Thursday’s Picture of the Week: Muli, China

National Geographic BooksBehind the Scenes: The year is 1990 and Jeffrey Aaronson is photographing on assignment for the National Geographic Society in one of the most remote areas in the world: Muli, China. 

The book project, entitled, Beyond the Horizon: Adventures in Faraway Lands, has Jeffrey retracing the footsteps of Austrian-American botanist and explorer, Joseph Rock, who ventured to this region of China and Tibet in the early 1920′s.

Until 1953, Muli was a remote and independent mountainous Gelugpa Buddhist kingdom, located just north of Lake Lugu in Yunnan and Sichuan provinces. It was dubbed “The Yellow Lama’s Kingdom” by Rock.

Map of China

Jeffrey and writer, Patrick Booz, travel together on this epic, 30-day assignment for the Geographic. It takes four days to journey by jeep from Chengdu, the capital of Sichuan Province, on roads that

Since then only a handful of botanists, mountaineers and adventurers have trickled in to this are

The Answer…

To Monday’s “Where in the World Are You?” Photo Contest is:

MULI, CHINA

You had lots of great guesses. Thanks to all of you who participated in this contest.

Tomorrow for Thursday’s Picture of the Week, I will share a behind-the-scenes story about Jeffrey Aaronson’s National Geographic assignment in Muli, where he created this photograph, along with many others, including the cover photo for the book.

Fear, Loathing and Photography: A Mad Journey into the Heart of Hunter S. Thompson

Portrait of gonzo journalist Hunter S. Thompson

Hunter S. Thompson at his home in Woody Creek, CO ©Jeffrey Aaronson 1990

Behind the Scenes: It’s late January 1990 and Jeffrey Aaronson is photographing on assignment in Aspen, Colorado for Town & Country. The magazine is doing a major feature about the shakers and movers of this tiny mountain resort as well as the many bigwigs and socialites who flock there during the winter.

Editor, Anne Hearst, has flown in from New York to conduct interviews and coordinate several of the photo shoots. Her list includes everyone from billionaire David Koch to socialite Teran Davis to celebrities like Jill St. John and Robert Wagner.

“Gonzo journalist” Hunter S. Thompson is also on Anne’s list, which amuses Jeffrey since Thompson has always prided himself on being a counter culture icon–the complete opposite of everything the magazine represents. He’s skeptical Thompson will even agree to be photographed.

Midway into this grueling weeklong assignment, Jeffrey is beat. He’s been on the go since the crack of dawn once again—this time photographing models on snowmobiles in Aspen’s early morning light, in ten-degree weather, no less. Knowing he has another full day ahead of him, he turns in around 11:00 pm, only to be ripped out of his REM sleep an hour later. It’s Anne.

“Hunter Thompson just called and said we can do the shoot right now.”

Jeffrey groans, “You’re kidding, right? What time is it?”

“A little after midnight. Sorry…he said he’s just waking up.” Continue reading

The Answer to Name That Photographer is…

Portrait of Photographer Edward Curtis, 1889

Self-portraif of Edward Sheriff Curtis, circa 1889

EDWARD SHERIFF CURTIS
“Shadow Catcher” 
(1868-1952) 

Perhaps America’s best-known photographer of Native Americans and the West, Edward S. Curtis spent three decades immersed in the culture of our nation’s indigenous peoples during the early 1900′s .

His ambitious project involved photographing more than eighty tribal groups west of the Mississippi–everyone from the Eskimo (Inuit) in the far north to the Hopi and the Comanche in the southwest to the Ute and Cheyenne and a multitude of others in between.

Curtis was born in 1868 near Whitewater, Wisconsin where he lived until he was six years old. HIs father, a Reverend and Civil War veteran, then moved the family to Minnesota.

Around that time more than 200 battles were being fought between US troops and Native American tribes–from the Dakota Territory down to Mexico. When Edward Curtis was eight years old Sioux and Cheyenne warriors defeated General George Custer and his troops at the Battle of Little Big Horn.

Edward Curtis photo of Princess Angline, 1896Curtis went to school until sixth grade then dropped out. Soon after he became interested in photography and built his first camera. The lens for his camera was brought back from the Civil War by his father. He and his father also shared a love of the outdoors and spent time together camping and canoeing. At seventeen, Curtis became an apprentice photographer in St. Paul, then two years later, when his family moved to Seattle, he became a partner in a photo studio.

