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Brendon Holt

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A provisional cover

279 Acres, or, On a Photobook

March 15, 2025

I’ve been making pictures for a while at this point. More specifically I’d say I’ve been taking it seriously for about 10 years or so. In that time I’ve made thousands of photographs. What I have never done, however, is assemble those images in to a larger coherent, concrete project. For much of that time most of my output has been individual images posted on social media or maybe sporadically assembled in to loose categories on a website. In part this has maybe been a byproduct of my more singular (or, parochial) focus on landscape photography until very recently. It’s hard to put imagery into different projects on different themes when you're only working around one central theme.

But even working solely around one theme it has bothered me over the years that I have never translated this output in to something more concrete. I historically barely even print my work. And something that I have been leaning in to more in the last year or so of coming back to photography is making more concrete things and more coherent bodies of images, images that work with a theme or express something greater than any single image is capable of expressing—books, in other words. I want to create more books, larger scale projects in the ways that only photobooks seem (to me) capable of doing. Hat tip to John Gossage for this perspective, really.

The project “279 Acres” is my first stab at doing this. Over the years and the innumerable walks I have collected a body of imagery all shot in a small local park near my home in Kalispell, Montana. The park, as you may have gathered from the title, covers 279 acres of land and contains around 7 miles of trails that meander through the beautiful forested slopes and cliffs that jut up from the Flathead valley.

The project is maybe a riff on a quip from the venerable Henry David Thoreau. Thoreau makes the comment at one point that a circle of ten mile’s radius in the natural world contains enough variety for a lifetime of close observation. As he puts it, “There is in fact a sort of harmony discoverable between the capabilities of the landscape within a circle of ten miles’ radius, or the limits of an afternoon walk, and the threescore years and ten of human life. It will never become quite familiar to you.”

A 20 mile diameter circle of untrammeled nature feels like a luxury to most of us. I am fortunate to live in Montana where I can still find such a circle if I wanted to. But because of that luxury of wild spaces I also wanted to push the limits of the premise, to narrow the focus and see what we might be able to do with 279 acres (or maybe even less in the future). In that sense the project is also about small spaces, about the little pockets of natural beauty that commonly exist right in the midst of our lives and about the Thoreauvian push to stop and look closely at the inexhaustible depth of things around us, even in the smallest pockets of it.

But it is also about something beyond that, about the eternal value that these places are capable of presenting to us if we are willing to spend time with them, to contemplate them, and the avenues of meaning which they may (hopefully) open up for us.

I am currently in the process of curating the imagery, settling on a solid collection of imagery (I’m shooting for around 50-75 photos for the book), and then working on sequencing before I send the finished product out for printing. I will keep people in the loop if anyone is interested in the final product.

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A distant Swan range from the trails of Herron Park | Minolta XD5 + Minolta 28/2.8 + Kentmere 400

A Late February Stroll on Kentmere 400

March 04, 2025

As has become the trend throughout this winter, I have not been shooting much. Lots of walking and skiing, but not a lot of photography. It feels too early but winter feels like it’s starting to come to a close. We’ve had a pretty dismal year as far as snowfall goes and the last couple weeks have seen a string of highs at or above 50 degrees. Snow in the valley has been pretty well decimated and it’s looking more and more like a rapid onset of spring. You never know in Montana though. There is a common term that gets thrown around here, “The Spring of Deception,” which refers to the short spurts of warm weather we sometimes get before being plunged back in to the depths of winter for a little longer. I personally wouldn’t mind this, but I’m skeptical that it’s true this year. All this aside, you’re probably not here for a NW Montana weather report.

Are scratched negatives part of the film aesthetic?

The morning of the 27th of February we took a walk in a local park near our house and I decided to grab my grandpa’s old Minolta XD5 and the 28mm. I’ve shot through all of my Kentmere 100 so I grabbed some Kentmere 400 and headed out the door. As always, shooting the 28 when you haven’t in a bit is a real mindfuck. I kept finding myself standing 10-15 feet too far back from the scenes I was trying to photograph. Alas, I pressed on. I can’t say I was all that stoked about what I was doing while I was out there but after developing I think there were some winners here and there.

Below is a sampling of photos from that morning walk for your enjoyment

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Leica M262 + Voigtlander Heliar 40/2.8

Another frozen walk, thoughts on 40mm (again...)

February 13, 2025

Yesterday afternoon I set out on another walk around the neighborhood to get out of the house and get some fresh air while my wife rested. Like I said in the other blog post, I’ve been dealing with a dose of lens indecision lately (when am I not, I guess), waffling around between the 28, 40, and 50mm choices. I spent a lot of time poring over the images I’ve made in the last few months trying to narrow down a consistent focal length that I seemed to work best with but all I did was find that no matter what lens I put on my camera I just go out and kind of make it work. Which, obviously leaves me nowhere.

My last walk I took the 28 so this time I opted for taking the 40mm.

I’ve written quite a bit about my feelings on the 40mm. It’s a kind of a goldilocks focal length, very close to that perfect “normal” focal length of 43mm on a full frame sensor. It’s also nicely situated between 28 and 50 while still retaining that nicer, natural feeling compression of the a 50mm lens. On paper it’s a perfect focal length, with the likes of Sally Mann referring to the focal length as, “About right.” If it’s about right for Sally Mann it’s probably about right for me. And in practice the little Voigtlander Heliar is a gem of a lens, for reasons beyond its focal length.

The Heliar lens design is a pretty simple optical formula, 5 elements in 3 groups, and this 40/2.8 version is also aspherical. The result is a lens that is wildly sharp across the frame but still has a very pleasant, natural rendering. Sharp, but a kind of organic sharpness. I’ve said this before but it reminds me of something like my very old 1930’s Leica Elmar 50/3.5, which is also a very simple optical design and rendered with an equally beautiful simplicity.

One of the things I sometimes struggle with with the 40 is its closeness to a 35mm, which can kind of leave it feeling like it sits in that weird no man’s land between the slightly tele 50mm and the wider 28mm. Coming from just shooting the 28 the day before I did find the added “punch-in” factor of going to a 40mm a nice change. One of the limitations of shooting this stuff around where I live is that I can only get so close before I’m encroaching on people’s property. In just about every one of these photos I’m standing as close as I can get without jumping a fence or taking a step in to someone’s yard. This does also make the 50mm a nice option for being able to hone in and narrow my focus when it’s difficult to step in closer to the subject. The 40 does have some of that quality compared to a 28 but sometimes it's still a decent bit wider than a 50 when you compare them side by side.

Regardless, I was pretty pleased with what I was able to pull off with the 40. I think I can safely stash the 28 away in the basement at this point. It’s a fun lens to dig out and get wild with for a day or two but as a “leave on the camera” lens it’s just too wide to be useful across a wide range of circumstances, and my brain likes the simplicity of a one camera/one lens kind of setup. Maybe the one lens will be the 40 for a little while. God knows I’ve shot enough 50mm in my life, or, maybe that’s for a reason… Give me a day or two and I’ll have a completely different answer for you. In years past I would always sell of spare equipment to force myself to just work with a limited set of tools. I’m starting to think there was a lot of wisdom in that.

And as always, the obligatory gallery of additional images at the end of the post:

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  • August 2026
    • Aug 9, 2026 A morning along the Flathead with the Riv Aug 9, 2026
    • Aug 1, 2026 Hubert and a morning at Flathead Lake Aug 1, 2026
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    • Jun 28, 2026 Our neighbors, the deer, and the beauty of "benevolent neglect" Jun 28, 2026
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    • Apr 27, 2025 Some film, the first EOS body, and a 50mm Apr 27, 2025
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