Social Media

"The goal of Sunshine Pulse, as Aki Tanaka states, is to capture feelings of "wavering between hope and anxiety." Presented in a contemporary style - color images printed full-bleed and bound in a slick hardcover - Tanaka's photographs convey a deeply traditional message. Lustery images, tightly-framed in the smallness of the book, invite slow, close consideration of moments of sunlight as it passes through and around the petals of cherry blossoms."
 ---  from Nicholas Chiarella's review of Sunshine Pulse by Aki Tanaka in photo-eye Magazine.

Read the full review here.

Thanks to Ed Templeton, photo-eye found out about the new Japanese publisher Super Labo in 2009. Last year, this new publisher started a series of perfect bound and saddle-stitched publications with Templeton's Coming to Grips and Joel Meyerowitz's Redheads. This year, Super Labo has expanded its catalogue with five new titles and at least one more (by Stephen Gill) coming out in the fall. The new books have arrived at our warehouse and, although modestly composed, they are rich with content. In this newest list is Alec Soth's post-Mardi Gras project Ash Wednesday, New Orleans and Hido's fabricated narrative Nymph Daughters, Kanemura's street chaos Stravinsky Overdrive, a selection of Meyeorwitz's images with a floral motif Wild Flowers and, contrary to the color palette you might imagine, mostly black, super-saturated images of snowboarding at night in Tomonori "Rip" Tanaka's Night Rider.

All of the books can be found on the Super Labo page on photo-eye's Publisher's Showcase. Click on each book for more info or to order.
Summer may be winding down, but photo-eye’s artists are busier than ever… Check out some of the things they have been up to:

Tom Chambers’ Night Light is featured on the cover of the November issue of Color magazine. With almost 500 entries and 9,000 images submitted, Color chose to give Chambers the Award of Excellence. Color is available at newsagents now.

Hiroshi Watanabe’s portfolio Suo Sarumawashi has been prominently displayed at Promenades Photographiques in Vendome, France. His image Aikichi 2, Suo Sarumawashi was chosen for the official festival poster.

For those in Santa Fe, be sure to pick up your copy of this week’s (August 25-31) Santa Fe Reporter and check out Rani Molla’s review of PE’s summer exhibition: Elemental. Of the show, she writes: “Elemental’s three complementary photographers—Chris McCaw, Mitch Dobrowner, and Edward Ranney—all focus on nature as their subject, but without an overt environmental message. A show that invokes earth, fire, wind, water and heart can’t stray too far from the Planeteers’ territory – or from fear and love.”
"Throughout her thirty-year career, artist Kiki Smith has repeatedly employed techniques warranting the recognition of her artistic process. Her photographs fulfill a similar purpose, documenting everything from the onset of inspiration to the final result.

Cinematic sequences of Smith's visions and revisions are packaged into five symmetrical grids and woven through the critical findings of curator Elizabeth A. Brown in an adventurous journey through the artist's creative routine. But Brown's essay has been written so well and Smith's work presented so well, that it's hard to ignore a craving for the raw, unsaturated beauty of each fiber separately."
--- from Rena Silverman's review of Kiki Smith: Photographs by Elizabeth A. Brown in photo-eye Magazine.

Read the full review here.
In college, I was fortunate to have the opportunity to enroll in a class with the intriguing title "Literature and Madness". Among many on the books on the required reading list were John Fowles' The French Lieutentant's Woman (which I actually did not finish), Franz Kafka's Metamorphosis, Mario Vargas Llosa's Aunt Julia and the Scriptwriter, Isabel Allende's The House of the Spirits and Gabriel García Márquez's One Hundred Years of Solitude. The final section of the class was heavily weighted with novels in the genre of magical realism. García Márquez's characters stuck with me for years, I even considered naming my child Melquíades. In reading more about the life of García Márquez, I discovered the work of Juan Rulfo and his classic novel Pedro Paramo. Although not hugely popular when published, this classic had influenced the work of many Mexican, South American and international writers and artists (there is an illustrated version by photographer Josephine Sacabo). In addition to being a novelist and later a well-known screenwriter, Rulfo was also a prolific photographer. It is stated that there are 6,000 negatives housed at the Juan Rulfo Foundation and about 350 of these images were taken in the state of Oaxaca, Mexico. A few of the images from this region were culled, in varying stages, by Victor Jimenez; Andrew Dempsey, researcher and specialist in British and Mexican photography; Juan Francisco Rulfo, the son of Juan Rulfo; and Francisco Toledo of Centro Fotográfico Manuel Álvarez Bravo to be featured in an exhibition at this center. A few images from this initial selection are now published in a book appropriately titled Juan Rulfo Oaxaca.

