Posts Tagged ‘Vernal Falls’

Book Review – Treasured Lands: A Photographic Odyssey Through America’s National Parks

April 27th, 2018

Book Review

Treasured Lands: A Photographic Odyssey Through America’s National Parks by Q. T. Luong

The Ethics of Protecting and Promoting Our National Parks

Cover of Treasured Lands: A Photographic Odyssey Through America’s National Parks by Q. T. Luong. (Click to view large.)

Americans invented National Parks and in return, National Parks and other wild lands of the new continent shaped Americans. Yet the influence of cities and automobiles has eclipsed that of the national parks in all ways except through our collective imagination and grandest vision of all that makes up an ideal civilization. We must be careful to perpetuate these fragile image ties to our wilderness past, or forever lose our identity as part of nature. Maintaining this vision will also ensure our national parks remain wilderness untrammeled. Otherwise, we lose the piece of our core selves closest to our heart.

The age-old debate still rages over whether to invite more people out to enjoy nature and thus develop a larger fan base, or keep quiet and try to stop people from increasing the wear, tear, vandalism and man-made infrastructure necessary to simultaneously maintain access and protect our national treasures.

“For every place there will always be people that want to exploit it,” my father, pioneer conservation photographer Philip Hyde said. “And, there will always be people—hopefully—that want to save it and keep it as it is. Even with the risk of inviting the crowds into paradise, better to publish your photographs and rally the troops. What’s in the frame of the photograph matters artistically, to be sure, but what’s outside the frame can destroy it.” Later in life, in the early years of the millennium, after hearing how overrun and trampled certain locations had become, Dad said he still wondered whether his books benefitted or harmed nature.

The Advantages of Large Format Film and of a Well-Written Text

Grand Teton from Schwabacher Landing, Midday, Grand Teton National Park, Wyoming by Q. T. Luong from Treasured Lands. (Click to see large.)

If this best in class large format book, Treasured Lands: A Photographic Odyssey Through America’s National Parks, with text and photography by Quang-Tuan Luong were a film, it would win multiple Academy Awards as one of the best efforts ever for recruiting new national park fans and encouraging old fans to renew themselves through new visits. My impression is that Mr. Luong accomplished such a masterpiece through sheer will, discipline and diligence.

When you open Treasured Lands for the first time you revel in the sublime realism and beauty that can only be achieved by large format film or a $40,000 digital camera rendered through the subtle, well-balanced color palette of a well reproduced photography book. To be fair, Tuan Luong informed me that the photographs in the book were not all made with a large format camera. Nonetheless, they all exhibit large format acumen by the photographer and they all have an unmistakeable large format aesthetic, portraying the full spectrum of nature, rather than nature dressed up only on her best day.

To accompany this colossal collection of effective and moving illustrations, Q. T. Luong wrote a text that flows and delivers just as well as the images. His punchy prose keeps your interest. It is loaded with facts, but not everyday facts, novel, captivating facts, figures and surprising observations that give you the feeling of having smartly and efficiently obtained the essence of each place. Just starting at page one and turning a few pages to the contents showing all the parks, I felt like I had already embarked on an adventure. I was learning, absorbing and celebrating our national heritage. I held in my hands all the parks in one monster volume.

Art, Propaganda and Photograph Location Disclosure

Cannonball and Badlands at Night, Theodore Roosevelt National Park, North Dakota by Q. T. Luong from Treasured Lands. (Click to see Large.)

But is it art? Critics and others might ask. I would say the book itself is a work of art, the photographs are mainly documentary but contain artistic elements, some of them more than others. Some art critics might say the book is propaganda. They might perceive it as a kind of glorified guide book because Luong provides specific directions to each of his compositions in each park. Some art connoisseurs, gallerists and museum curators consider any art that is not solely for the sake of art itself is propaganda. This traces back to critics John Szarkowski and Nancy Newhall, as instigated by Ansel Adams and Beaumont Newhall around the time they co-founded the first museum photography department at the Museum of Modern Art in New York. Ansel Adams in workshops and his student and teaching associate Philip Hyde in a number of places, both in writing and in interviews spoke against giving directions to image locations. Both photography mentors felt the practice inhibited student resourcefulness and creativity, as well as hobbling the development of individual vision. I usually tend to agree with Dad and Ansel and believe these details are a flaw in Treasured Lands.

