The Lavender Project

A few weeks after I moved to San Miguel de Allende, Mexico I was feeling a bit overwhelmed.  I was in desperate need of some time away from the city to breathe fresh air, get away from people, and feel that I was in nature.  Thankfully, I had just made a new friend, Carrie Haugh.  Carrie was in the final stages of acting in a short film that would go on to be an official entry in the Guanajuato Film Festival.  The last scene they needed to shoot was a dream sequence that takes place in a flowering lavender field.  Although, there is a lot of agriculture in this area of Mexico, it is mostly known to be a hot and dry climate.  One is much more likely to think of towering prickly-pear cactus trees than French lavender fields.  Alas, this place is always full of surprises.

After forty-five minuets of barreling down a Mexican freeway in an old van with questionable steering and brakes, we pulled onto a dirt road and followed the signs to an enormous lavender farm. For various reasons, Guanajuato is a state from which men emigrate heavily to find work in the USA.  The sad side effect being that whole towns are left with only women, children, and the elderly to continue to support their community.  Rather than allowing these pueblos to sink even further into poverty and ultimately disappear, an NGO out of Albuquerque, New Mexico is bringing in The Lavender Project.  A wonderful program, these co-op lavender farms have created a fantastic renewable source of employment and income (Please visit their web page to find out more: http://thelavenderproject.com/).  The products they make are divine and they have a chocolate-lavender soap that smells so good I could live in it.

It was such a relief to step out of the car and inhale the fresh lavender plants drying out after a light rain.  The film crew went to work and I was left with several hours and a field of my own in which to play.  I even crawled over the fence and into some of the aforementioned prickly pear cactuses to take photos. It really is stunning to spend an afternoon in a place as surreal as a lavender field and I can assure you my need to “get away from it all” was quenched.

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The Mayan Ruins

For some reason, I have really been slacking on writing this post.  It has been almost a month since I took these images and still I have not put them up. Maybe it is because I am not really sure if I like any of these images, or maybe I have just been having too much fun and writing my blog feels like homework.  Regardless, I have since done new work, so I have to get this out of the way.

These images were taken at three different Mayan temple/city complexes on the Yucatan peninsula, Chichen Itza, Ek Balam, and Tulum.  At this point I have taken images at six different temple locations and although some of the images have come out well, it is really difficult to dodge the tourists, get images with out ropes and signs, be barricaded from getting close to or climbing on the ruins (yeah, yeah, I know) and thus, I never feel very satisfied when I leave.  One thing I have learned is that my best images happen when I am completely alone, no assistants, and no audience.  When I am in these locations, my mind just reels with “what ifs,” aka: what if I had this all to myself, what if tripods were allowed and I didn’t have to hide mine from the guards, what if I could be here at night, etc.  I know that on special occasions such as equinoxes, they allow adventurous tourists into the ruins at night, but excepting this, I think I am over shooting in super touristy ruins.

That being said, I did get up early enough to avoid the hoards of tour busses and get a few nice images.  Lately, I have been trying to explore some different ideas with my work, so you will see some of the same and some new looking stuff.  I was too lazy to give this a hard edit, and after all there were three different shoots involved so there are lots of images to look at.  Special thanks to my assistant who knows who he is.  As always, click on an image for a larger view, and please share! Much love — Janelle

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Hierve el Agua

A few years ago I saw a travel photo of my friend Lauren Lewis standing in one of the most beautiful natural infinity pools in the world.  This image really made an impression on me and I knew that one day I would have to try to shoot an image there.  Turns out that the location is Hierve el Agua, a few hours drive into the mountains outside the city of Oaxaca, Mexico.  Created by natural spring that has a very high mineral content, thousands of years has left cascading deposits that flow down the mountain side in frozen waterfalls.  On the top of this unusual formation are pools of water where bathers can swim on hot days.

As reluctant as I am to get up early, we were in our van by 7am and at the pools by 9am when they open.   I was just able to take these images before the hoards started to arrive.  Thankfully, I was traveling with a group of photographers that appreciate shooting without other people around.  This is one location I would love to photograph over and over again just to see how different cloud formations, sunsets and sunrises affect the images.

