Alpine Exposures - Sample by Vertebrate Publishing

ALPINE EXPOSURES

Over the last ten years, Jon Griffith has established himself as one of the world’s leading mountain sports photographers. A highly accomplished alpinist, he continues to push himself to shoot that which has never been shot before. This approach has taken his climbing and photography to a level that sees him regularly work with climbers such as Ueli Steck and embark on cutting edge ascents in the Alps, Patagonia, Alaska and the Himalaya. Dans la dernière décennie, Jon Griffith s’est imposé comme l’un des photographes les plus reconnus du monde de la montagne. Sa passion pour l’alpinisme l’a amener à un très haut niveau, ainsi il photographie ce qui n’a jamais été photographié avant. Aujourd’hui, sa reconnaissance lui permet de pratiquer avec des alpinistes aussi reconnu qu’ Ueli Steck. Il a parcouru des voies ultra modernes dans les Alpes,

Jon Griffith presents over ten years of breathtaking photography in the Western Alps. Written in English,

alpine exposures Jon Griffith

Foreword by Ueli Steck

French and German languages, and with a foreword by leading alpinist Ueli Steck, Alpine Exposures takes the reader on a tour of cutting edge climbs deep in the heart of the Alps’ most celebrated mountains. Dans Alpine Exposures, photographe de haute montagne, Jon Griffith, vous présente plus de dix ans de photographie dans les Alpes Occidentales. Ecrit en Anglais, Français, et Allemand, et avec une préface par l’extraordinaire alpiniste Ueli Steck, Alpine Exposures emmène le lecteur dans un voyage visuel des voies les plus dures et connues dans les montagnes du coeur des Alpes. Mit Alpine Exposures besticht Bergsport Fotograf Jonathan Griffith durch atemberaubende Fotografie in den Westalpen. Das Buch entführt den Leser auf eine Reise, über einige der modernsten und schwersten Routen an den berühmtesten Gipfeln der Alpen. Der Text ist aus dem Englischen ins Deutsche und Französische übersetzt.

JON GRIFFITH

La Patagonie, et L’Himalaya.

In Alpine Exposures, mountain sports photographer

Über die letzten zehn Jahre hat sich Jonathan Griffith als einer der führenden Bergsport Fotografen etabliert. Er selbst ist ein versierter Alpinist und seine persönliche Herausforderung ist es, immer wieder Einstellungen zu finden, die so noch nie fotografiert wurden. Durch diesen Ansatz hat er sowohl sein Kletterniveau, als auch seine Fotografie so weiterentwickelt, dass er heute oft mit Athleten wie Ueli Steck arbeitet und sich auf Spitzenalpinismus in den Alpen, in Patagonien,

ALPINE EXPOSURES ISBN 9781910240137

und im Himalaya einlässt. www.alpineexposures.com Vertebrate Publishing, Sheffield – www.v-publishing.co.uk

9 781910 240137 >

£35.00 / €45.00

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alpine exposures Jon Griffith

Foreword by Ueli Steck

Published by Vertebrate Publishing, Sheffield. www.v-publishing.co.uk

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First published in 2014 by Vertebrate Publishing. Vertebrate Publishing, Crescent House, 228 Psalter Lane, Sheffield S11 8UT, United Kingdom. Copyright © Jon Griffith 2014. Foreword copyright © Ueli Steck 2014.

alpine exposures Jon Griffith

Foreword by Ueli Steck

The author has asserted his rights under the Copyright, Designs and Patents Act 1988 to be identified as author of this work. The author has stated to the publishers that, except in such minor respects not affecting the substantial accuracy of the work, the contents of the book are true.

For my father and mother.

A CIP catalogue record for this book is available from the British Library. ISBN: 978-1-910240-13-7 (Hardback) 10 9 8 7 6 5 4 3 2 1 Front cover: Andy Houseman high up on the serac of the Grande Gargouille at sunset. Back cover: Ally Swinton on the knife-edge ridge of the Innominata with the Peuterey Integral in the background. Author photo by Andy Houseman. All photography by Jon Griffith unless otherwise stated. All rights reserved. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means – graphic, electronic, or mechanised, including photocopying, recording, taping or information storage and retrieval systems – without the written permission of the publisher. Every effort has been made to obtain the necessary permissions with reference to copyright material, both illustrative and quoted. We apologise for any omissions in this respect and will be pleased to make the appropriate acknowledgements in any future edition. Designed and typeset in The Sans and Univers by Nathan Ryder – www.v-graphics.co.uk Printed and bound in Slovenia by Latitude Press Ltd.

