A Photographer in Pursuit of the Moments Between Fires

A Photographer in Pursuit of the Moments Between Fires
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On a long-term assignment following wildland firefighters, Max Whittaker observed them struggling against walls of flames and grinding their morning coffee.

It was almost 1 a.m., and I was struggling to stay awake. For three days, I had followed the Tallac Hotshots while they worked on containing the Yeti fire near Happy Camp, Calif., and so far, this night shift had been quiet. On the dry, steep terrain of Klamath National Forest, crew members sat around their buggies reading or playing games on their phones. Their leaders monitored the changing fire and weather conditions.

Suddenly, the call to line up crackled over the radios. I scrambled to gather my camera, headlamp and fire pack to capture photographs of the hotshots preparing, but I was too slow. In what felt like one minute, the whole crew had already lined up with chain saws shouldered and tools in hand. All I could do was follow as the hotshots set off toward a new fire line.

The Tallac Hotshots fought the Mosquito fire near Foresthill, Calif., in September of 2022. A Times photographer spent parts of two fire seasons with them.Max Whittaker for The New York Times

I spent parts of the last two fire seasons, 34 days in all, following and photographing the Tallac Hotshots, an elite unit of federal firefighters. My work appeared in an article in The Times last month. And while it was gratifying to photograph the country’s premier wildland firefighters as they stymied flames with their chain saws and hand tools, observing their down time was what I was really after.

I started covering wildfires in California 22 years ago. Most of my assignments involved marathon days and nights spent photographing the dangers posed by catastrophic fires. I usually photographed a crew of firefighters for an hour or two (sometimes, I only had minutes) before dashing to photograph another location or leaving to find the cellphone service I needed to send my pictures to editors.

During these assignments, a certain type of crew often caught my eye. Their yellow fire-resistant shirts were stained with soot, dirt and sweat. They carried heavy packs while wielding tools, chain saws and drip torches with ease. They always appeared casual while facing walls of flames. They seemed to find a very palpable satisfaction, if not joy, in their work.

The hotshots joked around while working on a puzzle during a slow day. They often passed time in their crew buggies, pictured here.Max Whittaker for The New York Times

I learned that these crews were known as hotshots, highly trained firefighters the forest service calls in to combat the most complex fire problems. I dreamed of following them without the pressure of deadlines and telling their stories to readers who maybe only pictured firefighters with hoses and engines.

With the help of editors at The Times, I navigated the bureaucracy of the U.S. Forest Service and found myself in Meyers, Calif., near Lake Tahoe, in May 2022, introducing myself to the Tallac (pronounced Ta-LAK) Hotshots. They politely welcomed me, and I began trailing them through two fire seasons in California and Nevada.

The 2022 and 2023 fire seasons were two of the slowest in recent American history. The younger hotshots seemed unaccustomed to fighting fires that weren’t burning down small towns, while their grizzled superintendent, Kyle Betty, referred to the year as “normal.” Normal meant the hotshots fought less noteworthy wildfires nearly nonstop from June through November.

The crew passed around Meals Ready-to-Eat (M.R.E.s) for dinner in Washoe County, Nev., in August of 2022.Max Whittaker for The New York Times

But normal also meant that I had access to the moments that I had always wanted to photograph. Like when I saw Coriston Smith, a third-year Tallac Hotshot, dancing in the first raindrops to have fallen in months. Or when Dylan Ney, another hotshot, balanced his cellphone against a chain saw to watch the sitcom “Modern Family” during dinner. Captain Charlie Jones was serious about his pour-over coffee, meticulously grinding his beans every morning.

By late September in my second season with the crew, when it was clear that Northern California had escaped another traumatic fire season, I got a brief text message from Mr. Betty. The Tallac crew had used a helicopter to fly into the Marble Mountain Wilderness, a remote area in northwest California, to fight a 30-acre fire. My follow-up questions about their location went unanswered, but I had gathered enough information to feel confident I could find them.

