Category: People

Curtis Howe Springer

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Curtis Howe Springer was a charismatic radio evangelist and self-proclaimed doctor who founded the Zzyzx Mineral Springs and Health Resort in California’s Mojave Desert, operating it as a fraudulent health retreat from 1944 until his eviction in 1974.

Early Live

Curtis Howe Springer
Curtis Howe Springer

Curtis Howe Springer was born on December 2, 1896, in Birmingham, Alabama, though verifiable details about his childhood remain scarce due to his propensity for fabricating personal history. Springer often embellished his background, claiming to have served as a boxing instructor during World War I, campaigned against alcohol alongside politician William Jennings Bryan, and worked at a school in Florida. He also asserted attendance at a college in Chicago and possession of multiple advanced degrees, including an M.D., Ph.D., and N.D., some purportedly from nonexistent institutions like the “Springer School of Humanism” or the fictitious “National Academy.” In reality, no records exist to confirm any formal education or medical training, marking the beginning of a lifelong pattern of deceit.

By the 1910s and 1920s, Springer had emerged as a prohibition crusader and self-proclaimed Methodist minister, despite lacking official ordination. He transitioned into roles as a radio evangelist and lecturer, blending Christian gospel with health and hygiene advice. During this period, he worked as an insurance salesman before fully embracing his persona as a “doctor” and promoter of dubious remedies.

Rise as a Radio Evangelist and Quack Practitioner

In the 1930s, Springer traveled extensively through the Midwest, delivering sermons and selling homemade elixirs and cure-alls, often without disclosing ingredients or efficacy. He positioned himself as “the last of the old-time medicine men,” hawking products like homeopathic treatments for hair loss, hemorrhoids, and other ailments in exchange for “donations” to his ministry. His charisma propelled him onto the radio waves, following in the footsteps of figures like Aimee Semple McPherson and Father Charles Coughlin. By the mid-1930s, he was broadcasting from Chicago, falsely presenting himself as a licensed physician and promoting “miracle cures” that promised to make listeners “internally, externally, and eternally clean.”

These claims drew scrutiny; a 1936 paper by the American Medical Association, titled “Nostrums and Quackery and Pseudo-Medicine,” debunked his practices. Undeterred, Springer relocated to Pittsburgh and continued his radio empire, eventually syndicating shows to over 300 stations in the U.S. and abroad at its peak. He emphasized Christian doctrine intertwined with physical fitness, mental alertness, and spiritual soundness, while selling products such as Antediluvian Desert Herb Tea, Acidine, Hollywood Pep Cocktail, Manna, O-M-R, RE-HIB, Zy-Crystals (containing Epsom salts and salt from Soda Dry Lake), Mo-Hair, and F-W-O. In the early 1940s, he retired to Los Angeles, where he sought a permanent base for his operations.

Establishment and Operations of Zzyzx in the Mojave Desert

In 1944, Springer discovered the remote site of Soda Springs (also known as Fort Soda Springs) in the Mojave Desert, about 200 miles east of Los Angeles. On September 13, 1944, he filed mining claims under the General Mining Act of 1872 for 12,800 acres of federal land, intending to “mine” salt crystals but with no genuine mining plans. He renamed the area Zzyzx (pronounced “zi-zex”), claiming it to be “the last word in health” to ensure it appeared last in alphabetical listings.

Springer transformed the barren desert into Zzyzx Mineral Springs and Health Resort, starting with tents and expanding through labor from homeless men recruited from Los Angeles’ Skid Row, whom he paid minimally with room, board, and promises of redemption. Facilities included a two-story hotel called “The Castle,” concrete cottages (“Zycott” housing), a dining hall, lecture room, chapel, library, office/recording studio, pool house, goat shed, diesel generator, subterranean rabbit chambers, an artificial lake named Lake Tuendae (falsely claimed to mean “where the waters come together” in Native American), and a private airstrip called “Zyport.” He installed diesel-powered boilers to heat the naturally cold mineral springs from the Mojave River, creating imitation hot springs for “healing” soaks.

