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Nov. 5, 2009 work continues on forms for basement walls of Wylie House barn/education center. Beginning to add the inside skin and bracing of the forms.
From Album Vol 9A, “Sierra Madre II.” Double album page with caption and photos of Cliff Youngquist doing surveying at Harwood Lodge, 1934.
Photographer: UnknownDonor: Caroline Laib Norris
Original: Album in holdings of Sierra Club’s Colby Library (San Francisco)
Credit: Alice E. Knapp Collection, Sierra Club-Angeles Chapter Archives
Image ID (file name): Knapp02
NO KNOWN COPYRIGHT RESTRICTIONS:
By asserting "no known copyright restrictions," the SIERRA CLUB ANGELES CHAPTER HISTORY COMMITTEE is sharing the benefit of our research without providing an expressed or implied warranty to others who would like to use or reproduce the photograph. This means that we are unaware of any current copyright restrictions on the works so designated, either because the term of copyright may have expired without being renewed, because no evidence has been found that copyright restrictions apply, because the original creator has granted us permission to post the image on the Internet, or because we own the copyright but are not exercising that control. The HISTORY COMMITTEE cannot guarantee that private or commercial use of the images shared herein will not violate the rights of unidentified copyright holders and we cannot be responsible for any liability resulting from the use of these images.
If you make use of a photo from this source, you are reminded to conduct an independent analysis of applicable law before proceeding with a particular new use.
Images from a few days spent exploring the beauty of the Slovenian countryside in spring.
All images by Alex Berger, please reach out directly for licensing or usage requests.
Find more of my work at alex-berger.com or on virtualwayfarer.com.
Baking beneath the intense, high-altitude Andean sun, the weathered stucco facade of a colonial church tower in the Argentine Northwest reveals a striking juxtaposition of eras. A prominent, dark metal public address horn protrudes aggressively from the elegant curve of the archway, dominating the upper architectural void. The harsh, direct sunlight carves deep, geometric shadows across the textured, cream-colored plaster, highlighting the subtle imperfections and age of the religious structure. Two local pigeons have claimed the architectural ledges as their own; one stands sentry on the upper left cornice, while another rests in the shaded recess below. The composition utilizes a low, tilted angle that dynamically throws the vertical lines off-kilter, adding a sense of visual tension to the quiet scene. Through the dark, cavernous opening of the bell tower, a protective wire mesh is visible, partially obscuring the vibrant, cloudless azure sky behind it. This stark interplay between the traditional spiritual architecture and the utilitarian loudspeaker speaks volumes about daily life in remote Andean villages like Iruya. Such loudspeakers are often the heartbeat of the community, broadcasting announcements, local news, or the call to mass across the steep valley walls. The photographer's choice of exposure expertly balances the blindingly bright exterior walls with the deep, almost impenetrable blacks of the tower's interior. It is an evocative architectural detail that captures the rugged, sun-drenched, and deeply communal spirit of Northern Argentina. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Horneándose bajo el intenso sol andino de gran altitud, la desgastada fachada de estuco de la torre de una iglesia colonial en el noroeste argentino revela una sorprendente yuxtaposición de épocas. Un prominente y oscuro altavoz de metal sobresale agresivamente de la elegante curva del arco, dominando el vacío arquitectónico superior. La dura luz solar directa esculpe sombras profundas y geométricas a través del yeso texturizado de color crema, resaltando las sutiles imperfecciones y la antigüedad de la estructura religiosa. Dos palomas locales han reclamado las cornisas arquitectónicas como propias; una hace guardia en la repisa superior izquierda, mientras que la otra descansa en el hueco sombreado de abajo. La composición utiliza un ángulo bajo e inclinado que desequilibra dinámicamente las líneas verticales, añadiendo una sensación de tensión visual a la tranquila escena. A través de la oscura y cavernosa abertura del campanario, se divisa una malla de alambre protectora que oscurece parcialmente el vibrante cielo azul sin nubes que se encuentra detrás. Esta cruda interacción entre la arquitectura espiritual tradicional y el altavoz utilitario dice mucho sobre la vida cotidiana en pueblos andinos remotos como Iruya. Tales altavoces son a menudo el latido de la comunidad, transmitiendo anuncios, noticias locales o la llamada a misa a través de las empinadas paredes del valle. La elección de exposición del fotógrafo equilibra de manera experta las paredes exteriores cegadoramente brillantes con los negros profundos y casi impenetrables del interior de la torre. Es un detalle arquitectónico evocador que captura el espíritu accidentado, bañado por el sol y profundamente comunitario del norte de Argentina. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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Harwood Lodge 75th Anniversary Party, 15 October 2005. Digital photograph by Bob Cates. Donor: Bob Cates. Credit: Bob Cates Collection, Sierra Club-Angeles Chapter Archives.
