Notes for Photographers

Photographer Darwin Van Campen, modern Thoreau with a camera, leads us into the adventures of exploring our back country.

Scenic photography is a lot like fishing; it's more fun when the big ones are biting. The Arizona Back Country is heavily stocked with photographic "big ones" just waiting to be "hooked" by any photographer using that unfailing "picturegettin'" combination of the right kind of equipment and a little know-how.

My own equipment includes a 4" x 5" Linhof SuperTechnika (which combines the portability of a press camera with many of the swing-and-tilt distortion adjustments of a view camera), four lenses of varying focal lengths from 90mm to 360mm, a film case, exposure meter and sturdy tripod.

This represents a "heavy burden to bear" that is carried, I can assure you, only because it is necessitated by the preference of most editors and lithographers for larger-sized transparencies.

If you are not concerned with this preference I would strongly recommend a good 35mm outfit because of its much greater convenience and lower film expense.

The great variety of scenic opportunities in the Back Coun-try makes it desirable to have at least the "basic three" of lenses, normal, wide-angle and medium telephoto, which will cover most of the situations you are likely to encounter.

The careful use of a light meter is a wise precaution in dealing with the greatly varying exposure conditions represented by the many types of Arizona Back Country subjects. The dark greens of a Northland forest, for example, may easily require a stop or more of exposure than the pastel tints of a Southern Arizona desert scene.

Incidentally, when shooting in warm desert areas special care should be given color film to protect it from excessive heat. I keep all unopened film in an ice chest until a couple of hours before loading and all loaded holders in a case painted a heat reflecting white.

Never store film in a hot glove compartment or tightly closed car, and always have it processed promptly after exposure. It will pay off in dividends of more consistent color.

The other end of the temperature scale is found during winter in the Northern High Country. I have, on a few occasions, seen it cold enough to affect the functioning of a lens' shutter. One solution to this is to keep the lens in a bag next to a hand warmer between picture taking sessions. more on Page 29

While following my camera through Arizona's great “Back Country Studio” I have often noted the similarity between the landscape worker and the portraitist. One portrays the faces of people, the other, the “face of the land.” Their goals are similar: to create a likeness of their subjects which, through the proper emphasis of features and mood, is the most effective possible rendition.

Many of the principles of good portraiture can be applied to Back Country photography.

For example, the wrinkles, dimples and various planes of the human face have their counterpart for the scenic pictorialist in the mountains, valleys and other irregularities of the natural scene. And he should give them as much care in the choice of lighting as the human subject receives.

To emphasize the natural features of the landscape through the contrast of light and shadow, side or back lighting should be used. By his selection of camera angle and time of day the photographer can usually exercise sufficient control over the sun's angle to achieve the desired effect.

Many of Nature's most memorable scenic offerings are to be found in early morning and late afternoon when dramatic shadows set off scenes enriched by the golden light of the rising or setting sun.

The photograph on page 6 (lower) of the sand dune section of Canyon de Chelly National Monument illustrates the use of strong side light desirable here to emphasize the delicately textured sand ripples and graceful contours of the dunes. This area of the Monument can be reached from the Rim Drive by a short dirt side road. However, the last time I was there it was not marked, so inquiry at the Visitor's Center is advisable before attempting to locate it.

Another example of this type of light is the Southern Arizona grassland scene on page 28 (lower). The contrast between the highlighted ridges and darkened slopes provides a graphic separation of the rolling hills that would not be possible with flatter lighting.

Frontal (flat) light can be used successfully with scenes that depend upon color differences rather than lighting contrasts for visual separation of their components.

The light-colored Eagle Creek Canyon formations shown on page 34 were shot in relatively flat light, yet they stand out boldly against the blue of the sky. To help accentuate this effect the sky was darkened with a polarizing filter.

This filter is one of the most important tools the color photographer can have in his kit. It provides the only practical means of deepening the blue of the sky without altering the other colors in the scene. It is also extremely useful to reduce the bluish haze often encountered in distant views, as well as the glare of sunlight on water, leaves, etc. This latter use makes it possible to enrich the greens of grass and foliage as was done with the summer scene on San Francisco Peaks reproduced on page 16 (lower).

