The Frontier Man

The highly anticipated and Oscar-nominated movie The Revenant hits UK cinemas today. Mark Blackmore provides a little insight into the man behind the story – Hugh Glass: pirate, trapper, tribesman, mountain man, and one of history’s most obdurate, durable and vengeful men

Illustration: Jes Hunt

Illustration: Jes Hunt

Details on Hugh Glass’s early life are sketchy, but the best guess seems to be that he was born in Philadelphia to Irish immigrant parents in 1783. He grew up to be a seaman, which was working out unremarkably enough until he was captured by pirates in 1816. Choosing a life of piracy over a quick walk off a plank, Glass remained with the pirate crew until 1818, when he seized an opportunity to jump overboard and swim two miles to shore.

Though Glass quickly gained a companion and moved north, living off the land, they were both captured by Pawnee Indians. Glass watched as the Pawnee hung his companion upside down, pushed hundreds of pine needles into his skin and set him alight. As he was about to meet the same fate, Glass saved himself by offering the Pawnee some vermilion, a highly-valued scarlet pigment that he happened to have in his pocket. So delighted were the Pawnee with this gift that Glass was spared and adopted into the tribe, taking a Pawnee wife and winning a valuable Hawken rifle in a skirmish with local rivals.

This state of affairs lasted until 1821, when Glass visited St Louis as part of a Pawnee delegation meeting with US authorities. He decided to stay, joined the fledgling Rocky Mountain Fur Company as a trapper, and in 1823 took part in an expedition up the Missouri River, headed by Andrew Henry and under the larger command of General William Ashley.

A grizzly encounter

Things started off badly, before quickly getting worse. First, Ashley’s men got involved in a skirmish with the Sioux and the Arikara, during which one trapper was killed and Glass was shot in the leg. Moving on, Andrew Henry took 14 men, including Glass, further upriver. It was at this point that Glass, while foraging for berries, stepped into a cleared area that he recognised as the nest of a mother grizzly bear. 

The bear was present with her cubs, and immediately charged. Glass managed one shot with his Hawken rifle before she was on him, and he underwent the unenviable experience of witnessing her tossing pieces of his flesh to her cubs, who soon joined the attack.

Brought running by the noise, the other men arrived and shot the bears. Glass was unconscious, his leg broken, his back ripped open to the ribs and the rest of his body a mess of claw and bite wounds. Henry offered money for volunteers to stay with Glass until he died and then dig his grave before catching up with the main party, and two men, Fitzgerald and Bridger, stayed.

Left for dead

However, after a couple of days, Hugh Glass was mulishly refusing to die, and his minders were becoming frantic with fear of being discovered by one of the many roaming Arikara war bands. They decided that since Glass would surely soon give up the ghost, it could do no harm to take his rifle and other equipment, telling the others that Glass had died when they caught up. When Glass awoke some time later, he found himself mutilated, gangrenous, crippled, without weapons or equipment, in the middle of hostile Indian territory and some 200 miles from the nearest place of safety, Fort Kiowa on the Missouri River.

After lying on a rotting log to allow maggots to eat his infected flesh, Glass began to crawl towards the Cheyenne River, living on roots, insects, berries and discarded carcasses, for the next six weeks. There he built a raft, encountered friendly Indians who gave him weapons and sewed a bear hide onto his exposed back, and continued on to Fort Kiowa.

A lengthy recuperation followed, and a determination grew to kill Fitzgerald and Bridger, the men who had deserted him and left him for dead...

To learn more about Glass's extraordinary tale, read the full feature in print issue 3 of Ernest Journal, or you can watch Leonardo DiCaprio's portrayal in The Revenant, out in cinemas today. 

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Portrait of a sound design artist

In a remote Welsh valley there is a man beating an old bathtub, strumming a garden rake and demolishing an oven with a pickaxe. Film maker Josh Bennett of Storm + Shelter meets sound design artist Ali Lacey 

Early October. I’m standing on the side of a grassy hill, surrounded by ominous mountains and thick, grey fog. Below me, two skinny figures drag a bathtub into a wooden shed. One of them picks up a mallet while the other closes the rickety door behind them. For the next hour, immensely loud bangs, thuds and crashes echo through the desolate valley. Welcome to the eccentric world of sound design.

Watch Josh Bennett's film on the work of Ali Lacey. Read the full story in issue 4 of Ernest Journal.

A man standing alone in a shed hitting a bath with a mallet could be seen as mad, but in the world of sound design, it's the norm. Ali Lacey is an eccentric sound design artist, and this short portrait allows us a closer look into the world of sound design. Directed, Shot and Edited by Josh Bennett - http://stormandshelter.com Music and Sound Design by Ali Lacey - http://novoamor.co.uk/ *Sample library coming soon in collaboration with Impact Soundwork.* Filmed at Stylee Studios in Snowdonia National Park, North Wales. Produced by Storm+Shelter http://stormandshelter.com http://facebook.com/stormandshelter http://twitter.com/strmnshltr

Directed, shot and edited by Josh Bennett
Music and Sound Design by Ali Lacey 
Filmed at Stylee Studios in Snowdonia National Park
Produced by Storm+Shelter

Josh Bennett is a film maker and director. He is one of those creative guys that waves his hands around a lot when he talks.

