Life's Little Adventures

Our Studio, Part XIX

Previously on this thread

Photographing Chicago

(The Band, Not The City)

It was in the Winter of 1972 that we got a plum assignment from one of our favorite clients, CBS Columbia Records. This was to travel to a remote part of Colorado to photograph the pop-rock band Chicago as they were recording their sixth album, Chicago VI, released in 1973. Why would they do this in such an out-of-the-way place? Why not?

James Guercio, the group's producer from 1968 until 1977, owned the historic Caribou Ranch and over 4,000 acres of land surrounding it since 1971. In 1972 he converted the barn into a state-of-the-art recording studio, and added living quarters for the musicians and everyone else associated with the projects. Between then and its fiery demise in 1985 it was a choice recording venue for dozens and dozens of the very greatest names in music — rock, pop, jazz, and classical. After the fire it became a working ranch and in 1995 was sold to Boulder County as a nature park.

My business partner Jim Houghton and I flew to Denver with John Berg, then the highly talented Vice-President for Creative Services of CBS Columbia Records (now Sony). John was also the designer of Chicago's famous logo, which remains in use today. At the Denver airport we rented a station wagon and drove up into the mountains past Boulder and Nederland, turning west for about five miles on a dirt road to the Caribou Ranch.

That first night we met the band and relaxed with them in the main ranch house, polishing off many bottles of Heineken beer. It was then that I noticed a revolver on the table next to my chair, a sign that this was really the Wild West. It was a .44 Magnum and it was loaded. Years later this casual attitude toward guns resulted in tragedy when a leading member of the band accidentally shot himself dead.

The next morning was devoted to choosing a location for the photos. The natural choice was the long-abandoned ghost town of Caribou near the former Blue Bird silver mine, not far away but difficult to get to. There was a dirt trail that really required using a 4WD truck, but Jim and I chose to rough it on snowmobiles following the path of what's left of the former Denver, Boulder & Western Railroad, which linked Caribou with the outside world from 1904 until 1919. That's me on my borrowed Ski-Doo, about to take off.The other one was for Jim Houghton, who took the photo.

The trail was rough in spots, and I managed to spill the thing three times, but was always able to get it back upright. The worst part was when we came to a ravine over which the railroad once had a bridge. Since this structure was no longer there, we had to go steeply down to the creek, cross it, and up the other side. Lots of fun. 

Anyway, the ghost town of Caribou was a wonderful location, looking like the ruined remains of an old Hollywood set for a Western flick. So we headed back, and that afternoon returned by truck via the longer route while the band got there on horses. Jim's photos looked for all the world like stills from old-time cowboy movies, and were just what was wanted.

Today the area is a nature park from which snowmobiles are excluded, as are even trail bikes. The only way to get from the ranch to the ghost town is on foot via the Switzerland Trail. Environmentally this is a good thing, but those Ski-Doos sure were great to drive. 

CLICK HERE for more about Colorado.

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Faversham, England

One of my favorite little towns near London has been featured in every edition of my guidebook Daytrips London since its first publication in 1983. There are no famous sights there and therefore few tourists. But for those seeking an unspoiled little corner of England it is a treasure. Enjoy.

The information below has been updated to 2008.

Trip 12

Faversham

Located at the end of a tidal creek, the ancient port of Faversham has remained a delightfully unpretentious little town for over a thousand years. Relatively few tourists venture this way, but those who do are enchanted by its simple charms. Settlements existed on this site since prehistoric times, with Faversham being mentioned in a charter of A.D. 811. It became a town of some importance during the Middle Ages, when many of its present structures were built. Along with Dover, Rye, and a few other towns, it was a member of the Cinque Ports confederation, owing allegiance only to the Crown. Despite this heritage, the town is not another preserved relic of the past but a growing community with its own thriving industries. A visit to Faversham makes a refreshing change from the usual tourist circuit and can easily be combined with one to Rochester or Canterbury.

GETTING THERE:

Trains to Faversham, operated by Southeastern, leave London's Victoria Station at least twice an hour for the 70-minute journey. Return service operates until late evening.

By Car, Faversham is 49 miles (78 km) southeast of London via the A-2 and M-2 highways.

PRACTICALITIES:

Good weather is essential for this outdoor trip. A colorful outdoor market is held on Tuesdays, Fridays, and Saturdays. The local Tourist Information Centre, T: (01795) 534-542, W: faversham.org, is in the Fleur de Lis Heritage Centre at 10-13 Preston Street. Commemorative plaques and viewpoint keys have been installed in the town, helping to bring history to life. An excellent printed guide to these is available free of charge at the Tourist Information Centre, one of the few in Britain to be run by volunteers. Faversham is in the county of Kent and has a population of about 18,000.

Tours, including tastings, of Faversham's famous Shepherd-Neame Brewery can be arranged in advance at T: (01795) 542-016, W: shepherd-neame.co.uk/tour. They take two hours.

