All posts by Steve Stern

A Backpacking Trip into Coyote Gulch

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When I was  photographing on film, I became very good – in my humble opinion – at telling a story with a slide show, especially stories of trips. At some point, I quit making slide shows and concentrated on making just the right art shot. Over the years, I have reverted back to telling stories which, I think, I do much better and which is, really what this blog is about. So now I am trying to get some of those old – mostly trip – stories down here. Michele and my first trip down Coyote Gulch is one of them.

Backpacking in the Escalante River Basin requires a leap of faith bigger than any place I have ever hiked. First, it is a long way from the Bay Area. We have to drive for about sixteen hours, past all kinds of great places to hike and backpack; the Sierras, the Ruby Mountains, Zion, Bryce. When we finally get to the town of Escalante, it seems unremarkable. A small, isolated, farming town in southeastern Utah. The trailhead to Coyote Gulch – the Hurricane Wash cutoff, really – is about 35 miles down a dirt road off of Utah Highway 12. It isn’t dry enough to be called a desert, just Drylands – very red Drylands, it is true – heavily sprinkled with shrub brush, and interlaced with the occasional cattle corral or small water tank.

From the trailhead, on a bench of the Kaiparowits Plateau where the red Drylands – seemingly – go all the way to the horizon, we start walking down Hurricane Wash. We carry enough water to comfortably walk down to Coyote Gulch – about 3.5 miles – where we will find water (if we don’t find water, we will have a very uncomfortable walk back to the car). As we walk, the land slowly, slowly, becomes more wash-like. We pass petrified sand-dunes about – and that is a very big about – 65 to 55 million years old.

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We are walking down-section which means that, as we walk downhill, we are also walking back in time. The wash gets deeper, a little rougher, and the sandstone gets older.

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When we get to the corner of Hurricane Wash and Coyote Gulch and see water in this dry landscape, it is a little bit of a shock. The green against the red walls of the canyon is almost neon in its intensity. The running water is not big enough to be called a stream or a brook but over time – alot of time – it has carved a canyon that is probably over 300 feet deep. There are Cottonwoods everywhere, the still water areas are covered in Equisetum, and lots of unidentifiable – to me – bushes.

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After wandering around – in awe – we cooked dinner under some Cottonwoods, and spent our first night in an covered alcove (feeling very Indian). About mid-night, we were woken by a stealth bomber flying over. It was very loud and very slow: not at all what I would have expected, especially having lived near a B-52 base while stationed in Texas, years ago.

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The next morning, we headed deeper into the canyon. It must have been cold because Michele is still wearing her long underwear which makes me wonder what time of year we took this trip. If it had been in the fall, the trees would have been changing color, so it must have been Spring but it also must have been earlier than Memorial Day that we had carried warm clothes. Either way, it was cold in the early morning and Michele had her long underwear on when we started out, following a well worn trail.

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I have hiked or walked – dabbled, really – in alot of mountain ranges, but nothing prepared me for hiking in the Escalante Basin. It is like hiking in a miniature Yosemite dyed red. Except that there are small waterfalls and arches. Oh! and ruins. and petroglyphs.

99 to 65 million years ago – according to Hana Doggett – this part of the world was an inland sea running all the way from the Gulf of Mexico to the Arctic. Eventually that seabed was filled with material washing down from the higher ground both to the east and west and, then, it lifted, becoming a low flatish area with lazy, meandering rivers. It got lifted again, higher this time and the rivers, staying in their meandering beds beds, wore down those beds as the areas around them lifted up. Eventually, it became one of the most stunning places on earth.

Back when we first reached the corner of Hurricane Wash and Coyote Gulch, we dropped our packs and sat by the side of the mini-stream to take a break. As were sitting there in stunned awe, a German – or a guy with a heavy German accent – ran by yelling, YELLING!, Oh my Gott! Oh my Gott!. When he saw us, he stopped and said This is amazing, do you have any idea how amazing this is? and then ran off. We didn’t know where he came from or where is was going, we only knew that we agreed.

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Two nights after the German ran by, we camped near a small ruin with petroglyphs, the next night we camped in a grove of Cottonwoods near where Coyote Gulch enters the Escalante River.

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To be continued.

 

 

 

 

 

 

 

Star Trek Into Darkness

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We saw Star Trek Into Darkness Sunday night. I thought it was a mess – a constantly engaging mess in which I was never bored – but a mess that never seemed to have a coherent plot arc. I enjoyed the first rebranding of the franchise in 2009, so I was a surprised that this seemed so generic. The movie starts with a set piece that has no relationship with what will become the major part of the movie which, I guess, has become standard fare for Adventure movies. The first time I noticed this was in James Bond movies but, as I think about it, the first Indiana Jones movie started that way.