from Juan Rulfo Oaxaca

from Juan Rulfo Oaxaca

This small hardcover catalogue has 64 images mostly taken by Rulfo in 1956. Many of the images show the inhabitants of this area digging in the earth or carrying handmade vessels presumably full or soon-to-be-filled with precious water or in ceremonial costuming waiting for the advent of festival or ceremonial events -- the ebbs and flows of everyday life. Other photos feature the local contemporary architecture and that of former inhabitants in the form of Mayan pyramids and Spanish missions surrounded by the barren landscape riddled with cacti and enveloped by mountainous terrain. The images convey Rulfo's passion for the region and the simplicity of the book only mirrors the lifestyle that Rulfo was able to capture. Each plate rests on a single page and floats on the slightly warm creamy paper. The fore edges of the book are dyed in a vibrant red bringing to mind the brightness that is often associated with the clothing and art of Oaxaca. The texts by Dempsey and Jimenez both descriptive of the project and of Rulfo's photographic work and are printed in both Spanish and English.

"Touchless Automatic Wonder: Found Text Photographs from the Real World revels in establishing unexpected connections between the written word and its surroundings. The book marks Lewis Koch's twenty-five-year search to extricate the thrill of hidden messages buried amid the chaos of our everyday visual landscape."
--- from Mary Goodwin's review of Touchless Automatic Wonder by Lewis Koch in photo-eye Magazine.

Read the full review here.
"The retrospective monograph The Photographs of Frederick H. Evans, curated by Anne Lyden and complemented by Hope Kingsley's essay, provides a wonderful tribute to this renowned English photographer.

Evans was an active photographer from the early 1880's well into the 1930's. Although his subjects ranged from portraits to the rural landscape and English country homes, he is best known for his poetic photographs of English and French Cathedrals."
--- --- from Douglas Stockdale's review of The Photographs of Frederick H. Evans by Anne M. Lyden in photo-eye Magazine.

Read the full review here.
"Mercy Mercer, the second book of New Zealander Derek Henderson's photographs, is a weighty volume of 128 pages. When first holding it, it has a great object-presence. The gray book cloth is delightfully tactile. The cover photo is one of Henderson's signature images and served as my introduction to his work in 2008 when he won Jen Bekman's Hey, Hot Shot competition. Once inside, the only text to prepare you for the images is Henderson's brief artist statement."
---  from David Ondrik's review of Mercy Mercer by Derek Henderson in photo-eye Magazine.

Read the full review here.

"This book explores a range of Angus McBean's black and white photography work from the 1930's to the 1950's during which time he documented countless landmark theatre and film productions within Britain for publicity purposes. Successfully using dramatic chiaroscuro lighting and imaginative props, McBean captured the styles and opulence of these productions. The introductory essay by Richard Traubner keeps a lively balance between the technical side of McBean's innovative approaches and his personal quirks."
---     from John Mathews's review of The Theatrical World of Angus McBean by Fredric Woodbridge Wilson in photo-eye Magazine.

Read the rest of the review here.
from the book The Sound of Two Songs

Magnum photographer Mark Power's new monograph The Sound of Two Songs offers a contemplative view on contemporary Poland. Power has been continually visiting Poland for the last 5 years, documenting the bleak, beautiful, and often silent areas that exist in both the rural and urban parts of this country. Power also integrates a variety of portraits (the subjects often holding back any sense of real emotion) that I believe add a dimension of human involvement to a landscape otherwise operating in a grim, if not surreal, state. In a brief description of why he was compelled to photograph Poland, Power states that for him "Poland is exotic." By observing this body of work, I would agree.... Poland is exotic.

from the book The Sound of Two Songs

from the book The Sound of Two Songs

To be clear, The Sound of Two Songs is one of the most interesting bodies of work I have come across this year. Not only have I connected to the images in Power's monograph, this work has also created a deep sense of nostalgia for a landscape I have never personally traveled to. The barren landscape reminds me of growing up in the stripped and still plains of the central United States. The cold winters, muted colors, recurring crucifixes and inherent loners depicted in Power's monograph are all too familiar.

from the book The Sound of Two Songs

from the book The Sound of Two Songs

The Sound of Two Songs offers an oddly compelling visual tale of contemporary Poland. As Power states, "Poland is a land bursting with visual contradictions." This is a statement that could offer a whole topic of discussion unto itself, and flipping through the pages of Power's book, I completely understand what he is getting at.