However, times have changed and photography in many cases is self-taught or no longer taught with the same rigor. Many photographers today find location specifics an asset and have praised Treasured Lands most of all for this reason. Either way, still today the best guidebooks offer suggestions and ideas, but do not give exact specifics. Nonetheless, even for purists like me, Luong somehow gets away with providing specific directions because the sheer scope of his undertaking and achievement force us to take him seriously as more than a mere tour guide. To go with the directions, I would have liked to see an outdoor ethics statement, or the Leave No Trace Principles. However, between the photographs and text, Luong portrays and describes these natural places with such reverence and admiration that his readers will hopefully take on at least some of his tone and outlook, which will hopefully cause them to treat our amazing national treasures with respect.

With new adventures on every page turn, my resistance to location disclosure fell away almost immediately under the sheer power of what I was seeing and reading. Unfortunately, I did find the maps a bit hard to read due to their tiny type font. However, I enjoyed reading how to reach a smattering of the photo locations. Meanwhile for the most part I became caught up in reading other content, which while obviously extensive and geologically rich, came accessibly served up in one to two page bytes. These are rewarding and satisfying because each section acts in part like a mini-tour of the park it covers. The text is well thought out, well-organized, captivating, diverse and packed with actionable instructions and tips to make your travels more enjoyable and photographically productive.

The Many Reasons Treasured Lands Is Not Propaganda

Haleakala Crater from White Hill, Midday, Haleakala National Park, Hawaii by Q. T. Luong from Treasured Lands. (Click to see Large.)

Regardless, I have other reasons not to dismiss Treasured Lands as mere propaganda. At face value, rather than feeling commercially viable at all, Treasured Lands feels so heavy in weight, so chock full of striking imagery and so bulging with smart information that once you have it in your hands you feel that you have made a great deal to have it for under $100. The publisher’s retail is $65 for an autographed copy from TreasuredLandsBooks.com. Currently you can even get it for as little as $44.19 with free shipping from Amazon.

Large two-page evening panoramas sprinkled across the pages bring the parks depicted into vivid awareness while taking us partially into abstraction with the extreme light and shadows of dusk. Sweeping vistas throughout the book give a sense of place and overwhelm us with the vastness and remoteness of wilderness. Luong visited many of the parks multiple times, which translates to years of hard work, days and nights of grinding travel in all conveyances and over all manner of terrain, which also translates into daunting logistics and planning.

By no means did Q. T. Luong make the expected photographs of each or even many of the national parks. In Lassen Volcanic National Park, as one example of many, he skipped the most popular views, especially of the mountain, but with the exquisite detail and texture of large format film he captured frames that showed the character of the park just as well without being cliché. In discussions with other photographers, I found most of them said that the book has a good balance between more innovative images and what some might call “the obvious shots” that are all but required to identify certain landmarks in some parks. Besides, in the visual arts people are drawn to at least a nuance, if not a good amount of familiarity, as Atlantic editor Derek Thompson points out in his book, Hit Makers. Hits are made from images that look new, but also remind us of other images before in some way.

Some of the Best Illustrative Landscape Photographs Ever Made

Cove of Arches and Cove Arch at night. Arches National Park, Utah by Q. T. Luong from Treasured Lands. (Click to see Large.)

Speaking of hits, in some of the national parks, Luong managed to make what I consider some of the best photographs ever made of certain areas. This was true in a number of unexpected places such as in Hetch Hetchy Valley in Yosemite, where Luong shows us the only photograph I have ever seen that lives up to the early 1900s Bureau of Reclamation vision of what the reservoir would look like, as sold to the American public. Pinnacles National Park is challenging to photograph. Perhaps his many visits enabled Luong to do something extra special there by knowing the most striking compositions and capitalizing on the best possible light. In the Sierra, he photographed snow caked on Giant Sequoia trunks, but did it better than it has been done before, with more majesty and more mood. I love Luong’s photograph of Alabama Hills. It is more about the Sierra Crest and the terrain, than any gimmicky cliché pseudo-arch foreground window framing the distant peaks. Luong omits the Merced River altogether in Yosemite, except in the higher elevation roaring cascades below Vernal Falls.

