Going Home

“Children are not like us. They are beings apart: impenetrable, unapproachable. They inhabit not our world but a world we have lost and can never recover. We do not remember childhood — we imagine it. We search for it, in vain, through layers of obscuring dust, and recover some bedraggled shreds of what we think it was. And all the while the inhabitants of this world are among us, like aborigines, like Minoans, people from elsewhere safe in their own time-capsule.” 

― Penelope Lively, Moon Tiger

Do you remember that place in nature where you could be alone in your own little biosphere of imagination…yes, well this was mine.

This small Colorado reservoir is about half a mile from my childhood home on rural high plains farmland. It was my oasis many summer afternoons as a 13 year-old girl. I would take long rides with a horse named Rebel, usually ending up at this small lake. The name was suitable for the nine year-old gelding as he followed his own inner drum. Rebel often jumped the corral fence during thunderstorms racing down to the next farmhouse to visit the resident mares! Also, he would only allow females to ride him, tossing men off his back in an instant. I could ride him bareback and feel completely protected by the gentleness of his strength and size.

A side note, this guy was an incredible barrel racer, and together we won a few ribbons in local gymkhanas back in the day.

During our rides I often carried a pencil and pad for thoughts and prose. I would sit under the sheltering cottonwoods for hours lost in my imagination, while my friend grazed a variety of tasty lakeside grasses. Back then summers were hot and peaceful in the northern Colorado farmland. There was no noise from oil trucks or the pumping stations. No traffic from commuters to Denver. Just farmers going about their daily lives changing irrigation pipes, baling alfalfa or chatting along the roadside with neighbors in the summer sun. 

Next to this body of water was a small house for seasonal workers who arrived each summer to work in the fields. The children were often outside playing in the summer heat as their mothers hung laundry on the clothesline. The small home was surrounded by fields of growing corn or beets. The crop irrigation cooled the dry air those summer days in the rural countryside, as did the daily afternoon thunderstorms. 

Last summer I took a drive up to visit our old home. Afterwards, I went over to reminisce at the small reservoir. It was still peaceful though had noticeably less trees surrounding her edges, and as magically serene as my memories reflected. The small house was gone, replaced by a large oil pumping station—a sign of the times.

As for our old farmhouse it is now just the house, beautifully renovated, but the lush garden and cottonwoods are gone. The large barn was also torn down. There were two large iMac computers sitting inside the glassed-in porch with top-end SUV’s in the dirt drive. The residents are probably not local, but commuters to cities close by.

Farming still exists, though not as prolific as all those years ago…but still beautifully pristine as always in June. And my childhood view of Longs and Meeker Peaks, often referred to as Twin Peaks, is still gloriously prominent reminding me how lucky I was to grow up in this magnificently stunning landscape.

“There is no land like the land of your childhood.”

Michael Powell

Canyons and Plains

“He had seen the end of an era, the sunset of the pioneer. He had come upon it when already its glory was nearly spent. So in the buffalo times a traveller used to come upon the embers of a hunter’s fire on the prairie, after the hunter was up and gone; the coals would be trampled out, but the ground was warm, and the flattened grass where he had slept and where his pony had grazed, told the story.

This was the very end of the road-making West; the men who had put plains and mountains under the iron harness were old; some were poor, and even the successful ones were hunting for a rest and a brief reprieve from death.

It was already gone, that age; nothing could ever bring it back. The taste and smell and song of it, the visions those men had seen in the air and followed, – these he had caught in a kind of afterglow in their own faces, – and this would always be his.”

Willa Cather, A Lost Lady

In the late 1800’s, my mother’s family moved to Bristol, Colorado. As with many other families, it was a gradual family migration westward over a period of one hundred years. My great grandfather was a Wright and my great grandmother a Lewis. Both families immigrated to the United States in the 1600’s from Great Britain. The Lewis family fought in the Revolutionary War, the War of 1812, and the Civil War, on the Union side. At the same time, the Wrights were also making their way westward. After landing in southern Colorado the Wrights endured the Dust Bowl, The Great Depression and both world wars.

