BELLY OF THE BEAST

Workman in a main copper furnace, ASARCO, El Paso, Texas 1993,
Photograph by ©Bruce Berman

Requiem
Photo and Text by Bruce Berman

Workman in the Belly of the Beast of the long gone ASARCO smelter.
I loved you and hated you. You tasted like sulfur and gave me so many sweet images.
For an ad agency, I once lied about you for you: the Contop pollution control project which was a $20million joke that never actually did anything except asuage the feelings of nearby Kern Place rersidents whose equity shot through the roof once you were disappeared. They shared the same air as you did.
I dropped a virtual tear for you when you were blown down, your dirty skin replaced by a Grid of Developers who insisted (their) progress was impossible with you.
Millions if not a billion drove by you on I-10.
Your Balls were esposed right there in the middle of a large American city as they drove by. Was that stack a monument of porn? Was it a deterrent? Did we like a deterrent?
You provided a living for hundreds in many generations.
You were bipartisan. You spit down and poisoned two cities and two nations.
I’ve sat in shanties in Juárez and smelled you and I have clinked beer bottles, while my eyes watered from your exhaust, standing in tony house parties in Kern Place.
To say the least… you were definetely something!
I miss you and your edge, your soul of wildness, your huffing and snarling fire.
You were, they say, a remnant from an era that needed to die. We did to you what we do to old rabid dogs.
You were removed with a promise of something great to come.
You couldn’t be tamed so you had to die, dramatically disappeared and eventually replaced by… what?

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EL PASO INFRARED SPHINX

El Paso Sphinx, Infrared series, 1977 by ©Bruce Berman

Infrared film was very weird, quite difficult and unpredictable and seriously cool. The flm had to be loaded into the camera in a totally dark room or in a changing bag. One needed to put a seriously dense red filter over the lens (we’re talking about B/W infrared film): an 87C Kodak Wratten Filter to be exact.
The filter was so thick that you could barely see the subject.
You could use the standard light meter to determine your expsoure but in addition to that you needed prayer!
Why?
Because what you were shooting wasn’t the visible light spectrum but the spectrum that is invisible, the infrared light spectrum
There are many technical ways to describe the materials, the process and the method, but for me, prayer was my method.
Prayer?
Well, let’s just say I took a lot of frames to hope to get one good one.

Trudy, Infrared, 1970s

BUT, when you did, you got magic! A dream world. Something you couldn’t imagine and, indeed, because infrared captured light beyond the visible scale, you did, indeed, get something beyond rational.
If you shot it enougth, you got better at it, but never mastered it. It mastered you. Your intuition was a way better guide than any study of how to use it.
Admittedly there were a lot of really bad frames, in fact, unuseable.
Once in a while there were good ones… no… make that great ones!

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NEW BOOK: HISTORY OF DUST

The HISTORY OF DUST book is out. Available on Amazon as of now.
The book explores two different major dust seasons, both record-setting: The 1930’s Dust Bowl and the 2025 tri-state Great Dust Storm, that enveloped New Mexico, West Texas and Chihuahua.
The book features the photography of Bruce Berman (2025) and the 1930’s FSA (Farm Security Administration) photographers of the Dust Bowl, including Dorothea Lange, Arthur Rothstein, Jack Delano and others. With quotes and narrative the book show the similarity of the storms but points out the differences as well.

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UNCANCELLATION

Cancellation #93, Mom’s Kodak film, Chicago, 1950s

I once did an entire series of photographs called “Cancellations.”
It started because one day I was looking at a stack of shipping boxes of my photographs that I had sent to various galleries and museums (pre Internet) that had been summarily rejected. Thanks. No thanks, return to sender. There were a lot of stamps on those heavy boxes. The post office cancellations were ruthless, slashing, colorful. It’s like the post office knew I was unworthy, as well. I half jokingly wondered if the galleries hadn’t done it themselves.
I got lucky here and there, exhibited them for awhile. Dallas. Houston. Cologne, Germany. The art world thought they had found a new star. I knew I was a fraud.

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