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(gentle music)
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- You all good?
- [Izzy] Mm-hm.
- Okay.
Let's go.
(upbeat music)
You okay?
It's kind steep at first
and then it flattens out once we get up higher.
(man panting)
- [Izzy] I'll take it.
- No, let's go, we're gonna go.
We need to get up there.
- Dad, no, please.
- Before the sunlight's gone. - Dad please.
- We only have a half a mile to go.
- That's gonna take long.
- Well, that's how it goes.
That's why we're here.
It's not supposed to be easy.
(water whooshing)
Iz!
Let's go, we're runnin' outta light.
You all right?
- [Izzy] No.
- [Eric] You can do it.
- [Izzy] I wanna head back.
It's still steep.
- [Eric] What does?
- [Izzy] The land is still steep.
When does the steep part end?
- [Eric] Right up here I think.
- [Izzy] Dad, are we there?
- I don't know, I've never been here.
Stay close to me
'cause there are drop offs here, okay?
- [Izzy] Okay, where are the drop offs?
- [Eric] And cliffs.
Can you help me set this up?
Do you like this?
- [Izzy] Yeah.
- I think that's really nice.
You see on El Capitan, this rock right here?
You see that line, the shadow line.
- [Izzy] Yeah.
- As the sun goes down back here,
that line is going to rise.
The other shadow's already higher.
That one might be too dark.
Make sure, you gotta be really gentle
because if you do it too fast,
the water, the chemical, gets under the collodion
and it peels it up, lifts it up, off of the glass.
- [Izzy] Kind of like that?
- [Eric] Exactly.
- Do you think this is the beautifullest one?
- No.
This is the first time I've ever carried a dark room in.
Usually I just do it out of the back of my truck.
That is a nice plate.
Thanks man.
We gotta wash this one a little bit more
or else it won't be preserved.
Will you grab me that gray thing?
- [Izzy] What gray thing?
(peaceful music)
- [Narrator] Carlton Watkins first photographed
the Yosemite Valley in the summer of 1861.
He captured the images on large plates of glass
and with a glue-like substance called collodion.
He hauled 2000 pounds of equipment on mules
through the dangerous and wild terrain
to photograph from carefully-chosen viewpoints.
Because of his visual genius and relentless nature,
he managed to create photographs that were so perfect
that even decades later, Ansel Adams
would study Watkins' work
and recreate images from the exact locations.
President Lincoln saw the photographs Watkins made
in the midst of the civil war
and even though he had never been to Yosemite in person,
he was inspired to sign legislation
that would preserve Yosemite Valley forever.
This laid the foundation for the national parks system.
And was the first time in human history
a government would protect wilderness for public use.
(dramatic music)
- The explosion in visitations of all national parks
is only going to increase 'cause our population
is not going to retreat
and so coming up with a new formula for how we enjoy
and use the national parks is a real brain teaser.
♪ While riding the ranges ♪
♪ A buck never changes ♪
♪ I whistle happy tune on the trail ♪
(woman humming)
♪ While riding the ranges ♪
(hooves thundering)
(horse whinnies)
Maggie, come here.
You're not supposed to chasin' those.
Come on.
My favorite old horse that saw me through many, many miles,
through all kinds of weather
from hot to freezing cold died this winter, Watty.
He's retired down here ridin' these ranges
with nobody on his back now.
(horses snorting)
Well, I was first introduced to Indian Creek
when I was in my early 20s.
And I can vividly remember the dusty pick up ride
down the road, it was all a dirt road at that time,
and billowing dust out behind us all the way
and as we dropped down into Indian Creek,
just the magical sense that came over me.
And the feeling of suddenly feeling truly at home.
This was the place I was meant to be.
All that you put in
in time and effort and sweat.
Okay Mag, come on.
You do feel a protection for it.
When I think of healing a landscape,
I think that it needs solitude.
I mean, we can name monuments,
we can name parks, but what it really needs is nothing.
It needs nothing.
It needs to be able to grow its plants,
let the sun hit it and let the water trickle down
through it and not be disturbed.
And we're a disturbance.
Now in the present time is the number of people coming
and the chances of this being vandalized
gets greater and greater.
