Texas to LA, and back, again - PART I

Lone Pine, California, July 13, 2019 - Portra 400

The beginning of roaming by car with camera goes back 13 years now, in California. I’d been experimenting with 8x10 Polaroid films in my Los Angeles studio and figured it might be interesting to take the big peel-apart films out on the road

I went up Highway 395, to start, which is where Lone Pine is, and began making exposures. It was 2006. I was hooked, immediately. I’d made pictures here and there in natural settings with smaller cameras and conventional films before that, but it was on that first dedicated “photo road trip” with the old 8x10 view camera that the approach to photography that I’ve adhered to ever since was realized

That first road trip took me around a good portion of California. I made another trip around California with the same camera and films in 2007, and then with 35mm and medium format cameras I began exploring outside of California. In 2009, I covered about 4000 miles between California and Texas, exposing mostly 35mm black-and-white films and a few sheets of 4x5 Polaroid and Fuji peel-apart films

And now, a decade later, I’ve been back and forth between Los Angeles and Texas about a half-dozen times, maybe more

I’ve made it a point to revisit scenes that I’ve photographed before and photograph them again, with an interest in seeing the differences and similarities from the prior time to the present (photographer William Christenberry did this often in rural Alabama)

With multiple formats and both color and black-and-white films, I’ve accumulated a good handful of photos of these locations from various periods during that time that I plan to eventually publish in a book

One of the locations I photographed on that first road trip back in 2006 was a forgotten cafe just off 395

In July 2019, on the drive back to Texas from Los Angeles, I stopped at the old place and made new photographs. A lot had changed, mostly in the way of further degradation by time, as well as man’s influence

Being that I primarily go by way of Highway 40 from either Amboy or Barstow when heading east to Texas, taking 395 north this time before heading east meant it had been 13 years since I’d been there

This is the inside of the cafe as documented in 2006 on 8x10 Polaroid 809 film:

And this is the inside of the cafe as documented earlier this month on 120 Portra 400 film:

On the drive out to Los Angeles from Texas at the beginning of July, we took the Highway 40 / Route 66 path, eventually cutting down to Amboy and Twentynine Palms / Joshua Tree / Yucca Valley, etc, and then into Los Angeles, choosing to skip the 15 south from Barstow

In 2017 I’d taken roughly this same route with photographer Raymond Molinar

After making our way into California, Ray and I met up with photographer Jon Beck and explored those same desert towns, as well as the Salton Sea area, to wrap up that trip. Met up with Jon again on this most recent trip, and while we explored Highway 62 as Ray and I had done with him two years ago, there was no Salton Sea this time

And this time I was with photographer Eric Bouvet and my youngest boy Sonny, out for the first time with a film camera. He’s 7. He was using my Nikon 28ti and exposing rolls of Portra 160 and 400 and having a blast

I wasn’t sure how engaged Sonny would be but he was, absolutely. In the 3.5 days he and Eric and I were on the road, Sonny exposed nearly 8 rolls of film. And he seemed to know what he wanted to point the camera at

After spending a week or so in Los Angeles, Sonny and I hit the road headed back to Texas

It was July 13, and this time we were joined by Jon Beck and photographer Steve Reeves, who’d flown to Los Angeles from Dallas to make the trip back with us

Steve and his photographer wife Erin had spent a few days in 2017 tailing me on the road for a short stretch while I was making pictures for A PLAIN VIEW, but this was mine and Steve’s first time on a photo road trip together. And mine and Jon’s first trip since 2009, when he joined me for a photo drive from Texas to Los Angeles

Utah, on the way back to Texas - Porta 400

Opting to change things up a bit, and because it had been since my last trip with Jon back in 2009 that I’d seen Utah and Colorado (and never much of Nevada), and because I wanted to recapture the old cafe and some other spots along 395, we went up that way before getting into and across Nevada via Highway 6. From there, Utah and Colorado before making our way into New Mexico and then back down Highway 287 from Amarillo, the exit and entry point highway of these road trips of mine

I’m pleased we went up 395. Most of my “repeat” photos have been made in Texas, New Mexico, Arizona, and the California desert. And so it was nice to revisit 395, see the lay of the land these days

Utah along Highway 70 was gorgeous. While ultimately redundant geography, one can’t help feeling compelled to stop often and document the staggering views of such places

