Back in the day before cars, people would either walk, ride a horse or take a carriage to town. In Lyme, New Hampshire, just past Hanover on Route 10, at the far end of the green lays a fine example of old carriage sheds that many churches used feature.
The historic horse sheds behind the Congregational Church have been preserved and remain one of the last example of this structure. The row of twenty-seven sheds standing today is the longest line of contiguous horse sheds in New England, and possibly in the United States.
Bill Ackerly of Lyme said the sheds were built by his great-great-great grandfather. He estimates his family settled in Lyme in the late 1700s.
The sheds sit on town property, but they are maintained by the Lyme Congregational Church. They rely on private sources of funding for maintenance.
The First Congregational Church was built c. 1810, at which time the horse sheds behind it were also built; these are believed to be the longest such surviving row in the state.
Subject Headings- wooden buildings- stables- building deterioration- religions- storage- travel- New Hampshire — Grafton County — LymeNotes- Significance: This structure built in 1812 at the same time as the church, is one of the few surviving example of a type of outbuilding that was typical of early meeting houses in this area.- Survey number: HABS NH-76- Building/structure dates: 1812 Initial Construction
A stable is a building in which livestock, especially horses, are kept. It most commonly means a building that is divided into separate stalls for individual animals. There are many different types of stables in use today; the American-style barn, for instance, is a large barn with a door at each end and individual stalls inside or free-standing stables with top and bottom-opening doors. The term “stable” is also used to describe a group of animals kept by one owner, regardless of housing or location.
I often find myself meandering along the Connecticut River that divides New Hampshire and Vermont. New Hampshire owns the river if you must know. Right up to the banks on the other side. With it comes the responsibility of paying for all of the bridges.
The boundary issue between Vermont and New Hampshire dates back to King George’s time of rule in the 1700’s. During this time, the land spreading from the Connecticut River westward was known as the New Hampshire Grants.
At that time, New Hampshire regarded the river as its own. New Hampshire officials and residents built bridges spanning the river and maintained them. In the History of New Hampshire, published in 1792, Jeremy Belknap wrote, “from a point near Hinsdale, New Hampshire, up to the forty-fifth degree of latitude, the western bank of that river is the western boundary of New Hampshire and the eastern boundary of Vermont.” – link
You can drive along on the New Hampshire side via Route 10 or on the Vermont side via Route 5. Both offer a treasure trove of landscape and scenic photography opportunities.
One day driving along the Connecticut River on Route 5 in I spotted this great scene and just had to pull over, pop on the hazard lights, carefully cross the road, hop the guard rail, fight the tick infested weeds and slippery mud at the bottom of a ravine to find the perfect spot to capture reflections coming off the slow moving water of the Connecticut (the CT River has a series a dams that control its flow and is used for hydro power).
The Connecticut River is the longest river in the New England region of the United States, flowing roughly southward for 406 miles (653 km) through four states. It rises at the U.S. border with Quebec, Canada and discharges at Long Island Sound. Its watershed encompasses five U.S. states and one Canadian province, 11,260 square miles (29,200 km2) via 148 tributaries, 38 of which are major rivers. It produces 70% of Long Island Sound’s fresh water, discharging at 19,600 cubic feet (560 m3) per second.
The Hersey Farms Historic District of Andover, New Hampshire, includes two farmsteads belonging to members of the Hersey family, located on the Franklin Highway (New Hampshire Route 11) in eastern Andover. The older of the two farms, the Guy Hersey Farm, was established c. 1850 by Hiram Fellows, and has been in the Hersey family since 1904. The adjacent James Hersey Farm was established in 1833 by Alfred Weare, and was acquired by Guy Hersey’s son James in 1945. The two farms encompass 325 acres (132 ha), and were listed on the National Register of Historic Places in 2008.
I found a variety of interesting compositions of the classic old weathered buildings including the outbuildings, barns, attached farm house. All in all it is an amazing complex of preserved buildings that make up this once active farm. In the back fields, cattle or beef cows still graze the fields from the neighboring farm.
