LensWork Overview of 71examples — hoping they provide inspira-tion and motivation. In this issue...

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LensWorkPhotography and the Creative Process • Articles • Interviews • Portfolios • Fine Art Special Editions No. 71 Jul - Aug 2007

Photography and the Creative Process • Articles • Interviews • Portfolios • Fine Art Special Editions

Top of spine issue number must be ⁄” from top of trimmed book

$9.95 US • $11.50 Canada

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PortfoliosAdam JahielJoe LipkaJoan Myers

InterviewsJoe Lipka

Joan Myers

EndNotesBill Jay

from Wondrous Coldby Joan Myers

Scoring guides

Note to Hemlock:There is a 0.25” bleed on all sides.

IMPORTANT TRIM INSTRUCTIONS:The top of the issue number in the spine must be exactly 1/8” from the edge of the trimmed paper.

ISBN 1-888803-89-4

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5 1 2 9 5$12•95 U•S• / $14•95 CanadaPhotography • Art Criticism

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System Requirements: This CD can be played on your PC or Mac computer us-ing the free Adobe Acrobat Reader™ Version 6 or newer available via down-load from www.adobe.com.

LensWork Extended is a true multimedia publication that dramatically expands the contents of our 96-page magazine, LensWork — then loads-in lots of audio, video, and “extend-ed extras.” In the spirit of the paper publication, the focus continues on the creative process, with each CD off ering an engaging mix that only multimedia makes possible.

Joe LipkaLabyrinth27 images

plus audio interview

New Orleans Photography Alliance

Andrew IlachinskiSpirit and Light

Jeff BallThe Spirit of the San Juan River

Video Tour: Ryuijies’ DarkroomLensWork Podcasts• LensWork Vision of the Heart • Podcasts

Photographer’s on Photogra-• phy Audio Excerpts

Additional Bill Jay • EndNotes

Joan MyersWondrous Cold

79 imagesplus audio interview

Adam JahielThe Country-folk of Kyrgyzstan

44 images plus audio interview

EXTENDED Extras

Bonus Gallery

We published some of Ryuijie’s botanicals in LensWork #36 and later included several in our LensWork Special Editions and Pho-togravures. In this informal video, we con-tinue the LensWork Darkroom Tours series of “home movies on location with Brooks Jensen” and talk with Ryuijie and tour of his darkroom, home to his exquisite platinum-palladium prints — and his legendary collection of tequila!

Note:The trim size has been modifi ed on 6 June 2007 for the new cases, post-LXT70.BVJ

Note: This is the layout for the slim-design DVD cases.

EXTENDED Portfolios

E XTE N D E D ·71

Darkroom Video Tour

Ryuijie Adam Jahiel

Joe LipkaJoan Myers

Featuring Bonus GalleryAndrew IlachinskiNew Orleans Photography AllianceJeff Ball

LensWork

LensWorkExtended

Table of Contents

3

Turn the page for additional content in LensWork EXTENDED #71 on CD!

8Editor’s Comments

�e Pragmatics of Creativity�is is a practical discussion about the art of seeing and explores how

three photographers found such di�erent responses to the same subject matter.

13Portfolio : Adam Jahiel

�e Country-folk of KyrgyzstanA photographer who is well-known

for his images of the American West and the cowboy culture heads east — a long way east! — and �nds another, older culture with many similarities.

35Interview with Joe Lipka

What happens when a photographer completes a project, arranges for it to be

published, prepares to move on to the next project in his career — only to �nd a new way of seeing the work he has just

�nished? In this interview, Lipka discusses his experience with just such a dilemma.

39Portfolio : Joe Lipka LabyrinthLife is a labyrinth, full of choices — and their unexpected and sometimes all-per-vasive consequences.

59Interview with Joan MyersIn this interview, Myers discusses what she describes as “the adventure of her life” — a four-month photographic project in Antarctica and the book and exhibition that were born from her work there.

67Portfolio: Joan MyersWondrous ColdConcentrating on the human/landscape interaction on the remote continent of Antarctica, this portfolio explores the relationship of humankind — and penguinkind — to this harsh land.

