The many moods of Cerro Torre, a mountain Reinhold Messner described as “a shriek turned to stone.” The Torre Group, Patagonia. Prints available at link in bio. @thenorthface
The many moods of Cerro Torre, a mountain Reinhold Messner described as “a shriek turned to stone.” The Torre Group, Patagonia. Prints available at link in bio. @thenorthface
The many moods of Cerro Torre, a mountain Reinhold Messner described as “a shriek turned to stone.” The Torre Group, Patagonia. Prints available at link in bio. @thenorthface
The many moods of Cerro Torre, a mountain Reinhold Messner described as “a shriek turned to stone.” The Torre Group, Patagonia. Prints available at link in bio. @thenorthface
Just a flesh wound. Dr. @alexhonnold examines @renan_ozturk … The perils of exploratory deep water soloing…. Musandam Peninsula, Oman, 2013. Shot on assignment for @natgeo
Just a flesh wound. Dr. @alexhonnold examines @renan_ozturk … The perils of exploratory deep water soloing…. Musandam Peninsula, Oman, 2013. Shot on assignment for @natgeo
Just a flesh wound. Dr. @alexhonnold examines @renan_ozturk … The perils of exploratory deep water soloing…. Musandam Peninsula, Oman, 2013. Shot on assignment for @natgeo
The shot. Getting the shot.
@deanpotter on Concepcion in 2003, soon after he’d established the climb. At the time, it was one of the hardest and certainly most striking cracks in the Utah desert. Dean was a good friend. We shot together a lot over the years. It was always an adventure. He pushed me to the brink more than a few times. He had high expectations of himself and high expectations of the people around him. He can be credited with my obsessive prep on high angle shoots; I was terrified of messing him up or slowing him down on the wall. Shooting with him was good training for life. Dean was also intensely creative and such a visionary that some of the things he pioneered are now their own specialized sports.
Complex and sometimes misunderstood, he could be soft spoken one moment and a gladiator the next. He could also be extremely mischievous and loved a good laugh (sometimes at your expense). He always seemed to push the boundaries personally, physically, mentally. It was non stop. There was an urgency to his life that was hard to keep up with. I would listen to him after what would be a casual day for him, knowing it would have been the pinnacle of most climbers’ careers. I looked up to him a lot. I would say live like Dean but none of us would survive a day trying.
Photo 2 by @jimhurst
Sunset session with @keithmalloy_thetorpedopeople and @the.rabbits.foot #nica @yeti
Sunset session with @keithmalloy_thetorpedopeople and @the.rabbits.foot #nica @yeti
Sunset session with @keithmalloy_thetorpedopeople and @the.rabbits.foot #nica @yeti
In anticipation of a Hollywood feature film recounting the 1996 Everest tragedy, David Breashears was hired in 2004 to climb the peak and film scenic background plates all the way to the summit. David asked me to shoot photographs and film the behind-the-scenes of the production and the climb. I worked on the mountain for two months with David, Ed Viesturs, Veikka Gustafsson, and Robert Schauer. The experience was a masterclass in climbing Everest and filming on a big production at altitude. I summited with the team in May. Since I had tried and failed to ski Everest from the north in 2003, I paid close attention to whether or not the terrain on the south side of the mountain was skiable. This helped inform the strategy for my next ski expedition to Everest in 2006.
In anticipation of a Hollywood feature film recounting the 1996 Everest tragedy, David Breashears was hired in 2004 to climb the peak and film scenic background plates all the way to the summit. David asked me to shoot photographs and film the behind-the-scenes of the production and the climb. I worked on the mountain for two months with David, Ed Viesturs, Veikka Gustafsson, and Robert Schauer. The experience was a masterclass in climbing Everest and filming on a big production at altitude. I summited with the team in May. Since I had tried and failed to ski Everest from the north in 2003, I paid close attention to whether or not the terrain on the south side of the mountain was skiable. This helped inform the strategy for my next ski expedition to Everest in 2006.
In anticipation of a Hollywood feature film recounting the 1996 Everest tragedy, David Breashears was hired in 2004 to climb the peak and film scenic background plates all the way to the summit. David asked me to shoot photographs and film the behind-the-scenes of the production and the climb. I worked on the mountain for two months with David, Ed Viesturs, Veikka Gustafsson, and Robert Schauer. The experience was a masterclass in climbing Everest and filming on a big production at altitude. I summited with the team in May. Since I had tried and failed to ski Everest from the north in 2003, I paid close attention to whether or not the terrain on the south side of the mountain was skiable. This helped inform the strategy for my next ski expedition to Everest in 2006.
In anticipation of a Hollywood feature film recounting the 1996 Everest tragedy, David Breashears was hired in 2004 to climb the peak and film scenic background plates all the way to the summit. David asked me to shoot photographs and film the behind-the-scenes of the production and the climb. I worked on the mountain for two months with David, Ed Viesturs, Veikka Gustafsson, and Robert Schauer. The experience was a masterclass in climbing Everest and filming on a big production at altitude. I summited with the team in May. Since I had tried and failed to ski Everest from the north in 2003, I paid close attention to whether or not the terrain on the south side of the mountain was skiable. This helped inform the strategy for my next ski expedition to Everest in 2006.
In anticipation of a Hollywood feature film recounting the 1996 Everest tragedy, David Breashears was hired in 2004 to climb the peak and film scenic background plates all the way to the summit. David asked me to shoot photographs and film the behind-the-scenes of the production and the climb. I worked on the mountain for two months with David, Ed Viesturs, Veikka Gustafsson, and Robert Schauer. The experience was a masterclass in climbing Everest and filming on a big production at altitude. I summited with the team in May. Since I had tried and failed to ski Everest from the north in 2003, I paid close attention to whether or not the terrain on the south side of the mountain was skiable. This helped inform the strategy for my next ski expedition to Everest in 2006.
Walking the line. Taken during a 2001 expedition to K7 with @conrad_anker and @brady_robinson @thenorthface
Welcome to the Center of the Universe. Climbers on top of Higher Cathedral Spire, Yosemite.
Welcome to the Center of the Universe. Climbers on top of Higher Cathedral Spire, Yosemite.
@conrad_anker setting sail over the Indian Ocean Wall on the Shark’s Fin, Meru.
@conrad_anker setting sail over the Indian Ocean Wall on the Shark’s Fin, Meru.
@conrad_anker setting sail over the Indian Ocean Wall on the Shark’s Fin, Meru.
@alexhonnold setting sail on an all-points-off sideways dyno on a big wall first ascent in Borneo.
Getting blown sideways with close to zero vis still makes me smile after all these years. It just means free refills all day… Always amazed what a proper storm session w your friends can do for your countenance 😎 @dr.huckinstuff @jimmyhartman @chrisfigenshau keepin’ the dream alive… @jacksonhole @thenorthface @yeti
