A Man and The Mountain

On the first clear morning, the dark atmosphere freezes. I’m guessing it is 6AM. And in the northern mountains, it is not yet winter as told by the calendar year. But this ethereal environment already reads cold, driving deeper with Mother Earth’s immemorial hand of time. She’s waving at us in this wintertide moment when I suddenly stop to look away from her, and up into the night sky I find that array of stars, unpolluted and rich, far off in an endless view. With my neck craned, I see zero clouds blocking the scene, just snowcapped mountains on the very edges of my peripheral view. And yet somehow the beam of my headlamp illuminates something falling around me. Above and everywhere I look there is a fine dust. It glistens and sparkles like billions of priceless diamonds. The atmosphere is deeply frozen. Sky is clear. A breeze pushes around an imperceptible and now perceptible degree of moisture. And yet within this mystical experience it is snowing – the finest of snow – across the landscape. It is then I realize I have never felt so close to the stars.

Day 3 of 5, or maybe Day 4 of 6. I am in the mountains with three colleagues who are hunting elk. For a couple of years my friend Daniel has asked me to join him to document the experience, and months prior I finely agreed. Now we are on our way to the morning’s location overlooking a long valley. There we will sit and wait in twilight. He will wait for elk, while I will wait for the sun to rise to warm my body.

I get colder the longer I stare up at the sky, watching a cavas of diamonds painted high in the ceiling, becoming enamored by the crystal sheets descending all around me, wherever the light beam glances. Up ahead, the team still walks, single file, spaced apart by 20 feet or more. All I see of them are silhouettes, cast by the light of their headlamps watching the passing snow at their feet. The three of them shoulder rifles and each a small pack with an extra layer of warmth, provisions for the day, maybe a knife or two, binoculars, cigarettes and joints or whatever, and water.

My rifle is my camera, slung over my shoulder. On my back I carry an arsenal of tools to capture the story; prime lenses, a motion camera, another photo camera, extra batteries, and a drone. I have little room for food and much else. However, in my pants pocket is a flask, and switching between my hands is a gimbal system for the motion cam to steady the shot. A small plastic tarp covers its electrical components from the water and wind, from those silent diamonds. I switch the gimbal from one hand to the other before continuing onwards, staring at the snow before me, carefully aligning to the path of least resistance led by my colleagues.

We reach our spot before sunrise, and quickly darkness becomes light. I sit with him having parted ways with our two other companions, each at their own respective hunting spots. Here we will wait for hours, silently witnessing the landscape awaken in dazzling colors from deep purples and blues and vibrant oranges, patient for Cervus canadenis to emerge from the yellowing larch forests below. As we sit and watch, our minds compose of the many different thoughts found in isolation. We are removed from the human world. Its cacophony lying a region away, days behind us. The innate responsibility of hunting takes over, while our camp awaits miles to the west, with fire, with food. Only the synthetics of modernity in the form of sleeping bags and garments take us from this prehistoric consciousness. No Internet or cellphone coverage. No tools but our two feet and our two hands. Within the weather and the quiet of nature we look for Her movements and the sounds of their language.

Daniel points off into the distance. He pulls his binoculars to his face. Five hundred yards away there is a clearing in the forest, and like mini stick figurines we suddenly see action. A herd of elk. First there is a handful, but over time about fifty appear, imperceptible within the flora but miraculously magician-like within the small white clearing. To us, Daniel notes, they are too far for a shot. But his hope is there are other hunters like ourselves, further in the valley who might be on the move, searching, trudging through the snow. This human disturbance, with luck, might push the elk our direction, close enough to provide Daniel a shot, that is if they don’t smell us first.

As we watch their slow amiable gate move from one patch of evergreen into another grove dotted with yellow larch trees, Daniel whispers his favorite part of the elk. It’s the backstrap, the most tender and flavorful cut running along the outside of the spine from the shoulder to the hip. With the remaining meat, he’d prepare chorizo and elk burger, freezing the game to feed his family and friends over the course of the year. But first he had to put one in his crosshairs, his first one. This is Daniel’s fifth year elk hunting, while his father Juan, an older man born in Spain who emigrated to the United States with his wife Linda and young family, has been hunting within this valley for thirty or so years. Only a handful of times has his father been successful downing an elk, but it is the hunt that draws them all back, the removal from modern society, and the return to a primal existence for at least a few days out of the year.