Normally, I pride myself on having crisp in focus images, but while shooting this I accidentally dropped my neutral density filter into the water.  I dried it carefully and put it back on my camera, but I didn’t realize that the water had left behind a really nasty film.  The effect of this film was an incredibly beautiful soft focus.  Although this is not my normal modus operandi, I actually love the effect.

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The Ethno-Botanical Garden, Oaxaca

Occasionally, before I head to a new place, I get online and scope out photographs to get ideas for shooting locations.  When I came across images of the reflecting cactus pool at the Ethno-Botanical Garden in Oaxaca, Mexico, I knew I had found something magical.  Within hours of my arrival in Oaxaca, I had tracked down the gardens and gotten a very rare permit from the director to shoot photos over the following two evenings.  The garden itself is the old grounds of the Santo Domingo de Guzman church and monastery.  Built in the late 1500’s and fully restored in 1999, the church remains a functioning religious site, but the monastery has been converted into a regional museum.  The museum is best known for housing sacred gold relics that have been discovered at Monte Alban, the ancient indigenous pyramids just outside of the city.  Due to potential monastery access issues through the gardens, it its closed at sunset and getting to stay even a half-an-hour into the dusk is a great privilege.  Unfortunately, I was asked to sign a strict personal use agreement, so I may never really get to do much with these images, but having the opportunity to take them was thrilling.

Although, I was granted access to the gardens from 5-7pm, and it was almost dark by 6:30, I had to be at the gates at 6:45 or the guard would lock me in.  This gave me a lot of time to wander around taking a variety of daylight images and almost no time in the dark at the cactus reflecting pool.  Thank goodness I had two nights to shoot, because I totally blew it the first evening.  These images are the first that I have taken with my new Nikon 10-24 lens and obviously I still have a lot to learn about focusing it in the dark.  Even though, I set up the shot before dusk, like a well-organized photographer, I accidentally moved the camera and could not quite get it back into focus.  This mistake was not really apparent on the back of my camera, but later in Lightroom, I could tell the images were fairly useless.

The second night by the reflecting pool was much more successful, but making this image was far from easy.  In order to get an image in the dark, I was relegated to shooting during the transition from evening to night when the light changes very fast.  Thus, I was forced to run back and forth around the reflecting pool to the camera, adjusting the exposure settings for every image.  This is why you can see a fairly pronounced difference between the first and second images at the pool.  Both nights, 6:45 came far to fast, just as I was getting into the swing of things and the images were getting interesting.  All in all, I feel like the shoot was a success and I am happy with the work, but of course I would have loved to have more time.

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Teotihuacan and Monte Alban

Rather than split these two entries (as both the theme and dress are the same), I am choosing to combine Teotihuacan and Monte Alban.  Each of these pre-Columbian archeological sites are spectacular examples of the kind of early civilizations that were found throughout Mexico and Central America.  Monte Alban is in southern Mexico, sitting gloriously up on a hill above Oaxaca City; where Teotihuacan lies in the volcanic foothills just outside Mexico City.  Founded about 500BC, Monte Alban was a thriving metropolis by the time Teotihuacan was founded in 100BC.  A much smaller community of primarily Zapotec inhabitants, Monte Alban reached a peak population of 17,000; a fraction of Teotihuacan’s multi-ethnic population of 125,000.  By 1000AD both sites had basically been abandoned. Fast-forward another 1000 years; here I am, trying to make some interesting images amongst the ruins.

I visited Teotihuacan first, climbing the Pyramid of the Sun with my good friend Jorge Arroyo.  Even amongst the vendors and tourists, it is easy to see that this place was a very spiritual site to its previous inhabitants.  Reaching the top, we felt compelled to sit facing the sun, burning a little Palo Santo wood and giving thanks for all life has brought us, good and bad.  Lots of tears, hugs and high fives later, we climbed down feeling cleansed and re-energized.  At the bottom I began creating images, but as usual, I was short on time and the whole thing felt hurried.  There was also the extra challenge of having tourists everywhere, walking in and out of my shots (thank god for the clone stamp tool).  When I visited Monte Alban about a month later, I got up very early and was one of the first people in the park, but by ten am there were swarms of visitors arriving by the tour-bus-load.  Undaunted, I created quite a spectacle of myself doing these “frozen” poses, thankfully the Mexican people are very accepting of artists.