The Guy Hersey Farm, 1088 Franklin Highway, includes 57 acres (23 ha) of land, a c. 1830 farmhouse, and a number of barns and other outbuildings. Although the house predates the establishment of the farm by Hiram Fellows, physical and documentary evidence suggest it was moved to this site from another location. It began as a 1.5 story wood frame house with a side-gable roof. In the 1850s it was enlarged by raising the roof and adding a south wing. A barn dating to c. 1865-80 is connected to the house by a shed extension, and a second barn (c. 1917) is attached to the first. A third barn, dating to c. 1920 and moved to the site by Guy Hersey from another farm, forms an enclosed barnyard with the other two. The most interesting outbuilding is a c. 1890 structure that was initially used as a piggery, but was converted by Hersey into a smithy. Hersey’s property also includes the foundation remnants of an old schoolhouse.
The farm that was established by Hiram Fellows was probably operated by his father Nathan on a subsistence basis. After several changes of ownership it was acquired by Hersey, who first had a dairy operation. When this became less economically viable, he used the farm to raise cattle, an operation that continues today
As a New England landscape photographer, one finds themselves doing a lot of waiting on Mother Nature. In spring we wait for the end of mud season and the return of leaves that seems to take so long. In the fall we wait for the leaves to turn brilliant fall colors and then they drop and we wait for a blanket of beautiful winter snow to arrive.
“I have no use for snow” I over hear at the car dealership as I wait for my car to be inspected, oil changed and generally prepared for winter. Personally I have a lot of use for winter – skiing and photographing generally as well as my winter hobby of snow clearing.
Around Boston they have a saying that the seasons are Almost Winter, Winter, Still Winter and Road Construction because the summer seasons typically see a flurry of construction activity filling pot holes created all winter.
Mark Twain said “If you don’t like the weather in New England now, just wait a few minutes.” Which is kind of unfortunate because when you get a nice snow storm your really only have a short window between being able to get out safely to photograph the snow and when it starts to melt or gets hit with wintery mix of rain and sleet or something. If you want to ski in fresh, beautiful powder, the best plan is to call in sick and hit the slopes before the weather changes.
The ideal conditions are a nice dump of wet snows overnight, wet enough to cling to the trees, followed by a bright sunny day, sunny enough to melt the snow on the roads but not warm enough to melt the snow off the trees.
Then there is the challenge of finding a place to park. A four wheel drive car with good snow tires is a must. Country roads in New England are ringed with drainage ditches that will swallow your car and you have to stay out of the way of the snow plows. I find a quick tour into a farm road and a quick shot is best. Or don high snow boots and snow pants and be prepared to wade in deep into the snow to get a shot.
Don’t ask about that time I drove on to a snowmobile trail by mistake and had to bribe a local guy with a sandwich to help get me out.
New England winter photographs and artwork are available as fine art prints, framed and matted artwork, canvas prints, wood, arcylic, metal and on products such as greeting cards, tote bags, throw pillows and more! See the entire portfolio here:
Canon EF 70-300mm f/4-5.6 IS II USM Lens – When it comes to my camera equipment, I’m very budget conscious. Trying to make a living from fine art photography is a challenge to say the least. Unlike retired doctors, lawyers, dentists and titans of industry who show up to national park scenic overlooks with a bag full of the latest and greatest professional quality equipment, the working photographer needs to keep an eye on the bottom line. Spend too much money on equipment and then there will be nothing left at the end of the day.
When I make an equipment purchase, I have to believe that the investment will pay for itself eventually. This is partly the reason my most bang for the buck lenses in my kit are the Canon 35mm F2 and the Canon 50mm 2.5 macro.
The Canon EF 35mm f/2 IS USM Wide-Angle Lens is a great multipurpose lens the provides plenty of room for storytelling. Just a bit wider than a 50mm for more room to include elements such as leading lines or secondary subjects. This lens provides a great focal length for a lot of the book cover type images I shoot. Plus its compact and sharp. You don’t have to worry about it being on a tripod and it is image stabilized.
Compact and lightweight, the EF 35mm f/2 IS USM has an 8-blade circular aperture diaphragm for soft backgrounds, a minimum focusing distance of 0.79 ft./0.24m, plus optimized lens coatings for minimized ghosting and flare.
With the 35mm, you know you will always come back with usable, in focus images, regardless of lighting conditions.
The Canon 50mm 2.5 is an old lens design that will drive you crazy if you try walking around with it because it takes forever to focus. BUT, this lens is amazing as a food photography lens or for table top shooting. I put this on a tripod and then use live view to zoom in and focus. It captures amazingly sharp macro images but are perfect for a lot of the book cover images I have listed with Arcangel.