From my home in the western foothills of the Sierra Nevada, I drove seven hours to the wilderness area and then hiked 16 miles before I found the crew at a beautiful mountain lake. They had already contained the Grants fire and were doing the painstaking job of mopping up, making sure the fire was completely extinguished and had no chance of jumping over their containment lines.

Patrolling for smoke after a fire is contained can seem more relaxed.Max Whittaker for The New York Times

They joked and laughed as they worked, enjoying the cooler weather and time away from the complexity of larger wildfires. At night, they warmed themselves around a campfire and cooked Hot Pockets and Meals Ready-to-Eat (M.R.E.s) as they chatted, not at all weary of one another’s company even after spending nearly six months together.

I had missed the fire, but found what I had come for: small moments of intimate camaraderie, ones I likely wouldn’t have been able to stay for a few years earlier, if I were to witness them at all.

Rare Doctor Who photographs discovered after 53 years

Rare Doctor Who photographs discovered after 53 years
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Don Smith’s previously unpublished photos of Jon Pertwee, Katy Manning and Roger Delgado from December 1970.

Jon Pertwee, Katy Manning and Roger Delgado in Doctor Who: The Mind of Evil

The Radio Times photo archive is always yielding surprises, but we believed we’d accounted for every last morsel of Doctor Who. That is until a few months ago, when a set of 25 black-and-white negatives was discovered in the files of our late and much-missed RT staff photographer Don Smith.

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Never catalogued, never scanned nor printed before, they had lain forgotten since he took them in December 1970. Broadcasting historian Steve Arnold stumbled upon them while helping to sort through Don’s collection after his death last year.

During a career that began in the 1950s – much of it working for Radio Times – Don had preserved thousands of unused photos. “He hated seeing anything go into a skip so took it upon himself to become a sort of archive of the unwanted,” says Steve, who became friends with Don and visited him in hospital the day he died.

Calling at Don’s house in the weeks that followed, Steve encountered “stacks of material. I’d promised I’d help him but the task was monumental and I’m grateful to Don’s family that they trusted me to get on with it. The sheer volumes meant I couldn’t stop and fully comprehend what was there, although it was obvious there were long-lost Doctor Who images passing through my hands and into boxes to deal with later.”

The pictures were taken on Saturday 5th December 1970 on the set of a story called The Mind of Evil, in Studio 6 at BBC Television Centre in London. It was the recording day for Episodes Three and Four, which were subsequently broadcast in February 1971.

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Katy Manning as Jo Grant and Jon Pertwee as the Doctor under attack from the Keller Machine in The Mind of Evil. (Photographed in 1970 by Don Smith © Radio Times Archive)

Jon Pertwee was into his second year as the third Doctor, Katy Manning played his plucky companion Jo Grant, and together they were tackling the latest diabolical scheme of the Master (Roger Delgado). He had seized control of a men’s prison with the Keller Machine, which housed an alien parasite feeding on criminal impulses.

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Roger Delgado as the Master in The Mind of Evil. (Photographed in 1970 by Don Smith © Radio Times Archive)

Katy is delighted to see the pictures for the first time 53 years later. “Back in my day they didn’t take a lot of studio shots that we ever saw, so seeing these now is absolutely wonderful. I think they’re extraordinary.”

They’re particularly luminous because they were taken on the higher-quality, two-and-a-quarter-inch-square film, sometimes called “medium format”, which by the early ‘70s Don Smith had been moving away from, in favour of 35mm film.

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Katy Manning as Jo Grant in The Mind of Evil. (Photographed in 1970 by Don Smith © Radio Times Archive)

“The Mind of Evil was only my second story – after Terror of the Autons – and a slightly different one for Jo,” says Katy. “She got to take on a whole prison full of blokes and show that she was made of tough stuff. People often forget that Jo was quite handy when necessary and was already starting to show her colours. It was a great story to have Roger in as well.”

