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  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5232.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5271.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5243.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5203.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5197.JPG
  • Diners at Standing Stone Brewing in Ashland Oregon
    r.mcclaran-standing_stone_brewery-18...JPG
  • Diners at Standing Stone Brewing in Ashland Oregon
    r.mcclaran-standing_stone_brewery-18...JPG
  • Diners at Standing Stone Brewing in Ashland Oregon
    r.mcclaran-standing_stone_brewery-18...JPG
  • Diners at Standing Stone Brewing in Ashland Oregon
    r.mcclaran-standing_stone_brewery-18...JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5260.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5175.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5169.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5154.JPG
  • Diners at Standing Stone Brewing in Ashland Oregon
    r.mcclaran-standing_stone_brewery-19...JPG
  • Diners at Standing Stone Brewing in Ashland Oregon
    r.mcclaran-standing_stone_brewery-18...JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5249.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5204.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5193.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5178.JPG
  • Diners at Standing Stone Brewing in Ashland Oregon
    r.mcclaran-standing_stone_brewery-19...JPG
  • Diners at Standing Stone Brewing in Ashland Oregon
    r.mcclaran-standing_stone_brewery-18...JPG
  • Diners at Standing Stone Brewing in Ashland Oregon
    r.mcclaran-standing_stone_brewery-18...JPG
  • Kauai, Hawaii
    mcclaran-travel-8113.JPG
  • Gresham Farmer's Market, Gresham Oregon, held every Saturday in downtown Gresham, from May - Ocotber
    r.mcclaran-gresham-5156.JPG
  • Diners at Standing Stone Brewing in Ashland Oregon
    r.mcclaran-standing_stone_brewery-19...JPG
  • Randy Weaver, who along with his family and friend, Kevin Harris, were involved in an eleven day stand off with FBI and ATF agents at his remote cabin near Ruby Ridge Idaho in 1992. Feds had tried to recruit Weaver to be an informant and when he refused he was set up on a bogus weapons charge. The standoff began after Weaver failed to show up to court and agents surrounded his cabin, shot his wife Vicki and son Sammy to death, and wounded Weaver and Harris. <br />
Weaver was acquitted of all charges, except the original failure to show for court, and his family was awarded $3.1 million in civil case against the government. <br />
Weaver's case became a rallying cry for anti-government groups and was sited as a  motivation by Timothy McVeigh. <br />
Shown hear with his daughters Sara, Rachel and Elisheba. Photographed in 1995.
    r.mcclaran- randy_weaver-family.JPG
  • Randy Weaver, who along with his family and friend, Kevin Harris, were involved in an eleven day stand off with FBI and ATF agents at his remote cabin near Ruby Ridge Idaho in 1992. Feds had tried to recruit Weaver to be an informant and when he refused he was set up on a bogus weapons charge. The standoff began after Weaver failed to show up to court and agents surrounded his cabin, shot his wife Vicki and son Sammy to death, and wounded Weaver and Harris. <br />
Weaver was acquitted of all charges, except the original failure to show for court, and his family was awarded $3.1 million in civil case against the government. <br />
Weaver's case became a rallying cry for anti-government groups and was sited as a  motivation by Timothy McVeigh. <br />
 Photographed in Iowa 1994.
    r.mcclaran- randy_weaver.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on03.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9069.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-8969.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-8932.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    rmcclaran-heceta_head-8944.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9486.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-8944.JPG
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-16.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on13.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on09.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on02.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9347.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9278.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9100.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9099.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    rmcclaran-heceta_head-9098.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    rmcclaran-heceta_head-8863.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    _MG_9260-2.jpg
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9446.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9362.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9348.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9325.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9315.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9258.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9098.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9036.JPG
  • Roma family photographed in the Moldavia region of Romania, 1987
    r.mcclaran-romania-198701.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head_MG_9410.jpg
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-19.JPG
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-18.JPG
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-15.JPG
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-12.JPG
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-10.JPG
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-9.JPG
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-8.JPG
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-7.JPG
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-4.JPG
  • The Enchanted Forest is an amusement park located in Turner, Oregon, next to Interstate 5 just south of Salem. Creator Roger Tofte opened the park in 1971 after seven years of construction. Today, the Tofte family still owns and operates the 20-acre park.
    r.mcclaran-enchanted_forest-3.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on22.JPG
  • Abandoned Cotton Gin, SE Arkansas. <br />
<br />
As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on21.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on20.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on19.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on18.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on17.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on16.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on12.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on11.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on10.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on07.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on06.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on05.JPG
  • As a child my family would take long trips each summer to visit relatives, either in Texas for my Father’s side or the Mid-west for my Mom’s. I’d sit in that back seat staring out the window as we rolled down the two lane, watching out the window as the world unfolded before my eyes, always curious for what was around the next bend. The America a cross-country traveler encounters today is as changed as that young boy in that back seat. •<br />
<br />
Having worked in the documentary tradition for most of my career, I began this project with the intention of telling a story about America’s heartland. As the country underwent the transition from the boom of the late nineties to the post 9-11 years, and the economic collapse to follow, I too was going through my own personal period of transition. The photographs reflect a search for my own soul as well a search for the soul of the heartland. Over time I came to realize the story I was telling was as much my own as it was the heartland’s. •<br />
<br />
The earliest pictures in this body of work were made near my hometown in Arkansas. Over the course of several years I began visiting places throughout the country that have deeply personal connections for me; my mother’s birthplace in Ohio, the lake cabin I spent summers in my youth. Some locations were chosen for their iconic American names such as Dodge City and Paris Texas. Others were discovered randomly, in the course of travel. •<br />
<br />
I’ve always believed in the power of photography as a rich and robust language, in the poetry of images. I began to think of this work as a visual folk song, a folk lament. I borrowed the title from a Woody Guthrie song that seemed to fit. From Here On.
    r.mcclaran-from_here_on01.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9364.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9359.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9271.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9263-2.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9098.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9062.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9011.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-8930.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-8850.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    mcclaran-Heceta-cover-master-1_MG_92...JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    rmcclaran-heceta_head-9486.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    rmcclaran-heceta_head-9446.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    rmcclaran-heceta_head-9100.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    rmcclaran-heceta_head-9069.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    rmcclaran-heceta_head-8918.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9364.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9361.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9359.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9356.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9340.JPG
  • Emily Forsha and family, husband Brace, and sons Eli and Issac enjoying a day at Heceta Head beach, near Florence and Yachats on the Oregon Coast
    r.mcclaran-heceta_head-9271.JPG
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Robbie McClaran

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