The first will be Sunday, March 10, in Rapid City, South Dakota. I will be speaking to the Black Hills Corral of the Westerners about my ongoing project, "Preserving the Legacy". Dr. Watson Parker left a treasure trove of lectures, slides and audio recordings, which I am in the process of transferring to digital media. The talk will focus on my workflow with some examples of Dad's captivating lectures. The presentation will be at Revel Coffee House, 719 Omaha St., Rapid City, SD. Lunch and snacks available. Socializing and munching from 12-12:30, a short business meeting to follow, and then the presentation. More info on the Black Hills Corral Facebook page.
I'm also scheduled to present at the Business of Photography Boot Camp at Washtenaw Community College in Ann Arbor, on Friday, March 15. I'll be discussing "Time Management & Business Strategy" as it relates to photographers, and anyone with an interest in professional photography is welcome to attend. The following information is from the Entrepreneurship Center at Washtenaw College.
This all-day event will give you an opportunity to learn how to start, build or grow your business through presentations and discussions with working professional photographers. These professionals in the field will give their experiences and tips to the audience on the following topics:
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Time Management & Strategy – Jim Parker
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Marketing, Branding & Websites – Dayna Mae Mager
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Pricing, Proposals & Copyright – Steve Rich & Ann Savage
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Networking & Getting Leads – Rob Woodcox
In addition, Rob Woodcox, fine art and fashion photographer and WCC Photography program graduate will give an extra presentation on Thursday, March 14. Here’s more information on each event:
“The Power Within You: Taking a Stand and Having a Purpose to What You Create”
Presentation by WCC Photography Program Graduate Rob Woodcox
Thursday, March 14 @ 7:00pm
Morris Lawrence Building at WCC
FREE event open to the public, no registration necessary
The Business of Photography Boot Camp
Friday, March 15
Registration: 8:30 – 9:00am, Event: 9:00am – 4:30pm
Morris Lawrence Building at WCC
Cost: $25 or FREE to current WCC students – Lunch Included
(call the Entrepreneurship Center at 734-249-5880 or email [email protected] to get the FREE student registration code)
Please let us know if you have any questions!
Entrepreneurship Center
Washtenaw Community College | Damon B. Flowers Building (Facilities), Room 120
734-249-5880 | [email protected]
EC Hours: Monday-Thursday 9:00am-4:30pm, Friday 12:00-4:30pm
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Here is a link to the updated presentation. Time Management 2019 2Mb
Here is the presentation with speaker notes. Time Management 2019 With Speaker Notes
I found it interesting that no one asked what the significance of the barrels and milk cans is in the first and last slides. They represent buckets of time. In case you were curious.
(Please note that this post is moderated, so if you add a spam link, it will be deleted.)
(Republished with revisions 3/16/2019)
Imaging Software
Adobe (Lightroom, Photoshop, InDesign, Illustrator…) http://www.adobe.com
Affinity Photo, Designer & Publisher (Adobe alternatives) Affinity
Aurora HDR and Luminar (Skylum Software) http://www.skylum.com
OnOne Software http://www.on1.com
Photomatix http://www.hdrsoft.com
Nik Plug-ins (now owned by DxO https://nikcollection.dxo.com
Topaz Plug-ins https://topazlabs.com
HDR EFX Pro http://www.google.com/nikcollection/products/hdr-efex-pro/
Raya Pro https://www.shutterevolve.com/raya-pro-the-ultimate-digital-blending-workflow-panel-for-photoshop/
AstroPad - use your iPad and Apple Pencil as a tablet https://astropad.com
Business Tools
FileMaker Pro http://www.filemaker.com
MindNode http://mindnode.com
Things https://culturedcode.com/things/
Evernote https://evernote.com
Microsoft Excel, Word, PowerPoint https://www.microsoft.com/en-us/
FotoBiz X http://cradocfotosoftware.com
Quicken http://www.quicken.com
DropBox http://www.dropbox.com/home
Google Calendar https://calendar.google.com/calendar
Google Drive https://drive.google.com/
Writing Tools
Scrivener http://www.literatureandlatte.com/scrivener.php
iA Writer http://ia.net/writer/mac/
Pages (Apple) http://www.apple.com/mac/pages/
Web site development
ZenFolio http://www.zenfolio.com/us Use referral code 9BP-ZYX-ECM for a 10% discount
WordPress http://wordpress.org
GraphPaperPress (WordPress Templates) http://graphpaperpress.com
PhotoCrati (Photographer specific WordPress Templates) http://www.photocrati.com
Elegant Themes (Divi) https://www.elegantthemes.com/gallery/
Email Marketing
Navigation Tools - for mobile and desktop
FocalWare Lite - the original FocalWare is no longer available in the App Store...
The Photographer's Ephemeris -- web app, iOS and Android
PhotoPills -- another very useful tool to have on the mobile device. Both iOS and Android
Waze - Live traffic, crowdsourced accident reports. iOS and android
Garmin InReach Mini - A very useful satellite communication device for the backcountry
Articles for a Deeper Dive
David Allen “Getting Things Done”
14 Time Management Tips (All Creativelike)
Guide to writing a NASA-grade mission statement
The Big Lie of Strategic Planning
Five Reasons You Should Stop Multitasking
Nine Ways Multitasking is Killing Your Brain and Productivity According to Neuroscientists
How to Get More Work Done in a Week Than Most People Do in a Month
Why Your Instagram Nature Shot is Breaking the Law (Outside Online)
Fine Art Resources
Zapplication http://www.zapplication.org
Juried Art Services http://www.juriedartservices.com
Entry Thingy http://www.entrythingy.com
Art Show Photographers Facebook Group https://www.facebook.com/groups/artshowphoto/
Alyson Stanfield "Art Biz Success"
Art Fair Calendar http://www.artfaircalendar.com
Art Fair Insiders http://www.artfairinsiders.com
Art Show Photo website http://artshowphoto.com/contents.htm
Larry Berman’s website http://bermangraphics.com/blog/
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I am pleased to announce that my second book is now available for purchase! The first edition features over 42 images from the "Stories Told in Things Left Behind" series, and is printed on heavy satin stock. Hardbound with a linen cover, the book also has a four-color dustcover. Each book will be signed & numbered. There are 25 books in this limited edition. Order before December 10, 2018 to ship in time for Christmas, and use coupon BOOKIT2ME for free shipping.
