Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph 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 (Stage One = Rounding the pole; Stage Two = Roughing the pole) 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. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).
Item is a colour negative of a photograph of cut wood at the Turnbull & Gail construction yard in Richmond (contractors for building the new Native Education Centre). Corresponds to info in text from WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING. Photo shot for Douglas & McIntyre book
Geographic location: Turnbull & Gail construction yard in Richmond
Item is a colour negative of a photograph of crew working on log at the Turnbull & Gail construction yard in Richmond (contractors for building the new Native Education Centre). Corresponds to info in text from WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING. Photo shot for Douglas & McIntyre book
Geographic location: Turnbull & Gail construction yard in Richmond
Item is a colour negative of a photograph of crew working on log at the Turnbull & Gail construction yard in Richmond (contractors for building the new Native Education Centre). Corresponds to info in text from WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING. Photo shot for Douglas & McIntyre book
Geographic location: Turnbull & Gail construction yard in Richmond
Item is a colour negative of a photograph of crew working on log at the Turnbull & Gail construction yard in Richmond (contractors for building the new Native Education Centre). Corresponds to info in text from WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING. Photo shot for Douglas & McIntyre book
Geographic location: Turnbull & Gail construction yard in Richmond
