Thursday, July 09, 2026

Tree Life

An essay about trees in the July newsletter of the ABQ Photography Gallery got me thinking about how much of my own photography in the last twenty-five years has focused on trees and how that interest developed over a lifetime.

The first trees I remember well were a couple Dougls Firs in the front yard of my grandparents house in West Seattle where I spent much of my childhood. I climbed in them and played underneath their branches with my toy soldiers.  The house and the two trees were still there the last time the Google street mapping vehicle passed by, perhaps a dozen years ago.  I was surprised in looking at that picture that they looked much as I remembered them; they seemed healthy, but not bigger than they were in my memory, though they may have already been fifty years of age back then.

As I grew toward adulthood in the Northwest I was surrounded by trees, but no individual one lodged itself firmly in my memory.  It was not until many years later that I developed another brief but close relationship with some eucalyptus trees on San Bruno Mountain south of San Francisco. A desire to get a close-up look at a nest of young Red-tailed Hawks prompted me to don a pair of climbing irons to get me the fifty or sixty feet up to the nest.

Though I liked San Francisco. city life there grew uncomfortable in the mid-1970s, so we headed northeast in a Ford Econoline van with two kids, a dog, a hawk and a friend, ending up in Southern Idaho.  We lived for a time in the small town of Glenns Ferry, and then found an old dairy farm house in the countryside with a row of big mulberry trees in front that were well watered by an irrigation ditch. I recall Margaret making some good pies with a combination of the mulberries and gooseberries which grew in our back yard. The landlord decided, for a reason I don't recall, to cut down the mulberry trees.  A good portion of them were burned in the wood stove in our kitchen.

In rural Idaho our kids had the advantage of a mostly rewarding small town experience.  I appreciated the opportunity to reclaim some of my family's Idaho history and learned a lot about hunting and fishing. However, a series of low paid jobs and little prospect of anything better made a continued life in Idaho seem untenable.  

Margaret found an escape hatch in the form of a scholarship to get her Master's in Social Work at Eastern Washington University.  So we spent the next two years living in a trailer in the scabland woods outside of Cheney. I worked for the welfare department in Spokane for the duration.  The last winter in Cheney featured a hundred days of snow on the ground.  I was ready for some sun.

We piled the kids, the dog and a cat into the back of a little Chevy Love pickup and headed southwest, ending up finally in Las Cruces, New Mexico.  We both got reasonably good jobs and were able eventually to buy an adobe house in a remote desert location twenty miles north of Las Cruces. On our five acres the most common trees were mesquites.  They provided a little shade and the horses really liked the mesquite beans.

Partly due to health issues we decided after about ten years that living in that beautiful but remote location was no longer a good idea. A move north to Albuquerque offered more accessible medical care along with the possibility of living close to our daughter.  We managed to sell our desert home just before the big housing crash, and ultimately bought another near Albuquerque's Old Town where we live now.

We have four trees on our little corner property.  The fastest growing is a volunteer locust that popped up in the yard in just the right place.  The other three we planted -- a sturdy red oak by the sidewalk in front of the house, a redbud by the south sidewalk, and a desert willow beside our bedroom window that is beloved by us, as well as bumblebees and hummingbirds attracted by the copious flowers. I like the desert willow particularly because it reminds me of ones I used to find often in desert arroyos down south.  Those trees were often accompanied by clumps of Desert Four O'clock flowers, so I planted some as a companion for our willow, and they bloom every day all summer.

My favorite photographs of trees made since we moved to Albuquerque are in a Flickr Album.

Saturday, July 04, 2026

Another Paper Negative

  I have made images of these two howitzers in Albuquerque's Plaza Vieja with several of my old cameras.  This picture is from the Bob Eggers pinhole camera loaded with enlarging paper.  The pinhole is the sharpest I have ever come across.  

Unfortunately, I can't seem to adapt my vision to the ultra-wide view produced by the short distance from the pinhole to the film plane, so I have had to crop the image a bit to get closer to what I was intending.  I may go back with my last film holder to see if I can do better with the framing.

The exposure of the paper in the. camera was. 1.5 minutes.  Processing was in HC-110b.  

* * * 

While. watching the weekly episode of New Mexico In Focus on Youtube I noticed over in the right column of the screen that there was a video about paper negatives using an old Kodak folding camera.  Of course, I had to watch it.

The presenter, Borut Peterlin, is an entertaining guy who seems to be quite a competent photographer.  He starts out with some useful information about what kind of enlarging paper he likes and points out that film developer performs better in making paper negatives because paper developer tends to produce images that are too contrasty.

