Tuesday, August 19, 2025
Don’t let the “part 1” scare you. This was a fun little adventure with two locations photographed. The day was full of irony though, and the more I think about how it went, the more irony I can find. I’ll go ahead and let you know the gimme one right off the bat. I set out this morning with full intentions of getting a single image of a ’57 Chevy wagon. If I got really lucky, I might get an isolation or two with it before leaving. That was all I wanted to achieve for the day, and that would have been done and written about hours ago. Yet here I sit at a quarter to seven starting out a blog that will be two parts after leaving the house before 8am.
I know that I have been doing a lot of multi-part blogs lately and I really wish that I could get away from that. However, the alternative is doing very long blogs that I’m sure nobody will finish reading. I’m assuming that folks are reading the ones that I am doing at the length that I have been keeping them. These blogs mainly serve as my record keeping for how these treks go, but they have gained in popularity over the years with folks that enjoy my photos. Because of that, I have started to write them in a way that is a bit more focused to those who read them while still using them to document what I shot and why I did it. This comes in very helpful for those that purchase prints of mine because something that I like to do for my clients is to do a page long narrative about the specific photo that they have purchased. It is kind of my gift to you and a chance to really learn about how that photo came to be. These blog entries jog my memory of each photo, and I am able to go back in time to share even more detail about the photo that I’m about to send off to a new home.
Even if you aren’t planning on purchasing a print (and you are really missing out), I still think that these blogs have a lot of value for those that are interested in my photography. I mean, it is nice to see photos of places and things as you are scrolling along through social media, but to have a chance to know how it was created and some of the creative choices that the photographer made brings you into that inner circle in a manner of speaking. I want to bring you along with me while I am doing my craft, but let’s face it, the truck would get a little cramped with all of you packed in there. It would also be kind of hard for me to get permission to photograph some of these properties with that many people in tow.
At any rate, let’s get started with this series of ironic events. At least the starting point isn’t months or years ago for this one. In fact, it all started yesterday when I was going to Walkertown to pick up my trial contacts and a new pair of glasses. I talked briefly about that in yesterday’s blog, but didn’t really get into detail about what I saw. I always take the back roads with the Miata because I don’t like all the wind at 70mph and rock chips are more likely at those speeds. Instead, I like to slow it down a little bit and enjoy the sights and sounds with the top down. I also get the chance to see a lot more things that I might like to come back and photograph when I am driving like this.
The route is pretty familiar to me after five years of driving it, but there are always changes which can surprise me. Most of the time those changes are when something really cool is removed or torn down for the newest Dollar General to be built. Occasionally though, somebody gets a project vehicle, or something interesting turns up on a car lot or in the parking lot of a repair shop. I’ve always got my eyes out for these changes. As I was about to turn off of the main road that I take into Forsyth County, something interesting caught my eye. I wasn’t sure what it was, but it was old, and appeared like something from the ’60’s. I tried to get a good look at the car as I was slowing to turn left, but there were too many other cars in the way. I did realize that there wasn’t much rust on the car, but the blue was in pretty good shape for me to photograph with a fair amount of patina on it.
I tried to get a better look from the next street, but there wasn’t a clear view to the lot from that street. I just decided to check it out again on the way home now that I knew where it was. I kept thinking about the possibilities as I continued on my way. I still wasn’t sure what the car was, but it seemed to be from the early to mid-sixties based on the body lines, and I was thinking that it was a Chrysler of some sort, but I just wasn’t sure. It was surrounded by other vehicles, and I wasn’t thinking that it was in a great place for photos. I recognize this thought process and figured that by the time I was on my way back through the area I would have talked myself out of even considering it for a photograph.