The resort operated as a Christian health retreat for nearly 30 years (1944–1974), accommodating over 100 guests nightly. Visitors followed a regimen of detoxification, special diets (including on-site-grown rabbit meat, goat’s milk, fruits, and vegetables), abstention from alcohol, smoking, and quarreling, sunshine exposure, and daily sermons. Springer promoted it via his radio broadcasts, newspaper ads, a newsletter called The Elucidator, and a free shuttle service using buses and an eight-door Chevrolet from Los Angeles. Fees were on a sliding scale, with no one turned away for lack of funds, though large donors received land parcels—a practice that later proved illegal. He dubbed the main road “Boulevard of Dreams” and erected eye-catching signage along the highway. At its height in the 1950s and 1960s, Zzyzx was a bustling oasis, blending snake oil sales with salvation.

Legal Battles, Eviction, and Downfall

Springer’s empire unraveled in the late 1960s amid complaints from dissatisfied customers. In 1968, he was arrested by the California Department of Public Health on 65 counts of false advertising and misrepresentation, pleading guilty to eight counts of false advertisement and mislabeling. The American Medical Association condemned him as the “King of Quacks” in 1969, leading to a conviction, fine, and 60-day jail sentence.

Concurrently, the Bureau of Land Management (BLM) investigated his land use, suing in 1967 for $34,187 in damages and back rent, deeming him a squatter for failing to conduct actual mining. His sale of land parcels to donors violated federal terms. On April 11, 1974, U.S. District Judge Francis C. Whelan ordered his eviction, granting just 36 hours to vacate. Springer fought the decision but lost, marking the end of his 30-year desert venture.

Later Life and Legacy

Following eviction, Springer retired to Las Vegas, Nevada, where he continued advocating for Zzyzx through writings, including a 1984 editorial titled “The Legal Rape of Zzyzx” in the Baker Valley News. He died on August 19, 1985, at age 88, never regaining his desert domain. (Note: Some sources list his death as January 19, but August aligns with verified records.)

Zzyzx was nearly demolished but was repurposed in 1976 as the Desert Studies Center, a research outpost for California State University campuses, focusing on ecology, climate change, dune formation, endangered species like the Mohave tui chub, and even Mars rover testing by NASA’s Jet Propulsion Laboratory. Today, remnants of Springer’s era—abandoned buildings, signage, and the Boulevard of Dreams—serve as historical curiosities in this now-academic haven, underscoring his legacy as a masterful con artist who turned public land into a profitable mirage.

William Franklin Keys

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William Franklin Keys (September 27, 1879–1969) was a rugged American frontiersman, rancher, and miner who became a notable figure in the history of the Mojave Desert, particularly in what is now Joshua Tree National Park, California.

William F. Keys reenacts the scene of the fatal shooting of Worth Bagley - Photo NPS
William F. Keys reenacts the scene of the fatal shooting of Worth Bagley – Photo NPS

Early Life and Background

William Franklin Keys was born on September 27, 1879, in Palisade, Nebraska, to parents of Russian descent. In the early 1890s, his family relocated to Nebraska, where a young Bill began his journey into a rugged, self-reliant life. At age 15, he left home to work as a ranch hand, smelter worker, and miner, honing skills that would define his later years. His early adventures took him to Arizona, where he served as a deputy sheriff in Mohave County, and to Death Valley, where he befriended the colorful prospector Walter “Death Valley Scotty” Scott. Their association led to involvement in the infamous “Battle of Wingate Pass,” a swindle that added to Keys’ reputation as a tough frontiersman. By 1910, Keys arrived in the Twentynine Palms area of California, drawn to the harsh yet promising Mojave Desert.

Life in the Mojave Desert

In 1910, Keys took a job as custodian and assayer at the Desert Queen Mine in what is now Joshua Tree National Park. When the mine’s owner died, Keys was granted ownership of the mine as payment for back wages. In 1917, he filed for an 80-acre homestead under the Homestead Act, establishing the Desert Queen Ranch. He married Frances May Lawton in 1918, and together they raised seven children, three of whom tragically died in childhood and were buried on the ranch. The couple built a self-sufficient life, constructing a ranch house, schoolhouse, store, sheds, a stamp mill, an orchard, and irrigation systems, including a cement dam and windmill. Keys supplemented ranching with mining, operating a stamp mill to process ore for other miners and digging for gold and gypsum. His resourcefulness made the Desert Queen Ranch a symbol of early desert settlement.