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CONTENTS Foreword by Ueli Steck ��4 Introduction ��8 Climbers �� 12

ALPINISM �� 14

LANDSCAPE �� 164

SKIING �� 46

ICE CLIMBING �� 196

CLIMB ��66

FLIGHT �� 210

Grand Pilier d’Angle – Cecchinel-Nominé �� 68 Mont Blanc – Innominata Ridge �� 74 Grandes Jorasses – No Siesta �� 80 Mont Blanc du Tacul – Gervasutti Pillar �� 86 Grands Charmoz – Grépon Traverse �� 90 Grandes Jorasses – Manitua �� 96 Mont Blanc – Freney Pillar �� 102 Aiguille du Peigne – Full Love for Dry and Ice �� 106 Eiger – 1938 Route �� 110 Grandes Jorasses – Croz Spur �� 116 Grands Charmoz – North Face �� 120 Mont Blanc – Peuterey Integral �� 124 Aiguille Verte – Naia �� 130 Mont Maudit – Kuffner Arête �� 136 Mont Blanc – South Face in Winter �� 140 Les Droites – Czech Route �� 146 Les Drus – North Couloir Direct �� 150 Grandes Jorasses – Desmaison-Gousseault �� 154

WORK �� 214 Speed Ride – Monte Rosa East Face �� Speed Ride – Mont Blanc West Face �� Speed Ride – Breithorn North Face �� Aiguille des Pélerins – Beyond Good and Evil �� Aiguille Verte – Whymper Couloir �� Grandes Jorasses – Colton-MacIntyre �� Mont Blanc du Tacul – Diable Arête �� Mont Blanc du Tacul – Supercouloir Direct �� Rochefort Arête �� Les Droites – La Ginat �� Grandes Jorasses – Desmaison-Couzy �� Argentière Basin Link Up ��

CONTENTS

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216 224 230 234 240 244 250 256 262 266 272 280

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FOREWORD at a certain location and get it over with so I can go climbing again.

It is freezing cold. We are standing on the summit of the Grandes Jorasses

In the following years we’ve joined forces for several photoshoots

in the middle of winter. The chilly wind swallows the last sounds of the

and things have changed a lot since that first day. Jon doesn’t wear ski

When working with Jon this concept doesn’t work because to him, every

disappearing helicopter that has just dropped us off. Over a thousand

boots to climb, his Alpine climbing ability has improved hugely, and he

face, every mountain is there to be climbed and to be photographed.

metres of abseils down the Colton-MacIntyre on the north face separate

now even opts to ski in climbing boots. Very occasionally we work with

I have learned to value his idea of photography because it means we can

us from our skis, which we left at the bottom of the wall to ease our

a helicopter but as a general theme Jon wants to have a true story

just go climbing together. There couldn’t be a better set-up. We just go

descent back to Chamonix. The first time Jon and I set out together for

behind his photos. Photoshoots on the Aiguille du Midi is something

out and climb and in the end we come back with some amazing pictures.

a photoshoot was here, on the Grandes Jorasses, and we were there to

that everyone is able to do, even though I once talked him into it;

Jon’s Alpine climbing career is impressive as well and that’s a key

document my solo climb which I had done about a week before.

but what they make up with in simplicity and ease they lack in depth

attribute to the stories behind the images that he comes back with –

and meaning – they are not the most inspirational pictures, and

enchainments in the Alps, the Karakoram, Alaska, Patagonia, and I don’t

My personal ethic for solo projects has always been to put in the effort

anyone could take a photo from up there. With digital photography

even count how many times he has been to the Grandes Jorasses!

first and take care of the photos afterwards. I would never allow a

it has become easy to take a nice picture and there are many good

photographer on one of my solos as it just doesn’t seem right to me.

photographers out there. What really counts is when a photographer

Today, Jon has started to really put his mind into training and I have

Everyone has their personal ideas about Alpine climbing, photography,

can move comfortably in the mountains.

started to drink a beer every once in a while. I’ve become older and slower and have to keep an eye on him so he doesn’t become faster

or simply how to lead their life. We all live by our personal ethics and develop our own set of rules which make us decide and evaluate things

Nowadays, I dare say that Jon has morphed from photographer to

than me. My only hope is that he will turn back towards his British

in different ways, and Jon approaches his work no differently.

alpinist. Over the years that I’ve known him, he has become fitter, faster,

background and drink some more beer while I keep on training in

and has developed his Alpine climbing to a high standard. It’s now quite

a serious manner.

