Monday, October 12, 2009

Pump up the volume

I went looking for fish today. None were found. My search took me down a riverside path that I had not been on before. As I returned to the car, I saw some potential photos.

I hate to say it, but I am beginning to grow tired of some of the set limits for the camera that has been so good to me these last eleven months. Still, I have yet to discover all that it can do, so I must consider my own shortcoming more than the camera's. But f8 as a maximum? Come on! Yet again, I am far from an expert with the camera and every photo is a learning experience. So, the challenge becomes to work within the parameters I am given with the camera while expanding upon my practice, and not give into frustration.

That said, once home and with the photos downloaded, I was disappointed with many, which is something that has not changed from back before my move to digital. Digital is in the long run cheaper than analog, and inasmuch, liberating, so the disappointment is not as bad as it used to be. Nothing like spending $25 for slide film and processing, just to see that perhaps three out of thirty-six exposures are of a sufficient quality. And then, once scanned and enlarged, only one makes the cut. Photoshop can't fix everything.

What Photoshop can do, however, is make a photo that is in itself rather bland into something hyper-real, providing a forced mood or heightened visual. For instance, the woods in which I shot today are darker than what the camera likes, calculating into the balance a lot of back light, which I find extremely distracting. Tonight, I set out to try and do something about it.

Until recently, I have used Photoshop just to adjust the brightness and contrast, and maybe tweak the saturation levels. Like my photo work, I am far from proficient. Still, slowly but surely I've been exploring more of what the software can do. I didn't document all that I did to the below photos, but I certainly had fun doing it.




When the going gets rough


A few more shots from yesterday


A constructivist poem


'L' is for loo.


'L' is also for Lilac, the tree encroaching upon this stone.


Just like the composition

What did I walk into?

Since I had been to two locals country cemeteries, and knew of a third, I couldn't dismiss the last, this one closer to our house than the others. Neighbors' kin. And again, I recognized names, one, a woman still alive just four months ago.

I have determined that I am, after all, not very interested in the markers as structures, ornaments, or sculpture; yet the occasional story that emerges remains intriguing, perhaps for much the same reasons a fiction writer looks to the obits for characters. Uninteresting, that is, unless the carvings suggest something akin to a story.

This particular cemetery is across the road and south about 100 feet from the house of the above recently deceased. Usually there is a car in the drive. Today there were several. An elderly gentleman was out front, heading for the house.

I drove on past and pulled in at the first gate of the cemetery. It was padlocked. I backed out and tried to recall if there was another gate further down. There was, and it was open, even though there was a sign on it that asked visitors to please close the gate when departing. Perhaps someone was inside. There was not. I drove to the back where there was a small structure, a lean-to, with the name of the cemetery on a sign attached to the roof.

No sooner had I gotten out of my truck, another vehicle pulled in. I recognized the car from the nearby house. Whomever it was just sat in the car. I made a show of having a camera and they left shortly. Still, the episode caused me to hurry, to scan, to shoot only what immediately caught my eye.

The other cemeteries did not have buildings in them. I explored these a bit. The lean-too had a map of plots, picnic benches and a table, and an honor box for donations. I fed it a fiver. Next to the lean-to was an outhouse. I took a photo of the exterior. I may have to go back.

Some of the markers were as old as others I had seen elsewhere. And again, there were many loggers buried here, indicated in text and imagery. I took a lot of "maybe" photos, and, as it turns out, a few good ones.

But, I was still hurried, thinking that I had in someway disturbed the people down the road. I did not wish to cause them worry in their mourning. And it was not long before I made a final cursory scan and cut a diagonal back to the rig. And that is when I saw these headstones:

You'll have to enlarge the image to see clearly what I am about to describe. The middle one, the one with the engraved finger pointing skyward, I have seen this image before in the other graveyards. What threw me off was the other two markers. The left one has the finger pointing down and to the left. The right one, down and to the right. Whatever could be the reasons for this? I saw a little dark humor in the arrangement and took the photo. It was only in the processing that I took a closer look.

The marker on the left is for a baby girl, aged 9 months and 8 days, who died in 1869. It also contains information of the death of her fraternal twin brother who must have died shortly after birth. The middle one is for a son, aged 2 years, 11 months and 8 days, who died September 19, 1873. The marker on the right is for the children's mother and an infant son. Did they die at the same time? The date for the infant is clear: November 19, 1874. For the mother, it is less clear. One can readily read a numeral one. Has the nine weathered away? The answer lies in the spacing of the text. There is not enough room for a nine and a comma. The mother died 18 days before the unnamed child.