The Wall Street Mill Dispute and Shootout

On May 11, 1943, a long-simmering feud with neighbor Worth Bagley, a former Los Angeles deputy sheriff, culminated in a fatal confrontation near the Wall Street Mill in what is now Joshua Tree National Park. The dispute centered on a property line and Keys’ use of a road that crossed Bagley’s land. Bagley, resentful of Keys’ access to the road for hauling ore to his mill, had posted a threatening sign: “KEYS, THIS IS MY LAST WARNING. STAY OFF MY PROPERTY.” On that fateful day, Keys, aware of the serious nature of such threats in the untamed desert, stopped his car to assess the situation. According to Keys, Bagley ambushed him, firing first. In self-defense, Keys returned fire, fatally shooting Bagley. Hours later, Keys turned himself in to authorities in Twentynine Palms, claiming he acted to protect his life.

Trial and Imprisonment

Keys was charged with murder and faced a contentious trial. The desert community was divided, with some viewing Keys as a hardworking homesteader defending his rights, while others saw him as an aggressor in a property dispute. The court convicted him, and he was sentenced to ten years at San Quentin Prison. During his incarceration, Keys utilized the prison library to educate himself, maintaining his sharp mind, which had been honed by years of navigating the desert’s challenges. His time in prison was marked by resilience, as he adapted to confinement with the same determination that had sustained him in the harsh Mojave.

Exoneration and Later Life

Keys’ conviction sparked controversy, and his wife, Frances, sought help from Erle Stanley Gardner, the renowned author of the Perry Mason novels and a frequent visitor to Joshua Tree. Gardner, moved by Keys’ story and convinced of his innocence, took up the case through his “Court of Last Resort,” a project dedicated to overturning wrongful convictions. Gardner’s investigation highlighted inconsistencies in the trial and supported Keys’ self-defense claim. In 1950, Keys was paroled, and in 1956, he received a full pardon, largely due to Gardner’s efforts. After his release, Keys returned to the Desert Queen Ranch, where he lived quietly until his death in 1969. To mark the site of the 1943 shootout, Keys placed a stone inscribed, “Here is where Worth Bagley bit the dust at the hand of W.F. Keys, May 11, 1943.” The original stone, vandalized in 2014, is now preserved in the Joshua Tree National Park museum, with a metal replica at the site.

Legacy

Bill Keys’ life embodies the tenacity and resourcefulness of early desert settlers. His Desert Queen Ranch, now part of Joshua Tree National Park, is preserved as a historic site, with park rangers offering guided tours from October to May to share his story. The ranch, with its array of buildings and mining equipment, stands as a testament to Keys’ ability to thrive in an unforgiving environment. The 1943 shootout, while a tragic chapter, underscores the challenges of frontier life, where disputes over land and resources could escalate to deadly confrontations. Keys’ exoneration, facilitated by Erle Stanley Gardner, highlights his enduring fight for justice. Today, the dirt road where the shootout occurred is a tourist attraction, and Keys’ story remains a compelling part of the Mojave Desert’s history.

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Mary Edith Fly

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Mary Edith “Mollie” Fly (c. 1847–1925) was a pioneering American photographer who, with her husband Camillus “Buck” Fly, documented life in Tombstone, Arizona, during its 1880s silver-mining boom. Born in the U.S. and raised in San Francisco, she married Buck in 1879 and moved to Tombstone, where they established Fly’s Photography Gallery. Mollie managed the studio and boarding house, taking portraits of residents while Buck captured historic images, including Geronimo’s 1886 surrender. Despite personal challenges, including Buck’s alcoholism and their separations, Mollie ran the studio solo after his 1901 death until 1912. She donated their negatives to the Smithsonian and retired to Los Angeles. Inducted into the Arizona Women’s Hall of Fame in 1989, Mollie’s work preserved a vivid record of Tombstone’s frontier era.