Building on my early black & white photographs in "A Disappearing Agrarian Landscape”, the new book showcases over forty images with stories to tell. From the empty interiors of Bannack to the gold fields of Vulture City, each picture offers insights into the lives of the miners, ranchers and ordinary people who built these towns. Dishes left on the table, patterns of faded wallpaper, fields of flowers colored by the setting sun — each image illustrates another life, another time.
In this collection, I trace my development as a visual historian. Having spent the better part of my photographic career making pictures in these old homesteads and towns, the new book offers a glimpse into life as it was, each image stands on its own, and relates to the next in a never-ending thread stretching back 100 years.
Photographed with small-format digital cameras and lenses, these are more than pictures. They are romantic sketches of how we perceive the historical past to be. Many miles were traveled & many hours were spent behind the viewfinder. If you've ever wondered what the story behind a particular image was, this book offers up some clues.
“Stories Told in Things Left Behind” started as a tagline to succinctly describe the motivation behind this project. As the miles fell behind the rear-view, certain themes began to emerge. Doors, certainly. Chairs in shafts of light. Sparse interiors. Prairie churches and majestic elevators.
Each of these stories lets the viewer bring their own experiences to the telling. This photographic journey covers many miles and many years. And if the tale ain’t true, it sure ought to be!
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When you click on the "Buy" button next to an image in a gallery, a list of options is displayed on the right hand side of the window. Your options include:
Matted prints. I offer three sizes of matted images, using the same 6-ply AlphaCare white mat and archival backing board. Other sizes are available for standard aspect ratios on request.
|
Image Size |
Mat Size |
Border Widths |
Mat Color |
|---|---|---|---|
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6x9 |
11x14 |
2.5" |
White |
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8x12 |
16x20 |
4" |
White |
|
12x18 |
20x26 |
4" |
White |
Standard Framed prints. Generally, I stock two sizes of frames, in the Palladio black/brown style. Both sizes will come with TruVue Conservation Reflection Control U/V non-glare glass, a Tyvek dustcover on the back, plastic-coating hanging wire and hangers already in place, ready to hang. My stock sizes are 16x20 and 20x26. These sizes refer to the matted size, not the overall frame dimensions. For a Palladio frame, each arm is about 1 7/8" wide. Other sizes are available, and can be custom ordered by calling the studio at 248.229.7900.
Custom Barnwood Laminated Prints. Printed on canvas and mounted permanently to Gatorfoam, these images come in two standard panorama sizes, and two standard aspect ratio sizes. Each frame is unique, made by hand, and sizes may vary. Panorama and canvas laminate sizing refers to the size of the image, not the overall size of the frame, which may vary an inch or two in each dimension. Standard sizes for normal pictures are 24x36 and 32x48. Standard sizes for panoramas are 48x20 and 60x24. Other sizes can made by special request.
Canvas Wraps. Although not listed on the site, canvas wraps are available in the following sizes. 20x30, 24x36, 26x40, 20x48 and 24x60. Each wrap is custom made. Tryptchs and diptychs are available as well.
You can see additional details about the piece you are about to order in two ways. From the gallery preview, click on the "Buy" button, which will open a list of the most popular options. Add one of these to your cart, and then view the cart. Clicking on "Edit" next to the selection's title will let you add a note or change quantities, and will display the full product description. If you use the "Visit Shop" button from the Buy panel, it will show all the options available in several categories. Choosing one of these categories and then one of the options will show the full details.
As always, if you have questions, please don't hesitate to call us at 248.229.7900.
]]>Shooting in the studio requires a bit more preparation than just going out and finding an interesting picture. As a former art director, I start out with a concept, and a layout. Since this layout isn't going to be presented to a client, I can get away with a lot more than I did in the old days.
I use an app (GoodNotes) with my iPad to sketch -- it's easier than keeping track of 10 different yellow pads, and I can sync it via iCloud to my desktop machines for use in a blog for example. The Apple Pencil is by far the most responsive pressure sensitive tool I've used. Better than a Wacom even, for simple sketching. I wanted something that captured the magic of coming downstairs on Christmas Eve and seeing the tree all lit up, with the toy train magically making it rounds, waiting for Santa to arrive with a bag full of goodies.
Once I had the idea, I went looking for a pre-lit Christmas tree. Initially it seemed as if an old-fashioned feel would be nice, so I got some larger colored lights, and brought out my HO scale trains. I soon realized that the scale of the train, while it worked well for a real Christmas tree, was a bit small for the height of the tree for the base. It was a struggle to make up the space between the lowest tree branches and the train. I shot some test images with my phone, and then set up the tripod and camera. Initially, I tried a wider lens, my Sigma 35 Art f1.4 which is a beautiful lens that lets in a lot of light. But the depth of field was too shallow, and the tree looked messy no matter what angle I tried.
I switched to a longer lens. Having limited space in the studio, I fitted the Canon L 70-200 f2.8. A higher angle helped to minimize the distance between bough and track. Lots of little packages had to be wrapped and staged under the tree. The colored lights proved to be another scale problem, so the old-time angle was somewhat abandoned. The train also dates back thirty years, not fifty, and so I experimented with various combinations of locomotive and rolling stock until I had a basic feel for what I hoped to accomplish.
After I had the train track set up in position, I wrapped the tree stand with a white tree blanket to hide the ugly black legs. Staging the presents around the tree, and working to the camera, I started to get some of the feel I was looking for, but I still wasn't getting enough emotion.
I decided to press on, and hang some ornaments to get a better feel. Lighting had not been set up yet -- I typically will just use a big 1K Baby bounced off the ceiling as a work light, and while it's not terribly dramatic, it does let me see what's going on with the set. There were some big holes between the tree and the track that definitely needed filling. As I hung ornaments, it became apparent that using an artificial tree was going to help me, as the branches could be bent, and would hold their shape much better than a live tree. Score one for fake trees!