92EndNotes by Bill Jay

Table of Contents

Photography and the Creative Process

Jul – Aug 2007LensWork 71

Brooks Jensen & Maureen Gallagher, Editors

Joan Meyers

Adam Jahiel

Joe Lipka

Interviews: Joan Meyers, Joe LipkaEditor’s Comments: Brooks Jensen

EndNotes: Bill Jay

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Editor’s Comments The Pragmatics of Creativity This is a practical discussion about the art of seeing and explores how three photographers found such different responses to the same subject matter.

EndNotes by Bill Jay Interview with Joe Lipka What happens when a photographer completes a project, arranges for it to be published, prepares to move on to the next project in his career — only to find a new way of seeing the work he has just finished? In this interview, Lipka discusses his experi-ence with just such a dilemma. Interview with Joan Myers In this interview, Myers discusses what she describes as “the adventure of her life” — a four-month pho-tographic project in Antarctica and the book and exhibition that were born from her work there.

Joan Myers Wondrous Cold

Joe Lipka Labyrinth

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Table of Contents

Photography and the Creative Process Articles • Interviews • Portfolios

May – Jun 2007LensWork 70

Brooks Jensen & Maureen Gallagher, Editors

Josef Tornick

Hiroshi Watanabe

Brooks Jensen

Richard A. Johnson

Interviews: Josef TornickHiroshi Watanabe

Editor’s Comments: Brooks JensenEndNotes: Bill Jay

Adam Jahiel The Country-folk of Kyrgyzstan

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LensWorkNo. 71 Jul - Aug 2007

Top of spine issue number must be 13⁄32” from top of trimmed book

PortfoliosAdam JahielJoe Lipka Joan Myers

Interviews Joe Lipka

Joan Myers

EndNotes Bill Jay

from Wondrous Cold by Joan Myers


8

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9

The Pragmatics of Creativity

I cringe a bit when I think how many words I’ve written over the years about the theory of creativity in these Editor’s Comments. In all honesty, I suppose I’ll write more in future issues. But, in this issue, I have the opportunity to share a pragmatic, non-theoretical example that may be one of the most interesting I’ve ever witnessed. But �rst, I need to fully disclose both my agenda for this issue of LensWork and my personal connection to it — or I should say to him.

I’ve known Joe Lipka for 26 years. We are friends, compatriots, peers, buds, fellow-photographers, and undoubtedly the world’s largest collectors of each other’s work — outside our respective family members. We’ve been photographing together more times than I can remember. Literally — we are both a lot older now and our memories are as banged-up as our tripods. I’ve mentioned our friend-ship before (LensWork #59), published Joe’s writings on photography from time to time (LensWork issues 4, 6, 10, 51 and 65), and his images in LensWork Extended #57 and #64. To be candidly frank, we’ve also rejected several of his submissions, so I can honestly say there is no bias in

including his work in this issue. It is fair to say I have a biased eye when it comes to my friendship with Joe. End of disclosure. With all of this said, let me proceed to the agenda for this issue, and the compelling reason for including his Labyrinth portfo-lio in this issue of LensWork.

LensWork is a publication about photog-raphy, true enough, but it is even more a publication about creativity. When we choose portfolios or articles for publica-tion, the single common thread that runs through each and every selection is that they are, in our opinions, a shining example of creativity in action. We try to make each issue of LensWork add to the discussion and understanding of creativ-ity in photography — primarily through examples — hoping they provide inspira-tion and motivation. In this issue — with Lipka’s portfolio — there are three distinct and incredibly practical lessons about creativity in action.

�e Art of Seeing�e camera is, at its root, a complex recording device. It is a mirror to the world — and a reasonably e�cient machine for making imaged copies

of the world it re�ects. �e camera is not a creative being, but the human who wields it is. We see. In fact, everyone sees, hence photography’s universality. �e role of the artist, however, is to see what others do not see— or cannot see — and to make the invisible visible. �e creative photogra-pher is a seer, in both senses of that word. In short, the art of seeing is what de�nes the creative photographer as compared to the merely competent one.

My story of the pragmatics of creativity begins, sort of, in 2005 when Joe Lipka and I went to photograph Fort Worden — an old WWI military artillery battery now a recreational state park — on the Olympic Peninsula in Washington State. We pho-tographed there for a week; we saw each other in passing during “working hours”; we talked shop over dinner at the end of each day. We photographed the next day and talked shop again over dinner. Seven days, the same routine. We then returned to our respective homes and our daily lives. Two years passed. He worked on his photographs. I worked on mine.