When my dear friend, Priscilla Waggoner, the editor of the Kiowa County Independent,  asked me to do a photo shoot of Bents Fort for a Colorado tourism website called, Canyons and Plains. I was thrilled for the opportunity to head south and retrace a piece of my family history.

An excerpt from the website from Ms. Waggoner:

History literally comes alive at Bent’s Fort on the Arkansas River near La Junta. Painstakingly reconstructed, this impressive, two-story adobe fort gives real time experience of 1840s life at this famous trading post on the Santa Fe Trail. Visitors are free to roam from room to room while interpretive guides provide details, demonstrations and memorable stories about the extraordinary people who lived and traded at this amazing place. Bent’s Fort is a national historic site operated by the National Park Service.

Described as a castle or a “merchant ship on the High Plains,” Bent’s Old Fort National Historic Site features a remarkable, large two story adobe fort reconstructed from drawings, letters, surveys of the historic site and other extensive methods, all compiled to recreate the famous 1840s fur trading post on the mountain branch of the Santa Fe Trail. For the years it was in operation, Bent’s Fort was a flourishing trade center and gathering place where traders, trappers, travelers, and the Cheyenne and Arapaho tribes came together in peaceful terms for trade. It was years ahead of its time, not only in the integrity of its architecture and location as the tallest building between Missouri and the Pacific Ocean but also in the cultural diversity and enrichment promoted on a daily basis

Today, living historians recreate the sights, sounds, and smells of the past with guided tours, demonstrations and special events like the “Living Encampment” where visitors can learn from site interpreters about trading sessions, Indian sign language, freighting with oxen, carpentry, and blacksmithing, making of adobe bricks, cooking over an open hearth, historic gardening, bullet making, or hide skinning. Visitors are also invited to browse from room to room as they get a feel, first hand, of life at the fort in the 1840s. A store is also on site where books, common products, and goods appropriate to the time are sold to the public.

The website address is: Canyons and Plains, Bents Fort

*Note, the first image of the front view of Bents Fort is not mine..and there seems to be some confusion under gallery- photographers concerning designated images…some of my photos are listed under the other photographers.

Cigars and Baths

Craft and Vision Magazine Interview

In September I did an interview on infrared photography with Cynthia Haynes, the editor of David duChemin’s  Craft and Vision Magazine….I’m so honored.

“Infrared photography adores the austere ruggedness of western scenes,” says Sherri Mabe. “The West is my muse.” Never more at home than when she’s wandering the vast Colorado prairie that lies beyond her front door, Mabe creates dreamlike photographs using an infrared (IR) camera, which sees and records light that is beyond the visible spectrum. She finds that IR accentuates the silence found in the wide open spaces and the sacredness of the Great Plains she calls home. Where so many other photographers see colour filled mountain views, Mabe sees the invisible light of the prairies and deserts in monochrome and uses IR to accentuate the silence she finds in this series, called Eventide. The result? Ethereal, otherworldly photographs that feel timeless. “IR lets me create how I want the world to look, because the reality of this world is pretty harsh.” -Cynthia Haynes

C&VMag_05_PDF_MABE

Awards for Monochrome Show

 

 

The Goblins-1st Place, Technical Excellence “Elegant use of the entire frame rather that a single focal point. Beautiful range of tonalities. You could teach a class on the use of tonal range to guide the viewer’s eye with this photo

 

Last Glimmer-2nd Place, Technical Excellence “This piece illustrates the use of light to do three things: separate subject and background elements, draw the eye to the focal point, and enhance the important characteristics of the subject, in this case the texture of the plants.”

 

The TLCA Proudly Presents
2019 MONOCHROME EXHIBITION
This past Saturday’s opening reception was fantastic.
Show Continues Through November 1st.
www.trilakesarts.org * 719-481-0475
Monochrome Photography Show – vision, interpretation and use of monochromatic LIGHT!

Special thanks to Cynthia Holling- Morris, our amazing Monochrome judge.

