Tag Archives: photography

Goldfield High School

“It is interesting… I never come in here at night by myself, “ said Goldfield Historical Society vice president Steve Foutz as he rounds another corner in a maze of a basement that gives me an immediate spooky vibe even though it is a sunny morning in October. Foutz, along with his shadow, a herding dog named Tucker, is giving me a personal tour of Goldfield High School. The school was built in 1907 and is the original high school in the small mining town with strike-it-big dreams located 150 miles north of Las Vegas.

It is an interesting site indeed, rising three stories, with hardwood floors, hand-laid brick and exposed walls that were originally nailed by hand, then plastered over. A slew of fixtures, desks, chairs, pianos – all teachers had to play back then – and debris, most of which was left by the last students who attended, in the early 1950s, are lying here and there. An occasional doll is left behind, brought by night tour groups hoping to spot ghosts. At the building’s heart is a grand, wooden staircase that turns and twists, connecting all levels. As I follow my guide up the steps carefully, I can imagine decades of students running up and down these stairs in their wholesome clothes, toting books and laughing, teasing one another. 

The school that housed students for decades until about 1952 now stands empty, somewhat dilapidated and quite serious. There is no laughter today. The only souls here are a handful of men working on structural renovations to keep the building upright and safe from the harsh desert elements. Students eventually left the building mid 20th century and were bussed to nearby, larger Tonopah, due to a dwindling population in the mining town.

John Ekman, the society’s weathered and determined president, is working with a friend on window casings this morning. When I ask about the renovations, he says with a sigh, “It’s a slow process; I don’t think I’ll live long enough to see it.” 

The efforts of the society and community members, both their physical labor and applying for and receiving grants, are important work. It ensures that this part of history in the small mining town of Goldfield is preserved for generations to come. At this time it is unclear whether the building will eventually open to the public or as a museum.

As we make our way to the top floor, my guide points to names scribbled in pencil outside a classroom. George Koocher. Blanche Packer. Ken Goodrich. The long lists of names are dated around 1940. Foutz pauses a moment and says that 50 percent of these people probably went off to World War II, and 50 percent of those never made it back. I pause too, as the moment sits heavy between us.

On the ground floor, original desks line a classroom where many students sat day after day. Old window panes are warped, distorting the view through them. Foutz points out the mines nearby through the windows and says that the view must have been tempting during lessons. I think of my own high school, a massive compound of historic buildings back in the Midwest. I agree with him remembering that I liked to gaze out during class too.

Foutz shows me the current mascot for the high school, a giant Great Horned Owl that has taken up residence in the rafters of the attic above a small auditorium. Although the workers have not given the majestic bird a name, it is a permanent fixture at the school, returning season after season, keeping watch. Foutz jokes that they do not have a vermin problem.

My time with the school was short, but I will long remember it. That time was special, like listening to the reflections of a wise elder. 

I was honored to make its portraits.

Goldfield is a historic mining town often referred to as “The World’s Greatest Gold Camp” and is located part way between Las Vegas and Reno, northeast of Death Valley. Ronda Churchill is a freelance photojournalist and is available for assignments worldwide. You can follow her on Instagram @rondachurchill

Photograph dated 1909 shot at the school’s front steps and is displayed at the high school.

“Unknown”

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I have always been drawn to cemeteries.

Perhaps the often-photographed location of a cemetery has always been ingrained in my photographer’s blood. Maybe the lure to explore them stemmed from my childhood memories of my mother speaking to her parents’ graves while we visited the quiet, tranquil space and my younger siblings and I examined the rows of nearby headstones. Above all, the way a community documents and celebrates the resting place of their loved ones is quite telling of the culture of its living population, and I always find myself  documenting these plots of lands.

Last week, forecasted rains dampened my Memorial Day weekend camping trip in Southern Utah. Before heading back to town, my husband and I stumbled upon a little cemetery near Mormon-settled St. George in the somewhat ghost town of Silver Reef. It was there that we found the town’s Pioneer Cemetery, a small cemetery declaring the land to have graves of both Catholic and Protestant faith. Inside the divided cemetery, among weathered headstones and blunt grave markers were 32 graves marked “unknown.”

I jumped out of the truck with my camera as wind whipped around us and dark clouds moved in upon the small plot nestled at the foot of a mountain and sprawling country homes built over a 19th century silver mining town.

Sadness was palpable as I shot frames of uniform white crosses with unidentified bones buried beneath them. The hand-crafted markers were a small forest in an ordinary field. I took my time and moved around the land, while my husband walked our dog along the perimeter, knowing I needed space.

Although only a couple frames made the cut, I would like to think of these images as a small tribute to the miners and their families that lay below.

