Long waves of blue lupine glistened in the golden hour light as I slowly made my way up Flower Dome. This was a photography oriented Sierra Club Outings trip and none of us were in any particular hurry to arrive at our destination to watch the day slowly to slip back into the darkness of night.
There was plenty of time for conversation along the way and I used this opportunity to check in with Roger about how the trip was going. Roger, a senior trip leader, was mentoring an aspiring trip leader who created this outing as a photography oriented multi-day backpack. Roger showed great enthusiasm about the landscape and spoke mainly about its immense variety, variety that met us at every turn of the trail on this seven day backpack—forested valleys of virgin trees, tall sub-alpine grassy meadows, fields of boulders stretching out to the distant horizon, steep hillsides of mountain huckleberries and stunted trees, Lyman Glacier leading up and over Spider Gap, mountain lakes, passes with views reaching out in every direction, and flower meadows. Roger did not dwell much on the iconic spots of beauty we experienced along the way, Image Lake and Flower Dome, giving them no more emphasis that all the other parts of the ecosystems along our journey. A long unbroken silence ensued and Roger eventually confided that he was concerned about the type of people that his men-tee and landscape photographer was attracting to the trip. Were these photographers more interested in using this trip as a way to get beautiful iconic shots of small slices of this vast Glacier Peak Wilderness Area rather than experiencing the wilderness in its entirety with its immense variety of landscapes? And were these landscape photographers at all interested in learning about current environmental challenges for the region?
This trip was six years ago which seems like almost an eternity in the evolution of digital landscape photography. Much has changed since then and most landscape photographers are now acutely aware of how their role in publishing location specific images on social media can have adverse effects on the landscape. Even a image of a seldom visited site can inspire thousands and sometimes upwards to a million people to think about retracing our steps so they too can take an image of nature at the pinnacle of its beauty. This burning desire to go to these places will still be there regardless if the specific location is shared or not. As landscape photographers, however, it is still difficult for most of us to reconcile the potential negative consequences of sharing an image with our desire to inspire others to develop the same appreciation and love for the environment that got us into photography in the first place. We want it both ways, to inspire others and also to conserve and protect not only these precious environments where beauty is at its pinnacle but also to be good stewards of the earth in general. But is it possible to have it both ways?
I never question the authenticity of a landscape photographer’s belief that they hope to inspire others through their images to participate in the same love, sense of wonder and veneration for nature that they feel while photographing beautiful landscapes. I believe the landscape photographer’s feelings are honest and genuine. But I think it is important for myself and other landscape photographers to recognize that not everyone feels that this kind of inspiration best serves the goals of conservation and the broader environmental movement and may actually be counter productive. The focus of much of landscape photography today is on the sublime beauty of very small parts of vastly larger ecosystems. This is also the case even when we move beyond well known icons such as Delicate Arch, Mount Rainier’s Reflection Lakes, and Tunnel View at Yosemite. Landscape photographers gravitate toward places where nature’s beauty soars toward its pinnacle of beauty regardless whether these places are iconic or not so well known. Even this pinnacle of beauty will not be high enough for the landscape photographer who aspires to go higher still and through composition, photographic technique and artful processing creates a romanticized vision of the landscape . There is no doubt that many of these images inspire others, but do they really support the goals of conservation and the environmental movement that are more focused on protecting larger ecosystems? We will explore this further in the paragraphs that follow.