For me, the set piece went on a little too long, but, on the plus side, the special effects were spectacular. Even on a huge screen, the Enterprise seemed real. After the credits, Benedict Cumberbatch – who I have a major man-crush on – shows up as a sort of Jason Borne gone bad. His blue eyes glow, but not as much as Captain Kirk’s, and all I could think of was how much post production work was done on every frame of the digital film.

It was heartening that, in the future, only bad guys use drones and torture. It was also heartening that the Startreck family squabbling is still there so that this would not be mistaken for a Starwars movie which – I read – will be directed by the same J.J. Abrams. Maybe the problem is that it is the middle movie of a trilogy. Maybe the problem is that I am not really a Trekkie.

BTW, did I mention that the spectacular special effects were great?

 

Friday night at the Oakland Museum

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Friday night, we went over to the Oakland Museum for the reopening of the refurbished Natural History Gallery. I lived in Oakland from the mid 60’s to the early 70’s, during the time when the Oakland Museum first opened. I loved living in Oakland, I loved the diversity, I loved the Raiders,  and I – especially – loved the Oakland Museum. I still love the museum, it was and still is the only Bay Area museum about California and California art.

Even then, the San Francisco museums were trying to become national or world museums, trading in their excellent examples of local artist’s work – such as Nathan Oliveira – for mediocre examples of  works by more famous New York artists like Jasper Johns. I like Jasper Johns, but I would much rather see local artists when I go to a local museum; Roy Lichtenstein in New York and Robert Arneson when I go to a California museum. The Arnesons are in storage at SFMOMA and – one of them atleast – are on display in Oakland.

Our night started out in an empty BART car in Daily City that filled as we went through downtown SF.

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We got out at Lake Merritt and walked a block to the Museum and a Friday night Food Truck Jamboree. As I understand it, the Food Truck thing is the museum’s idea in an effort to get more people to visit, and – I guess – the City of Oakland has blocked off the nearby space. The museum provides music, sells wine and beer, and has made Friday admission half price. I hope it is working.

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Inside, the newly refurbished and reopened Natural History Gallery was packed. And it should be: it is brilliant. But, then, I also liked the old gallery which had the various California econiches in different parts of the room. The problem with the old system is that it was static. Somebody, we have no idea who, decided what was important and we – the museum goer – passively went along. Year after year, it remained the same and, after wandering trough a couple of times, the museum goer – now presumably a better person for being better informed – wandered off to a new place. Hopefully, the new place was one of the actual econiches itself, say Yosemite, but – usually – not. Usually the passive spectator just got bored and quit coming back. I did both.

The new Gallery is much more interactive and the main econiche is Oakland, both – I am guessing – in an effort to build traffic.

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There is also an emphasis on the streams and creeks that flow through Oakland from the surrounding hills. Most of these streams and creeks have been buried in pipes and channelized but some are – also – newly reopened and refurbished (reminding me of the refurbished and reopened Los Angeles River that Will Taylor has been talking about on facebook).

Another change that I like and I hope works – but I am not so sure that it is – is adding some California art to the Natural History Gallery in an effort – I presume – to drive traffic to the California Art Gallery upstairs.

Oak Museum-0392But, this Friday, atleast, the art gallery was pretty empty (but it did have an Robert Arneson).

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The good news on the art side of things is that the main gallery that had an powerful show of paintings by Hung Liu, the Professor of Painting at nearby Mills College, was packed (no pictures allowed).   The other good thing was that Gina Matesic and I were able to get a couple of self portraits reflected in a very nice Larry Bell.

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Every picture has a story except when it doesn’t

Salt Flats-0005Way back in the olden days, in the film era, I was driving home – across the Dumbarton Bridge – at sunset. It was a rare, warm summer day, with no wind and no fog peaking over the hills. The light was magical and I pulled over and took a couple of pictures.

I have dozens of Carousels of slides and even more binders filled with slides (maybe more binders than Romney). Right now, they are hidden in their Kodak boxes, doing nothing to enrich my life. I have not looked at them or shown a slide show in over ten years. To make room, and in an effort to actually make the slides accessible, I am slowly going through them, throwing alot away and converting some to digital. At Kirk Moore’s recommendation, I am using the ScanCafe and they are doing a super job.

One Carousel is a group of pictures from Japan in the 60’s and another, a trip down Coyote Gulch, that Michele and I first took in the early 90’s. There were also a couple of odds and ends that I tossed in the scan pile. One of them was the picture above.