And here is where the story starts to get really interesting.

In one of those mysterious occurrences of cosmic synchronicity, within a very short period of time we both �nished our portfolios and shared them with each other. You saw my work, which was

included in the last issue of LensWork, issue #70, in the portfolio I call Wakari-masen. Joe’s work we include here in this issue entitled Labyrinth. I hope everyone reading this does exactly what Joe and I did upon �rst seeing each others’ �n-ished photographs — sit down with them side by side and compare. We could hardly believe our eyes! How could two such widely di�erent bodies of work have been made at the same place, at the same time, with essentially the same equipment, by photographers whose training and experi-ence were so parallel? �e answer is both obvious and simple — the art of seeing.

Far too o�en I hear photographers repeat the old saw that there is no reason to go to Yosemite, or Antelope Canyon, or Point Lobos to photograph. “It’s all been done,” they’ll say. �e o�-repeated joke is that today’s photographs of Half Dome require an extra stop of exposure because the amount of light re�ecting o� it has been reduced by the absorption of so many neg-atives throughout history. I love this joke and always chuckle at it, but the sentiment that all the possible photographs have already been made could not be further from the truth. �e essence of creative photography is in us — not in the camera, not in the subject, not in the technology, not in the photographic artifact. And, by extension, because each one of us is a dif-ferent and unique person, our response to a place — i.e., a photographic subject — is

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Stromness whaling station (abandoned), South Georgia

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Scoring guides

Note to Hemlock:There is a 0.25” bleed on all sides.

IMPORTANT TRIM INSTRUCTIONS:The top of the issue number in the spine must be exactly 1/8” from the edge of the trimmed paper.

ISBN 1-888803-89-4

9 7 8 1 8 8 8 8 0 3 8 9 1

5 1 2 9 5$12•95 U•S• / $14•95 CanadaPhotography • Art Criticism

71Len

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Photography and the Creative Process • Audio • Video • Extended Portfolios E

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LensWork Extended is a true multimedia publication that dramatically expands the contents of our 96-page magazine, LensWork — then loads-in lots of audio, video, and “extend-ed extras.” In the spirit of the paper publication, the focus continues on the creative process, with each CD off ering an engaging mix that only multimedia makes possible.

Joe LipkaLabyrinth27 images



Andrew IlachinskiSpirit and Light

Jeff BallThe Spirit of the San Juan River

Video Tour: Ryuijies’ DarkroomLensWork Podcasts• LensWork Vision of the Heart • Podcasts

Photographer’s on Photogra-• phy Audio Excerpts

Additional Bill Jay • EndNotes


79 imagesplus audio interview

Adam JahielThe Country-folk of Kyrgyzstan


EXTENDED Extras

Bonus Gallery


Note:The trim size has been modifi ed on 6 June 2007 for the new cases, post-LXT70.BVJ

Note: This is the layout for the slim-design DVD cases.

EXTENDED Portfolios

E XTE N D E D ·71

Darkroom Video Tour

Ryuijie Adam Jahiel

Joe LipkaJoan Myers

Featuring Bonus GalleryAndrew IlachinskiNew Orleans Photography AllianceJeff Ball

LensWork

LensWorkExtended

Extended portfolios, more images • Short audio interviews with pho-tographers • Audio comments on individual images • Videos on pho-tography and the creative process • Printable high resolution fine art images • Direct links to web sites, email addresses • Video interviews with photographers • And more all on a single DVD using the Acrobat 6 Reader.

