National Register of Big Trees

Nominating a tree to the National Big Tree Register

This is a picture of possibly the biggest Ponderosa Pine (DBH) in Yakima County.  It is located on Meeks Table and is well known to hikers in the area.  This isn't the tree that the following article is about, I just post this picture because it gives the idea of what it's like to search for local big trees. I'm measuring this beast with my walking stick.

I want to take a break from ceramics and share a story that happened several years ago.  Around 1985 I was hiking in the William O. Douglas Wilderness, packing out the remnants of an old Elk Camp that had been abandoned.  One evening a friend wandered off into the wood to water a tree and returned with some startling information.  He told me that I should check out a tree to the north of our camp, at the edge of a nameless meadow.  He said it was “god awful big” and I might be interested, knowing that a few years earlier I had helped a friend nominate a large Mt Alder tree to the National Register of Big Trees. 

What I discovered was truly large (in circumfrance) hemlock.  I wrapped a parachute chord around the tree, tied a knot at the measurement and didn’t think much more about it as I was sure that the Nation’s largest Mt. Hemlock would truly be a specimen of unique proportions.

That winter, while cleaning out my back pack I noticed a strange knot tied in my rain fly chord and remembered the large  hemlock of the previous summer.  I stretched the chord, up to the knot, on a tape measure and noted the length (around 26 feet).  Later, I crossed path with a copy of the current Big tree register book (this is before the internet, the web, email, cell phones, microbreweries, Katy Perry, and an awareness of deadly metorites ).  Strangely, this register seemed to indicate that MY “Hindoo Mt Hemlock” truly might be a contender for the Nation’s largest specimen.  I resolved to get back in to the tree with a tape measure and satisfy my curiosity.

Here is a Jo Miles photo of a Buckskin Larch snag (read, "dead tree with the bark worn off and aged by the sun).  Dead trees aren't eligible for the National Register but this picture is so unique I just had to post it here. 

Around 1988 I returned to the tree, but had forgotten my tape measure and realiscope (for determining height) but had remembered to pack an old fashioned film-type camera.  I re-measured the tree with the same parachute chord, took a couple of pictures and again resolved to return. 

When I returned home I got a copy of the nomination form and realized that only a formal measurement and application would qualify the Hindoo tree to the register. Over the years I tried to talk friends into joining me for a return to the tree but it wasn’t until 2009 that I finally found someone willing to embark on such an ardous adventure, after-all, the hike is 9 hours one way, over a ridge into a forlorn basin, up an abandoned trail to the top of a mountain, around the mountain to a lost meadow, and then, again, locate that tree. 

In 2008 my son, Matt graduated from law school and returned home for a few months to recoup, strategize, rest, and drink my beer.  One day he stated he wanted to take a really challenging hike, not some weeney hike of no consequences, but a REAL unique, one with consequence.  I mentioned the “big tree hike’, leaving out the length of the trip while focusing on the glory of possibly becoming the nominator of the largest tree of a species in the nation, and possibly the world.  He was game.

We arrived at the trailhead early one day in late August and proceeded to hike down the MJB Trail, ford Rattlesnake Creek, climb Timberwolf Mt, skirt around the fringes of the mountain into a trail-less area, find a nameless meadow and then locate, again, that huge tree.  We had remembered the tape measure and camera but figured we could simply estimate the tree height.  What we discovered when we walked up to the tree is that a large forest fire had come within 50 yards of the tree but had burned itself out and saved the tree.

These are some of the measuring tools we used to determine diameter of the trunk and tree height. 

Measurements were followed by a night in the Wilderness, then a return to Yakima where I submitted my information to the National Register of Big trees.  In cases where we were not sure of our measurements we estimated on the low side to be fair.  Matt guessed the tree was 120 feet tall, I thought more like 100 feet, so we averaged the two guesses and submitted 80 feet in our application.  Also, not being foresters, it was questionable that the tree was a Mountain Hemlock, as the western hemlock (an inferior tree of little consequences) is somewhat similar to it and also found in the same area.  A branch and needles I carried out seemed to satisfy a friendly forester, but what do foresters know?

The Hindoo tree is hard to photograph but here is an angle.  The tree can fork but the fork must be above 4.5 feet (this fork is about 9.5 feet above the ground). I wish I could nominate a tree with a clean, straight trunk, perhaps the big Ponderosa I have yet to find will make a better picture.  Here is a close up of the tape on this beast. 

January 1 of 2009 dawned fresh to our awakening realization that our nomination was not really up to the standards that the big tree folks expect for the 2009 edition.  We needed expert help in establishing our credentials, so it was up to me to find a willing expert.  Barry Donahue, U. S. Forest Service Wilderness Ranger agreed to accompany me to the tree and vouch for my measurements if I would help him monitor some camp sites  in the area.   He was also interested in a possibly shorter route to the tree.  We departed in the late summer of 2010 on a three day hike.  The tree was re-measured with better instruments, some campsites were monitored, and we determined that the shorter route was actually a day longer.  Later in the summer I was assisted by U. S. Forest Service certified Silviculturist  Matt Dahlgreen for further certification.  Matt required knee surgery the following winter and I want to thank him at this time for sacrificying his knee, for all the pain he endured, the cost of the surgery, the time required for recovery and for remaining somewhat cheerful throughout the ordeal, as it was all for a good cause.