Fall Foliage Luzerne County, Eckley Village, Pennsylvania United States, © 2008 Bob Hahn, Olympus E-3 12.0-60.0 mm f/2.8-4.0 at 60 mm, ISO: ISO 100 Exposure: 1/100@f/11
Fall Foliage Luzerne County, Eckley Village, Pennsylvania United States, © 2008 Bob Hahn, Olympus E-3 12.0-60.0 mm f/2.8-4.0 at 49 mm, ISO: ISO 100 Exposure: 1/160@f/10
I was able to explore a bit of Durham today as I went around the Art Walk event this afternoon. This city is very fascinating in so many ways, you can find so much history and culture just walking down the street.
A stunning capture of a Fairey Swordfish, part of the Battle of Britain Memorial Flypast, gliding gracefully over Liverpool’s iconic skyline. The image showcases the Royal Liver Building with its famous Liver Birds and the Radio City Tower, merging aviation history with the city’s architectural landmarks
My first visit to Japan was far too brief - just a week to explore Tokyo and Kyoto. And yet, it surpassed my expectations, demolished my preconceptions, and spoiled me with color and vibrancy.
These images do not utilize AI beyond basic de-noising and are original imagery with no items added or removed (such as errant leaves, pieces of trash, or power lines). What you see is as close to the moment as I experienced it.
All images by Alex Berger, please reach out directly for licensing or usage requests.
Find more of my work at alex-berger.com or on virtualwayfarer.com.
The stark, sun-drenched masonry of the Caiman tunnel entrance emerges from the arid Patagonian landscape, showcasing the enduring legacy of the Ferrocarril Central del Chubut. Built in 1914, the red-brick archway stands as a silent testament to the Welsh pioneers who carved their influence deep into the heart of rural Argentina. A clear blue sky, punctuated by soft, wispy clouds, provides a dramatic backdrop to the weathered structure, while the prominent bilingual information sign serves as an anchor for the region's unique tricultural history. The photography captures the sharp textures of the kiln-fired bricks and the dry, rocky terrain, utilizing natural light to emphasize the depth of the dark, cavernous tunnel portal. Dust motes dance in the periphery of the frame, hinting at the quiet, windswept nature of the Gaiman valley where time seems to stand still. This landscape photograph documents a significant engineering relic, bridging the gap between historical industry and contemporary heritage tourism. The composition draws the eye toward the convergence of the man-made arch and the rugged earth, framing a visual narrative of perseverance and settlement. Every detail, from the rusted metal sign to the uneven path leading into the void, reflects the raw, unpolished character of this remote Welsh-Argentine outpost. The framing highlights the structural symmetry of the tunnel, asserting its importance as a landmark in a region defined by its wide-open spaces and historical resilience. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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La austera entrada de mampostería del túnel de Caiman emerge del árido paisaje patagónico, mostrando el legado perdurable del Ferrocarril Central del Chubut. Construido en 1914, el arco de ladrillo rojo se erige como un testimonio silencioso de los pioneros galeses que dejaron su influencia profundamente marcada en el corazón de la Argentina rural. Un cielo azul claro, salpicado de nubes suaves y tenues, proporciona un telón de fondo dramático a la estructura desgastada, mientras que el prominente letrero informativo bilingüe sirve como ancla para la historia tricultural única de la región. La fotografía captura las texturas nítidas de los ladrillos cocidos y el terreno seco y rocoso, utilizando la luz natural para enfatizar la profundidad del oscuro y cavernoso portal del túnel. El polvo flota en la periferia del encuadre, insinuando la naturaleza tranquila y azotada por el viento del valle de Gaiman, donde el tiempo parece detenerse. Esta fotografía de paisaje documenta una reliquia de ingeniería significativa, cerrando la brecha entre la industria histórica y el turismo patrimonial contemporáneo. La composición atrae la mirada hacia la convergencia del arco hecho por el hombre y la tierra rugosa, enmarcando una narrativa visual de perseverancia y asentamiento. Cada detalle, desde el letrero de metal oxidado hasta el sendero irregular que conduce al vacío, refleja el carácter crudo y sin pulir de este remoto puesto galés-argentino. El encuadre resalta la simetría estructural del túnel, afirmando su importancia como punto de referencia en una región definida por sus espacios abiertos y su resiliencia histórica. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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Description: Three views of interior of Harwood Lodge, consisting of dining room (1937), kitchen (1937), and scullery additon (circa 1951).
Photographer: Unknown
Donor: Unknown
Original: Low quality photocopy in holdings of Sierra Club-Angeles Chapter Archives.
Credit: Irwin C. Dietze Collection, Sierra Club-Angeles Chapter Archives.
Image ID: Dietze 005
NO KNOWN COPYRIGHT RESTRICTIONS:
By asserting "no known copyright restrictions," the SIERRA CLUB ANGELES CHAPTER HISTORY COMMITTEE is sharing the benefit of our research without providing an expressed or implied warranty to others who would like to use or reproduce the photograph. This means that we are unaware of any current copyright restrictions on the works so designated, either because the term of copyright may have expired without being renewed, because no evidence has been found that copyright restrictions apply, because the original creator has granted us permission to post the image on the Internet, or because we own the copyright but are not exercising that control. The HISTORY COMMITTEE cannot guarantee that private or commercial use of the images shared herein will not violate the rights of unidentified copyright holders and we cannot be responsible for any liability resulting from the use of these images.
