The annex casts a long shadow over its old headhouse and the former UGG (currently Vitera C) elevator. Arista 100.
35mm Film, Expired. An abandoned swath of NAD is landlocked by soybean fields.
Water vapor was collected and condensed to be reused in other processes. Kodak Tri-X 400/Leica M7
Kodak Tri-X 400/Leica M7. The office (first floor), laboratory (second floor) and mill behind it. Everything was clean and pristine.
2015. Water damage hastens the decay of the annex and its stage. Every time I visit this room, the chairs are in different places. Kodak Portra 400 in a Voigtlander Bessa.
A typical Chateau wall. Kodak Tri-X 400 in Leica M7.
One of the principal businesses in McConnell was a farm implement and lumber store. This is too new to have been bought there, but I like that it’s still on the edge of town. It’s more comfortable than the emptiness beyond, that used to be a little prairie town.
When the ship loaders were added, a doorway was cut through the metal silo to make a room for the grain handling equipment. Note the dust sensor in the corner of the torch-cut archway.
A circular common room in one of the original parts of the hospital. When the asylum was especially crowded, this would be filled with patient beds, too. It’s very strange that this floor was not tiled like the other common rooms. It makes me wonder if especially dangerous patients were kept in this ward; those who could not be trusted to not extract and sharpen the ceramic tiles. Portra 160.
Frontenac’s shaft house is well preserved, compared to all other around it. Leica/Summilux 35/Ektar 100
Looking out of the demolished skyway. Note the big hole in the floor. The lens is too wide to keep my foot out of it… I’m hanging in the superstructure that I climbed to make this photo.
My first view of the tunnel was in the dead of winter. In spite of being in the middle of the forest, it was totally silent. Mamiya GA645 / Kodak Pro 400
We people are so small.
The gulls wait to eat the next load of spilled grain. Arista 100.
Kodak Tri-X 400, Leica M7. Serious enough to write across the side of the tank, but not serious enough to have a sign made.
Between blizzards on the hill, I look out over the Chateau. Kodak Portra 400 on Voightlander Bessa.
The interior of one of the curved corridors that connect two wards. Note the original floor’s hand-laid tile pattern. Portra 160.
These long curved corridors connected the wards. Locked doors on both of their ends were a security and comfort feature. Sounds and people would be sealed in their respective wards, as the hallways would act like beautiful airlocks; they were so long that it was unlikely that doors would be open on both sides at the same time. Portra 160.
The Tilston School,built in the late 1960s. In front of it is a memorial and model to the first schoolhouse. This building, however, has been turned into a kind of town dump. The classrooms are filled with mattresses and discarded tires and trash.
Kate shooting the cascade of rotten boards and steel siding that is Chain O’ Mines’ gold mill. Leica/Summilux 35/Ektar 100
The stairs that connect the breakwater and light station (Leica M6/Kodak Ektar).
Looking toward Sleeping Giant from the workhouse.
I had to climb into the roof of the half-demolished skyway to see through to the other side of the train shed. That’s my foot in the corner.
A great lakes freighter slowly passes SK Wheat Pool 4 with ‘The Sleeping Giant’ in the background. Arista 100.
For some time, Purina ran a feed service out of the elevator. Inside and outside were signs of its past presence.
A shot of Longmont from the highway. Fuji 35mm.
One boat comes into port while three wait. The birds, fat from spilled grain, circle overhead. Arista 100.
The floor of this first floor bathroom, Men’s Ward, was unlike any other I remember in the hospital. Hand-laid tile, but the pattern made it seem even older than the rest of the hospital. Portra 160.
The front of the mill reads “Montana Flour Mills Company”
The old truck scale sits in the middle of what was Nettleton Avenue Slip.
Archeologists believe the great house on the mesa was rebuilt shortly before it was abandoned in the 13th Century AD. Tri-X 400 Film, haphazardly self developed.
Peeling paint reveals the room numbers of the past. Kodak Trix-400 on Canon T40.
A quick shot with a Voigtlander 15mm f/4.5 (V1-M Mount). Possibly my favorite lens. Birds love these postindustrial ruins, and they hated me exploring and photographing them.
Thick glass windows allow workers to check the beet juice levels in this steel tank. You can tell by the reinforcement that it had a lot of liquid and had to hold against immense pressure. Kodak Tri-X 400/Leica M7.
After crushing, these machines would float lighter material to the surface of the water, where it would be skimmed and discarded. Gold and silver laden stone would sink to the bottom, where it was collected for the next stage of processing. Leica/Summilux 35/Ektar 100
A broken roof drain turned the fourth floor into a skating rink. Frost covers every surface. Kodak Portra 400 in Voigtlander Bessa.
This tree caught my eye. Note the bench swing near it. Portra 160.
The kitchen in the services building has a beautiful red and white checkered tile floor. Kodak Portra 400 in a Voigtlander Bessa.
A me-sized hole in the half-demolished skyway looks about a story down to the ground. Step lightly. Arista 100.
This peak is a little over 7,000 feet high and is a popular hiking spot. As a bulky Minnesotan who is better built for an arctic expedition, I stuck to the mesa.
Taken from atop a grain train at the end of Cargill B-2, looking toward Lake Superior “I”, now part of the sample complex. This area used to have another slip, but Cargill filled it on when it built the elevator on the right.
Sliding curtains gave a little privacy to the residents of this room, which looked and felt more medicinal than most of the other multi-patient rooms.
The great stenciled number on this chute caught my eye.
I slid into the mill through the top floor, near where the rock-grinding ball mills were left to rust. I look around, taking in the most intact gold mill I’ve ever explored. Movement attracted my eye to the ceiling, where I found something staring back, a raven was observing me with some interest. It had been a while since I have brushed up on the folklore and mythology, but I took it as a good sign. Leica/Summilux 35/Ektar 100
Camera: Voigtlander Bessa
Film: Acros 100
The back of the mill reads “Red River Milling Company”
A wide view (15mm) of the shadow 4B is casting on 4A. Light leaks because of cheap camera.