At this point, I was ready to do some real test shots. The camera was locked down with some sandbags holding the tripod steady -- I have a tendency to stumble into things and wreak havoc on a delicate camera position. Still using the broad overhead light, I fired off a couple of brackets to see how everything lined up. The shot was still looking pretty bland. Colorful, yes. Dramatic, not so much.
Out came the small Mole Richardson "inkies". These are tiny little tungsten luminaires, with 150-250 watt bulbs, and the ability to block off the light with barn doors. They have fresnel lenses so they can be spotted down, or flooded out. Perfect for old-style drama. These are my favorite lights -- I like them over the big studio strobes, my LED flat panels, or the documentary style Lowell lights. For this shot, I didn't need a lot of light. After all, it's supposed to be night time. We're waiting for Santa!
Working in low light situations is interesting. It helps to tether the camera to a laptop so that focus can be determined more precisely. Canon has a utility that they ship with their professional cameras that lets you do this. Unfortunately, it doesn't function well under Mac OS Mojave, which is what the laptop is currently running. Lightroom has a basic tethering capability, but it doesn't let you control the camera remotely.
Enter Kuuvik Capture. When I discovered that Canon Capture wasn't updated for Mojave, some Googling brought me to this lovely bit of kit by Laszlo Pusztai -- Kuuvik Capture. It runs independently of Lightroom, saves images on the laptop and on the camera's capture card. It allows remote focus from the computer, as well as setting up brackets of 3-15 exposures, interval shots and more. And of course it's not cheap. But it is a finely written professional tool. Very useful.
I tried adding tinsel to the tree branches. Still going for that nostalgic feel I remembered from my youth. It looked horrible. Luckily it didn't take long to decide to ditch that idea. Quite a bit of time was spent in noodling ornaments, repositioning boxes, eliminating odd overlaps, and getting everything still enough to stay sharp during the long exposures the shot required. I did a five-exposure bracket, with steps in 1 and 2 stop increments. To get the spectral highlight on the white lights I had the lens stopped down to f32, so my lightest exposure was 30 seconds.
The Burlington locomotive proved to be a bit dark for the scene. Down at Empire Train and Hobby in Troy, they hooked me up with a beautiful little Santa Fe DSD75M. The color works better with the shot, and of course it says "Santa" on the side! A few little packages in the hopper car add to the feel, along with a Merry Christmas boxcar from the 80's. Kozo used to buy new rolling stock for the layout every year until we stopped putting the train out with the tree. (Our cat Sasha liked to derail the cars when they were moving.)
Adding another light to fill in the background a bit seemed to help define the caboose a touch. An out of sight mirror, some fill cards pushed little shafts of light around the set. Kozo suggested changing out one of the packages because the pattern seemed overly intrusive. Did that, it was a good suggestion.
Along the way, it should be pointed out that the brackets for each shot are combined into one image, using Aurora 2019. The shot above is a single exposure out of five in each bracket, without any post-production work. When I finally got an image that I was satisfied with, I made the HDR composite and then brought it into Photoshop for additional editing. The flooring on the left was extended, some minor issues with wrapping paper were fixed, and some reflections were cloned out. And then, the Photoshop edit was further refined for drama inside of Lightroom, where some additional emphasis was added, a vignette around the corners was placed, and some other magic waved over the file.
Here's the final product. I hope you like it -- if you'd like a copy of the Christmas card, please drop me an email at info at parkerparker.net with your name, address and what you'd like Santa to bring you for Christmas!
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My friend Eric and I were talking about Grizzly Bear Creek the other evening. We used to hike from Mt. Rushmore down to Grizzly Bear Falls, where a lush plunge pool awaited the intrepid hiker. It's a steep walk to get from the parking area down to the creek, and then some foraging is required to get upstream to the falls themselves. But this post is about the lower part of the creek, a part that I had never walked.
From Mt. Rushmore (16A), follow the Iron Mountain Road south maybe a mile. There's a campground, with a couple of day use parking spots at the very back of the campground. It's $4 to park and probably worth it. Find the campground host and pay them for a parking permit. The trail itself starts between two horizontal parking barriers, and heads south towards the creek, which you can hear from the campground. You'll cross the creek almost immediately after getting into the forest. There is no bridge, so be prepared to wade the shallow creek. A walking stick is useful, if you need a little extra support for balance. There are four more fords after this one before you reach the hidden waterfalls, and you will get your feet wet if the water is running high.
The trail winds around, mostly following the course of the creek upstream. There is thick undergrowth, pine and evergreens, and in a wet year, lots of poison ivy. Be on the lookout for it, and wear long pants with socks and hiking boots, rather than shorts and sandals, if you are at all susceptible. Fording the creek does help to wash off the poison ivy, but be cautious.
After about a mile, you'll cross the creek, and can hear the rush of the first of two slightly larger waterfalls. Big boulders dot the stream, and it takes a bit of a scramble to get the best view. Another falls cascades over the boulders about 100 yards upstream. It may be possible to follow the stream all the way to it's junction with the stream coming down from the big Grizzly Bear Falls, which is marked on the USGS topo.
If you'd like to explore this trail yourself, drive through Keystone towards Mt. Rushmore on 16A. Take the Iron Mountain Road instead of heading up to Mt. Rushmore, and drive about a mile. When you see the Grizzly Creek Campground, turn in, and find a place to park. Or camp.
This link will take you to the GAIA Pro map route, which shows distance and elevation. I spent a lot of time making pictures, so your hiking time is likely to be much less, unless you stop to swim or bask in the sun.
Length: 1.1 miles to the second waterfall, about 1 hour each way.
Effort: Easy
Notes: Poison Ivy. Wear long pants.
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I rented a U-Haul and we took our tent, display panels and artwork back to Michigan. I filed a claim with State Farm, ordered a new trailer, made new artwork, and carried on. I never heard anything from the Fort Worth police about the trailer, and the claim was processed by our insurance company, checks were cut, and we were mostly whole again.