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Jon Pertwee as the Doctor and Roger Delgado as the Master in The Mind of Evil. (Photographed in 1970 by Don Smith © Radio Times Archive)

The Doctor and Jo may have been bitterly opposed to the Master on screen but relations were very different off camera. “We all got on frightfully well, and by this point we’d also been to Roger’s house for dinner so we were all bonding, which became so apparent through the three years we worked together. We always discussed how we were going to do something and worked hard to make Doctor Who an incredibly strong show.”

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Jon Pertwee as the Doctor and Roger Delgado as the Master in The Mind of Evil. (Photographed in 1970 by Don Smith © Radio Times Archive)

She looks back on that formative period with immense fondness. “Right from the start, Jon, Roger and I formed such a strong bond. They were mentors to me. I’d had very little television experience so was like a little sponge sucking everything up. I learnt from Roger especially a lot about the art of television acting, and from Jon I was already hearing the most wonderful stories about the entertainment business.

“I soon realised that I was in a very safe and happy place with people who were going to teach me so much but also seemed to warm to me. I adored them all. And I love Jon’s hair in these photos, that length. He was already going to my hairdresser!”

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Jon Pertwee as the Doctor and Roger Delgado as the Master in The Mind of Evil. (Photographed in 1970 by Don Smith © Radio Times Archive)

Jo Grant became the first long-running female companion, staying three years and winning the hearts of millions. Katy left in 1973, but the magic of Doctor Who has never left her.

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Katy Manning as Jo Grant in The Mind of Evil. (Photographed in 1970 by Don Smith © Radio Times Archive)

She adores her association with the show and has returned to the role many times. Now Jo Jones, she has featured in dozens of Big Finish audio dramas, in The Sarah Jane Adventures in 2010 and, in more recent times, in films shot especially for the BBC’s Doctor Who Blu-ray box sets. Last year, there was a surprise cameo in The Power of the Doctor, which she describes as “a tiny little ‘Hello, is that Jo?!’ in the 59th”.

How does it feel still being associated with the programme 50 years later? “I’ve grown into Jo Jones. So it’s the same character but she’s had an enormous life that’s now arced into the loss of her husband Cliff. You’d never have imagined back then in 1971 that all this would happen for this wonderfully wacky, clumsy, naïve person.”

Just this year, Katy was back filming her own moving edition of Tales from the TARDIS. It brings us up to date with Jo, now a grandmother and a widow reflecting on love and loss. “It was very emotional for me,” says Katy, whose Doctor Who co-stars and friends died many years ago. “I felt a flash of ‘double memory’ as both Jo and myself of some of the people that I had truly loved in my life.”

Katy Manning as Jo in Tales of the TARDIS holding her knee, smiling

Katy Manning as Jo in Tales of the TARDIS.
BBC/BBC Studios 2023/Alistair Heap

She even wore one of the Doctor’s original jackets, now owned by writer/actor/fan Mark Gatiss. “It still feels Jon, it almost smells Jon – it’s filled with Pertwee!” says Katy. “I’d nestled under it on so many cold locations. Whenever someone has a velvet jacket on now, I get butterflies in my stomach. Velvet hugs!”

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All of Katy Manning’s Doctor Who episodes are now on iPlayer, as is her 2023 return as Jo in Tales of the TARDIS.

Our thanks to Katy Manning, archivists Steve Arnold and David Carlisle, and Radio Times head of heritage Ralph Montagu – and, of course, Don Smith

Read more:

Doctor Who: The Church on Ruby Road airs at 5:55pm on Christmas Day on BBC One and BBC iPlayer. Previous episodes are available to watch on BBC iPlayer and on BritBox – you can sign up for a 7-day free trial here.

Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guide to find out what’s on.

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Photographers/Videographers Sought to Capture the Stories of Redwood Region RISE’s Diverse Communities

Photographers/Videographers Sought to Capture the Stories of Redwood Region RISE’s Diverse Communities

Press release from Cal Poly Humboldt:

graphic logo for s California Center for Rural PolicyAs the holidays are nearing, Cal Poly Humboldt’s California Center for Rural Policy is excited to spread the joy in the form of an opportunity: we’re looking for up to two Photographers/Videographers in the Redwood Region RISE (Resilient Inclusive Sustainable Economy): Del Norte, Humboldt, Lake, Mendocino Counties and Tribal Lands.

