Mountain
Light
and Sporting Life
By Peter Howe
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The photographic
firmament is much darker than the last time I wrote this column. Two
of its brightest stars are missing, both dying within eight days of
each other in early August. One was the groundbreaking sports photographer
John G. Zimmerman who died of lymphoma in Monterey California. The other
was the poetic visionary of nature photography, Galen Rowell, who tragically
perished with his wife Barbara in the crash of a light aircraft returning
to their home in Bishop, also in California. I worked with both of them
during my time as a picture editor, on many occasions with Galen, but
only once with John.
The
word "pioneer" is one of those words like "hero"
that is used so loosely as to devalue its meaning, but if it was ever
an appropriate description of a photographer it would be to describe
John Zimmerman. Nowadays we are so used to seeing the techniques that
he invented and perfected that we forget that forty years ago they were
revolutionary. He was the first to use remote cameras placed in unlikely
places such as ice hockey nets, or on the backboards of basketball hoops;
nobody had used blur to express rather than capture the motion of sports;
he used multiple strobe techniques to reveal the grace and complexity
of athletic movement as he did in a masterful way in a 1980 sequence
showing US Olympic diver Jenny Chandler arc through the air, enter the
pool and swim towards the camera underwater. His techniques have often
been imitated since he created them, but they have rarely been equaled,
because to John these were not merely technological tricks, but a way
of involving the reader in the action to a degree that still photography
had been unable to achieve before him. With John at a hockey match you
weren't by the ice but on it; the best seats in a Nicks game didn't
get you as close to those swirling giants as his spreads in Sports Illustrated.
With Zimmerman behind the lens you weren't just a fan, you were a fan
with access.
The one time that I worked with him at LIFE Magazine there wasn't a
remote control camera or multiple strobe in sight. What we needed from
him then was another side of his talents as a photographer. The story
was about Priscilla and Lisa Marie Presley. At the time Lisa Marie was
suffering from the double emotional burden of being a teenager and the
King's only offspring, and Priscilla was, well, Priscilla. Both needed
handling with the utmost care and delicacy, and John's decades of experience
of dealing with the super-egos of sport (as well as the models in the
swimsuit issue) came through for us big time. He was like a fly fisherman
gently luring his prey through his intense understanding of its nature.
He made them feel that his ideas were their ideas; he was respectful
without fawning, calm but determined, and exuded a quiet self-confidence.
He was how I want to be when I grow up. I wish that I'd had more opportunities
to imitate him rather than his photographic techniques.
I did have many occasions to observe and admire Galen Rowell. We worked
together at LIFE, Audubon, and on several Day In The Life books. Galen
himself was the author of eighteen books, and his company was named
after the most famous of them, Mountain Light published in 1986. After
hearing about his death I leafed through one, Galen Rowell's Vision
that is based on a collection of his columns in Outdoor Photography.
In it he reveals his secrets of taking outstanding photographs in the
wilderness. I'm sure, knowing Galen, that he did this with generous
intentions, honestly wanting the reader to be able to share his pleasures
of the outdoors and photography, because Galen was generous and honest
in all his dealings. What I don't know is whether he fully realized
that no matter how many times you read this book, even if you memorized
it from cover to cover, you would never be able to take photographs
equal to Galen Rowell's unless you had a vision and a passion equal
to his. The book is full of practical advice - "Any photo class
with more than twenty students is not a workshop regardless of how it
is promoted" - as well as philosophical advice. My favorite is
in the preface:
"My style of photography is adventure. The art of adventure is
highly participatory, but not necessarily in the physical sense of carrying
a camera to the top of a mountain to get the best picture. Even if taken
on the summit, passive snapshots made from the point of view of the
spectator are rarely considered art. The art of adventure implies active
visual exploration that is more mental than physical. The art becomes
an adventure and vice versa. Where there is certainty the adventure
disappears."
This
was the way that Galen lived his life, exploring the realms of uncertainty
in Nepal, Tibet, Africa, China, Alaska, Siberia or Patagonia. If you
look through any of his books you will see the vision of a voyager,
an explorer of lands, emotions and ideas, and in every one of them you
will see his beloved mountains. Galen made his first rope climb in the
Yosemite Valley at the age of sixteen, and he was as well known in the
world of rock climbing as that of photography.
Galen was an adventurer and he was also married to one. Barbara, his
wife of twenty one years, was a photographer in her own right as well
as an experienced and accomplished pilot who would often fly both of
them to locations or workshops in her own plane. However Galen did once
say of her: "Given the choice of a hotel room with a shower or
an icy dawn in a sleeping bag with the chance of alpenglow, she would
take the room and I would take the photograph." But the other thing
that I admired about these two wanderers was that they were both attuned
to and skilled at the business of photography. They had a gallery, both
physical and on the web, from which they sold prints; Galen wrote books,
columns and articles about photography and adventuring; they produced
posters, gave lectures and organized workshops; Galen even developed
and marketed graduated neutral density filters. They did all this while
traveling hundreds of thousand of miles per year doing assignments for
National Geographic, Outside and many other magazines. Those of you
that have read my constant pleas for photographers to take care of business
as well as photography will realize how much this endeared them to me.
For two adventurers, who regularly took risks that for many people were
outside of the imaginable, to be killed in a chartered plane from Oakland
to Bishop after returning from the Bering Sea has an irony that is painful.
For Galen to die by crashing into the majestic Eastern Sierra Nevada
Mountains is grotesque. For Barbara, the author of a book entitled Flying
South: A Pilot's Inner Journey, to end her life in a small plane that
she wasn't piloting is equally distressing.
The legacy that both John and Galen have bequeathed to our industry
is the example of being photographers of vision and uncompromising determination
who pursued their calling with honor and grace. But unless those who
will propel this profession into the future take up that legacy it will
be a hollow bequest. Emulation is not only the sincerest form of flattery,
but the best memorial that we could give them.
© 2002 Peter Howe
Contributing Editor
peterhowe@earthlink.net
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