Adirondack Vernacular

Henry M. Beach was a prolific and accomplished upstate New York photographer who documented the North Country during the first quarter of the twentieth century. Although much less known and celebrated, Beach's work is as important to the twentieth-century Adirondacks as Seneca Ray Stoddard's is to the nineteenth century. Illustrated with over 250 examples of his work including ten panoramic foldouts, this book covers the range of Beach's subject matter. Robert Bogdan's lively and accessible approach to the photographer's work encourages the reader to explore the North Country's people and places through Beach's photography and life. Although Beach's postcard pictures and other photographs were taken to sell in bulk to hotel managers, tourist shop owners, and other retail merchants, they are not just mass-produced, stylized, pretty pictures. Beside the bubbling brooks and shady woodland paths are factory boomtowns and paper mills belching pollution. As the rails brought increasing numbers of middle-class tourists to the Adirondacks, the wealthy created their own exclusive wilderness playground. Beach photographed dandy visitors at play as well as manual laborers sweating in the forest, logging camps, factories, mines, and construction sites. Images of "great camps" sit next to modest abodes, small stores, and family-owned resorts. Pictures of trains in scenic surroundings give way to mangled wrecks after tragic railroad accidents. In addition to standard view cards, he produced montages and advertisement postcards serious visual commentary as well as lighthearted picture play. Beach's best works stir the heart and provoke the imagination, and his whimsical, down-to-earth approach to photography produced images that are a treat to the eye.

Just as the new technology of photography was emerging throughout the United States in the mid-nineteenth century, it caught hold in the scenic Adirondack region of upstate New York. Young men and a few women began to experiment with cameras as a way to earn their livings with local portrait work. From photographing individuals, some expanded their subject matter to include families and groups, homes, streetscapes, landmarks, workplaces, and important events—from town celebrations to presidential visits, train wrecks, floods, and fires. These photographers from within and just beyond the park’s borders, as well as those based in the urban areas from which tourists came to the Adirondacks, have been central in defining the region. Adirondack Photographers, 1850–1950 is a comprehensive look at the first one hundred years of photography through the lives of those who captured this unique rural region of New York State. Svenson’s fascinating biographical dictionary of more than two hundred photographers is enriched with over seventy illustrations. While the popularity of some of these photographers is reflected in the number of their images held in the collections of the Library of Congress, the New York Public Library, and the Getty Museum, little is known about the diverse backgrounds of the individuals behind their work. A compilation of captivating stories, Adirondack Photographers provides a vivid, intimate account of the evolution of photography, as well as an unusual perspective on Adirondack history.

The lakes of the Adirondack region are explored in this superb collection of masterful images, most of which are previously unpublished. The photographs in Adirondack Lakes were taken by well-known and lesser-known photographers of the region, including Seneca Ray Stoddard, George W. Baldwin, H. T. Hull, Katherine E. McClellan, William Kollecker, William L. Distin, and Henry M. Beach. Dating from 1858 to 1948, they are clear, focused, visually engaging, and historically significant. They show the men and women who developed the Adirondacks, from monied entrepreneurs to manual laborers, from hoteliers to roadside attendants, from vacationers to year-round residents-a cast of characters reflecting nearly a century of Adirondack activity.

The rugged wild of the Adirondack Mountain region of New York has been a haven for sportsmen for hundreds of years. Hunters, fisherman, and trappers have found freedom and solitude in the crisp mountain air and vast expanse of wilderness. This book consists of historical photographs and background information about fishing, hunting, and trapping in the southern Adirondacks. Places mentioned include Remsen, Speculator, Perkins Clearing, and Long Lake, among others. The author is a contributing reporter, photographer, and columnist for the Boonville Herald, and a freelance outdoor writer.

An immersive journey into the past, present, and future of a region many consider the Northeast’s wilderness backyard. Out of all the rural areas of the United States, including those in the West, which are bigger and propped up by more pervasive myths about adventure and nation and wilderness and freedom, the Adirondacks has accumulated a well-known identity beyond its boundaries. Untouched, unspoiled, it is defined by what we haven’t done to it. Combining author Matt Dallos’s personal observations with his thorough research of primary and secondary documents, In the Adirondacks rambles through the region to understand its significance within American culture and what lessons it might offer us for how we think about the environment. In vivid prose, Dallos digs through the region’s past and present to excavate a series of compelling stories and places: a moose named Harold, a hot dog mogul’s rustic mansion, an ecological restoration on an alpine summit, a hermit who demanded a helicopter ride, and a millionaire who dressed up as a Native American to rob a stagecoach. Along the way, Dallos listens to locals and tourists, visits wilderness areas and souvenir shops, and digs through archives in museums and libraries. In the Adirondacks blends lively history and immersive travel writing to explore the Adirondacks that captivated Dallos’s childhood imagination while presenting a compelling and entertaining story about America’s largest park outside of Alaska. The result is an inquisitive journey through the region’s bogs and lakes and boreal forests and the lives of residents and tourists. Dallos turned toward the region to understand why he couldn’t shake it from his mind. What he learned is that he’s not the only one. In the Adirondacks explores the history and future of the most complicated, contested park in North America, raising important questions about the role of environmental preservation and the great outdoors in American history and culture.

This book features the best day hikes and weekend backpacking trips in the mountain wilderness of northeastern New York State. From 360-degree mountaintop views to dramatic waterfalls and pristine ponds, it takes readers to 47 of the most scenic locations, some well-known and others off the beaten path.

Encompassing the lands immediately surrounding the upper reaches of the Beaver River from its headwaters at Lake Lila to Beaver Lake at the settlement of Number Four, Beaver River country is the largest undisturbed tract of forest in the entire northeastern United States. During the nineteenth century it was widely considered to be the very heart of the Adirondacks and was visited by thousands of tourists seeking outdoor recreation. The area boasted a busy railroad station, two grand hotels, an exclusive resort, and an elaborate great camp, as well as dozens of guides camps and sporting clubs. Pitts traces the generations of people who inhabited the region, from the ancestors of the Haudenosaunee, to the early European settlers, to the vacation communities and seasonal visitors. With each generation, Pitts shows how Beaver River country escaped the forces that fragmented and destroyed the wilderness in much of the Northeast. The forest and waters that attracted the early visitors are still there, preserved by a combination of happenstance and dedicated effort. Filled with rare vintage photographs, this book is a vivid portrait of this wild region, revealing how it came to be and why it survives.

A penetrating analysis of the real-photo postcard phenomenon of the early 1900s. These cards depict the now vanished world of small-town America, but also represent a pivotal stage in the evolution of photography. Their head-on style inherits something of the plain aesthetic of the Civil War photographers, while anticipating the great 1930s documentary artists such as Walker Evans. Fusing his skills as a chronicler of early 20th-century America, a historian of photography and a keen critic, Sante shows how these postcards offer a revealing 'self-portrait of the American nation'.