Dad’s Dressing

With apologies to Newman’s Own

My mother managed a large household in a small house on a tight budget.  She had five children within a decade during the 1950s.  Armed with her Better Homes and Gardens cookbook, she prepared dinner every evening for a table of seven and had it ready by the time Dad came home from work.  Diet and meal recommendations in the US at that time were meat, starch, vegetable.  The food pyramid was yet to be invented, but family traditions provided the same guidance.

Our family dinners were always accompanied by a green salad: iceberg lettuce, carrots, celery and tomatoes, tossed into a large bowl and passed around the table for us to fill our individual plates or salad bowls.  My mother’s care in stretching her self-imposed grocery budget resulted in a few interesting dinner rules, one of them being that no one was permitted to take more than two slices of tomato in their salad portion.  (Another consequence of her frugality was that frozen orange juice was diluted with an additional measure of water, permitting us all to have a full juice glass at breakfast).

There was only one option for dressing the salad.  My mother would never consider buying those expensive bottled dressings because my dad could make a French-like salad dressing at home.  We would often watch him do this just before dinner.  A bottle would be fitted with a funnel, into which he would deliver various amounts of spices from the small spice jars kept on a lazy susan in the cupboard.  It was quantitatively uncalibrated; he’d just shake some into the funnel, give the lazy susan a turn, and see what else was available to add to the mix.  He would then add ketchup, followed by vinegar, oil, and water.  On occasion he would add drops of Worcestershire or lemon juice.  The bottle would then be capped and vigorously shaken to mix the ingredients into a tart and flavorful concoction that would eventually separate back out to something clearish floating over something reddish.  Shaking to remix the dressing before putting it on our salad was part of the dinner ritual as we passed the bottle around the table.

We all grew up with the understanding that dinner was always accompanied by a tossed salad, and there was only one dressing for it—Dad’s.  Over time of course, we grew up and left home and were forced to explore the commercial options for salad dressings.  They always seemed to come up short- too sweet or too thick or not enough tang. There was always some deficiency compared to Dad’s.  Later on, at extended family gatherings we would insist that he bring his dressing to provide an option at the salad station.  At some point, we pressured him to write down how to make it so that we could, in principle, reproduce it.

He yielded to that pressure.  To somehow quantify the arbitrary shakes into the funnel must have been an interesting exercise for him; it took a few iterations before he was satisfied.  He recorded his measures and supplemented them with an elaborate procedure to put them together.  This is not the technique I watched as a kid (which was quite simple– just shake the bottle), but the recipe at least gives a glimpse of how he thought it should be done.

I recently encountered that recipe and made a few batches of Tod’s Homemade Salad Dressing.  It was close, but did not match exactly my long-ago fond memories of it.  On the other hand, there may not be anything that would match those memories.

Realizing that perfect reproduction was impossible, I made an adaptation that scales the recipe to fit a standard size bottle and utilizes only two distinct measuring tools.  I invite you to try it.  Feel free to make any modifications you think might improve on it.  Dad would.


Tod’s Homemade Salad Dressing
Thor’s variation, using only two measures and fitting in a 16-oz bottle.

Ingredients:
1 tsp    celery salt/ground celery seed
1 tsp    onion salt/onion powder
1 tsp    paprika
½ tsp   salt (fill the tsp measure halfway)
½ tsp    black pepper
½ tsp   lemon pepper
1 cup   vinegar, in two ½ cup parts
½ cup   ketchup
¼ cup   oil (fill the ½ cup measure halfway)
¼ cup   water

Directions:
Add the spices to the bottle.
Add ½ cup of vinegar and shake to dissolve spices in the vinegar.
Add the ketchup, probably using a funnel.  Shake to mix.
Add the oil, rinsing the ketchup through the funnel.  Shake.
Add the remaining vinegar, rinsing the oil through the funnel. Shake.
Add the water. 
Shake. 
Shake.
Shake.

Lower calorie option:  omit the oil, increase the water.

Other optional ingredients to consider:  Worcestershire sauce, lemon juice, garlic…

Yosemite Valley by Moonlight

The light of a setting crescent moon illuminates the famous valley.  El Capitan looms on the left, a point of light is seen on its face, the flashlight of a climber, strapped to the wall for an overnight pause in progress.  Half Dome is in the distance, and Bridalveil Falls pours reflected moonlight into the valley, the headlights of cars seeming to carry it downstream alongside the Merced River.

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Yosemite National Park, CA
April 2004
Pentax 67 w 55mm lens at f/4
60 minute exposure on Provia 400


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Half Dome

During the day, Yosemite must have the highest number of tripods per capita in the world.  Mine is setup at night during this difficult hour. Traffic, in the form of late arriving tourists, security rangers on patrol, and mangy coyotes, all serve to distract me while exposing this shot from Sentinel Bridge.