While good lighting is essential it must be coupled with good composition to produce worthwhile results.

I believe that the composition of a scenic photograph should accomplish two basic things: give pleasure to the viewer through a pleasing arrangement of the elements comprising the scene and strengthen or support the intended effect.

A composition which is pleasing to the eye is usually based on a firm foundation of proven pictorial principles. I find when studying a scene in my groundglass that subconsciously I am asking myself such questions as: “Is there a pleasing balance among the components of the scene?” “Have I avoided visual monotony by breaking up the picture area into varying sizes?” “Can I find a better way of leading the eye into the scene; perhaps a road or curving lake shore could be utilized?” “If there is any area lacking sufficient interest can I change the camera angle to eliminate it? Or possibly increase its interest by adding a flower, rock or maybe a picturesque shadow from a strategically placed branch?” These are important considerations and should be diligently attended to in translating the raw grandeur of Nature into the finished photographic product.

Another consideration worthy of special attention is the foreground. It serves many important functions.

A somewhat three-dimensional effect can often be created when dark foreground objects are shot against a light background. This was the reason for including the silhouetted spruce in the Lee Valley Lake photo on page 16 (upper).

With scenes suffering from color imbalance, a green meadow with green trees, for example, a touch of complementary color added to the foreground will usually improve the result. This was one of the objectives in placing the red-shirted figure in the foreground of the Mogollon Rim scene, page 17.

When placing foreground objects it is advisable to see that they point into the main picture area. A flower bending on its stem, a jagged rock, or a model's gaze are among the many “directional signals” that can be used to lead the viewer's eye toward the center of interest.

Another reason for including a human figure (or object of generally known size) is to indicate the scale of a scene.

The Navajo and his wagon are used in this manner in the illustrations, page 14 and 15, of Canyon de Chelly. Their minuteness testifies unmistakably to the towering massiveness of the sheer-faced cliff along which they are traveling.

This wagon, incidentally, served me for a memorable day as a bouncing taxi along the floor of the Canyon. I made arrangement for its use through a Navajo businessman named Dee Dee Bia who also provided an Indian boy to drive.

It actually turned out to be a very enjoyable experience, but I still can't forget hopping off the hard wooden floor of the wagon (there were no seats) far back in the reaches of the Canyon and noticing that one of the tires was worn almost completely through the cords. Suddenly realizing there was no spare, I hurried up to my young driver and asked what he intended to do if we had a flat.

“Don't know,” he replied nonchalantly, “never had one.” Fortunately, for the remainder of the trip, his record remained unblemished.

It is said that the dog is man's best friend. But surely any photographer's best friend is the cloud. Its picturesque presence improves nearly any landscape and will often aid in balancing a composition. Cloud shadows can also be of pictorial value and were included in the Cover 2 picture to aid in separating the elements making up the view and to help emphasize the brilliance of the flowers.

Back Country Arizona is camera country, through and through, always ready to provide new scenic thrills around each bend in the road for the recording of photographic memories.

"Here are friendly mountains inviting lakes blue-watered and trout-filled, equally tantalizing to the camera and the fly rod: pleasant forests scattered but luxurious stands of aspen, pine, fir and spruce."

It soon penetrates a pine forest that harbors some of the largest elk and deer I have seen anywhere in the State.

At the ten mile mark the road branches. Take the right fork. During the next eleven miles it will take you past three fine Indian lakes (this area is inside the eastern boundary of the Fort Apache Indian Reservation). Reservation-Hurricane - Drift Fence, they are all good fishing lakes and Hurricane (reached via a short side road) would place high in any White Mountain lakes beauty contest. Incidentally, if you intend to fish within the Reservation, don't forget that a Reservation permit as well as a state fishing license is required.

Beyond Drift Fence Lake you will meet the road to Whiteriver. Turn left for three miles to Maverick, the boardedup old logging camp that has been a ghost town since the closing of the mill last year.