The differences between documentary and art photography are blurring anyway, but Luong is perhaps one of those who push the two definitions inward toward each other. His photographs for Treasured Lands overall are documentary, but even the most representational and least creative works are artistically strong and well seen from a design perspective with luscious forms and beautiful lines. It is quite evident that Luong has studied the great works of photography and art and applied what he has observed. Documentary, almost standard issue images that essentially say, “Ok, here we are at Joshua Tree,” are the best working basis for a large book on all of the national parks. However, Luong keeps his book fresh by mixing in nighttime photographs, ridge silhouettes, a few wildly tilted horizons and other Pictorialist effects such as slow shutter speeds for silky water, movement blurs and wind blurs. Luong also puts in the extra effort and expense to provide variety in other ways by getting up in airplanes, scaling mountain peaks, climbing walls, swimming underwater, chartering various boats horses, burros and other unusual transportation. Meanwhile, he also mixes in enough expected imagery such as the lava dripping into the ocean in Hawaii, Tunnel View from Yosemite, the Teton Barn, Mt. Denali and Wonder Lake and the circular petroglyphs on Signal Hill near the Tucson Mountains in Saguaro National Park.

Realism, Hard Work, Diligence, Feedback, Revisions and Quality

Margerie Glacier from Tarr Inlet, Glacier Bay National Park, Alaska by Q. T. Luong from Treasured Lands. (Click to see Large.)

Another significant reason large format film was the ideal medium for this national parks project lies in how the high fidelity gives reflections, textures and details a much more interesting and realistic look. With large format, a nature photographer can go after and make ordinary objects extraordinary. The resulting photographs also work better when they contain flaws and extra grit, rather than having to be sterilized by over retouching in Photoshop. For example: I love that Luong left the house in his Zion photograph of Towers of the Virgin. Many digital photographers take it out of their images of this iconic location. The large format color is also so lush and true without any false-rendering of tones or over-saturation.

Part of what lifted up the text and images to far above average, was the amount of advice and feedback Quang-Tuan Luong asked for along the way. He was wise to get Gary Crabbe to help him edit the photographs and to get advice from many other experts at each stage in the production process. The first time Tuan and I met in San Jose, he asked me for ideas on how he could come out with yet another national parks book and make it different from any that had been done before. This was a smart question to ask about such a book and a good place to start in attracting my interest and participation. My first answer was that we do not need another book on the national parks. However, as I began to think about how Tuan opened himself up to input and ideas, I felt I had to offer more. Besides, when he asked me about making it a guidebook for photographers as well as a picture book for everyone else, I told him I did not like guidebooks. Some help I was. Yet he patiently and gently persisted in asking more questions and asking me to read some of his text. I agreed to do so, somewhat reluctantly. It took me a long time to offer much feedback, but as I began to, I saw that Tuan had put a great deal of thought and effort into the project, the text no less than the photography. As the book took shape and began to emerge from the realm of ideas, the quiet strength of what he was doing became evident. Let this be a word of caution to all aspiring creative people out there: never give up on what you love or on your big idea just because it has been done before. Do it better. Q. T. Luong certainly did and the world and the field are far richer for it. However, he did it not by force of will or ego, but through good listening. Remember that too, above all else. He also did it with kindness and generosity. My copy of Treasured Lands is the limited edition version that Tuan personally sent me. He numbered it by hand 77 of 150, signed it and wrote me a personal note. How cool is that?

A Tribute to the American Land, the Art of Place and Our National Heritage That Will Live On

Cypress trees Reflected in Cedar Creek from Canoe, Congaree National Park, South Carolina by Q. T. Luong from Treasured Lands. (Click to see Large.)

It may be due to the large format camera, or perhaps Luong and his sensibilities, or all three, regardless an outstanding sense of place permeates every page of Treasured Lands. Many are close behind, but the national park depictions deserving the most recognition in establishing place in my opinion are Cuyahoga Valley, Death Valley, Gates of the Arctic, Glacier Bay, Great Sand Dunes, Guadalupe Mountains, Haleakala and Yellowstone. In Yellowstone, Luong includes Old Faithful, Mammoth Hot Springs and a fairly unique framing of Yellowstone Falls, but also shows us many locations with which we are not familiar. In Death Valley, Luong gives us perhaps more of the usual images than in other places, but the additional images show us so much more as to render the place very well overall. Luong exhibits a certain flair for Alaska as his images in each of the parks there for the most part are both unexpected and extraordinary in the lexicon of all landscape photographs.

Q. T. Luong’s massive work consists of not so much a single unity of style, but of several style themes that run throughout the book. This cohesiveness is quite an accomplishment for a project that took so many years to complete. With all of the elements that went into making the book creating a synergy that lifts it above other work in the genre, it also transcends its minor shortcomings, or perceived structural flaws that we readers bring to it based on our own biases.