As Photographer/Videographer, your efforts will help make tangible and bring to life the economic development projects and initiatives taking place in our Region, and highlight our diverse communities’ lived experiences, challenges, and opportunities.

Those interested can apply to submit a proposal for the position of Photographer, Videographer, or both. Please send your proposal to Leoni Fohr, Communications Associate by January 1st, 2024, 11:59 p.m. via email to [email protected] and include “Proposal for Videographer/Photographer” in the subject line.

Background Information on Redwood Region RISE
Redwood Region RISE is a regional collaborative working together to bring good, quality jobs to our Region – Del Norte, Humboldt, Lake, Mendocino Counties and Tribal Lands – through “California Jobs First”. CA Jobs First is a $600 million state-wide initiative designed to promote a sustainable and equitable recovery from the economic distress of COVID-19. Through these efforts, Redwood Region RISE aims to:

  1. Center communities that don’t always participate in or benefit from economic development planning processes;
  2. Create good jobs for workers in our Region;
  3. Pursue sustainable economic growth (diversifying economies);
  4. Get us closer to California’s goals for a sustainable future.

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Love of mountain goats drives Glacier Park photographer Sumio Harada

Love of mountain goats drives Glacier Park photographer Sumio Harada

When the summer crowds of Glacier National Park disperse and snow starts to blanket the peaks, wildlife photographer Sumio Harada reliably treks into the mountains to capture spectacular images of the resident mountain goats.

It’s an animal he has been passionate about his entire career. Harada will share a look back at his career as a wildlife photographer during an upcoming presentation at Flathead Valley Community College. The presentation presented by the Glacier National Park Volunteer Associates will feature behind-the-scenes footage of the “challenges and rewards of wildlife photography.”

Born and raised in Japan, Harada studied Japanese serow as a college student, taking photos that highlighted the many different fur patterns on their faces. Serows are a close cousin of the American mountain goat, which he learned more about in a book called “Never Cry Wolf” by Canadian biologist Farley Mowat, which ultimately influenced him to go study the animals in the Canadian Rockies. 

It was during a one-year-long camping trip in Canada that he first heard of Glacier Park by reading “A Beast the Color of Winter” by Whitefish wildlife biologist and author Douglas Chadwick. 

“I also met many tourists, they told me ‘you should go to Montana, Glacier National Park is a very nice place to see goats,’” Harada said. 

Harada married his wife Kumi in 1989 and the two got their first look at the park when they spent their honeymoon there. He said she enjoys being outdoors and camping, a perfect match for a photographer who is willing to go the extra mile to find the park’s wildlife. The two lived out of their van while Harada was successful in getting great shots of mountain goats. 

Soon came along Harada’s daughter, who lived with them in the van. He said the tiny family often called Many Glacier home in the frigid wintertime. 

“It was fun but very difficult, the time staying in the van,” Harada said, showing a photo of his wife warming his daughter’s feet at camp. Another photo shows the cart he made to carry his daughter across the snowy landscape, her bundled up in a 90s yellow, blue and pink neon-colored snowsuit. Even though it was cold, they seemed to be having a good time. 

These photos were interspersed between some of Harada’s best shots of goats in his early career. One photo shows some 40 mountain goats dotting the rock face of Goat Lick, a location along Glacier National Park’s southern border that is popular with goats due to high concentrations of minerals. 

The family moved to Tokyo for two years to save up enough money to return for another trip to Glacier. This time, Harada planned to make a permanent move to Montana, and the stars aligned for him to secure a contract with National Geographic. His photo was featured with an article from Chadwick, the biologist whose work led him to Glacier in the first place. 