FOOD AND DRINK:

Faversham is famous for its brewery, Shepherd Neame, which was founded in 1698, is the oldest in Britain, and still makes what is called "real ale." Some choice places to eat are:

China Village (4 Market Place, near the Guildhall) Quality Chinese cuisine in a 15th-century building. T: (01795) 591-000. ££

Phoenix Tavern and Restaurant (98 Abbey St.) Traditional English and Thai cuisine in an historic building. T: (01795) 532-757. ££

Albion Tavern (Front Brents) Mexican cuisine, overlooking the Creek. T: (01795) 591-411. ££

The Sun Inn (West St., a block west of the Guildhall) Typical 16th-century pub and a favorite for local beer. T: (01795) 535-098. £

SUGGESTED TOUR:

Numbers in parentheses correspond to numbers on the map.

Leaving the Train Station (1), walk down Preston Street to the tourist office and museum. The Fleur de Lis Heritage Centre (2) provides an excellent introduction to Faversham's past and present. Housed in a former 15th-century inn and recently expanded, it has colorful displays of life in bygone days and a good audiovisual "Gunpowder Experience" to recall the town's long association with the explosives industry. Among other featured items is a model of Faversham's Romanesque Abbey, a 16th-century merchant's chest, Elizabethan paneling, a superb Georgian shopfront (repatriated from Chicago!), re-creations of old-time shops, a Victorian schoolroom, and an evocation of the Home Guard — a citizen army raised in World War II. T: (01795) 590-726. Open Mon.-Sat. 10-4, Sun. 10-1. £.

Continue down Preston Street and turn left on Market Street. It was in the house at number 12 that King James II was held prisoner when he tried to flee the country in 1688. In a few yards you will come to the Guildhall (3) (photo, above), a rather elegant Georgian building set atop 16th-century pillars. An open-air market is held under this on Tuesdays, Fridays, and Saturdays. Established in 1086, it is the oldest market in Kent, and a wonderful place to meet the locals. Note the interesting town pump (photo, left) at the rear.

Court Street contains many fine 17th- and 18th-century houses. Follow it to Church Street and turn right to the parish church of St. Mary of Charity (4), which has a particularly elegant, and very rare, crown spire. It dates mostly from about 1320, though the nave is mainly 18th-century, with one Norman bay. The grotesque misericords in the choir are among the finest in England. Other features unusual for a parish church are the aisled transepts and the 14th-century frescoed pillar. This is actually the second-largest parish church in Kent, and larger than some of Britain's smaller cathedrals. Stroll around the churchyard, then follow the footpath to Abbey Place, passing the 16th-century Old Grammar School.

The famous 15th-century Arden's House on the southeast corner of Abbey Place was the scene of a notorious murder in 1551, which became the basis for the first play in English to use a contemporary event as its theme. Published in 1592, Arden of Feversham is still in the national repertory. Abbey Street is lined with well-preserved houses dating from the 16th and 17th centuries. Turn right on it and walk down to Standard Quay (5). Going past the old warehouses, follow the creek until you come to a former warehouse, now beautifully converted to office use. All along here you will see old sailing barges (photo, below), some of which are restored as houseboats, and which still take part in sailing barge races in the summer.

Now return to Abbey Street and make a right at Quay Lane. Cross the bridge by the brewery and walk out along Front Brents, from which you get a colorful view of the tiny waterway. Faversham's prosperity has always been closely linked with the creek, and 350 years ago it was England's main wool-exporting port, with busy trade to the Netherlands.

From here follow the map past the austere 12th-century Davington Church and down to Stonebridge Pond (6). Local streets opposite lead to the restored Chart Gunpowder Mills (7), the oldest of their kind in the world. Built in the late 18th century, they are the sole remaining link with a local industry that supplied the armed forces with gunpowder from 1560 to 1934. The mills are open on weekends and bank holidays from Easter through October, from 2-5, but the exterior is always open.

Return to the pond and turn right on West Street. In a short distance this becomes a charming pedestrians-only street leading back to the Guildhall.

Text, Map & Photos Copyright © 2003 Earl Steinbicker, updated to 2008

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The Avedon Years, Part XXIX

Visiting the Avedon Foundation

Previously on this thread: 

A few days ago, on July 1st, 2008, I visited the Richard Avedon Foundation in New York at their invitation to be interviewed and videoed as part of a "living history" project. Entries on this blog probably had something to do with it, as they said they had been following it. It was an enjoyable experience, with a talented interviewer and a tour of the premises.

The Foundation, located at 25 West 53rd Street, adjacent to the Museum of Modern Art (MoMA), has the task of organizing, preserving, and digitizing the gazillions of photographs he had taken during his lifetime. They also provide material for scholarly research and museum exhibitions, as well as exercising control over their use.

The Foundation offices include a large, climate-controlled room for the archival storage of negatives, while a similar room stores prints in special containers. This is in stark contrast to the battered cardboard boxes above the darkroom where they were deposited during my time. For me, the real surprise was in the digitizing room. I gasped as I entered it and saw, in the center, "my" old Saltzman 8x10 enlarger, the very same one that I used at both the East 49th Street and the 110 East 58th Street studios back in the late 1950s and early 1960s. The image on the left is not the same one, but just like it. It is the only such image that I could find. The mercury-vapor lamphead had been removed and replaced with a high-resolution digital sensor that feeds into an Apple computer with a large LCD screen. But the rest of it was still intact, including the two large hand cranks that position and focus the images. The resultant scans are stored on multiple external hard drives.

