Wednesday, May 28, 2014

the silence of the north cascades [plate i].


















P L A T E   I
Skagit River Valley, Washington







[ Canon 7D / 18-55mm IS / circular polarizer ]








This image was made in late afternoon from the summit of Sourdough Mountain in North Cascades National Park, looking west down the winding Skagit River Valley towards Puget Sound, and beyond, while shafts of sunbeams filtered through the multitude of creek valleys all feeding the mighty Skagit.


It is the first of ten plates to be collected for this portfolio and journal project I am putting together – ultimately to be printed and made available as either a handbound book or individual, fine art fiber prints – and titling The Silence of the North Cascades. It is a multi-year, ongoing project from which I hope to capture – in my own words and photographs – the silence found in the high places of the North Cascades, and I will periodically write about my progress.


Please check back for the next plate to be posted in the coming month or so… 










Thursday, May 22, 2014

freezing temperatures guaranteed.













 F R E E Z I N G   T E M P E R A T U R E S   G U A R A N T E E D .












Today, as I sat quietly while my computer chirred at some image processes, I leaned in a bit and read for the first time the bit of type on the little kitschy postcard reproduction of a Rocky Mountain National Park postcard that's been sitting on my desk for years.










It boldly touts the now-long-defunct, what-was a fourteen-by-eighteen foot cabin nestled among a field of boulders at thirteen-thousand feet on the approach to climb Longs Peak. 'No modern conviences,' says the first bullet. 'No trees to spoil the view.' Well, okay. 'Guests arrive on foot or horseback (no autos).' 'Freezing temperatures guaranteed every night.' And lastly, 'Water carried from snowbanks a few feet from the door.'

These, what must have been enticing claims back in the nineteen thirties, strike me as fascinating today for precisely two reasons.

First, the Boulderfield Cabin was itself completely unusual in the United States. Huts like this abound by the hundreds in the Alps, where they're staffed with a chef and crew to provide five-star accommodations in otherwise seemingly inhospitable mountain places. But here, in the country of John Muir's wilderness, devoid of the imprint of human beings… they do not. So this one, unique in its very existence, was even more so because of its lack of any modern conviences, or the ability to step off a tram and walk in the front door. You actually had to walk (well, or ride a horse). And the fact that this poster was advertising what amounted to a near-Muir wilderness experience in a cabin at thirteen-thousand feet, is fascinating.

It seems nowadays, this poster would read very differently. Quite the opposite, in fact. It would tout free wi-fi, air-conditioning (since someone may still require that to be comfortable even at thirteen thousand feet), cable television, RV hookups, and the like. Etc. etc. etc., for nowadays we cannot possibly be made to be uncomfortable. It could claim the view, but not without the wi-fi. The pure, snowmelt water, but not without the steak and lobster entrees.

So that was one reason.

The second then, this year is the fiftieth anniversary of the Wilderness Act. I will probably write a bit about that over the course of the year–about its significance. About how, maybe in the most pure and selfless way, we lazy, fat, greedy Americans got it right. Got it right in such a grand way as to provide a ray of hope for the very future of our periled civilization. About how, even with its claims of uncomfort, how strange it is still, our idea of wilderness, and the reasons for why we must continue to lay claim to the last vestiges of wild places.

This poster got it right. The stuff it advertises, that's the stuff stories are made of. From which adventure is born. John Muir, that grandfather of the idea of limitless wilderness, may have best written about his experiences in wilderness as such -






These beautiful days must enrich all my life. They do not exist as mere pictures–maps hung upon the walls of memory to brighten at times when touched by association or will, only to sink again like a landscape in the dark; but they saturate themselves into every part of the body and live always.













tom killion.











Range after range of mountains
Year after year after year
I am still in love.



On Climbing the Sierra Matterhown Again After Thirty-one Years
Gary Snyder
October 4, 1986






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The random postcard I get occassionally a few times a year from the artist Tom Killion came the other day.






"Mt. Whitney from Little Claire Lake" (12" x 9")





Over the years I've amassed a little collection of these cards, which I absolutely treasure.












This one in particular is my favourite.







"Isosceles Peak & Palisades from Dusy Basin" (18.5" x 13.5")





I don't remember now how I first came across his work. Maybe just random, poking through the little cool, eclectic bookstore-slash-coffee shop in downtown Bishop, California, finding there in the heaps a copy of a book of poetry by Gary Snyder and Killion's woodcut prints called The High Sierra Of California.











Of all art (music aside of course), photography I love the most (umm, duh… ). Second though, are woodcuts.

I wish I could afford handmade art that - well - wasn't my own photography. Maybe I should offer a trade to a woodcut artist… Last fall my friend Matt and I wandered through town during one of the Santa Cruz open studios tour weekends. One woman's studio we toured was a woodcut artist. I was impressed; I wanted to buy something. Combining a little bit of lithography, screenprinting, and woodworking, it is a dream of an artform.

Anyway, the work of Tom Killion is incredible, and he details the process beautifully in that book I found in the little shop in Bishop. First, he sketches in the wilderness what will become the final print. Only one color can be printed at a time, and each color requires its own plate of sorts (in this case, they are etched wooden blocks as opposed to the aluminum plates used in traditional lithographic printing). Some of the prints can take close to three hundred hours to complete, he writes.

His work isn't excessively-priced relative to other art, and likely is quite reasonable… about four hundred dollars for a modest, twelve-by-eighteen inch print. The catch is he prints in limited runs (obviously, since all prints are done by hand), and the ones I really like are already out of print.



This one, looking up to Evolution Basin from the valley below with Evolution Creek meandering through the foreground, is my favourite.







"Evolution Valley From McClure Meadow" (12.5" x 19")













Monday, May 12, 2014

climbing.












C L I M B I N G .












Eldorado Peak, North Cascades National Park, Washington
© 2013 All Rights Reserved










At this elevation snow fields
lie like afghans for the slopes,
make shawls for the avalanche lilies.
To breathe becomes the rule,
to move,
each leg a body,
to squeeze oxygen
out of the air.
Think of conjugations
to gain five minutes.
Stopping beneath this last stand of trees
the rain slips down rocks and faces,
luminous from hours of rain,
legs prickling
inside soggy wool.
Hunched into the wind,
it whips and wraps cold fingers
around the ridges, ripping the
clouds,
and bringing an indictment; there is
no hiding on this face.




~ Phyllis Munzlinger
Excerpted from The Mountaineer, January 1977