Fast forward to June 4. I am on my way back from a show in St. Louis, and I get a voicemail from a police officer in Texas. After seven years, the trailer has been located. I kid you not. It was in Texas the whole time. I had a good conversation with the officer. Evidently the trailer was being towed by a man who claimed to have bought it for $2000. The VIN numbers had been removed, as well as all of the identifying manufacturer’s marks. The man claimed it was a “home-made” trailer, but the police, part of a Grand Theft Auto Task Force, knew better. In Texas, you don’t need a title transfer to register a trailer plate, but you do need VIN numbers. It’s illegal to remove them from a vehicle. So they confiscated the trailer, and then did some legwork. The office who called me found a partial VIN number, traced it back to the Fort Worth police report from April, 2011, and gave me a call. I corroborated some details about the trailer I had owned, and verified that it was the trailer they had in their possession.
He was nice enough to send me some pictures of the trailer. Artan is in good shape for having been sold into slavery for seven years. The trailer still had the rack in the back that we used to store ProPanels; the tape from art show parking permits on the front; and the hooks for the weight-balancing rig we used with it, when we towed it with a Jeep Cherokee. It appears to have had a forklift driven through the front diamond plate, and it looks like it has a new tongue jack, but other than that, it’s pretty much the same.
Since the claim was processed by the insurance company, the trailer now belongs to them. They may auction it off to recoup some of their money, or they may not. I am amazed that it turned up after 7 years.
]]>While I carry several different styles in stock, that doesn't mean that your choices are limited. Please give me a call for a personal consultation to discuss your particular design needs. I work with several large national frame moulding distributors on a regular basis, and can provide custom framing services from a simple gift to a whole office project. Call or email, and I can provide corner samples, and more images of frame projects.
Classic Frames
The corner chart illustrates the main frames that I stock and hang on my art show walls. Click on any picture to see it larger in the frame information gallery.
Palladio
My favorite frame for the moment is Palladio, in black/brown. It's a mildly distressed wood frame with a beeswax finish. The dark tones complement most of the "Dakota Montana" and "Stories Told in Things Left Behind" series. I pair it with TruVue's Conservation Reflection Control glass (CRC), which pairs a diffusion layer to keep glare down, with a UV protective coating on the back. Frames are finished on the back with sturdy hangers, plastic coated wire which won't rust or stain your walls, and a black Tyvek® dust-cover.
Peaceful Easy Feelin'Horses and corral, working ranch near Hot Springs South Dakota
River ViewRuins of the settlement at Lee's Ferry, this window looks toward the landing. Limited edition of 250, signed and numbered.
26 x 20" Palladio Frames with Conservation Reflection Control Glass
The Gallery Frame
Another old standard is the black wood gallery frame. On the larger pieces, (20x26 and above), it's a 1 1/2" matte black style, with simple square lines. For smaller pieces, a variation of this frame in a 3/4" molding is used. And as a third option, I offer a metal frame with a brushed "Florentine" finish, also in black.
Typically with the gallery frame, I use TruVue's Conservation Clear glass, which is offers less expensive UV protection, without the reflection control. Larger pieces (up to 30x40) can be framed and glassed, either in the Palladio style, or in a black gallery frame. On occasion, I also use acrylic glazing to keep the weight down for a more traditional presentation in a frame.
Medium width black frame 8411"Door, Unopened", 16x20 showing proportion of mat and frame. Special Order only.
Thin black gallery frame AF104"Door, Unopened" in thinner black wood gallery frame with conservation glass
Glassless Styles
I've also begun producing larger prints in several glassless configurations. A canvas photograph is laminated to a backing board (GatorBoard) and then framed. The backs are finished with heavy-duty hangers, plastic coated wire and a black Tyvek dustcover.
These laminated pieces also look great in my new custom barnwood frames. You can get these in a number of styles, including the Western style barnwood frame; a redwood / Brazilian cherry combination; and a solid walnut composite. Each frame is crafted by hand, one at a time. Four types of hand-made reclaimed wood frames are available to you, in sizes 16x24 on up to 6 feet wide.
Redwood/Brazilian Cherry
Redwood and Brazilian Cherry Frame"Watering Hole" 48x32 in a custom made redwood and cherry frame.
48x32 "Watering Hole" in a Redwood/Brazilian Cherry custom frame. Overall size approx. 60" x 42
"Driftwood in the Moonlight" 36 x 24" Redwood and Brazilian Cherry custom made frame
36x24 "Driftwood In the Moonlight", in Redwood/Brazilian Cherry. Overall size approx. 46" x 34"
Leave A Light in the Window framed in walnutWalnut capped frame with hand scribed v-groove 48 x 32
48x32 "Leave A Light in the Window" framed in 3" solid walnut frame with walnut cap. Overall size 58" x 42"
Western Style Frame
You can also choose a simpler barn wood style, the Western Style frame. Constructed of simple aged wood, it frames a traditional image perfectly at an affordable cost.
36x24 Gray Barnwood "Western" style frameDry Well in classic Western style frame 36x24
36x24 "Dry Well" in Western style gray barn wood frame
Panoramic Photos
In the Shadow of the Bear, custom barn wood frameHandmade frame, 48x20 image
48x20 Panorama "In the Shadow of the Bear" - custom made from reclaimed barnwood
Traditional canvas frames with liner
For a more traditional look, I use a dark-toned 2" square frame with a 1" linen liner, as well as a wider 3" rustic frame paired with a 2.5" liner. These are lightweight, and avoid the obvious issues of shipping and hanging a larger piece of glass.
48 x 20 In the Shadow of the BearTraditional 2"Black frame with 1" natural linen liner
48x20 Panorama "In the Shadow of the Bear" - traditional black frame with 1" natural linen liner
48x32 "Roll Out the Barrels" framed in 3" Brown Scoop with 2" natural linen liner
Linen Liner Styles
The two styles with liners can be configured with different width liners. I carry three liner widths, in a natural linen: 1", 2" and 3". See the chart below for a comparison of how each looks.
| Liner Width | 1" | 2" | 3" |
|---|---|---|---|
| 2" Antique Black Frame |
 2BLK 1L2" Black frame with 1" Natural Liner
|
 2BLK L22" Black frame with 2" natural linen liner
|
 BLK2 L32" Black frame with 3" natural linen liner
|
| 3" Brown Scoop Frame |
 3BRN L13" Brown Scoop frame with 1" natural liner
|
 3BRN 2L3" Brown scoop frame with 2" natural linen liner
|
 3BRN 3L3" Brown scoop frame with 3" natural linen liner
|
The styles shown are by no means the only frames available to you. Please feel free to give me a call or drop me an email with your requirements. I can also post alternate ideas modelled after your room. Contact me for details on how that can be accomplished. I look forward to working with you on your next decorating project!
