Tag Archives: travel

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.

Janelle.Aloyse-1 Janelle.Aloyse-2

Janelle.Aloyse-3

Janelle.Aloyse-4

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.

El Charco del Ingenio

Above the town of San Miguel de Allende, Mexico is the 160 acre nature preserve El Charco del Ingenio.  Over the past few years this place has become one of my main centers for creativity and inspiration.  I have had the privilege to shoot some of my best photographs in this space as well as work as an invited artist on an incredible land art project.  For this project I built four large-scale altars, one to each of the four directions, incorporating different indigenous mythologies.  When I returned to San Miguel this September, I knew I was going to have to do some new photography in the preserve.  Although you are technically not allowed to be in the park after dark, if you go to watch the sunset and stay for a few hours they are generally tolerant.  I always warn the guards that I will be there late just so we don’t scare the crap out of each other in the dark.  Surprising men with big guns isn’t exactly high on my list of priorities.

The main beauty of the Charco is that there are a plethora of different ecosystems crammed into a small space.  The area around San Miguel is a high altitude (7000ft), two-season (dry and rainy) climate.  The plants are very hardy, and include massive prickly pear cactus trees, very spiny acacias, and lots of grasses.  Water can be quite scarce at times.  In the center of the park is a large dam created wetland that regularly hosts Autobahn bird watching tours and can flood or become a dry mud flat depending on the season.  Below the dam there is a very steep rocky canyon with sheer hundred foot walls.  On hot days you can climb down very sketchy ladders to the shady floor and sit on the boulders amongst cool pools of water.  At the head of this canyon is a large natural spring or El Charco. This spring is said to be protected by a spirit, El Chan, that harms anyone who comes too close.  There are many tales of drowning in the spring and apparently scuba divers have never found the bottom, just a maze of underwater tunnels.  For some reason, depending on the season, the water changes colors and can range from white, red and orange to deep blues and greens.

Once again, my friend Nico came to assist and after watching the sunset from the cliffs over looking San Miguel, we got to work.  The location I scouted was below the dam and above the spring where there are large pools of water and lots of boulders to climb on.  Once we got started, a lovely bright half moon rose to illuminate the scene.  We had such a beautiful experience that evening I’m not even sure I was really concentrating on the work.  Behind us a small waterfall was trickling down, the air was warm and comfortable, the wind was calm, and to my absolute delight the fireflies decided to join us.  To say this was a magical and memorable evening only saddens the great poets.  At one point I think we almost decided to curl up on one of the big, flat, sun-warmed boulders to sleep under the stars.  Honestly, I probably would have done just that if I weren’t half packed and leaving at eight in the morning.

What follows are the last images taken with my old Tamron 10-24 lens.  After shooting probably 60,000 images with this lens, I am really starting to see the quality of the images degrading.  I have heard that the cheap digital lenses eventually wear out, but this is the first one I have actually used to death.  I am not unhappy with the intentions of this work, but I am not thrilled with the image quality.  There were a lot of interesting shots in this group that just didn’t turn out well and I know it has much to do with my lens.  So out with the old and in with the new, I am chomping at the bit to start using my new Nikon 10-24, yippie!

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.

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.

Yellowstone National Park

After the council of The 13 Grandmothers, my friend Terra Celeste and I went to Yellowstone National Park for the first full moon in August. Upon leaving Grandmother Margaret’s home, we were asked to take an offering to the Medicine Wheel in eastern Wyoming.  This location is one of the oldest sacred spots in North America and may have been built over 10,000 years ago.  Different indigenous tribes have been coming and doing sacred ceremonies there for so long, no one is exactly sure who built it in the first place. The meeting of the Grandmothers was a very intense experience, and it was really nice to complete the ceremony at the Medicine Wheel, with an offering of tobacco and prayers.