American Conservation Movement Early Beginnings
To understand the roots of the American Conservation Movement we first must go back to the predominant view toward nature at the time of the founding of this nation. For this underpinning we need to look no further than this biblical passage:
” Then God blessed them, and God said to them, “Be fruitful and multiply; fill the earth and subdue it; have dominion over the fish of the sea, over the birds of the air, and over every living thing that moves on the earth. Genesis 1:28”
This of course provides a scriptural basis for the concept of Manifest Destiny. It is our destiny to lay claim to and settle the American wilderness. During this time no one thought much about the consequences of their actions toward the environment. When one looked out west, America contained vast swaths of seemingly unlimited wilderness available for settlement. In his now famous thesis, The Frontier in American History published in 1893 (1), Fredrick Jackson Turner established the settlement of the American Frontier moving further and further west as a stream of events that shaped the psyche of the American People and made them unique-their love of freedom of the frontier, distaste for authority, self reliance and independence—a distinctive willingness to seemingly forever reinvent themselves at places where new settlements met a wilderness frontier. It is somewhat ironic that at the opening of his thesis Tuner announces that at the close of the nineteenth century and with the push of settlements out to the west coast, there is now no new American frontier. While this was true in a geographic sense, the idea of the American frontier even today is internalized in the American psyche as is evident in the attitudes of many that there are vast swaths of unspoiled land out there and no one needs to worry much about developing new land as there is an endless supply. We see this even among photographers who suggest there are an endless supply of wilderness locations of potentially iconic value just waiting to be discovered. At least in Washington State based upon my long history of wilderness travel I know that this is clearly not the case, and yet these attitudes persist–all we have to do is move to the next frontier.
With the rapid industrialization of America in the Nineteenth Century and some of its negative consequences, a group of writers known as the American Transcendentalists, chief among the Ralph Waldo Emerson and Henry David Thoreau, began offering a substantially different view of nature. The transcendentalists held that people through nature could directly experience the spiritual realm without any assistance from organized religion. The path of transcending the ordinary material world was through contemplation and direct experience of nature, both within oneself and in the natural world outside of oneself.
In his essay Nature Emerson describe the experience of transcendence this way:
Standing on the bare ground, — my head bathed by the blithe air, and uplifted into infinite spaces, — all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part or parcel of God.
If nature provides the window into transcendence and living a more fulfilling life, does it make sense any longer to conquer and subdue nature? After all, a conquered and subdued nature is no longer available to support personal and spiritual development.
“Who will provide the grand design, what is yours and what is mine?
‘Cause there is no more new frontier, we have got to make it here
We satisfy our endless needs and justify our bloody deeds
In the name of destiny and in the name of God-” The Last Resort by the Eagles Don Henley/Glen Fry
Emerson met a much younger Thoreau at Harvard and encouraged him to explore transcendentalism and start writing a journal. Eventually Emerson granted Thoreau permission to build a small cabin on his land at Walden Pond where Thoreau conducted a two year experiment living in harmony with nature. The written account of this experience in his book titled Walden Pond provided a modern day source text or scripture, for an emerging environmental movement. For more on Thoreau and the Transcendentalist movement see my blog post Journey to Your Own Walden Pond: Thoreau’s Legacy and Message to a Modern World.
With the arrival of the twentieth century, the negative consequences of rapid development were becoming obvious to many Americans-soil erosion due to excessive grazing and poor farming practices, deforestation, and polluted air. This spawned a growing back to nature movement and John Muir tapped into this sentiment becoming a spokesperson and advocate of an emerging environmental movement. Muir advocated preserving wilderness areas for their own sake, and much of this effort was focused on landscapes with breath taking scenery, the Yosemite Valley and the Sierra Mountains. Muir started the Sierra Club as an organization to help promote preserving wilderness lands and the club eventually recruited Ansel Adams to be be their resident photographer to assist in this cause. Adams’s images focused on the sublime beauty of the region bringing to many artistically crafted Black and White images of such iconic places as the Yosemite Valley and the High Sierras.
From Preservation to Conservation
During the early part of the Twentieth Century a battle emerged between preservation and conservation. Although preservation and conservation may seem like they are addressing the same thing, protecting the environment, there is a key difference. The US Forest Service describes the difference this way: ” Conservation is generally associated with the protection of natural resources, while preservation is associated with the protection of landscapes” Conservation seeks the proper use of nature, while preservation seeks protection of nature from use. Conservation focuses on the sustainable use of natural resources and therefore accepts such commercial uses as forestry, creation of water reservoirs, and even eco-tourism as long as these uses are consistent with the sustaining the natural landscape as a natural resource.
