Mandalac Gardens by Robert Glenn Ketchum

From August 11 - September 27, I will be exhibiting new work, MANDALAC GARDENS, at The G2 Gallery in Venice, California. This Constant Contact is background information about my color print-making history in general. and how it has lead me to this new series of "prints." I have also included all 9 of the images that will be in the exhibit, so please give this a read and enjoy the "show."

Cont., Tatshenshini by Robert Glenn Ketchum

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!

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Due to the size and quality of the photos included in this blog, and as too many photos tend to slow a blog down, we have opted to host these previous entries on a separate post in order to best optimize your reading experience. Enjoy!

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Wednesday, August 5, 2015

TATSHENSHINI:  Saving a River Wild, #61

TATSHENSHINI:  Saving a River Wild, #61:  @Pentax had become a sponsor of my work and they continued their support by sending me their new medium format 645 camera when it was first introduced. Since I used the larger 6x7 successfully in the field, initially I saw no reason to work with that smaller camera, BUT on this trip I knew I would be in motion on the river and up in the plane, and the 6x7 really demanded working from a tripod. For this trip, I would need a hand-held camera, so it became time to field-tested the #Pentax645. The results of the shoot were BEAUTIFUL (as I hope you agree), so immediately I took the work to New York seeking a “big story” picture magazine spread in a REALLY national publication. @Audubon published a great number of extended photo features, but oddly showed NO interest. @LIFE magazine, on the other hand, responded immediately and in their May, 1991, issue ran a 4-page/5-picture story entitled, "Lost Horizons," that helped create interest from other numerous publications, and A LOT of momentum for a campaign to prevent the mine.

photograph(s) © copyright, ROBERT GLENN KETCHUM, 2015, @RbtGlennKetchum @LittleBearProd #LittleBearProd #Tatshenshini @glacierbaynps @Life @Wilderness #WeAreTheWild @nature_AK

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Cont., Tracy Arm by Robert Glenn Ketchum

Continued,

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.

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Due to the size and quality of the photos included in this blog, and as too many photos tend to slow a blog down, we have opted to host these previous entries on a separate post in order to best optimize your reading experience. Enjoy!
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Tuesday, August 4, 2015

TRACY ARM Wilderness - An Alaskan Kayak "Trip" Through Time, #50

TRACY ARM Wilderness - An Alaskan Kayak "Trip" Through Time, #50:  The only remaining part of camp you have not seen is the tent-site for myself and Carey. Russell’s tent was situated above the tideline between large rocks and the hillside (see post #48), which caused him to be angled slightly upslope, BUT out of the reach of the water. There was little else useable around that part of camp because the boulders were so large, SO Carey and I went, literally, OUT INTO THE RIVER! The powerful waterfall coming out of the valley and down to the tideline had built a sandbar/boulder “dome” in the middle of the river at peak flood. It was safely above the tideline, and at it’s highest point was quite sandy with just a few smaller rocks. Carey and I cleared enough of them to create a comfortable, tent-sized platform. The one drawback to our location was that the river split and went around both sides of our dome of boulders, so we had to navigate several stream crossings to get to the kitchen and our gear.

photograph(s) © copyright, ROBERT GLENN KETCHUM, 2015, @RbtGlennKetchum @LittleBearProd #LittleBearProd @Wilderness #Wilderness #Tongass

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Cont., Hudson River by Robert Glenn Ketchum

Continued,

THE HUDSON RIVER AND THE HIGHLANDS 

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!

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Due to the size and quality of the photos included in this blog, and as too many photos tend to slow a blog down, we have opted to host these previous entries on a separate post in order to best optimize your reading experience. Enjoy!
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Monday, July 6, 2015

THE HUDSON RIVER AND THE HIGHLANDS #144:

HUDSON RIVER #144:   #Harriman State Park, in particular, is a spectacle of Eastern, deciduous woodlands. Challenging topography, swamps, bogs, lakes everywhere, and dense forests make Harriman a wonderful place to wander, but as with the not-too-well marked dirt roads, one can easily get lost walking. Even in the winter when most of the trees are leafless, line-of-sight in any direction may only be a few hundred feet. When the trees leaf-out even the sky disappears. As a photographer, I loved this environment but it gave me a whole new respect for navigation with a compass. I suppose if I were on this #HudsonRiver commission today, I would be using the GPS on my #iPhone6+. Hell, I would be using the iPhone6+camera as well! Toss the medium format, the tripod, and those rolls of film that often had to be changed in the pouring rain.

photograph(s) © copyright, ROBERT GLENN KETCHUM, 2015, @RbtGlennKetchum @LittleBearProd #LittleBearProd @Wallacefdn @Aperturefnd @PentaxOnline

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Cont., China by Robert Glenn Ketchum

Continued,

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. 