His first Native American portrait, created in 1896, was of Princess Angeline, the elderly daughter of Chief Sealth of Seattle. It wasn’t long after that he launched into his epic project documenting the Native American traditional way of life–their dress, ceremonies, food, clothing, dwellings, burial customs, manners, and daily life.

Though he struggled to gain funding, eventually J.P. Morgan offered him $75,000, to be paid at $15,000 per year for five years, to create his 20-volume series entitled The North American Indian. It would comprise over two thousand photogravure plates and narrative about America’s indigenous, and Curtis feared, vanishing people. Native Americans were considered “savages” by many at the time, forced from their land and stripped of their rights.

Edward Curtis Native Americans Photograph

Curtis would later write the following foward to Volume I of The North American Indian.

“The passing of every old man or woman means the passing of some tradition, some knowledge of sacred rites possessed by no other; consequently the information that is to be gathered, for the benefit of future generations, respecting the mode of life of one of the great races of mankind, must be collected at once….”

During this ambitious project, Curtis became known by some tribes as the “Shadow Catcher” as he captured the likeness of many important and well-known Indian people of that time, including Geronimo, Chief Joseph, Red Cloud, Medicine Crow and others. Not only did he create thousands of images, but he recorded hours of rare ethnographic information, including some 10,000 wax cylinder sound recordings of Indian speech, music, and tribal mythologies.

Edward Curtis Photo of Medicine CrowEdward Curtis Photo of Chief JosephEdward Curtis Photo of Geronimo

It took far more than five years to create all twenty volumes, and far more money. Curtis sacrificed much in order to fulfill his dream of documenting America’s indigenous peoples. Not only was he perpetually broke, and continually trying to find financing for the project, but his family life took a beating as well. His wife divorced him after twenty-seven years and his four children grew up essentially with an absent father much of their childhoods.

Curtis’ photographs, while recognized as some of the most important work of its time, have received criticism because they are said to be romanticized versions of Native American culture, and contrived reconstructions rather than true documentation. He was known at times to remove “modern” items from an image to make it more authentic.

Below are images selected from The Library of Congress’s Edward S. Curtis Collection. Some were published in The North American Indian. Others were not.

Photo of Qagyul Wedding Party by Edward S. Curtis

Continue reading

Thursday’s Picture of the Week: Hong Kong Handover

Time Magazine 1997 Hong Kong Handover Cover

Behind the scenes: It’s late June 1997 and Hong Kong is about to be handed back to China after 150 years of British rule. Jeffrey Aaronson has been hired by Time magazine to document the events leading up to the handover ceremony, which is taking place at midnight on June 30th.

He has spent the past two weeks photographing all across China with one of Time’s senior correspondents, Joanna McCreary. They’ve ventured to several of China’s outlying cities, showing that while Communist leaders proclaim there will be “One country, Two Systems” with the Hong Kong handover, China is already comprised of a tangle of systems and economic policies created by local municipalities.

This is a memorable assignment for many reasons. One is that it’s an historic event. The other is that Jeffrey is arrested in the city of Suzhou. His visa has expired and the police have discovered he’s been working on a tourist visa instead of an official journalist visa. He’s always done that to avoid being controlled by government minders.

Locked in a jail cell, Jeffrey tries to ignore the sense of dread washing over him. A grizzly policeman glares with distain, then says between long drags on his cigarette, “You have until midnight to leave China. You’d better be on a plane out of here or….”

Once he’s released Jeffrey immediately begins trying to figure out his next move. He discovers there’s only one flight left to Hong Kong (which is still British for another week), but it’s out of Shanghai, which is least two hours away–on a good traffic day. He has less than three hours and he still must go back to his hotel and pack, then get to the airport, buy his ticket and board the plane.

After phoning the correspondent to tell her what has transpired, he’s in a car on the way to Shanghai. His plan is to fly to Hong Kong and apply for a new tourist visa—knowing China is still not computerized and not likely to discover his recent incarceration. Then he’ll fly into Beijing the next day and meet back up with the correspondent.

After a heart-racing drive and an absurd made-for-TV-sprint through the airport, Jeffrey catches his flight just as they are closing the door.

The next day, after working with Mr. Kwok, his seedy connection in Hong Kong, he obtains a new visa and lands back in Beijing.