As mentioned earlier on this thread, I had the privilege of being an assistant to him from mid-1952 through 1956, and from late 1959 until late 1965 — the last four years as his studio manager. I now realize that I was doubly privileged to be in that capacity during what were surely the most formative years of his entire career, as his work evolved from pretty fashion photos into serious, socially concious critiques. The two of his books published during my time there, Observations (1959, with text by Truman Capote) and Nothing Personal (1964, with text by James Baldwin), illustrate this transition with stunning clarity. The latter book was savaged by some critics, one of whom asked in effect "how dare a fashion photographer presume to do serious social commentary when fashion itself is of such social insignificance?" Within months of its publication Nothing Personal was already on the remainder piles. Today it is a highly valued collector's item. You can read more about it by clicking here.

Sadly, I am probably the last living person with a really comprehensive first-hand knowledge of that entire transitional period (1952—1965).

RETURN to the Avedon Years Index.

The Avedon Years, Part XXVIII

Leaving Avedon

Previously on this thread

It was now or never. My goal from that first day at age 18 in September of 1952 had always been to learn the trade of photography by assisting Richard Avedon and then go out on my own. Thirteen years later, with three years out for military service, I was still there and finding it difficult to say goodbye. Somehow, in all the excitement and wonderful experiences of working for the world's most renowned photographer, I kept putting off the inevitable.

But now I was 30 years old, rapidly closing in on 31. If I stayed longer I was in grave danger of becoming a "professional assistant" with no job security and nowhere to go if I ever found myself unemployed. Oh, the money was good and I was living pretty high on the hog — large apartment on the Upper East Side of Manhattan and the lifestyle of a guy on the way up. My job was not only exciting and immensely rewarding, but pleasant as well.

Another troublesome aspect was the prospect of eternally living in the shadow of a great genius. I knew that my own work would never be anywhere near as masterful as his, although good enough to get by with in the world of advertising.

I almost made the break in September of 1964, after returning from a three-week vacation in Japan. But at the last moment I chickened out because I didn't feel quite ready yet. This was good, as that last year with Avedon (September '64 through September '65) was by far the best I ever had. Now I had not only the knowledge but the contacts and confidence that made the transition comfortable.

Upon returning from a vacation in Yugoslavia at the beginning of September 1965 I made the announcement, and agreed to stay on for a short while until my replacement was ready. The break was a friendly one, with Avedon even helping by sending clients to me and my new business partner. Thank you, Dick.

ONWARD to the Avedon Foundation.

Return to the Avedon Years Index

Ironbridge Gorge, England

Back in 1988 I expanded my Daytrips London guidebook to include more of England, plus Scotland and Wales, which was published as Daytrips Britain. This only lasted for one edition before reverting to the former concept. But it did include some very interesting destinations that I hope to revive in future editions. One of those was Ironbridge Gorge, the birthplace of the Industrial Revolution, which had been brought back to life around 1970 as an historic site, a tourist attraction, and an educational venue. This is a "must-see" for anyone with the slightest interest in industrial archaeology.

Although this information is some 20 years old, it is mostly valid today. Practical current advice and a link to the foundation operating it are provided at the end of this entry for those tempted to make the fascinating journey.

Coalbrookdale at Night, painted around 1800 by P.J. de Loutherbourg

"Ironbridge Gorge"

"Coalbrookdale is quiet now, but at one time it was the cradle of the Industrial Revolution, a phenomenon that forever changed the face of civilization. It was there, in 1709, that Abraham Darby first smelted iron using abundant coke as a fuel rather than scarce charcoal. This single event made possible the large-scale development of industry in the surrounding Ironbridge Gorge, which eventually spread throughout much of Britain, Europe, and the New World."

"In 1779, Darby's grandson, Abraham Darby III, spanned the River Severn with the world's first iron bridge, a direct result of the new technology, at a point near the original furnace. Known as the Iron Bridge, it has since lent its name to the entire area. By the end of the 19th century, however, the iron industry began moving elsewhere as local mines played out, and the Ironbridge region fell into obscurity."

"Our early industrial heritage remained almost forgotten in a tangle of weeds until 1968, when a trust was formed to restore and reactivate the surviving relics. Its mission, still under way, has had remarkable success in providing the public with an understanding of one of history's most crucial turning points. A walk along the furnaces, mills, mines, canals, shops, and workers' homes is truly a fascinating adventure."

"Ironbridge Gorge may be visited as a rather long but highly worthwhile daytrip out of London or, more easily, as a simple excursion from such Midland centers as Birmingham or Shrewsbury."

"GETTING THERE:"

"Trains depart London's Euston Station in the morning for Telford Central, a new station between Birmingham and Shrewsbury. The fastest of these takes about 2½ hours for the trip, while on others it is necessary to change to a local train at Birmingham or Wolverhampton. Return service from Telford Central operates until mid-evening. Once at Telford Central station, it is an easy walk to Telford Town Centre, where you can get a bus for the four-mile ride to Ironbridge, getting off in front of the Tontine Hotel, next to the Iron Bridge. Note that service is reduced on Sundays and holidays."

