An accidental panorama, made by joining two shots together. They were not originally shot with a panorama in mind, so the two marry uneasily in the foreground, but fine in the background, where parallax is not an issue. Taken on our way back to wherever we had parked the car. The west end of the city and the downtown, visible in the distance, next to Stanley Park, has changed considerably since 1976, so I suppose you might say that the picture has at least an historic value. The young lady in the right of the shot is not making a comment on the photographer's work, but simply bending over to pick something up.

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There were several "gates" on the site, but this one I found the most impressive. Trees like this still exist of course, but nobody cuts them down any more, because they are old growth, and are generally protected, or only grow in protected areas (the other areas having been logged off). To me it seems as if the left hand support comes from the base, the right hand support comes from further up, and the crossbeam from further up still, all from the one tree. Look closely and you will still see the scars on the trunk left by the bucking chains when the tree was dragged out from where it was logged. Imagine a whole valley filled with such trees and you will have a good idea of what an old-growth forest looked like. Trees this size and bulk are today worth hundreds of thousands of dollars (I'm told), so I wonder who got these baulks once the Habitat conference closed, for as with the sculptures, this too has vanished.

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Another one of the many wooden sculptures dotted around the site. I honestly have no idea what it is supposed to represent, and I won't speculate. Still it has a sinuosity and grace about it which the "Liberation" statue, with its unfinished, crude look, entirely lacks.

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There were lots of wooden sculptures scattered around the Habitat site. I don't know the official title of this one, and haven't found anything on-line about it. I call it the "Liberation" sculpture because the figure has a shackle on her upraised right hand, something which, clearly, she has just shaken off. The vibe of the 1970s was very much a feminist one, so I think of this as a feminist sculpture. What happened to it? No idea; at least one of the sculptures on the site still survives, and is still in the park at Jericho, though somewhat hidden behind bushes that have grown up in the intervening years.

The habitat vibe was very much a cedar one, with wooden sculptures and wooden decorations everywhere on the site, so that this sculpture, with its faux primitif look is very much in tune with the gathering. Note too, the wood chips on the ground behind the statue, as if it has been hastily knocked out, on site, only moments before the Habitat opened for business. Like all political sculpture, it has a crudity about it, the ideas shouldering finish and technique off to one side; and in fact, the only parts of the work that have been finished are, curiously, the breasts.

In the background, what appears to be another sculpture, but this one made out of metal, and which looks as though it might be able to turn in a brisk wind.

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And here, very quickly is the other shot of Country Joe, with the foreground a little better exposed, and the media crew more obviously doing what they do. As to the wheelchair, I am uncertain whether that is really a disabled person, or whether the chair was brought along to achieve smooth tracking shots, that is, as a cheap version of a dolly.

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