Jon and I spent the next few hours abseiling the entire north face and

a dilemma for him on good weather days as he has to decide between

taking photos and videos of the climb as we went. It was proper work to

a paid photoshoot and a personal climbing day. Most of the time he will

The one thing that will always be hard for me to accept is when we

say the least! I would abseil from the top of a pitch to the belay below

decide for Alpine climbing, which is a poor choice if you look at it from

pack our bags and Jon puts in his heavy camera – I’m quite a stickler

while Jon would position himself and get ready to start shooting. Once

an economic perspective. But this attitude is what has made the photos

when it comes to keeping weight to a minimum, and my consolation

ready, I would climb the pitch and he would take pictures as I came back

in this book what they are – photos of faces, of mountains, of Alpine

for that now is in this book. Life in the present moment is what counts.

up towards him. On paper it sounds very straightforward, but, of course,

climbing. This isn’t Photo Model Alpinism, but a purist approach to

Experiences and encounters are what we keep and what shapes us.

halfway up a north face in winter nothing is ever straightforward.

capture what is possible in the world of alpinism rather than easily

Jon’s photography conveys these experiences. He captures the

staged shots with no depth. I find this idea genius; it is what matters

authenticity and spirit of these moments in time and I’m glad

Back then Jon wore his ski touring boots and was convinced they were

and counts most to us as climbers. You have to be able to feel the

that he at least is keeping a record of them.

the warmest thing he owned and therefore ideal to climb with in winter

emotion of the moment in a photo. You can tell whether the climber

conditions. I didn’t think much of it and blamed his British roots for his

poses for the picture or whether he is actually climbing, has freezing

Ueli Steck

winter climbing style. Twenty-five years ago we tried to climb ice in ski

cold hands, or is scared five metres above his last piece of protection.

May 2014

touring boots as well – it was the best thing you could find then! But we quickly realised how unpractical it was. Ski touring boots are developed

Combining photography and Alpine climbing has not always been

for skiing in, not for climbing in. In the end his choice of footwork didn’t

easy for me. This is because Alpine climbing is the pure driving force

matter much as he produced beautiful pictures of our day on the face.

for me, whereas Jon embodies both Alpine climbing and photography.

It certainly wasn’t your traditional photoshoot.

A photoshoot means actual work for me, so I’d rather invest one day

ALPINE EXPOSURES

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Ueli Steck racing up the first ice-field of the Colton-MacIntyre on the Grandes Jorasses north face. Our first work shoot together.

Ueli Steck avalant le premier champ de glace du Colton-MacIntyre dans la face nord des Grandes Jorasses. Notre premier photoshoot ensemble.

Ueli Steck rennt 端ber das erste Eisfeld der Colton-MacIntyre an der Grandes Jorasses Nordwand. Unser erstes gemeinsames Fotoshooting.

FOREWORD

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INTRODUCTION Almost exactly ten years ago, on a damp and cold morning, I sat myself

The core values that form the foundations of our sport are values that

towards a certain style of climbing or a certain style of photography and

on a tandem with my housemate Jack Frost and cycled from Bristol,

I uphold in my work as well. I shoot as a climber not as a photographer

for them I am eternally grateful. My photography is constantly evolving

in the west of England, to Zermatt, traversed the Monte Rosa Massif,

– I like to shoot the real and honest truth behind climbing because at the

and is a direct result of the Alpine partnerships that I’ve had in the past

and cycled back again. It was a time of change for me. My mother had

end of the day photos can hide a lot as well. Technology has supplied us

and will have in the future. There is a reason why every climber is named

been diagnosed with cancer and six months later I held her in my arms

with increasingly powerful software that allows us to alter and change

in the caption in this book.

as she took her last breath. I experienced grief on a level that I didn’t

images – in a place where you may find yourself at your most honest

think I could ever experience – the 9-to-5 life that I had been gearing

and genuine in life it seems sad when I see images taken that have been

When I set out to make a book about my last decade of climbing I knew

up for lost all meaning. But I took solace in the mountains of the Alps.

altered to make them more ‘poppy’ and eye catching to the viewer.

it wouldn’t be easy, but I wanted to keep true to the values of alpinism and to the people that I’ve climbed with. To that end all the images

It wasn’t so much escapism but somewhere where I felt really strong within myself; personal time is a rare luxury nowadays and I craved it.