These two perspectives came into conflict during the later part of Muir’s life with the proposed damning of the Hetch Hetchy River in the Yosemite National Park. The City of San Francisco claimed it needed the water for the city water supply and also falsely claimed that access to this source of water would have prevented the San Francisco Fire. Muir’s, nemesis, conservationist Gifford Pinoget, argued that damning the river to create a water supply was in the best interest of society. Gifford Pinchot, the first Chief Forester of the United States argued that conservation of natural resources was best achieved through management of the wilderness for the greatest public good. With Muir saying “Dam Hetch Hetchy! As well dam for water-tanks the people’s cathedrals and churches, for no holier temple has ever been consecrated by the hearts of man” the two view points could not be further apart.
Hetch Hetchy Before and After Photos–the before image reminds me a bit of the Yosemite Valley which managed to dodge a similar fate.
In the end Gifford’s point of view won out, and Congress passed legislation that enabled the creation of a dam in the Hetch Hetchy Valley. President Woodrow Wilson signed the bill into law on December 19, 1913. But Muir succeeded in the elevating awareness of the consequences of Gifford’s perspective on the environment making it easier to win similar battles in the future including one which would have dammed the Grand Canyon.
From Conservation to Environmentalism
As America and the World for that matter approached the twenty first century and beyond, awareness increased of significant life threatening environmental problems such as destruction of the ozone layer, global warming, air pollution, acid rain, and contamination of the oceans . This helped move the focus of attention beyond local, state, and even national borders. With the recognition of these problems that transcend borders, the environmental movement began broadening its focus beyond just preserving wilderness areas with aesthetic value to taking steps needed to confront these much larger issues. Many began seeing the global environment itself as interrelated organism where the actions of humans were the primary cause of major imbalances. Many started to question whether it was even possible to manage resources in a manner that would keep the environment in balance and began advocating more drastic measures to head off the destruction of the planet (3).
Conservationism, properly understood, employs traditional values of environmental stewardship. A good steward takes care of what has been entrusted to him or her, thereby leaving an inheritance for the next generation. In the past many thought this stewardship could be accomplished in a manner that also protects and even promotes economic interests. As the focused shifted from Conservation to Environmentalism many began to doubt this. A divisive political landscape emerged where some political leaders turned a blind eye to environmental threats primarily because addressing these threats would have an adverse effect on the economy and would also move us closer to what they feared was creeping globalism and loss of national identity. This helps explain part of the reason behind the irrational denial of the reality of global warming by many American citizens.
Preservation, Conservation, Environmentalism and My Personal Journey
As a landscape photographer each of these trends in the evolution of the environmental movement continues to effect me. I no longer seek to conquer the next frontier in landscape photography with daring treks to locations known to no other, in Washington State these locations no longer exist as has been the case for quite some time now. My frontiers have moved inward and have more to do with bringing to the photograph my highly personalized experience of the scene. I am still a big proponent of preserving all remaining road-less places commonly thought of as wilderness areas. Designated wilderness areas represent only 2 percent of the continental America landmass and are far too precious to be squandered for any economic gain. The drumbeat of the economy will not skip a beat if we keep these areas commercial free zones, shutting out potential mining and drilling interests. But I now recognize that many of these areas are wilderness in name only with commercial establishments common around their periphery, and through Eco-tourism including photography workshops throngs of people visit these places every day. The idealized concept of the wilderness, a kind of pristine and untrammeled Eden, exists primarily in photographs from professional and serious amateur landscape photographers, not in reality.
I have also matured in my perspective about conservation and sustainable use of the land. We cannot only focus on preserving areas of sublime natural beauty if this comes at the expense of loosening protections of surrounding areas that provide critical habitat to birds and wildlife. Commercial harvesting of timber in our national forests need not have adverse effects on the environment and may even help control the spread of diseases and provide important fire breaks. Ecosystems extend way beyond National Parks and Wilderness Areas and some lead right up to the door highly populated metropolitan areas. Conservation of these ecosystems and protection of biodiversity out of necessity will need to take into consideration societal and commercial uses of this land. With my increasing awareness of environmentalism and that I live on a planet where all ecosystems are interconnected, I now also realize that although I may act locally I also need to think globally. We cannot solve such problems as global warming and contamination of our oceans without reaching out across national borders. Environmentalism has also taught me that ultimately I may need to make sacrifices to ensure the health of the planet, reducing activities with a heavy carbon footprint such as consumption of meat and use of cars and airplanes to frequently travel to far away wilderness areas.