LensWork #71 LensWork #71 In PrintLensWork

Extended #71 on CD

Joe Lipka 10 images 27 images Plus audio interview

Adam Jahiel 20 images 44 images Plus audio interview

Joan Myers 22 images 79 images Plus audio interview

Bill Jay’s EndNotes 2-pages 3-pages

Audio interviews with photographers

The Spirit of the San Juan River by Jeff Ball

Bonus Gallery

Spirit and Light

by Andrew IlachinkiBonus Gallery

Special Bonus Gallery

by New Orleans Photography Alliance Video Tour of

Ryuijie’s Darkroom Video Interview

with Lester Hayes by ANthony Mournian

Photographers on Photography Audio LensWork Podcasts

LensWork Vision of the Heart Podcasts

A LensWork Video Tour Ryuijie’s Darkroom Video

We published some of Ryuijie’s botanicals in LensWork #36 and later included several in our LensWork Special Editions and Photogravures. In this informal video, we continue the LensWork Darkroom Tours series of “home movies on location with Brooks Jensen” and talk with Ryuijie and tour of his darkroom, home to his exquisite platinum-palladium prints — and his legendary collection of tequila!

Special Bonus Galleryby The New Orleans Photography Alliance

Craig Morse Josephine Sacabo Victoria Ryan

Featuring 12 photographers including the following…

featuring...

the Spirit of the San Juan River by Jeff Ball

Bonus GallerySpirit and Lightby Andrew Ilachinski

Bonus Gallery



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LensWorkNo. 71 Jul - Aug 2007

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PortfoliosAdam JahielJoe Lipka Joan Myers

Interviews Joe Lipka

Joan Myers

EndNotes Bill Jay

from Wondrous Cold by Joan Myers



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Editor’s Comments

8

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9

The Pragmatics of Creativity

I cringe a bit when I think how many words I’ve written over the years about the theory of creativity in these Editor’s Comments. In all honesty, I suppose I’ll write more in future issues. But, in this issue, I have the opportunity to share a pragmatic, non-theoretical example that may be one of the most interesting I’ve ever witnessed. But �rst, I need to fully disclose both my agenda for this issue of LensWork and my personal connection to it — or I should say to him.

I’ve known Joe Lipka for 26 years. We are friends, compatriots, peers, buds, fellow-photographers, and undoubtedly the world’s largest collectors of each other’s work — outside our respective family members. We’ve been photographing together more times than I can remember. Literally — we are both a lot older now and our memories are as banged-up as our tripods. I’ve mentioned our friend-ship before (LensWork #59), published Joe’s writings on photography from time to time (LensWork issues 4, 6, 10, 51 and 65), and his images in LensWork Extended #57 and #64. To be candidly frank, we’ve also rejected several of his submissions, so I can honestly say there is no bias in

including his work in this issue. It is fair to say I have a biased eye when it comes to my friendship with Joe. End of disclosure. With all of this said, let me proceed to the agenda for this issue, and the compelling reason for including his Labyrinth portfo-lio in this issue of LensWork.

LensWork is a publication about photog-raphy, true enough, but it is even more a publication about creativity. When we choose portfolios or articles for publica-tion, the single common thread that runs through each and every selection is that they are, in our opinions, a shining example of creativity in action. We try to make each issue of LensWork add to the discussion and understanding of creativ-ity in photography — primarily through examples — hoping they provide inspira-tion and motivation. In this issue — with Lipka’s portfolio — there are three distinct and incredibly practical lessons about creativity in action.

�e Art of Seeing�e camera is, at its root, a complex recording device. It is a mirror to the world — and a reasonably e�cient machine for making imaged copies

of the world it re�ects. �e camera is not a creative being, but the human who wields it is. We see. In fact, everyone sees, hence photography’s universality. �e role of the artist, however, is to see what others do not see— or cannot see — and to make the invisible visible. �e creative photogra-pher is a seer, in both senses of that word. In short, the art of seeing is what de�nes the creative photographer as compared to the merely competent one.

My story of the pragmatics of creativity begins, sort of, in 2005 when Joe Lipka and I went to photograph Fort Worden — an old WWI military artillery battery now a recreational state park — on the Olympic Peninsula in Washington State. We pho-tographed there for a week; we saw each other in passing during “working hours”; we talked shop over dinner at the end of each day. We photographed the next day and talked shop again over dinner. Seven days, the same routine. We then returned to our respective homes and our daily lives. Two years passed. He worked on his photographs. I worked on mine.

And here is where the story starts to get really interesting.