And the chance of any of us coming
and sitting here alone
and feeling somewhat of maybe what the ancient people
might have felt.
Will slowly be lost.
Just trying to break away from the patterns
of our everyday life
and letting nature seep into us
and fill a part of us that I think we miss.
We miss because everything's regimented,
everything is so easily accessed.
That we don't feel sometimes the pain of nature
as well as the beauty.
- That's the point for me is to get an idea
of where different people are coming from.
Like the conversations that were sparked
from the photographs that Watkins did.
If I go photograph at a monument or a national park,
like, with this camera and this dark room
and my old chemistry bottles.
- [Heidi] You'll draw a crowd, I'm sure.
- Stirrin' up, yeah, I draw a crowd
and it always catalyzes conversation
and it's a good thing. - Yes.
- Leave this here
and bring this right foot forward a little bit.
Here, just kind of turn your body toward the light.
Keep holding still.
(birds chirping)
Good.
Let's see how that goes.
At least it'll be a starting point.
See how the exposure's looking.
Make sure this wet plate is still wet.
(liquid burbling)
(horse whinnies)
She's a little too centered I think maybe.
Might be a little boring.
We did three, three and a half seconds,
maybe we'll do two.
There's movement in your face.
- Oh, okay.
- I think the next one'll be better.
What do you think?
- Well, (mutters).
- It's boring?
If I could just put you like up in the shade a little bit.
Yeah.
(horse snorts)
- Stop.
Get around.
- Gonna have to refocus.
(woman groans)
Can you turn him a little bit
so you're a little more in profile?
Yeah, perfect, right there.
(woman groans)
Gotta stay.
- [Heidi] Frustrating.
- [Eric] That is per, (groans).
I shouldn't talk.
(birds cawing)
(woman laughs)
- [Heidi] Is it just blurry?
- [Eric] Yeah.
Do you wanna try it again?
- I don't, how 'bout one off?
Just holding him?
- Yeah, that's fine, yeah.
Put your foot right there.
- [Heidi] Oh, you can't, see, that's your marker,
you can't have our butt to the marker.
Come on.
- Can you do that for me?
- Okay.
- There it is.
- Whoa, right there, perfect, perfect.
Ah, I'll have to.
- It's okay.
Can you do it again?
Bring him around again.
Scout, come here!
Come on, come on Scout.
Come on Scout, hi, sit, sit.
Yeah, perfect.
Hold still, don't smile, relax your face,
close your eyes, open.
(camera clicks)
(birds cawing)
Good.
Sorry buddy.
Perfect, right there.
Hold that, really, as still as you can.
Great.
You can move.
- Eric you really do need to get an up-to-date camera.
(woman laughs)
- [Eric] Ah, that's better.
Came out a little bit slower.
Still might be too...
(water burbling)
- Well already I like this 'un better.
Yeah, yeah, that one is much better.
Much better, yeah, yeah.
- Yeah, this is why we came down.
This is it.
Is that what you want is a (laughs).
Sorry.
(people muttering)
Colder here.
(box thuds)
- Whether we perceive that one entity is destroying
the land more than the other or vice versa,
you know, until you walk a mile in their shoes,
you shouldn't have an opinion on it.
(upbeat rock music)
(engine rumbling)
It changes you.
It morphs you into a better person.
I feel stronger, I feel healthier, I make better decisions.
It's intense.
It's just, yeah, it gives me goose bumps
when I think about it.
It's the best and the biggest drug
that I've ever seen and want to taste and want more of.
I am addicted to the freedom
of being in the moment.
The more I do it, the more I want it.
The more I want it.
Yeah, my experience is if you don't come out
to touch, taste, smell, feel, experience the back country
or something of nature,
not just the back country, of nature itself,
you never really connect with your humanity.
Most people out here, when they take their helmets off,
you'll find they're not some crazy kid
throwin' up a wheelie on a two stroke
just tryin' to tear stuff up.
They're doctors, they're attorneys,
they're moms, they're dads, they're kids,
they're grandparents, they're people.
They're people that have a passion
just for enjoying the back country at any moment,
whether it's mountain bike, dirt bike, hiking.