Back to our original question–Is it possible for landscape artists to inspire others through their creations to be good stewards of the environment? First let us look at this from a historical perspective of how one Landscape Painter, Albert Bierstadt, and one Landscape Photographer, Ansel Adams, had a profound impact through their ability to inspire to also shape the perceptions of the public on the environment in a positive way. Although Bierstadt is not a photographer, in his time painting was the primary visual method of artistically representing the landscape and his approach continues to have a major influence on landscape photographers in the present day.
Albert Bierstadt: Witness to a Changing West (2)
In the above image, “The Last of the Buffalo” the legendary artist Albert Bierstadt portrays a dramatic confrontation of a Native American Plains Indian with a large buffalo. In this confrontation both the buffalo and Indian are going to die. The scene itself is heavily romanticized bearing little resemblance to anything real. The landscape itself is a composite of several scenes, with mountains, canyons positioned unusually close to the wide open prairie. Although there is a seemingly endless supply of live buffalo in the distance, old buffalo skulls and fresh carcasses are in the foreground and still other animals look at the confrontation with unusual interest. The image is not only a blend of different scenes but also a time blend of an earlier more Eden like wilderness with the end of the innocence in the decisive moment of the confrontation.
This was Bierstadt’s last painting completed toward the end of the Nineteenth Century close to the time when Turner announced that the frontier in American history had ended. By this time Bierstadt was acutely aware that the once vast heards of buffalo were nearing extinction and that most Native American tribes had already moved to distant reservations of largely undesirable land. Bierstadt intended this painting to not only raise awareness of the blight of the Buffalo and the need for conservation practices to protect remaining animals, but also to raise awareness of how the conquering of the American Frontier Wilderness displaced and brought great harm to indigenous populations.
The painting itself which was very large measuring 6 by 10 feet sold for $50,000, a record price for any piece of American art work in the 19th Century. The Last of the Buffalo in a immediate sense reflects Biersdadt’s reaction to the poaching of the Buffalo in Yellowstone National Park. The painting had enormous impact in raising awareness of the near extermination of the Buffalo with influence reaching to the top levels of the US Government and a short time later new measures were put into place to manage and preserve remaining Buffalo in Yellowstone National Park.
Ansel Adams : Landscape Photographer and Conservationist Influencer Extraordinaire
Even today, no other landscape photographer is more associated with efforts to preserve wilderness areas than Ansel Adams. And yet is is difficult to point to any single image as the one that carried the message forward of the need to conserve and protect wilderness. Adams’s ability to capture the beautiful mystique of the wilderness, an emotional feeling that transcends the realism of the physical space that was also accurately represented in his images, is without parallel. When seeing his images, who would not want to preserve the last remnants of America’s beautiful wild places?
Adams’s role in the environmental movement started at an early age, when the Sierra Club took notice of his photos and recruited him as guide and their official photographer. Not long after that Adams was offered a board of directors position which he held from 1934 to 1971. The Sierra Club used Adam’s Images from his 1934 book titled Sierra Nevada: The John Muir Trail to help promote the creation of a new national park in the Kings River region of the Sierra Nevada.
The book Sierra Nevada The John Muir Trail influenced both Interior Secretary Harold Ickes and President Franklin Roosevelt to embrace the Kings Canyon Park idea. Ickes showed Roosevelt Adams’s book and Roosevelt was so smitten with the beauty of Kings Canyon he kept the book that Adams had originally give to Ickes. When the Roosevelt administration asked the Sierra Club to help support what they envisioned as a road-less and non-commercialized Kings Canyon National Park, the Sierra Club immediately tapped Adams to go to the United States Congress to help promote the idea. Although there was a fierce debate in congress, the bill passed and the park was formally created in 1940. Imagine this today, the executive branch of government and the Sierra Club joining forces in the cause of conservation!
Ansel Adams is an excellent example of a landscape photographer who could inspire others to support conservation causes through the sublime beauty of his landscape images alone. These images did not overtly support conservation causes or document environmental issues. His ability to inspire, motivate and encourage others to aid the cause of conservation rested primarily on the respect he earned through his realistic representation of the natural world in the creation of his emotionally charged black and white images. In this role he is an excellent example for other landscape photographers to use their influence to support the higher cause of preserving and protecting the natural environment.