Much of the rest of the presentation was rather general, providing information applicable to standard photography techniques rather than specifically to paper.  I suppose that is useful to someone who has not done much actual darkroom work.  For those with more experience, if you know what a good negative or positive looks like there will be little problem in recognizing those desirable qualities in paper negatives,  including appropriate contrast and good detail in both shadows and highlights.

One  important factor which was omitted in the presentation. was the brief pre-flashing of the paper which seems a pretty standard step by most paper negative producers. 

Peterlin's demonstration used a camera with a lens rather than a pinhole.  That meant that he had a lot more latitude in the kind of scenes that he could easily shoot.  His full-sun shots could be accomplished with an exposure of a couple of seconds, which meant that open shade shots would be possible with around a ten to twenty second exposure.  Shooting with a pinhole on paper under those conditions requires thirty to sixty times more exposure. 

Peterlin "scanned" his. paper negatives by hand-holding a digital camera and illuminating the negative with an. overhead light, the same as me.  His end results were quite comparable  to results one would get from shooting on film.

Tuesday, June 30, 2026

Pinhole at the Rail Yards

The Summer weekend crafts and produce market at the Albuquerque Rail Yards always brings out a big crowd.  I rarely buy any of he offerings,  but I have photographed the place with several of my old film cameras.  I think this is the first time I have used my pinhole camera there.



All the pictures were made with my compact SLIK tripod which has served me well for about. 25 years.  With the legs fully extended and the center column raised, the camera. gets close to chest level.  Collapsing the legs and reversing the center column allows shooting at ground level.




I managed to shoot seven of the available eight frames on a roll of 120 Kentmere 100 before running out of energy.  The outdoor shots were two second exposures.  The good indoor light from the big banks of windows allowed  exposures of around five seconds.  I finished off the roll the next morning with a shot of one of Margaret's houseplants, with a fifteen second exposure.

Thursday, June 25, 2026

The Paper Alternative

 I mentioned in a recent blog post that I regretted not getting around to making pinhole photos in a large format.  A day later my friend, Bob Eggers, showed up at my place with a finely crafted pinhole camera he built which accepts 4x5 film holders.  

Bob had loaded a couple holders with pre-flashed printing paper normally used for making enlargements in the darkroom.  Behind the pinhole he had installed a yellow-green filter for the purpose of moderating the paper's tendency to produce overly contrasty images.  So, nothing left for me to do but go out and make the shots and then see what would turn up in the darkroom.  What could be simpler?

Well, making a couple shots in Old Town went well enough, but the long time that had gone by since I was last in a darkroom sabotaged the outcome.

I set up my trays with developer and fixer,  switched on a red light, opened the film holders and popped the exposed paper sheets into the developer.  At which point I realized that I had neglected to turn off the little bathroom nightlight !  

So a couple fogged negatives as a reward for my bumbling effort.

When I got up the next day I noticed that the morning light on the historic Henry Mann house across the street was very nice.  Trial Two went off with no self-inflicted injury this time.  

 
I was pleased with the outcome.  The one minute exposures in the camera seemed about right.

I used HC110, dilution B, for the developing. The negatives were dark and somewhat contrasty as expected, but they scanned pretty well using my iPhone.  I put the paper negative into the film holder from my old Epson flatbed scanner to hold it flat and lit it with a table lamp.  That worked well enough, but I also decided to try backlighting the negatives and did that by placing the holder on top of my large LED panel. 

The backlit image may be a tiny bit sharper, but I really saw very little difference from the overhead lamp light.

This was actually my second time for shooting on paper.  The first was about three years ago, also with Bob's considerable assistance.  That endeavor seemed a lot easier as I was using a No.3A Folding Pocket Kodak with an actual lens, a Rapid Rectilinear, which permitted an exposure of just two seconds at f/16.

I may not do much more with paper negatives, but this experience has been fun, and I certainly recommend giving it a try if you are looking for something out of the ordinary in your photographic journey.

Sunday, June 21, 2026

Some Rain Would Be Nice

 I have been carrying around the Vivitar Ultra Wide & Slim for a couple weeks, trying to finish off a roll of Kentmere 200.  I got close to the end with an early walk to the river.  Only a trickle of water in the Rio Grande these days.


 Just enough for Roxie to get her feet wet.


 The riverside forest looks surprisingly good considering the heat and sparse rainfall.


 I am told that the Yerba Mansa is blooming profusely and there is a. bumper crop of wolf berries, though I may not make it to that part of the river to see them this year.