The sheer volume of work, in and of itself is impressive, but the consistent quality and exemplary execution make Treasured Lands a truly monumental achievement. Even as the son of Philip Hyde, or perhaps especially as the son of Philip Hyde, I am going to go out on a limb and say that Treasured Lands is one of the greatest large format landscape photography books ever published. It will live on and influence photographers for years and perhaps even generations to come. These statements, considering what has been accomplished in the genre before, hopefully transcend anything else I could say, or have said above, whether critical or supportive.

Interview Of Gary Crabbe Part 2

June 27th, 2011

Landscape Photography Blogger Interviews Photographer Gary Crabbe

Part Two of a Three Part Series

(Continued from the blog post, “Interview Of Gary Crabbe Part 1.”)

On Personal Style, Book Projects, Photo Editing And Working With Galen Rowell

Interview Conducted By Phone May 25, 2011

Rural Highway Below Mount Shasta, Northern California, copyright 2009 by Gary Crabbe.

(View photograph large: “Mt. Shasta.”)

HYDE: You also said that one important lesson in landscape photography you learned from Galen Rowell had to do primarily with responding to the light.

GARY CRABBE: That lesson originated with Galen Rowell and ever since I’ve become hyper-sensitive and in tune with what the light is doing and what the light is hitting, versus the subject I set out to photograph. Now I say to my student’s, “A boring subject in great light will always make a better photo than a great subject in boring light.” I may have a subject in mind, but if I see the light happening somewhere else, I am willing at a moment’s notice to drop any preconceived idea.

HYDE: That flexibility strikes me as not only the similarity between you and Galen Rowell, but also between Galen Rowell and my father, Philip Hyde. Many landscape photographers have this philosophy that they go out, scout out a location, then literally set up camp and wait for the right light, sometimes for as long as several days. My dad never did that. He would photograph in the middle of the day rather than wait. Part of it had to do with limitations of budget and time. He had to cover certain territory because he had his itinerary planned. He had obligations. He was often on assignment and someone else was paying his expenses. Certain landscape photographers like Jack Dykinga, for example, take the exact opposite approach. Jack Dykinga is sometimes on a loose assignment from a group like the iLCP, International League of Conservation Photographers. He may be setting the direction and parameters of the assignment, maybe he picks his own. He’ll wait days for the right light or weather conditions. Do you do that?

GARY CRABBE: No, I wish I could. I know a friend who does and he returns with some gorgeous images. He also has the patience to wait for something better. I don’t get it. (Laughter) I make the best of what I can because I can’t wait with my book projects. Plus I’m also a stay at home Dad. I’m the one that drops my kids off at school and picks them up in the afternoon. When I’m out photographing, I have to turn tail and get back. My time is limited. I did double back one time on my way to Lava Beds National Monument up in Northern California on my last book project. I cut from Weed over to the Lower Klamath National Wildlife Refuge and then on to Lava Beds. I looked in my rear view mirror and said, “Wow, there’s a great shot of Mount Shasta,” making a note to come back for sunrise. I circled around through Alturas into Susanville, back over to Lassen Volcanic National Park and then up again toward Mt. Shasta, making a 500 mile loop. I can’t recall many occasions where I’ve made that choice, but it was my time to make something work. That’s why I’m here.

HYDE: So looping back 500 miles was more the exception than the rule for you?

GARY CRABBE: Absolutely, and it was one nice sunrise morning. Sure, I could have said, “I wanted more clouds in the sky, or the moon setting,” but I didn’t have the luxury to do that. In that regard I’m more of an editorial photojournalist. I’m out there to document the place. I need to get this, this, this and this for my book project. I work myself to max out a set schedule. Landscape photography art does not always happen like it did at Lava Beds National Monument. Two mornings later I also shot a wonderful sunrise in Susanville, but, the morning in between was crap. (Laughter) Nothing came out. It wasn’t the right weather. I couldn’t just stay there and hope that the next day was going to get better and miss all the other photographs I needed. In that regard, it sounds trite, but it’s a job. My work dictates my schedule and then my creative instincts guide what I do within the confines of that schedule. I just spent two days in Yosemite National Park. I had to get Vernal Falls for my next book project, Where to Photograph in Northern California. I’ve rarely ever tried to take, for lack of a better word, cheesy, iconic photos like the rainbow and Vernal Falls. But it’s the kind of photograph that provides the reason to go up to Yosemite National Park and face the crowds. It’s ironic to dread Yosemite Valley, but that’s summertime. In the text I’ll explain that to photograph the rainbow your best chance of seeing it is at ‘this time’ and ‘this time.’ Sure, my photograph was of Vernal Falls from the Mist Trail, but I am always happier as in this case when I came back with my own personal vision of the scene as opposed to the same image that has been on a post card for the last 35 years in every gift shop in Yosemite National Park.

