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because they were part of a particular journey he had made, often for some special purpose, we wanted to see as well as hear about the people who made the trip and the things they did. The two appeals were entirely different.
Now apply the same psychology to your own travel pictures. You know perfectly well that, except for unusual luck or with great effort, you can't compete with a professional picture taken to show the beauties of the English lakes or the adventures of duck shooting. Not unless you travel about for the sake of the picture only, as a regular cameraman does. He surveys his locations in advance, he studies the light in a single locality at different times of day, he chases around for miles to find the angle he wants, and then he waits and waits, days, sometimes weeks, for the light and the time and the action he wants to appear all at the same time. He takes what he can get, struggles and suffers for what he does get, and in the end edits the whole thing according to some plan that has nothing in the world to do with the order in which the scenes were taken or how he felt when he was shooting them.
But that's not your idea at all when you are on a pleasure trip, no matter how earnestly you may go in for
MOUNT SHUKSAN A cine goal in the Mount Baker National Forest
"art" on the side. What you want on that strip of film is a vivid re-creation of your own emotions of admiration, curiosity, amusement, as you felt them at the time. More than that, you want to arouse the same emotions in others. The only way to do it, under ordinary circumstances,
ROMANCE BOUND Photographed by Bert Hunloon
it to be present in the picture yourselves, being yourselves, as you were then.
For instance. A whole line of tourists are riding single file on donkeys down a narrow, rocky path that looks vertical to the trembling riders. They hang on like grim death and
vow to stay on level ground forever after. You get on the good side of the guide, and he agrees to stop the procession to allow you to catch up after you have scrambled to a good point of vantage and got a dandy long shot of the parade. Of course this business of hanging on between the sky and the bottomless pit is bitter earnest to each rider, to you too when you take your place in the line-up, but at moments you do get a good laugh, and in retrospect it is simply a scream. You remember, farther down the trail, as you rode between Dad and Uncle Bert, and looked back at Uncle Bert for a moment as you turned a corner, how you nearly lost your grip and rolled right over the edge, laughing at his own wild grip and wilder eye. Thats' the impression you recall, and want to put over, isnt' it? Now you're talking! But how? It's not so difficult after all.
You may be so lucky as to climb down very close to the trail just as Uncle Bert passes, and get exactly the shot you want, but that will not happen in more than one case out of a thousand. So when you reach one of the level platforms where even the donkey is supposed to get some rest, you get Uncle Bert to push, pull or otherwise mobilize his beast into {Continued on page 64)
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