Tragic for sure. But why the different carvings? And it is not as if they used the same image and just rotated it. The middle one is palm side forward. The other two show the backside of the hand.

I did note the surname when I took the photo. There is a town called Crabtree about fifteen miles southwest of here. I googled it, and Wiki provided:
"The town received its name when the Southern Pacific Railroad came there.[2] Crabtree Creek and Crabtree Lake in Linn County were named for pioneer John J. Crabtree, a native of Virginia, who arrived in the Oregon Country in 1845.[2] He wintered in the Tualatin Plains, then bought the William Packwood Donation Land Claim east of the forks of the Santiam River in the spring in 1846.[2] The station and community were named for John Crabtree's cousin Fletcher Crabtree.[2]"


The same J.J. Crabtree on the markers?  But the timing is off, made abundantly clear here. There is mention of a son, Jasper, still living at home. He is spoken of again here. Yet, in this last link, it is written that he married someone named Ruth. A second marriage?

I find genealogy charts. The deeper I look, the more confusing it gets. The only J.J. Jasper whom is married to to a woman whose first initial is "M" is the old man. His wife was  Malinda. (And even though Wiki has his name as J.J., elsewhere it is J.W.) But lo and behold, they are both buried at Franklin Butte, the Masonic cemetery from a couple week's back.  Searching through more genealogies I find nothing more.

Which brings me back to the hands. I look up "Meaning of headstone symbols" and come up with the same information copied from one site to another. (Ain't that the way?) "Hands" are mentioned, specifically the one pointing up. Well, that's easy. "Hands clasping?" No. "Hand of God chopping?" How odd.

It took me a few minutes. A hand on an angle could very well indicate a chopping motion. And the symbol means a sudden or untimely death. Could be. God has a cuff? Stock engraving. What I find most interesting is that if this is God's hand, why do we see the backside?  Punishment, as in getting the back side of a hand? And the chopping hands are left hands while the pointing one is a right hand. What connotations or speculations can we garner from this? That the infants were not baptized?

I'll tell you what, I'm about burned out on this post. It may be relatively short but I've been at it for four hours. I've made one more swipe at headstone symbols and come up with nothing more. (Out of all of those copycats, you'd think at least one would cite a reference.) So, where I thought there might be something malicious in the choice of hand position seems to be more a matter of convenience. But, I have to say that I'm still not satisfied. And there is the Crabtree reunion website and forum. But for now, I'm just too tired.

Sunday, October 11, 2009

Left hanging

Thinking that I might have to change the order of avocations if I didn't post more poker soon, I encountered this hand just in time to save the edit.

It's the PLO round in the 8 Game. I limp on the Button after the CO does. The SB raises the pot size. The SB is full of shit, raising every hand. I have already stacked him in NLHE when he 3-bet my preflop raise and his post-flop bullets fired made no sense. In this hand, the CO, a fairly tight player, calls, and I do as well with Th2dKdQc. Three Broadways with a second nut flush. Is the 2d an issue? (When is a dangler a dangler?) Is the Kd good enough? I will make that determination on the flop.

The flop is 7dAhJd. I now have a hand. Any 10, K, Q or diamond. The SB bets the pot, CO calls, and so do I.

The turn is the 9h and I pick up more outs with any 8. The SB shuts down and the CO goes all-in with his last $4.83. There is now over $11.00 in the pot. Do I call? If he holds two hearts, my 8h, Qh and Kh outs are no good. He may in fact hold any of them.  He may also now have a Jack-high straight and be freerolling to the flush. Heck, he may even have the nut diamond draw in there with a set of some kind. Whatever he has, he feels good about it. Easy fold or is the roughly 2.5:1 good enough?

My next question concerns the SB. He still has about $7.50 behind. If I call, will he do so as well, thereby making my odds to call that much better? I take a chance. The SB folds.

The river is a 3s and the CO shows a set of Jacks with 7cAsJhJs.

I ran this hand through the Card Player Omaha calculator to see what was what. Preflop I'm 44/55. Not too unusual in Omaha. On the flop I'm even money, even though he hits his set. I slip to 42/57 on the turn. The Hand Calculator, of course is useful in hindsight, so let's see what I had available to me to make my hand, and for him to improve.

He did not have a heart draw, so that opens it back up for me. However, any 7,  9 or Ace gives him a boat, and the remaining J, quads. That's seven outs to improve. That leaves me with four 8s, three 10s,  two Queens, and two Kings, and four baby diamonds (3-6). 15 outs. 

How could I not call?

Saturday, October 10, 2009