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Later that summer, I had the chance to make a quick trip out to Midland. It's a long drive from our ranch near Hill City, so I camped in the Badlands the night before to get a head start on the morning. Camping is free at the Sage Creek Campground, if a bit spare in the accommodations. I did a bit of a hike the evening before, saw the buffalo herd from a great distance and almost stepped on one of the prevalent rattlesnakes.
The next morning, I hopped in the truck and made tracks for Midland. There are three elevators in town, a big concrete structure now owned by Dakota Mill & Grain. Down the tracks there are a number of grain bins and right in town, there is an ancient wooden elevator that no longer appears to be operating.
Kathy had given me some ideas on other places in the area to photograph. After the sun got a bit higher in the sky, I headed down Bad River Road, towards Capa and Van Metre. Along the way, handmade signs indicating the presence of a historical Indian trail popped up along the fence line.
Before reaching Capa proper, this old homestead stands proud along a weedy reservoir. The remains of a toothpaste display sit in the living room, showing that perhaps this building was also used as a store. Capa itself consists of a church where the front and back wall still stand, but the roof and center has collapsed. The school and several houses surrounding it are mostly locked up. I was working my way through the field and making pictures in the backyard of the most central house, when I noticed that the electric meter on one house was actually spinning! The front door was open, and I could hear a fan blowing. Later I learned that this is the last remaining resident of Capa. I probably should have knocked on his door and made friendly conversation, but I had miles to go before finishing this particular assignment.
A bit further down the road is the leaning remains of the Capa Hotel, which was distinguished by a small hot spring and spa in the back. This area was well-known for its hot springs, as evidenced by the Inn at Midland, which also advertises Hot Baths. The structure was a bit too decrepit to go into, but picturesque nonetheless.
After leaving Capa, I moseying further eastward. A couple of the bridges on Bad River Road are quite sketchy, but solid. The road almost peters out in a couple of places, even though the GPS indicates a through path. I never did find Van Metre, although I did find this ranch on Van Metre Rd.
Eventually I came out on a main North/South route and headed South towards Murdo and I-90. Along the way, I came up on a combine moving slowly along the road, headed towards the next field. He graciously pulled over to allow me to pass. A mile or two later, I spotted some magnificent sunflower fields, and had to stop to make photographs of the sunflowers.
This crop is catching on in the Dakotas, and South Dakota has been the top sunflower-producing state in the US three years running. While I was shooting, the combine caught up to me and passed. Back on the road, I waited patiently for an opportunity to pass. Luckily for me, he turned off on a field road not too far down the highway.
After twenty miles slow miles, the road jogs into Murdo, where I joined the interstate, and headed for home. A journey well worth taking. I feel as if I didn't cover all of the photographic possibilities, and one of these days plan to head back to the prairie for another go. If you'd like to see the rest of the pictures, click here for the full gallery.
This is the general area covered -- from Midland to Capa to Murdo, SD.
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Splendor in the GrassMercedes on abandoned homestead, Ardmore, South Dakota.
We had a corner booth outside the main tent, on a soggy plot of grass. It was so wet that show volunteers brought hay bales to soak up the excess snow melt. We constructed a back room as sort of a warming hut, and fired up a portable propane heater to stay warm. On my outside wall, we had this large image of Ardmore, South Dakota. Ardmore is one of those towns that I come back to again and again, to document its decay, and to keep an eye out for changes. [image Splendor]. During the show, a woman and her husband came to the booth, and spent some time standing in front if this picture, admiring it, thinking. Finally, she approached me, and said/asked,"That's Ardmore, isn't it?"
I replied, yes, and gave her some background on how I came to make the shot. She replied," I believed my sister-in-law lived in that house." I was taken aback. We meet lots of people during the course of a show, and often, we share common friends, or geography. But I'd never met someone who had lived in one of the abandoned towns I photograph. Not even a relative. Teresa introduced herself, and her husband Cyrus. We exchanged information, and later that week, she forwarded these images of her sister-in-law, Estelle and her husband Paul Allen, in front of the house. The distance between the vibrant town in the sixties, and an abandoned Mercedes in the 21st century is wide. Note the cut grass, and the sidewalks in the second picture. These two pictures are priceless to me, and I thank the family for letting me display them here.
Paul & Estelle Allen HomeArdmore, South Dakota
April 1966
Used by permission of the family
Paul and Estelle AllenArdmore, South Dakota
April 1966
Used by Permission of the family
One of the most rewarding aspects of my job as a visual historian is meeting folks whose history reflects our common experience. The stories in the photographs are often left to the imagination, and it's heartwarming to run across people who can provide details about the places I visit. In that way, a little bit of history is preserved, and passed down. Perhaps you have a story to tell. Many of my shots were the results of someone's reference or an offhand comment while shooting the bull at a show. Come visit me at this year's Brookside Art Annual, and share your stories. Booth 182, outside the big tent on the south end of the show.
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Red Door in WinterThird in the series -- shot after 12" of snow in December, 2016
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Reeds and Outlet RocksSylvan Lake, Custer State Park, SD
As 2016 draws near to the end, we often reflect on the things we accomplished and the tasks left undone. I spent a few hours this week, looking back on my photographic journey. It was a good year. Click here you'd like to see the full slideshow.
As usual, there was time spent in the Black Hills. I was on the road for art shows a good part of the spring, spending time in Florida, Texas and Mississippi. Spring and summer brought the usual warm temperatures, and two road trips. The big expedition of the year was to the Wind River Range, between three western art fairs in Denver, Park City and Evergreen, Colorado. I climbed my first fourteeners, thanks to Ed Dunne, who I met at the Park City show. Karyn and I reconnected with Tom & Randi Nigut in Evergreen, and their son Zach, who worked with me in another life in Chicago.