Half Dome, the signature shape of Yosemite, is illuminated by starlight, revealing the patterns of rock varnish on its face.  The faint light from the sky also reflects gently on the Merced River as it flows beneath my vantage point.

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Yosemite National Park, CA
April 2004
Pentax 67 w 55mm lens at f/4 60 minute exposure on Provia 400


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Yosemite Meteor

Yosemite Falls is at a thunderous volume in this season, seeming to pour starlight over the edge of the cliff into the valley.  The water continues its downward path via Lower Yosemite Falls, the dim watery glint reflecting a moonless night. 

A meteor bright enough to light up the forest flashed through the sky just before the end of this 90-minute exposure. A fireball that left a glowing plasma trail, it is a member of the Lyrid meteor shower, an annual April event. It cuts a chord across the arcs of stars making their daily tour around Polaris.

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Yosemite National Park, CA
22 April 2004
Pentax 6×7 w 55mm lens at f/4
90 minute exposure on Provia 400


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Bridalveil Falls

The stars follow their gradual southern arcs parallel to the terrain during this 90 minute exposure.  The water is unusually high this season, catching and reflecting starlight during its freefall down to the valley floor, the long exposure creating a flowing river of mist not possible to capture during the bright daylight hours.

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Yosemite National Park, CA
April 2004
Pentax 67 w 55mm lens at f/4
90 minute exposure on Provia 400


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Split Rock Lighthouse

Spring comes late to this region.  Snow was an obstacle to bringing equipment to this site, but once there, I could enjoy a solitude that amplified the sounds of the great lake.  The beating of waves against the shore diminished through the evening as the temperature dropped and the water in this back bay was held captive and quiet beneath a thin ice glaze.  Occasional cracks and “tinks”  were heard as daytime puddles froze in their rock bowls.

This time exposure captures the stars traversing their east-west passage over the recently thawed waters of Lake Superior.  Park security lamps are now the  only light on the famous cliff, illuminating the distinctive shape of this former, but now dark, guardian beacon.

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Two Harbors, MN
21 March 2004
Nikomat with 150mm lens at f/5.6
60 minute exposure on Provia 100 +2 stops


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Orion and Friends

The constellation Orion is a distinctive pattern in the winter sky.  Look for the three-star belt, with another three-star sword hanging from it. Here he is with some of his less visible friends.  The large red arc is Barnard’s Loop, which encircles the Orion Nebula (lower of the two red areas) and the Horsehead and Flame Nebulas

Betelgeuse is the red giant star at Orions shoulder, not to be confused with the circular red Rosette Nebula to the left.  The bright blue star at the lower left is Sirius (the Dog Star), the brightest star in the sky, and sailing above it in the blue river of the winter Milky Way is the red wisp of the Seagull Nebula.

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Lake Superior shoreline near Two Harbors, MN
March 2004
Pentax 6×7, 55mm, f/5.6
E200 +2 stops, 20 minutes, guided

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Altamont Windfarm

Altamont Pass, Livermore CA, 1 Feb 2003

I had tried once before to get a nighttime picture of these modern-day generators, to complement my shot of a more traditional windmill. The proximity to the large population near San Francisco Bay fills the sky with light, and my previous pictures had been washed out. This time I was armed with a light pollution rejection filter and enough time to find this interesting composition.  I rediscovered a characteristic of these filters- they are very angle-of-view sensitive.

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Altamont Pass, Livermore CA
1 Feb 2003
Nikomat with 50mm lens at f/8
60 minute exposure on Provia 400


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El Capitan’s Midnight Crown

El Capitan’s immense figure blocks my view of the north star Polaris.  I can only guess where it should be based on the time and positions of other stars.  A position in an open field in Yosemite Valley allows me to make this composition.

The moonless night meant that the only illumination was by starlight.  The park is sufficiently remote to escape the light pollution from large cities, but not enough to avoid airplane traffic.  The distinct dotted lines mark the strobe lights of distant flights, unknowingly adding their trails to those of the stars.

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Yosemite National Park
13 April 2002
Pentax 67 w 55mm lens at f/4
90 minute exposure on Provia 400


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Yosemite Falls by Starlight

Yosemite National Park, 13 April 2002
Pentax 67 w 55mm lens at f/4, 2 hour exposure on Provia 400

I was given a hint that I should consider Yosemite Falls as a startrail target because the trail to it ran along a north-south path.  I wasn’t brave enough to hike in the dark, but I did find a vantage point from across the valley that placed Polaris directly above the falls.

The moonless night meant that the only illumination was by starlight.  The park is sufficiently remote to escape the light pollution from large cities, but not enough to avoid airplane traffic.  To minimize them crossing the view, this exposure was done in the very early morning hours when all the airplanes have found their destinations and the only sound in the air was the distant rushing of water.


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