I whisper back to Daniel, “What happens if you shoot an elk say down there,” pointing down the embankment. “Say it’s on that hill in the valley below?”

“My dad and I have a signal we’ll make so we’ll all recognize one of us made a kill. From wherever the kill lies, we’ll gut and skin the elk and over the course of the day or following day, then hauling the meat back to camp, including the head and antlers.”

From where we were, camp was an approximate seventy-five minute hike, in the snow, with gear and weather. And between the three of them, four if I include myself, a large bull elk would easily take multiple trips to get back to camp. But the elk don’t come. Any hunters below don’t rustle them out of their protection and up towards us. But we take joy in watching them from afar, relaxed in their environment but constantly aware of the risks within the wilderness. They know nothing other.

Eventually the sun is higher but the cold threatens furthermore, so we stand, stretch and load up. There are multiple modes of elk hunting, and we witnessed them. Juan prefers to stay in one spot, waiting as quiet as a mouse, for that happenstance of a herd crossing. He’ll wait all day if he has too, eight hours maybe, maybe more. We spotted other hunters doing the same. They rode in from camp on horseback, tied them up to a tree at a distance, and sat like Buddhas in camo. But Daniel’s methodology is slightly different; sit then move. Sit then move. Both style of hunting needs one another, because the sitters wait, and the movers help flush the elk. One’s yin to the other’s yang. I preferred the hybrid role of Daniel’s liking, and that is what we did, explore the hills and valleys, the streams and thickets of woods. We spotted owls, old mining equipment, and frightened deer. Crows cawed at our approach and hung high in the air, their echos ringing for what seemed like eternity.

And each night we returned, wild with anticipation of a cold beer and stories to tell – all the things we saw and didn’t see – and the feelings and thoughts had while exploring a wintry woodland, as if we had it all to ourselves. But it was elk season, and others were out there, unseeing, but most likely watching our experimental activities. And we feasted. Pallae with meat and shrimp. Tacos and burritos. Fresh pasta and marinara. And whiskey. And each night the winds returned and the snow pounded the tent. That one sunrise was all we were gifted as winter made Herself welcome.

The great naturalist, conservationist, writer, explorer and all-around observer John Muir put it succinctly when we witness nature at its core, whether out in the eastern mountains as gray northern clouds roll over the terrain bringing a fresh sheet of frozen rain, to the symbiosis of all things breathing within the sweaty tropics of Earth’s rainforests: “When we try to pick out anything by itself we find it is bound fast by a thousand invisible cords that cannot be broken, to everything in the universe.”

Time in nature, a nature as uninterrupted by human intervention as possible, is priceless. It is a reset to a truer existence as well as a break from the monotony of modern civilization. Looking back at the experience of days and nights on the mountainside, enduring weather and fatigue and often all-out boredom of sitting, watching, waiting in absolute silence… was as magical as being showered by a billion soundless diamonds. It is a time to withdraw into one’s Self and focus on one goal – to survive – but also to hunt for the basics food (albeit for me to capture it all as authentically and as richly as possible). And right now, still snow covered and winterized, that valley persists effortlessly; the elk hidden within the yellowing larches, the crows drifting across drafts of wind that whistle through kaleidoscopes of bare branches, while the northern clouds will soon be shifting, arriving dryer, lighter from a more southernly direction. And the hand of time will continue, as it has, undeterred by anything in its rotation, but waiting to see what we will do to the place we call home.

Watch the motion piece below:

For more, please visit www.CameronKarsten.com & www.The-Subconscious.com

The Forgotten Seasons – Santa Barbara

It’s like a poem, watching your children in a new space, a new environment. Free to roam, to be, to discover. Add in immaculate beaches and warm sunshine, there seems to be a world of possibilities with undeterred happiness. Your children look at you and smile.

Here there are wide open vistas, singular simplified moments, to textured geological timeframes. For a view of the whole series, visit The Forgotten Seasons and fine art sales available at the Here & Now Gallery.

For more visit www.CameronKarsten.com | www.Here-Now-Gallery.com

Preserving 38: A Bainbridge Island Land Trust Success Story

At the start of 2025, Bainbridge Island Land Trust came to me with urgency; 38 acres of pristine forest was up for sale to the highest bidder. The Grand Forest East now had a price tag, and in today’s land grab, the outcome could be disastrous. Within this expanse of wildland is a network of intertwining pathways that allows the broader community to experience the serenity of the outdoors. It is a place of activity, hills and valleys of ferns and moss were people gather to walk, hike and bike; and safe trails for the local cross-country team to train upon; as well as horseback riders searching for rays of sunlight piercing through the canopy up high. It is a room without walls for an overall experience of mental health.