Congratulations to these award-winning photographers.
Best of Show – Reynalda by Kathie C. Ballah
1st Place Originality – Feeling Small by Sara Hagedorn
2nd Place Originality – Reflections of the Future by Sally Maddocks
1st Place Technical Excellence – The Goblins by Sherri Mabe
2nd Place Technical Excellence – Last Glimmer by Sherri Mabe
1st Place Composition – The Story is in His Eyes by Sally Maddocks
2nd Place Composition – Layers of Fallen Snow by Wendy Gedack
1st Place Overall Impact – Eclipse by John Reinhart
2nd Place Overall Impact – Box Springs and Chest by Anthony J. Crumpton
1st Place Artistic Merit – Killer Mermaid by Sally Maddocks
2nd Place Artistic Merit – Love on the Lava Rocks by Lois Lake

MONOCHROME features 66 outstanding images from the following artists: Kathie C. Ballah; Lea Hope Bonzer; Gene Carlon; J. Anthony Crumpton; Dana Gautschi; Wendy Gedack; Sara Hagedorn; Marti Harvey; Liz Johnson; Lois Lake; Sherri Mabe; Sally Maddocks; Nancy E. Myer; Rose Ann Ost; Maureen Ravnik; John Reinhard; Sandy Rich; Lynn Roth; Michael Ryno; Darcy Schoening; Jerilyn Spink; Tobias Steeves; Allison Towe; & Mark Webb.

The TLCA is located at 304 Hwy. 105, Palmer Lake, CO 80133.

Camp Amache

 

A trip to Camp Amache last winter…

Camp Amache

“The Granada Relocation Center, better known by its postal designation, Amache, is located one mile outside the small town of Granada, in southeastern Colorado. Before the war, Granada was just one of the small farming towns that dotted
the valley of the Arkansas River, which runs east a few miles north of the site. The area has a semi-arid climate, with low humidity and average annual rainfall. Summers are hot and dry with occasional severe thunderstorms or tornadoes. Winters are generally cold and dry but can bring heavy snowfalls. High wind speeds are common throughout the year and can create choking dust storms.

Amache opened on August 27, 1942, and reached a peak population of 7318 by February 1943. With the smallest overall population of the ten War Relocation Authority (WRA) camps, Amache was notable in other ways. It was the only relocation center established on private land. The entire site was over 10,000 acres, but only 640 acres, or one square mile, was devoted to the central camp area. The majority of the project acreage was earmarked for the camp’s associated agricultural enterprises. The original population came from three main California geographic areas: the Central Valley, northern coast, and southwest Los Angeles. This original group was later joined by inmates transferred from other DOJ Detention Centers and WRA facilities, including over 900 from Tule Lake, CA, and over 500 from Jerome, AK. Around 10, 000 people of Japanese descent were detained in Amache while it was open, where they did their best to cope with life behind barbed wire.

The WRA (War Relocation Authority) purchased the properties that it consolidated into the 16-square-mile Granada War Relocation Center after a process of condemnation that paid local farmers pennies on the dollar for 10,500 acres on the south bank of the Arkansas River. In addition, the Santa Fe Railroad ran through the entire six-mile length of the combined properties, adding to the land’s value.

After the $4.2 million dollar Granada War Relocation Center closed on October 15, 1945, most of the center’s buildings and contents were sold and removed. The fifteen square miles used for agriculture and animal husbandry – along with the canals that provide for irrigation – were sold to local farming interests. The one-square-mile barracks area (“Amache”) was sold to the Town of Granada for $2,500. Otero County School District 11 bought over three dozen buildings and the University of Denver bought more than a dozen for classrooms, offices, and utility buildings. The price for these properties was determined by deducting 80% from their estimated fair market value.”

Via Amache.org

A side note on the namesake, Amache was the daughter of a Cheyenne Chief. She married well known historical figure John Prowers and established a home in Lamar in 1862. Amache’s father, Lone Bear, was killed in the Sand Creek Massacre.

Voices of the Japanese American citizens in the internment camps: 

“Sometimes America failed and suffered…Sometimes she made mistakes, great mistakes…Her history is full of errors, but with each mistake she has learned….Can we the graduating class of Amache Senior High School believe that America still means freedom, equality, security, and justice? Do I believe this? Do my classmates believe this? Yes, with all our hearts, because in the faith, in that hope, is my future, and the world’s future.”

