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Wednesday, November 26, 2014

Weekly Post: TATSHESHINI: Saving a River Wild

TATSHENSHINI:  Saving a River Wild by Robert Glenn Ketchum

In 1990, I was invited on a 10-day float down the Tatshenshini, a huge river system flowing from Western Canada to the Pacific Ocean that literally divides two of North America's largest national parks, Canada's Kluane National Park and Alaska's Glacier Bay National Park. A gold mine was being proposed mid-river. I broke the story in LIFE magazine. There were many other articles and a book. The mine was never developed and the river is now a wilderness corridor. This is a conservation SUCCESS story!


Wednesday, November 26, 2014

TATSHENSHINI: Saving a River Wild, #25
TATSHENSHINI: Saving a River Wild, #25:  As the boats drifted around a bend in the #river, our view UP the glacial valley aligned. The hills out of view to the left are green, south-facing slopes covered with dense brush and forest. The #WalkerGlacier is descending a valley between those slopes and the northern side of some much larger #summits that you see here. Those summits accumulate #snow and all of them have generated small #glaciers that are feeding into the Walker on the valley floor. As ragged as the glacier looks, weather permitting, we will walk on it for a good bit of the next day. Moments later a small #cove in the #river appeared and we eddied in to a nice beach in quiet water. The fine glacial silt in the dry, runoff streambeds of the glacier is going to make for some very comfortable sleeping tonight, and the #streambeds would serve as our pathways of approach to the glacier in the morning.
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2014, @RbtGlennKetchum @LittleBearProd #LittleBearProd #Tatshenshini @glacierbaynps @Life @Wilderness #WeAreTheWild @nature_AK

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Weekly Post: NO PEBBLE MINE: Pictures from Ground Zero by RobertGlennKetchum

NO PEBBLE MINE Pictures from Ground Zero 
by Robert Glenn Ketchum

Thank you to the EPA for recognizing the value of the Bristol Bay fishery. 
NOW, what can we do to protect this habitat further? 
Mission: To protect the national parks and national refuges of southwest Alaska, 
and the Bristol Bay fishery from the development of the Pebble mine, and other commercial risks.


Wednesday, November 26, 2014 


NO PEBBLE MINE #115, Pictures from Ground Zero:
NO PEBBLE MINE #115, Pictures from Ground Zero:  This view encompasses an alpine-summit-to-lake-basin #habitat that covers some substantial terrain, but probably NOT 20-square-miles. I bring that “20-square-mile” figure up because that is the estimated scale of the containment ponds for the highly toxic cyanide-iron-oxide-acid-slurry to be generated by the proposed Pebble mine. In perspective, those ponds would flood ALL of the valleys visible here and more. Besides that being an entirely stupid idea in the #headwaters of this #fishery, at the risk of repeating something said earlier in this blog, how do you keep the #wildlife and #wildfowl from thinking the poisonous slurry ponds are just more lakes-in-the-landscape, and stopping by for a drink? How many #moose, #wolves, #caribou and MILLIONS of birds in the #PacificFlyway will die, and what is THEIR value in this equation?
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2014, @RbtGlennKetchum @LittleBearProd @NRDC @OrvisFlyFishing #NoPebbleMine #LittleBearProd

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Tuesday, November 25, 2014

Weekly Post: TRACY ARM WILDERNESS - An Alaskan Kayak "Trip" Through Time by Robert Glenn Ketchum

TRACY ARM WILDERNESS - An Alaskan Kayak "Trip" Through Time by Robert Glenn Ketchum

To celebrate the 50th Anniversary of the Wilderness Act (#Wilderness), this new blog focuses on a wilderness area in the #Tongass rainforest of southeast Alaska. This is the tale of a 10-day kayak trip - a testament to WHY wilderness is important, by world-renowned Conservation Photographer Robert Glenn Ketchum.




