The best thing about any kind of analogue process is the way imperfections become a sort of signature that a particular piece of equipment puts on the resulting product.  It’s like how old typewriters have distinct type space and offset patterns.  In this same vein, one of my Land Cameras produces a fairly unique set of spots on images when the rollers get dirty.  I haven’t really gone to any lengths to clean it off because I kind of like the dreaminess it imparts on certain scenes.

This series of images comes from stuff I shot while photographing ‘The Mustang Redemption’ for Mother Jones.  The color work from that assignment is archived, here.  These Polaroids were shot during a wild horse gather.  The short story is that federal land managers have established target numbers for wild horses on rangeland.  Because many herds experience annual population increases in the double digits, there is a point where the land cannot sustain unchecked growth.  To curb populations, the government contracts with a couple of different roundup companies to capture target numbers of horses by using helicopters to drive the animals into a funnel-shaped chute that ultimately leads them into a gated pen.  Once penned, the horses are sorted.  Some are fertility treated and re-released; some are shipped to a regional facility where they are either adopted out or put onto federal preserve land.

The best thing about any kind of analogue process is the way imperfections become a sort of signature that a particular piece of equipment puts on the resulting product.  It's like how old typewriters have distinct type space and offset patterns.  In this same vein, one of my Land Cameras produces a fairly unique ...