“He wrote for my picture, so I am proud of that. Chadwick was already very famous with National Geographic as a biologist,” Harada said. 

It took many years of hard work, but Harada established himself and his family in West Glacier. They bought a house, but he still spends plenty of time in the park’s snowy backcountry to see what wildlife are up to. 

Harada published his first book in 2008, “Mountain Goats of Glacier National Park” which documents seasonal change for the animal. He later went on to publish “Wild Harmony” in 2016, which features many other species of animals in Glacier living alongside mountain goats, with an emphasis on their unique ecosystem. 

“All wildlife is connected,” Harada said. 

Along with his books and National Geographic, Harada has been published in National Wildlife, Geo, Ranger Rick and Canadian Wildlife, among others.

Harada recently made the switch to focus on capturing video of wildlife in the park. He said he’s getting older — capturing photos of mountain goats during the wintertime is very special to him but he has been doing it for more than 30 years. So, this led him to want to try filming more video, something that can capture the environment of the mountain goat better than a still photograph. 

“Wind especially … And they love to play, like jumping, running and sliding on the snow. So, I wanted to record that movement,” Harada said. 

He said a television crew with NHK Japan, a public broadcast station, is making a trip to Montana in December to film him for a television special that is set to premiere next fall. 

They’ve visited him before to film a wildlife segment in Glacier, and after Harada became friends with the director, he started asking them for advice on filming video. He shared many of his videos with the plan of creating his own film, which led the crew to pitch it for TV. Harada said they’ve come back to film more about his background and how he got into his career of wildlife photography. 

Harada will share his experiences of setting up camp in the snowy wilderness, battling freezing temperatures and braving the elements to get the perfect shot during his presentation at Flathead Valley Community College at Arts and Technology Building on Dec. 20 at 7 p.m. 

See more of Harada’s wildlife photography on his website www.photorocky.com.

Reporter Taylor Inman can be reached at 406-758-4433 or by emailing tinman@dailyinterlake.com.

  image  Harada said this photo has the most goats he’s every captured in one frame, some 40 of them hanging out at Goat Lick in Glacier National Park. (courtesy of Sumio Harada)
 
 
  image  Mountain goats are by far Harada’s favorite subject, dedicating his career to capturing images of them, particularly in the winter time. (courtesy of Sumio Harada)
 
 
  image  Harada’s daughter and his wife Kumi hang out in their tent, braving the cold while Harada shot wildlife photography in Many Glacier. (courtesy of Sumio Harada)
 
 
  image  Harada captures a photo of a mountain lion devouring what’s left of a mountain goat. (courtesy of Sumio Harada)
 
 

The big picture: Oli Kellett’s crossroads and possibilities

The big picture: Oli Kellett’s crossroads and possibilities
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Decisions, decisions. The stage sets for Oli Kellett’s book, Cross Road Blues, are the pedestrian crossings on American city streets. His pictures feature people held at “Don’t Walk” signs for a few seconds, as here, wondering exactly which way to turn.

The idea for the work came to Kellett, who is British and based in Hastings, on a visit to the US before the 2016 elections. He was staying on Hope Street in Los Angeles, and there seemed an uneasy resonance in that name at the end of the Obama years. One late afternoon, Kellett saw, from high up, a woman standing at the roadside waiting for a green light to cross a large intersection. The grid pattern of the street, the softening afternoon sun which cast the woman in a natural spotlight all seemed to dramatise something of that uncertain political mood. Over the next couple of years, Kellett returned to the US several times, to different cities, always looking for new versions of that scene.

This picture was taken in San Francisco in 2017, and like all of the series it gestures to an existential moment in the flow of the everyday. On average, Kellett has suggested in talking about the book, “we will spend about five years ‘waiting’ during our lifetime”. Enforced pauses on city streets return people to their thoughts. There is a careful, painterly quality to the pictures, which are printed at scale, as if these suspended seconds have a momentous import beyond the comprehension of people portrayed. Collectively they convey a powerful sense of anxiety and possibility. “At this time of uncertainty in America’s history,” Kellett has said, “I’m looking for a moment where individuals are dwarfed by what surrounds them, appearing lost but searching for something. They then go on their way, whichever direction that may be.”