As I got closer to the eye doctor, I was driving down a road that I have been on hundreds of times when riding a bicycle because it was close to where we used to live and it was a really good road to get to several different main routes that I would regularly take. I was just kind of looking around to see what had changed through the area. Most of it had remained the same since we left, but I did see something that I immediately recognized over to the left as I drove by some houses. At the end of a driveway, I spotted what could only be the front of a tri-five Chevy and I was pretty sure it was a ’57. I could see that the car was parked in front of an outbuilding with a plywood door on it. There was a lot of rust on the car, and I could certainly see some possibilities for a photo. It was very sunny, and I didn’t have my camera with me, so there was no reason to stop and ask about it. I did want to get a better look as I drove back through on the way home though.
After I picked up my contacts and glasses, I headed back the way I had just some, but this time I was slowing down through the area where the Chevy was parked. I found it again and really liked the condition of the car. Even the building was pretty nice behind it. I wasn’t sure how I was going to compose the image, but I knew that I was going to have to get permission to access the property in order to really figure that part of it all out. At this point, all I knew was that my mind was more focused on the Chevy than what I had seen earlier turning off the main road.
I almost forgot to look back at the blue car after I returned to the main road, but I remembered in mid-turn. I didn’t accelerate very fast (insert standard Miata speed joke here) and had a chance to scope out the car. It was definitely a Chrysler, I could see that it had four doors which was kind of a shame, but it was certainly in the right era for what I liked to photograph. I was thinking ’63 or ’64 possibly. There wasn’t much rust on it, and it was parked in a very lousy location. It really didn’t hold much interest for me, but it was worth keeping in the back of my mind in case I had the opportunity to give it a try at some point. I had to keep in mind that I was about an hour from home out here, and it is an area that I have worked pretty thoroughly in the past which makes it less interesting to return for just one or two subjects.
The ride back home was filled with thoughts of the Chevy and figuring that the next time I was out this way, I would have to stop and try to get permission to photograph it. The bright sun was killing any real thoughts that I had about either of the cars though because it was just too nice a day to really get the lighting that I wanted to work with for those subjects. It was the clouds to the West that started to catch my attention as I entered Yadkin County. For one, I didn’t want the Miata to get rained on, but I knew that the light in that direction was going to be pretty good for shooting the Rambler dealership that I had seen a photo of recently. That was when I really started to consider shooting the location later in the day.
This was also the time that I found myself once again sidetracked by some other old rusty cars as I drove through East Bend. This is an area that I have worked several times over the years. There are a few different shops through the main stretch, and they work on older cars. A few of them started to catch my eye as I drove through. Some of them I had photographed before, others were new. It was another location that I decided to put in my mental notebook for a time when I found myself out this way again. Nothing was so tempting that I felt that a special trip was warranted. They were just interesting subjects that might make some decent photos at some point.
There wasn’t much else that I saw on the way home and my mind once again drifted to that Rambler dealership. As I spoke about, there was a lot of thinking that went into that location, and much of it was done on the ride back home. So much so that shortly after I got home, I grabbed my camera and jumped in the truck to head out to Hickory to give it a try. I forgot all about the cars that I had seen because this was something new and different to photograph and I was really excited about giving it a try. If you haven’t read how that went yet, give it a quick read at this point.
Something worth mentioning about that trek is that I had a lot of fun getting just a single photo and being able to do a quick blog about it when I got home. I was actually getting to the final parts of the blog by this time yesterday after having started in the early afternoon. Even before that one, the previous trek had been a quick out and back in the rain to photograph a Dodge truck. These are the treks that I really like. I get the chance to really concentrate on a single photograph and really make it sing. I also like being able to come home and work through the edits and blogging in just a few hours rather than eight or more hours.
It was those thoughts that stuck with me as I was getting ready for bed last night. I was really starting to think about driving out to Walkertown to get the photo of that Chevy if the weather was going to be good. It would be a long drive, but I was pretty sure that I could really work the photo and make something really great out of the scene if I went out with the mindset of perfecting just one photograph. I would have to see what the weather was going to do in the morning, but it was looking like dense clouds until about 10am which would be perfect if I could get out early enough.