“Unknown” is a part of an untitled and ongoing series. Follow photojournalist Ronda Churchill on Instagram @rondachurchillblog3road

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Fertility/Neplodnost

I have been silently struggling with infertility for the past 3.5 years. This sentence is hard to write.

Making images is easy. It keeps my world right.

The following frames were shot within several days of traveling and hiking in Croatia in January. The cost of hiking a bucket-list national park is minute compared to the colossal cost of treatment.

These images reflect my feelings with my fertility struggle.

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Grandma’s Camera, part 2

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Charlene Cecilia Wolf

(March 22, 1928- April 22, 2018)

Charlene, beloved mother of 6, grandmother of 13 and great grandmother to many passed away peacefully with family at her side. My mother, whose own mother passed away very tragically in a car wreck, was with Charlene as final breaths were taken. My mother knew her mother-in-law longer than her own mother. Charlene was “mom” to many.

Weeks ago, I wrote an unpublished blog post when I returned from Illinois after spending quality time with my grandmother. I have saved those words and will revisit them at a later time.

In Illinois, I photographed my grandmother on a day that she felt well. We looked at my prints from a previous trip that I exposed with her mother’s camera, ate popcorn, talked about grandpa and his visits in her dreams, and exchanged stories about his “pennies from heaven.” I even witnessed my grandmother’s very first manicure. She chose an electric teal that a nurse named “I’ve-never-done-this-before Blue.”

In the photograph, one of two frames I took on the 100-year old Brownie, tiny paper hearts hang in a tree behind her. The hearts revealed handwritten notes to loved ones of past and present and were left over tokens from Valentine’s Day at the care center.

In the image, my grandmother wears one of her favorite shirts, her hair is full, her nails are painted, and she has a slight smile. I know today that her smile is huge because she is no longer in pain, is not afraid, and is reunited with the love of her life.

Thank you, grandma, for being you. You will be missed by your big family.

Author’s note: See previous blog post for Grandma’s Camera, part 1

#vegas

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Two shattered windows are shown where mass shooter Stephen Paddock, of Mesquite, Nev., took aim down on innocent concert attendees.

(copied from original post that appeared on my Instagram page (@rondachurchill) on Monday, Oct. 2 at 10 p.m.)

I still can’t seem to put this day to rest. These are the windows, one with curtains billowing from it, the other several panels to the left of first, where a shooter took aim and ambushed people attending an outdoor festival across the Las Vegas Strip. Last week, I was photographing all day at the same concert venue and stepped out for an hour to capture photos from the rooftop of this same hotel. Security escorted me. The view was breathtaking.

This morning, I was on the Strip at sunrise working alongside friends, colleagues and professionals in this business we call home. We saw heartache, tears, blood and displaced people. After being on scene for 90 minutes, I was forced into an emergency evacuation while editing inside a nearby property. In those first, heart-pounding moments, I thought to myself, “This is it. It’s happening again.” I knew I wasn’t the only one thinking this as I ran with tourists and employees. Everyone was going different directions. I was told to hide in the bathroom or run outside to the pool. Luckily, it was a false alarm, but the incident ignited my veins with fear and adrenaline. This is what those concert attendees felt, but infinitely worse–bullets and chaos and carnage. The most awful part and the most extreme unfair and unkind thing in the entire world is that some of them do not get to write about it to feel better.

For those of you who have suffered great loss today, I hope that you find peace.

1-866-535-5654, for families trying to locate loved ones

lvmpd.com for blood donation sites

Author note: Ronda Churchill is a freelance photojournalist based in Las Vegas for the past 14 years. She is available for assignment anytime. Email: rkchurchill@aol.com

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Survivors of the mass shooting make their way back to their hotel room shortly after sunrise.

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A single vase of roses is shown on Las Vegas Boulevard the morning after a mass shooting occurred nearby.

Creepy Cuba

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4.30.17 Neópolis Cristóbal Cólon

There are two types of people in this world: believers and non-believers; I am a believer. I am a believer of spirits and the paranormal.

I think a lot people are skeptical until they have an experience that catapults them into the believer category. I was converted a long time ago, but today on this rainy and dreary day in Las Vegas, I will tell you my most recent story that has kept me firmly checking the believer box.

Last week, I visited Havana, Cuba, for work. I have been slowly going through some 3,500 images I shot while also working for clients and visiting with family in town. One of the days I eagerly anticipated editing was the day I visited Neópolis Cristóbal Cólon.

Neópolis Cristóbal Cólon is a massive cemetery in Havana and is the largest in the Americas spanning 140 acres. It was founded in 1846 and is world-renowned.