You just need to get to know 'em
and then your opinion will change.
- Well, when I was 20 I went
on a climbing expedition to Kyrgyzstan.
And about a week in,
a sort of border skirmish opened up
and we got caught in the crossfire and we were kidnapped
by a regional rebel group
and we were held hostage for a week,
hiding out in the mountains from the Kyrgyz Army
until we finally grabbed this guy
and threw him off a cliff.
It's kinda hard to explain but losing your freedom
is something that changes you in ways
that you just can't really explain to people.
When I climb by myself without a rope,
I really appreciate the level of focus
that it forces me into
and for me that's how I forget my other problems
in the world I guess is by doing dangerous things
under controlled circumstances.
I guess it forces me to be alone with myself
and think about things.
And I just focus on the process of what I'm doing
which is just living.
Living my life in the wilderness,
havin' another tea, another coffee,
walkin' some more distance.
Not tryin' to conquer anything
or take anything off the list or do anything special.
Just gettin' out and doing.
When I was a little kid,
I was like a full head smaller
than even all the girls 'til I was like 17
so I always stayed outta sports and everything.
My parents started letting me go backpacking by myself
when I was like 14.
And that was kind the first time I discovered
an activity that I could do
and I could be completely in control of
and didn't have to try to keep up with other people.
I could do things at my own pace
and with my own strategy.
Yeah, guiding people is a job
but it is something that I do also enjoy
because I legitimately like showing people a good time
and I like helping people do things
that they don't believe
that they could've done themselves.
It can be really rewarding to take people
from Los Angeles or New York or Chicago
or whatever and drag 'em out to, you know,
be able to go sit down in these villages
where people were sittin' around 1000 years ago.
For a lotta people they think
that goin' to Arches and walkin' up in
the cattle train to Delicate Arch is as good as it gets.
It's kind of a funny idea of preservation.
Take the best part of it and destroy it.
(peaceful music)
- [Eric] The collodion process really saved me
more than anything.
I was a medical resident in Arizona spending
so much of my time in what felt like a sterile box
under fluorescent lights,
listening to beeps and alarms.
And when I decided to close my studio and gallery
to pursue medicine, I thought I was going to fix everybody
and help save the world but it just isn't like that.
For years, my life was dictated by the requirements
of my education and training.
This left me feeling detached
but detached from what, I didn't know.
I think you can go insane if you don't make an effort
to disconnect from all the noise.
I escaped whenever I could.
Living in Arizona, I was surrounded
by so many well-known places in nature.
I went to Monument Valley, Yosemite, Zion,
and Joshua Tree.
And I took my camera.
Those experiences were everything medicine wasn't.
It was slow and precise and it was quiet.
When I would come back from a trip in wilderness,
I felt more aware.
Instead of just hearing my patients,
I actually listened to them.
I noticed more.
I had new eyes.
Photographing these places
with a slow process changed everything for me.
It really made me question how I wanted to live my life.
What kind of doctor did I want to be?
What kind of artist did I want to be?
What kind of father did I want to be?
(birds chirping)
(peaceful music)
I would often call my older sister Alicia
to explain my doubts about bein' in the field of medicine.
I sought her advice because I knew she had something
that I wanted for myself.
Her connection to the natural word through horses
is what I admire most about her.
She lives in the desert and embodies a sense of freedom
few others possess.
- I find that the time I spend with the horses
brings balance and harmony into my life.
It reconnects me with my wildness,
with things that are a little simpler.
Things that, you know, calm thoughts,
it reminds me of my place in the ecosystem.
They're part of our connection to everything.
When we're not experiencing wildness and the wilderness
and exploring and discovering
and having that reverence for life,
we stand to lose everything.
We stand to lose the horses and the landscape
and the wild waters.
And our planet and our souls
and everything it is to be human.
You know that it's not okay
because you've tasted wild water,
so you worry about the children
that are going to be the ones to protect the land
and the open spaces and the wild horses and,
but if they don't know,
and they haven't gone out there
and they haven't experienced the spaces and,
you know, they're being raised on slides and swings
and concrete, they don't know the wildness.
We take away their wildness because we've lost our own.
