Shining Light on the Prairie - Autumn, earlier

 

Weeks of premature chill and periodic rain followed by a spate of highly unusual warm, dry weather rendered this year’s autumnal prairie rich.

Will those conditions be seen as ass backwards for long? Perhaps not. We’ll see.

 

But especially given its miserable beginnings, this fall showed real well for itself.

 

I’d mentioned how when I bought the Linhof I considered shooting botanicals, then opted instead for architectural work.

Never expected to come back ‘round to the lives of plants and their great diversity of inhabitors, but here we are.

 

Undoubtedly, my current botanical work benefits from all those years considering the organic geometry of wilderness slowly eating failed construct.

 

The real world creating and later recycling is pretty much all the same thing, whether coming or going. Doesn’t much matter whether earth made it, or we did.

Either way, chaos can seem readily apparent.

 

A worthy subject, chaos. Especially when you look closer and find that what seems chaotic isn’t, exactly.

 

As the season progressed, light life and diverse opportunity continually presented.

 

As I write this, it's a full 16 degrees above 'normal' outside. South winds howl. The sky is suspicious grey. Tomorrow it'll all crash, they say.

But not yet today.

 

35mm Artifacts – Construct, at Last

 

Human construct fails.

 

All human construct fails, with time.

 

 

I’ve mentioned how a coworker at a photo lab, knowing I intended to do fieldwork, advised me against cherrywood view cameras, despite those being the most romantically elegant version of the tool I most needed.

“Wood warps,” he said. “All wood warps, in time.

 

Construct fails. All construct fails, with time. Even verities once deemed everlasting.

 

But 'built to last' is undeniably better, for so long as that lasts.

So when push came to shove, I went with Linhoff’s durability. That tool now rests in its handy travel bag. In theory, it’ll outlast me.

 

Can't tell how many times I've tried to duplicate the image below, using better film and/or digital capture. In all the years of looking and waiting and shooting never quite this, I've not glimpsed such a telling composition again…

 

Sometimes, happy happenstance really is everything.

 

By spending so much quality time in Superior places working the Nikon, my vision through the proscenium lens continued to improve.

 

They say history repeats itself.

 

I soon enough wearied of repeating mine.

 

Decided that being an opportunistic, snapshot taking dilettante into old age just wasn’t gonna cut it. What I was seeing demanded so much more.

 

Upon buying it, I only sorta kinda knew a Linhoff nearly as old as I was might also be a magic window on the world.

During my first trip into the wilderness with it, I came home with this, because it’s what I saw.

 

And that winter, I reconsidered botanicals.

Except the next season, I came home the likes of this:

 

And a decade’s long pursuit was met.

Magic window indeed.

 

Shining Light on the Prairie - Summer, Part 2

Through most of my photographic life, I've struggled to see through the high summer season's obscurity of abundance.

Superior wilderness or oak savannah and prairie alike, green is green. Ubiquitous green is all but blinding, at least first glance.

As a kid, I knew to look close at the natural world. To see what most children didn't search for.

Probably what I appreciate best about digital capture is that it's got me seeing small again.

Generous low light tolerance helps a lot.

Plus, harsh summer light no longer being an inevitable destroyer of high contrast images is an absolute joy.

The periodic deluges of early summer continued well into July.

I was particularly pleased to find splashes of fresh fungi along the forest floor. Previously, that'd been absent.

Then the rains ended.

By mid-August, local life was somewhat worse for wear. What does one call a swallowtail with no tails left?

The landscape remains 'abnormally dry.' Or is that a new normal?

I don't know. A few years running much like this, at any rate.

But as the rich season ends, most things are about as they should be. Prairie and oak savannah are remarkably resilient.

This was the summer I relearned to see beyond all the green.

Yesterday, the first autumnal cold front swept through. That blasted away a spell of unseasonable heat.

Now we wing our way fast toward fall.

 

Shining Light on the Prairie – Summer, Part 1

Our chill and desperately dry spring hung tough well into June.

Happily, native prairie life has about 10,000 years of learning how to deal with even unusual duress.

We reached extreme levels of drought. Growth was appropriately sparce. Pollinator populations appeared anything but robust.

Despite knowing full well how resilient this landscape is and though we'd purposefully nurtured ours to meet the challenge, I worried. Because that's what humans do.

Then during late June into July, intermittent deluges came.

Occasionally, things took a damned near biblical turn. Like the eight inches of rain that pummeled the land over the course of a single day.