A Winter's DreamBear Butte, SD
I started the year with a week in South Dakota. For some reason, shooting in January always yields interesting images. Mom and I went looking for a barn out by Bear Butte. That drive proved fruitless, as Bear Butte was socked in. The next morning, I tried another approach, and was able to shoot "In the Shadow of the Bear" in sub-freezing temperatures. I also visited the famous Meeker Ranch near Custer, and made friends with some lonely ponies in the aspen grove in Palmer Gulch.
Singin' the BluesGround Zero Cafe, Clarksdale, MS
Other highlights of the year: a driving in a torrential downpour in Memphis, with dime-sized hail so fierce I had to pull off the road, on the way to the Ridgeland show near Jackson, Mississippi. After the Ridgeland show, the trailer burned out a wheel bearing and had to be driven 25 miles on a smokin' axle to have it repaired. More rain on the way home, through Vicksburg, and on to Clarksdale, where I made some interesting pictures of the Delta Blues Cafe and almost broke my wrist falling backwards off of a curb.
Souls of the Dear DepartedChickamauga Battlefield, GA
From Clarksdale to Chattanooga, and an unremarkable show at 4 Bridges. The highlight of Chattanooga was a visit to Lookout Mountain and the Chickamauga Battlefield. The stillness on these hallowed grounds never fails to impress me. The view from the top of Lookout Mountain shows the strategic importance of the Tennessee River. After Chattanooga, spring was upon us. A quick flight to Rapid City, and a late spring snow storm gave me an interesting view of Sylvan Lake and a beautiful shot of Harney Peak and Elkhorn Mountain snow-covered with green fields (below). Another visit to Owanka to see if the elevator had collapsed yet. It hadn't.
Lazy SundayPalmer Gulch, South Dakota
More shows in Springfield, Illinois; Birmingham, Michigan; and St. Joseph's Krasl Art Fair. In between, I again drove the truck out the Black Hills, where I was able to do some hiking. Rediscovered the Golden Slipper mine, where we rode horseback as kids. Mom and I drove out to Dewey, at the edge of the Black Hills. Dewey is an old railroad town, with a few residents still hanging on. One rancher stopped by in his pickup as we were lunching on the grass. He seemed surprised and amused that we'd come all the way out to Dewey to sit under a scrawny cottonwood and picnic, until I explained our historic mission.
New LifeSagebrush Pals Clubhouse (former Presbyterian Church) Dewey, SD
Back in Michigan, Kozo and I drove to St. Joseph for the Krasl Art Fair on the Bluff. We skipped Ann Arbor this year, and thankful, because it was beastly hot. At the end of July, I wanted to spend more time out west. This time I hauled the trailer out to Denver for a three-show tour. First up, in Denver, the Cheesman Park show. Kozo and I spent time with my niece, Noyes Combs, which turned out to be the highlight of that show. From Denver, I took the trailer up past Cheyenne and across the prairies to the Hills for another week in Palmer Gulch.
I hung out with family, and then went out to the Badlands for an extended day trip over to Midland to shoot rural scenes and the elevator for some folks I met at Krasl. (Kathy's grandfather built one of the elevators in Midland, and she gave me some great locations to scout.) I spent an evening camped in the Sage Creek Natural Area, and hiked up on the bluffs overlooking Sage Creek.
Midland ElevatorDakota Grain, Midland SD
After Midland, I went through Capa, where I almost stumbled on the last remaining resident. I was photographing the abandoned school and the collapsed church, when I inadvertently walked into his backyard. I noticed the the electric meter was running, on what appeared to be an abandoned house. The front door was open, and I could hear his fan whirring. Too shy to make his acquaintance, I did get some interesting images from Capa, including one of the outhouses behind the schoolhouse. Further down the road, near Van Meter, I came across this flag and cow remains. Driving south to pick up the interstate, I headed for home. There were a lot of miles covered that day.
What Once Was...St. Barbara's Church, Miniature church near cemetery, Imlay SD
Later that week, my brother Dave and I went looking for St. Barbara's church again, and this time we found it. It wasn't the church I was looking for, but the expedition was worth it. (See previous blog post). St. Barbara's sits in an incredibly remote, incredibly beautiful spot along the White River in the Badlands. All that's left now is the miniature church and the graveyard, with the remains of the church foundation up on the hill.
Wild HorsesPilot Butte, Rock Springs, WY
Back on the road with the art show trailer, on the way to Park City, I hiked up to the top of Pilot Butte, near Rock Springs, Wyoming. There's a Masonic plaque bolted to the rock at the foot of the cliff. Wild horses roam the plateau of White Mountain, and I was lucky enough to get close to one of the bands before they quietly moved out of range onto the prairie.
Mt. Helen, Mt. Sacajawea, Fremont PeakIsland Lake approach to Titcomb Basin, Wind River Range, WY
After Park City, I headed up to the Wind River Range in Wyoming, to clear my head and do some backpacking. Overnighting in Pinedale, I left the Elkhart Park trailhead early in the morning, and walked up to Titcomb Basin. A three day trip all-told, with two overnights between Little Seneca Lake and Seneca Lake. Island Lake was busy with backpackers as it's a popular base for those seeking to bag peaks up in the Basin, or head over Indian Pass or Dinwoodie Pass.
Titcomb Basin TarnWind River Range, Wyoming
The light was beautiful, with the threat of thunderstorms almost constant. Rain only came in the last five miles on the way back to the parking lot, with pea-sized hail for a few minutes. More Winds pictures, here.
Open RangeNewcastle, WY
From Pinedale, I went back to our ranch in the Black Hills to do some maintenance around the place. I didn't do a ton of shooting, but I did head out towards Wyoming for this shot of the stove sittin' in a field. On the way home, I discovered an old round barn that had been converted to a dance-hall, and a deserted gas station. Later in the fall, Mom and I went down to Buckhorn, and talked to the folks who owned the bar there. They said they knew somebody who'd gotten married in the bar there, but didn't know any of the history behind it.
Kelso RidgeRocky Mountains, Clear Creek County, CO
Back in Denver for the Evergreen show, Ed Dunne and I hiked up Grays and Torrey Peak. One of the first snows of the fall left almost 6" of snow on the trail and added to the challenge. The shot of Kelso Ridge with a snow storm fast approaching is my favorite image from that walk.