The correspondent, who is well-aware of what Jeffrey has just been through, recommends he rests and lays low, especially since she won’t be writing anything about Beijing.

Jeffrey, who has never been good at laying low, ignores Joanna’s advice and heads out to photograph anyway. In Tiananmen Square he happens upon a group of school children doing chalk drawings in celebration of the upcoming handover. A large “countdown clock” is ticking down the hours and minutes until the handover, which the mainland is exuberant about.

When he photographs these two schoolboys sporting 1997 glasses, he’s glad he followed his instincts instead of laying low. He knows he has just created an iconic image for their story. And he’s right. It becomes the cover of the magazine.

__________

A week later a similar situation happens. It’s the night of the handover ceremony and Jeffrey has been shooting all over Hong Kong, along with a small contingent of photographers working for Time. Each is assigned a dizzying number of symbolic events as the British say farewell.

Jeffrey is on a tight schedule trying to get from one event to the next. It’s the first assignment his editor has given him a cell phone to help with communication and logistics during this tricky project. It’s the size of a brick, but it’s indispensable.

He has spent much of the day with the last governor of Hong Kong, Chris Patton, and is now on his way to photograph the Britannia symbolically sailing out of Hong Kong Harbor.

Time Magazine Cover New Guard in Hong KongThe streets are filled with drunk Expats as they try to forget about their future and their certain loss of British freedoms. On the way from one event to the next Jeffrey sees the first ceremonial Chinese soldier standing guard where a British soldier once stood.

It’s dripping hot and humid, and the crowd is growing more and more unruly, taunting the soldier. Jeffrey knows he’s late for his next event, and a call from his editor reinforces that. “Your car and driver are waiting for you. Please get over there now.”

“Give me ten minutes, “ he says to his editor, convincing her that what he’s witnessing could make for a symbolic photograph. While she has the driver circle, he creates another cover of Time, which runs the week after his previous cover.

“It’s often unplanned moments that make for some of the most interesting and important photographs. Sometimes you just have to follow your intuition, even if it means ignoring your editor,” Jeffrey later reflects.

Sentimental Journey in the American West

Today’s post shares a slice of humor and nostalgia. Jeffrey Aaronson photographed this series along a rural highway in northern Colorado for Life magazine, stirring memories of the Old West and the cowboy tradition.

Jeffrey Aaronson Lone Ranger Series 1 of 4Jeffrey Aaronson Lone Ranger Series 2 of 4Jeffrey Aaronson Lone Ranger Series 3 of 4Jeffrey Aaronson Lone Ranger Series 4 of 4
All photos ©Jeffrey Aaronson                         The Art of an Improbable Life 2012

PS: Sharing one of my favorite series of photographs seems like the perfect way to celebrate my 100th post today!

Thursday’s Picture of the Week: Los Angeles Riots

Photo of the Los Angeles Riots in 1992

Behind the Scenes: It’s late April 1992 and all hell is breaking loose in South Central Los Angeles. Four LAPD officers—three white and one Hispanic—have just been acquitted of brutally beating black motorist, Rodney King, and the verdict has ignited a firestorm of rage in the black community. After years of police brutality, racial injustice, and economic disparity, hundreds are rioting in the streets.

Jeffrey watches this fiery scene unfold on television, his stomach churning, especially when he sees an innocent white truck driver, Reginald Denny, pulled from his truck and maliciously beaten when he’s stopped at an intersection; then later hears of another man, Fidel Lopez, a Guatemalan construction worker, who’s robbed, beaten and maimed—his ear nearly sliced off and his genitals and torso painted black.

Growing up in the Los Angeles area, Jeffrey is disturbed to see this unfolding in his own backyard. The brutality seems more like something he’d witness in a lesser-developed country; one without a democratic or judicial system in place.

When the riots intensify the following day, with thousands now protesting, looting and setting buildings on fire, Jeffrey gets on a plane and heads to Los Angeles. After covering human rights issues and cultural conflicts around the world, he feels compelled to turn his lens on what is happening in his own country.

Landing at LAX, he gets a rental car (with the extra insurance, this time), then drives into the miasma. It’s like a war zone. Four thousand National Guard troops are patrolling the streets, many in Humvees, all with rifles.The smell of smoke and ash assault Jeffrey’s nostrils as he steps out of the car near the intersection where Reginald Denny was beaten.