He's co-founder of Cardiff-based production company Storm + Shelter.

Shooting for Ernest in South Greenland

For issue 4 of Ernest Journal, we sent photographer Daniel Alford to South Greenland to shoot giant icebergs, hot springs, Norse ruins, turquoise fjords and snow-capped mountains. He didn't disappoint. We chat to Daniel about the adventure, his influences and why geology was the catalyst for his career as a travel photographer...

Daniel tries out his new underwater camera cover for the first time. Photo: Abi Whyte

Daniel tries out his new underwater camera cover for the first time. Photo: Abi Whyte

How did you first get into photography?

I started taking photographs on geology field trips during my A-levels and first year of university. We were pretty lucky with our field work locations, to be honest. I traveled to Iceland and stood between two tectonic plates and watched the northern lights. In Sicily and Stromboli, we conduced our coursework on two of the of most active volcanos in Europe, and we searched for signs of the last Ice Age in Mallorca. 

After switching my degree to music, I started photographing and filming natural history as a hobby and it eventually became all I wanted to do. I definitely owe my love for travel and photography, which drives me so passionately today, to studying earth science and getting the opportunity to travel to amazing places. 

What are your interests as a photographer?

With my landscape work I've always tried to spread awareness. I want to encourage people to get outdoors, have adventures, chase that sunset and ultimately to appreciate nature. I get a lot of enjoyment and perspective from spending time outdoors. 

The more time I spent photographing and developing a style I'm happy with, I naturally started asking for more from my work. At the moment, what interests me is our connection with the natural world. I used to dislike any human element in my photographs. I wanted to capture wilderness and untouched landscapes. I realised recently that I had this all wrong. The most important part of the natural world at the moment, I believe, is how we interact with it, especially at this point in time. Photographing pristine wilderness almost seems like false advertising to me.

There seems to be an inherent connection between people and the outdoors. It's this connection that I find fascinating and I want to document with my photography, whether it be my own connection or someone else’s.

What have been your main influences?

Aside from my previous education in earth sciences, my degree in Creative Sound and Music has had a lasting effect on my photography. The degree taught me how to be creative in a professional context. It taught me to really think about the work I was producing, why I was producing it, and ultimately what the message was. It was then I realised that the process and message aspect of what you're doing creatively is transferable to any art form, whether it be music, design, photography or film. 

The main influences for me in terms of the visual and narrative side of things started with The Lord of the Rings trilogy. I remember watching the first film when I was quite young, and it having a profound impact on me. The other-worldly style, the landscapes, colour grading and cinematography were just immense. Other than that, BBC natural history documentaries like Planet Earth really blow me away. I watch David Attenborough’s programmes almost obsessively. 

Tell me about your experience shooting in South Greenland for ErnestAny highlights or lowlights? 

I had an amazing time working in Greenland. For me, the landscape looked like what I imagine Scotland looked like at the end of the last Ice Age. It seemed both harsh and fragile. Everybody I met there was incredibly friendly and hospitable.

I don't really have any lowlights from the trip! Apart from a particularly rainy day visiting Viking ruins. It rained so much that the buttons on my camera started changing function all by themselves. That was a scary moment. Our flight got delayed on the way home, too, but I was happy enough to spend another night in the country. 

I did have a few strange experiences. Our guide Inga was regaling us with Viking sagas, near the remains of an old church in the fjord where Eric the Red's cousin settled. It was a particularly misty and rainy day and we were the only people there. After she finished her stories, Inga turned to me and said, "You feel like you have been here before, don't you?" I couldn't help but admit that that was exactly how I was feeling. 

I was asked by a few people I met if I had found enough silence since I arrived in the country. I knew what they meant by that. 

There was plenty of hilarity working with features editor Abi – never a dull moment. 

Daniel does a recce of Hvalsey Church. Photo: Abi Whyte

Daniel does a recce of Hvalsey Church. Photo: Abi Whyte

What's your standout memory of your time in South Greenland?

The flight into Greenland from the east was just incredible. You fly over the southern tip of the country seeing the Ice Sheet stretching back far to the horizon. You see glaciers snaking through the fjords, feeding thousands of icebergs in to the sea. 

I will never forget seeing Igaliku for the first time, from a high vantage point. To my surprise it was a beautifully warm day, and the afternoon light was casting long shadows across the fjord. Later that night we were very fortunate – we were treated to an amazing show from the Aurora borealis, despite the full moon. It was really special as I managed to get a few shots, too! 

A lot of people we met told us their stories of spotting whales in the fjords. I was on the look out the whole time. We spent our days traveling around on boats (such is the Greenlandic way) so we were in with a good chance. Near the end of our trip we were lucky enough to briefly see the diving tail of a humpback whale. I'd always wanted to see a whale so I was absolutely thrilled. 

Greenland is the kind of country that when you get back home from visiting, you're going to have to write a new bucket list. 

What did you learn from your trip?