In one of those mysterious occurrences of cosmic synchronicity, within a very short period of time we both �nished our portfolios and shared them with each other. You saw my work, which was

included in the last issue of LensWork, issue #70, in the portfolio I call Wakari-masen. Joe’s work we include here in this issue entitled Labyrinth. I hope everyone reading this does exactly what Joe and I did upon �rst seeing each others’ �n-ished photographs — sit down with them side by side and compare. We could hardly believe our eyes! How could two such widely di�erent bodies of work have been made at the same place, at the same time, with essentially the same equipment, by photographers whose training and experi-ence were so parallel? �e answer is both obvious and simple — the art of seeing.

Far too o�en I hear photographers repeat the old saw that there is no reason to go to Yosemite, or Antelope Canyon, or Point Lobos to photograph. “It’s all been done,” they’ll say. �e o�-repeated joke is that today’s photographs of Half Dome require an extra stop of exposure because the amount of light re�ecting o� it has been reduced by the absorption of so many neg-atives throughout history. I love this joke and always chuckle at it, but the sentiment that all the possible photographs have already been made could not be further from the truth. �e essence of creative photography is in us — not in the camera, not in the subject, not in the technology, not in the photographic artifact. And, by extension, because each one of us is a dif-ferent and unique person, our response to a place — i.e., a photographic subject — is



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(or can be) unique, too. �at’s the bumper-sticker theory. But there’s more to it in the pragmatic realities.

�e Art of Not SeeingBut, both Joe and I arrived at Fort Worden in 2005 already having seen this place before — or at least photographs of this or similar places. In fact, we’d published some in LensWork #41. Seattle photog-rapher J. Mark Gri�th contributed a wonderful portfolio of these structures in his work entitled Coastal Defense. Joe and I were so impressed with Mark’s photo-graphs that we’d gone there a couple of times to photograph and see it for our-selves. On those early trips, neither of us made photographs that were interesting. In truth, they weren’t ours. We saw the place as Mark had seen it and our photo-graphs of it looked just like his — only his were better.

Seeing through others’ eyes is an easy, natural, and instinctive act — and doing so is probably what draws most people to photography in the �rst place. When someone shows us what photography can be, the �re is lit. For me it was Wynn Bullock. For many it was Ansel Adams, or Edward Weston, or Alfred Stieglitz, or even a creative contemporary like Michael Kenna. �e entry-points vary, but there is common path that eventually leads all would-be creative photographers to a barrier beyond seeing. One of the great

challenges of being an artist is letting go so we can �nd the creative muse in ourselves. It is a barrier that is unavoid-able; it’s a challenge that is not easy; worse, it is complicated because our attraction to photography was probably fueled by an overwhelming emotional experience — one so powerful that it motivated our passion for photography. When the attrac-tion is so powerfully seductive, how does one let go? �is is the essential koan at the gate of the creativity.

Joe and I found ourselves stuck, perhaps unconsciously so, but stuck nonetheless. Our initial photographs were uninterest-ing and repetitive. On the surface, this would seem to be a failure. I don’t think so. In the process of looking — even if at �rst we did so through Mark’s eyes — we were working our way through his creative vision. It’s a process that must be engaged, no matter how mundane or frustrating it seems. A budding mathematician cannot create new and innovative theories until he has mastered those of Pythagorus, Euclid, and Leibniz. Similarly, a photogra-pher must sometimes �rst work through the vision of those who have preceded him in order to let go of their way of seeing. Seeing is the �rst step; letting go the next. In my way of thinking, it is the essential challenge of the creative photographic life, and one with which many photographers seem to struggle.

Let me state this in a more pedestrian example: How do we go to Yosemite and photograph it di�erently than Ansel Adams? Or, how do we photograph Point Lobos di�erently than Edward Weston? �ese are not at all theoretical questions when one is standing there with the camera on the tripod and all one can see is the other guy’s images. �is was the exact experience Joe and I faced when standing in the coastal defense structures. Every-where we turned, we saw Mark Gri�th photographs! So, how to proceed?