"A more convenient plan is to take the train to Shrewsbury or Wolverhampton and rent a car for the day. The mileage is not great and you would have more freedom, more time, and much less walking."

"Travel by car is much easier on this trip and has the advantage of eliminating several miles of walking between the sites, except during the peak summer season when a free shuttle bus connects them. From London take the M-1 northwest to Rugby, then the M-6 west to Wolverhampton, and the M-54 to Telford. From there it is only four miles on local roads to Ironbridge. The total distance from London is 140 miles."

"WHEN TO GO:"

"Most of the museum sights are open every day except Christmas. Those that might be closed during the winter are the Blists Hill complex and the Coalbrookdale Museum of Iron. Much of this trip is outdoors, making decent weather important. Try to allow five hours to tour the major sites. If this is not possible and you must eliminate some, remember that Blists Hill, Coalport, and the Iron Bridge are probably the most interesting." 

"FOOD AND DRINK:"

"There are quite a few eating and drinking establishments near the Iron Bridge, along with a Victorian pub and a tea room within the Blists Hill site. Some choices are:"

"Tontine Hotel (The Square, by the Iron Bridge) An old country inn from 1806, with a pub and a restaurant. $ and $$"

"Malthouse (The Wharfage, between the Iron Bridge and the Museum Visitor Centre) Meals in a riverside pub with outdoor tables available. $"

"Boat Inn (in Jackfield, near the footbridge from Coalport) A delightful pub with meals, on the banks of the Severn. $"

"TOURIST INFORMATION:"

"The local tourist office, phone (0952) 88-27-53, is in the toll house by the Iron Bridge."

The Iron Bridge, as seen in 1782

"SUGGESTED TOUR:"

[This map will have to do until I can get a new one drawn. Click on it to enlarge.]

"Begin at the Iron Bridge (1). Built in 1779, this was the forerunner of all metal bridges in the world and represented the height of metal-working technology in its day. Stroll across the bridge to the Information Office, where you can ask about the latest developments in this long-term restoration project. During July and August a free bus service operates between all of the sites, otherwise you will either have to walk or drive."

"Returning to the Tontine Hotel, turn right and follow High Street and Waterloo Street to the Bedlam Furnaces (2), built in 1757. Continuing on for about a mile to a fork in the road, make a left uphill to the entrance of the Blists Hill Open Air Museum (3). Detailed brochures are available here that describe the history and workings of each attraction."

"Here a working Industrial Village (4) is being re-created from buildings once located elsewhere in the region. Included in this group is a sawmill, a printer's, a candlemaker's, a cobbler's, a baker's, a doctor's, a bank, and other similar shops. In keeping with the atmosphere, all of the staff wear 19th-century costumes. Nearby are some railway sidings with an old locomotive and several freight cars."

"In a few steps you will come to the Shropshire Canal (5), opened in 1793. This once linked the River Severn with factories and mines in the interior. By its side is the Blists Hill Mine, dug in the 18th century, which reached a depth of 600 feet before being abandoned in 1941. The headgear and winding house are exact replicas of the originals. Walk along the canal past two stop locks and turn right to examine the upper parts of a blast furnace."

"At the end of the canal is the Hay Inclined Plane (6), dating from 1793, on which canal boats were raised and lowered 207 vertical feet between the canal and the River Severn by being placed on cradles that ran over rails, the down boat pulling the up boat with help from a stationary steam engine. Continue down the hill along the tracks until you get to a path on the right."

"Stroll along Miners' Walk past the Adit (a hillside mine entrance) and several types of mine headgear (7) to St. Chad's Mission Church, a simple corrugated iron structure in which miners once worshipped. Just beyond this is the Shelton Tollhouse (8), originally built in 1830 near Shrewsbury and moved here to avoid demolition. To the left is a reconstructed Squatter's Cottage, complete with a combination pig-sty and outhouse."

"Continue on to the Blast Furnaces (9), constructed between 1832 and 1844 and used to produce pig iron until 1912. Adjacent to this is the Wrought Ironworks, where restoration of an early puddling furnace, steam hammer, and rolling mill is underway. From here walk back through the industrial village to the museum entrance."

"Leaving the museum, go down Coalport Road until you come to the intersection. If you are driving, turn left to the parking lot on the map. Otherwise, cross Coalport High Street and turn left on the path along the river's edge. This leads to a footbridge over the Severn. Immediately to the left of this is the entrance to the Tar Tunnel (10), located at the base of a house. The tunnel, which can be visited, extends at least a thousand yards under Blists Hill and was dug in 1787, probably in search of coal. What they found was running natural tar. At one time the yield was over a thousand gallons a week, and the sticky stuff still oozes out. Across the road is the bottom of the Hay Inclined Plane."

"Continuing along the path, which twice crosses a canal, you will reach the Coalport China Museum (11), where exquisite porcelain was once made. Inside, there are many interesting displays as well as workshops where all of the stages in the manufacture of china can be seen."

"Those driving should now return to the Iron Bridge (1). If you are on foot, the best route is to return to the footbridge opposite the tar tunnel and cross it. To your right a series of roads and paths lead to the village of Jackfield (12), home of the Tile Museum, housed in a former factory. Follow the map back to the Iron Bridge (1) and recross the Severn. You are now back where you started. At this point you could either call it quits and take a bus to Telford Central, or continue on to two more major sights."