Tuesday, November 25, 2014

TRACY ARM Wilderness - An Alaskan Kayak "Trip" Through Time, #14
TRACY ARM Wilderness - An Alaskan Kayak "Trip" Through Time, #14:  TRULY a great find, our #cove not only had a small gravel #beach that was not steep (in a #fiord getting ashore can be difficult), the freshwater #stream came out of a #forest that was large enough to have a big canopy and some open forest floor with room to position the tents and establish a kitchen. The trees not only serve as tie-offs for the “roof” above the kitchen, their branches make stashing food from #bears for the night, much simpler. These are all LUXURIES we will soon appreciate!!!
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2014, @RbtGlennKetchum @LittleBearProd #LittleBearProd @Wilderness #Wilderness #Tongass

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Monday, November 24, 2014

Weekly Post: THE HUDSON RIVER AND THE HIGHLANDS by Robert Glenn Ketchum

by Robert Glenn Ketchum


This is the story of my first major commission and book, THE HUDSON RIVER AND THE HIGHLANDS (Aperture, 1985). In 1984, #StephenShore, #WilliamClift and I received a 2-year commission from the Lila Acheson Wallace Fund to photograph the #HudsonRiverValley. This blog tells the tale of the book, with many photos not seen before. Enjoy!


Monday, November 24, 2014

THE HUDSON RIVER AND THE HIGHLANDS #112:
HUDSON RIVER #112:  As long as I am at it, I will run a little portfolio of pictures of “nothing.” Just a bunch of bare trees here, although I think the #HudsonRiverSchool painter, #ThomasWorthingtonWittredge, would get what I was looking at. The Wittredge painting, “The Old Hunting Ground” was made on a similar afternoon about 100-years earlier. It caught my attention as a painting because it captured the light and busy-ness of the forest with almost camera-like accuracy. Apparently convention at the time called for more subject matter “of interest” though, so Whittredge added a canoe and some Indian romanticism through the title. NONETHELESS, I don’t really think that was his TRUE subject. A century later, I felt no compulsion to “add” anything to make “subject matter,” THIS MOMENT NEEDS NO STORYLINE TO MAKE IT BETTER!
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2014, @RbtGlennKetchum @LittleBearProd #LittleBearProd @Wallacefdn @Aperturefnd @PentaxOnline
SOCIAL MEDIA by #LittleBearProd: http://www.LittleBearProd.com
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Friday, November 21, 2014

Weekly Post: CHINA Travels Since 1985 by Robert Glenn Ketchum

Traveling in CHINA Since 1985 by Robert Glenn Ketchum

During the reign of Mao (1949-1976), China was a closed country. China in the 1980’s was 80% rural, with no outside visitors, particularly from the West. When China opened to travelers, the Chinese government placed severe limitations on who was allowed to enter the country. Earthwatch was one organization that allowed foreigners to visit China without going through too much red-tape. These photographs are a first glimpse into China in the mid-1980’s by world-renowned Conservation Photographer Robert Glenn Ketchum. 




Friday, November 21, 2014

Traveling in China Since 1985, #106
CHINA #106:  The path became stairs once again and took a stunningly steep dive into a #slot-ravine of #trees. We descended hundreds of feet only to climb back UP through huge cracks in a boulder-wall on a REALLY precarious stair section with virtually no rail! There was even a resting #pavilion halfway up this arduous section. Leaving that pavilion, the climb continued, up and to the left. #YuPingLu was through the gap at the top left... we hoped! Still, the total distance did not seem right to me as Yu Ping Lu appeared further out along the ridge when we last viewed it.
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2014, @RbtGlennKetchum @LittleBearProd #LittleBearProd #China @Earthwatch_org

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Weekly Post: SHANGHAI, OZ of the Orient by Robert Glenn Ketchum

SHANGHAI, OZ of the Orient by Robert Glenn Ketchum

During the reign of Mao (1949-1976), China was a closed country. China in the 1980’s was 80% rural, with no outside visitors, particularly from the West. When China opened to travelers, the Chinese government placed severe limitations on who was allowed to enter the country. These photographs are a continuation of other ongoing blog threads of the first glimpses into China in the mid-1980’s by world-renowned Conservation Photographer Robert Glenn Ketchum.


