River’s Portrait – Part I: The Kenai of AK

They said it was a record run. A river gushing red, not with death, but with life. Sockeye. Blood red. In the millions. 4.4 million. The previous record was 2.7 million in 2024. There was color everywhere. Glittering swathes as far as the bend could go. It was like a poem by Nature, spoken by Her very self. A liquid ballet of many organisms pirouetting as one single force of energy, making its final encore of strength and will within a life of complete and wholly endurance.

I was here on the Kenai River with a client to capture all we could within this spectacle, amazing and awestruck, confounded with the inspiration that is this absolute Nature. We were camping and fishing for five days, floating the river on inflatable rafts, fishing with an array of fly rods and reels, and setting up tents and the accoutrements of a glamping campsite. We had a lot of gear.

We flew into Anchorage from Seattle, loaded our amalgam off the carousels and into trunks. We stopped at Cabela’s for licenses and of course, more gear. Then into what is Alaska, driving southward along the winding 1, the Seaward Highway and its fjord-like vistas of steep mountain passes across narrow inlets. This was the Turnagain Arm, a finger of sea with a tidal bore of change. It absorbs the ocean with massive tide swings filling full until emptying again to its muddy bed, only to repeat itself endlessly. And this is where we see the beluga whale. Where I saw the mythical pods themselves, a creature only witnessed in the imaginations of my youth.

One could spot them next to the hordes of tourists—vans, campers, motorcycles and charter buses pulled off onto the shoulder of the highway. There they’d perch on an outcrop and watch as the incoming tide flushed the mud beds. And what followed were the hungry belugas, chasing salmon up to the estuaries and beyond. Their white bulbous heads would emerge from the milky waters in what often looked like pods of fifty or more whales. But we didn’t stop to count. We headed for the river of Kings.

I was sitting on the bow of our inflatable. Currents of red danced beneath the surface, like droplets of a watersplash, arcing away from our disturbances. They rolled one way, the diamonds of red, pink, silver and brown glinting in the refracting sunlight. Their scales like solar panels in a desert heat. Then they’d settle for a calming second before spontaneously dashing up the river like hawks in the sky chasing an imminent death. Only twice did I see the massive shadows.

“Kings,” said our local guide. King salmon. The Kenai was once known as the River of Kings. Large, no… massive, ginormous King salmon up to 50+ pounds of muscle once flooded these waters. Les Anderson knew. In 1985 he landed the behemoth of behemoths. 97 pounds. But that was back when I was a one-year-old; forty years of environmental degradation, industrial destruction and an unquenchable need to fill our plates with every possible sea creature no matter how threatened or endangered they might be, brought us to this end game. There was and still is a domino effect in place.

In the book The Good Rain by Timothy Egan, he stated a fact about every tributary in the region and their role in the fish’s existence: The Pacific Northwest is simply this—wherever the salmon can get to. Historically there have been so many, their populations incomprehensibly abundant that it has been stated that during salmons’ migratory runs upriver to spawn, their numbers are so vast they have been known to create a moving bridge, bridges where settlers could walk across their backs from one side of a river to the other. Obviously, this was an over-dramatized expression, but the visuals of what once were left a mark.

There it went, faster than any sockeye, like a lightning bolt through the atmosphere; a scar upon memory. It was a stealth bomber programed with a singular mission like never before; to save the world—its own existence—before time ran out. The second shadow was more savored. Once spotted in the swift current, we all stopped the doings we were doing and observed in silence. Our heads twisted upriver in unison. Our eyes locked on the target, searching through the mosaics of reds, pinks, silvers and browns while our boat carried us away in an opposite direction. King salmon.

We caught fish. Heaps of them. From thick meaty sockeye—a deep dark maroon red—to 20-inch rainbows that followed them like hounds to feast on their rich fatty roe. Heavy speckled bull trout, one of my favorite fish to witness with their white-lined fins and often red lipstick jawline, bent our rods down low toward the water, and a few silver salmon made it ashore. They were sleek and bullet-like. Our own desires eclipsed judgement as we filleted and fried them under the night sky. On the last evening, a mother black bear and her cub appeared across the river with no bridge to cross, and like the King, they left as if never there. Only a memory of what came before us.

See the full project gallery here: https://www.cameronkarsten.com/Projects/River’s-Portrait/thumbs

And watch the motion piece below: https://www.the-subconscious.com/motion/v/alaska

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

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

An Italian Garmin

Well, when you get a call like this, there is no answer besides an astounding YES! With the request for a more luxury marine shoot for Garmin in the Mediterranean waters off the coast of Genoa, we dropped all other things and flew east.

For deliverables we created a library of still assets for mutliple products, the main being their large Chatplotter screens, as well as their new Fusion Apollo speakers, and various marine watches built for the boating industry. Likewise my team produced 4 motion pieces for the necessary product releases. Of course there were travel delays, equipment hiccups, and the need to pivot and accept the difficulties of creating a campaign in a foreign culture.

For more visit www.cameronkarsten.com and 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

Baja Sur – Grundens South of the Border

Baja California… everything is always better with Baja in it. A taste of Grundens 2025 Spring Collection from where the desert meets the sea. A source of inspiration for your weekend of adventure. Get outside.

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

Represented by The Gren Group

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

Trothe Wine 2024 Harvest

I absolutely dig the client who also becomes a friend and a colleague, along with his staff of people working hard to create and grow the business. Jeff Andrews at Trothe Wines is one of those people and clients.

It was the 3rd time I visited their vineyards, whom I was introduced to via the Seattle-based creative agency DoubleKnot back in 2021. I returned this fall to capture stills and motion of their new harvest, helping their luxury wine brand grow from its foundation to a profitable consumer product.

Throughout the 2.5 days I spent at the vineyards, I shot on 3 different still cameras (Canon R5C, PhaseOne XF with an IQ260 back and Leica Q2), two RED cameras (Komodo on gimbal system and Epic handheld), and one drone (DJI Mini 4 Pro). I shot natural light and Profoto strobes for portraits and accents on subjects, as well as tethered for product bottle shots. All-in-all, the diversity of mediums and imagery keeps my creativity spinning, an inexhaustible source following the light and creating the light when necessary. Motion edited by Sam McJunkin. Visit http://www.trothe.com for more.

For more work visit www.CameronKarsten.com

For video production www.the-subconscious.com

Capturing Italy’s Beauty with Garmin’s Fusion Apollo Speakers

Shot for Garmin in Italy (and North Carolina).

When any great, exciting, unknown, adventurous project lands in the Inbox, my mind jolts with a sense of thrill before settling right into its natural state – calm, clear, and anticipating.

Filming on the Mediterranean was as it should be – luxurious. Cruising off the shores of Portofino and Santa Margarita was a dream. And while there, I stepped into the mindset of all the great Italian artists, harnessing their visions and inspirations, their energies and need to create: Michelangelo, Donatello, Filippo Brunelleschi, Vivaldi. It has all already been done.

For more visit:

www.CameronKarsten.com | www.the-subconscious.com

Sarah Bond: Breaking Barriers in a Male-Dominated Industry

Sarah Bond – President of Microsoft Xbox. I was fortunate to capture portraits of a badass human being doing epic things in a male-dominated industry.

I get to help people see that whatever paradigm they think they’re living in isn’t true—that you can bend solid steel.” – Sarah Bond (read the full article by Harvard Business School here).

For more please visit www.CameronKarsten.com – Represented by The Gren Group