"From the Iron Bridge make a left and go down Tontine Hill to the Museum Visitor Centre (13). This former warehouse now contains an exhibition depicting the history of Ironbridge Gorge. There is an audio-visual presentation at frequent intervals that is particularly fascinating. When you are finished, continue along to an intersection and turn right up Dale Road, which soon becomes Wellington Road. On the right you will pass the Rose Cottages (14), built in 1636 as homes for early iron founders. They are now restored and partly used as a workshop for handmade furniture."

"Continue along Wellington Road, passing a modern foundry, and turn left into the Coalbrookdale Museum of Iron and Furnace Site (15). The Great Warehouse, built in 1838 when the local ironworks were perhaps the largest in the world, has been converted into a large museum of the history of iron and steel. Beyond the parking lot, by the railway viaduct, is the Old Furnace (16) where Abraham Darby changed the course of history by smelting iron with coke in 1709. It was probably built in 1638 and later enlarged by Abraham Darby III to allow for the huge castings needed for the Iron Bridge. The furnace was retired in 1818 and forgotten about until 1959, when it was uncovered during demolition of several workshops. It is now enclosed and has a sound-and-light display."

"Your tour is now complete. All of the sites are open daily except on Christmas, from 10 a.m. to 6 p.m. in summer and from 10 a.m. to 5 p.m. in winter. The Blists Hill complex and the Coalbrookdale Museum of Iron may be closed between early November and early March."

Text, map, and B&W photos Copyright © 1977, 1988 by Earl Steinbicker.

Remember that this information is twenty years old, and some changes have been made. If you plan to go there, or are just curious, you should check out their website (click) for current information. Note especially that using public transportation is limited and problematical. Your best bet for a one-day visit is to go by train to Wolverhampton and rent a car; for an overnight visit going to Shrewsbury would be a better choice because it has nice inns and is not far from the site. High-speed express trains from London serve both Wolverhampton and Shrewsbury. 

My Army Experiences, Part XIV

Previously on this thread

WHAT WE WORE

Back in Olden Times — the 1950s — military uniforms were not nearly as macho or snazzy as they are today. With a draft, they didn't need to be. No camos, no black berets to lure potential enlistees. Just OD (olive drab) all over the place, except for summertime khaki. The dreary winter "Class A" uniform was the worst, a shapeless bag that made you look like a bellhop in a Soviet backwater town. That's me in the photo on the right, modeling this at Fort Slocum, NY, in 1957. The "A" patch on my left shoulder meant that I was in the First Army (New England and New York).

Another identifying emblem was the round brass thing worn on the left collar. During basic training this showed the image of an eagle; after advanced training it was replaced with a symbol of the particular branch of the army the soldier was assigned to, such as crossed rifles for infantry or a castle for engineers. Since our unit, the Army Security Agency, was so secretive, we just continued using the "unassigned" eagle (photo, left). Regardless of which unit you were in, you always wore a similar brass disk with the letters "U.S." on the right collar of any "Class A" uniform. All brass, naturally, had to be kept polished at all times. Good old Brasso™.

Once we got to Japan we had the "Fuji" patch (photo, right) sewn on the left shoulder. This only meant that we were stationed in Japan. Also while in Japan, us ASA types wore a security badge on a chain around the neck or clipped to a collar — but only while on post. On first arrival these were red, but as soon as all clearances were confirmed a green one with laminated photo, fingerprints, and some secret circuitry was issued. Later, at JCRC-J, we no longer used security badges since everyone knew everyone else. We also had name badges, such as mine from Camp Drake in 1958-59 (left).

The summer "Class A" uniform was much nicer and more comfortable. It consisted of a long-sleeve khaki shirt (sometimes worn with a tie) and khaki pants, worn with black dress shoes and either a hat or a cap while outdoors (or indoors while armed).

All through basic training we of course wore the utility (fatigue) uniform of dark olive drab (OD) shirt, bloused pants, combat boots, utility cap (or helmet), and a really sharp-looking field jacket (photo, right, of me at Fort Jackson, SC). I did not wear these during my advance training at the Information School, but often did for the first few months at the ASAPAC Personnel Processing Detachment in Camp Oji, Tokyo. After that, it was Class A's all the time. Except once. That was when I had to go out on the firing range to demonstrate my meager abilities at shooting the .45 pistol that I carried on off-post courier missions. The office staff responded with quips like "you going off to war?"

In 1958 the ugly Class A winter uniform was replaced with a much nicer one in a dark green shade, which remains in use today (I think). Each soldier had a choice of receiving one such uniform free, or of getting a "kit" for making one plus some cash to help pay the tailor. Since the kit had a better grade of wool I chose the latter as I had to wear the thing every workday from about September through April, or thereabouts. This was worn with a pinkish-tan dress shirt, black tie, black dress shoes, and a dark green cap. The photo on the left shows two of my co-workers at JCRC-J, North Camp Drake, Japan, in 1959. They are, from left, Sgt. Hicks and SP4 John Jubb.