Mary ("Mollie") Goodrich Fly was a photographer who married photographer C.S. Fly in San Francisco. They arrived in Tombstone, Arizona Territory in December 1879 where they established a photography business and boarding house.
Mary (“Mollie”) Goodrich Fly was a photographer who married photographer C.S. Fly in San Francisco. They arrived in Tombstone, Arizona Territory in December 1879 where they established a photography business and boarding house.

Early Life and Background

Mary Edith McKie, known as Mollie Fly, was born around 1847, likely in the United States, though details of her early life remain scarce. In the late 1850s, her family relocated to San Francisco, California, where she spent her formative years. Little is documented about her education or how she acquired her photographic skills, a rarity for women in the mid-19th century. Mollie married twice; her first marriage to Samuel D. Goodrich ended in divorce after two years. In 1879, she married Camillus Sidney “Buck” Fly, a photographer, in San Francisco, marking the beginning of their shared professional and personal journey. The couple later adopted a daughter, Kitty Fly.

Arrival in Tombstone and Establishment of Fly’s Photography Gallery

C. S. Fly's Photography Gallery, Tombstone, Arizona
C. S. Fly’s Photography Gallery, Tombstone, Arizona

In December 1879, Mollie and Buck arrived in Tombstone, Arizona Territory, during its silver-mining boom, when the town was rapidly growing into one of the American frontier’s last boomtowns. They initially set up a temporary photography studio in a tent, capitalizing on the influx of miners, merchants, and adventurers. By July 1880, they had constructed a 12-room boarding house at 312 Fremont Street, which included their permanent studio, known as Fly’s Photography Gallery, at the back. Mollie played a pivotal role in managing both the boarding house and the studio, especially when Buck was away on photographic expeditions. As one of the few female photographers of the era, she took studio portraits for 35 cents each, capturing the diverse faces of Tombstone’s residents, from miners to merchants.

Role in Recording Tombstone’s Events

Mollie’s contributions to documenting Tombstone’s history were significant, though often overshadowed by her husband’s more publicized work. The Flys’ studio was strategically located near the site of the infamous Gunfight at the O.K. Corral on October 26, 1881, one of the most iconic events in Old West history. Buck was an eyewitness to the shootout, which occurred just outside their studio, and reportedly disarmed a dying Billy Clanton while armed with a Henry rifle. Curiously, no photographs of the gunfight’s aftermath were taken, possibly due to threats from the Earp faction, though Mollie and Buck’s studio captured portraits of many key figures in Tombstone, including founder Ed Schieffelin and surgeon Dr. George E. Goodfellow.

While Buck gained recognition for his photojournalistic work, including the only known images of Geronimo’s surrender in 1886, Mollie ensured the studio’s continuity. She managed operations during Buck’s absences, producing photographic postcards, such as one captioned “Arizona Prospectors, Tombstone,” which offered rare glimpses into the town’s daily life. Her work, though less credited, helped preserve the visual record of a bustling frontier town marked by saloons, stagecoach robberies, and mining ventures.

Challenges and Resilience

The Flys’ personal and professional lives were fraught with challenges. Buck’s heavy drinking led to their temporary separation in 1887, and by the late 1880s, Tombstone’s economy declined as silver prices fell and mines flooded. In 1893, the couple attempted to open a new studio in Phoenix, but the venture failed, prompting their return to Tombstone a year later. They separated again in the late 1890s, with Buck establishing a studio in Bisbee, Arizona, where a fire at the Phelps Dodge Mercantile Company warehouse destroyed many of their glass-plate negatives. After Buck’s death in Bisbee in 1901, Mollie ran the Tombstone studio solo for another decade, demonstrating remarkable resilience. In 1905, she published a collection of Buck’s photographs, Scenes in Geronimo’s Camp: The Apache Outlaw and Murderer, preserving his historic images of Geronimo’s surrender.

Later Life and Legacy

In 1912, Mollie retired after a second fire destroyed her studio in Tombstone in 1915. Recognizing the historical value of their work, she donated the surviving negatives to the Smithsonian Institution in Washington, D.C. She then moved to Los Angeles, California, where she lived until her death in 1925. Mollie’s contributions as a pioneering female photographer were posthumously honored in 1989 when she was inducted into the Arizona Women’s Hall of Fame.