In June of 2011 the 2010 big tree register update was published on the American Forestry magazine web site (of that name) and Matt (Hiler) and I were listed as the nominators of a National champion.  The moment was relatively anticlimactic but none the less, from time to time, someone will now say, “you are the co-nominator of a big tree, WOW” and all the hardship and pain that all of my friends and son and I went through has come to successful fruiation.  Can I say it was truly worth all of the effort?  Probably not. 

When we were measuring the tree an old sheep herder type derelict  (bum) wandered up and pointed to the top of the tree.  We weren't sure what he was pointing at, perhaps he saw a flying saucer?  Anyway, here is the photo taken by Mike Cochran.  

End of story.

Footnote.  While there are some who might think that the National Champion of a tree species means it is also the largest in the world, and thus the universe (and beyond), it must be remembered that Mt Hemlock ranger north into Canada.  Also, to claim world champion status would require a lot of traveling in far flung countries to validate that claim, though it seems reasonable.  Frances Hare, now deceased, was a Yakima native who was interested in all things “Yakima” and most things “tree” was a champion of this nomination and without her encouragement, it might never have come to bear.  Once, when we were discussing the tree I mentioned casually that I was sure this tree was the biggest Mt. Hemlock in the country, and therefore probably the world and/or universe.  Frances heard me out and then replied in a calm voice, “well Mike, I don’t think you can really say that”… and so I have chosen to not.  

Assignment # 8, Finishing the quarter

FINISHING UP Fall 2011 Quarter: 

Shown above is my ideal cup: resulting from fired stone, in a natural setting, and with no artifice.  This cup is in the Hindoo drainage.  Photo curtsey of Matt Dahlgreen.  It would be exceedingly difficult to drink from unless you have a straw or were a "bird".  Oh yea, this cup weights several tons

Right now (in Independent Clay Study, 299) I am finishing up the quarter.  I wont’ be forming any new porcelain pieces (Kleiber) and the 10 pieces that go in the next glaze firing (November 17^th) will finish off that group.

Although I may make one more JG/earthenware piece before November 18, I don’t plan to start any more of these pieces this quarter.  I will concentrate on finishing the pieces I’ve started and completing “Imari” glaze experiments on the JG.  I want to test the compatibility of black and red Iron oxide, Cobalt Oxide, and Cobalt Carbonate as stains in conjunction with the shop cone 0-6 clear over-glaze.  All 21 pieces of JB will result in some sort of a glaze experiment.  I also plan to use Rachel’s new shop stains.

As an alternative to the "Hindoo cup" here is a cup i made a few quarters ago. Doesn't match up does it.  

Glaze themes include washed stains over hand constructed forms (to enhance the textured clay).  I plan to applying clear 06 glaze over the washed stains.  I’ll how compatible 06 clear glazes are on air washed and dried stains and stains refired to 06 to stabilize them.    I want to reduce smearing of stains onto the over-glazes.   Depending on how the glaze experiments go, I may use stain combinations to get the optimum effect. I also plan to use the Duncan matt glazes I purchased last summer from Tacoma Clay art on the cup or bowl lips.  I won’t have any pictures of how this is going until I get some firing done. 

I also applied the 06 shiny over-glaze to two pieces for Raku firing.  I didn’t use any stains as the unglazed surface will be black, and the glazed surface will retain the white earthenware color. 

This cup gets a bit closer to the "Hindoo Cup", it is certainly lighter by several tons.  And that handle, what was I thinking!!!

I am also preparing for the smoke firing, November 20.  I will fire two jars in the large metal barrel and one 16” jar in a smaller metal dust bin.  I will use shredded paper for fuel.  Two of these jars have cone 06 brown inner glaze which was fired on at the bisque firing which worked well.  I should have pictures of these pieces after November 21.

Here is a "snail pitcher".  It holds about 1/2 cup of liquid.  Although it is functional, I doubt there is any context where I would find a buyer for this piece.  

DRUMS:  I had a short drum critique with David Blink this week on my latest round bottom drum.  We agreed that this is clearly the best drum I’ve constructed to date.  His ideas for this drum is to cut  another hole in the drum body.  I also want to continue to pursue the snare feature but have not found the materials I need to accomplish this needed sub-sound.  The smokers at the middle of campus smoking table inspected the drum (as usual) and “Brandon” played a while on it.  I was impressed with his drumming abilities, he must have some experience.  He didn’t offer me any money for the drum, so it seems like I have more work to do on this design.  I still haven’t gotten my “bounce drum” to David, perhaps I can get it assessed before school is out. 

Here is the drum mentioned above, for your information.  If you want more info, scroll down to the "drum" post, below. 

Well, that's post assignment #8.  I sure hope I get extra credit for it/mh.