As we continued our journey, through the park to the town of West Yellowstone, we saw an owl, a pair of coyotes, and a buffalo, all wandering in the middle of the road.  After arriving, we had quick dinner, checked into our hotel, and headed back into the park to see how geysers and thermal water look under a full moon.  August in Yellowstone is high season, and you can expect throngs of tourists unless you head out in the middle of the night.  With the exception of a few other photographers, we had the place to ourselves.  If Yellowstone is a magical place by day, it is far more amazing by full moon.  As we walked around the geysers, moist steam rolled off the thermal pools and punctuated the chilly air; intermittently enveloping us in shifting clouds of blinding, white, warmth.

Over the next two nights, we shot for several hours in the park and came up with some really nice new images.  I would love to return to Yellowstone, as I feel like there is so much more we could have done.  I love the color and texture in the park, from the vibrant blues of a full moon sky to the rainbow colors of the pools.  Although, I think they do work in most of these shots, one of the hardest things about shooting in the park are the walkways.  It was a real challenge to either incorporate them, or to hide them in the images.  Regardless, I am very happy with what happened during this shoot.  I think that a few of these photos really need to be viewed big, so please click on them to enlarge.

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/

The Bridgers

Concluding The Sacred Door Trail opening ceremony, a group of us headed to Weston Pew’s stunning family-ranch that nestles up against the Bridger mountain range just north of Bozeman, Montana.  The week spent there was a much-needed decompression after the spiritual intensity of the previous few days.  We spent our time resting, singing along with guitars on the porch, eating home cooked food and going on a bunch of outings.  One of these outings was on the fourth of July and included rafting down the Yellowstone River, eating a picnic lunch, and singing and dancing the night away at the Bank Bar (a local cowboy watering hole), in Wilsall, Montana.

During this time there was a full moon and though I was pretty spent from camping, I found time to take a few photos.  My previously mentioned partner in crime, Melanie Malia, helped me wander out into the moonlight to take some photos with the Pew’s lovely grey horse.  Just as we were starting to get our rhythm, “Bill” the notorious beast of a dog, came and did a fine job of chasing the horses away.  As everyone who was there can attest, the name “Bill” on the ranch is generally said at full volume and followed by some sort of accusation or negative…. “BILL… NOOOO BILL… NO BILL… BAD DOG BILL… STOP THAT BILL… BIIIIILLLLLL!!!!!!!!”

Once Bill was content with the horse situation, he lay down in the road and happily watched us finish the shoot.  As I have mentioned before, I have a very hard time working in full-moon light.  The conditions are very similar to working in daylight and present a huge challenge when working alone.  It’s a bit like being on a fully lit stage with no script, set, or props, and told to just do something cool. Inevitably, whatever you do ends up feelinging a bit contrived and awkward.  Personally, I feel this way about these images, but I have also had some good response to the work, so I feel like I am close to something new.  In the next post I will go into some of what I learned in my workshop with Arno Minkenen… as I try for a breakthrough.

Fun with New Friends

On our last night at The Sacred Door Trail opening ceremonies, I had stirred enough interest in my photography to obtain two playmates: Foxie Flambe and Melanie Malia.  This was a lovely break from my normal self-portrait style as I had both models and new ideas flowing my way.  The night began with Foxie quietly asking me if I would like to wear a feather mohawk to the final event of the day, a wonderful African drumming group called The Drum Brothers.  Of course! Silly question. After shaking all our inhibitions loose on the dance floor, we headed out into the meadow armed with my usual lights and Foxie’s LED hula-hoop.  In the end, the hoop became the toy of choice and I think we got some really different types of images, possibly even giving the light painters a run for their money.

The mohawks added such a fun element to the images that I am definitely thinking about adding some costumes back into my work.  I find that there is such a freedom in having a prop to work off of when making this type of image, whether it is a light, a costume, a person, or an object.  Since I am generally working alone these days, sans Aloyse Blair, I find that I need this element to create some sort of a storyline or the images can become very flat.  In my mind, the most successful images keep you wondering and never let you complete the sentence.  You must come back over and over, wondering what exactly are you viewing.  The images are like questions rather than punch lines. Props help me to create these types of images.  The hardest thing for me to do is work in full moon light without props, as you will be able to see in the next post.  Until then, enjoy the Fake Full Moon Mohawk Dancer, Spirograph, The Flaming Mohawk, The Exploding Cloud Heart, and Meditating Moon Panda.