Not only do the local residents thrive within, but the native flora and fauna thrive as well with little to no noise pollution disturbing the air between the woodland’s thick fur stands. Various fungi find the shade and moisture between a natural compost, and species from raccoon, owl, black bear and deer pass through as a part of a larger natural causeway for animal passage.

So with a deadline of one month I was tasked to capture still photography and a dozen or so motion vignettes of the people and their activities within the 38 acres that represent for the community as a whole. Released online and varying social media channels, the BI Land Trust in partnership with the Parks and Trails Foundation were able to secure the necessary funding to purchase the land and preserve the heritage of a wild outdoor space for generations to come.

For more visit www.CameronKarsten.com | www.the-subconscious.com

Spring in January: Tideland Magazine and WaveKelly

This was a tiny editorial shoot in January, with an emphasis on spring outdoor athletic wear by WaveKelly. The trick? Find the best model, a Pacific Northwest talent who knows the PNW cold in January. Meet Lauren Alexander. Pro.

For more visit www.CameronKarsten.com and www.the-subconscious.com

The LV in Las Vegas

I have an extreme love/hate relationship with Las Vegas. I love the food. I love the energy. I love the visuals. I love the stimulation. But I hate the purpose and the sole reason for Las Vegas’ existence. It is a magnificent desert drained by the behemoth of humanity’s opulence and overtly outrageous drive for more. The stark contrast to nature is superior to all cities but few, and the resources to make it grander are what suffer the most. I often say The best part of Vegas is when you’re leaving Vegas.

But I love Vegas because it is a rare chance to walk the streets and gawk at the marvel of it all. It is manmade’s most wildest, daring, and creative. It is like the conception of the nearby Hoover Dam, a neighboring monstrosity impeding the natural flow of the West’s greatest and most wildest tributary. It is like the drawing of an island in the shape of a palm in the mild of a desert oasis, and actually having the wherewithal to do it so large that 25,000 residents can live there. Las Vegas is like the discovery of fire and the evolution of its usages to advance modernity.

These images were taken with the Leica Q2 after days on production, mostly in the fading light to near complete darkness (however nothing is not illuminated in Las Vegas).

For more visit www.CameronKarsten.com | www.The-Subconscious.com

The Forgotten Seasons: Down the Pacific and Back

As part of an on-going series titled The Forgotten Seasons, I’m constantly training my eye on my family, not only as a father and partner, but as a photographer, seeking those moment of joy and elation, those times of overt emotion and strained tension, as well as the things of pure absolute beauty.

The project began back during 2020 Covid lockdown, when our expanding worlds as a young family shrunk and became isolated. Work disappeared and we found ways to be creative with what was within our immediate circles. To keep developing my career among the long hours of idleness, I enrolled in an online photography program taught by David Alan Harvey, and it was here I was encouraged to pursue the muses right in front of me; the ever-changing growth and evolution of familyhood.

This current series reflects an end-of-the-summer roadtrip, with our parental patience already worn thin, down the Pacific Coast and back before the long-awaited start of the next school year.

For more visit www.CameronKarsten.com

Detritus

There are moments in time, places that have come and gone. We see things with limited scope, and experience the world around with the smallest of spans. Waking and sleeping, living and dying. There is nothing so fragile as the time we breathe.

It is all like an ocean; the passing of tides, a revolution of one great current. Water, water and more endless streams of water. In the air, on the ground, captivated by gravity. The Detritus of our imaginations.

Visit www.CameronKarsten.com for more

Unveiling Authenticity Through the Lens: An Interview with Cameron Karsten

The Vodou Trail in Haiti exploring the ceremonies and rituals of Haitian Vodou – © Cameron Karsten Photography 2015

This original interview was posted on Production Paradise’s website. It is always a pleasure to sit down at an interview and reflect upon my career, where I’ve come, and ultimately where I keep striving to get to. It is a constant development, creating something new, fresh, enduring, and most importantly, something entirely me. See below for the full interview:

Cameron Karsten is a photographer [and director] who seamlessly melds authentic moments with artistic brilliance. In this interview, we delve into Cameron’s unique approach, where the art of preserving authenticity harmonizes with visual aesthetics. From creating profound relationships with subjects to harnessing light and shadow, Cameron shares insights into his creative journey, highlighting the essence of genuine storytelling.