Split Red cedar, a unique art form AND Walking sticks

Why doesn't this hiker have a proper walking stick?  It looks like  he just has a branch he found along the trail.  Well, I'll see if i can find him and give him one of the following "custom" Walking sticks,  Read on.

MYstick Cedar light

Hand split cedar walking sticks

Recycled from used fence posts

Cedar is light, strong, flexible, and old growth cedar splits in long straight cracks when the proper tools are used.  Split cedar is an art form practiced by Native Americans throughout Puget Sound and was used for a variety of functional tools and art pieces.  Split cedar has a pleasant smell and is a beautiful reddish color when freshly split or treated.   Cedar can be sanded and carved and is resistant to rotting.

Walking sticks are used as an aid in rough country.  They assist with balance, on hills, or difficult spots such as river crossings, setting snakes off the trail, or as defense from dogs when urban hiking.  The use of a walking stick while hiking should relieve swelling hands.  It may take a few hikes to become “at one” with your stick.

A hand split cedar walking stick is light, tough, and relatively strong.  Sticks may be repaired, carved, or customized.  All walking sticks will eventually break or be damaged beyond usefulness.  These sticks are no exception and come with no guarantee.  If it breaks  you get both halves.

Care and feeding: Use sand paper and white glue when the stick develops rough edges or needs filling.  Orange oil makes a good surface treatment.  Avoid petroleum smelling oils. Super Glue impregnates the wood pores and is good for bonding cracks.  You may customize, shorten, or personalize your walking stick to make it more serviceable.  Don’t be afraid to modify or add features such a camera support, a strap, tape measure, or other improvements.   Roughing up the handle seems to be a preferred practice to long time use.  Many of these sticks retain the blemishes revealed in the splitting.  Hiking sticks that are smooth or lack character soon fall by the wayside.  These hand split sticks are each unique and have their own feel, features, and personality (mh).  

Here are the tools and a few words about how I split cedar to make long, straight walking sticks.  The first picture is my work area.  The "blanks on the left are mostly rejects and wasted material, then you see some blanks, and I'm finishing the ones on the right. 

These are a selection of splitting wedges, axe heads and other splitters I use.  I once found a jadite splitting wedge at Indian Flats but I turned it over to the Forest Service.  

In the pic below I'm gettying ready to split a blank.  You must place the splitter in the middle of the mass to make it split evenly.  

When a walking stick is completed I finish the ends, sharpening the bottom a bit for grip, and making the handle end easy to use.  

I hope you like these Walking Sticks.  Be sure to read the "Mystick Cedar" blurb above for the full deal.  

New Clays, Class assignment #7

This quarter I've been working with clays that I am unfamilar with.  Instead of the "tried and true" Tokamari Porcelain I've been working with "Kleiber"  porcelain and I've also been working with a dense, white earthenware clay called "JG".  Both clays are available at Tacoma Clay Art and both were suggested by the staff there.

Kleiber works well for slab construction, though the description in Clay Art catalog lists it as ideal for wood firing.  JG fires at cone 10 a bit more glassy than Tokamari, which is want, and it's no more difficult to work with Than Toka.  I think it responds well to our shop cone 10 glazes and makes them a bit more glassy also, but no so much that it is a problem.  For example, if you apply the same amounts of Korean Celedon to both clays in the same kiln it will be a bit bluer and a bit more glassy then on Toka.  I don't get the idea that Kleiber would "let loose" and stick to shelves or start melting down a few cones higher so there is no danger that this is "too close" to melting down at cone 10.   I will continue to work with it to finish off the 50 pounds I picked up last summer.

The "JG" earthenware (cone 06) clay fires white at bisque (both bisque and finished glazes fire to cone 06).   The "working properties" of JG are similar to Toka.  It dries quickly, slakes quickly when exposed to water or slip, and handles and attachments are prone to cracking if you hurry it.  If you made two identical cups (for example), one of Toka and one of JG, you might not know there is a difference except that the JG is a bit browner of course, though it bisques to a nice white.  I'll be working on "Imari" themes with the JG pieces, using black and red Iron oxide stains and also Cobalt oxide and Carbonate and will post those pieces when I start to get finished products (look for an update to this post, IF i can figure out how to edit it.

This quarter I have also completed several "Dakota Red Clay" jars, a drum, and a sculpture.  I always learn from each jar and hope my pieces are getting more organic. The clay drum, a smaller piece was interesting in that I started from the bottom up and built it all the way to the top (instead of constructing two halves and attaching them).  I will smoke fire the two jars this month when the shop does a raku firing.  I also plan to Raku two JG cups to see how this dense earthenware clay responds to the shocks of raku, no reason it won't make a good Raku body, though it will no doubt be a bit more fragile than grog laden clays mixed specifically for the Raku process.

The three photos attached to this blog show the variety of forms that can be created from one clay, in this case Tokamari.  Hopefully in a few weeks I can contrast the firing and glazing properties of Toka to Kleiber.  The small bowl below was fired in the Raku kiln.