[Sky of
 Fire. Victoria, BC. July 1999.]

.. and the sky, full of fire..

a photo exhibit by Mike Sugimoto


July, 1999

I went to sleep at about five thirty in the afternoon, waking sometime around eight to a beautiful light filling my west-facing bedroom through a crack in the curtains. I pulled the cloth aside and was treated to a blood-red sky with golden highlights; grabbing my clothes and camera gear, I threw myself into the car and drove like a man possessed to the top of Mount Tolmie, the highest place I could get without having to go too far. Hundreds of other Victorians had the same idea. I parked and scrambled up to the sumit where I set up and stood, watching the light change, mesmerized by the interplay of color, shadow, and cloud.

[Sky of
 Fire. Victoria, BC. July 1999.] [Sky of
 Fire. Victoria, BC. July 1999.] [Sky of
 Fire. Victoria, BC. July 1999.]

[Sky of
 Fire. Victoria, BC. July 1999.] [Sky of
 Fire. Victoria, BC. July 1999.] [Sky of
 Fire. Victoria, BC. July 1999.] [Sky of
 Fire. Victoria, BC. July 1999.]

[Sky of
 Fire. Victoria, BC. July 1999.] [Sky of
 Fire. Victoria, BC. July 1999.] [Sky of
 Fire. Victoria, BC. July 1999.]

I don't remember a lot of conversation between the people who stood up there with me that night. Quiet murmurs were the extent of the conversation. We turned to each other, made eye contact, nodded once, content in the knowledge we were witnessing something that was rare in Victoria -- that was rare anywhere, but especially rare here. We knew it was a gift from the world to us, and we wanted to savor every minute of it.

I grew up in southern Alberta, and throughout my years there, I would look forward to autumn and the harvest season, when the work of hundreds of combines and grain trucks would turn the sky the most beautiful colors -- gold, blood red, purple, azure, hunter green -- and I would watch as the sun set and changed the way I looked at the world. If the forests were burning, or if it had been a bad year for grass fires, my streets would become red then, too. Intellectually I knew it was because of the smoke and dust particles in the air; romantically, I liked to think it was summer's last stand. Whatever the cause, it was inspiring and absolutely wonderful to watch.

The most vivid memory of living in Alberta, I think, was driving from Lethbridge to Calgary along Route 519, heading west into the setting sun just after Labor Day in 1995. It was harvest time, and there'd been grass fires in the Porcupine Hills a few days earlier, so the air was thick with particulate. The sky looked like it was on fire, lit by the sun and scorching every cloud it touched. I loved every minute of it, driving into the sunset, listening to Paula Cole and wondering if I would ever see something so beautiful again.

I moved out to the coast the following spring, and I haven't seen a fall in southern Alberta since. We simply don't get the same kinds of colors out here -- we don't get thunderstorms, we don't get windstorms, we don't get the extremes of weather you get on the prairies. It's hard to reproduce such memorable moments, even in Alberta. But this came close.

In her novel Restlessness, Aritha Van Herk wrote,

I don't think I've ever read anything that so elegantly captures the essence of land and light in Alberta. I miss it.

Technical Details (nerds only)

This series was taken with my Canon EOS 50E system. The load was Fuji Velvia. Although I don't remember what lenses I used, I suspect the focal length was at least 100 mm (based on the perspective in some of these shots), probably closer to 200 (which means I was using a cheap zoom lens). I'm sure I must have switched for a wide angle at some point, but I couldn't tell you which one of these pictures was taken with which lens.

The camera was pointed due west on my trusty Manfrotto tripod, and I used the on-camera release for all of it. Settings were probably in the 1/100 and f/6 or f/8 range, at least (although it may not look like it, there was a lot of light, even in the last few frames). Some minor tweaking was done in PhotoShop, mostly to correct scanning artifacts and to erase dust spots. The scans were made with an Acer Prisa 620UT that I'm still trying to learn how to work, so that's why the scans aren't as nice as they could be.

Hard Copies and Copyrights

These images are for sale. I strongly recommend #6 and #7. It is interesting to note that #7 is my screw-up and that the scan was made backwards and not flipped before publishing; I have this printed the wrong way, and the symmetry is pleasing to most people's eyes. I have these pictures printed at either 11x16 (best) or 16x20 on glossy paper using Kodak LED printing technology. Prices are $80 for an 11x16 or $95 for 16x20; this includes shipping and handling. All of this takes about four weeks to come together, and can be faster if I have prints "in stock" (currently I only have a supply of 6 and 7 prints at 11x16).

I realize the enlarged scans look like crap; I'm working on a way to make them better. It's hard to judge what the final print will look like based on a small thumbnail, but trust me, the thumbnail looks much closer to the final print than the bigger images. If you are interested in seeing actual samples before doing anything, please let me know; I'll be happy to work with you on this.

In any event, questions or orders (hah, right) should be e-mailed to phloem@fumbling.com.

These images are copyright 2000 by Mike Sugimoto, and shouldn't be reused without permission (which will usually be granted, so please ask first, particularly so I can furnish you with a better scan).



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This exhibit is dedicated to Jennifer. "When I tell you I'm falling, you tell me I'm strong." I love you.

phloem@fumbling.com