—Excerpt from a graduation valedictory address delivered at the Amache Internment Camp in Colorado

 


“When we got to Manzanar, it was getting dark and we were given numbers first. We went down to the mess hall, and I remember the first meal we were given in those tin plates and tin cups. It was canned wieners and canned spinach. It was all the food we had, and then after finishing that we were taken to our barracks.

It was dark and trenches were here and there. You’d fall in and get up and finally got to the barracks. The floors were boarded, but the were about a quarter to half inch apart, and the next morning you could see the ground below.

The next morning, the first morning in Manzanar, when I woke up and saw what Manzanar looked like, I just cried. And then I saw the mountain, the high Sierra Mountain, just like my native country’s mountain, and I just cried, that’s all.

I couldn’t think about anything.”

— Yuri Tateishi, Manzanar

 

“All ten [internment camp] sites can only be called godforsaken. They were in places where nobody lived before and no one has lived since.”

—Roger Daniels, leading authority on the Japanese internment.

 

“Everybody’s hair and eyebrows would be snow-white with sand.”

—Mary Adachi, an internee at the Topaz internment camp in Utah

 

“Down in our hearts we cried and cursed this government every time when we showered with sand. We slept in the dust; we breathed the dust; we ate the dust.” 

—Joseph Kurihara, an internee at the Manzanar internment camp in California.

 


Marielle Tsukamoto, who was a child at the time, later recalled the atmosphere of dread:  “I think the saddest memory is the day we had to leave our farm. I know my mother and father were worried. They did not know what would happen to us. We had no idea where we would be sent. People were all crying and many families were upset. Some believed we would not be treated well, and maybe killed. There were many disturbing rumors. Everyone was easily upset and there were many arguments. It was a horrible experience for all of us, the old people like my grandparents, my parents and children like me. We were all innocent”

“We saw all these people behind the fence, looking out, hanging onto the wire, and looking out because they were anxious to know who was coming in. But I will never forget the shocking feeling that human beings were behind this fence like animals [crying]. And we were going to also lose our freedom and walk inside of that gate and find ourselves…cooped up there…when the gates were shut, we knew that we had lost something that was very precious; that we were no longer free.” 

— Mary Tsukamoto 

 

“As far as I’m concerned, I was born here, and according to the Constitution that I studied in school, I had the Bill of Rights that should have backed me up. And until the very minute I got onto the evacuation train, I said, ‘It can’t be! How can they do that to an American citizen?’”

– Robert Kashiwagi

 

Via-Biography.com

 

Dorothea Lange


After photographing for the Farm Security Administration, Dorothea Lange was hired by the War Relocation Authority (WRA) to photograph the internment of the Japanese and Japanese Americans on the Pacific coast, following the bombing
of Pearl Harbor. Presumably, the government wanted to show how orderly the process was, how well the internees were being treated. This time she was deeply in opposition to the government’s actions, but felt it was critically important to document the internment.

Lange worked with a sense of urgency, up at dawn, photographing until the light was gone. There were a number of subjects that were off-limits to her camera: no photographing the barb wire fences, the guard towers with their search lights and guns, no images of the bathrooms, with six pairs of toilets installed back to back with no partitions for privacy.

“The difficulties of doing it were immense,” Lange said. But it wasn’t just the physical hardships she was referring to. She felt forcing the Japanese and Japanese Americans into relocation centers was an unprecedented suspension of civil liberties. For Lange it was “an example of what happens to us if we lose our heads. What was horrifying was to do this completely on the basis of what blood may be coursing through a person’s veins, nothing else. Nothing to do with your affiliations or friendships or associations. Just blood.”

Via-Dorothea Lange Photographs

 

 

 

Monochrome Exhibition

Monochrome Photography Show – vision, interpretation and use of monochromatic LIGHT
Photographers of all levels were invited to submit their original photography for consideration. Black and white photography—Shades of gray and single toned [sepia, selenium, etc] The Monochrome Exhibition is a juried photography exhibit of fine art.