HYDE: Speaking of waterfalls, I really like your “Sunlight on Berry Creek Falls.” You know my dad made a well-known photograph of Berry Creek Falls. Your photograph makes it look even more picturesque now. Berry Creek is a really nice waterfall. The way you framed it, that’s one of the best waterfall photographs I’ve ever seen.

GARY CRABBE: Wow, I’m beyond flattered. I just wrote about it. I put up an article at a place called Pro Photo Resource. It was called, “Seeking Out Definitive Moments In Outdoor, Nature And Travel Photography.” Berry Creek Falls was one of my examples.

HYDE: I want to talk to you about each of your book projects, maybe a spattering of what was interesting about each project. It’s important for people to know that you have illustrated six coffee table books. Also, there is one more question about your experience with Galen and Barbara Rowell that I want to ask you. It is personal to me because of my process working with my father’s photographs. Carr Clifton helped me all along in choosing images and many other people helped too, various gallery owners and other experts. I had consulting work by Ryan Baldwin, who at one point ran Galen Rowell’s Mountain Light Gallery in Emeryville. Did you work there when he did?

GARY CRABBE: Yes. I know him very well.

HYDE: OK. He actually did a little consulting with me in the very beginning when I really didn’t know anything about anything. He helped me start choosing images. I feel like my vision and my ability to choose photographs grew exponentially over the years since then. Ryan Baldwin’s good advice was to choose images of my dad’s at first that no other photographer could have done. He suggested that later I could mix in some that my dad did first and everybody else has done since. My question to you is, in managing Galen Rowell’s stock department of 300,000 images, you must have learned a lot about photo selection from Galen and also from editors. You stepped into it with no idea of what makes a good photograph. Tell me a little about your learning curve, what was that like?

Stormy Sunrise Over Lava Beds National Monument, Siskiyou County, California, copyright 2009 by Gary Crabbe.

(View the photograph large: “Lava Beds.”)

GARY CRABBE: Interesting question. I feel bad that at one point I fibbed to Galen, some people might call it a lie. I was so green, that when I first started working at Mountain Light and he asked me, “You know what a dupe is, right?” I said, “Sure.” (Laughter) I asked another employee later, “What is a dupe?” He said, “Oh, you know, a duplicate slide.” “Oh yeah,” I said. That’s how green I was. First I learned the basic technical points of what editors need. For a magazine cover, you need to have some negative space where your text can go, your subject needs to be centered in this area, you need to have space at the bottom of the frame where they can add the mailing label and bar code and so on. When you’re selecting a double page spread, be sure the most important part of the subject is not in the middle of the frame where the seam of the paper goes. I would go through slides and pull out what I thought might be appropriate and Galen would tell me what was good for what reason, “Yes this is good, this is good, no this one wouldn’t work.” Galen obviously had his own preferences. As part of the interview process, we started having people do light test submissions. You were put in a situation where an editor called you from National Audubon or National Wildlife Federation and you needed to send 20 images of polar bears or penguins. We would give the applicant the entire penguin folder or the entire polar bear folder and we’d see what they would choose to send. It was a great litmus test to see how people responded to what a photo editor wanted and how they responded to Galen’s images as well. Over time I got to where I could usually look at a sheet of 20 slides in approximately one second and know whether there were any images on that page worth taking a second look at for any given project. We’re dealing with hundreds of thousands of images. For example: you know you need a shot of the Marin County Coast. Galen didn’t have separate organized folders other than every shot from Marin County going into one folder. So I’d be looking at images of Point Reyes next to Mount Tamalpais next to Bolinas next to Fairfax, somewhere in that jumble of 35 mm frames was the photograph you needed. It always seemed that there was one or two images that would stand out. Those were the ones I found where the story and the light came together in the best way possible. That’s what I use to guide the editing of my own images. (For more about how Gary Crabbe edits photographs see his post on Jim M. Goldstein’s Blog, “Pro Tips: Photo Editing With Gary Crabbe.”) You want the viewer to instantly know what your photograph is about, if there is confusion, you’ve lost them. If something in the composition creates an emotional or bio-physiological hiccup, you’ve lost them. And this is what I said in this recent article I wrote is, you want every photograph you take to be a headline and an exclamation point for whatever you are photographing. You want the story to come across that quick, with no ambiguity whatsoever.