Continue on for another five miles before taking the road which leads to U.S. 666 thirty-four miles to the east.

These final miles provide a fitting ending for the trip, climaxed by the Buffalo Crossing Area along Black River. The lovely valley just beyond will escort you in style much of the remaining way out to the charming rustic Beaverhead Lodge. The lodge is located just off the Coronado Trail about eleven miles south of Alpine.

Directly opposite from Beaverhead the road to Blue River leaves U.S. 666 to the east. This is a never-to-be-forgotten excursion that includes a twelve mile, 2,500 foot drop to the Blue's canyon floor; a six mile river drive along red-tinged canyon walls and meadows full of giant sunflowers; and a final climb of six miles through a pine forest to U.S. 180 three miles east of Alpine.

Probably the thickest single display of White Mountain wildflowers I have ever encountered was at one of the newest of the reservation lakes, Shush Bezahze on Bog Creek. It is only about two miles north of Rt. 73 at the end of a quiet forest road which leaves the highway almost directly opposite the paved turnoff to Hawley Lake.

My first visit there was early last September. I was visually stunned at the unexpectedness of the scene as I emerged from the forest into the meadow containing the small lake. So dense were the tiny yellow flowers that it looked like an intense golden fire, racing up the shores from the water's edge, had engulfed the meadow in its entirety before being finally extinguished in the depths of the surrounding forest.

October days are glory days for the aspen population of the Whites. Autumn's dazzling catches of gold, stashed away in hidden valleys along back country trailways await discovery. Rutted lanes, chancing to meander through dense aspen groves, are transformed into avenues of gold, paved by wind-blown showers of fresh yellow coins from the white-trunked aspen "mints."

Williams Valley is the annual showcase for what I feel is Autumn's finest White Mountain production. It is located along the first five miles of a gravel road leading to Big Lake which leaves the Coronado Trail about two miles north of Alpine. A long low ridge, hosting a "capacity crowd" of"There are, of course, the tangible beauties of the land itself; rugged canyons, hidden forest meadows and lakes, unspoiled desert vistas... These the eye can enjoy and the camera record. And I know of no comparable area anywhere that can provide either with a greater variety of impressive natural scenery...

aspens, forms the southern side of the valley. The road follows for several miles along its base, exposing the memories of its travelers to an overdose of autumn brilliance that time will be long in dimming.

Fourteen miles farther along the "Trail" north of Alpine is the dirt (very soft when very wet) road up Escudilla Mountain, a well-known landmark of the area. It passes scenic little Hulsey Lake, and offers exciting autumn vistas along the aspen slopes farther up.

For a relatively short but very sweet venture in autumn try the drive along the base of Green's Peak. Take the Green's Peak fire lookout road from Rt. 73 about twenty-one miles east of McNary. Follow it to the left past the turnoff to the lookout, which, although providing outstanding "Cineramic" views of the autumn-guilded country below, is too rough and steep to make it advisable to take. Beyond this point the little unimproved byway, most enthusiastic it would seem in its capacity as an autumn guide, will lead you through aspen-fringed meadows and deep forest corridors, all in the bright decor of Fall.

Less than 150 "crow-flown" miles from the White Mountains are the San Francisco Peaks and their surrounding domain. Though lesser in size than the vast region of the Whites it still offers much of interest to the back country auto explorer.

A number of side roads lead through the lavish pine and aspen forest surrounding the Peaks or climb part way up their slopes. Wildlife is plentiful. And so are the fascinating evidences of a once active volcanic field.

An outstanding example is the partially eroded cone of a small volcano called Red Mountain. This is one of the real "sleepers" of Northern Arizona's scenic attractions and is seldom visited. It is reached from U.S. 180 about thirty miles northwest of Flagstaff by a temperamental little two mile road requiring dry weather to be passable. A short hike from its end along a path-like wash will take you into the volcano's "inner sanctum" which offers a rare and beautiful display of the wonders of volcanism.

