Poor Skipper-- he has to endure more trials than most of us can imagine, and yet he just keeps plugging along.
Let's call this sequence "variations on a theme." These are among the shots I took last week in Bannack. My primary goal was to keep testing the new fixed length lens I recently bought, but each of these also represent some experiments I've been doing in converting color shots to black and white.
So, despite the content and compositional similarities, I'm mostly pleased that I'm getting better at making details somewhat crisper, and capturing some midtones without losing rich black features and mostly true whites (like in the cloud above). I may not be totally there yet, but I think I'm getting closer.
Also, I'm captivated by doorways and windows. After quite a few visits to Bannack (I was actually there again yesterday with one of my classes), it's only been since I started seriously taking pictures there that such features started jumping out at me as some of the most unique characteristics of the town. So you may be seeing more of this kind of shot posted here in the future.
It snowed up in the mountains last weekend, so I once again headed up with my camera. My goal was the Coolidge ghost town, and I'll probably post some pictures from there in the next few days. But before and after I got some good shots of the area on the cusp between autumn and winter-- some nice colors augmented by the white of snow.
Actually, but the time I got up there, the snow was already starting to melt, so walking through the woods was kind of a spooky experience, as I would periodically hear clumps of snow smacking into the ground as it dropped from the tree branches.
Personally, I'm hoping that winter is still a few weeks-- make that months-- away. I prefer the sunshine and warmth. But I have to admit that the snow adds a nice highlight to the scenery.
The final picture was taken a bit later in the afternoon, and a bit further north in the Mount Haggin Wildlife Refuge. It almost looks summery, if it weren't for the multi-colored leaves dotting the gully.
"For historians ought to be precise, truthful, and quite unprejudiced, and neither interest nor fear, hatred nor affection, should cause them to swerve from the path of truth, whose mother is history, the rival of time, the depository of great actions, the witness of what is past, the example and instruction of the present, the monitor of the future."
From the I Love Comix Archive, here are four classic examples of the Blondie strip drawn by creator Chic Young from 1951. I can't think of another strip that has lasted as long and continued to be entertaining, all without drifting too far from a handful of recurring set-ups that have been evident almost from the start (and the strip was about 25 years old when these were first published!).

You can tell that Helen was really doing a job on that ice cream cone (or was it vice-versa?), but who was beside her (on the right, her left) matching her lick by lick? For extra credit, who was on the other side (her right, your left)? Put your guesses in the comments section.
Bannack was the original territorial capitol of Montana, a gold boom town that slowly died out over the next eighty or so years. It became a state park some years ago, and their goal is basically to preserve the remnants of those buildings and equipment that remain at the site. As such, it's a great place to take pictures.
My goal when I'm out there is to focus on interesting details of the buildings and landscape, such as the back door of the house above, or the barrel below. I decided to go with black and white to try and approximate the old-timey feel of the place.
The window decoration below is one of the prettiest features I've come across, and I'm guessing it goes back to maybe the 1940s or a bit earlier.
"Truth lies within ourselves: it takes no rise from outward things, whatever you may believe. There is an inmost center in us all, where truth abides in fullness and to Know rather consists in opening out a way whence the imprisoned splendor may escape than in effecting entry for light supposed to be without."
Have you ever played that game where you try to match current movie stars with their golden age counterparts? You know, like Tom Hanks is today's Jimmy Stewart (the goofy everyman), or Harrison Ford is Clark Gable (equally adept at adventure, comedy and romantic roles). Of course, it really doesn't work all that well because the biggest stars, almost by definition, are so unique that they defy any easy comparisons. I mean, as easy as it is to imagine Hanks doing quite well in a remake of Harvey, there's no way he could pull off the Stewart role in Winchester '73 (and by the same token there's no way I can imagine Stewart in Philadelphia). Of course every now and then a movie comes along and you're halfway convinced that you are watching an actor completely channel someone else. This was my experience watching Moneyball starring Brad Pitt in a performance that was practically indistinguishable from several given by Robert Redford at a similar point in his career (I'm thinking of Sneakers, Legal Eagles, and maybe especially Brubaker). I sure don't mean that as a knock on Pitt at all, who is a great actor in his own right. It's just that the resemblance was so striking that it threatened to overwhelm all the other estimable aspects of the film for me. For one director Bennett Miller and writers Steve Zaillian and Aaron Sorkin deserve an immense amount of credit for translating what I would have thought to be an unfilmable book into a truly engrossing moviegoing experience. Who would have thought that watching a baseball general manager construct a competitive team on a tight budget could be made so visually compelling? But they pull it off, aided not only by Pitt's fine performance as Oakland A's GM Billy Beane, but equally strong work from Jonah Hill (has he ever before undertaken a non-comedic role?) and Phillip Seymour Hoffman (though I have to say I remember the real Art Howe as a tall, slender figure, while Hoffman plays him short and dumpy-- but that's nitpicking). This is definitely one of the best movies I've seen in awhile, and a near perfect blend of Hollywood style and idiosyncratic material. I think it'll deserve to be mentioned alongside Bull Durham and Bang the Drum Slowly (now that I think of it, a film with much in common with Moneyball besides baseball) as great movies about the national pastime.
This past Saturday I took the long way on a drive up to Butte and went along the Scenic Byway through the Pioneer Mountains, stopping here and there to snap some pictures. These are a few that turned out particularly good. Abovwe is a view looking down toward Grasshopper Creek.
Obviously, Fall colors were of special appeal, though I wish I'd been there a bit later in the day. Above is a view of the Wise River which flows down to the Big Hole River.
I spotted this guy wandering around the Crystal Park with a bunch of his buddies. I was able to snap off a few pictures before they spotted me and took off, and this one was about the best.
Last is another view of the Wise River a little ways further upstream from the other picture. I'm hoping to head back up here next weekend to check out some other spots. Keep your fingers crossed that the weather remains cooperative.
In the interest of helping Griffy spread the word of Ernie Bushmiller's genius, as conveyed in his classic strip Nancy, here are a few examples of that paneled masterpiece:
These first two examples are from the early 1940s, while the next three are from the late 1950s. Part of the genius of Bushmiller can be found in the profound consistency that marked his work over more than four decades of output. 

Yesterday I showed my history class The Searchers, the classic John Ford/John Wayne western, with the goal of having a discussion of how the mythology of the west grew out of actual circumstances. I had the impression, as the movie started, that they were a bit dubious that a film that's almost sixty years old could be any good, but at the end they actually gave it a round of applause, and we had a great conversation about the different elements that made it so special. To be honest, that wasn't a typical response-- it seems like college students today have no interest in the movies made before they were born (which is radically different from when I was an undergrad and Humphrey Bogart posters adorned many a student's wall). I've never quite figured out why they are so hesitant to give a black and white film a chance, or God forbid, a silent film (luckily The Searchers has neither handicap). It seems like if they'd just give those classics a look and a little bit of consideration (I get that acting styles, for example, have evolved over time to something more naturalistic), they'd discover a whole new world of entertainment. Anyway, in a bit of coincidence, I came across this article last night at the TCM Blog, and it kind of addresses the same question. It's worth a read if you too are interested in that question.