If I think to what really inspires me nowadays, it’s still the simple photos

contained are real – these aren’t posed shots but honest moments that

We live in an increasingly over-populated and competitive society where

that tell a story. Alpinism is meant to be a tough game no matter what

show a fleeting glimpse of a greater climb. The extended captions are

we spend most of our lives worrying about how we look, which car is

level you’re operating at, and for me capturing that true grit in an image

there to help set the scene – sometimes it’s easy to forget that behind

coolest and how big our new flatscreen TV is. We place more value on

without needing the ‘hyper reality’ software effect is the holy grail. Take

that single moment through the lens there may have been days of hard

material objects than we do on personal experiences but it doesn’t

Marko Prezelj – without a doubt the world’s best alpine photographer,

climbing, and for me that’s important. There are also longer sections that

make us any happier.

as well as one of the most accomplished Himalayan climbers of our

visually take you through certain climbs and work shoots to help bring

generation. What I love about his shots is that they don’t need glossy

the reader a little in to my world and show what it takes to get these

The mountains to me represent a simple and basic place removed from

post-production work to make them stand out. Sometimes there are

shots in the first place.

all of the human-created stresses and pressures of society. You create

shadows that are too dark to see and there are highlights that are too

your own personal challenge and that’s what I really like about Alpine

blown to make out. But you don’t notice that because at the core of

I’ve been lucky enough to lead an incredible life over the last decade,

climbing – it has minimal competitiveness to it. One ascent can never be

his photo is a human being pushing himself or herself to a limit in an

which ironically was born out of those unfortunate events ten years ago

compared like-for-like – conditions and the very nature of the mountains

environment that few humans have ever been to – and his images speak

and drove me to the mountains. Through the years there have been

see to it that every ascent and every summit is different from the next.

volumes to that effect. A powerful image needs to have a powerful

certain climbers, famous and obscure, who shaped my future as both

The mountains are a very honest stage; you can’t cheat your way up a big

human touch to it and thankfully that is something that post-processing

a climber and photographer and who instilled a sense of ethic in my

route, you can’t rely on the safety net of modern society. It’s just you and

can never replicate. Marko’s images have a timeless quality to them;

work that has resulted in the images that I take today.

your partner and the climb ahead. It’s pure and very real and because of

they draw me in and make me instantly want to look up the route

that it is one of the most genuine experiences that you can accomplish.

and mountain online.

I hope that you enjoy this book. It has been a fantastic experience just delving back over ten years’ worth of mountain adventures and reliving

In those moments of complete exhaustion you find a physical strength that you didn’t know existed, a mental headspace you’d never explored,

But my work is also a product of those that I’ve climbed with. I owe all

old memories with good friends. If there’s one thing that my life as a

and, when you finally sit on the summit, a feeling of self-satisfaction

the images in this book to the people I’ve met, climbed with and shared

climber has taught me, it’s that there’s a beautiful world out there and

that you will never forget. As Greg Child put it: ‘People may say that

a rope with along the way. This book isn’t just my work. They are my

I hope to keep shooting and sharing it with you for many years to come.

alpinism is a fool’s game full of meaningless risk, and they may be right,

photos but a photo of a climber on the north face of the Grandes

but I climb because I thirst to throw back the margins of my world …

Jorasses is just a collaboration – he or she had to get there as well and

Jon Griffith

I know that I am the best man I can ever hope to be precisely in those

there are a handful of climbers who I really owe a huge gratitude to.

September 2014

moments of maximum fear and doubt.’

There have been pivotal partners in my time with whom I’ve steered

ALPINE EXPOSURES

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Korra Pesce on top of the Grandes Jorasses after climbing his tenth route on its north face – a winter variation line of the Desmaison-Couzy.