Starting in 1957 the army introduced an optional Class A summer uniform, which could be worn in place of the regular khakis if desired. That is, if you could stand the laughter. Obviously inspired by the traditional Boy Scout uniform, it consisted of a very nice short-sleeve shirt with open collar, made of lightweight khaki, reverse-pleat shorts, anf khaki-colored knee socks. Remember, this was the 1950s, when grown men were not yet up to wearing shorts in public. The cool shirt, however, was much appreciated and soon the army relented and allowed its use with long khaki pants. That was the end of wearing shorts. The photo below shows some of the guys at JCRC-J making a fashion statement.

OF COURSE, whenever off duty we wore civilian clothes. Always.

Most of us had "civies" shipped over from home as the pickings at the PX were pretty awful. The Ship's Store at Yokosuka Naval Base, south of Yokohama, however, had some sharp duds. Japanese clothes made for the local market just did not fit us Westerners very well.

In fact, the army actively discouraged wearing uniforms off base in Japan as they gave the impression of a foreign "occupation."

There were some rules concerning civilian attire. They had to be clean and neat, and such items as blue jeans were not allowed. One guy I knew got around this restriction by dying his black. But on the whole we dressed about the same as we would have back home, both off-post and on-post while off duty.

RETURN to My Army Experiences Index

Schneeberg, Austria

Here's another sample chapter from my forthcoming travel guide, Daytrips Austria. I'm very excited about this completely new book because Austria is my maternal ancestral home, because I've been there many times both as a tourist and to work, and because I've written about it in the past for Fodor's Guides and other publications. Enjoy.

Trip 7

The Schneeberg

A Daytrip from Vienna

A trip to the Schneeberg is strictly for fun. It may not be exactly towering by Alpine standards, but Vienna's very own "Snow Mountain" is close at hand and is just the place for a day's escape from the rigors of sightseeing. Rising some 2,076 meters (6,811 feet) above sea level, it carries a mantle of snow throughout much of the summer, and in winter provides perfectly enjoyable skiing. The views are magnificent, the air is clean, and you can even try a little bit of mountain hiking if you like.

Being the highest peak in the province of Lower Austria is not the Schneeberg's only attraction. Thousands of people go there just to experience the marvelous old Schmalspurige Dampfbetriebene Zahnradbahn (narrow-gauge steam operated cog-wheel railroad) that chugs and clangs its smoky way for six miles in a mere 80 minutes, gaining 1,233 meters (3,980 feet) of altitude in the process. Built in the 1890s, these primitive trains still carry wooden cars with hard seats, and are an absolute delight for both railfans and normal people alike. These are now supplemented with modern, environment-friendly diesel railcars that offer a more comfortable — and faster — ride. Both take you almost to the top of the mountain, to a point where you can relish the view and perhaps have lunch or a few drinks; or you can continue on foot over good trails to the very summit to say that you've been there.

GETTING THERE:

Trains leave Vienna's Südbahnhof (South Station) several times daily from about 6:30 to 10 a.m. for the ride to Wiener Neustadt, changing there for Puchberg-am-Schneeberg where you board a steam or diesel cog-wheel train. Service is best on summer weekends. Return trains run from Puchberg to Vienna until late evening. It is imperative that you check the schedules in advance as they change seasonally and are subject to variations. Schedules can be had online at W: oebb.at.

By Car, take the A-2 Autobahn south from Vienna to the Wiener Neustadt West exit, then the B-26 west to Puchberg-am-Schneeberg. The total distance is 72 km (45 miles).

PRACTICALITIES:

Avoid making this trip between early November and late April, when trains do not operate except as holiday specials. Service is best on summer weekends, but it can also be crowded then. Some warm, layered clothing should be brought along as it is much cooler atop the mountain. A light jacket or sweater should suffice in summer. Clear weather is essential for enjoyment of this trip, and an early start is strongly recommended.

For further information contact the train operator, Niederösterreichische Schneebergbahn GmbH, Bahnhofplatz 1, Puchberg-am-Schneeberg, T: (02636) 3661, W: schneebergbahn.at; or or the local Puchberg Tourist Office (Tourismusbüro), Sticklergasse 3, Puchberg-am-Schneeberg, T: (02636) 2256, W: puchberg.at.

FOOD AND DRINK:

There are several adequate tourist restaurants in Puchberg. Four good places for meals or drinks on the mountain are:

Berghaus Hochschneeberg (atop the mountain, near the terminus) Simple Austrian food in an old stone hotel from 1898. T: (02636) 2257. X: early Nov. through late April. €€

Fischerhütte (an hour's walk from the upper train terminus) Lower Austria's highest eatery offers good mountain fare with a view. T: (02636) 2313. X: early Nov. to late April. € and €€

Damböck Haus (15-minute walk from the upper train terminus, following a trail with green blazes) Rough-and-ready mountain fare in a friendly rustic hiker's hut. T: (02636) 2259. X: early Nov. to late April. €

Haltstelle Baumgarten (a scheduled stop on the rack railway line) Grab a quick bite on the way up or down the mountain. T: (02636) 2107. X: early Nov. to late April. €

SUGGESTED TOUR:

Numbers in parentheses correspond to numbers on the map.