The plan was to get up when Toni left for work, but at 6am, I realized that I didn’t want to leave too early because I really didn’t want to wake somebody up just to ask them if I could photograph an old car on their property. My normal cutoff point for asking is 10am which I feel gives the owners plenty of time to get woken up. However, if I waited that long, I would lose the clouds, and the trip might not even be worth it. I decided to push things a little bit and get there around 9am which should still be late enough in the morning, while still giving me an hour to work provided I could get the permission needed.
I got up and ate real quick before heading out shortly before 8am. I knew it would take about an hour and fifteen minutes to get there which would give me a working time of an hour based on the hourly forecast that was showing when I got up. The light was looking really nice with just barely directional light falling on the landscape. The diffused light would give me plenty of options for compositions and the slight directional light was falling in the correct direction for the car I was going to photograph.
When I got there, I did my standard slow drive past the location as I looked critically at the scene. It was just like I remembered it, and I had already started to work out the composition in my head for what I was hoping to be able to get. Once I got turned around and pulled into the driveway, I saw what looked to be a daily driver, but it was parked in a way that I didn’t think it was routinely driven. There were no other vehicles present that looked like a regular driver. I was worried that nobody would be home, but I got out to knock on the door to make sure. There are plenty of times I knock and get surprised by somebody being home when I hadn’t expected it.
This was not one of those times. I knocked on both doors and rang the doorbell that I don’t think had any power to it. I heard nothing on the inside which kind of surprised me. I could see evidence of a dog on the storm door by the sunroom, but I didn’t hear the dog at all. Everything was quiet and the webs on the main door made me think that there was a good chance that nobody actually lived here. I lingered briefly just in case and then went back to the truck. Not wanting to give up just yet, I drove over to the neighbor’s house to see if they knew the owner. I knocked on that door and rang the bell, but there was no answer and no signs of life in the house. After lingering for just a couple of minutes I got back in the truck and got back out on the road. I paused once again at the top of the driveway to see if I could possibly get a shot from the road. I could, but it was looking like a very boring photograph and certainly not worth the drive out here. I needed to get in closer to get a bit more perspective on the car.
I was able to see more of the car while I was there and now knew it to be a ’57 Belair wagon which was something rather unique and I wanted to get a side view of the car to feature the lines of the station wagon. This was completely lost from the road and negated the reason for wanting to shoot it. There was just no way to get the composition that I wanted at this time. I could try back in a little while just in case they weren’t able to answer the door right at the time I was there. I just needed to figure out something to do to pass the time.
That was when I thought about the blue Chrysler that I had seen. I still didn’t think that it was worth photographing, but the drive out there and back would give me about 30-45 minutes and hopefully enough time for the owner to return to the house. I took the long way out to the Chrysler and almost forgot to slow and turn when I got on the main road. This car was just about that forgettable for me. I mean, I really didn’t think that there was much chance of getting something worthwhile with it. My opinion didn’t really change when I pulled into the lot of the business either.
There was a truck pulling a landscaping trailer parked in front of where the car was. That made it very difficult to get close enough to even see the car. I had to get turned around in a very small space to pull into the driveway next door to the lot. This was actually a small road that fed another little commercial property, but it did give me the chance to check out the rear of the car. I could now see that it was a New Yorker, and it was in generally decent condition. I wasn’t sure if there would be any photos to be had from this car, and I was really sure that there was nothing that I could do with the full car in the frame. If I was going to photograph it, it would be nothing but isolations.
I didn’t give myself a chance to overthink this one because if I passed on it, I knew that I was going to be heading home with nothing. I needed to give it a bit more time to hopefully catch the owner at home with the Chevy. The clouds were looking like they were going to stick around for a bit longer than expected which was nice. I just put the truck in park and turned it off. I was committed to giving this a try. I walked over to the shop and found a couple of mechanics to ask if they minded if I photographed the Chrysler. They had no problem with me doing that at all, and I thanked them for the opportunity. I went back over to the truck and grabbed my camera. I went ahead and got the full bag because I wasn’t sure what I was going to need as far as lenses and wanted to keep everything with me and close by since I wasn’t able to really watch the truck all that well from where I was going to be working.
