Showing posts with label Maine. Show all posts
Showing posts with label Maine. Show all posts

Wednesday, August 4, 2010

Squelch Kings of Maine

They have been burning rubber in Maine as long as I can remember. My grandfather called them "figure 8s." My Maine cousins called them "squelch marks" (written English does not even come close to conveying the proper pronunciation of "squelch," to say it properly involves copious amounts of air and saliva). Squelch marks should never be confused with skid marks; skid marks are caused by braking so hard that the tires lock up. Squelch marks happen when the tires of a vehicle get spinning so fast that they heat up and melt. As a tire becomes softer from the heat it begins to grip the road enough to drive the vehicle forward, but it still spins faster than the vehicle is moving so it leaves a layer of rubber behind. As the vehicle catches up with the tire there is less slipping so the tire cools, and eventually the squelch fades out. The other thing to note in this squelch tutorial is that with the rear tires slipping they tend to also move sideways as they push the heavy front of the vehicle. As the driver steers to correct his course (if he can) it causes the marks to wander back and forth often forming a gentle sine wave. It is common to find two marks made near each other weaving back and forth, if done with skill the two marks will cross each other, appearing like two twisted threads or a series of 8s strung together. Now you understand the basics of burning rubber.
Route 176 South Mile 14
The longest and darkest squelch marks I can recall. These were not created at the same time.

We drove to Maine earlier this summer and arrived in Blue Hill very early in the morning, still it was light enough to see that there were some very recently laid down and impressive squelch marks. It occurred to me that they might make an interesting series of photographs. I remember thinking two things about how the photos should be made: they should be black and white, and the light should be thin overcast, not direct sunlight. By the time I was able to schedule the shoot I had limited time and the light was alternating between direct noon sunlight and shadow caused by a passing cloud. I made a loop of routes 176 and 172 looking for the best marks and I photographed four different ones that day, but only two resulted in pictures worth displaying. I've learned that the best pictures have the road converging on the horizon with two marks. Of the two rejects one has very good light and the road converges with just a slight curve but there is only a single mark and it is to the side of the right lane. When I took the photo I stood far off the center of the road and the picture looks unbalanced. The other photograph was made on a curve and the road arcs from one side of the scene to the other. The resulting picture looks like a rather pedestrian photo of a road.

Route 176 South Mile 9
These marks were created at the same time, both rear tires are spinning which is unusual with modern vehicles.

All of my "fine art" pictures are heavily manipulated, though they don't often look like it (I'm ambivalent about this result, I spend a lot of time trying to get a print that matches how I previsualized the scene, and in the end it's difficult for a viewer to see the work that went into the image). These images have had local and global contrast changes. Some regions have been lightened or darkened, but the marks themselves have not been specifically altered. I've had the prints on display for two days at work and often the first question is, "what did you do to the skid marks?" After I explain that they are not skid marks (see paragraph one) my answer is, "nothing." They really were this dark.

Now I think that each year I will have to do a squelch mark survey of routes 176 and 172 to keep adding to my collection. Maybe someday there will be a squelch retrospective in the Surry Community Hall. I like to think that a fabled Squelch King will recognize his handiwork and proudly claim it as his own, and on that day I can ask the question that has been on my mind many years now, "How can you afford to wreck tires like that?"

Wednesday, July 21, 2010

Gorham Mountain Under the Stars

It is difficult to understate the beauty of Maine's Atlantic coast. This thin strip of land at the continent's frontier winds along for thousands of miles. Where the tide rises and falls much of this ever-changing line is defined by a meeting of water and rock. Not far east of where the Penobscot River nearly divides the state's coast in half is Mount Desert Island, here the waves unfurl against pink granite. The island rises steeply out of the water and is divided into a series of glacially sculpted north to south running mountains separated by valleys. Gorham Mountain is on the east shore of the island, its pine-forested ocean-side flank runs down to Frenchman Bay where many of Acadia National Park's most well-known natural features are found.

Of Mount Desert Island's eminences Gorham is unlikely to be listed among the most well-known peaks. It is far from the tallest mountain, Cadillac towers above it by more than a thousand feet. It does not have any trails with challenges like Champlain's Precipice Trail or The Beehive's south face trail. However, while it is difficult to quantify its panoramic beauty, there is no doubt that the vista of forest and ocean that can be seen from just south of the summit is among the best places to experience what makes Mount Desert so unique. From where the summit begins to drop away in a series of jointed steps the eastern and southern sides of the island where the mountain disappears into the sea can be seen including Sand Beach, Otter Point, and Seal Cove.

But the view is only part of what makes Gorham Mountain an ideal place for nighttime photography; on summer evenings the Milky Way is in the south over the ocean. The peak, behind and to the north, casts a long dark shadow where the lights of Bar Harbor and Ellsworth are blotted out. The distance from the nearest parking to the summit is not far and takes only minutes to hike.