CBM student photographers picture world based on Leibovitz

CBM student photographers picture world based on Leibovitz

“The students have gone through a lot in the last few years, so they had a lot to say,” photographer Meredith Mashburn begins the conversation. “They focused on everything from the loss of a loved one, to saving our planet from climate change, to finding time to connect with others after being isolated for so long due to covid.”

Mashburn was one of the mentors for “Beyond the Lens,” a teen photography mentorship program held this fall at Crystal Bridges Museum of American Art. The six-week interaction was part of “Annie Leibovitz at Work,” on exhibit through Jan. 28 at the Bentonville museum, and the legendary photographer herself met with the cohort of student photographers Sept. 16.

“Annie Leibovitz has a long-standing interest in mentoring young creatives, and Crystal Bridges has a long-standing commitment to educate our younger audience in various art forms,” Marta Knodle, Studio Educator, Public Programs, for the museum, said at the beginning of the interaction. “This program, specifically tailored to teens, was the ideal way to honor both of these commitments.

“We find that providing teens with an opportunity to engage with living artists is a great way to inspire creativity and artistic expression.”

Mashburn, a Springdale photographer, started her career path “after saving my allowance for two years and purchasing my first camera at Colliers for $150, a Pentax K1000. I was 14 years old,” she remembers. “Since that day there has not been a day in my life where I have not had my camera at hand.”

One of the students she mentored through the Crystal Bridges program was her own daughter, 17-year-old Skyler Baird.

“My mom was a big reason why I became interested in photography, but I also just love taking photos of the things and people around me,” Baird says. “My first camera was a little pink point-and-shoot camera, and I do actually still use it! Although it is super old, I love the grainy image that it produces, and I always carry it in my bag to take pictures of my friends and the environment.”

Known for her dramatic, quirky, engaging portraits of people like John Lennon and Yoko Ono, Mick Jagger and Keith Richards, Queen Elizabeth II, Demi Moore and Whoopi Goldberg, Leibovitz inspired the participants in “Beyond the Lens” to capture their own subjects’ individuality.

Mashburn chose Dr. Daniel Wildcat, a member of the Muscogee Nation of Oklahoma, professor at Haskell Indian Nations University in Lawrence, Kan., and author focused on Indigenous knowledge.

“We are nature,” Mashburn writes in her artist statement. “Humans are the only living beings on earth that do not live by the laws of nature. … Unless we take a good look at our lives and bring ourselves back into balance and alignment with our natural surroundings, we are headed for destruction.”

Baird made her selection a little closer to home. She photographed her friend Zander.

“I really hope my image captured Zander’s unique style,” she says. “He started coming to school dressed how he would be when he was out of school, and I’ve always loved his sense of fashion, so when he finally started expressing himself in places outside of his comfort zone, I started to look forward to what he would put together every day.

“I hope when people look at my picture they just see how cool he is, and how it is OK to express yourself in any way you want to,” she adds. “Zander is really passionate about fashion, and I am so happy that he can come to school wearing his amazing outfits every day.”

Mashburn says while photography has come a long way with technology, “the traditional aspects of photography resonate strongest with people because of its authenticity. In a world full of fake, we are seeking realism.”

“I strive to be able to express myself in the same ways Zander can,” concludes Baird.

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FAQ

‘Beyond The Lens’:

Teen Photo Showcase

WHEN — Through Jan. 28

WHERE — The Studio at Crystal Bridges Museum in Bentonville

COST — Free

INFO — crystalbridges.org/teen-photography-mentor-program/

  photo  Mashburn’s daughter, 17-year-old Skyler Baird, photographed a classmate known for his sense of style. “I strive to be able to express myself in the same ways Zander can,” she says. (Courtesy Photo/Skyler Baird)