Friday, November 21, 2014

SHANGHAI, OZ of the Orient, #39
SHANGHAI, OZ of the Orient #39 - 1985 to the Present:  That last post was of The #Bund, which you now view on the opposite shoreline in this picture. My POV in post #38 was from the raised esplanade at the shoreline, looking at the buildings to the middle-right of the foreground tower. I took THIS picture in a rush as the tower(s) were rising so quickly, the view disappeared if you blinked.  LOL! More about that disappearing view on this side of the river, later. On the other side of the river in this shot, The Bund is nearly invisible, defined more by the river than its own presence. The large, stately #architecture is completely lost in the stunning scale and sheer numbers in the forest of skyscrapers that now spread into the haze of the horizon in EVERY direction from this amazing vantage point in the #JinMao tower.
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2014, @RbtGlennKetchum @LittleBearProd #LittleBearProd #China #Shanghai

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Thursday, November 20, 2014

Weekly Post: SUZHOU, 1985-to the present by RobertGlennKetchum

Welcome to Suzhou, 1985 - to the present by Robert Glenn Ketchum

During the reign of Mao (1949-1976), China was a closed country. China in the 1980’s was 80% rural, with no outside visitors, particularly from the West. When China opened to travelers, the Chinese government placed severe limitations on who was allowed to enter the country. These photographs are a continuation of other ongoing blog threads of the first glimpses into China in the mid-1980’s by world-renowned Conservation Photographer 
Robert Glenn Ketchum.





Thursday, November 20, 2014

Welcome to Suzhou, 1985 - to the present, #40
Suzhou #40:  In my earlier posts #30 & #31, I commented on the textures of the #historical buildings and homes.  Those comments are perfectly exemplified here:  a splurge of painted color on the house; the random form and tones of the scavenged discarded brick/rock wall; and, a garden of not only pots, but of vines and small trees that have woven their roots into the unmortared crevices.  All glowing radiantly here after a rain, like some kind of living, breathing painting.
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2014, @RbtGlennKetchum @LittleBearProd #LittleBearProd #China #Suzhuo

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Weekly Post: SILK ROAD - Embroideries of Robert Glenn Ketchum

Silk Road - Embroideries of Robert Glenn Ketchum

The city of Suzhou, China, produced China's most beautiful silk and silk embroidery practiced by generational families for 3,000 years. My purpose in going to China starting in the mid-1980's was to turn my photographs into textiles, and this is my story. ~Robert Glenn Ketchum



Thursday, November 20, 2014

Silk Road - Embroideries #96
SILK ROAD #96:  In conjunction with a 20-year retrospective #exhibition organized for me by the #HerbertFJohnson #Museum of #CornellUniversity, #ApertureFoundation published, THE LEGACY OF WILDNESS:  THE PHOTOGRAPHS OF ROBERT GLENN KETCHUM. As all the #embroiderers and designers looked through the many images in the book, Zhang took a particular liking to the cover. She was still very excited by the explorations we had begun using 2-sided transparency and hand-painted matrix for various effects of sky and water.  She wanted to use the cover image as a large, 2-sided, swiveling table stand, giving special attention to the fog-water-forest of the overall image. While I did not disagree with those elements as good subject, I felt we had already visited something similar, but in a much grander way, with the previous embroidery, “The Beginning Of Time” (posts #62-71), so I agreed to do this image, but asked that she consider some additional “experiments.”
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2014, @RbtGlennKetchum @LittleBearProd #LittleBearProd #Embroidery @WesCFA @RSSDesigns
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Thursday, November 13, 2014

1968 Self Portraits of Robert Glenn Ketchum

Self-portrait in 4-F Camouflage, 1968
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2014, @RbtGlennKetchum @LittleBearProd #LittleBearProd
These images were created as part of a class assignment while studying with Robert Heinecken (#RobertHeinecken) at #UCLA in 1968. These are black and white (b/w) photographs that have been highly manipulated in the darkroom, and then painted upon with oils of different transparency value. Heinecken was a very non-traditional photographer who encouraged experimental work.  He furthered my approach and thinking about the process of making pictures begun in my first #photography classes at UCLA, taught by Edmund Teske (#EdmundTeske), also a very non-traditional photographer. I know my work was also influenced by contemporary graphics as well as many of the rock star personalities I was photographing at the time.

self-portrait, tribute to #JimiHendrix, 1968
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2014, @RbtGlennKetchum @LittleBearProd #LittleBearProd
I studied/mentored with Edmund Teske, Robert Heinecken, AND Eliot Porter, so this would be my version of environmental portraiture. No wonder I was never very popular among art directors doing annual reports!

~Robert Glenn Ketchum

Orvis Supports No Pebble Mine

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