I did a quick walk around the car and found a few things that I really liked about it. The aspect that I liked above all was the golden New Yorker emblems that were on the fenders and even the finisher under the trunk. I thought that the color contrasted very well with the blue of the car. The curves of the car were also something that intrigued me since they really spoke of the ’60’s. The chrome was in really good shape as well which can be nice to work with but also presents some potential issues with reflections. Because of this chrome, I decided to get out my long lens. This is the tool that I have found invaluable when dealing with reflections because I can get far enough away that my reflections are avoided, or at least so small you don’t really see them. The polarizer is also a good tool to use in these situations because it will darken the glare and reflections deep enough that you can’t see most of what is being reflected.
Now that I had a gameplan, I started to work my way around the car. For simplicity, I decided to start at the front of the car where I had seen a red crest in the middle of the grill. The Chrysler nameplate was proudly stamped into the top of the grill as well. I liked the fact that the chrome was in such good shape and started to make a composition of the grill. The problem was that it was a rather boring composition and lacked a strong shape to really set the dominate hard lines apart. I opened up the composition a bit to include the inner light on the driver’s side and that made all the difference in the world. Something that I was also noticing was that the lighting was very stable and I wasn’t having to do anything special with the exposures from one shot to the next. There were no elements in motion, and I was taking my time to work out the compositions which meant that I only needed to make a single exposure for each composition I tried. This helped me move quickly through the car and also had the added benefit of keeping the number of frames shot to a minimum.
From the grill, I moved on to my standard corner view of the car featuring the headlights, bumper, grill. This felt a little boring to me, but I still gave it a shot. The first exposure I ended up seeing my camera bag in the reflection, so I moved it and shot it again. This time, there were no reflections that I was worried about. While I was pondering my next move, one of the customers walked by and we had a quick chat about what I was doing. He asked if I had seen the Cadillac since I liked older cars. I wasn’t sure which one he was talking about, but he pointed it out. It was an early ’70’s model it appeared, but it was in decent shape for a driver car. I explained that it was the state of decay that interested me more than the style of the car, though I loved the style of these older cars. I did the elevator pitch for why I love rust in photos, and I think he kind of understood the draw after that. I do realize that most people just humor me when I am telling them about my decay photography. It usually takes seeing a collection of my images to really understand why rust can be so beautiful.
Since I wasn’t all that happy with the front quarter of the car, I decided to move around and find something else that interested me more. The next area that I wanted to concentrate on was the rear pillar. It didn’t have any rust in the area that I was wanting to photograph, but the way that the lines all came together made for an interesting composition in my mind. I spent the next few minutes getting that composition figured out. It was pretty simple and something that I had done many times over with different cars. The four doors made it easy with the door handle in close proximity to the emblem mount on the pillar. The details inside of that mount had fallen out years ago, but the framework still had a certain dignity.
Once again, without much changing at all, I only needed a single exposure to be sure that I had what I wanted from this view. I was pretty sure that it was going to be done in black and white since the only real color present was the blue of the car. Even the chrome had a hit of blue to it which made it monochrome in its native form. I checked the image review to make sure that nothing was blown out in the highlights and was surprised to see that this was only my fifth frame of the morning. It usually takes me that long to get the first composition dialed in, but here I was working on the third composition and looking back on things, I now had my second keeper of the morning.
That was kind of the way that things went for the entire day. I didn’t spend a lot of time on any one composition. I worked out all the details before I made an exposure and for the most part once I clicked the button, I was pretty well satisfied with how it was going to turn out. There is a time to take many frames of a single composition, but none of those conditions were being met at this point which meant that I could work slow to get the right composition and choice of settings before getting the photo. It was a process that would make the culling very simple when I got home. I figured that the question that would be asked was whether or not I liked the composition. If I did, there would only be a frame or two to choose between.
