional film, on the other hand, provides what seems to me as a greater chance for discovery and this is one of the reasons why it is a part of the process I use. Due to the mechanical and chemical nature or the process the actual image left on the film often differs from the image I think I’ve captured. I process the film myself in my studio which adds to the risk (I’ve screwed up a lot of film) as well as the variation in the imagery. Once the film is processed, I scan it using the default settings on an old scanner to limit the control I impose at this step of the process. This is how these photos have taken on this strange sepia tone from a black and white negative. I think it gives some the appearance of some early daguerreotypes or tintypes.

I enjoy the appearance these photographs have acquired. After all, I am not trying to make clear, fine quality photographs, (I’ll leave that up to the real photographers), I’m trying to find an image that is as much about expression as it is about discovery. The last step for me lately is to bring it into Photoshop to crop it up a bit and add the text along the bottom. In the end, I’m looking forward to seeing how this year’s photographs will look.