Any time I visit another country or US region, I love to walk and photograph their local cemetery. I feel that cemeteries offer a candid glimpse of how people live today. So much culture can be seen in cemeteries through how the living respect and honor their dead.

On the particular day I visited Neópolis Cristóbal Cólon, the humidity was a stifling 80-90% on top of a nearly 80-degree temperature. In fact, most of my days in Cuba were of this awful recipe.

The expansive cemetery contained above-ground graves topped with concrete slabs. A lot of the slabs, on the older graves especially, had moveable rings on the edges that allowed for people to lift and place these slabs of concrete upon burials. There were also many large mausoleums housing wealthy families’ remains.

I recall one point where I was photographing near a statue of a mother. People had walked up behind me and started chanting and clanking the rings on surrounding concrete slabs. Their actions bore right into me, and I staggered backwards. I nearly passed out right then and immediately stumbled to the nearest tree for shade.

When researching for this blog, I discovered I had been photographing at the tomb of Amelia Goyri, who is known as La Milagrosa (The Miraculous One) and died in 1901 while giving birth. A marble statue adorning a cross, woman and baby in arms, marks her grave. Her body was exhumed years after her death and was uncorrupted, which is a sign of sanctity in the Catholic faith. Her baby, who was buried at her feet, was allegedly found in her arms upon exhumation. For this reason, her grave has become a pilgrimage site of sorts for those who are hopeless and have special requests. I almost passed out at her grave while photographing the shrine around it.

But this isn’t the only story I came here to write.

Due to not feeling well, considering I almost fainted not once but twice before I left the cemetery, I only stayed an hour and hoped to return. I had never felt that unwell in my entire time in Cuba.

That evening, I was talking with a new friend about my time in the sacred place. I retrieved my camera to scroll through a few photos and to ask him a question about a grave and that is when I saw it. There, wedged between street photography and headstone shots, were a series of black frames. What I found so odd, and had me slightly panicking, was that the back of my camera had suddenly appeared dead on all of the black frames. 

To elaborate, I have my gear set up that when I am reviewing photos on the back of my camera, I can see the file number, exposure and sequence on the display with the image.  An example of such is “1/2025” (photo shot 1 of 2,025). When I came to the black frames, I did not see any camera data. There were numbers on the photos before and after the frames, but no sequence numbers on the black frames.

I was so worried that the camera card was corrupted (ruined card and lost photos) that I took it out of the camera at that moment with my friend, stowed it, and grabbed a new card.

But this is where it gets even weirder.

Not only did these frames not show any camera data on the back of my camera in the review mode, but also they were actually exposed and had camera data when looking at them on the computer. This doesn’t make sense!

Furthermore, the camera exposure was similar to the images I shot in the cemetery, which makes complete sense because I know the black frames were missing images I shot in the cemetery.  So, I had taken photos outside with nearly the same f-stop, shutter speed and ISO as the frames after them, but they came out black. How is this possible? By the way, if you are outside and expose too much, you would get a practically white frame, not black. And no, I do not own a lens cap. My camera was never stowed while I was touring the cemetery, so it was not shot inside a bag. I am missing photos I remember framing and shooting, and I have been doing this for 18 years professionally.

And then as I looked through more of my take, it happened again both times only at the cemetery, and then the rest of the day’s images were fine. In fact, I am missing most of my cemetery take because of this. I have no other black frames on any of my cameras on any other times I shot in Cuba during the trip.

When I open any black-frame image in photoshop, I can not pull anything out of the frame when using curves or levels. (If I had underexposed something, I would be able to still see some vague shapes when doing this in Photoshop.) I find this very odd too.

Camera mishap is actually not the first time something has happened with my gear while visiting a somewhat eerie place, but I won’t launch into that story now. In fact, you can read about it here: http://dailyegyptian.com/31215/archives/devil_10-9_cm-death-by-a-broken-heart/

In the end, I was not able to return to Neópolis Cristóbal Cólon due to time constraints. I know that I will return to Cuba in the future, and when I do, I will be visiting the cemetery again and bringing a newfound respect and a film camera. I would love to see if this experience happens again on film.

Ronda Churchill is a freelance photojournalist for hire worldwide. Follow her on Instagram @rondachurchill

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Contact sheet from 4.30.17. Street photography images prior to shooting at Neópolis Cristóbal Cólon, which starts with blank frames.

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Camera data for back-to-back photos black frame (top) and statue shot (bottom). Exposure in blue.

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Offerings for Amelia Goyri, “The Miraculous One.” Here is where I nearly fell to the ground from heat.

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A mausoleum I was intrigued with. Note see the three graves were broken into.