I am not really sure what I think of these images.  My first reservation is probably the most obvious, as in: “what is a gringa doing taking these kinds of images in a Mesoamerican archeological site?”  I’m not really sure I can answer this, but maybe it is nothing more than an attraction and deep appreciation for the grandeur and beauty of these locations.  I think that by not donning some native costume or other artifice, I lend some credibility to the images as I present myself just as I am: tall, blond, and white.  Maybe acknowledging that I am inspired by the place, as I am in nature, is enough to legitimize the work. I don’t know. I would love to hear what you think, and to which images you are drawn.  You can always leave me comments at the end of the entry.

Ex-Hacienda San Gabriel de Barrera

On a sunny September day, I climbed onto a Primera Plus bus and traveled to the small city of Guanajuato.  A four-hundred-year-old Spanish mining town, Guanajuato was the center of the Mexican war of independence.  Built into a steep valley, colorful houses are terraced along tiny staircases that thread down to the valley floor.  The city is generally known for two things, its tunnels and its mummies.  The tunnels came about after the main river flooded in 1907, and almost wiped out the town.  The locals decided to divert the river, leaving empty subterranean tunnels that had funneled water under the city.  The tunnels were re-appropriated for transportation and expanded through out the area, minimizing traffic and leaving a lovely walking street that winds through downtown.  The mummies are due to the hot dry climate and the practice of interring the dead in mausoleums.  When the families of the dead could no longer afford to pay a yearly fee in order keep their dead loved ones in graves, the bodies were pulled out and kept in a museum adjacent to the graveyard.  The museum is open today, but no longer practices disinterment.

Another remarkable historical site in Guanajuato is the Ex-Hacienda San Gabriel de Barrera.  Built in the late 1600’s it was home to Captain Gabriel de Barrera who’s family were descendants of the Conde de Rul of the local Valenciana mine.  This mine, though still active, was once one of the largest silver producing mines in the world.  The old hacienda still stands, although it was heavily damaged in the war of independence. The hacienda grounds used to be a working refinery for silver oar extracted from the Valenciana mine, but now have been converted into seventeen incredible gardens.  A week before, I came to Guanajuato on a scouting mission to see whether this place was appropriate for photography.  What I found was a huge space that I would love to return to again and again, day or night, to create images.

I arrived midday at the bus station and was greeted by my old friend Nico.  Nico and I met about three years back when he was working as a barista in a coffee shop and I used to ask him for help with my Spanish homework.  Nico kindly volunteered to help me for the day as a photo assistant.  Thank goodness he did, because I could not have done it with out him.  We spent the day goofing around in the gardens taking all kinds of photographs.  Having done the image on the Brooklyn Bridge as a Shiva, I though it would be fun to take some photos as Mary and the Virgin Guadalupe.  I brought several yards of blue and red fabric with me and draped it over myself like a shroud.  The imagery is probably too kitschy and obvious to actually work, but I had fun doing it.

This location screams for my sometimes photography collaborator Aloyse Blair, as it is full of beautiful fountains and I am not nearly as capable as she at imitating Greek goddess statues.  I did my best, and looking at the images I would like to do some research on Greek goddess art and try again.  At this point, I am finally starting to get the hang of my neutral density filter, and taking images with it is getting much more predictable.  Ideally, I show up best in full sunlight with a dark shadowy background.  Knowing this, I think making daylight images will start to become far more successful.  Next time, I would really love to see if I can come back and shoot at night.

Xochicalco

In the Mexican state of Morelos, there is an ancient temple complex that may date as far back as 200bc.  This archeological site is known as Xochicalco or “the place of flowers,” and during 700-900ad it was populated by up to 20,000 inhabitants. The actual identity of the people who lived there is unknown, but they are believed to have been Mayan influenced.  Although in its heyday, it was a bustling trade city, this place is now a tranquil park, more suited for meditation, and contemplation.