September saw us back in Michigan for three shows in a row, and a trip to Peoria for the final show of the season. The axle that burned out a bearing in Jackson, MS burned out again coming into Peoria at 10PM Thursday night. It was bad enough to force me to rent a trailer for show set-up. I was able to tow the trailer to a repair shop and park it. Hauling the show material home in the U-haul, I drove back to Peoria via Indiana to pick up a new axle for the trailer. Got the trailer fixed and towed it home.
Stay AwhileFairburn Hotel, Fairburn SD
In October, I caught the last of the fall color in the rocks in the Upper Pine Creek Natural Area. Visiting the ranch town of Fairburn later that week, I met the new owner of the Fairburn Hotel. He was gracious enough to give me a tour of the interior and share his plans for the building. I drove by Dan O'Brien's buffalo ranch and watched the bison grazing on the way home, and that was it for the Black Hills in October.
The Garden GateGreen's Plantation, North Caicos, Turks & Caicos Islands
Karyn and I took our annual vacation to Grace Bay in the Turks, where we went exploring for the first time. North Caicos and Middle Caicos Islands are accessible by ferry. We went over with friends, and visited an old plantation, and walked the secret beach on Mudjin Bay. We also visited some caves and hung out with bats. A key takeaway from this trip? Bring lots of bug spray. The no-see-ums are fierce while waiting at the ferry dock.
Bottle Creek DaydreamsNorth Caicos, Turks & Caicos Islands
And that's the year in pictures. View the whole slide show, or view more pictures in the gallery. Things left undone? I'd like to go back to the Winds and spend a little more time. I felt rushed in three days, and didn't get to the head of Titcomb Basin. I still need to find the church in the Badlands. And I'm starting to work on a new project that will take photographs of mine and match them to shots that Dad and my mentor, Hugh Lambert used for their ghost town research in the 60's and 70's.
If you'd like more information about any of the images, please call or email. Have a wonderful Christmas and a Happy New Year!
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From "Black Hills Ghost Towns", © Watson Parker & Hugh LambertAn unidentified church sits on the edge of the Badlands desolation. Repeated searches have failed to turn up the location of this church.
At first, I thought it was St. Joseph's Catholic Church, on Cuny Table. I visited that church twice, and couldn't match the angle in the original photograph. It is a beautiful church, sitting atop a wide table overlooking the Badlands, but it isn't a match for the picture Dad took in 1957.
Spirit Of the PrairieSt. Joseph's Mission, Pine Ridge Reservation, SD
I kept searching for the church. Another Catholic mission on the Pine Ridge reservation looked promising. The only problem was that it was difficult to access. St. Barbara's sits atop a table just south of the White River, miles from any main highway. From the north, maps showed it accessible from Bouquet Table Road, and indeed, Google Maps showed the most direct route crossing Cain Creek and the White River. Only problem was, there are no bridges. The first time I attempted this route, I went with Mom, and it was springtime. A wet year. We got five miles south of the highway, and were turned back because the area around Cain Creek was flooded, and there wasn't anyway to get across it in our little Subaru.
The Long Way HomeBouquet Table Road, Badlands NP, SD
This view is looking back north towards the Badlands, after Mom and I turned around and headed home. The clouds were breaking, and the patterns on the fields were beautiful. Even though we didn't get down to the church, we had a wonderful drive through the Badlands.
White River FordWhite River Ford near St. Barbara's Church, SD
My brother Dave and I took the Toyota down that direction just this past week, and took another road that branches off of SD 44. After some wrong turns, and a few very vague tracks, we managed to get down to the White River, where we tested the water for fordability. In August, the river is low, and the bottom firm. Dave walked across, and I brought the truck over with no real issues.
St. Barbara's ChurchMemorial church and cemetery
Just across the river, we found St. Barbara's cemetery. A miniature memorial church sits atop a small knoll overlooking the plot, where several families have lovingly tended to the graves of the departed. The church is a model of the real church, but it's only about 4 feet high. From a distance, it looks like the real thing.
St. Barbara's Church CemeteryCemetery plots and miniature memorial church
St. Barbara's ChurchMiniature church near cemetery
GravestoneSt. Barbara's Church Cemetery
Up on the hill, we found the remains of the original church. Nothing was left but the foundation and a few scraps of tin from the roof. The concrete steps led up to where the door would have been. We walked the entire site, looking for the broad chasm shown in Dad's picture, but again, could not match the site to the photograph. There are other churches in the Badlands, but this was my prime candidate, until now. There is no deep gully anywhere within walking distance of the original church as in Dad's photo. There is a road that looked interesting, heading over toward Conata and another river crossing, but we did not explore that route.
RemainsSt. Barbara's Church foundation
Bluffs near St. Barbara'sThe road up to Conata crosses a wash here, and runs up the hill towards the White Rive.
FoundationSt. Barbara's Church, all that remains.
We took the southerly route home, down River Rd. towards Kyle. This valley is remarkably green for August, and a beautiful part of the Badlands I had never seen. It's definitely a 4WD road, with several rough spots, and a couple of creek crossings, like this one, with a VERY dubious bridge. (An alternate route crosses the creek without a bridge, but has an extremely high exit angle that the truck might not have been able to negotiate.) Looking back, I might not have crossed this bridge, as the supports are eroding away from the bank on the entrance side. Note the wrecked car under the bridge in the stream.
A Bridge Too FarWash crossing, RIver Road, Kyle SD
The search for St. Barbara's is over, but the search for the mysterious church on the edge of the Badlands desolation continues... If you have an idea of where the church in the original picture might have been, please contact me, or comment below.
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Sylvan Lake, Custer State Park
In the Shadow of the BearBear Butte, Sturgis SD
In the Shadow of Bear Butte
The Meeker Ranch, Custer SD
Meeker Ranch BarnThanks to Jon Crane for the tip
Barn at the Meeker Ranch
Tiny House on a HillMeeker Ranch, Custer SD
Outhouse
Spaghetti WesternMeeker Ranch, Custer SD
Spaghetti Western
CollectionMeeker Ranch, Custer SD
Collection
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In Dr. Watson Parker's book "Black Hills Ghost Towns", this image of an un-named church appeared. Sitting on the edge of a Badlands chasm, I thought I'd located it last year when I photographed St. Joseph's Mission, on the Pine Ridge Reservation. Mom and I went back this spring to see if the angles from the old shot matched. They don't. We then spent a couple of lovely hours driving around the Badlands, detoured by a road closure on the two-lane between Scenic and the White River Ranger station. We drove miles out of our way, over Red Shirt Table all the way to Kyle and back to Rapid City.