Another sunset was from Russian Ridge. I have been to Russian Ridge  – probably – fifty times. Michele and I watched the Transit of Venus from there, I have watched the fog come in from there, and I have watched dozens of sunsets. None were even close to being as spectacular as this one from the film era when everything turned orange.

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A third sunset, this time in Arizona during a silence and fasting period of a week long spiritual retreat. It was a crummy, overcast, day that turned magic as the sun dropped below the cloud layer.

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Driving back from the same retreat, I drove by what seemed like miles of yellow flowers. Lisl Dennis talks about inertia in photography – not photography? – and I remember driving along and thinking This is gorgeous;  I should stop and take a picture. and continuing to drive. It is always a conflict, while driving someplace, between trying to actually get there and stopping to take a couple of pictures, and then a couple more pictures, especially if it requires any setup. This didn’t, the clouds, the flowers, the junipers, were just there, mile after mile.

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Before he had a studio in The Smoke Creek Desert, Mike Moore had a place on/in an old Air Force Radar Station south of Winnemucca, Nevada. It was a concrete block building, on top of a mountain,  and he called it Radar Ranch. Walking up from the building to a view point, we could see all the way to the edge of the earth in three out of the four directions. I think this was the view south.

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After a very crowded day at Machu Picchu, the tourist train left, leaving just three of us in the empty ruin. We were all photographers – a good friend with whom I often traveled, a photographer from Brooklyn, and myself – and we were all chewing coco leaves. I ended up shooting three roles of film of – basically – stone walls. Surprisingly, I liked them all. This stray shot showed up and, somewhere in a binder, there are another hundred shots just like this as well as more conventional shots.

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Of course, there are lots of odds and ends from various trips to Death Valley. I am almost positive that I didn’t take either of the next two shots. The first, a wedding picture of Michele and me. I have no idea where or how I got this wedding picture, we were married the afternoon before and the Wedding Photographer suggested that we get a picture the next morning from Zabriskie Point. What I had forgotten and the photographer never knew, because he had never been to Death Valley before, was that sunrise at Zabriskie is probably, photographically, the most popular sunrise place in California (atleast, that doesn’t involve water). There were dozens of photographers and Michele and me, all dressed up. Our wedding album has lots of pictures that are better than this but, still, this does have an enigmatic charm.

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Michele pointed out that the final shot, below, is close to the odds end of the odds and ends scale. I know that both our names are Steve and I am pretty sure that it was taken in greater Death Valley in the 60’s. Other than that, I have no idea what the story is, what we were doing, or what I was – apparently – trying to explain with my arms.

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Romeo + Juliet

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In preparation for The Great Gatsby, Michele and I saw Baz Luhrmann’s Romeo + Juliet the other night. I fell in love with it all over again. In my humble opinion, it is – by far – the best Romeo and Juliet movie. As a play, Romeo and Juliet works great but as a movie, it often doesn’t. Movies are usually too real for Shakespeare.

West Side Story, one of the great Romeo and Juliet‘s, is one of my favorite plays. It is stunning on stage. How could it not be, with lyrics by Stephen Sondheim, music by Leonard Bernstein, and choreography by the great Jerome Robbins. When Tony kills Bernardo, it is a shock. Every time. The music and choreography highlight the shock. But, in the movie, everything looks and feels fake. The sets, the gritty background, make everything else look and feel like Who are you kidding? For me, the movie was a bust.

Luhrmann’s Romeo + Juliet gets around that by going overboard. The star crossed lovers become real because of it. The movie opens with the usual, Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. on a TV screen. And then the movie repeats it, and again. One of my problems with Shakespeare is that by the time I get used to the language, I am not sure what I missed. By repeating the opening in several different way, I get the language in time to understand the set-up.

As an aside, after watching this R & J, with all its religious iconography, Michele noticed that it was probably an allegory for Catholic verses Protestant conflict going on in England at the time. This especially makes sense given that Shakespeare’s family was Catholic when it was against the law. End aside.

What the movie shows even better than most play adaptations I have seen, is that this battle, between the Capulets and  Montagues, has been passed down to the younger generation. The cause is no loner important, the fighting, the war, has taken on a life of its own. It is senseless but the movie implies that nobody cares any more.

Clare Danes is a perfect Juliet. She was sixteen when the movie was made and could easily be fourteen. In the movie, she has a certain craziness that makes her very believable.  Leonardo DiCaprio is lost until he finds his Juliet and then he believably fall in love. Pete Postlethwaite is super as the priest with just enough menace to leave me worried for all the young boys he has hanging around. Both Paul Sorvino and Brian Dennehy, as the family patriarchs, are saddened as their feud spins out of control and they can’t do anything about it.

What makes this movie seem so powerful to me is that we all know what is coming and there seems to be no way to stop it.  .