Korra Pesce au sommet des Grandes Jorasses après l’ascension de sa dixième voie dans cette face nord. Une variante hivernale de la Demaison-Couzy.

Korra Pesce auf den Grandes Jorasses, nachdem er seine zehnte Route an dieser Nordwand begangen hat - eine Winter Variation der Desmaison-Couzy.

FOREWORD

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GRANDES JORASSES – DESMAISON-COUZY It’s not often you get to open a new winter variation line on the Grandes

Ce n’est pas souvent que l’on peut ouvrir un nouvelle variante en face

Es passiert nicht oft, dass man eine neue Winterroutenvariante an der

Jorasses north face, even less so to be able to do it as a photoshoot.

Nord des Grandes Jorasses, encore moins le faire dans le cadre d’une

Grandes Jorasses Nordwand erstbegehen kann; noch viel seltener

Once again Millet were keen on trying something different and original

séance-photo. Une nouvelle fois, la société Millet voulait essayer quelque

während eines Fotoshootings. Millet wollte etwas andere, einzigartige

and it fell upon Julien Desecures to find us an interesting option. Julien

chose d’innovant et d’original. Ce coup-ci, c’était à Julien Desecures de

Bilder, und es lag bei Julien Desecures, diese interessante Option zu

is always scanning the range for new ephemeral lines to do and he’d

trouver un projet nouveau et intéressant. Julien est un amoureux de massif

finden. Julien ist immer auf der Suche nach neuen, flüchtigen Eis-Linien

found one on the Grandes Jorasses that had taken six years of patience

du Mont Blanc, sans cesse en train de scruter les parois du massif, à l’affût

und er hatte eine an der Grandes Jorasses entdeckt, auf die er sechs Jahre

before he could have a crack at it. Our team consisted of Bertrand

de bonnes conditions pour ouvrir et répéter des voies de mixte et de glace.

warten musste, bis er sie versuchen konnte. Unser Team bestand aus

Delapierre, Korra Pesce, Julien and Seb Bohin – a large team, but then we

Aux Grandes Jorasses, il avait repéré une ligne, mais 6 années s’étaient

Bertrand Delapierre, Korra Pesce, Julien, und Seb Bohin – eine große

had work to do, not just play. Nerves were understandably a little high.

écoulées avant que les conditions soient favorables. Voilà notre objectif.

Gruppe, doch es stand Arbeit an, nicht nur Vergnügen. Wir waren nervös. Bei Millet stieg die Nervosität darüber, fünf Leute in solch ernsthaftes

Millet were worried about sending five people into such a serious arena, and we were worried that the line might not actually be climbable and

Notre équipe, bien que constituée de très forts alpinistes et de deux

Gelände zu schicken; wir waren besorgt, dass die Linie nicht wirklich

a waste of a very complex photoshoot.

caméraman (Bertrand Delapierre, Korra Pesce, Julien, Seb Bohin et mois)

kletterbar war und ein sehr komplexes Fotoshooting den Bach runter

allait devoir faire face à une expérience inconnue jusqu’alors : réaliser

gehen würde.

Leaving the hut early in the morning it was amazing to see how many

un photoshoot complexe dans une nouvelle voie, sérieuse et engagée.

people were currently queued at 3 a.m. on the popular routes; every few

Tôt le matin, en quittant le refuge, nous avons assisté à un spectacle

Morgens beim Verlassen der Hütte staunten wir, wie viele Leute schon

years this face comes in to stellar condition and it gets mobbed. We were

rare : un nombre incalculable de cordées étaient en train de faire la

in der Früh um 3 Uhr an den berühmten Routen anstanden; alle paar

glad that we were heading into an unknown as it meant we would at

queue dans la face nord des Grandes Jorasses. De notre côté, nous étions

Jahre sind die Bedingungen an dieser Wand hervorragend und dann

least be the only ones on the route. As we made our way up the line it

ravis de nous engager vers l’inconnu … Au moins, nous serions seuls !

geht es rund. Wir waren glücklich, ins Unbekannte zu ziehen – so würden

progressed in to a series of very thin ice streaks capped with a loose and

La ligne était magnifique, une série de fins placages surmontés d’une

wir wenigstens allein auf unserer Route sein. Wir kletterten unsere

steep M5 pitch. As can so often happen, I got hit in the eye by a block of

longueur difficile évaluée à M5. Malheureusement, à mi-parcours,

Linie hinauf, die eine Reihe sehr feiner Eisspuren aufwies und von einer

ice resulting in me being partially blind in my shooter’s eye from halfway

j’ai reçus un bloc de glace dans l’oeil, me rendant partiellement aveugle.

brüchigen und steilen M5-Länge gekrönt wurde. Wie nicht unüblich,

up – not ideal when you’re being paid to take photos!