C. S. Fly's Photography Gallery, Tombstone, Arizona on fire 1912, Photograph by Mary "Mollie" Fly
C. S. Fly’s Photography Gallery, Tombstone, Arizona on fire 1912, Photograph by Mary “Mollie” Fly

Mollie Fly’s role in recording Tombstone’s events was integral to preserving the town’s legacy as “The Town Too Tough to Die.” Through her management of Fly’s Photography Gallery and her own photographic work, she captured the essence of a volatile frontier era, contributing to one of the most comprehensive pictorial records of early Tombstone. Her perseverance as a woman in a male-dominated field and her dedication to her craft ensure her place as a significant figure in Arizona’s history.

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Emery Clifford Kolb

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Emery Clifford Kolb
Emery Clifford Kolb

Emery Clifford Kolb (April 15, 1881 – December 11, 1976) was a pioneering photographer, filmmaker, and adventurer whose work immortalized the Grand Canyon and shaped its early tourism industry. Born in Pittsburgh, Pennsylvania, to Edward and Ella Kolb, Emery was the younger brother of Ellsworth Leonardson Kolb, with whom he formed a legendary partnership. His technical prowess, relentless determination, and lifelong dedication to the canyon made him a central figure in documenting its natural splendor. This article explores Emery’s life, his contributions to photography and Grand Canyon tourism, and his role in the historic 1911–1912 Colorado River expedition, drawing from historical accounts.

Early Life and Arrival at the Grand Canyon

Emery Kolb grew up in Pittsburgh, where his early exposure to photography sparked a lifelong passion. Unlike his older brother Ellsworth, who was drawn to adventure, Emery was intense, methodical, and focused on the technical craft of photography. In 1902, at age 21, he joined Ellsworth at the Grand Canyon’s South Rim, lured by his brother’s tales of opportunity at the Bright Angel Hotel. The brothers set up a makeshift photography business at the head of the Bright Angel Trail, capturing images of tourists descending into the canyon on muleback. Operating out of a tent, they developed photos in a crude darkroom—a blanket-covered prospector’s hole—often racing nine miles to Indian Garden for spring water to process their negatives.

Their early years were marked by logistical challenges, including hauling water from distant sources and competing with larger tourism enterprises backed by the Atchison, Topeka & Santa Fe Railway. Emery’s technical expertise complemented Ellsworth’s charisma, enabling them to carve out a niche in the burgeoning tourism industry. By 1904, they built the Kolb Studio, a modest structure on the South Rim overlooking the Bright Angel Trail, which served as their home, studio, and later a theater for their films. This iconic building, now on the National Register of Historic Places, became a cornerstone of Grand Canyon tourism.

The Kolb Studio and Photographic Legacy

The Kolb Studio was the heart of the brothers’ enterprise, where Emery’s photographic skills shone. While Ellsworth handled much of the fieldwork, Emery focused on developing and printing photographs, perfecting techniques to capture the canyon’s dramatic landscapes and the faces of early visitors. Their business model was innovative: they photographed tourists at the trailhead, developed prints during the day, and sold them to returning mule riders, capitalizing on the thrill of the canyon experience. Emery’s meticulous attention to detail ensured high-quality images that became cherished mementos, preserving the early history of Grand Canyon tourism.

The studio grew over the years, expanding into a five-story structure with a small auditorium for film screenings. Emery’s photography not only documented the canyon’s beauty but also its cultural significance, capturing Native American communities, early explorers, and the evolving infrastructure of the park. His archive, now housed at Northern Arizona University’s Cline Library, remains a vital resource for historians. Despite resistance from railroad companies and government entities, Emery’s tenacity helped the brothers maintain control of their studio against corporate pressures, solidifying their place in the canyon’s history.