I was disappointed with the results from the Kentmere 200 as the first roll I tried some time ago showed a much nicer spectrum of tonality.  I can't rule out processing issues, but doubt I'll shoot another roll of the 200 any time soon. 

I'm also unhappy with the GIMP photo editor at present as it seems to be under constant revision.  I had it working pretty well for a while,  but now some of the tools seem to interfere with each other. 

Friday, June 19, 2026

Tingley Summer

 Summer heat crashed into Albuquerque well in advance of the summer solstice.  The city's residents are hopeful now that the monsoon rains will arrive on schedule to moderate the solar blast.




From. a 2005 visit to Chaco Canyon:

* * *

The sun announces

The longest day for each year

At Fajada Butte. 

Fajada Butte rises up out of the Chacra Mesa about a mile south of the Una Vida great house. 

Near the top of the butte is an archaeoastronomical feature known as the "Sun Dagger". The Anasazi carved a spiral there on a rock face on which shafts of sunlight appear at midday to mark the solstices and equinoxes.

* * *

Wednesday, June 10, 2026

A Walk In The Park

Some clouds and a light rain has provided us with respite from too-early Summer weather.  I  loaded a roll of Kentmere 400 in the pinhole camera and took a stroll through near-by Tiguex Park.


Thursday, June 04, 2026

When You Grow Up

Roy and Dale Evans Rogers

I have a memory from childhood being asked by adults what I wanted to be when I grew up.  It was posed as a binary choice -- Cowboy or Fireman.  Those categories seem somewhat strange these days, but I suppose they were the product of the popular culture of the day in the form of books and films, along with the content of early TV programming.  I think I realized at the time that there was an element of intended humor in the question, but I'm pretty sure I always responded "Cowboy", as unlikely as the choice seemed even then.

Do present day children undergo such interrogation?  If so, I imagine the choices might be somewhat different, since few children these days would know about Roy Rogers or Gene Autry.  TV series featuring firefighters are fairly common, and I would think astronauts might be entered into the equation. And, what of girls?  What kind of career choices, facetious or otherwise, would have been -- are -- proffered?  

Well, I never became a fireman or a cowboy. My career trajectory was sporadic.  What persisted over the years was an interest in photography, though never as a significant source of income.  I had some opportunities for photographing cowboys when we lived in southern New Mexico, but seldom produced images of that subject.

I did focus on the subject of firefighting and have made a lot of images over the years, mostly of fire trucks which have been portrayed by many of my old film cameras.  Sheer luck brought me the opportunity to make images of firefighters in action.  In 1970 my pictures of the rescue of a firefighter on a San Francisco rooftop made the front page of the SF Chronicle.

Pentax Spotmatic

Earlier, about 1967, I happened on a big lumberyard fire in Brooklyn which I captured with my Nikon S.


Since those days my collection of old cameras has accounted for a lot of shots of fire engines in Albuquerque.

Kodak Ritina IIc

Vivitar Ultra Wide and Slim

Kodak Flash Bantam
Voigtlander Vito II

Voigtlander Vito II

YashicaMat

Olympus Infinity Stylus

I actually did get closer to being a fireman than a cowboy.  Jobs were hard to find in the 1970s, which impelled me to apply for a firefighter job in a community north of Oakland.  I easily passed the written test, but that was as far as I got with that prospect.  The possibility that I might be required to drive one of those big trucks was terrifying

So, my hat is off in front of those fellows who did take up the challenge, and thanks for the opportunity to make pictures of that noble calling. 

************

Meanwhile:

"... the cost of a fire truck used to pump water through hoses rose from roughly $300,000 to $500,000 in the mid 2010s to nearly $1 million today..."

- Jacobin 

and...

'Cowboys for Trump' founder charged in Jan. 6 riot no longer supports Trump 

- Santa Fe New Mexican 

Wednesday, June 03, 2026

Blue (prints)

 The Soho Photo Gallery announcements of current shows appear weekly in my email and always make me wish I lived closer to the Big Apple.  This week's message was about two artists who make cyanotype prints on fabric, Kevin Rose Schultz and Jessie Swimeley.  I particularly enjoyed working my way through the website of Jessie Swimeley from Caldwell, Idaho.  Swimeley's work can also be seen on her Instagram account.

Swimeley does marvelous work with the cyanotype process, but she is also an accomplished photographer with a range of analog and digital work to her credit.  She has me thinking I should make use of that envelope of cyanotype paper I picked up some time ago from the gift shop at the NM Natural History Museum.

The cyanotype show opening will be shared as a free zoom presentation on June 10th. 