The day we went to Xochicalco was hot and humid, two things that this polar bear does not suffer well.  As soon as we reached the temple complex, I was off and running, trying to make as many different images as possible before my sightseeing companions got bored and wanted to head home.  Within ten minuets of working I was drenched in sweat.  I really wish I had had more time to explore, as Xochicalco is truly magnificent.  Although, it is an UNESCO World Heritage Site, you basically have the run of the place and can climb the temples and explore the ancient ruins at will.  I don’t know if in the hour I had to shoot, I was able to capture much, but I do know in the future I would love to return to another temple complex.  In the end, I got scurried away by a grounds keeper that wouldn’t let me use my tripod, but was fascinated by what I was doing.  He kept trying to to use my camera to take my photo for me.  If my phone hadn’t started to ring, telling me to come back to the car, I’m sure I could have gotten a final shot with more than one of me standing on the top of the temple.

I used my Neutral Density filter for these images, and although I do love it, I am still learning how to make the best images.  I have not yet decided such things as how I look in sun versus shadow, etc.  After doing so much work at night, I can generally visualize exactly what will happen in any given circumstance, but in daylight I am often surprised. One of the things I don’t love about this filter is the color shift; it generally muddies and grays out colors.  Thus, I decided to push them off the gamut.  I like the results, but they are not set in stone.

The House of One Hundred Years of Solitude

In mid August, I headed down to Cuernavaca, Mexico, to visit with my old friend Marela Zacarias.  Marela grew up around Mexico City but currently resides in New York City; she was on a trip to visit family and I was invited to tag along.  The house we stayed at has been in her family for generations.  This beautiful compound is a bit like Marquez’s House of a Hundred Years of Solitude.  It is built on a large sloping hillside that is terraced and ends in a deep barranca below.  Each level accommodates different areas including gardens, swings, walkways, and swimming pools, all in various states of repair.

There is a special magic to a place like this, a place where there are echoes of parties long since past, children grown up, and a future yet to come.  One can imagine golden era Hollywood starlets, flirting under the canopy of lush trees, limbs embracing each other like lovers. If you listen carefully you can hear the sounds of children squealing in delight as they dash down the waterslide, crashing into the grotto like swimming pool.  Here and there are the shadows of gardens being taken back by the jungle, gardens that must have grown abundant tropical flowers.  The past is present, but there is also a great deal of promise, as slowly the structures are being reinforced against a climate that loves to decay anything in its grasp.  Who knows what mysteries will unfold or what tails of love will transpire.

On a trip to the local artisans market, I purchased a small handmade, papier-mâché tiger mask.  As I have previously discussed, I am trying to incorporate some different costumes and props into my images.  One of the things I have always liked about working with long exposures is the anonymity, as my face is usually blurred and unrecognizable.  I think that this allows my viewers to place themselves into the images.  Now that I am fequently working in full daylight, using my neutral density filter, I find that I am more recognizable and a masking is a great solution.  In the past, I created a lot of images dealing with issues of masking, whether through makeup, costumes or just personal identity.  I feel like this is an interesting integration between work that is old and new.

The Thirteen Grandmothers

This summer I was invited by my friend Terra Celeste to attend the 11th council of the Thirteen Grandmothers.  I had no idea what I was getting myself into by attending this gathering, and in a lot of ways the repercussions of this event may directly affect my life for the next several years.  The thirteen grandmothers are indigenous women from different cultures around the world.  They are on a mission to pray in their own individual and collective ceremonial ways in order to bring peace, and balance back to the universe.  Although these women are often confined to walkers and wheelchairs, make no mistake; they are possibly the most powerful group of women I have ever encountered.

The Council was held on the Lame Deer Cheyenne reservation in eastern Montana.  Cheyenne grandmother Margaret Behan hosted this gathering.  Originally, three hundred participants were expected, but over the course of the four-day encampment, over seven hundred arrived from around the world.  I, like many others, did not know what to expect but the importance of this council was quickly evident, especially in regard to the Cheyenne people.

Initially, the event was to be held at Grandmother Margaret’s house.  After a forest fire came within a few hundred feet of her property only days before the opening, the gathering was moved to the local public powwow grounds, a move that proved to be quite fateful.  Although, the grandmothers are on a peace mission, change often comes with great resistance. After only a short time on the reservation, I was given a crash course in tribal politics.  Basically, it is tradition for the elder men to speak and hold council, and although women are generally free to express their opinions, they do not make important tribal decisions or hold councils of their own.