Of the many side trips possible in the San Francisco Peaks Country the one my camera enjoys the most covers about fifteen of the Northland's most beautiful miles. It is a combination of the Arizona Snow Bowl and Hart (sometimes spelled "Harte") Prairie roads and usually offers good travel conditions during the summer and fall. Each is scenically worthy in its own right.

About seven miles west of Flagstaff the Snow Bowl Road begins its steady seven mile climb from U.S. 180 to the 10,000 foot level of the Peaks. Its reddish-graveled surface makes it very picturesque as it winds its way upward, passing first pines, then aspen and finally fir and spruce. As it approaches its destination at the State's best-known ski center, far-flung forest land vistas lead the eye to the western horizon.

The road is kept open all year, although at times chains may be required. This area is justly famous for the beauty of its snow scenes and is well worth a visit after any heavy winter storm. And Fall, not to be outdone, makes its annual ascent to paint golden masterpieces on its plentiful aspen canvases.

Below the ski area near the picnic grounds a primitive connecting road which will lead you to the Hart Prairie Road begins its one mile existence. It passes quickly downward through a heavy grove of aspens onto a long sloping meadow where sheep may be watering at a large tank over to the left.

At the bottom of the slope it ends on the Hart Prairie Road. A right turn and about seven more miles of travel will bring you out once again on U.S. 180.

Along the way you will be rewarded with excellent views of the Peaks and very possibly of wildlife as well. This is also one of Arizona's most beautiful autumn drives, with a continuing aspen forest glorifying its every mile, sometimes imprisoning it in a golden embrace, sometimes retreating to a more respectful distance.

Another very worthwhile trip is the primitive loop road around Bill Williams Mountain. The loop begins six miles south of Williams from the paved section of the White Horse Lake Road ending eighteen miles later on U.S. 66 west of Williams. Pristine forest settings against the backdrop of Bill Williams Mountain highlight this interesting byway.

Arizona's famous scenery-studded Apache Trail (Arizona 88), although heavily traveled as compared to most back country routes, is deserving of mention. Its twenty-two unpaved miles below Roosevelt Lake still qualify as "back road" and they are ideally suited for the seeker of unspoiled scenery who desires the assurance of dependable travel conditions.

With several good pre-spring rains, under its belt, the Blue Bird Mine area along the western end of the Superstition Mountains is capable of some of the finest wildflower displays I have ever found. The mine road, although rough in places and cut by several washes, is only a mile or so long and is usually in adequately good condition for passenger car use. It takes off from the Apache Trail (Arizona 88) north of Apache Junction at Goldfield, leading quickly in late March or early April to extensive masses of brilliant poppies guilding the long slopes leading upward toward the closely-looming hulk of the massive mountains. Lupine, brittlebrush and globe mallow add splendid touches to a symphony of spring colors that turn the countryside into a brightly decorative flower garden around the great fortress of the Superstitions.

Another very fine road to the Superstitions is the well-maintained Peralta Road from U.S. 60-70 about ten miles north of Apache Junction. It passes through some excellent desert terrain before stopping at the southern edge of the Mountains.

Bonita Canyon is an outstanding back country "plum," made all the more delicious by its remoteness. Its road, originating at Safford on U.S. 70, requires over twenty-five miles to reach the canyon's most spectacular section. Although trying valiantly "to be good" it is discouraged often by that wet blanket, Bonita Creek (which it must ford over fifty times during its canyon passage). This, coupled with the steepness of its descent into the canyon, limits its use to the Jeepers of Back Country creepers.

The rugged beauty of the canyon is augmented by the clear waters of little Bonita Creek, faithful in its performance the year around. Several ancient cliff dwellings are clearly visible high up in the walls. These and the broken pottery and stone metates which can still be found in places, attest to the area's earlier inhabitation by a primitive race.

To those "without benefit of four-wheel-drive" I would recommend two other excellent trips in the Safford area: the Swift Trail to top of Mt. Graham and the road to Black Rock.