It doesn't occur to us that it's not okay.
How can we take that?
We're not out there anymore.
We're not experiencing the landscape
and I think that the ones that are,
know it better.
(peaceful music)
- You know, I've been very blessed
to have that same feeling of knowing
what it's like to be a distance runner
in this area,
you know, be on the trail out on the land
and it feels good, you know, it feels good
to be out in the dirt, my feet on mother Earth,
being connected like that.
It's the same blood that runs in my veins
and the same blood of my ancestors
and even thinking beyond me
in this contemporary moment, it's the same air,
it's the same water, it's the same earth.
All of that is the same that generations before me
got to experience.
Most of these beautiful, special places
have been sacred places just like Yellowstone
and Yosemite, like, you know, those parks
and monuments that are out there in the world,
they were sacred places.
Native people protected them.
They stewarded them, they took care of them for a long time
and, you know, and Euro-Americans arrived here,
they thought it was an Eden,
it was a paradise that was untouched
and no people had been there before.
It was completely the opposite.
You know, that's why the Bears Ears National Monument
is so special is because we want people
to be in the landscape.
We don't want them to be separated from it.
We need to be out here.
We need to all take responsibility
and accountability and be held into, you know,
counting on each other to take care of the land.
It's not just one person or one group or one tribe.
It's everybody.
I hate speaking for everybody.
I don't like doin' it but it's necessary
to get as many voices as possible to speak out
for both native communities and the landscape.
Because something that I never see consistently brought up,
especially when they're talking about Bears Ears
is it's not just about people.
It's not about just human beings.
It's about all the plants and all the animals,
all the medicines, all of our ancestors, all the burials.
All the spirits that live out here, you know?
It's not just us.
Oftentimes when I'm out running
in a really rugged terrain and a rugged place
and I'm havin' a difficult time,
I'll think about the people on the long walk,
you know, they didn't have a choice.
But they had to walk hundreds of miles
to their concentration camp.
And when I'm running, it's nothing,
the pain and effort you feel,
is nothing in comparison to what they had to go through.
And it wasn't just my people, you know?
It was so many other native communities
that went through that.
(birds chirping)
That's another reason why Bears Ears is important
because, you know, it represents a place
where we were safe.
We were never captured.
Nobody put us in jail, nobody killed us.
It was a place that was, you know, really taking care of us.
(peaceful music)
Using a variety of technologies 'cause that,
you know, in Navajo, we don't have a word
for movies or photography or anything.
It's more of a description
so like we say (speaking in Navajo)
so like a moving image, right?
And so for, this is super interesting,
so for us to like have this in the center like this
is basically the light.
It's the fire, the fire always goes in the middle
in the hogan like this
and so it's the area that you tell stories in.
I feel uncomfortable bein' on camera.
I feel uncomfortable bein' photographed.
- Yeah, I'd like you to just position yourself
however you'd like to be.
- [Angelo] But I feel like in this moment,
it's important to tell the story and let people know
that we are still here
and I'm working with you in this image production
of myself because I want people to see
that I exist and I'm a person.
- [Eric] Sorry?
- When you say me, where I am lookin'?
- In the camera, in the lens,
actually look right here at my hand too.
Yeah, perfect.
Okay this'll be for a few seconds, all right?
Ready? (camera clicks)
Perfect, keep holding that.
- I am here in my land and I'm gonna live here
and I'm gonna die here.
This is my place.
This is where I belong.
No one's gonna take that from me.
(peaceful music)
I think for the majority of indigenous people,
being photographed is uncomfortable, you know?
It makes it feel like you're being objectified.
That the world's gaze, a stranger's gaze is upon you.
And that they don't understand nor really care.
What's up?
What your disposition is in life.
What?
That is craziness.
- Well, I mean.
I wanted to take Angelo's photograph,
not to mimic images from history as a gimmick
but to make real portraits
of modern indigenous people using a timeless process.
The same process I use to photograph the timelessness
of the land.
Look at me.
Chin up a little while I focus.
Look at me.
Come forward, just a hair, stop.
(camera clicks)
Four seconds.
Good.
Tryin' to be faster this time.
- [Angelo] All right.