By bringing the grandmothers to the reservation, Margaret was going against thousands of years of tradition and was met with physical and psychological opposition.  A group of militant young men came onto the powwow grounds before the event and threatened cause problems if the grandmothers did not cease and desist.  This clearly shook up everyone involved and after a meeting between the grandmothers that lasted into the wee hours of the night, they decided to proceed.  Thankfully they did, because this may have been one of the most important events held in recent Cheyenne history.

As the days progressed, the grandmothers prayed, and began telling their stores, both personal and historical.  They told of war, oppression, massacre, marginalization, and the loss of land, food, water and children, they mourned the loss of old traditions and ways of living.  Many white people also came forward with stores of their own, including the great grandniece of General Custer, who asked forgiveness for her family’s roll in oppressing and murdering the Cheyenne people.  Slowly, the men started to come around, to hear the stories, and witness the healing the grandmothers were offering.  By the end of the gathering, many of the tribal chiefs had don their feather headdresses and welcomed the grandmothers, thanking them for taking action and opening their eyes to the possibilities of a new future.

So much happened while I was at this event I cannot begin to summarize everything in this brief blog.  Suffice to say, I saw a wild wolf, ran out into a lightning storm, witnessed a crowd react to a tiny ancient Nepali woman the way one would expect from a revival church, slept in a tipi, and made a promise I intend to keep.  In our final meeting, Grandmother Margaret asked me to return to the reservation and hold a photography workshop for the local kids.  I am just starting to work out the details of this agreement which involves a lot of research, grant writing, and planning, but hopefully by next summer I will be able to fulfill my commitment to Grandmother Margaret.

Finding My Vision

This summer, I was fortunate enough to be able to attend a photography workshop at The Anderson Ranch in Snowmass, Colorado. The workshop was called “Finding Your Vision,” and was co-led by Arno Minkkinen: prolific self-portrait photographer, and Jonathan Singer: technical genius extraordinaire.  Having these two team-up was really wonderful, as Arno is a master teacher and conceptual thinker, and Jonathan has an ability with Photoshop and printing beyond compare (as well as a brilliant mind).

Our class was comprised of twelve students whom have varying levels of experience.  As one of the more advanced students, I was really happy to find that the experience level of the others hindered no one in the class.  We all got our time, and we all had the opportunity to learn and grow as photographers (even though a week is a very short time to get anything accomplished).

If you have read some of my previous posts, you may have noticed the growing frustration I have had with my work.  I have been feeling a bit stuck, like my work is not maturing or developing.  It was for this reason I decided to take a workshop.  After sharing some of my images with the class, I was given a private meeting with Arno in which to discuss possible new directions.

Arno himself is quite a poet, and his critiques are certainly an extension of this philosophy.  I find Arno’s style of teaching really helpful for my creative thought process, as it leaves me loads of room in which to learn and explore.  Out of our discussion came this: most of my previous work was either performance art or opera, and now it was time to give the viewer front row seats to the theater!  This means that rather than feeling like the viewer has stumbled upon a performance, or is witnessing a spectacle so large he can only marvel, he is there with you, invited.  Up close and personal.

I can’t say that I have firmly grasped and embraced this in my work yet, but I do feel like it is slowly drawing me somewhere I was not before the workshop.  Yes, I still do opera and performances, but I am also trying to get closer to the camera, to sit in the discomfort of the situation, and to move the work into new realms.  I am excited to see where this takes me over the next year.

One of the new elements added to my work during this period, was finally using my 10 f-stop neutral density filter. This allows me to take long exposure photos during the day.  After years of only working at night, it opens up a lot of time to shoot and practice.  The filter also mimics the conditions I have in full-moon light and forces me to work through some of the issues I have found so troubling.  Since the workshop I have been using this filter a lot, and I am thrilled with the outcome of some of my newest images.

But rather than jump ahead, I am going to show you a few of the images that came out of this workshop, leaving the “ghost horse” series for the next post, as it deserves attention all its own.  Keep in mind that each image was part of a particular assignment so they may feel quite different from the work you have previously associated with this blog.

For more info on Arno Minkkinen: http://www.arno-rafael-minkkinen.com/

For more info on Jonathan Singer: https://www.facebook.com/pages/Singer-Editions-LLC/116575908398381

For more info on The Anderson Ranch: http://www.andersonranch.org/