Mark Power's The Treasury Project and Superstructure are available at photo-eye Auctions. Both titles are signed.
"Why do we look at photographs? What drives the compulsion? I think there are several answers, of course. But chief among them is a desire to see things we haven't seen, to understand the world through someone else's eyes. Perhaps to read a visual language that will impact our own vision.

Celine Clanet's book Maze contains a set of photographs made among the Sami culture in Northern Norway, at the outer edge of Europe. She is not from there, but managed to ensconce herself enough among the locals that the images have a ring of authenticity. And they are lovely, to be sure. "
-- from Jonathan Blaustein's review of Maze with photographs by Celine Clanet in photo-eye Magazine.

Read the full review here.

Purchase a copy of Maze by Celine Clanet here.

"China is a popular topic for photographers. The country's economic transformation, large factories and the environmental fall out of this progress have fueled the majority of the imagery. Louis Porter goes in the opposite direction and focuses on the smaller scale, the urban constructed floral landscape. His book 100 Flowers is a small soft cover bursting with the colors of flowers in various states of planting in Beijing just before the 2008 Olympic Games."

--- from Tom Leininger's review of 100 Flowers by Louis Porter in photo-eye Magazine.

Read the full review of 100 Flowers here.

"Without a doubt, Tim Davis is one of the top five most savvy, wry photographers working today. His images make no bones about coming at you, forcefully, and making you wrestle with the issues he nonchalantly tosses at you. Nonchalantly, like a professional baseball player calmly tossing a laser from third to first and then looking down and kicking a clump of dirt that annoyed him. Davis's photographs make a beeline for your intellectual-visceral-visual cortex and force you to reconcile irony, truth, and amazing insight in a single frame."

--- from George Slade's review of The New Antiquity by Tim Davis in photo-eye Magazine.

Read the full Review of The New Antiquity here.
The Photographer's Showcase is excited to introduce a portfolio from Colette Campbell-Jones:
Stories from Underground
Left In -- Colette Campbell Jones
Using a hybrid of film and digital processes, Campbell-Jones has created a cultural and psychological document of the vanishing coal mining communities of Southern Wales in her series Stories from Underground.  Calling her images "a fairy-tale reconstructed from an unbroken lineage of oral histories," Campbell-Jones's work is well-researched, taking into account historical legacy and modern global changes, but pushes further than basic documentation. These are complicated images -- dense in their visual symbolism and deeply thoughtful.

Histories -- Colette Campbell-Jones
The images are overwhelmingly dark, echoing the deep, endless darkness of a mine.  At times the darkness can feel foreboding, but Campbell-Jones's dream-like images are not a nightmare -- the density of blackness also holds the visual world in place, just as the mining industry has allowed for the development of strong communities. Creeping in from every corner, darkness conceals, but also focuses the viewer's attention to the lightness and subtle vibrancy of the people and community.

Colette Campbell-Jones was the winner of the Photographer's Showcase Award at PhotoAlliance Portfolio Review in 2009. 
Colette Campbell-Jones with her work at PhotoAlliance Portfolio Review 2009

View Colette Campbell-Jones's portfolio Stories from Underground on the Photographer's Showcase.

For more information please contact photo-eye Gallery Associate Director Anne Kelly by email or by calling the gallery at (505) 988-5152 x202

"Wien 2 is a collection of 140 photographs taken in Vienna, Austria between 1995 and 2009. Many of the images are exterior architectural views that deal with the process of urban regeneration. The photographs have an ambiguous sense of place because they avoid obvious landmarks and are for a large part untitled. Oberdanner uses a snapshot aesthetic that attempts to create a rhythm of seeing. Her approach is similar to a 19th century flâneur, wandering around cities as a detached observer in an effort to comprehend urban phenomena and modernity."
--- From John Mathews's review of Wien 2 by Annelies Oberdanner in photo-eye Magazine

Read the rest of the Wien 2 review in photo-eye Magazine.