After getting that one frame of the pillar, I moved up to another area that I have had good luck with on cars from the ’60’s. This was the area at the base of the windshield where the rearview mirror is found along with the intersection of the hood, cowl, windshield, fender, and door. The lines in this area always make for an interesting composition and if the mirror is present, there is a strong visual anchor for the composition.
I checked out the angles for a few moments and decided that the best angle for this car was from the rear looking forward. I got the shot set up paying particular attention to how all the body panels fit together looking for balance in the image. Once again, there wasn’t much rust at all here, just some faded paint which reduced the visual interest in a color photograph. However, I knew from experience that in a situation like this, converting the image to black and white will often bring back some of that lost interest because now the viewer is forced to really concentrate on the body lines which is what establishes the composition. This happened to be one of those compositions that I shot two frames of because the first one had a bit more clipping in the highlights than what I really wanted to see. It was the second one that turned out really nice and the one that you see in this blog.
The next two compositions that I worked on were from the rear of the car. I wanted to get a photo of the script beneath the trunk because it was quite unique to see the full “Chrysler New Yorker” as a complete emblem between the taillight finishers. I decided to photograph this from the passenger side because the driver’s side would force me to work from a slightly elevated position on the grass. The passenger side was just more convenient. However, it didn’t read well, and I didn’t much like the way that the photo was looking.
After that one exposure, I abandoned the idea and went to a more traditional corner shot of the taillight, still from the passenger side. I decided to include the rear wheel and a good bit of the trim around the taillight. This normally works very well with these older cars, but it was kind of lacking when I looked at it critically in the image review. I really needed more rust to make this composition work out better. I again decided to abandon that idea and move onto something else.
What was calling out to me now was the golden New Yorker emblem on the lower front fenders. Of course, the one on the passenger side had the Chrysler emblem which added to the visual interest, but it was very hard to get into a shooting position on that side of the car. The driver side was looking better overall, and that was the side that I wanted to concentrate on. I started to build out the composition and kept adding more to the scene which is contrary to what you normally want to do with a composition. There just wasn’t enough interest with the emblem even though this side had some rust around the fender which was missing from the other side. I tried adding the wheel in, but that didn’t really work the way I wanted it to. I tried adding the mirror in, but that was too far of a reach without the wheel. By the time I had those three elements in the frame, I was starting to get the glass in the frame. This brought my attention to the square steering wheel and the fact that from the position that I was standing, the dash was very well framed by the side window. I could still see the emblem, and the yellow made it stand out.
I backed away from the scene and allowed my long lens to do what it does with the scene. This helped to make the emblem more visible since it was now quite small in the scene. I worked out the positioning of everything in the frame and found a composition that I really liked. I got the exposure settings where I wanted them and then released the shutter. I checked the photo in the image review and zoomed in to make sure that I had the focus point set right. I was a little off and was lacking some sharpness in the cockpit, so I changed the focus point slightly by pushing it further into the car. One more exposure and I was happy with how that one was looking.
That might have been a successful photograph, but I still wanted to get something a little more direct with the emblem at the base of the fender. I had added so much to the frame that I was worried that the emblem would be lost to those viewing it. I didn’t realize just how much the golden color would stand out against the blue paint. If you will remember, I have talked about how I have the camera set up from time to time. In order to get the most out of the dynamic range of the sensor, I have a custom profile set up based on the “neutral” picture style where I have reduced the contrast and saturation to give me a very low contrast image for the histogram and image review which are both based on a jpeg preview of the image file. This works great for giving me a very accurate histogram for a RAW capture, but it gives me a very washed out looking image to look at on the camera, and that is the case even in live view. The rich colors of this car were completely lost when looking at it through the digital changes that the camera was showing. I wasn’t able to really assess the colors until I got the images home and started to work the colors back from the RAW files.