- [Eric] Yeah, this is a, I mean, this,
I'm up for the challenge
but I think, I don't know if we can do better than this
with the limited amount of light.
- [Angelo] Totally.
- But I actually really like that one.
What do you think?
Too haunting again?
- No, it just seems like I moved too much.
- So do you want me to shoot you in that field,
photograph you in that field?
That's what makes this process to hard.
Can you open your eyes wider, bigger?
Okay, good, no smile, just relax your face.
- Hang on a second.
- Yeah, you're fine, take your time.
(camera clicks)
That was hard, I could tell. - It was hard.
- I could tell.
I know, I know.
- It's kinda cool that we have portraits
in the landscape, you know?
In our homelands that we love.
(dramatic music)
- [Eric] The collodion process was used to take portraits
and the images became a new kind of signature.
Proof of existence.
This is what I thought of
when my friend Jenny Lynn asked me to take her protrait.
She was fighting early-onset Parkinson's Disease,
needing medication every few hours in order to move.
She wanted proof that she was beautiful once
before she no longer recognized herself.
(melancholy music)
I knew what she wanted.
But a photograph cannot stop time.
It can only capture everything we hope to save.
When I was taking Jenny Lynn's portrait,
I didn't feel like a photographer or a doctor.
In that situation, photographs seemed insignificant
and medicine can only do so much.
It felt so much more important
to just connect with her and be there.
I felt like I was standing in Yosemite again
in the shadow of photography's giants
wondering if an image can preserve anything.
What happens when all we are left with is a photograph?
(water whooshing)
(birds chirping)
We wanna come over here, sorry, it's a little wet that way.
- [Izzy] And there's bugs everywhere and it's gross.
- That's okay.
Just follow in my steps, okay?
(wind hissing)
That is a lot of height to get in the frame.
That's too tall.
Man, need a wider lens.
(birds chirping)
(man sighs)
Feel how hot that is.
We should've done this first thing in the morning,
try and cool it down with a little bit of water.
- Yeah, I'm tired of the sun.
- Hold still.
All right.
Let's see how that goes.
Oh, that's too hot.
Look at all this.
Yeah, I think we need to do this in the morning
instead of right now.
- [Izzy] What are these stripes there?
- Yeah, that's all chemicals
'cause the temperatures are really wonky.
Some of my chemistry was a little bit cool,
the plate was hot.
The tent is really warm inside.
So everything's out of balance.
(bird screeching)
- My first visit down here was when I was a Scout.
Our Scout Master had brought us here
to see the area and then we took a motorboat
up the Colorado River
which was just starting to flood
as they developed Lake Powell.
That was my first visit into southern Utah
and we saw these very high canyons
and I have a memory of the guy operating the boat
pointing to a very high notch
and he said one day, this will all be covered.
And that was my first experience of this area
that it was going underwater
and that was hard.
(melancholy music)
They kept talking about this going underwater
and I said to the guy why and he had no answer.
And I ran a river trip every year down Cataract Canyon.
We would come to a screeching, grinding halt.
And there we were at Lake Powell
and every year that that happened,
I just got angrier and angrier
that man had destroyed all this beauty.
This is Glen Canyon.
The arch that's behind us, Jacob Hamblin Arch,
is one of the bigger arches in all of Glen Canyon.
The second biggest natural bridge in the water
is completely underwater.
I go by it, we look at it
and I'm waiting for the water to recede
so that I can go under it.
That is a love of land.
That's why we're here.
(bird screeches)
I don't think you can be a complete human
unless you come out to where we evolved.
Otherwise you live in an artificial world.
I don't think there is a greater responsibility
that adults have than to teach children
proper and good principles.
They are the next generation
that changes and modifies the world in which we live.
Nothing I think is more important than that
and nothing is more important
than to bring youth and children into a place like this.
It's transformative, it changes them completely.
Getting people to talk
to one another is a huge, huge challenge.
With all these diverse opinions
and everybody has a view about land.
And there's not necessarily a right or wrong view.
(upbeat music)
- I look forward to passin' this on to my children someday.
And I assume they'll pass it on to their children.
I would love that, that whole idea,
and that's part of what I'm tryin' to create.