Presumptuous Guests -- Tom Chambers

In the past few years, photographer Tom Chambers has received much attention for his works.  His series Entropic Kingdom has earned particular recognition when it places second at 2010 Px3 in Paris in the digital category.  Images "Saccharine Perch" and "The Goatherd" took first place at FotoWeek DC and at the 2009 Worldwide Photography Gala Awards respectively.  In 2009 Chambers was invited to participate in the Fotografica Bogota sponsored by Fotomuseo, the National Museum of Photography in Colombia.  A biennial, Fotografica 2009 Bogota was a gathering of sixteen international and twenty-four Colombian photographers.  Chambers has also been invited to participate in the 2010 Salon d'Automne where one of his images was chosen for the official poster.
Tethered Aviator -- Tom Chambers
Tom Chambers's new series Dreaming in Reverse was created during his recent travels in Mexico.  Though this is the first body of work that Chambers photographed in Mexico, I remembered him mentioning that some of his earlier work was inspired by earlier trips.  I asked Chambers to tell me a little more about his relationship with Mexico:

Over twenty years ago, I fell in love with Mexico as my wife and I traveled through the Michocan and Guerrero States in central Mexico.  Travel was easy as we moved about via bus transportation from cities to villages and back.  The drivers would stop for anyone along the side of the road waving a few pesos.  Buses were sometimes filled with chickens and goats, but always filled with friendly, helpful people.  Sadly, this area of Mexico is part of the drug corridor dominated by the drug cartels, and not as safe or comfortable to visit.  One our recent travels we were in the Yucatan area, and always felt welcome and safe.

Tom Chambers photographing in Mexico
In my first exploration of cities and villages, like Morelia and Patzcuaro, the religious icons caught my attention.  Painting of religious miracles, magic realism, and religious masks inspired my earlier Ex Votos series.
Outdoor installation of Prom Gown #3 at Fotografica Bogota
One of many inspiring moments at the Fotografica Bogota was connecting with fellow photographers, including Patricia Martin.  After returning to the States, Patricia and friend visited my family in Virginia, where we were able to share a little bit of the South with our new Mexican friends.  Almost a year later, with incredible graciousness Patricia and her family warmly welcomed us to the Yucatan, Mexico. 
The Yucatan, Campeche and Quintana Roo proved to be a treasure trove of photographic opportunities.  Majestic archaeological sites, intimate Mayan villages, gracious haciendas, magical religious icons, natural beauty in the cenotes and henneken fields, and gentle, friendly Mexican people grabbed at my heartstrings.
I am always grateful for travel, which broadens my view of the world and inspires artistic ideas, such as my series Dreaming in Reverse.

-- Tom Chambers

For more information on Chambers's work, contact photo-eye Gallery.

I am sure many of you bibliophiles out there know about the great, and unfortunately now defunct, Nexus Press. Well, there are still a few of their books out there to be had including some of my favorites -- Clifton Meador's (Whisky) Defense and Memory Lapse, Bill Burke's Mine Fields and Phillip Perkis's Warwick Mountain Series. I recently had the pleasure of hosting a book signing for Clarissa Sligh, a photographer and a bookmaker whose work is featured in one of the Nexus publications. Another of my Nexus favorites is Sligh's Voyage(r) -- a Smythe sewn, duotone offset printed soft cover in an edition of 80. Subtitled Tourist Map to Japan, this volume is not just an expression of Sligh's own experience in Japan, but she also takes on the facts and artist interpretations of the bombing of this country by her own country during WWII. Completing the presentation is a small cloth bag which holds the book and whose pattern brings to mind a Japanese fan motif. A few signed copies in stock.

photo-eye is pleased to announce that we are able to get many of the Nexus Press books thought to be out-of-print including the ones mentioned above. Simply click on the title for more info or to purchase. Many of the titles are very affordable ranging in price from $15 to $50

For those of you who ordered Todd Hido's newest book Nymph Daughters this weekend in good faith that whatever Hido does is gold, well, you might be excited by this extra info. For those of you who need more facts to make your decision, well, now you have it. Todd emailed us this weekend with enthusiasm about his new publication and pointed out that we lacked a very important detail in the listing for the book -- the description. It sounds simple-minded, but books without descriptions often frustrate me -- and I get to handle most books first hand. I still need the details. Well, here is the info on Nymph Daughters straight from the photographer's mouth:

"This new book by Todd Hido (b. 1968) is a departure that brings him back to some of his narrative sequencing experiments he played with in graduate school while studying with Larry Sultan. This series started with two photos, the first image of found studio portrait of a mother made in the 1950’s, and another found archival newspaper photograph taken by a reporter of the aftermath of an auto accident. Hido put the portrait at the front of the book and the car crash at the back and worked to narratively connect the two using his own archive of portraits, landscapes, and photographs of houses.