Eight miles south of Safford along U.S. 666 the Swift Trail begins its very worthy existence. It has been given the dignity of a state route number, but except for a few miles of pavement at its beginning has kept its back country flavor. It is a first rate mountain climber, switchbacking efficiently up into a cool 9,000 foot high-pine-aspen forest. Out-"...like stepping into a time machine with the selector set to Old West."

Standing views of the surrounding desert country are provided along the way. Riggs Flat Lake at the thirty-six mile long Trail's end can provide a "fine kettle of fish" for the lucky angler who comes equipped with his flyrod. The mountain is delightful in all seasons except winter when heavy snows usually force its closing from late in the year until April.

The Black Rock area is northwest of Safford. It is reached by a good gravel side road from the San Carlos Indian Reservation town of Ft. Thomas on U.S. 70.

The twenty mile trip features the impressively huge and colorful formation of Black Rock, itself, as well as a number of smaller, but interesting formations that could easily be mistaken for caricatures in stone.

From the road's end at picturesque Black Rock Ranch, a short hike of less than a mile will take you along a small creek to exquisite little Black Rock Canyon. Despite its name, it is the intensity of its coloration at a point where the stream has knifed through several large outcroppings of an unusually bright shade of red that causes such amazement to its few visitors.

Another remote location that somehow remains as unknown as it is beautiful is the scenic canyon home of Eagle Creek.

The gravel-surfaced guide from Morenci just off U.S. 666, while somewhat steep at times, presents no real difficulties. It begins on a highly colorful note by affording a view of brighthued tailings from the Phelps-Dodge Open Pit Copper Mine. Then it makes its six mile climb down to the canyon where, between buff-colored walls of rhyolite, tall rock pinnacles and shaded ghettos along the quiet stream await its visitors.

Just south of Morenci at Clifton is the head of another outstanding road-trail. It follows the San Francisco River for many gorgeous miles through its exceeding spectacular canyon. However, because of the numerous fordings it must make, it is usually not passable for automobiles for more than the first four miles. From here it becomes a rather daring four-wheel drive proposition, but the scenic rewards are more than ample for those who persevere.

The Southeastern corner has its own claim to Back Country fame: The Chiricahua Mountains and their Coronado National Forest.

Many side trips await you here, but doubtlessly the most spectacular is the twenty-three mile road to Portal from Arizona 181. It crosses the range and then drops "like the stock market on Black Friday." It regains its composure in Cave Creek Canyon in a soothing atmosphere of stately sycamores and a quiet stream. Through the trees' branches may be seen sheercliffs towering high above the road which follows the Canyon for the remaining distance to Portal.

Down near the Mexican border about six miles north of Nogales on U.S. 89, the road to Ruby leads off to the west. Beyond its early paved section of about four miles it adopts a true "back country style," particularly after passing the very scenic Pena Blanca Lake.

Its sojourners are given a healthy helping of the typical, beautiful rolling grasslands of extreme Southern Arizona. As an added attraction along its twenty-five mile trip to the old mining settlement of Ruby, it goes past the entrance of Sycamore Canyon (no relation to the Sycamore Canyon of Northern Arizona). It is well marked with a sign posted by the Forest Service which has also provided a parking area and foot path.

"...a symphony of spring colors turns the countryside into a brightly decorated flower garden."

"...masses of brilliant poppies gilding the long slopes leading upward toward the closely-looming hulk of the massive mountains."

There are many other areas of back country interest besides those I have mentioned. For example: there is Yuma County in the southwestern corner of the State. After a wet spring its dune areas are purple-carpeted by sand verbena with many a furrowed track poking its way here and there among them. The Kofa and Castle Dome Mountain Ranges north of Yuma are approached by side roads from U.S. 95 that can provide many happy miles for back country tourists.

In the northwest above Kingman the great Joshua Tree Forest off U.S. 93 has numerous meandering byways, some marked, some unmarked, that delve into every corner of this fascinating region. One, the Quartermaster Viewpoint Road goes all the way to the rim of Lower Granite Gorge, an extension of the Grand Canyon.

Oak Creek Canyon along U.S. 89A south of Flagstaff has earned world-wide fame for "scenic achievement." It is visited annually by thousands of delighted tourists. Yet only a fortunate few venture from the pavement to explore its back roads. The others have missed much.