The 2019 MONOCHROME Exhibition features 66 outstanding images from the following artists:

Kathie C. Ballah, Lea Hope Bonzer, Gene Carlon
J. Anthony Crumpton, Dana Gautschi, Wendy Gedack
Sara Hagedorn, Marti Harvey, Liz Johnson, Lois Lake
Sherri Mabe, Sally Maddocks, Nancy E. Myer
Rose Ann Ost, Maureen Ravnik, John Reinhard
Sandy Rich, Lynn Roth, Michael Ryno , Darcy Schoening
Jerilyn Spink, Tobias Steeves, Allison Towe, Mark Webb

The mission of Monochrome Photography Show is a challenge to photographers to demonstrate their use of light to help define the subject. The light can be natural or artificial; or a combination that enhances the impact, drama, emotion, and/or message of the image. Images will be juried, judged; and awards for Best of Show, ORIGINALITY, TECHNICAL EXCELLENCE, COMPOSITION, OVERALL IMPACT, ARTISTIC MERIT.

.

 

 

 

Abbott Church

A Prairie Mother’s Day

 

Last Mother’s Day most of my family was out of town, so my daughter and I drove out to the prairie in search of the Abbott Church. After 123 miles and a few dirt roads we found this old church sitting quietly upon a hill overlooking the prairie. This has to be one of the most beautiful places on earth. While I was taking photos, a woman arrived with a bouquet of wildflowers to place on one of the few graves off to the north side. As she was leaving she curiously inquired about my interest in the church, and then I asked about her visit to the tiny gravesite. Seems this woman had lost her 12 year old daughter in a car accident the day after Mother’s Day, May 13, 2002. We chatted quite awhile about the changes to Colorado since we were both young girls, our children, and then she asked if I wanted to see the inside of the church. The Abbott Church was built in 1913 DHD, “during the homestead days.” Inside there were tiny wooden pews, lace curtains on the windows and a very old organ. Denise then showed me some photographs of herself as a young girl hanging on a wall inside the church, and told me stories of growing up out here and her life her now. Such a lovely serendipitous day. I will return to the Abbott Church soon.

“The prairie skies can always make you see more than what you believe.” -Jackson Burnet

 

Abbott Church

Inside the Abbott Church

My World in Infrared

Kolari Vision recently published this feature on my infrared work!

 

 

As a girl I would linger hours in a fantasy world of faraway galaxies, cloud gazing, enchanted forests, and so on. Growing a bit older I immersed myself in the worlds of books and music, keeping company with words and rhythms. Then at some point in my teens I came upon my father’s old 1960’s Kodak Instamatic camera (I still have it, teeny negatives), and would drive into the mountains or down to a lake shooting photos of landscapes. Finally, after college graduation, I met my first SLR and off we went to see the world.

During the 1980’s and 1990’s I enrolled in photography courses at several colleges, was a SA in a college darkroom, and fell in love with black and white fine art photography. My mentor, Suzanne Camp Crosby (herself a student of surrealist photographer, Jerry N. Uelsmann) introduced me to HIE film during my third semester of classes at a local Tampa college. It was love at first roll of film; I’d found my passion.

Joyce Tennyson says, “I very strongly believe that if you go back to your roots, if you mine that inner territory, you can bring out something that is indelibly you and authentic -like your thumbprint. It’s going to have your style because there is no one like you.”

In retrospect, it was infrared film that allowed me to reach back into my childhood to see the joy found in that nine year-old fantasy world and transpose it into my images today, like closing a circle.

During the later years of photography courses, I focused solely on IR film, but also took workshops with Joyce Tennyson, Clyde Butcher and a weekend class with Jill Enfield, who was then hand coloring infrared images. Icing on the infrared image! I went out and bought a set of Marshall’s Photo Oils to color with and matte paper to print my images on.