Begin at the Puchberg-am-Schneeberg Train Station (1), where you purchase a ticket for either the *cog-wheel stean train or the modern "Salamander" rack-rail train and obtain a seat reservation (platzkarte).

*SCHNEEBERGBAHN (1)-(3), T: (02636) 3661-20, W: schneebergbahn.at. Operates daily from late April through early Nov., with maximum service from late June through Aug. Round-trip fares for "Salamander" rack-rail trains: Adults €€€€, children €€. Steam train € additional per ride. Advance tickets and reservations available at train stations all over Austria, or from travel agencies in major cities. 

Those taking the steam train should pause a moment to examine the cog-wheel locomotives before boarding. Built in the 1890s, they look as though their front axles have collapsed, but this peculiar angle relative to the track is to keep the fireboxes level while climbing the mountain. The engine is at the downhill end of the train to prevent any coaches from giving you an excessively thrilling ride in the event of a coupling failure. Depending on your tolerance for the acrid smell of coal smoke, you may want to ride in the car next to the locomotive so that you can watch the engineer at work. The faster, more comfortable "Salamander" rack-rail trains are less fun (and rather ugly as well) but still offer the same views.

The first stretch is spent climning through a forest with ever-changing views of the valley, the mountain huts, and the babbling brooks. This is followed by a scheduled rest stop at the Baumgartner Haus (2) (photo, above), where you can get off for refreshments.

The climb now becomes much steeper, soon passing the timberline and entering a region of Alpine tundra. There are two tunnels in this stretch — those riding the steam train should close the windows quickly when the train enters them or be overwhelmed by its smoke! The upper station, Hochschneeberg (3) is reached in 55 minutes after leaving Puchberg (80 minutes by steam train). Here you should make reservations for the return journey.

Next to the station are sidings where steam trains are parked, awaiting their afternoon trips down. Their fires are kept going, making it fascinating to walk along the black, sooty, hissing beasts. On the other side of the tracks is a rather strange chapel, the Elizabethkirche, which was visited in 1902 by Kaiser Franz Joseph, who came by train.

It is only a short stroll to the Berghaus Hochschneeberg, a sturdy but primitive small hotel that opened when the tracks first reached these heights. Meals and drinks are available there, as are hiking maps (Wanderkarten) of the area.

From the station, you can walk along a wide trail with green blazes, going around the Waxriegel summit (1,888 meters or 6,193 feet) and in 15 minutes reaching the Damböck Haus (4), a hut maintained by the Austrian Touring Club (ÖTK) that offers cheap meals, rustic Gemütlichkeit, and even simple overnight accommodations. In the Austrian Alps hikers do not sleep in tents or carry cooking equipment. Instead, they make use of some 700 such huts. This explains the small rucksacks that Austrian hikers carry in contrast to the huge backpacks common to Americans. The ecological lessons are clear; Austria is a nation of hikers and climbers, yet the mountains remain pristine.

From here it is an hour's hike to the Kaiserstein (5), site of another hut, the Fischerhütte, which at an altitude of 2,060 meters (6,760 feet) is Lower Austria's highest place to eat or sleep. A ridge trail with red blazes leads shortly to the main summit, the *Klosterwappen (6), for a magnificent view from a height of 2,076 meters (6,811 feet) of the Pre-Alps as far as Vienna's Wienerwald, and across the Höllental Valley to the Raxalpe and the High Alps.

There are several trail options taking you back to the upper train station, but the easiest, quickest, and safest route is to just retrace your steps.

Text, map, and B&W photos Copyright © 2008 Earl Steinbicker

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The Avedon Years, Part XXVII

previously on this thread

ASSISTING AVEDON

All throughout his fifty-some-year career in photography Richard Avedon remained heavily dependent on his assistants and was nearly incapable of working alone except on the simplest of jobs. In fact, one of his major talents was the ability to choose just the right persons to assist him, and to motivate them into doing their best at all times. This was a real management skill — and above all, Avedon was a good businessman who set goals and saw to it that they were achieved. He was tough and demanding, but also very kind and generous to those who performed well.

I began working for him at the tender age of 18 as a junior assistant or apprentice in September of 1952 and rose to be second assistant by 1954. In late December 1956 I left the studio to begin my mandatory Army service (we had a draft then!), but rejoined him in late 1959. In early 1962 I became his studio manager, responsible for managing the other assistants as well as working on all sittings, doing the lighting, and making all of the finish prints. This lasted until September of 1965, when I left to form my own business.

WHAT KIND OF ASSISTANTS DID HE EMPLOY?

I don't know who his assistants were prior to 1952 (although I'd love to meet them!), but in the fall of '52 his staff consisted of those pictured above. Standing on the right is Avedon with his secretary, Polly Hatch. On the top left, peeking from behind the poster is studio manager George Thompson, peering from the bushes is Marty (last name I've forgotten), and at the very bottom, on the floor, is me. Missing from the photo is Laura Kanelous, his sales rep. Do not ask what prompted this photo.