Un sérieux handicap lorsqu’on est payé pour prendre des photos !

traf mich ein Eis-Stück am Auge. Deshalb war ich von der Hälfte an

The final headwall provided the perfect setting in the afternoon light,

Le ressaut final baignait dans la lumière de l’après-midi et, tandis que

and as we topped out from the route it was with a sense of disbelief that

nous sortions au sommet, nous avions du mal à réaliser que nous avions

we’d actually done it. Millet would have their photos and Julien would

mené à bien un projet si complexe … La société Millet aurait ses photos

Am finalen Wandkopf fanden wir perfekte Umstände im Nachmittagslicht;

complete his six-year project. As far as photoshoots go, this one was

et Juien avait réalisé un projet vieux de six ans. Pour moi ce fût une

als wir ausstiegen konnten wir nicht recht glauben, dass es uns gelungen

really special and called in to play years of experience climbing and

expérience unique, dans laquelle j’ai dû puiser au plus profond de

war. Millet würde die gewünschten Fotos bekommen und Julien hatte ein

shooting this kind of terrain to pull it off successfully.

mon expérience de photographe.

Sechs-Jahres-Projekt abgehakt. Dieses Fotoshooting war ein besonderes;

auf meinem Ziel-Auge nicht besonders sehtüchtig; nicht ideal wenn man dafür bezahlt wird zu fotografieren!

jahrelange Erfahrung in den Bergen und mit der Kamera waren nötig, um solch eine Aktion in diesem Gelände erfolgreich durchzuziehen.

Seb arrives at the base of the final headwall as the sun swings round on to the face.

Seb parvient au pied du bastion final tandis que le soleil arrive dans la face.

Seb kommt an den Einstieg der Gipfelwand, während die Sonne sich darauf richtet.

WORK // GRANDES JORASSES – DESMAISON-COUZY

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1) Dinner time at the Leschaux hut. 2) Seb checking out the route for the following day. 3) Seb crosses the bergschrund under a half moon. 4) Julien cruising up the lower icefields. 5) Summit team photo. 6) Julien and Seb at the Canzio bivouac hut the following morning.

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Julien and Seb walking in to the Leschaux hut, with the Grandes Jorasses in the distance.

Julien et Seb marchent vers le refuge de Leschaux avec, au loin, les Grandes Jorasses.

Julien und Seb während des Zustiegs zur Leschaux Hütte. Die Grandes Jorasses im Hintergrund.

WORK // GRANDES JORASSES – DESMAISON-COUZY

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3 a.m. and climbers are already high up on the Grandes Jorasses north face.

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3h du matin, des alpinistes sont dĂŠjĂ haut dans la face Nord des Grandes Jorasses.

Ein paar Bergsteiger befinden sich schon um 3 Uhr morgens hoch oben an der Nordwand der Grandes Jorasses.

ALPINE EXPOSURES

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Seb pulls out on to the thin ice that marks the end of the M5 pitch.

Seb rejoint la section de glace fine qui marque la fin de la longueur en M5.

Seb zieht auf das dünne Eis, welches das Ende der M5 Länge signalisiert.

Seb on the final ice goulottes of the route.

Seb dans les dernières longueurs en glace de la voie.

Seb in den letzten Eis Rinnen der Route.

WORK // GRANDES JORASSES – DESMAISON-COUZY

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Julien on the final pitch with the Leschaux glacier far below. Julien dans la dernière longueur avec le glacier de Leschaux en contrebas. Julien in der letzten Seillänge; der Leschaux Gletscher weit unter ihm.

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Seb arrives at the top of the route with the Pointe Marguerite in the background. Seb atteint le sommet de la voie avec la Pointe Marguerite en arrière-plan. Seb kommt am Ausstieg der Route an, die Pointe Marguerite ist im Hintergrund zu sehen.

WORK // GRANDES JORASSES – DESMAISON-COUZY

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