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Due to the size and quality of the photos included in this blog, and as too many photos tend to slow a blog down, we have opted to host these previous entries on a separate post in order to best optimize your reading experience. Enjoy! *******

Friday, May 29, 2015

Traveling in China Since 1985, #133

CHINA #133:   I've used the term “compound” to describe the #ZhuangyanMansion because it WAS a complex house of interconnected rooms, staircases, terraces surrounded by gardens, and a considerable outer wall. Because it was designed to protect the wealth, and family, of the owner -- besides the hidden room for valued objects and the escape passage to the lake -- the house itself was like a maze, and intentionally confusing to navigate. This #architecture was NOT random. Every twist-and-turn had some purpose, and best of all, every terrace had a view, and a breeze. One could watch for approaching enemies, while cooling off, and having tea!

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Cont., Shanghai by Robert Glenn Ketchum

Continued,

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.

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Due to the size and quality of the photos included in this blog, and as too many photos tend to slow a blog down, we have opted to host these previous entries on a separate post in order to best optimize your reading experience. Enjoy!
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Friday, May 29, 2015

SHANGHAI, OZ of the Orient, #66

SHANGHAI, OZ of the Orient #66 - 1985 to the Present:  In post #19, I photographed school children in bright uniforms walking down a city street in #Shanghai, circa 1986. As I have said before, as much as things change, some things remain the same. Here in 2002, under the shadow of the #PearlTower, are hordes of school children in bright uniforms.  They are enjoying the sun and river views from the new #Pudong shoreline esplanade, while eating their lunch in this pleasant river park. In case you are curious, different colors in the same school define classes/ages. Different -- more colorful -- combinations in the uniform indicate completely different schools. Apparently it's helpful when there are as many as one hundred VERY energetic children you are trying to organize!

photograph(s) © copyright, ROBERT GLENN KETCHUM, 2015, @RbtGlennKetchum @LittleBearProd #LittleBearProd #China #Shanghai

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Cont., Suzhou by Robert Glenn Ketchum

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.

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Due to the size and quality of the photos included in this blog, and as too many photos tend to slow a blog down, we have opted to host these previous entries on a separate post in order to best optimize your reading experience. Enjoy! *******

Thursday, May 28, 2015

Welcome to Suzhou, 1985 - to the present, #67

Suzhou #67:   In the emergence of the New #China, the government was very careful to “manage” the national image; BOTH as seen from outside, AND as seen by the #Chinese themselves. Given the exhibit's expansive view of recent Chinese history, pictures that were politically objectionable to the new Chinese government were inevitable. There were numerous “historical” photos of #Mao, some of them very casual, such as him swimming with a group of friends, that drew no attention at all. However, other images, like this one from Robert Capa in 1938 were seen as moments and relationships the government preferred NOT to acknowledge in such a public exhibition.

ROBERT GLENN KETCHUM, 2015, @RbtGlennKetchum @LittleBearProd #LittleBearProd #China #Suzhou

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Cont., SILK ROAD Embroideries (#1-123) of Robert Glenn Ketchum

Continued... Embroideries #1-123

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

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Due to the size and quality of the photos included in this blog, and as too many photos tend to slow a blog down, we have opted to host these previous entries on a separate post in order to best optimize your reading experience. Enjoy!

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Thursday, May 28, 2015

Silk Road - Embroideries #123

SILK ROAD #123:   So, here are 2-of-the-4 panels of “Emperor Kangxi’s Inspection Tour of Southern China.” What you are looking at is about 10-1/2-feet long, and 2-feet tall; all stitched with human hair! What you saw in previous posts were details from these two panels. Post #120 (of the bridge) can be located in the middle, right of the right-hand panel. Post #122 is in the lower-right of the left-hand panel. As you can see, the detail sections I presented are barely 20% of their overall panel. Now extrapolate those minutiae of stitches across this entire piece: OMG!!! EVEN MORE AMAZINGLY, this “aerial” view is architecturally accurate. In 1986, I could still recognize bridges, historic gates, and walls, and the layout of certain neighborhoods! More than likely, the artist commissioned by the court to create this work in 1689 was in a pagoda tower, or on a hill above the city in order to correctly represent this POV.

photograph(s) © copyright, ROBERT GLENN KETCHUM, 2015, @RbtGlennKetchum @LittleBearProd #LittleBearProd #Embroidery @WesCFA @RSSDesigns

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