Based on your work, I can see you like to seamlessly incorporate candid and authentic shots with the products you’re shooting. How do you strike a balance between creating visually stunning images and preserving the authenticity of the subject or moment?

When going into a scene, a situation, a job or project, I do my best to really first observe and listen to the environment, surroundings, people and talent. I learn as much as I can from where I am and who I am working with and start by creating a relationship. This creates trust, something beyond just work. It’s a commonality, which then allows things to unfold naturally, authentically.

The Discovery Channel and Dish Network photographing Capt. Wild Bill for The Deadliest Catch – © Cameron Karsten Photography 2019.

As a photographer, you have a unique ability to capture the small details that make a scene come alive. Can you walk us through your thought process when scouting a location or setting up a shot, particularly in terms of how you select and emphasize those captivating details?

I love to create depth, and almost 100% of the time shoot wide open. This allows me to isolate the scene and tell the story with varying layers of foreground, middle and background. Revealing the story in front of me is what I strive to do, almost like a fly on the wall, or an out-of-body experience – something to ponder, observe and listen to.

The interplay of light and shadow is a prominent feature in your work. Could you share some insights into how you approach lighting in your photography to enhance the overall impact of the image and evoke specific emotions?

I went to school for photography and spent the hours inside a studio playing with continuous and strobe lighting. Once I felt confident, I took these outside the four walls and intermingled it all with natural light. That’s the ultimate trick utilizing the natural light, then adding light subtly enough to not make it look so. As I’ve developed in my career, I’ve come to appreciate the harder shadows, similarly portraying a scene as an act revealing and or hiding. 

Garmin’s new Livescope XR in Millie Lacs Lake, Minnesota – © Cameron Karsten Photography 2022.

How do you think your unique process and style separate you from other photographers?

I’m a firm believer in paving your own path. I look at others’ work and appreciate it, but keep using my intuition and inspiration to make it my own. It might not necessarily be new, but it is wholeheartedly from my source of creativity and desires. And understanding that I’ll never stop developing my work and career helps push me farther down this path when it gets difficult or stagnant.

You have had the opportunity to work with renowned brands such as Camelbak, The Discovery Channel, and Patagonia. How have these collaborations allowed you to merge your creative vision with the brand’s identity? Can you share an example of a project where you felt particularly fulfilled in bringing your artistic vision to life while representing the brand effectively?

Every client is different. They want something from you that you provide, and knowing this, that they didn’t come out of nowhere, builds a sense of confidence in my own brand and what I can bring to the table. When on these projects out in the field, it starts with a relationship and ends with a relationship… all the while we are creating together or “working”. In the end it does not feel like work. It feels like each member of the team being themselves – the popular adage You Do You.

Shot in Monterey, CA for CamelBak – © Cameron Karsten Photography 2022.

‍Establishing a connection with your subjects is a vital aspect of your photography process. Can you describe how you connect with people during a shoot to bring out their authentic selves and create powerful, emotionally resonant images? Additionally, how do you handle challenging situations when trying to establish that connection?

It’s all about creating a relationship by asking questions and listening and then finding the commonality. I think humor and humility bring a lot to the table too. However, sometimes it feels like hitting your head against a wall and on those rare occasions, you just have to keep being YOU and have a clear knowledge of “how to read the room”.

Can you tell us about one of your favorite memories from working on a campaign shoot?

One of my favorite memories was with one of my first clients on the first big campaign. We flew to Norway, Guatemala, Florida Keys and the Pacific Northwest. I remember thinking,“Holy shit! This is amazing that I am doing what I absolutely love to do, and someone is paying me to do this!” And then my next thoughts were similar to, “Don’t fuck this up, Cameron!”

I see you like to do a lot of traveling, taking lots of photos along the way. How does exploring different locations and cultures influence your creative process? Could you describe a specific instance where a travel experience significantly impacted your photography and led to a unique discovery or insight?

I started out by wanting to be a writer and write about my travels through various cultures around the world – a young Paul Theroux in the making. I spent six years backpacking around the world on the frugalist’s budget, writing stories as I went. I carried a film camera with me and would ship rolls of film home. Around this time a small consumer digital camera came on the market and having that in my pocket on my travels with the ability to share the image on the back of the camera with the subject changed my life. I loved seeing how their faces lit up, the joy and the unending smiles. I instantly wanted to tell their stories with pictures instead of just words.