It is said that the best way to dispel a ghost is to walk straight toward it. �e same can be said for the ghost of an overpowering vision. First, we allowed ourselves to pho-tograph things as we saw them — I should say, as Mark saw them. Joe and I made many photographs that you will never see, precisely because you’ve already seen them in Gri�th’s portfolio. �e process of making those images propelled us to work through our preconceptions and the “training” we’d subconsciously received by looking at Mark’s images. Eventually, we emerged from the spell. In our own ways, as we worked we began to hear and listen to that creative muse inside us, and to what the place itself was saying speci�-cally to us. �is may sound like a lot of woo-woo, but I don’t have any other words to describe the process. I’m reminded of a meditation example I once heard: Imagine a glass of muddy water, stirred up and

swirling — a sediment slurry. Set the glass down and allow it to become still. With time, the sediment calmly sinks — expos-ing the unseen stone in the glass of now-clear liquid. Creatively letting go of what others have photographed is something like this. By working through Mark’s vision, Joe and I were letting the sediment clear itself and we started to see glimpses of how we felt about this place. Joe found his vision and, through it, the Labyrinth portfolio. I found mine in Wakarimasen.

It’s important to note that all three of us photographed in our way. �is art of seeing is demonstrated in the di�erences in our images and portfolios. Mark’s interpretation of these structures is literal. Joe’s is allegorical. My interpretation was symbolic. No doubt there are many other interpretations.

�e Art of Seeing — AgainBut this is just the beginning of the story. Joe was happy with the �nished work. We were delighted to publish it as the Labyrinth portfolio in LensWork Extended #57. However, an odd thing happened in the process — but perhaps I should let Joe tell his own story. So, with this in mind, I’ll pass the narrative to him and let him complete the tale in my interview with him that starts on page 35 of this issue.



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Adam Jahiel (pronounced jī-EL) was born in Ann Arbor, Michigan, in 1956. As a boy, he was deeply in�uenced by his father, who was a respected �lm critic and amateur photog-rapher. Together, they would watch pictures in the movie theatres, basements and editing rooms – as the best movies ever made provided substance for his father’s pen, and an early visual literacy for Adam.

Years later, Adam went on to earn a Bachelor of Arts degree from Brooks Institute, and then a Bachelor of Journalism from the University of Missouri Journalism School. He then headed west. In Los Angeles he apprenticed with Douglas Kirkland, who he describes as

“One of the best professional mentors and personal friends a photographer could have.”

Adam has enjoyed a varied and adventurous professional career. While living in Los Angeles, his commercial work included shooting movie stills and portraits of the Hollywood estab-lishment – ranging from Out of Africa to HBO comedy specials. During this time he could hear the siren of the Great Basin, and found photographing rodeo and ranch life irresistible. In the 80s and early 90s his trips to ranches grew longer, and he eventually moved to Story, Wyoming (population less than 1,000) at the base of the Big Horn Mountains.

Adam is also drawn to adventure projects; most notably as the photographer for the landmark French-American Titanic expedition. His work has appeared in most major U.S. publications, including Time, Newsweek, �e New York Times, and National Geographic. Jahiel’s work also has appeared in literally dozens of books, including the acclaimed �e Day in a Life of series. He is the �rst photographer to be featured three times in LensWork.

Adam lives in Story, Wyoming, with his wife Laura (an environmental policy consultant), and their two children, Jake and Rachel.

Web: www.adamjahiel.com

Works with: For this project, a Mamiya 6 and two Nikon D-200 bodies (with 17-55 and 70-210 zoom lenses), as well as two Epson 4000 storage devices (so he would have two duplicate sets of pictures.)

Represented by: Adam is represented by numerous galleries. Please visit his website.

by

Adam Jahiel

The Country-folk of Kyrgyzstan



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Choices we make a�ect our lives. Some of the choices are made for us. Choice of parents and date of birth are the �rst two choices made for us. In our youth, our parents continue to make choices for us. Later, we choose what we do, where we go and who accompanies us on the journey through life. We decide; le� or right, up or down, light or dark, right or wrong. �ese decisions cannot be made without some direction or guidance along the way. Sometimes the signs are easy to read. Sometimes there are none. Some signs were there but have been obscured. Were they obscured because they were incorrect, or were they obscured to lead us astray? We have no knowledge of their utility and must rely on our own sense of direction. We look at the alternatives laid out plainly before us. We then wonder: can there be other alternatives that are there, but can’t be seen? Should we include unseen alternatives in our choice or should we forge ahead, focused on what is in plain view? We choose and act.

