Once again, a bleed print isn't the easiest thing to get right, but it's eye catching. In this case, I think it will look much better on the page of the hard copy than my last bleed print of Hugh Heftner's tombstone. It's interesting to me to think about how much more natural it was to make the image stand out on the page when it's meant to resemble the substance that goes on newsprint each week. That's something of a collision between subject matter and medium with a digital delivery system in between them. I had a couple of other ideas floating around in my head after sitting through the meeting about the oily, contaminated leftovers from the Doon derailment coming to our local landfill. However, the other ideas weren't as crisp and didn't have as much 'umph' as it were. There was something both powerful and simple about dirtying the familiar profile of our beloved chain of lakes - again, a melding of message and method - so I left it at that and focused on the texture. It's easy to make these things complicated by adding objects and text. More often, I've been challenging myself to do them without using words and let the images speak for themselves - a more direct approach perhaps.