You know, we all wanna leave
some sort of legacy in life, right?
And I want my legacy to be a lot more
than just making money.
(birds chirping)
I lived out here in an RV for four months.
It was just me and the farm
and the occasional glass of wine.
I'd just walk around and I'd walk through the olive grove.
That's why I'd stay in the evening 'cause I could come out
after work and walk through the olive grove in the evenings.
Just relieve my mind.
I was goin' through a really troubling time of life anyways.
Havin' this, I don't know, it's just a gift.
Very much so a place of healing.
- [Eric] Jeff Morgan purchased a photograph
I had made in the Bears Ears Monument
in southeast Utah.
He's the CEO of a drilling company.
The first time I met him, we had dinner
and discussed issues surrounding public land.
He told me that everything we have in our lives
is either harvested or mined
and he couldn't support the cause of preservation
based on his experience in the mineral exploration industry
because he's seen things taken too far.
I explained to Jeff that the places I had photographed
had made a big impact on me
and I wanted to see them preserved.
We didn't share the same opinion
but we continued the conversation
and we listened to each other.
(peaceful music)
- We all love the land.
I don't care which side of the issue you're on.
We all love the land, we all respect the land,
we wanna preserve it at a certain level.
We all wanna make sure all the beauty stays
and it's easy to be in that space.
If you have everything you need, you have a job
and you have your place in life.
We forget the fact that our homes were build on land
that other people may have wanted
to preserve at one time and.
We drink water from reservoirs where dams were built
where people didn't wanna build a dam before.
We get our energy from the mining of oil and gas,
our cars are made of steel and plastic.
The plastic comes from oil
and the steel comes from mining
and we forget that because we have what we want
and so we don't think about the ongoing use of land.
Just the idea of preserving
for the sake of preserving doesn't make sense to me.
Photographs appeal to me just because of their beauty.
You could see the beauty of the landscape in black and white
in a way that I hadn't seen before actually.
- [Eric] Although Jeff had purchased my photographs,
he had never been to southern Utah.
When I told him we were doin' a 16-mile hike
with Rich in Glen Canyon, he wanted the come.
These guys are on opposite ends of the spectrum
but they're here and they're talking.
(peaceful music)
Had Jeff not purchased those photographs,
would he have otherwise come to Glen Canyon?
Would he have ever seen this landscape?
(birds chirping)
For most of the hike, he led the way
like he was on this great adventure
and couldn't get enough.
He was like a kid.
I thought I was here for Rich,
the founder of The Glen Canyon Institute.
He's a physicist and a doctor.
Also a well-known land conservationist.
He's a disruptor and one of my mentors
but I kept seeing Jeff, the CEO of a drilling company,
walking with Rich, walking with me.
My focus began to shift.
Here we were, sharing common ground.
(water whooshing)
How many other people have I dismissed
due to my preconceived notions?
What good comes from staying within your own tribe?
It's a profound experience to connect with the landscape.
Connect with each other.
Connect with ourselves.
- I understand that somebody may wanna build
an oil well here and somebody
may wanna build a condominium here
or flood this whole thing with water.
But I have to try and educate them
that that's not the best use of this land
and the best way for me to do that
is to bring them
and just stand them right here and say,
what do you wanna do with this?
(birds chirping)
- [Eric] I remember as a kid driving through places
like Monument Valley
or seeing road signs to Bryce Canyon
or Zion National Park.
We didn't often spend time in wilderness
or stop to see these places.
Road trips were about getting from A to B,
visiting family and playing with cousins.
I remember seeing the spires of rock formations
from inside a moving car or from the occasional viewpoint.
Now that my wife and I have kids
and live near so many incredible landscapes,
I think about what I wanna do differently.
I ask myself how I can expose them to wilderness
in a way that connects them to nature.
We wanna give them experiences outside early in life
that will keep them coming back.
- [Izzy] Oh yeah, that's a good job.
This is big.
- [Eric] I want them to be unafraid,
to examine the details.
- Yeah, and there's some more guys over there.
- [Eric] I try not to tell them what to think.
I just want them to pay attention.