Which brings me to the Canon EF 70-300mm f/4-5.6 IS II USM Lens. I wanted something with a longer range that wouldn’t brake the bank for the occasions when I’m near birds or wildlife. I’m not really that much into wildlife as a subject, I leave that to the National Geographic photographers, but when in Florida or Montana, I like to shoot animals when I see them.
My preference is for prime lenses. I’d rather walk a scene and study angles instead of being tempted to stand in one spot and zoom around. Also the quality of prime lenses always beats zooms. Zooms are always a compromise. Usually they excel somewhere in the middle of the range and degrade towards the long end. And that is where people tend to use them right? Usually people with long zooms want to zoom in as close as possible to “fill the frame”.
You also typically do not want to buy a zoom with a range that is more than double bottom range. For example something like a 70 – 140 lens (if there is such a thing) would be better than a 70-500. It’s just too much to demanding of the optical engineers to create something that works in all ranges.
The Canon EF 70-300mm f/4-5.6 IS II USM Lens is not an expensive lens. It’s a budget lens priced around $500 with a aperture of 4 to 5.6. More expensive lenses will have a smaller aperture and the aperture won’t change with the movement of the zoom.
So you have here a lens that works great on bright sunny days but don’t expect it to be as good in lower light.
As with any long lens, holding it steady is going to be a challenge. The longer the lens the more difficult it will be to get a sharp picture – again, strong light is going to be your friend. Is this lens capable of sharp images? Of course. Every modern camera lens is capable of being sharp (or in focus) at some point. You just have to work with in the capabilities of your equipment to squeeze out the performance.
I’m going to use this image as an example of a great usage of this lens and some amazing results. I found this hundred year old barn in Ely, Vermont. I wanted to capture the details of the roof and cupola details as well as the texture of the century old building.
On a sunny day I mounted my Canon 6D camera on a tripod, focused in with live view, set the timer and captured this image. Later when I processed it in Adobe Lighroom I was amazed at how sharp the details came out. You can see every bit of the chicken wire, shingles and weathered wood.
How to purchase Ely Vermont Barn
Sadly barns like this 1899 barn in Ely, Vermont are slowly dying all across Vermont. They say that an old barn collapses every four days in Vermont. The owners simply don’t have the funds and resources to preserve these beautiful old barns.
Luckily through photography we can capture and preserve these amazing achievements for future generations. Prints and product of this photograph of this old Vermont barn and others around New England can be found in my portfolio of barns and farm life here – https://edward-fielding.pixels.com/art/barn
These old barn photographs can be purchase in a number of ways – prints rolled in a tube for framing at home (standard sizes can be ordered to fit your frames) or framed in museum quality frames and mats. There are 1,000s of paper, frame and mat combinations you can choose for a custom look.
For this image I really like the barn wood frames found under the “white” frame options.
You can also order these photographs printed on canvas, metal, acrylic and wood. Although out of these substrates I’d only recommend canvas or wood for a photograph of an old barn. Acrylic and metal are best for colorful, saturated, modern images images.
Simple black museum frames with a white mat also look good.
Capturing that rustic modern look with barn wood frames and vintage farm tractors
The hottest looks these days combine modern and a bit of rustic authenticity. Modern Farmhouse, Industrial and Shabby chic interior design is where furniture and furnishings are either chosen for their appearance of age and signs of wear and tear or where new items are distressed to achieve the appearance of an antique.
At the same time, a soft, opulent, yet cottage–style decor. Say goodbye to the sleek, cold, black metal frames from the dorm room or dentist office and say hello to warm, authentic, real barn wood frames matched with exceptional vintage tractor photography by fine art photographer Edward M. Fielding (www.edwardfielding.com)
Several styles and stain colors are available in the gray and white tonal range to match the aged farmhouse look you want for your favorite vintage tractor photograph.
Examples of Vintage Tractor Artwork and Photography featuring Barn Wood Frames
Hundreds of other framing and matting options are available as well as many different vintage tractor photographs from the portfolio.
Barn Wood – Beautiful Recycled Wood
Barn wood is processed wood retrieved from its original application for purposes of subsequent use. Most reclaimed lumber comes from timbers and decking rescued from old barns, factories and warehouses, although some companies use wood from less traditional structures such as boxcars, coal mines and wine barrels.
