Travels With A Shortbed

Ready To Plant

This is a simple series of photos that all include my dads Ford shortbed truck. When he passed away in 2024 the truck came to me, and I decided to snap some photos of it here and there with one of his cameras. This turned into a tribute of sorts to my dad, who loved photography and traveling, among many other things.

Sunshine On My Shoulders

John Denver

Sunshine on my shoulders makes me happy
Sunshine in my eyes can make me cry
Sunshine on the water looks so lovely
Sunshine almost always makes me high

If I had a day that I could give you
I’d give to you a day just like today
If I had a song that I could sing for you
I’d sing a song to make you feel this way

Sunshine on my shoulders makes me happy
Sunshine in my eyes can make me cry
Sunshine on the water looks so lovely
Sunshine almost always makes me high

If I had a tale that I could tell you
I’d tell a tale sure to make you smile
If I had a wish that I could wish for you
I’d make a wish for sunshine all the while

Sunshine on my shoulders makes me happy
Sunshine in my eyes can make me cry
Sunshine on the water looks so lovely
Sunshine almost always makes me high

Sunshine almost all the time makes me high
Sunshine almost always

Written by: John Denver, Mike Taylor, Dick Kniss

Album: Poems, Prayers and Promises

Released: 1971

Lyrics provided by Musixmatch

Image Of The Month

Otto Umbehr, Night in a Small Town, 1930

“Otto Umbehr began his studies at the Weimar Bauhaus in Johannes Itten’s preliminary course in 1921. Two years later he moved to Berlin, where he worked on Walter Ruttmann’s innovative film “Berlin, Symphony of a Great City” (1926). He began to experiment with photography, making expressionistic portraits of friends and eventually teaching at Itten’s private art school for two years. In addition, Umbo worked as a photojournalist for the Berlin picture agency DEPHOT from 1924 until its dissolution in 1933.
Umbo’s work has an uncanny, surreal edge that pushes it beyond simple documentation, less the result of experimental darkroom practices than of his exploration of the psychological parameters of photographic description. This photograph of Salzburg at night was taken with a long exposure from a high vantage point. The solid, volumetric mass of an apartment block is compressed into a flattened silhouette, while the path of a solitary car, delineated by the parallel tracings of its headlights, is etched into the street below. The mood is one of impenetrable darkness and impending doom, strongly expressionistic in its vertiginous projection of a nightmare.”

Source: https://www.metmuseum.org/art/collection/search/283293