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Item is a b&w negative of a photograph of the crew loading log onto flatbed truck to move it from the Turnbull & Gail construction yard in Richmond (contractors for the Native Ed. Centre) to old UBC carving shed. Info corresponds to text from WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING pp. 38-41.

Notes:
Robert Tait (Chip) had told all the guys to ask as many people as possible to come move the log off the truck and into the carving shed. They didn’t have a forklift to do this but Norman also said he wanted as many people as possible to “touch the log”, that he wanted things done as traditionally as possible. All lifts and moves were done to the beat of the drum. The log was heavy and it was also difficult getting it between the small saplings.

Geographic Location: The old UBC Carving Shed

Item is a b&w negative of a photograph of the crew loading log onto flatbed truck to move it from the Turnbull & Gail construction yard in Richmond (contractors for the Native Ed. Centre) to old UBC carving shed. Info corresponds to text from WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING pp. 38-41.

Notes:
Robert Tait (Chip) had told all the guys to ask as many people as possible to come move the log off the truck and into the carving shed. They didn’t have a forklift to do this but Norman also said he wanted as many people as possible to “touch the log”, that he wanted things done as traditionally as possible. All lifts and moves were done to the beat of the drum. The log was heavy and it was also difficult getting it between the small saplings.

Geographic Location: The old UBC Carving Shed

Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.)
Notes:
• Norman told me that “they” had to pay for moving the log to UBC’s carving shed (i.e. it came out of his contract monies). After the log was moved into the shed, the wolf clan chieftainess Mercy Robinson Thomas makes a public call for donations. As people come up and put money into a cedarbark hat, she calls out their name and amount. Andy Morrison (in army beret) helps collect and count the money. A total of $126.05 is collected. Then Chip jumps on the log and thanks everybody for their help.

Geographic Location: all photos at area around the old UBC Carving Shed

Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.)
Notes:
• Norman told me that “they” had to pay for moving the log to UBC’s carving shed (i.e. it came out of his contract monies). After the log was moved into the shed, the wolf clan chieftainess Mercy Robinson Thomas makes a public call for donations. As people come up and put money into a cedarbark hat, she calls out their name and amount. Andy Morrison (in army beret) helps collect and count the money. A total of $126.05 is collected. Then Chip jumps on the log and thanks everybody for their help.

Geographic Location: all photos at area around the old UBC Carving Shed

Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.)
Notes:
• Norman told me that “they” had to pay for moving the log to UBC’s carving shed (i.e. it came out of his contract monies). After the log was moved into the shed, the wolf clan chieftainess Mercy Robinson Thomas makes a public call for donations. As people come up and put money into a cedarbark hat, she calls out their name and amount. Andy Morrison (in army beret) helps collect and count the money. A total of $126.05 is collected. Then Chip jumps on the log and thanks everybody for their help.

Geographic Location: all photos at area around the old UBC Carving Shed

Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. Item shows a female toddler standing next to a man holding a drum. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.)

Geographic Location: all photos at area around the old UBC Carving Shed

Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. Item shows a female toddler standing next to a man holding a drum. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.)

Geographic Location: all photos at area around the old UBC Carving Shed

Item is a b&w negative of a photograph of people after log has been moved into the old UBC carving shed. Item shows a female toddler standing next to a man holding a drum. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 40-41.)

Geographic Location: all photos at area around the old UBC Carving Shed

Item is a b&w negative of Harry Martin cleaning out a damaged section at the top of the pole that will have to be plugged. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING pp. 42-45.)

Geographic Location: all photos at area around the old UBC Carving Shed

Item is a b&w negative of a photograph of Wayne and Isaac working to finish up rounding the log so Norman can begin drawing. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING pp. 42-45.

Geographic Location: all photos at area around the old UBC Carving Shed

Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman starts to sketch on the log. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 45-47).

Notes:
Once the log is suitably rounded, Norman is eager to get the drawings on the pole. He brings in the tissue sketches he did for the bid submission, roughly sketching them onto the log. (Note the 5th image [a020808] shows my darkroom printing notations--often my photo choices are indicated with a wax pencil on the contact sheet—sometimes with an X, sometimes a triangle, sometimes a dot—depending on the job.)

Geographic Location: UBC Carving Shed

Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman starts to sketch on the log. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 45-47).

Notes:
Once the log is suitably rounded, Norman is eager to get the drawings on the pole. He brings in the tissue sketches he did for the bid submission, roughly sketching them onto the log. (Note the 5th image [a020808] shows my darkroom printing notations--often my photo choices are indicated with a wax pencil on the contact sheet—sometimes with an X, sometimes a triangle, sometimes a dot—depending on the job.)

Geographic Location: UBC Carving Shed

Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman starts to sketch on the log. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 45-47).

Notes:
Once the log is suitably rounded, Norman is eager to get the drawings on the pole. He brings in the tissue sketches he did for the bid submission, roughly sketching them onto the log. (Note the 5th image [a020808] shows my darkroom printing notations--often my photo choices are indicated with a wax pencil on the contact sheet—sometimes with an X, sometimes a triangle, sometimes a dot—depending on the job.)

Geographic Location: UBC Carving Shed

Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman starts to sketch on the log. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 45-47).

Notes:
Once the log is suitably rounded, Norman is eager to get the drawings on the pole. He brings in the tissue sketches he did for the bid submission, roughly sketching them onto the log. (Note the 5th image [a020808] shows my darkroom printing notations--often my photo choices are indicated with a wax pencil on the contact sheet—sometimes with an X, sometimes a triangle, sometimes a dot—depending on the job.)

Geographic Location: UBC Carving Shed

Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman takes the entire crew to the Museum of Anthropology, encouraging them to come and sketch the totem poles. He points out several of his favourites. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING pp. 48-49.

Geographic Location: UBC Museum of Anthropology

Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman takes the entire crew to the Museum of Anthropology, encouraging them to come and sketch the totem poles. He points out several of his favourites. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING pp. 48-49.

Geographic Location: UBC Museum of Anthropology

Item is a b&w negative of a photograph of the photographer's son, Luke Powell, at the Bill Reid bear at the UBC Museum of Anthropology.

Geographic Location: UBC Museum of Anthropology

Item is a b&w negative of a photograph of the photographer's son, Luke Powell, at the Bill Reid bear at the UBC Museum of Anthropology.

Geographic Location: UBC Museum of Anthropology

Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman making initial sketches on the log more definite, then doing first cuts. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 50-51.)
Notes:
Norman makes his initial rough sketches more definite and has crew members doing some tracing onto pole.
The work shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives).
There’s an immense change as cuts are started on other figures—it’s the end of “rounding the log” and the start of “roughing the pole” (meaning rough-cutting the pole).

Geographic Location: UBC Carving Shed

Item is a b&w negative of a photograph of the continuation of the work on the pole. Norman making initial sketches on the log more definite, then doing first cuts. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING p. 50-51.)
Notes:
Norman makes his initial rough sketches more definite and has crew members doing some tracing onto pole.
The work shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives).
There’s an immense change as cuts are started on other figures—it’s the end of “rounding the log” and the start of “roughing the pole” (meaning rough-cutting the pole).

Geographic Location: UBC Carving Shed