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So you can imagine my surprise, when I found myself reading the words with as much care as I was looking at the photos ... Rowell carefully describes his preparations, his thoughts and preferences ... he writes as he photographs ... in a direct manner, with few affectations and no gimmicks ... The reader learns not so much about f-stops or apertures, but is introduced into the mind set of an adventurer, an exceptional photographer ... whose approach to image making is both pragmatic and inspirational ... the photographs are more instructional than usual ... but an exceptionally good read!

Galen Rowell's essays are richly entwined with clear strands of philosophical, technical, and artistic perspectives.
Like Galen has done most of his life--explore and adventure--the book is an exploration of inner and outer realms. Throughout the 60 essays, we explore the outer, physical world, as well as the inner thoughtful and emotional world that accompanies aesthetic photography.
Galen becomes our guide as he shows us new pathways of exploring photography. We learn to think about creating visual order out of chaos. We see the relationship between thoughtful preparation and capturing an image. While commonsense techniques are suggested, we learn to validate old technology as well as recent innovations. We are apprised of ethical issues when shooting. And most important (for me) we explore the resonance between spirit, content, and form through photography.
This book, with its exquisite images and stories behind them, will likely help you see better, become more contemplative as a photographer, and encourage you to capture that which you see with greater emotional integrity and technical competence.




But these three gifted photographers are superbly inspired practioners and so they are able to elevate the naturally exalted to an entirely new level of organisation. This is accomplished specifically, at least in part, by the use of super-saturated color in combination with consistently fresh and geometrically complex composition. The results, printed with great care by Crown Publishers, are extraordinary!
The photography is so visually stunning that it is easy to forget the purpose of this book which was published by the World Wildlide Fund. Thus the text, which is teeming with information, emphasises not the beauty of what has been captured on film. Rather it focuses on the steadily progressing ecological nightmare as humans-induced species extinction of animal and plant life proceeds around the globe in an unchecked and relentless manner. To quote briefly from the introduction by Walter Cronkite, "Earth is losing one-hundred species of animals, plants, insects and fungi every day. Experts estimate that the world has lost one-third of its biological wealth over the last thirty years." Astonishing facts the sobriety of which contrasts mightily with the visual celebration of life as depicted in this wonderfully elegant volume.


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I liked this book enough to buy Doerper's corollary for the Pacific Northwest to use this year:)!



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The book is structured around John McPhee's book "Coming into the Country". In that book McPhee gives an insightful description of Alaska as a place, and its inhabitants. The Alaskans seem torn between preserving the wilderness and developing it and the extracts contained in this volume capture that spirit. For example, McPhee provides admiring character studies of a number of people who came to Alaska because they just didn't fit in back in the lower 48 states. Even his descriptions of travels in the wilderness have an overlay of the politics of the state, where the federal government, which once owned most of the land, is distrusted by most citizens.
Rowell decided that he wanted to take McPhee's writing and illustrate it with his own pictures. The preface makes clear that McPhee didn't offer a lot of cooperation. In fact he warned Rowell not to overprint his verbal pictures with Rowell's. The text selection was made by Rowell and the pictures included are not directly related to the words but have a close connection to their spirit.
As I noted, this is not any ordinary Rowell book (if there is such a thing). There are far more pictures of human beings and their artifacts then one usually finds in such a book, and I sometimes felt that the pictures were gritty and dark. At first I thought that this was a shortcoming of the photographs but then I realized that Rowell had specifically selected these pictures because he believed that they reflected the spirit of McPhee's words. Oh, there are some grand landscapes like a picture of snow-covered Mount McKinley across isolated Nugget Pond, but there is also a picture of the same snow-covered peak taken across a dark, intruding asphalt highway into the wilderness.
The final pages capture the essence of this book. McPhee describes the role of the 55 gallon steel drum in the Alaskan landscape, and tells how his view has gone from considering them ugly to finding them almost blooming. Opposite these words Rowell has placed a picture of a long line of rusty drums curving sinuously out of the frame into the Arctic Ocean.
This book is more than 20 years old and the McPhee book almost 40 years old. Alaska may have changed since then, although everything I've read about it recently makes me believe that the same forces are still at work out on this frontier. But for a person interested in Alaska this book provides a feeling for the place and its people that has the ring of authenticity.
If you want to see Alaska as a work of art, then I would recommend Art Wolfe's recent book of photographs "Alaska". But if you want to understand how a bright place can still have a dark soul, "Images of the Country" is a good place to start.




Galen Rowell's photography captures the typical beauty of a Scandinavian mileau, even though it is truly a facade for the garbage that the typical native Greenlander casts no further than his front door!
His words portray the many problems of the native Inuits, who have been unable to adapt to the influence of Danish culture and progress. For Rowell to elaborate on the problems of alcholism, violent crime, and the high rate of suicide in a village of only 500, distinguishes him as an author that researchs his subjects quite well! It brought back memories for my wife of the "Grundlander" that beat his wife with the carcass of a frozen seal, only to have his wife bite of his ear.
The large yellow building in the left foreground is the eight bed hospital; the little red house with white trimmed windows that is over to the immediate left is where family Mortensen grew up from 1966-72. This book really takes my wife back,and helps me see things that were only in her mind's eye. It also brings her up to the what the present day Scoresbysund has become. And now that my family will be moving to Fairbanks,Alaska, my wife can get a sneak preview of our future from this marvelous book. Having lived in Alaska myself, I definitely recommend this book for its shear splendid photography and candid commentary. Great job Galen!


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As a mountaineer and author myself, I was very pleased how easy I could relate to Anatoli's feelings and philosophies about the sport of mountaineering. On page 123 he states that he treated the mountains "like cathedrals where worship gives you strength and strips off the scale of ordinary life." He also told a different version of the accounts of the disastrous climbing month in May 1996 on Mt. Everest, which catapulted high altitude mountaineering to the front pages of newspapers around the world. I still view Reinhold Messner as the best mountaineer of all time, but had Anatoli lived longer he would have surely closed the gap.
TJ Burr
Mountaineer/Author
"Rocky Mountain Adventure Collection"



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