Had I known how well the larger composition would have turned out, I might have skipped the next composition, but while I was focusing my attention on the driver’s side fender emblem, I moved in a bit closer and changed my angle to the whole scene. Now I cropped in very close to the wheel, actually cropping through the tire. I kept the whitewall ring intact which was a more pronounced shape than the black tire against the shadows. This framed the rusted steel wheel and allowed the fender to frame the emblem quite well. The emblem was positioned in a way that introduced a strong diagonal after being introduced by the wheel. It was by doing this kind of framing that the rust along the edge of the fender started to act like another framing element and the composition started to sing. I really liked what I was seeing and felt that this was going to be a stronger composition than the one that I had just shot.
I ended up doing two exposures with this composition as well with the difference being a third of a stop worth of shutter speed. The first attempt might have been fine to work with, but I noticed that there was a bit of clipping in a highlight that I didn’t think was needed based on the overall lighting. I reduced the exposure and got a second frame which showed no clipping and plenty of shadow detail for me to work with.
It is worth noting that this composition was originally culled out in favor of the larger composition that I felt was a bit more exciting. It wasn’t until the second run through of the images that I decided to give this one a chance. It actually turned out stronger than I had originally thought by looking at the basic image with only the Adobe color profile assigned to it. With just a little bit of work, I was able to get that emblem really standing out against the blue paint and balanced quite nicely with the warn tones of the rusty wheel.
In the end, I was happy that I had shot both variations. They both tell a very different story and have different focal points even though that emblem is still a very important element in both of the frames. It was working with that one emblem that got me interested in the trunk emblem once again. I had already shot it before but hadn’t really liked it because of the way it read. I went back to the image review to look and see what specifically I could do to make it better.
When I opened up the review, I was truly surprised to see that I had only shot thirteen frames in about 25 minutes. It felt like I had done so much more with the number of compositions that I had shot. I found the one where I had shot the rear emblem and looked at it. I liked the idea, but when reading the photo left to right, there was a strong diagonal that aimed down. This was a calming direction, which worked with the blue color. It was just too calm of an image and all that calmness overpowered the warm tones of the emblem and set the wrong context for the image. It seemed that the fix would be to have the diagonal going up instead of down. This could be done easy enough by switching sides with the camera.
I went back to the rear of the car once again and composed an image very similar to what I had done earlier, but from the other side. I had to get into a more awkward position because of the ridge that I was now set up on, but it was working. I liked how this photo read much better and there was more visual balance to it. I fired off a single frame and looked at things to make sure that I liked the depth of field and the position of the elements. It was that last part that was the sticking point for this composition. I didn’t like where the emblem holder above the script was positioned. I needed to move the camera just slightly to change the relationship between the two elements so that I could bring in some visual tension to the photo. With that done, I fired off the second exposure and decided that was the one that I really liked.
While I was back here, I started looking at the taillights once again. I had tried from the passenger’s side before but hadn’t really liked the outcome. Things were a bit different on the driver’s side as there were more imperfections in the paint on the quarter panel. I also decided to reduce the scope of the composition in order to really fill the frame with what I liked. I did three variations on a compositional theme and looked back over them. There was an issue with how they were being read, and I didn’t like how these were looking any better than from the other side. I did feel that the concept read better from the passenger side, but maybe if I reduced the scope of the composition as I had done on the driver’s side, it would be a stronger image. I moved back to the easier side to work with and put together a very tight crop on the taillight for my next attempt.
When I looked at it in the image review, I stepped back from the camera and thought about it hanging on the wall. It was too direct of a composition with the taillight taking up too much room. I backed off of it just a little bit and allowed the corner of the bumper to come into the frame as well as a streak of rust that was coming down the quarter panel. This opened things up and provided a bit more blue to balance the intense red. It seemed to work in the image review, and I felt better about this than the other variations of the taillight photos I had shot. It was also the one that turned out to be the keeper, so I’m really happy that I stuck with it for as long as I did.
