A Jersey Girl Remembers: Twilight on Batsto Lake

Camera: Hasselblad 907x 50c
Lens: Hasselblad XCD 28/4 P
Digital: 50 MP [44×33] CMOS
Software: Adobe Lightroom

   Location: Batsto, NJ
   Date: July 2025
   Lighting: Daylight
   Genre: Landscape

I traveled up to the Jersey Shore area recently after losing my childhood best friend. I had been there the year before, staying in a small cabin tucked in the Pine Barrens, visiting her, the friend I had cherished since we were twelve.

From the ages of eight to eighteen, that region was home. Even after I moved away, I often stayed with my mother when I wasn’t in school or working in New York City. She was the embodiment of a true Jersey Girl, and I carry a bit of that spirit with me still: I love tomato sandwiches, grew up on the sounds of Springsteen, Hall & Oates, The Three Degrees, and whatever played on WIBG and WMMR. To this day, something stirs in me when I walk the boards in Atlantic City. But what I miss most about New Jersey is its rich, layered history, woven deep, long before the Revolutionary War.

Still, I never truly saw myself as a Jersey Girl, even though I was born there. Part of my childhood unfolded in Topanga, California, where memories run deep—watching mountain lions across canyon cliffs, chasing lizards, catching ladybugs, and breathing in the ever-present scent of eucalyptus. I liked it more there, especially the school culture and the everyday ‘happy’ weather.

When I left New Jersey, it was for good. I built a life elsewhere: New York, Atlanta, Miami. But I always honored my mother with the title. She earned it. So did my best friend, who never left. She lived in the kind of place I would’ve loved to call home, just ten minutes from the shore, surrounded by whispering trees and the old legends of the Pine Barrens. Jersey Devil, anyone?

My roots in the area run deep. My maternal great-grandfather, a full-blooded Native American, farmed tomatoes in the region. His daughter, my grandmother, was a gifted storyteller who spoke of riding the stagecoach from Ong’s Hat to towns that no longer exist, and of skating across frozen cranberry bogs in winter. My great-aunt was a beloved local teacher, and my ex-husband went to the school named after her. We were married in a small country chapel located down the road from his childhood home, which was built on land my family had donated. Maybe I’m more of a Jersey Girl than I thought.

The image I made at Batsto Lake was taken on my best friend’s birthday, the day after her funeral. Saying I was sad doesn’t begin to cover it. I was drained, the summer heat pressing in, but I needed to be at the lake, in that quiet, familiar place on her day. We had gone to Batsto Village as kids on school field trips. It’s a beautiful place; if you ever get the chance to visit, it’s worth it.

I walked straight to the water and waited for the ducks and geese to drift into view. I sat there, remembering our childhood, the silliness, the secrets, the adventures we shared. I am fortunate. I know what it means to have had a true friend: someone who cheered me on, accepted me completely, and loved me without condition. She crossed the finish line first, and though my heart aches, I am grateful. Not everyone gets a friend like that. I hope everyone does, whether they come as a sibling, a partner, or, like mine, a little angel who once stared at me from behind her mother’s delicatessen counter and one day reached out to become my friend. Gosh, I was lucky.

I usually travel with my Hasselblad 907x kit, and it came along for this trip as well. Twilight on Batsto Lake wasn’t difficult to make; it was one of those moments where you simply show up, and nature does the rest. I made only a slight crop and added a warm orange tone to the sky and its reflection on the water. I waited patiently for the ducks to glide across and caught them just as they did. Afterward, I walked back to my camper van, returned to the motel, and began the long journey home at dawn.

Sometimes, photography is not about chasing the perfect shot, but about standing still long enough to let meaning find you. When you show up with openness and intention, even the simplest scene can become a quiet tribute, a farewell, or a beginning. The camera, after all, is just a vessel; it’s our presence that does the seeing.

Recent Posts

DIY Custom Case for Your Digital Back

DIY Custom Case for Your Digital Back

I’ve assembled a collection of photography-related items, such as lens cases, equipment bags, and backpacks. While some of these cases are passed on with gear I’ve sold, I’ve retained a specific type of Tamrac lens case due to its durable and lightweight design, featuring a convenient top handle. The centrally located top handle in lens cases proves highly practical, facilitating easy access when reaching into a backpack from above. In this DIY article, I’ll guide you through how I created a custom case for carrying my digital back and backup batteries on location, using readily available materials. Typically, I store my digital back and batteries in a Pelican case when not shooting. Still, I occasionally leave my gear in its bag after a shoot and leave the digital back and batteries in the DIY case, as it offers excellent protection within my camera bag.

Camera Bag Versatility

Camera Bag Versatility

While assembling my Fuji X-Pro2 (XP2) kit, I began looking for a lightweight bag to store it all in. I wanted the bag to carry my lenses in cases and be easy to work out of from the back of a vehicle. I also use the XP2 in the studio, so the bag had to offer something. Would it be possible to find such a versatile bag?

Panorama In Pieces

Panorama In Pieces

While away on a quick personal trip to Marietta, Georgia, I tried using my favorite point-and-shoot camera, the Fujifilm x100t for panorama making. Earlier in the week, I instructed my students to make a panorama using Lightroom (LR), vertical slice shots, and manual focus for their weekly shoot assignment. After a brief walk around Marietta Square, I thought I would try and photograph a beautiful church and challenge the software with vertical and horizontal slices to see if a tourist with a point-and-shoot camera could make a decent-looking panorama and then share the results with my students.

Infrared Photography Part 2: Sigma SD1M

Infrared Photography Part 2: Sigma SD1M

In Part 1 of this discussion, I explained my current foray into digital infrared (IR) photography and used the Sigma SD1M as my camera of choice. My reasons for choosing the SD1M are the user-friendly removal of the IR blocking filter, and the fact that I currently use the SD1M in my color art photography work. I like the Foveon sensor of the SD1M very much and if you want to use a Foveon sensor, you will have to use a Sigma camera.

Infrared Photography Part 1: Sigma SD1M

Infrared Photography Part 1: Sigma SD1M

I first tried infrared (IR) photography back in the mid-1990s with a Nikon F3 camera and lenses and the now discontinued Kodak High-Speed Infrared film (Kodak HIE). It was more difficult to shoot IR film when compared to my recent tryout with IR digital because: (1) the film had to be loaded and unloaded in total darkness which made reloading out in the field difficult and (2), you had to wait for the film to be processed to see the results.

Black & White Film Clip Testing

Black & White Film Clip Testing

A film clip test can reveal if your developer and fixer are in good working order. If you enjoy shooting B&W films and want to learn how to develop your film (see my article on how to develop B&W film here), you should include learning how to do a film clip test. I have listened to photographers over the years say how they lost film to a bad developer (it can happen), or their reusable fixer reached its limit, and they made the mistake of using it one more time, only to find out it was too weak to do the work. If these photographers had only done a simple film clip test before they started the development process, it could have saved them their film and disappointment. This article outlines how I do my film clip tests.

Polaroid 55 P/N: How I Shoot It

Polaroid 55 P/N: How I Shoot It

Polaroid Type 55 film was designed for large format cameras and was popular among professional photographers and artists. It offered a unique and versatile feature: each exposure produced both a positive print and a high-quality negative. This made it a favorite among photographers who needed an instant print for quick reference and a negative for further processing and enlargement.