We went back a few days later, and tried to access another possible mission that I've only found on the 7.5 minute USGS quads. Five miles down a single track farm road on top of Bouquet Table, we were turned back again by high water over Cain Creek. This year has been especially wet in Western South Dakota. Lots of hail, thunderstorms, rain. The resulting muck in the Badlands clay is not a pretty sight when you're stuck in it, so we turned around. On the way back, the clouds broke, and I got this wonderful shot looking northward toward the Badlands.
We did have a lovely outing in the Badlands. I got my Senior Interagency Access Pass for all the National Parks -- an amazing value for $10, BTW! You can get 'em at any National Park entrance station, or by mail order for an extra $10. And we spoke to a ranger at the visitor center, who confirmed my guess that St. Barbara's is likely the church in the 1958 photograph. Google satellite imagery is unclear as to whether the church is still standing. It appears as if it may have burned down.
I'm going to give it another shot this August, and see if I can find the church from the south, unless the river crossings have dried up. (Not likely). It will be a good adventure, nonetheless.
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]]>The first show of our 2015 season, "Under the Oaks" in Vero Beach, Florida, was a resounding success, thanks to the new friends we made, and the images we sent home with several happy customers. While the visitors to Vero's Riverside Park event seemed sparse, there were buyers out looking. I had some very interesting conversations with several of you, about traveling the backroads, ghost towns and photography in general.
The show is easy to do, logistically. You gotta love a show that lets you park your van or trailer behind your booth. It sure makes it easy to restock inventory, or find a piece that isn't on display. And since Karyn and I hadn't done an outdoor show for several months (Michigan is just not conducive to outdoor festivals in January or February), we were a bit rusty on the details. UTO gives us the perfect opportunity to get our routines down again, and remember where we stashed that critical piece of equipment.
The show set-up is Thursday, before the show opens on Friday. Driving into the park, I was greeted by the show folks at the entrance, and given my packet with directions to my spot. I backed the trailer into position and got the canopy and walls up with only minor discomfort. Karyn was not with me for the first part of the set-up, due to a delay in her travel plans from Detroit. She usually flies in for the weekend shows, while I'm the one who moves the show trailer from city to city. This time, her flight plans had been derailed, and she planned to fly into Orlando and rent a car to meet me later in Vero Beach.
After hanging all the art on Thursday, we went to our hotel, and a pleasant romantic dinner for the two of us at Carraba's. Friday morning dawned clear and bright, and we got the display open and ready for business by 9AM. We saw the quality control volunteer and then shortly after, the judges came by to evaluate the artists for awards.
Friday we sold a few matted prints, but after about 1PM, the crowds thinned out, and by 3PM it was pretty much a ghost town. The show hours run from 9-5 both Friday and Saturday, and a very civilized 10-4 on Sunday. Friday night, the Vero Beach Art Club hosts an artists dinner at the Elks Club, catered by Scampi Grill. We enjoyed the party and the food, in the company of several artist friends. I was pleasantly surprised to win an award this year -- Second Place in the Photography/Digital/Mixed Media category. This is primarily a painter's show, and there are three separate categories for painting, while other media are lumped together in one homogenous group. Glass, Wood and Crafts are all in the "Crafty Crafters" category -- our friends Beth and Stephen Radtke won for their marvelous carved gourd work.
Saturday was a repeat of Friday, with a few sales of smaller matted work. We had a steady flow of customers, and lots of interest about the subject of my work. We kept busy until about 1:30, when again, it got a little too warm for folks, and the foot traffic dwindled. In Vero Beach, people like to come early before the sun heats up the path too much. It's a pleasant experience in the morning, and many people opt to come for an hour or two before the heat of the day. Saturday night, we had light snacks and cocktails at the bar at Bonefish, a favorite hangout. Then it was off to a party at one of the artist's homes in Vero. Alan and Barbara host a party for the UTO artists every year, and they have a lovely home with a secret garden. Lots of fun with friends.
Sunday we rinsed and repeated. Two very good sales, and lots of laughs with new acquaintances. I tried out my new iPad email sign-up form. I'm using Chimpadedoo, which is tied to MailChimp. It's simple to setup, but seems to suffer from a lack of visibility, since an iPad mini doesn't look like a guest book. The form is hard to see in bright light, too. Some bugs to work out, but I like the idea of letting guests type in their own email address, and once entered, the data isn't visible to other people.
Load out was easy. The predicted rain shower came quickly and was over fast around noon, and we had dry tents by load-out time. Most everyone was gone by the time we had our work packed and reconfigured for the next show in Naples this coming weekend. I'm going to try something different at this show. More about that, later.
It's a local show that's well-supported by a well-educated older population. The work is biased towards painters, since the Vero Beach Art Club, who runs the show, is primarily an organization of painters. No photographs on canvas can be hung here, which is somewhat of an arcane rule, but it's their show. They can run it however they see fit. It has its quirks, but all in all, it's a well-run show, and easy to do. This year, sales and attendance seemed lower than in years past. You couldn't blame the weather, and we did well. All in all, we had a fun time in Vero Beach.
If you are interested in applying to the show, applications are posted to Juried Art Services in the fall preceding the show year. The show's website is http://verobeachartclub.org
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What do you think? Do you like the ZenFolio store? Have you found it easy to navigate and locate images that you love? Let me know your thoughts in the comments section below.
]]>I'm thinking about streamlining my 10x10' art show display by showing fewer prints at shows, and giving visitors more room to view the framed work. To do that, something has to go. And, as an experiment, I'm not going to be using the large double-sided bin at the Downtown Naples Art Festival this coming weekend. That doesn't mean you can't purchase the smaller work, but it will only be available online during the month of March. So to make the transition easier, you save when you order prints online! Win-win!
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