As the years passed digital arrived on the scene and, in 2007, I purchased my first converted Nikon D-70 with a 720nm. I’ve moved through three more cameras until finally choosing a Sony a7r mirrorless for its contrast, light weight and sharp images. During those early digital years, processing my images presented another learning curve so I took a few classes on the basics with the bulk of knowledge gained being self-taught.  I’ve finally achieved a level of comfort processing my images via Photoshop and Luminar.

Infrared photography has allowed me to explore my love of surrealism; it is my “thumbprint” in the world of photography and my passion.  A photographer friend said to me, “You see in infrared, Sherri!” I suppose that is true. Infrared allows me to connect to that little girl who preferred to see the otherworldly in her simple rural surroundings. Another element about infrared that thrills me – you never really know what you have photographed until it is processed; after all, it’s invisible light!  For me, this adds to both the challenge and attraction of infrared as my favorite photographic medium.

Moving back home to Colorado after 27 years of living around the world, a lot has changed since my childhood, yet the landscapes are still out there to photograph.  Infrared photography adores the austere ruggedness of the western scenes.  In particular, the skies and arid vegetation come alive via infrared.  I see the invisible light of the prairies and deserts in monochrome where so many other photographers see color-filled mountain views.

I’m presently photographing a series on area farmhouses in Colorado before they disappear due to development, fracking and decay. Infrared is the perfect medium to preserve the memory of these homes and this era as it creates a dreamlike quality to the subject. A good friend of my recently commented on my farmhouse images, “I love the haunting quality of your photography. Your photos have an otherworldly sense of half remembered dreams.”  Success in conveying those childhood memories, there is joy in that.

Website: https://www.sherrimabeimages.com

Instagram: https://www.instagram.com/starlitwaltz/

Facebook: https://www.facebook.com/sherrimabeimages/

 

Hollyhock Summer

Farms of Northern Colorado

The images of farms in my portfolio are a continuation of a series I’m working on here in Colorado. 

Colorado Farms
“This land pulses with life. It breathes in me; it breathes around me; it breathes in spite of me. When I walk on this land, I am walking on the heartbeat of the past and the future. And that’s only one of the reasons I am a farmer.”
― Brenda Sutton Rose

The last five months I’ve been documenting farms in Northern Colorado. My adopted grandparents farmed here until the early 70’s, so my memories as a young girl visiting the farm are vivid…the cool air in the mornings, the large family midday meals, harvest, the smell of fresh cut silage and sugar beet trucks lining the roads in autumn, the magnificent cottonwoods which shaded many of the farmhouses, hard work and the peace provided by the many places to simply be alone.

Today this farming area is shrinking. Development along the Front Range is one reason, but there are others…water rights, income, fracking, a rising water table in some areas, and simply some younger folks moving on from the family farm; change on many levels.

I was away from Colorado for almost 30 years, so after seeing the changes to the land, I decided to photograph my memories here. These images were made with a Sony a7R (mirrorless/full frame) converted to infrared with a 720nm filter which creates a dreamy ethereal look, perfect for how
I want to preserve the history and memories of my childhood home.

“These memories are part of my heritage, the fabric of my personality, and as real to me as the land itself.”
― Karen Jones Gowen, Farm Girl

Here is a link to a document on the history of agriculture in Weld County: http://www.historycolorado.org/

South of Eaton

“Monochrome”

MONOCHROME
a juried photographic exhibition

Opening Reception August 31, 6-8pm
Exhibition Runs August 29 to October 29

Photographers of all levels were invited to submit their original photography for consideration. Black and white photography—Shades of gray and single toned [sepia, selenium, etc] The Monochrome Exhibition is a juried photography exhibit of fine art.

The mission of Monochrome Photography Show is a challenge to photographers to demonstrate their use of light to help define the subject. The light can be natural or artificial; or a combination that enhances the impact, drama, emotion, and/or message of the image.

Joanna B. Pinneo, National Geographic Photographer and Monochrome 2017 Photography Show Judge

 

 

 

The Gathering–Show Selection

Flourishing Ascent–Show Selection

The Nonconformists–Show Selection

Withering-Splendor–Honorable Mention

Last Call at the Esquire–Honorable Mention