The muscles in Jeffrey’s neck ache with tension. Even though every kind of law enforcement officer has been brought in from around California to stand guard and try to gain control of the situation, he knows that unlike most other countries where only the military owns guns, anybody is able to own and use a gun in our country. Sniper shootings have been rampant.

In the mix, the Korean American community has been hit hard with looting and has taken up arms trying to defend its livelihood. Gun battles have broken out across Koreatown.

Jeffrey’s intention is to examine the social, cultural, and economic reasons contributing to this explosive situation. When he comes across firefighters putting out the remaining embers of a torched building and an officer guarding them from snipers, he knows he has created a symbolic photograph of this complicated moment in time–especially with the sentiment scrawled in red across the wall.

This photograph was created with a Nikon F4 camera, a Nikor 24mm lens and Fuji Velvia film. It was published in Newsweek, then later as the cover of Architectural Landscape magazine in an issue dedicated to urban renewal.

Where were you when the Los Angeles riots broke out twenty years ago ? Do you remember? And do you remember what your thoughts were at the time?

The Answer…

To Yesterday’s “Where in the World Are You?” Photo Contest is:

MICRONESIA

This was a tough one! Thanks to all of you who participated in the contest. I loved all your guesses, and I especially loved having so many first-time commenters (is that a word?) leave their two cents.

Unlike Bali, Tahiti or Thailand, Micronesia is not a common travel destination, so I can see why nobody got the correct answer.

The official name for Micronesia is The Federated States of Micronesia. It consists of four island states: Yap, Chuuk (Truk), Pohnpei (Ponape), and Kosrae–all in the Caroline Islands (I know, islands within islands are a bit confusing). Take a peek at the map below to get your bearings, and just know that Micronesia is located about 3,200 miles west-southwest of Hawaii, above the equator in the Pacific Ocean.

Map of Micronesia

Jeffrey was photographing a travel story here many years ago for Continental Airlines and captured the fisherman in yesterday’s photograph as he cast his net at sunrise on the island of Kosrae.

When I reviewed Eric Weiner’s book, The Geography of Bliss last November, I asked Jeffrey to rank some the happiest places he’s worked in the world, He described Micronesia as being the 4th Happiest Place. If you’d like to know why and see a few more photographs, you can click on my previous post: The Geography of Bliss (once you click on it, scroll half way down to get to Micronesia).

 Fisherman in Kosrae, Micronsia
Photo of Truk Micronesia

The most significant change to Micronesia since Jeffrey worked there in the late 80s is the impact global warming has had on the island chain. Micronesia, as well as many others in the South Pacific, are alarmed by the rise in ocean levels, which threaten low-lying islands with flooding and, eventually, submergence.

Now that has a way of putting our environmental issues into perspective!

Thursday’s Picture of the Week: China

Photo of a man doing tai chi in Rutan Park in Beijing, China

Behind the Scenes: The year is 1995 and Jeffrey is photographing on assignment for The New York Times Travel Section in Beijing, China. He’s there to do a story about Ritan (Temple of the Sun) Park.

This expansive park is one of the oldest sites in Beijing and is like an oasis in the midst of a teeming metropolis. Commissioned by Ming Dynasty emperor JiaJing in 1530, it is filled not only with massive trees, gardens, pavilions, and small lakes, but many places for people to gather and recreate. Tai chi and ballroom dancing are common forms of exercise found here.

When Jeffrey comes upon this elderly gentleman wearing a traditional Mao jacket, fully immersed in the solitude of his early morning ritual, he knows he has captured the essence of Ritan Park and also created a wonderful symbol of ancient China–still alive and well in modern day Beijing.

At its core, tai chi is a martial art (also referred to as shadow boxing), but it is now commonly practiced to strengthen and promote mind/body health. Jeffrey loved how the man was entranced in the shadow of his own dance, and how the traditional Chinese red wall and green tiles melded with the shadow and gesture, creating pure harmony.

This image was created with a Nikon F4, a Nikkor 85mm lens and Fuji Velvia film.

Postscript: A week after it was published as the cover of The New York Times Travel Section, Broadway’s legendary song and dance man, Tommy Tune, wrote a letter to the editor extolling the artistic merits of Jeffrey’s photograph and how he captured the magic of the moment.

“It was quite an honor coming from Tommy Tune, whom I admire for his artistry and accomplishments in the field of dance,” said Jeffrey. “The fact that he would take the time to write a letter to the editor…there really is no higher compliment.”