When Avedon returned from the Paris Couture Collections in early September 1953, George was gone and replaced by the highly talented Frank Finocchio, who remained his studio manager until spring 1962. Frank was an ebullient, wine-loving Sicilian who sang Puccini while working in the darkroom. I learned an awful lot from him. He's the guy on the left of the photo (right), talking to model Susy Parker, with Avedon in white shirt and tie on the right. This was in the CBS-TV studios in late '59. Marty also left, replaced by a guy named Lenny. Towards the end of 1956 Avedon took on a Japanese man named Hiro Wakabayashi, who later became a famous photographer in his own right. Initially he was to replace me as I was heading off to army basic training at the very beginning of 1957.

While I was away he began a practice of trying out would-be assistants from Europe during the Paris Couture Collections, which took place every year in July-August. From these he invited the best to come to New York and work for him. Among the first to arrive was Alan McWeeney from Ireland, who was as Irish as it's possible to be Irish. Others that followed included Jan Forstrom from Sweden (photo, left), Michael Geiger from Germany, and Gideon Lewin from Israel — who replaced me as studio manager when I left in late 1965.

During those years there were a great many assistants, most of whom lasted only a short time. The ones I remember most vividly include Jim Houghton (who became my business partner in 1965), Tadashiku Wakamatsu (who later became studio manager for the rival Bert Stern studio), Richard Kaperka (who came to us from the Irving Penn studio), David (last name forgotten but who always listened to Pacifica Radio and later became an organic farmer), Freddie Eberstadt (who later opened his own studio), Harris Radin, and others whose names escape me after all those years.

Also assisting, in a way, were those not employed by Avedon but whose creativity contributed so much to his success. One of these was the world-famous hair stylist Enrico Caruso, seen at the bottom of the above photo. The others in the photo are, from left, assistant Jim Houghton, me, and the art director for Clairol hair products, whose name I've forgotten. This was snapped by Avedon on location in Phoenix, Arizona.

One look at many of Avedon's photos, particularly beauty pictures, reveals just how important retouchers were to his work. When I first started with him in 1952 much of his photography was done in the 8"x10" format, on black & white film. These negatives were retouched right on the emulsion surface by a lady named Harriet Woolen, who had a small studio at 480 Lexington Avenue. Later, as he worked more with the Rolleiflex camera, it was the finish prints that were retouched. This was done by the Rembrandt of the Airbrush, Bob Bishop, who transformed many of Avedon's photographs into works of art.

Although they were not involved with photography, Avedon's studio staff at first included a secretary, Polly Hatch, who retired and was replaced around 1961 by Sue Mosel. As business improved he added a receptionist named Maggie (who later married the assistant Michael Geiger). The two ladies kept the place running smoothly. There was also an accountant whose name may have been Chick, but I'm not sure.

We must not overlook the contributions made by Marguerite Lamkin, who either arranged for personalities to happily sit for him, or provided victims for his searing lens, depending on how you look at it.

Finally, there were the art directors. These were the people who gave him assignments, provided inspiration, and helped guide the projects right up to press time. The most important of these was Alexey Brodovitch (1898-1971), who once served as an officer in the Russian Czar's Imperial Hussars and later fled to France after the Soviet Revolution. He became the art director of Harper's Bazaar in 1934 and in the mid-1940s taught graphics to Avedon at New York's New School for Social Research. Brodovitch remained the magazine's art director until 1958, and later taught graphics classes in Avedon's studio into the mid-1960s. His immediate successor was Henry Wolf, replaced in the early 60s by Marvin Israel. Around 1964 the position was taken by two talented ladies, Bea Feitler and Ruth Ansell. All five of these art directors were of enormous help to Avedon, and greatly influenced his work.

DUTIES OF AN ASSISTANT:

Assisting Richard Avedon required an amazingly wide range of abilities. A thorough knowledge of photographic technology, of course. A willingness to work long hours with little compensation coupled with a strong desire to please the boss. A willingness  to perform needed tasks that might be "beneath you," such as making deliveries, running errands, or even mopping the floor. Always being cheerful, prompt, dependable, and polite. And always putting on a neat, professional appearance. 

An assistant must, at times, be able to construct and/or paint sets, arrange lighting, and set up cameras and props. He or she must do minor mechanical and electrical repairs. And be able to reliably develop film and make rough prints.

Location photography calls for even more abilities. An especially important one was to be a good driver as Avedon himself hardly ever drove, for which the locals should be eternally grateful — he was about the world's worst driver. Then, the equipment, props, and merchandise had to be safely transported to the location, and the exposed film brought back without damage. Location work also meant fewer assistants on the job, often just one. That put a heavier burden of responsibility on those who did go. 

The largest asset, and a very critical one, was the ability to anticipate his needs before he even knew he had them. If he suddenly switched to a different camera, that camera had better be loaded, set, and ready to go.

Those who did not measure up didn't last long. But those who did reaped the benefits of becoming highly prepared for the eventual goal of opening their own studio. The pay was pretty good, too, at least for the more experienced.  

Shortly before leaving Avedon and going out on my own I wrote this article for the March-April 1966 issue of Photographic Product News, a trade journal. It discusses all aspects of choosing, hiring, and managing assistants. Although somewhat dated in this digital world, I still stand by its basic advice.

CLICK HERE TO READ IT.

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