That's not optimal. No prairie can suck all that water up so fast. Most of the precious elixir just washed straight away. All along, we stayed perversely dry.

Then life burst upon the prairie much the same as ever. A day late maybe…

…but hardly a dollar short.

And suddenly, as if by magic, the summer season turned typically lush and all the usual suspects settled in to feast.

It ended up being a banner year for local monarchs. As many as seven at a time, some days. Possibly, I've not seen so many in one place for decades.

Not saying the monarch's 'saved' or anything like it, anecdotal evidence too often isn't worth the paper it's no longer printed on. But perhaps the swamp milkweed I introduced last summer had something to do with that.

Who can say for sure, save the monarch?

Come August, the green obscurity of abundance settled in.

Rummaging through the understory, I even found some fungus. First of the year.

After that, the summer season just seemed to fly.

35 mm Artifacts – Water is Life

Born to a much degraded and long maligned midwestern prairie, I didn't know jack from wilderness.

Then when still but a kid, we took a family vacation to visit maternal family on the Gogebic Range, along the Superior Basin.

I saw my first footloose bear where a wild rushing river pours unfettered into a great freshwater sea. They were cubs, like me. On perhaps a different river, a massive rainbow trout leapt into the air and for a moment, glistened like sunlight. I can still sort of see it.

One evening while on our way to fabled fresh fish dinner, a locked & loaded momma skunk stopped traffic in all directions with only the power of suggestion. When all the cute little skunk babies were safely across, she let us pass.

Then there were those northern lights, for one one night only, dancing beyond the bedroom window.

What the hell. A sky!

In situ, I understood the leftover bits of truly awesome oak savannah I'd explored all my short life and so dearly loved weren't actually 'the woods.'

It took just a few short days in wonderland to know.

As you'll imagine, I was pretty well spoiled for scraggly prairie remnants after that.

Next time I met Superior was on the cusp of adulthood, traveling with Heather. During that trip, I learned for certain where I belonged.

Working wild water with 35mm film is how I taught myself to selectively see the natural world as proscribed by a proscenium stage, captured through a selective lens.

Shooting 35mm transparency taught me film's limitations. I pushed at those, always.

Occasionally even failures beguiled. In the field that's mostly due to the splendor of the moment, not any particular skillset…

The best thing about working wild waters was that the work drew me to them during sublimely quiet times.

On that field you learn to accept what you get and better luck next time, as needed.

There's no finer time to be alone in the woods at water's edge than twice daily.

The second best thing is that wild water generally provides for an inclusive image, as the entire body of wild life is so well represented in and around it.

Sure, sometimes you can get away with shooting 'just' water.

But as a rule, some visual frame of reference is needed to keep the viewer anchored in a recognizable landscape.

Even when what's called "the vanishing point" really does.

My love of wild water led me to canoes. As I grew comfortable in those, my by then ancient Nikon F accompanied me.

Truth is it's a whole different viewpoint out there. Where sometimes even during the best golden hour, no gold's found and you don't want any anyway.

It was Boy Scouts first taught me to be prepared. But being a field photographer sure reinforced the adage. And in a canoe, you never can know who'll drop by.

Out there, you're the intruder. But when you're quiet and respectful, mutual curiosity sometimes prevails.

Plus, the loon's eye perspective often provides the best lakeside view.

About the image below, a dear friend once told me 'That's it right there. The Northwoods in a nutshell.'

Or words to that effect.

In any event, over time while wielding my trusty Nikons, I made myself a fair to decent 35mm landscape photographer.

The best of my young self typically has water of some sort in it.

Yet I grew increasingly dissatisfied with the results.

In film, size really did matter. Digital capture too, but that's another matter for a different time.

The deeper I dug into Superior's Northwoods, the more I knew if I wanted to amount to anything as a fine art field photographer, I'd have to seriously up my game.

Truth is, even the best 35mm transparency was akin to shooting with toy film. And there were precious few avenues to achieve creative differentiation when working the wild world with that.

There were also millions of 35mm landscape shooters out there. Every snap shooter's ever lived shoots those, then and now. After a while, we've seen it all.

Years of fieldwork combined with commercial lab expertise meant I understood both the limitations and the possibilities of my chosen medium as well or better than most.

By the time I pushed the final roll of 35mm chrome through my trusty Nikon N90s, I'd also learned to see.

That last day found me caught between hard rock and an even harder place.

Things had to change.