Reclaimed or antique lumber is used primarily for decoration and home building, for example for siding, architectural details, cabinetry, furniture and flooring.
Barn wood frames take advantage of the beautiful patina and rustic look of old wood.
Traditional Icelandic Sod or Turf Houses, Barns and Buildings: If you look hard enough in the country side of Iceland, you might just spot some of the traditional sod roofed barns, farm houses and storage buildings hidden in the hills.
Icelandic turf houses (Icelandic: torfbæir) were the product of a difficult climate, offering superior insulation compared to buildings solely made of wood or stone, and the relative difficulty in obtaining other construction materials in sufficient quantities.
Lack of good timber lead the Norwegian settlers in Iceland to turn to turf house construction using local birch as support beams.
The common Icelandic turf house would have a large foundation made of flat stones; upon this was built a wooden frame which would hold the load of the turf. The turf would then be fitted around the frame in blocks often with a second layer, or in the more fashionable herringbone style. The only external wood would be the doorway which would often be decorative.
Vermont – How does one truly capture a sense of place in photograph? That’s a good question with no definitive answer. There are no camera settings or com-positional rules that guarantee one will come back with a photograph that captures the essence of a place. But there is I think an ingredient in the recipe that is universal and that is time.
I’ve visited this old barn compound in Windsor, Vermont on many occasions in all different seasons. It’s one of my favorite spots to return to and work out the various compositions afforded by this interesting spot that most would simple drive by on their way to the “top ten” tourist spots.
To truly start to understand a place and then transfer that feeling to others in your photography required spending time in a place. When photographers fail to capture a place in their images, with the result being “ho-hum” or dull photos, its typically because they show up at a spot, say on vacation, and start snapping away before even actually seeing.
When the camera is raised to the eye before the brain actually has time to take in what is being scene, the results are typically uninteresting. Too often we photographers have limited time at a certain place and are rushed to cram in as many “hot spots” or Kodak Moment locations in a day, that we fail to return with a single excellent shot.
Capturing truly excellent images usually requires more intent and planning then what is afforded say on a bus tour through a national park. The most memorable photographs are taken when the light is at its best rather than when you happen to arrive at the location.
And I’ve found that visiting a site over time and through out the year is the best way to truly start to understand what it is you are seeing and trying to capture. Some tips for capturing the essence of a place:
Leave the camera at home on your first trip to a place. (I know this one is tough). Walk around, study all the angles, thing about where the sun is and what type of lighting will look best.
Return to a spot throughout the year.
Return to a spot at different times of the day.
Go on sunny days, go on overcast days.
Don’t set up a tripod right away. Walk around and look. See the image in your mind before selecting a lens and angle.
Bring a step ladder and view the spot from up high, bring a towel and lay down on the ground for a low angle.
Look beyond the obvious, over done shots. When the crowd looks one way, turn around and see what they are missing.
The story behind Horse Barn Sunset goes something like this – we had recently moved to the Upper Valley region to Hanover, NH from Mount Desert Island, Maine. We wouldn’t have made the move if my wife’s old friend Ben encouraged her to take the job at Dartmouth Hitchcock Medical Center. Ben is friend and previous co-worker from the old days in the Boston area.
Ben and his wife Ellen moved to Royalton, Vermont a number of years ago and renovated an old farm house, built a horse barn and now have a collection of horse carriages and participate in competitive carriage driving events.
They invited us over for dinner on late fall day when the beautiful Vermont autumn was still in its glory. I asked if they would mind us coming over early so we planned to get there before the sun set but it took us longer than we planned and arrived when the sun was nearly gone.
I and my camera of course, jumped out of the car and took some pictures, leaving my wife and son to handling the greetings. I managed to grab a few photos of the horse barn from the outside and inside before the light faded and then had time to be gracious to my host.
This photo from inside Ben’s fine horse barn has sold a number of times. It was a tricky capture with the dark interior of the horse barn and the bright foliage outside in the yard. It took a lot of post processing work to preserve the details of the buildings structure and even a horse in one of the stalls.
Outside the foliage of the autumn season is still brilliant in the fading sun on a wonderful fall evening in the Upper Valley, sharing a meal with friends.