I've noticed that when I bring them into this landscape,
the don't need any direction.
They already know what to do.
I wish I could be more like that, curious and present.
(birds chirping)
Before collodion was used in photography,
it was used as a surgical dressing.
It was the glue doctors used to bind wounds.
It literally brought things together.
This camera and the collodion process brought me
into wilderness and closer to myself.
It's hard to explain but from the time I take a picture
to the time I develop it in the darkroom just minutes later,
I'm just excited, like when my dad
would take me to buy fireworks
or when I climbed the ladder to the tree house
in our front yard for the first time.
It's in those moments of anticipation.
There's this sense of mystery.
And I just feel joy while I watch the photograph emerge
onto the glass plate.
There's almost always some mistake
or some misfortune but I think
it makes the image more interesting, more playful.
The artifact and imperfections is really
what holds my attention.
It's totally exhilarating and it never gets old.
I become a kid again by taking pictures this way.
It's fleeting, of course,
but I know my way back.
It's in these places and through this process
that I've learned to slow down
and just be more like my kids.
Maybe curiosity and presence could help save us all.
- [Izzy] Come on, Stel.
And then I'll just climb up here.
There's tons of sticks!
It's like a bird nest.
Well, maybe it is a bird nest.
(eagle screeches)
(bird screeching)
(Eric groans)
- I kinda like these trees right here
in front of the rock.
Stick it in.
Push it all the way through.
- Like right here?
- [Eric] Yup.
Right here.
- [Izzy] But how do I do it.
- [Eric] Try.
- [Izzy] Dad, I'm not tired anymore.
- [Eric] Good, feeling good?
- [Izzy] Yep.
- [Eric] Don't whack me with that stick.
That's it.
I feel like we should get this tree in it
a little bit more.
- Wait, is it just flipped over?
- Yep, what's right is left.
What's left is right.
Thanks.
Man, this stuff stinks.
- It does?
Oh yeah, the collodion.
- If you wanna back up, you should.
Right Iz, let's go take this picture.
Here, hold that.
- This thing?
- [Eric] Yep.
Hold really still, don't walk or move, stand, okay.
(camera clicks)
I'll go develop it.
- [Izzy] Can I come develop it with you?
- Yep, let's go.
Just be on my right.
- Okay, so I gotta stay on this side?
- [Eric] Right here.
The water is called stop bath
'cause it stops the developing process.
- [Izzy] Stop bath?
- [Eric] And then.
- [Izzy] Wait, so this is bathwater?
Yeah.
- [Eric] Come on.
- [Izzy] I think this one is better, do you think dad?
- [Eric] Yeah, I think that's a lot better.
I think I love it.
- Do you like right here?
- Yeah, I really do.
It's like you have this dark area in the shadow
and then where the sun is hitting the Dawn Wall.
And then over here you have more black.
We need to spend a good amount of time washing this
with water though so that it stays preserved
for a long time.
- [Izzy] What's preserved mean?
- [Eric] It means we can save it and it doesn't change,
it doesn't deteriorate, fall apart.
Yeah, I think that's one
of my favorite plates I've ever made.
It's also the first time
that I've made a plate that's vertical.
Most of the time my plates are sideways like that.
But because this mountain is so tall,
I had to do it differently.
- [Izzy] Yeah, I like how it's vertical like that.
- [Eric] You do?
- [Izzy] Do you like it?
- [Eric] Yeah, I love it.
Really excited about this one.
- The next photo, can you take the choir there,
like, you know, those, the spires.
- [Eric] The spires?
- [Izzy] Yeah, can you take a picture of them next?
- Yeah.
(water whooshing)
There you go, pull that, cock it.
Pull it back, good, close it.
Close this.
There you go.
Push it, pull it back, cock it.
Good, now you're ready to take pictures.
So you remember how to focus?
- Yep, like this thing.
- You remember which way's infinity
so you can get everything that you see?
- Wait, what's infinity?
- That little sign right there that looks
like a sideways eight.
When you have it there,
let me set this for you, yeah,
put that on 11.
There, you're good.
I'm gonna set up the dark room
while you take some photos, Iz, okay?
(camera shutter clicks)
(peaceful music)