For sweeping views over the Red Rock Country, Schnebly Hill has no peer. It is easily reached by crossing the bridge over Oak Creek from lower Sedona and turning left onto the Schnebly Hill Road.

Baldwin's crossing on Oak Creek, with its beautiful red sandstone "Courthouse Rock" background is very famous but is seen far more often on postcards than in person. Its redgraveled turnoff is from Rt. 179, seven miles south of Sedona, and it is situated about five miles to the northwest.

Two natural bridges, Devil's Bridge and Vultee Arch, less than ten miles from Sedona, remain well hidden from the eyes of Mr. Average Tourist. They are reached by the Boynton Pass and Dry Creek Roads. Turn at the Boynton Pass sign about three miles west of town on U.S. 89A and right again on the clearly marked Dry Creek Road to the parking area for Devil's Bridge. Vultee Arch, which requires a bit of a hike is several miles farther on.

Several of Arizona's National Parks or Monuments also contain back roads which are frequently ignored by their visitors. Many of these offer sights rivaling or surpassing those to be seen from the highways.

Grand Canyon National Park's North Rim has its primitive roadway to Pt. Sublime where a superb view of the Canyon is available. The fourteen miles of forest along the way are among the finest anywhere and are superb for autumn splendor.

Canyon de Chelly National Monument takes on a different and beautiful perspective when viewed from the "wagon track trail" at its bottom. Travel here can be tricky, however. The deep sand makes it advisable to attempt it only in dry weather and with properly equipped vehicles.

Organ Pipe Cactus National Monument has two excellent back country loops: the Ajo Mountain Drive with its fine Organ Pipes and rugged mountains; and the forty mile loop Drive which in addition to its Organ Pipes, features Quitobaquito Spring and the rare Senita Cactus among its attractions.

Saguaro National Monument's Tucson Mountain section is serviced almost entirely by a back road and has few travelers compared to the main portion of the Monument. However, its particularly dense stands of saguaro in an unspoiled desert setting are certainly worth anyone's time to visit.

On the preceding pages many roads and many places have been discussed. Yet the Arizona Back Country Story is incomplete. It is too big beyond the ability of one man to fully explore or one article to adequately describe. But if these words, despite their inadequacies, should serve as even a tiny spark to kindle your desire to help fill in some of the story's missing pieces, I will be more than gratified. And will be hoping that soon your destination will be the Arizona Back Country.

MOONLIGHT ALCHEMY On a rubbish heap the soft lights falls on a sofa spring; changes a gaudy gilded vase to a priceless thing.

Moonlight gleams on the twisted shape of an old beer can; tints with silver the dented chrome of a wrecked sedan.

How strange the alchemy of night when grime and grease dissolve to make this rusted stove a museum piece! - Jean Conder Soule GEMINI On some tomorrow will we start awake And grope through darkness for a slim youth's sake? Will we wait out the count-down and the lift With prayers in our hearts and on our lips? (Did they do this who watched three tiny ships Set sail into a hostile wind's spindrift?) Or will it be quite dull? Will we recall The breath-held moments for the first brave boys Or just complain about the blast-off noise? - Dorothy Marie Davis SECOND THOUGHT, SECOND SIGHT - SECOND WIND? See here, Robert Browning, I said, you are wrong. The best of life yet to be? When totters the step and quavers the song? Surely you're jesting with me?

But I had forgotten how mortal mind Can dance, with thought running free, How love in a carillon-heart can unbind Vibrations of ecstasy, And how warming flame of autumn's decor Spills wind-drifted mystery Yes, Mr. Browning, the spirit can soar Beyond all earth-time's decree Still . . . now that years are more fleet than before, They are crowding my destiny. - Emily Sargeant Councilman DISCOVERY Clouds, shadowing mountains, balancing sunlight, add new depth to hills . . a new dimension.