Reflections on Bierstand and Adams and a Changing Social Environment
These are just two examples of visual artists who had a profound effect on shaping the American perception of environmental issues. There are countless others both in the past and who are currently active, but I chose to concentrate on these two because of their special historical significance. Through their ability to inspire others with their creations, they also helped shape the political landscape resulting in changes the helped preserve and protect the environment. It can be argued that both individuals created idealized representations of the landscape. Their focus was primarily on places where nature reaches its pinnacle of beauty, not giving much attention to the more mundane aspects of nature. But it is the more mundane nature that is more typical of larger ecosystems that extend far beyond areas where nature reaches its pinnacle of beauty. This might not have been much of a concern during the time period time of these two artists. But as we move forward to the current age where social media dominates as the primary way images are communicated much has changed.
Captivating images of places that are inherently beautiful (even with just a cell phone snapshot) can draw thousands of people to a site in a very short period of time. We saw this recently during the 2019 super bloom in Southern California where in a short period of time social trails emerged where there were none before due to a rapid influx of social media tourists-tourists who find out about a picture/selfie worthy spot of extreme beauty through posts made on social media. In this new social media reality many Landscape Photographers are reconsidering how they share images of beautiful locations. The initial reaction was to stop geotagging or providing specific location descriptions of where the images were taken. An organization called Nature First: An Alliance For Responsible Nature Photography emerged to offer positive principles for Landscape and Nature Photographers to follow:
- Prioritize the well-being of nature over photography.
- Educate yourself about the places you photograph.
- Reflect on the possible impact of your actions.
- Use discretion if sharing locations.
- Know and follow rules and regulations.
- Always follow Leave No Trace principles and strive to leave places better than you found them.
- Actively promote and educate others about these principles.
Latter developments included public shaming of landscape photographers who violated leave no trace rules especially those who wandered off trail into flower fields. Although I believe both of these reactions, along with including reminders in posts about leave no trace principles, have had some impact in slowing down the pace of environmental damage caused by social media tourists, it has not stopped the damage that continues to creep further and further forward.
What is needed at this juncture in our history I believe is for landscape and nature photographers is to reevaluate what they take images of to begin with, not just focusing on the small areas where nature reaches its pinnacle of beauty, but to include in our portfolios a more balanced representation of the larger environment in which these areas of often idealized beauty are located. In short we need to get people excited about protecting and preserving nature in the broader sense, the environmental ecosystem/s, not just specific locations whether geotaged or not. For this we will also need to inspire people to develop a reverence for nature, and share more about our experience of nature and less about specific locations. In the remainder of this article I will discuss these steps in greater detail that landscape photographers can take to help shift the focus of attention and accomplish this goal.
Step One: Create and Post More Balanced Portfolios
Rather than put all your energy into creating a single epic image from a location, aim instead to create a balanced portfolio of images that better represent the variety of scenery in the environment you visited including its various ecosystems. In the pre-social media era this used to be more of the norm. Images were shared in collections often using slide shows, online galleries, or even heaven forbid albums with actual paper prints. It was common to see in these portfolios not only images of specific sites of iconic beauty (weather well known or not so well known) such as high mountain lakes and waterfalls, but also images of the macro world, intimate scenes, geological features, trees and the forest floor-in other words all aspects of the environment one has visited. Social media has reduced our attention span to less than a second per image so most photographers shifted their focus to just putting their most immediately impactful (not necessarily their best) image forward. For some photographers this also meant taking fewer risks and going to specific locations that have a proven track record of yielding popular images on social media sites. We all know some of the sites I am talking about: Mt. Rainier’s Little Tipsoo Lake, Delicate Arch, Oxbow Bend in the Tetons and numerous others that appear all to much in social media posts. This becomes a self fulfilling prophecy as these posts draw even people to these over visited tiny sections of our National and State Parks–this has got to stop and each of us can help. It will not stop through merely withholding location data-people are far too smart for that. As we publish more balanced portfolios and people get exited about the larger environment and variety of scenery, flora fauna, and geology–we will help stop the stampede and inspire others love for all of nature, not just an overly idealized wilderness Eden that Jackson Turner informs us long ago vanished with the settling of the American Frontier.