Monday, June 01, 2026

Alternate Realities

The practice of photography often emphasizes maximum control of every vairable.  Pinhole photography on the other hand offers the possibility of relinquishing control to some extent to venture into exploring the unknown and unexpected.

While one has awareness of an ultra wide view and a near- infinite depth of field, exactly how those will be expressed in the captured image is hard to accurately foresee.  I frequently mount my pinhole camera on a small tabletop tripod because I like the low angle views which that allows.  A side effect of that choice is some guesswork in aim that often results in the inclusion of unanticipated elements.         

While sunlit scenes can be captured by the pinhole in a second or two, a shaded subject typically requires an exposure of eight or ten seconds, and picture making in interiors can require many minutes to completion.  In that length of time people may unexpectedly wander through the field of view, leaving behind ghostly traces of their passage.

Much of the above was part of my experience on a recent stroll through Old Town Albuquerque with my pinhole camera.  The subjects at hand were all very familiar, but the pinhole gave me images of a novel character where my other cameras would likely only have duplicated past experience.



-----------------------------
PS:  I lost two frames from this roll of Kentmere because I could not see the dim frame numerals through the ruby window.  So I have poked out the window. I'll report back about the issue after the next roll.

Tuesday, May 26, 2026

Redo

 I got this Vello 35mm & 120 Film Digitizer for Smartphones from B&H.  It is a lot faster than the old flatbed scanner I used for a long time, and I think it produces scans that are just as good as I got from the flatbed.

I used this outfit recently when I wanted to rescan and rework some old pinhole images.  I thought some previous scans made by just hand holding the iPhone 14 were not bad, but the Vello's film holders and the device's vertical and horizontal adjustability makes the process easier and more precise.

 
I used GIMP for photo editing of these pictures.  It has most of the same tools as Photoshop and it is free to downlaod.  There are apps which allow image adjustments on the iPhone, but I am more comfortable just importing the negatives to the photo editor and doing the inversion to positive and other adjustments there.

Friday, May 22, 2026

Refocusing

Each third Thursday the Albuquerque Museum stages a big free evening event featuring live music, multiple exhibitions and various performances.  This one included a young woman walking around on scarily tall stilts.  What I mostly came for this time, however, was the opportunity to learn more about the public school photography program which puts on the yearly Focus On Youth exhibition.  The handout we got at the door read:

Meet the Artists

5:00--7:00 p.m

Meet student artists and hear about their work and creative process.

 When we arrived in the gallery there was just a guard and a couple visitors viewing the pictures.  We decided to get something to eat in the museum's restaurant and then. returned to the gallery a little after 6:00.  By then there were quite a few people viewing the photo prints and I found three students standing beside their entries and ready to talk about them.

All three of the students had single prints in the "Non Digital" sections of the exhibition, which in this case meant film-based analog photography.  The first that I talked to shared that his camera was a Pentax slr which he had gotten from a thrift store for twenty bucks.   That was a nice conversation starter as I could share that I had bought a Pentax in 1969 which was my only camera for about twenty years.

All three of the photographers I spoke with showed pictures featuring people.  The first fellow with the Pentax had made a nice portrait of a female friend.  One young woman did a self-portrait using a hand-held simple camera, and another did a picture of a "best friend" at a distance.  All three in discussing their class experience focused mostly on working in the darkroom to make the final prints.  All expressed favorable opinions of the course experience and the preparation and expertise of their teacher.

I tried to elicit information about course content regarding photographic history and styles specifically referring to books, films and exhibits, but nothing came forth on those subjects beyond the students' own self-directed inquiry.  About all I could safely conclude was that the students had gotten a good introduction to darkroom fundamentals and that the experience was overall satisfactory.

All three students I spoke with were from a single school and had the same teacher, so that left out a lot of what I was hoping to learn about the program which appears to be active in most or all of Albuquerque's high schools.  The presence of at least one of the staff would have filled in a lot of blanks.

It seemed particularly unfortunate that there were no young photographers present to talk about the digital work on display since that is clearly  the dominant mode now and for the foreseeable future.  Here, for instance, is a picture by a young photographer who I would very much liked to have talked with. 

And here is the credit beside the print:

That a picture of such technical excellence and emotional impact can be produced by a ninth grader seems extraordinary to me and demanding of some careful consideration.

While I was viewing the Focus on Youth exhibition Margaret was in the auditorium at the Youth Panel: Border Doors Project where the program announced "students discuss the stories and the ideas behind the Border Doors project."  She said it was an excellent presentation.  Perhaps next year the photography students might be given the opportunity to do something similar.