I learned a lot from the Greenlandic people. It was great hearing their perspective on life, the modern world, and also their political situation. Sometimes I felt like I was talking to people from an ancient time – it was humbling. They still have a huge connection with the natural world – it's at the forefront of their culture and their lives, something I think the western world is losing, and could benefit from. 

Oh, and if you travel to Greenland, remember to forget your watch and your time schedule. Things work a little differently there.  

Daniel masters the art of shooting icebergs with cold, numb fingers. Photo: Abi Whyte

Daniel masters the art of shooting icebergs with cold, numb fingers. Photo: Abi Whyte

Who are your favourite photographers?

The people that come to mind at the moment are David Yarrow, Finn Beales, Chris Burkard and Kevin Russ.

Dream photographic destination?

Antarctica seems like a magical place: a harsh and dynamic yet beautiful environment. It would have to be top of the list for me. 

What's on your bedside table?

A house plant, a small framed map of Middle Earth, a few books, and a lamp. 

You can see more of Daniel's photos of South Greenland in print issue 4 of Ernest Journal, on sale now.

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Daniel Alford is a Welsh landscape and travel photographer. He's a lover of geology, history, hiking and cycling. He travels to wild places as often as humanly possible. For the Greenland shoot, Daniel used a Canon 6D, 24-70mm 2.8, 70-200mm f4 and Manfrotto BeFree TripodFree Tripod

danielalford.co.uk

Mining for gold in the Arctic

Every August, Marielle Amelie Lind Hansen and her family venture onto the marshes of northern Norway, in search of an elusive golden berry 

Photo: Marielle Amelie Lind Hansen

Photo: Marielle Amelie Lind Hansen

Andøy, Norway. It’s the first week of August and the behaviour of the locals has changed dramatically. It is cloudberry season, and the hunt is on for this small, elusive berry known as the gold of northern Scandinavia. The season lasts for just one week before they all disappear.

Almost impossible to cultivate, cloudberries can be found growing wild in wet, acidic soil in Arctic and subarctic regions. These hardy berries, which are related to raspberriesm have 10 times more vitamin C than blueberries. They are also packed with vitamins A and E, iron and Omega 3 and 6.

This extremely short harvest, called ‘the cloudberry year’, is such an important event in the local calendar that people bunk off work, mark large areas of bogland with signs telling you where can and can’t forage and spin yarns to trick others into thinking there are no berries left. I’ve heard stories of old ladies staying up into the wee hours to sneak into the fields for their share of the glut, while landowners patrol their bounty with binoculars from the roadside. It’s also a time for celebration – a festival of socialising, gossiping and telling tall tales about the number of berries you’ve found.

In an average harvest, you might end up with around 7kg. My grandmother used to harvest nearly 30kg and would create a vast array of recipes from her yield, from cloudberry liquor to cloudberry cake. Whenever I think of her, I see her surrounded by orange fruit...

Anatomy of a cloudberry

Habitat
Grows in moist, acidic soil in bogs and marshes across north Scandinavia, north America, north Russia and, very rarely, in the moorlands of Britain. 

Leaves
Green, round-lobed, tooth-edged leaves on straight, branchless stalks. 

Fruit
The drupelets of fruit start pale red then turn a yellow-amber in early autumn.The sweet, tart flavour is perfect in jams, tarts and liquers. 

Medicinal uses
Historically used to cure fever and dysentery. In the 17th century, seamen ate cloudberry jam on voyages to prevent scurvy. 
 

This is an extract from Mariell Amélie Lind Hansen's article in print issue 4 of Ernest Journal, on sale now. To read more about her annual family foraging trips in the marshes of Andøy, Norway, order issue 4 below.

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Christmas Gift Guide: Slow Adventure

A Swedish steel blade, a botanist's bag and a traditional rub to soothe your muscles after a day out in the wild – take your pick of these curated gifts for adventuring nomads.

1. Swedish Wilderness Knife, Pedal + Tread, £51.95
Hardened Swedish stainless steel blade and birch handle. Perfectly sized wilderness knife.

2. Leather Knife Sheath, The Future Kept, £39
Made in Britain from vegetable tanned leather and hand stitched with Irish linen thread.

3. Mark the Field Bag, Millican, £99
Inspired by the life of the botanist – designed for outdoor journeys. Grey organic cotton canvas with burnt orange interior.

4. Swedish Hunters Liniment, Fforest, £23.95
A soothing muscle rub. Comes in a birch bark pot with a birch and reindeer leather lid.

5. Mountain Guide Candle, Pedlars, £19.50
Notes of white oak, myrtle berry and sweet birch. Reminds you of your adventures in the mountains. 

6. Pedlars Guide to The Great Outdoors, Pedlars, £16.99
A guide for all the family, based on the Gladstones’ experience of 20 years living in the Highlands of Scotland.

7. Explorers Pack, Not Another Bill, £26
Curated adventure hamper featuring a Stanley flask, Field Notes ‘indestructible’ notebook and pencil and membership to NAB’s explorers club.

8. Bedouin Delireis Rolltop Backpack, Kinoko, £290
Robust and comfortable rolltop pack made from waterproof waxed canvas. Handmade in England.