Creating more balanced portfolios may at first seem contrary to a highly curated approach to releasing nothing but the best images, but this need not be the case. I have seen excellent portfolios consisting of between three and five images. The portfolio taken as a whole is almost always greater than the sum of its parts and some of the images within the portfolio such as excellent macro and intimate scene images may actually be rescued from social media obscurity as they achieve better context through their association with a strong balanced portfolio. Providing a backstory behind all of the images along with some natural history will also help establish needed context. Individual images can have their own stories and descriptions ideally presented as mini chapters of the larger story of nature and the environment. Portfolios where appropriate can also include images that are more documentary, highlighting before and after changes to the environment resulting from either good or bad behavior. The recent trend in including stories with multiple images on Instagram and Facebook is a step in the right direction, but many of these posts at this juncture still seem incredibly shallow to me. We need to take this to the next level of actual portfolio posts of images that can be viewed in more depth for longer periods of time than a quickly disappearing story.
Providing context to images will have the added benefit of helping arrest the sense of burnout many of us feel looking large collections of nothing but once in a life time epic images. After awhile we suffer from epic beauty overload. We appreciate images with epic sunsets, rainbows, and flowers at peak bloom in part because these are rare occurrences. But when we see it all of the time it is no longer rare. The viewer will only be able to participate in the emotions and experience of a rare event if the portfolio also has images that include some of the more mundane aspects of nature. These are absolutely necessary for the unfolding of the portfolios story. Consider it a creative challenge to present some of these more mundane aspects of nature in a creative light that will draw the viewer in. This is far more a meaningful test of ones photographic and artistic skill set that taking a compelling image of what everyone already knows is one of earth’s most beautiful places.
Step 2: Inspire Others to Develop a Reverence for Nature
With Thoreau’s publishing of Walden at the time the settlement of the American Frontier was reaching its end, Thoreau introduced to us a fresh vision of nature-not as a wilderness at the frontier waiting to be conquered (or in modern times something to be checked off of ones bucket list), but rather as the source of our personal and spiritual transformation. Thoreau himself found his spiritual fulfillment not in some faraway place of iconic beauty, but rather along the humble shores of Walden Pond only a few miles from his original hoe in Concord Massachusetts. This pond, a symbol for the care of the soul and self realization, can be anywhere and is most likely to physically exist close to where we are in the here and now. Ultimately Walden is beyond the physical realm, and is in the hearts and minds of each of us waiting to be discovered. For more on Thoreau and Walden Pond see my blog post: Journey to Your Own Walden Pond: Thoreau’s Legacy and Message to a Modern World.
In my encounters with Nature and Landscape Photographers I have found that most of them quietly share this Thoreauvian vision of nature as a source for spiritual fulfillment. For most of us Nature and Landscape Photographers Nature is our sanctuary. What better way to inspire others to share in this vision of Nature than taking the example from Thoreau and visiting Nature in close by places? What better way to shift the focus overly visited spots to nature in all of her manifestations than use our photographic and artistic skill set to find and unleash the often hidden beauty of nature in close by and often overlooked places? The beauty of these places in Thoreau’s words may not “rise to the level of grandeur”, but the beauty is there nevertheless. Once others see this beauty in our images, they will not want to retrace our footsteps to the same location but will be inspired to find nature’s subtle beauty everywhere, including in their own back yards.
With the recent COVID-19 pandemic and associated restrictions upon our movement and the need for social distancing, it is now more apparent than ever for the need for natural areas within walking distance of our homes. In her landmark book, The Nature Fix (4), Florence Williams explains why. Based on her scientific research, Florence creates a solid case that the natural world has the power to improve health, promote reflection and innovation, and ultimately strengthen our relationships. Visiting these areas rather than alternative places far away also better for the environment because we do not need to use fuel/stored power to get there.