Gorham Mountain Trail starts at the Park Loop Road and proceeds up the south ridge of the mountain. This same ridge with a trail riding it continues on from Gorham's summit where it joins with The Beehive. From this point the ridge pushes north to the height of Champlain Mountain. If Cadillac Mountain is the king of Mount Desert then Champlain is its powerful queen. Champlain commands the north and east sides of the island with its challenging trails to the summit and an all-encompassing view of Frenchman Bay.

The sun is just setting as we begin to head up the trail. From the parking lot the trail ascends over ledges and eroded dips, at the bronze Bates marker it splits into parallel trails that merge back together near the summit; we take the upper trail. As we get near the summit the trees become more scattered and shorter, we are entering the typical approach to the bare peak of a Mount Desert Island mountain. The granite here is scoured and undulating, low spots accumulate sand, pine needles, and water. In other places a thin layer of sandy soil, home to wild Blue Berries and small Pitch Pines, perches atop the stone.

Near the peak at the edge of a small ledge I begin scouting the terrain looking for the best location to make a long exposure photograph of the Milky Way; it needs the right balance between foreground granite, middle ground forest and water, and distant sky. I try to envision the trailing glow of the Milky Way arching overhead in the dark however I am distracted by the inauspicious fog that is pushing north up the bay and beginning to climb into the sky. The fog, rising like a breaking wave, smashes the original plan; the Milky Way will be hidden tonight behind clouds.

Turning from the southeast to the west the sky is clear and dark blue now that the sun is well down. Only thin wisps of cloud float like streamers. Saturn blazes near the horizon and the brightest stars are making their appearances. I decide to try to photograph in this direction; I compose the image of coniferous trees and azure sky then begin making test exposures. After half an hour the lingering twilight has evaporated into the black of night and I start the camera operating on its own. Now there is only waiting.

Gorham Mountain Evening Sky
Stars Over Gorham Mountain

Sarah and I lie on the rock by the edge and look straight up into the starry sky. The bell buoy marking The Thrumcap rings out a muted warning as it is rocked gently by an unusually placid ocean. A separate beat is played out by the legato rasp and then staccato thump of waves breaking on the sloping granite below. The crash of each wave can be felt, as much as heard, through the ground beneath us. I press a hand flat against the rough surface. The granite is comfortably warm, emitting the heat it absorbed all day under the sun. Overhead the stars circle imperceptibly and I consider how it is that of all the light that has left their surfaces these tiny amounts have travelled from distant space and deep time to form the beautiful night sky I see above me. My perception of Gorham Mountain, of its enormous size and solidity changes, and the mountain shrinks becoming infinitesimal. My view of the universe has become boundless and I feel as if I will float off of the mountain into space if I don't hold on tightly.

Finally all the pictures that can be made tonight are finished. Reluctantly we get out our lights and I pack the equipment, putting away the camera and collapsing the tripod; I slip my arms into the straps of the camera pack and we start descending. With headlamps we can only see a dozen or so feet in front of us. On heavily trafficed rocky ground it can be difficult to be certain where the trail is, so we stop fairly often to locate a cairn or blaze to be certain we have not wandered off course. Below the treeline it doesn't feel as if the warm air is moving at all, and the forest is absolutely quiet, the only sound is from our boots scuffing the ground. At last the sign marking the trail head comes into view; we haven't encountered another person the entire time, and our time spent with ocean, mountain, and stars is ended.

Saturday, July 18, 2009

The Maine Grind

It seems that even our trip to Maine will be dogged by the wet weather that has dampened the Northeast all summer. As we traveled East in New York on route 90, we slowly overtook, then remained under, a monster thunderstorm that hammered the Albany area. Rain and hail alternately took turns tearing at the car. Lightning was all around us lashing the ground. Fortunately, by yesterday morning the rain and clouds were dissipated by warm air, and we enjoyed clear, rain-washed skies. When we drew near the coast streamers of fog were carried inland from the ocean by a cooler breeze.

Today is overcast with occassional light rain. However, for those of us "from away," this weather presents a welcome opportunity for silent contemplation. If you are fortunate to find yourself standing quietly in a Maine mist-filled forest without the slightest wind you soon learn it's subtle beauty. Droplets collect on the fanned branches of Balsam firs, and the only sound is of water dripping from the tips to the needle-blanketed earth. By the coast the scent of resin and salt is inescapable. All around, green pine and fir branches lace together, broken by the peeling white of paper birch trunks. Perhaps in time the clouds will shred and roll away under a high wind; rays of sun wax and wane creating a pulsing display of glittering beads. Yet often enlightenment comes with the understanding that eventually the exceptionality of this moment will fade. Chaucer wrote, "Men seyn that ‘over-greet hoomlynesse engendreth dispreisynge’." Familiarity breeds contempt. It's possible that being from away has its own blessings.

Another less contemplative option is to catch up on the latest Ellsworth happenings at the The Maine Grind and enjoy coffee, art, and (eavesdropping on other people's) talk. Currently on display is a great photo by Gifford Ewing titled "High Tide, Bar Island." It's captured on 5x7 AgX film, printed at about 36x48" (huge!) on AgX paper and selenium toned. Gorgeous black and white.