So sorrow, interlaced with joy, deepens, makes more beautiful the hills of life. - Virginia Moran Evans

PENDLETON BLANKETS:

In browsing through your September, 1967, issue (we keep a continuing file of your excel lent magazine in our files) I was intrigued by the story on the “Hubbell Trading Post.” In reading it I noted the reference to our Pendleton blankets and their use by the Navajo. Even today our blankets are in demand with the Navajos.

There was one word, however, I would appreciate the opportunity to correct and this is the word “copied.” We have never copied any Indian design. Our designers, years ago, spent a great deal of time with the Indians in various parts of the West learning their symbolism and their taste. Using this knowledge they then designed blankets in the Indian concept and in the colors and patternings the Indians most desired. Two of the most famous blankets that were designed by Pendleton were the Chief Joseph, commemorating the heroism of this great Nez Perce chief; and the Harding, which was a blanket commemorating President Harding's visit to the Northwest to dedicate the Oregon Trail. These are still being made and sold today. We do not wish to belabor a point, but we have always prided ourselves in our original designs as well as in the quality and value of our products. We feel certain that this was a misconception because our blankets so closely reflect the Indian taste.

D. E. Eklund Pendleton Woolen Mills Portland, Oregon

ROCK WRITINGS:

In your September, 1964, issue you carried the article “Ancient Manuscripts in American Stones” by William Coxon.

I have been teaching American-English conversation to Japanese for more than 15 years and, in connection with my work, have been working out diagrams and illustrations to enable me to present more effectively the ideas embodied in our everyday conversation. Essentially, in attempting to make my teaching more effective, what I have been doing is to seek ways of expressing visually and in action ideas growing out of

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the dynamics of the internal world.

Mr. Coxon's article has intrigued me since I first read it, since some of the symbols portrayed in it correspond closely to diagrams (symbols) I worked out independently. I believe I have now reached a point where I can relate my work to some of the research done by Mr. Coxon.

Did Mr. Coxon publish his findings elsewhere than in your article? What I would especially like to have is a complete listing of the symbols he found together with his interpretation of them. Does such a work exist? If so, where can I get a copy?

Incidentally, I recently passed a copy of Mr. Coxon's article on to Mr. G. B. Milner, linguist in the School of Oriental and African Studies, University of London. I felt Mr. Coxon's findings would be helpful to Mr. Milner who is seeking the universals in language and thought through a study of the world's proverbs. (It seems to me that some of the rock writings described by Mr. Coxon are highly condensed proverbs.) If I do have an opportunity to study Mr. Coxon's findings in more detail and should new insights come to me as a result of comparing his findings with my own, I will, of course, share them with others thus extending Mr. Coxon's work in time.

Robert W. Russell Tokyo, Japan

PRINTS FROM OUTER SPACE:

Your space issue (April) was outstanding editorially and graphically. Of particular interest is the center spread Apollo 8 viewing Earth over the Moon's horizon. Do you have or do you know where I can obtain a print of this shot suitable for framing?

R. C. Reeve Wauwatosa, Wisconsin

OPPOSITE PAGE "SPRING DAY - UPPER ROOSEVELT LAKE" DARWIN VAN CAMPEN.

Taken just off Arizona 188 between Roosevelt Village and Punkin Center along one of many unmarked short side roads leading to the west shore of Roosevelt Lake, the large lake behind Theodore Roosevelt Dam, the first of the dams built to harness the Salt to store water for the irrigation areas in the Salt River Valley. 4x5 Linhof camera; Ektachrome; f.32 at 1/25th sec.; 150mm Symmar lens; April; bright sunlight; Weston Meter 400; ASA rating 64.

BACK COVER "SUMMER DAY ALONG A FOREST BYWAY" DARWIN VAN CAMPEN.

Taken along the road to a small lake which turns off from Arizona 73 east of McNary and almost directly opposite the turnoff to Hawley Lake. This is in the Fort Apache Indian Reservation area of the White Mountains. 4x5 Linhof camera; Ektachrome; f.22 at 1/25th sec.; 150mm Symmar lens; September; bright sunlight; Weston meter 200; ASA rating 64.