It was that rusty streak that led me to my next compositional concept as I went to the quarter panel to examine the origin of the rust streak. This started the longest series of image shot of a single concept. By the time I was finished, I had five frames based on the rusty streaks. They were wildly different in what they contained, but the core concept was the same between all five. I started out looking for an abstract of just the quarter panel with the curve of the pillar and corner of the trunk lid to provide a bit of shape along with the body molding that went through the rust. It was a fair composition, but it lacked something. I decided to move to the side a bit more to change the intensity of the curves of the pillar. This helped the overall composition, but now the balance was off. I needed to add another element to the frame, or I would be stuck with the boring composition that I had shot originally.
The next three frames were set up to include three of the four rust spots and the staining that streaked down below them. I also included the door handle, quarter window, and emblem holder which had been the subject of an earlier composition that was done in black and white. It took those three tries to get the balance just right between all of the elements and to get the shapes represented the way that I wanted them to be. The last attempt was the one that checked all the boxes for me and turned into the keeper that you see above. You can also see the difference between the color and black and white images. The rust is the primary difference and because of the warm tones of the rust, the color image works well in that situation while the overly blue image works better in black and white.
I had now been at this location for 40 minutes and had shot 25 frames. Let’s think about that real quick. This is a car that caught my eye until I started to identify it and look at the location critically. I had all but determined that this car wasn’t worth stopping for. Only because I was killing time had I stopped to work on some photos of it. In a very short amount of time, I had worked quite a number of compositions which I have detailed and come up with 25 frames which were for the most part unique compositions with very little repeating exposures. Of those 25 frames, I have now presented eight keepers. Never in a million years would I have thought that this car, in this location, would have provided me with that many viable photographs. Had I not been looking to kill some time, I am pretty sure that I wouldn’t have stopped here at all. Nothing about the car, nor location said that it would be this kind of fruitful. I’ve never been so happy to be wrong before.
I had been convinced that this was going to be a struggle, but worth it to make the trip out here worth my time. It had worked out fantastically, but I still wanted to get that single photo of the Chevy that I had come out here for originally. There was a good chance that I might catch somebody at home now, so I decided to head back out there once again. This time, I wasn’t feeling much pressure because I knew that I had a handful of images to work when I got home. In fact, I was already starting to worry about having to work late into the night between the edits and the blogging afterwards. Oh well, I’m a glutton for punishment so what difference would a few more photos make?
When I arrived at the house, I pulled into the driveway once again and noticed that there were no different cars on the property, and everything looked the same. I knocked on the main door and rang the bell once again. I still didn’t hear the bell ring inside, nor did I hear the dog that I was pretty sure lived there. After a minute, I turned and went to the truck. Considering the time invested in coming out here, I grabbed a business card and wrote a quick note on it before leaving it in the door that had no webs around it. Hopefully he will call me back when he gets the card.
In hopes that he might come home for lunch, I decided to linger in the area for a bit. I drove around some of my old stomping grounds looking for other things to photograph. Nothing was really presenting itself, and eventually, I found myself back on the main artery heading towards home. I still hadn’t gotten a call from the owner and decided that I needed to get home to start processing images. I also thought about stopping at one of two locations on the way home. There were the different shops in East Bend that had some new cars, and there was always the shop in Booneville which I have seen a few new subjects appearing at. Either way, I might get another picture or two if the light held out for me. For the moment, the light was still looking very good even though it was an hour past when the clouds were supposed to start clearing up.
So, did I find anything else to photograph on the way home? Did the owner of the Chevy finally call resulting in me turning back around to go where it all started? You will have to check back tomorrow for the answer to those questions. The fact that I’m teasing a second part should tell you that I did get some more photos, and more than a couple which would have easily been added in here. Keep your eyes out as I will be getting that blog started in the morning and it should be published around the middle of the day.
Until then….