If you make use of a photo from this source, you are reminded to conduct an independent analysis of applicable law before proceeding with a particular new use.
Description: Unidentified cabin, probably in high country of San Gabriel Mountains, c. 1930.
Photographer: H.R. “Bob” Sturdevant
Donor: H.R. “Bob” Sturdevant
Original: Black and white print, in Sturdevant photo album.
Credit: Sturdevant Collection, Sierra Club-Angeles Chapter Archives
Photo ID (file name): Sturdevant 111
NO KNOWN COPYRIGHT RESTRICTIONS:
By asserting "no known copyright restrictions," the SIERRA CLUB ANGELES CHAPTER HISTORY COMMITTEE is sharing the benefit of our research without providing an expressed or implied warranty to others who would like to use or reproduce the photograph. This means that we are unaware of any current copyright restrictions on the works so designated, either because the term of copyright may have expired without being renewed, because no evidence has been found that copyright restrictions apply, because the original creator has granted us permission to post the image on the Internet, or because we own the copyright but are not exercising that control. The HISTORY COMMITTEE cannot guarantee that private or commercial use of the images shared herein will not violate the rights of unidentified copyright holders and we cannot be responsible for any liability resulting from the use of these images.
If you make use of a photo from this source, you are reminded to conduct an independent analysis of applicable law before proceeding with a particular new use.
Family sitting room inside the farmhouse.
Images of the historic buildings and structures on the Ella Sharp Museum grounds.
Harwood Lodge 75th Anniversary Party, 15 October 2005. Digital photograph by Bob Cates. Donor: Bob Cates. Credit: Bob Cates Collection, Sierra Club-Angeles Chapter Archives.
Images from a few days spent exploring the beauty of the Slovenian countryside in spring.
All images by Alex Berger, please reach out directly for licensing or usage requests.
Find more of my work at alex-berger.com or on virtualwayfarer.com.
Description: Harwood Lodge kitchen (1937).
Photographer: Unknown
Donor: Unknown
Original: Low quality photocopy in holdings of Sierra Club-Angeles Chapter Archives.
Credit: Irwin C. Dietze Collection, Sierra Club-Angeles Chapter Archives.
Image ID: Dietze 005 crop 2
NO KNOWN COPYRIGHT RESTRICTIONS:
By asserting "no known copyright restrictions," the SIERRA CLUB ANGELES CHAPTER HISTORY COMMITTEE is sharing the benefit of our research without providing an expressed or implied warranty to others who would like to use or reproduce the photograph. This means that we are unaware of any current copyright restrictions on the works so designated, either because the term of copyright may have expired without being renewed, because no evidence has been found that copyright restrictions apply, because the original creator has granted us permission to post the image on the Internet, or because we own the copyright but are not exercising that control. The HISTORY COMMITTEE cannot guarantee that private or commercial use of the images shared herein will not violate the rights of unidentified copyright holders and we cannot be responsible for any liability resulting from the use of these images.
If you make use of a photo from this source, you are reminded to conduct an independent analysis of applicable law before proceeding with a particular new use.
Approaching the Big Horn Mine. Meanderthals hike to the Big Horn Mine via the Big Horn Trail out of Vincent Gap, July 10, 2019.
Approaching the Big Horn Mine. Meanderthals hike to the Big Horn Mine via the Big Horn Trail out of Vincent Gap, July 10, 2019.
Laying the cornerstone at Harwood Lodge, 1930. Detail of Sturdevant 032 image.
Photographer: H.R. “Bob” Sturdevant
Donor: H.R. “Bob” Sturdevant
Original: Black and white print, in Sturdevant photo album.
Credit: Sturdevant Collection, Sierra Club-Angeles Chapter Archives
Photo ID (file name): Sturdevant 032 crop
NO KNOWN COPYRIGHT RESTRICTIONS:
By asserting "no known copyright restrictions," the SIERRA CLUB ANGELES CHAPTER HISTORY COMMITTEE is sharing the benefit of our research without providing an expressed or implied warranty to others who would like to use or reproduce the photograph. This means that we are unaware of any current copyright restrictions on the works so designated, either because the term of copyright may have expired without being renewed, because no evidence has been found that copyright restrictions apply, because the original creator has granted us permission to post the image on the Internet, or because we own the copyright but are not exercising that control. The HISTORY COMMITTEE cannot guarantee that private or commercial use of the images shared herein will not violate the rights of unidentified copyright holders and we cannot be responsible for any liability resulting from the use of these images.
If you make use of a photo from this source, you are reminded to conduct an independent analysis of applicable law before proceeding with a particular new use.