HYDE: Of course that is for editorial stock photography, but to play devil’s advocate, Paul Strand and my father even, at times, made images that when you look at them at first you have no idea what you are looking at, you can’t figure out what it is. (Find out more about the history of abstract photography and Paul Strand in the blog post, “Straight Photography And Abstraction.”)

GARY CRABBE: That’s true. That is where art photography is different. I love doing abstract photography myself, but that wasn’t the sort of work that Galen did. I used to judge local camera clubs. And they’d have a category that was called “Contemporary,” which meant it had to be some kind of abstract or manipulated photo. I would stand in front of 30 or 40 amateur photographers and say, “The faster I can figure out what you did the less I like it.”

HYDE: But it’s the opposite for magazine submissions or other types of stock photography, correct?

GARY CRABBE: Yes, but you are still trying to generate instant emotional impact, even from an abstract. You are trying to create some kind of subconscious emotional reaction. You don’t have to know what it’s about, but you need to know how it feels. And that’s where art becomes personal and subjective. Some people say, “That doesn’t do anything for me.” Others say, “I could spend a week looking at all the detail in that photograph.” All you can do as an artist is put out what you find interesting.

HYDE: When you first started working for Galen Rowell, your article said something like you had seen only two photography exhibitions, but was there an educational process for learning about the work of other landscape photographers?

GARY CRABBE: Looking through photography magazines, who pays attention to photographer credit lines? Other photographers. That’s how you learn. Every time I saw an image that made me say, “Wow,” I noticed the name. I began to recognize the names Galen’s work was published with right up through the evolution of outdoor photography. I certainly have developed my own personal preferences for the sort of work I like seeing.

HYDE: I’d like to hear how each of your book projects came about.  So how did Backroads of the California Coast: Your Guide to Scenic Getaways & Adventures published in 2001, which won Book of the Year 2002 from the California Outdoor Travel Writers Association, how did that book come about?

GARY CRABBE: Way back when, trying to get your work in front of people, you would buy these source book ads and they would be like $1000 or $2000 a page. And the publisher would send these big books out to all the advertising agencies and publishers and whatever. I went into one of those books my first year as an independent photographer. One of the images I put in was of a twisting road below the Grand Tetons. One day a publisher sent me a note, “Do you have more good road shots like that? We’re doing a book called, ‘The Back Roads of Northern California.’ We would like you to submit some photographs for the cover.” They already had the whole book photographed and written, they were just looking for a different cover. They went through my submission and they didn’t choose any of my photographs. They went with a photo by the photographer for the book, but the quality of the images I submitted stuck in their mind. From that one failed submission, when a well-published travel writer approached them to do a book on the California Coast, they asked, “We need a photographer for this project, are you interested?” That’s how it started. Voyager Press has been the publisher for five out of my six published books.

HYDE: So were Our San Francisco and Yosemite & The Eastern Sierra, similar books?

GARY CRABBE: All of them except for Yosemite & The Eastern Sierra, that’s the one that was published by a different publisher as its own stand-alone project. The editor for that book was Peter Beren, the foremost publisher for Sierra Club books. Peter knew me from Mountain Light. I worked with him as kind of a liaison. I had also done some freelance projects for him as a photo editor. I remember this vividly, it was my daughter’s first birthday, a Saturday afternoon, the house was packed with friends and relatives. My office phone rang. I was thinking I’m not going to bother answering. The phone rang once, twice, a third time, “Oh I can’t stand it.” I raced back to my office as fast as I could go, grabbed the phone, and I hear, “Gary, this is Peter Beren. You’ve got a bunch of Yosemite images, right?” I said, “Hi Peter, yeah.” “Great. I’m going to recommend your photos for a book project.” “OK, thanks.” “Alright, bye.” That was the entire extent of the conversation. A couple weeks later, the publisher called me from her office in New York, “Can you have images to us by next Wednesday?” “Sure.” I never needed to take another picture for that book. Every image came from my existing slides. I sent them 300. They did a beautiful job. Unfortunately the book is out of print now, but I remember approving all the color proofs. On their third or fourth go around, I said it was great, but they still went two more rounds with some of the images. They did an impeccable job with the printing. Peter did the editing of the book. He gathered quotes from Ansel Adams, John Muir and others, which they matched up with my images and boom, the book was done that fast.

Continued in the blog post, “Interview Of Gary Crabbe Part 3.”