The resulting book is a pulp tale that hints at some of the undercurrents and backgrounds that many of the people Hido has used in his other projects have hinted at, 'I have always felt that many of the model’s I have worked with in doing nudes were somehow revisiting something from their past by posing for the camera. There is a peculiar attraction we have as humans to reengage later in life with the things that troubled us most.'"

Also, we contacted the publisher for the print image. If you were considering the limited edition, the clamshell image with print is shown above. It is only an edition of 20 with 2 AP's so best to snatch that one up quickly. Signed copies will arrive in about 2-4 weeks.

"Magnum photographer Abbas was in Siberia on 9/11, half a world away from the crumbling of the Twin Towers - but fully aware of the questions that would echo for years to come about the nature of Islam, and the fundamentalists who caused such destruction in Allah's name.

In Whose Name: The Islamic World after 9/11 is a collection of 173 black-and-white photographs made by Abbas in 16 countries over a seven-year period as he explored the Muslim world's response to the 'jihadists in their midst.' He asked, 'How does Islam, a religion, sustain a political ideology - Islamism?'"
--- From Sara Terry's review of In Whose Name by Abbas in photo-eye Magazine

Read the rest of the In Whose Name review in photo-eye Magazine.
This week photo-eye has seen a great deal of high quality photo books come through our door. Mark Power's The Sound of Two Songs and Cuny Janssen's Amami are just a few examples of great books I have continually been pulling off the shelf to take a second, third and even fourth look at. One book in particular came with high anticipation. Pause, to Begin has been on my list of books to get my hands on for some time, and I can honestly say, I am greatly thrilled to add this book to my private collection.

from the book Pause, to Begin

from the book Pause, to Begin

Pause, to Begin accompanies the exhibition by the same name, curated by David Wright and Ethan Jones. This modest hardbound is an exciting venture into the direction of contemporary photography. The book displays 15 unique photographers, all working independently of each other, but at the same time there is a common thread of exceptional approach. As Ethan Jones states in his brief introduction, "Pause, to Begin's chief purpose is to elevate and recognize passionate contemporary photographers whose work typifies technical and aesthetic skill, as well as conceptual intrigue... In creating this exhibition, we hope to highlight the uniqueness of each series and celebrate the photographic intuition and intelligence inherent to each of the fifteen photographers chosen to participate."

from the book Pause, to Begin

If you are interested in getting a well educated and intellectual view on this book, I highly suggest reading a fantastic review by George Slade in photo-eye Magazine. Click here to read Slade's full review.

 "Olof Jarlbro's book, Stonefactory, shows the lives of Nepalese workers in a pair of stone mills outside of Kathmandu where bare hands and strong backs are the tools. Jarlbro's black and white images highlight hardworking people going through their lives with dignity. The photographs show no escape from the work, piles of stones of various size fill the background and edges of the frames in nearly every image."
--- From Tom Leininger's review of Stonefactory by Olof Jarlbro in photo-eye Magazine

Read the rest of the Stonefactory review in photo-eye Magazine.

"Mix Larry Sultan and Mike Mandel's Evidence with some of Cindy Sherman's Film Stills, add a whole lot of Joan Fontcuberta, print the results on the cheapest paper you can find and you'll still be a million miles away from Koen Hauser's latest book, De Luister van het Land.

Koen Hauser specializes in strange manipulations; of children, anatomy models, archive pictures and himself. For De Luister van het Land, Hauser was let loose on the 11 million images of the Spaarnestaad Photo Archive. Free to roam the archive, Hauser becomes the master of our imaginations, manipulating himself into the archival narrative to make images that Hausers labels performance, images intended to 'invoke the spirit of creation.'"
--- From Colin Pantall's review of De Luister van het Land by Koen Hauser in photo-eye Magazine

Read the rest of the De Luister van het Land review in photo-eye Magazine.