Step 3: Share More of Your Experience of Nature and Less About Specific Locations
I have found that when I visit a National or State Park and let my own intuition guide me to what excites me about a place, it usually has more to do with the journey of movement through nature and the landscape and less about specific locations. I will call this the personal experience of nature. Getting this experience and associated emotional reactions into an image we share is no small task. It is relatively easy to go directly to known spots along the way the have high image potential, but our strongest images may not be there. Our strongest images will be those that integrate our internal experience of the place, call it our inner landscape, and the outer world of nature. Many of these images will not be at the obvious places of beauty. Creating and sharing our personal experience is also what will make our images more unique and better aligned to our personal vision. For more on personal vision see my blog post: Finding your Photographic Vision and the Search for the Authentic Self. There will be less emphasis on merely documenting a scene, however beautiful that scene may be, and more emphasis on creating art that although faithful to the material world leads to the transcendent and encourages others to embark on similar personal journeys through nature. For more on the transcendent in photography see my post: Transcendental Nature Photography: Creating Images with Lasting Impact. For more on sources of inspiration including internal sources see my blog post Sources of Inspiration.
Fast forward six years and I am on a return journey to the Glacier Peak Wilderness Area, once again with my friends from the Sierra Club. We are doing the 50 miles Spider Gap Buck Creek Pass Loop. Much has changed since my last trip six years ago. I notice there are about three times as many people doing this strenuous loop trip. What brought all these people here? Did I help contribute to the popularity of this loop trip through my social media posts? If hoards of people found this arduous multi-day backing trip deep into the heart of Washington’s most remote Wilderness Area is there anything left unexplored? Is there any longer a wilderness frontier for Landscape Photographers willing to go the extra mile or even the extra 20 miles?
As I descend from Spyder Gap down a glacier toward the Upper Lyman Lakse basin I find myself attracted to middle of the day scenes transformed by distant clouds softening the light and changes in my own attitude. I am no longer just going for the iconic shot of Image Lake in epic conditions and am using my intuition and own thought process to help guide how I make my images. But I still feel the pull of social media shaping my expectations. Clearly I have a long way to go in this photographic journey.
I think back on earlier threats to this wilderness environment. Kennecott Copper had a legacy mining claim and planned to build a huge open pit copper mine on miners ridge that would have forever marred the epic view that we now take for granted from Image Lake. Thanks to the efforts of countless environmentalists and a land exchange this threat was ultimately put to bed. I think back when I was in my early twenties and made my first journey to Image Lake when I saw a huge group of long haired nature loving young people, scores of tents were pitched at the shore, and evidence of lake shore trampling everywhere. The condition of the lake is actually much better now. Are the selfie happy Instagram influencers any worse than this bunch of characters from my past?
The long arm of history informs us that it is a mistake to assume that everything that is important and significant is happening right now. The current challenges may seem immense but there is opportunity to make a big difference just as there was opportunity at the time when Turner announced that Americas Wilderness Frontier is no more. It was not destiny that drove Albert Bierstadt and Ansel Adams to choose to use their artistry and influence to advance the causes of conservation. Although both were influenced by people who came before them, they both had free will and exercised that free will for the betterment of the environment. They made positive choices. As nature and Landscape photographers we too have free will. Will we use this free will to rise to the occasion? Will we use the artistry and craft of photography to inspire others to love and protect nature everywhere-not just in those spots where her beauty reigns supreme, but in all of her manifestations, some close to home, even out our back door? If we accept Thoreau’s message, that nature points to the divine, then our willingness to accept this challenge may also be the key keeping this pathway open for the salvation of the world and all of its inhabitants both human and non human, every living thing, even the spirits in our material world—keeping a pathway open to sources of inspiration for our children’s children and more generations still to come.
“None of Nature’s landscapes are ugly so long as they are wild”. John Muir
“In Wildness is Preservation of the World” Thoreau
Erwin Buske Photography, Copyright Originally Published September 2019, Revised Earth Day, April 22, 2020.
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(1) Frederick Jackson Turner, The Significance of the American Frontier in History, 1893
(2) Peter H. Hassrick, Albert Bierstadt Wintness to a Changing West, 2018
(3) Liz Sonneborn, The Environmental Movement, 2007
(4) Florence Williams, The Nature Fix, 2016