Sofa, Lincoln Gap

Photographers often have visual idiosyncrasies that they repeat. I’ve always had a sense of irony and it comes out in photos of incongruous situations.

Lincoln Gap, Vermont, Fall 1970

Lincoln Gap, Vermont, Fall 1970

This particular photo has a story behind it that gets lost if you weren’t the one who took it. I was driving through what we called “a high mountain pass” (all of about 740 m) in Vermont. The dirt road snaked up between a notch in the Green Mountains and at its highest point I came across this sofa.
Someone went through a great deal of effort to get the big sofa up a winding mountain road and then drop it off at the top. Maybe it was a big party that I just missed. I don’t know the answer – and you can use your own imagination to fill in …

Posted in Photography, Vermont
10 comments on “Sofa, Lincoln Gap
  1. Wonderful image, wonderful story — and wonderful to hear your voice again!

    • Thank you so much Rachel to be the first to comment. You are fast to detect me. I had mistakenly not considered your feed reader still being tuned to me, but thank you for keeping it on. I hope to have most of this blog and website fully functional in the next few days.

      We’ve just moved above 68 for the first time since last fall! People are going around in shock, but it will be an easy transition to get used to. Two days ago people were in mid-winter gear (I’m being honest – even the hood was pulled up).

      What it’s like now you well can imagine – just remember to factor in that it’s a Saturday.

      Thanks for being such a loyal reader, I appreciate it.

  2. marja-leena says:

    I love how the pattern of small flowers seems to belnd in with the leafy background. Great shot and interesting story.

    Glad to see you back, Jonathan. Will you bring back some of your old blog posts and images?

    • Hi Marja-Leena thanks for noticing too, I’ve pretty much gotten things so at least most of the content doesn’t have awful grammatical errors (I hope!) or photos that look bad or viewers that don’t work. I have titles for the “social-doc” gallery that should work (but don’t) and I’ll be trying to debug that soon. Otherwise I’m getting so I feel like this rendering works for me. If you see anything really off let me know.

      >>Will you bring back some of your old blog posts and images?

      I left the old blog sitting there longer than I would have liked. It’s fine if it’s being updated, but when they just sit there they’re kind of creepy, like what happened to the person? This is a new blog and website and I’ll try to feed it regularly with both new writing and pictures. Don’t worry, you’ll certainly recognize me!

  3. Natalie says:

    Welcome back Jonathan, it’s good to see you and your photos again.

    The lost sofa picture is great – there must be a fascinating story behind it. Lots of imaginative possibilities.

    • Thanks Natalie, I was trying to leave room for imagination. I’m going to be starting to post new material, and I’m hoping I’ll have time to range around a bit in terms of topics. I hope you’ll return.

  4. rr says:

    Hello! You’re back. How lovely. And with an invitation to sit down, relax and enjoy the view. xx

  5. I don’t know how relaxing the photos I’ll post will be. Some upcoming soon will be of urban biking. I always think London as being the worst for bikes I’ve seen. I’m sure you probably don’t agree, having travelled more, but hope you don’t take offence (it’s certainly not meant)!

  6. rr says:

    London is pretty much all I know for urban cycling. Harare doesn’t really count. So I can’t compare. It’s a long time since I’ve been to Paris but wouldn’t that be rather scary too?

  7. Martha Nelson says:

    Hi Jonathan. I think I have a copy of that photo that you gave me. It was funny to see it appear. You must be reminiscing about the 70’s. Still love it!

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How Many Roads? is a new book of photographs by Jonathan Sa'adah, to be available October 2014, offering an unglossy but deeply human view of the period from 1968 to 1975 in richly detailed, observant images that have poignant resonance with the present. Ninety-one sepia photographs reproduced with an introduction by Teju Cole, essays by Beth Adams, Hoyt Alverson, and Steven Tozer, and a preface by the photographer.
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