
DogDays
Quintero
A course cut into the desert, unbookable or price unthinkable in the primetime season. Cheap and empty in summer, if you can sweat it.
01We drove west on Carefree Highway until we questioned whether we were going the right way. The group text went out on Tuesday, and it was booked by Wednesday: four names on a 1:48 that nobody else wanted, picked late in the day for the breeze and the chance of a monsoon. Nobody asked how hot it would be. We knew how hot it would be.
The card clipped to the wheel stayed there the whole round, blank. We kept tabs in our heads, knowing any birdies would be remembered.
The range was ours alone, which no tee time buys in the winter months, and the warm-up stayed short: six balls and a towel over the grips, an old trick to keep them whole through September, when the real Arizona golf season ends.
When you have the course to yourself, not rushed and packed between snowbirds, every hole flows from fairway to green and every pin feels attainable.
The monsoons build every afternoon in July, and on this afternoon they climbed into the stratosphere for us alone, cumulus clouds on their way from the Mogollon Rim. Between shots, everybody watched, hoping for the clouds to close the gap.
In January, this tee time is three hundred dollars. In July, a foursome runs the same rate, leaving room in the wallet for drinks at the turn.
Golf in the Southwest is typically dry and prickly by July: the Bermuda, attendants, marshals, all beaten down by the heat and the lethargy it brings. That was not the case that day. The course and people were welcoming.
Whatever it costs to keep a place this soft through an Arizona summer, they were spending it that afternoon on four friends and a roadrunner.
Nobody asked how hot it would be. We knew how hot it would be.
The four of us found the game slipping in the last stretch. Whether it was the adrenaline letdown from some of our best golf on the front six, the heat inducing mild delirium, or the free Modelos the cart girl threw in the cooler for the birthday festivities, we all found ourselves in the sand more than we would have hoped on the back nine.
In my haste of swapping film, eager to catch the clouds in a different light, I cracked the backplate, exposing the film to the sun and heat, bleaching a photo of my brother, whose birthday we were celebrating on the course. It was worth it for the stills of us descending toward the vapor, through the saguaros.
A mirage on the back nine: a 4-iron close on 14, the final birdie of the day on a hole flanked by the traps.
We left in a hurry, needing to get back to our homes. A steeper task being so far from the city. Water drops touched down right as I pulled my bags out of the car on the driveway.
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Whitefish
A bachelor party. Friends in from Washington, Illinois, California and Arizona, twenty-seven holes at Whitefish Lake Golf Club, aspens around the cabin, and the lake to get into when the round was done.
02The smoke took the mountains out of the background. What is left is a flat white sky and whatever stands close enough to see.
Dead timber stands in the shallows off the fairway. The south course plays alongside it for a stretch.
A foursome with two plans: the women took the cart and the margaritas, the men took the bikes and the clubs.
Some of us live minutes from each other, but latch on to a reason to celebrate and a far-off course to tee it up on.
The smoke took the mountains out of the background.
I pushed the film to its limit to capture the night by the fire. The Montana night had other ideas.
The mountain keeps its ski runs through the summer. From the water you can read them right through the smoke.
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The contact sheet
One issue a season, a letter when it ships.
Jerecho
I shoot film on an old Nikon F3, mostly on trips, mostly of the people I talk into coming along. The photographs are what’s left of good days: the road out, the long lunch, the light at the end of it. Golf gets us to some of these places. The rest is just paying attention.
At the pin, Hunter Ranch · Nikon F3 · Portra 400Selected film work, available for editorial features and prints.
The camera
Every frame on a Nikon F3. Four lenses in rotation: 28, 50, 105 and 180mm. Mixed film stock, whatever’s loaded. Scanned, barely corrected; the light is left as the light.
The work
Trips, mostly: who came along, where we went, what the light did. Three so far: Bajamar on the Baja coast, the Central Coast, and Pinehurst in the Carolina sandhills. More on the way.
New issues
New issues and chapters, by email as they're published.
Commissions & licensing
For features, portfolios, or prints, write to
jerecho@fischbeck3.com