Reddington fly rods in eastern Washington – © Cameron Karsten Photography 2023.

When photographing in diverse locations, how do you balance capturing the essence of a place while incorporating your personal creative touch? Are there specific techniques or approaches you employ to ensure your images convey both the authenticity of the location and your unique artistic perspective?

When walking into a new place, there is an instinct in me to just observe with all my senses and take it all in. It’s a meditative experience, letting the eyes dash about the scene without any judgement. When I come into a place with the idea of taking photos, I allow this to happen and then at some point start to move around the scene, learning more whether it’s a structural scene and its’ angles, or a person filled with personality, or a natural landscape with sun, clouds, flora and fauna. I then find the right moment to press the shutter.

Do you have any upcoming projects you can share with us?

I have a doozy of a project in Italy, that keeps shifting due to the availability of the boats we’ll be utilizing. I just purchased my tickets for me and my camera op, but just had to cancel them since it all appears to be a moving target. There are less than two weeks until production begins, and still no one knows where we need to be and what we will be on… (postscript; the shoot in Italy went off without a hitch, the whole team making the seemingly impossible perfectly possible – see post here).

We extend our gratitude to Cameron for offering us a glimpse into their world of photography. His insights and artistic journey have been an inspiring revelation, and we look forward to witnessing more of his captivating work in the future. Too see more work, visit www.CameronKarsten.com.

Reflective Layering: Winter

Lake Chelan, WA – New Years 2023 © Cameron Karsten Photography

I think about seasons as temporary transformations of emotion, physicality and the obvious surrounding environs. To me, winter is dark, cold, unforgiving, and often turbulent. A time of rest, thick socks, hot wood-burning stoves, and dark beers to ease my moodier outlook of the external world. Being from the Pacific Northwest, winter is more or less all those things, but milder with intermittent wind storms and snow that lasts a day or two before melting into a brown slushy soup that you can’t help but wish away sooner rather than later. Back to the rain.

However, as a father with two daughters, it is a season of new adventures and explorations. Getting the young outside to discover is no easy task. The layering, the timing, the coaxing with gallons of hot chocolate… It is never for naught, but an opportunity to expand the horizons and see the new; the soft tones of grays, whites, blacks and muted greens, with the occasional shocking blues. And it is a time to go within, to be still and watch the passing clouds and the water drops fall from the eves. In the PNW the sun is forever low on the winter horizon, if it appears at all, and the shadows always long, creating the ever contrasted frames of intrigue. Wherever you look, there is a place to go and train your eye.

I love when the light pierces through the canopy. I love when patterns and symmetry line up. I love when a tree stands out, tall like a monolith, a representation of the ages still strong, still remaining, like a wise sage oblivious to it all. I love when it all comes crashing down: When the light is flat and the waters still. When the forms shatter and chaos creates the creative imagination. When there is busy-ness infused with light and darkness. I think this is what makes the world go round, the brain taking in all the senses every waking hour and the heart making sense of it all through one simple thing – a feeling.

“To examine oneself makes good use of sight.” – Chuang Tzu

Mammoth Lakes, CA – 2022-2023 winter’s historic season, one atmospheric river after another. © Cameron Karsten Photography

This is my winter monologue; an exposé of images, thoughts, examinations, feelings and wonderment. It is a time of cabin fevers and extreme endurance. A place of stillness and wild abandon, often digging deep to remain true to oneself or simply to remain alive per the elements. All outcomes are a possibility.

CAMERON KARSTEN PHOTOGRAPHY

Active, Lifestyle, Portrait | Photographer + Director

Represented by The Gren Group | SEATTLE • LA

www.CameronKarsten.com | 206.605.9663

The Forgiven Seasons – Walk on the Wild Side

Watching your child grow is a masterclass in many things: obviously patience, but equally wonder, humility, happiness, frustration, the shouldas and the wouldas… and the yins and yangs of one’s own personality. It is to be active and inactive. It is to be protective yet withholding any fears. It is to be a teacher and a student at the same exact moment in time.

The Forgiven Seasons is an ongoing visual witnessing of youth as they grow from isolation into a limitless world limited by the constraints of yesteryear’s residuals. They grow from a singularity into a fevered exploration of what is what. In this journey, they step into the moss-laden forests to use their imaginations of young and old, discovering the nooks and crannies of old wood in search of faeries; a Walk on the Wild Side.

For more visit www.CameronKarsten.com