Nevada, too, was stunning

Colorado, as well

Before landing in Grand Junction, CO, I was able to re-photograph a scene looking north from Highway 70 that I’d photographed back in 2009 and hadn’t seen since then (sparsely situated houses off in the distance dividing the highway and the mountains behind them)

From Grand Junction we headed south and then east, met up with 285 and then down into Taos, New Mexico, where we stayed a night

Woke up in Taos, ate breakfast, met some photographers at the Mexican eatery, headed south and stopped to see the famous and very well photo-documented San Francisco de Asis Church

Had never been there but had seen Ansel Adams’ and Paul Strand’s pictures of it

One of the reasons I choose to step back whenever possible when I photograph something is that I find it vital to show what lay around, or in the way of it. A more objective view. Documenting context and contrast and contradiction is key for me—not being afraid of presenting reality, or, at the very least, offering an “alternative” view

At a place like this very famous church, most folks are going to be interested in the structure itself. And you can’t blame them; it’s beautiful

But I feel a strong sense of need to show a broader view, a more complete view, and, perhaps, a truer view

This sacred burial ground was surrounded by construction scraps and materials, bright orange construction cones, rundown buildings, innumerable vehicles, and a gift shop. At one point a UPS truck speedily and noisily drove into, around and then out of the plaza, its driver blasting Credence Clearwater Revival and moving about as frivolously as he might be if he were traversing a strip mall parking lot

Even the sacred things, and the beautiful natural things, are being disturbed or disrupted by something, in some way, always

Irony abounds, and it can be sad and it can be humorous. Strange, interesting, odd. Obvious, inconspicuous. But, still, it’s there

Environmental contrast and contradiction; these conflicts, this is where the questions are. And by this I am forever motivated

Gift shop t-shirts hanging in view of San Francisco de Asis Church - Portra 400

Once back in Texas, it was down Highway 287 from Amarillo yet again

On the way out of Texas a few weeks prior, we’d missed the light as we neared Amarillo heading northwest, and so I lost out on capturing again the bits and pieces I like to revisit whenever out that way

But now, we had plenty of light, and good light

Since 2017, I’ve photographed the Sandell in Clarendon a few times, in both color and black-and-white. Sometimes not much will change about a location. Maybe something has faded a bit more, or the grass is longer, or shorter, or the trees more full, or less so, or you’ll get different clouds, or it’ll be overcast or without clouds. Or you’ll just move around perhaps a bit differently than before and capture the thing from a different position. Or in the case of this most recent exposure of the Sandell, the reflection in the puddle

Porta 400

Highway 287 is a favorite highway of mine, and one that I’ve made quite a lot of exposures along. A good handful of pictures from A PLAIN VIEW were made in towns that reside along 287

Another productive and enjoyable bit of time on the road, with many more repeat photos added to the growing collection for the future “then and now” book

And with the company of not only some great friends but of my boy Sonny, who will forever have his own film photos to enjoy for years to come

And, according to him, it won’t be his last photo road trip …

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Another entry to follow that will feature a selection of black-and-white photos from these recent trips ...

Jason Lee
OK Series Info and Links

Tonkawa, Oklahoma, 2018 - 4x5 TMAX 100

Firstly, a very big thank you to all those who attended the OK series openings at Philbrook Museum of Art

After a year in the making, it was a treat to finally see the 178 prints we selected for the exhibition framed and up on the walls

And to those who have purchased prints from the series, thank you

Exhibition prints are available in three sizes and editions - contact Philbrook (the prints on display at the museum will soon be viewable on the their website)

Additionally, each month for at least the duration of the exhibition, which runs through December, the museum is offering a special 8.5x11 print in a signed-and-numbered edition of 25 - LINK

These monthly offerings are the only way to acquire prints from the series at a smaller size to what’s being offered at the museum

The July print will be announced and available July 1

Also on view at the museum is a documentary short that features behind-the-scenes footage of the making of the series - LINK

A series talk and gallery walk-through are being planned for later this year. Updates to come

And we are planning an official exhibition catalog release for December

Finally, a few links to some recent articles about the series and exhibition

Some good insight into and photos from the series that have not been seen outside of the exhibition:

Humble Arts Foundation

Tulsa World

Lenscratch

Thank you,

Jason

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