Bling Bling Icing

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Acrylic rhinestones and faux gold embellishments are shown in a case.

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Colorful boas (left) and felt squares (right) are displayed.

It is the perfect stop for all things fun and pretend. The moment you walk through the door and round the corner by the counter, adult worries and everyday life are replaced by the endless possibilities of a child’s fantasy. Creativity comes to life with each touch of a feather, each glimpse of fabrics and trimmings and every peek into case after case of tiny jewels.

Want to be a pirate? Done. Want to be a king? Done, done. Want to be a showgirl? Absolutely done!

Williams Costume Company is the treasure chest; what will be your booty?

If crafting is not a strong point, there is also an entire apartment-sized room stocked with multi-piece and custom-made costumes ready for rent.

The store, which has been a neighborhood anchor for 60 years, receives customers of all kinds. A clerk told me that “anybody and everybody that has a creative side” are clientele. Customers include: theater people; costume and clothing designers; street performers; crafters; jewelry makers and students.

On a rainy Saturday a couple hours before closing, my sisters, husband and I were lost in the store calling out to one another rows apart to come see what we had found in our corn maze of creativity.

With my iPhone only, I started to document my discoveries; I hope you enjoy this little gallery of treasures.

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Miscellaneous metal and acrylic notions are displayed in a case.

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A showgirl headdress, masks (left) and wigs (right) are shown.

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Colorful chains (left) of different sizes available for custom length is shown, Sister Michelle (right) poses for personal photograph with Marilyn Monroe next to funky Elvis painted on store exterior.

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Feminine fancies are displayed in a case.

Participant

 

Women's March Vegas

Ashely Hardy burns sage and records video on a cell phone while participating in a women’s march to protest newly inaugurated President Donald Trump Saturday, Jan. 21, 2017, in Las Vegas. A crowd of some 15,000 people marched downtown for a rally at the Lloyd D. George Federal Courthouse.

“Raise your hand if this is the first time you have ever participated in a march?” A woman said to a thick, buzzing crowd clotting Las Vegas Boulevard on a sunny day.

Raised hands went up everywhere around me and were like stars you can finally see so clearly in a country night sky when you get out of town and all of the pollution is far away.

In my 14 years as a full-time photojournalist, I have covered many marches, protests, strikes and cause-driven community gatherings without bias. I pride myself on my ability to remain professional, to cover all sides equally and above all to be impartial. In fact, I enjoy spending time at events where people are so passionate; it strengthens my appreciation of our beautiful, diverse world.

However, the day after President Donald Trump’s inauguration, I found myself not booked for an important day in our nation’s history and decided it would be the first time I would attend a politically-driven event as a participant. I brought my camera, because I can not turn “that” off ever, with the hopes of making a few nice frames that may lead to an editorial blog post.

So here we are. Back to Sunday.

I walked alongside people of all ages, genders, races, and minority groups. I passed signs written in Spanish, people playing musical instruments and even a woman burning incense. Some participants even donned creative costumes and many wore homemade knitted pink caps. It was clear that everyone had one common drive: passion.

Women, men and children gathered throughout the world in solidarity. I can not speak for the people who marched in one of more than *670 events worldwide that day, but I can speak for myself and why I chose to participate:

I marched because I am not okay with a president that does not believe in the first amendment. I am not okay with a world leader who makes fun of a handicapped person on national television during his campaign for presidency. I am not okay with a world leader who wants to take away certain women’s rights in healthcare. I am not okay with a world leader who does not believe that the world is in a dire stage of climate change. My list of grievances is hefty, and these are merely a few.

To my friends, colleagues, and those who happen upon this post, thank you for making it this far. I know that we may not feel they same way and our political views may not align.

I only ask of you this:

Please think of one thing–anything in the world–that matters the most to you in your life. Think of that thing now in your head and create an object that represents your important thing and put that object on a pedestal. Now think of someone, lets say your boss, saying derogatory things about the item on your pedestal. Let’s go a step further and say your boss makes threats to hurt the item on your pedestal and prevent you from having it, touching it, seeing it, or letting the item thrive. How would you react?

This was how **half a million people in Washington DC alone decided to react Sunday in order to protect their item on their pedestal.

* According to Washington Post

** According to Associated Press

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People march on Fremont Street past historic neon signs.

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People chant, “Stronger together, we won’t fall. Justice peace and equality for all.”

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A woman holds a plastic figurine of Hillary Clinton (left). People cheer at the start of a rally outside the federal courthouse (right). 

Women's March Vegas

People participate in a women’s march to protest newly inaugurated President Donald Trump Saturday, Jan. 21, 2017, in Las Vegas.