Implicit in the choice is a consequence. As we head down the chosen path, do we know if we have made the correct choice? Is the path straight and level, or tortured and circuitous? Can we continue easily, or do we come upon an obstruction? Is the dead end real or false? Suppose we �nd that the wall is impenetrable and we can go no further.

Now what? Should we consider the dead end just that and begin a new journey from that spot, or should we retrace our steps in the hope that this setback is only temporary? In either case we see that the guides and markers don’t look the same as when we passed them the �rst time. Can we �nd that critical juncture where the poor choice was made and use the knowledge gained from our experience to make a better decision, or do we ignore our prior decisions on our new journey?

�is is the experience of the labyrinth. Make a decision based on the information at hand. You go le�, right, up, down or turn back and retrace your steps. In the labyrinth you can retrace your steps. Life is a labyrinth of alternatives, choices and decisions for the many possible paths we face each day. Some decisions are not important. Others don’t seem important at the time. But we must live with them once they are made. Whether the choice was a good idea or “a good idea at the time” can only be determined a�er the fact. Sometimes a decision has consequences that don’t appear or a�ect you until much later. Unlike the Labyrinth, you cannot retrace your steps through life and make that same decision again. You make a choice in your life — and go on.



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Adélie penguins, Beaufort Island

Wondrous Cold

by

Joan Myers

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Overview of South Pole Station

Trinity Island

In the early 20th century, whaling stations were replaced by large factory ships, which carried on board all the resources needed for harvesting and processing whales.

�is boat may have been used to transport fresh water from shore to a factory ship.

Why Antarctica? I’ve never liked cold weather. A�er a childhood in the alternately frigid and steamy Midwest, I happily moved to California and then to New Mexico, where I love the desert summers, and try to be somewhere else much of the winter. But when I was a child, I was surrounded by exploration books. My mother was an inveter-ate armchair traveler. Once the kids were grown, she sold the family house, moved to California, and began traveling. Her favorite adventure was a semi-circumnavigation of Antarctica in the 1970s. �e many color photographs that she displayed eventually faded on the wall in her home, but they le� me with a subliminal message that eventually proved stronger than my common sense.

I’ve heard that the world is divided into two kinds of people: those who would die rather than go to Antarctica, and a considerably smaller group that would kill to return. In traveling to McMurdo Station, I le� much behind: my loving and supportive husband, Bernie, grown kids with a grandchild on the way, aging parents, my business, and friends who thought I was either lucky or crazy. I was not just leaving all I held dear. I was not only leaving the country. Sitting in the airport in Albuquerque, I felt I was leaving the planet behind.

�e idea began in 2001 a�er a short cruise to the Antarctic Peninsula. I was determined to return. A year later I successfully applied for an Antarctic Artists’ and Writers’ Program Grant from the National Science Foundation (NSF). In return for considerable logistic support, room and board for four months, and the loan of polar clothing, I promised NSF “a photographic overview of the ongoing human exploration and occupation of this, the most hostile continent on the planet.” �e long process of preparing began. I sorted camera gear, learned so�ware, ordered new lenses, obtained hard-to-get permits for protected areas, went through a battery of medical exams from dental, blood work, EKG, treadmill tests, mammogram to a full physical. Somehow I passed — at 58 years old.

Standing at the geographic South Pole, I marveled at the human determination to build structures and work in this inhospitable place. I had a di�cult time catching my breath at -40°F and 10,000 feet altitude. To be in Antarctica is to see our planet at its most elemental and unforgiving. Nobody has ever lived there permanently and found a way to survive its harsh climate and uncompromising terrain. It’s a continent without an oral history. �e Wondrous Cold book is the story — as told by my camera and through my journal — of my journey to a world as mysterious and amazing as an unknown planet in a distant galaxy.



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Stromness whaling station (abandoned), South Georgia



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Ross Sea at the edge of the sea ice



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Gold Harbor, South Georgia



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Neutron monitor

The Viper telescope records slight temperature fluctuations in the cosmic microwave back-ground, allowing cosmologists to test their

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Halley Station



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Emporer penguins sliding

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Iceberg, Crystal Sound


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Publishers & EditorsBrooks Jensen

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Design & LayoutHolly Chadwick

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