"The community of Baseco, located at the mouth of the Pasig River near the harbor of Manila, Philippines, is a haven for those coming to the metropolis from the countryside. New residents construct houses for themselves out of the city's refuse, erecting huts that act as life rafts on the sandy shores until their builders can establish themselves on firmer ground.

In naming his book Case Study Homes, photographer Peter Bialobrzeski refers to the original Case Study Houses project sponsored by Arts & Architecture magazine..." -- From Mary Goodwin's review of Case Study Homes by Peter Bialobrzeski in photo-eye Magazine

Read the rest of the Case Study Homes review
We are please to introduce Eva Timothy, the latest addition to the Photographer's Showcase.
Sundial -- Eva Timothy
Timothy's project Lost In Learning -- The Art of Discovery is a meditation on the spirit of exploration, curiosity and creation through the investigation of objects and artifacts evocative of an "age when exploration and learning were life’s supreme adventures" (Timothy).  With images depicting objects from the Collection of Historical Scientific Instruments at Harvard, facsimile manuscripts from Da Vinci and Handel, pages from Imago Mundi and Newton's Opticks, paintings by and of some of the greatest thinkers of the era, Lost in Learning seeks to inspire viewers by touching the lives of these "willful wanderers into the great unknown" (Timothy).

View Eva Timothy's portfolio Lost In Learning on the Photographer's Showcase

For more information on Timothy's work, please contact photo-eye Gallery Associate Director Anne Kelly by email or by calling the gallery at (505) 988-5152 x202

Photographer and A Photo Editor correspondent Jonathan Blaustein has written a review and run-down of the summertime photographic offerings in Santa Fe galleries, starting with our own photo-eye Gallery.  Blaustein writes: "I began my little adventure at photo-eye, which is undoubtedly the photography institution in Santa Fe. The owner, Rixon Reed and his crew recently celebrated their 30th Anniversary. They offer a lot to the community, including a great photo-book store, a sleek photo gallery, and a program of public events and artist salons."  Aww shucks...

 Chris McCaw, Mitch Dobrowner and Edward Ranney, respectively

Our current show, "Elemental," features work from three artists, Edward Ranney, Mitch Dobrowner and Chris McCaw.

Read the rest of Blaustein's article here. There's a lot of great photography to see in Santa Fe this summer!
David Trautrimas at the Museum of Contemporary Canadian Art in Toronto

Photographs from photo-eye Gallery artist David Trautrimas’s Spyfrost project are included in the current exhibition at the Museum of Contemporary Canadian Art in Toronto. The exhibition, “Empire of Dreams:Phenomenology of the build environment" curated by David Liss runs through August 15th. 

"The Spyfrost project hypothesizes the origins of domestic appliances that defined the zeitgeist of the Cold War era by digitally constructing Top Secret Military outposts out of objects such as lawnmowers, stoves and refrigerators. Fashioned with an aspiring futurism and ominous sense of destructive purpose, these Skunkwork structures capture the paradoxical connection between violence and progression. Situated in Cold War landscapes, these enigmatic experiments alternate between fiction and historical fact." -- David Trautrimas

Here's Trautrimas's breakdown of what went in to a few of these images:

Seismic Conduction Tower 
•Made from various record player parts found on eBay
•The landscape was shot both at the Devil's Punchbowl, which was carved out of the Niagara Escarpment by glacial waters, and at Bon Echo Provincial park, in central Ontario
•The treeline was from a photoshoot around North Bay Ontario, Home to RCAF Station North Bay. During the cold war the base was used as a logicstics center for the radar bases in Ontario, and has an underground command center nicknamed 'The Hole'. Its the Canadian counterpart to Cheyenne Mountain in the U.S.
•The single window in the structure is from a massive chocolate factory around the corner from my house. Part of the factory date back to the early 1900's. Its a great building, and usually smells nice


Storm Crown Mechanism
•Made from a refrigerator I found on Craigslist just had to retrieve it from the basement of a Victorian era house (up a set of rickety wooden stairs, which is not fun when moving a 200 pound appliance)
•The landscape was shot at a provincial park called MacGregor Point on lake Huron, a region known as the Southern Bruce. Many Pine Tree radar bases built during the cold war are in a similar landscape. Also close by is RCAF Station Centralia, which was actively involved in NATO pilot training during the Cold War
•The light post is from an abandoned coal fired power plant on the Toronto waterfront