The 1911–1912 Colorado River Expedition

Emery’s most famous achievement was the 1911–1912 expedition down the Green and Colorado Rivers, undertaken with Ellsworth to produce the first motion pictures of the Colorado River’s rapids. Starting on September 8, 1911, in Green River, Wyoming, the brothers navigated 1,100 miles to Needles, California, in two wooden Galloway-type skiffs. The 101-day journey was grueling, with 365 major rapids, freezing waters, and near-disasters, including flooded boats and a deserting assistant. Joined by miner Bert Lauzon for the final leg, they completed the trip on January 18, 1912, capturing groundbreaking footage with a new motion-picture camera.

Emery’s role was critical: he operated the camera, often filming from precarious positions on cliffs or boats, and maintained the equipment under harsh conditions. The resulting film, The Grand Canyon Film Show, premiered at the Kolb Studio in 1915 and ran nightly until Emery’s death in 1976, earning the distinction of the longest-running movie in history. Ellsworth’s journal from the trip, supplemented by Emery’s photographs, formed the basis of the 1914 book Through the Grand Canyon from Wyoming to Mexico, published by Macmillan and featured in National Geographic. The book and film brought the canyon’s wild beauty to a global audience, establishing the Kolbs as pioneers of adventure filmmaking.

Later Years and Enduring Impact

In 1924, Ellsworth sold his share of the Kolb Studio to Emery and moved to Los Angeles, leaving Emery to run the business alone. Emery remained at the Grand Canyon, expanding the studio and continuing to photograph mule trains and visitors. He narrated the expedition film nightly, captivating audiences with tales of their river journey. His commitment to the canyon never wavered, even as he faced ongoing battles with the National Park Service and competitors like the Fred Harvey Company. Emery also contributed to the canyon community, serving as a guide, participating in rescues, and documenting its history.

Emery married Blanche Bender in 1921, and their daughter, Edith, was raised at the studio. After Blanche’s death in 1944, Emery continued his work, maintaining the studio as a cultural hub. He died on December 11, 1976, at age 95, and was buried in the Grand Canyon Pioneer Cemetery alongside Ellsworth, who had passed in 1960. Emery’s photographs and films, preserved through his meticulous care, remain a treasure trove for researchers, offering a window into the canyon’s early days.

Legacy

Emery Kolb’s legacy is inseparable from the Grand Canyon itself. His technical mastery and unwavering dedication transformed the Kolb Studio into a cultural landmark, now operated by the Grand Canyon Conservancy as a gallery and bookstore. His photographs and films not only popularized the canyon but also inspired conservation efforts and adventure tourism. Works like Roger Naylor’s The Amazing Kolb Brothers of Grand Canyon and William C. Suran’s biography highlight Emery’s role as a visionary who, alongside Ellsworth, turned a rugged frontier into a national treasure. Through his lens, Emery Kolb captured the soul of the Grand Canyon, leaving a visual legacy that continues to inspire awe and wonder.

Ellsworth Leonardson Kolb

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Ellsworth Leonardson Kolb
Ellsworth Leonardson Kolb

Ellsworth Leonardson Kolb (January 4, 1876 – January 9, 1960) was a pivotal figure in the early history of Grand Canyon exploration, renowned for his daring adventures and groundbreaking contributions to photography and filmmaking. Born in Pittsburgh, Pennsylvania, to Edward and Ella Kolb, Ellsworth, often nicknamed “Ed,” was the eldest of four sons. His adventurous spirit and fearless attitude led him to the Grand Canyon in 1901, where he and his younger brother, Emery Clifford Kolb, established a legacy that transformed the canyon into a national icon. This article explores Ellsworth’s life, his contributions to Grand Canyon tourism, and his historic 1911–1912 river expedition, drawing from various historical accounts.

Early Life and Arrival at the Grand Canyon

Ellsworth Kolb grew up in Pittsburgh, where an accident in a steel mill prompted him to seek lighter work and new horizons. At age 24, he ventured west, initially working on telephone lines in Colorado and operating a snowplow at Pike’s Peak. His plans to sail to China were derailed when he visited the Grand Canyon in 1901. Captivated by its vast beauty, he decided to stay, taking a job chopping wood at the Bright Angel Hotel under Arizona pioneer Martin Buggeln. His hard work earned him a promotion to porter, and by 1902, he sent for his younger brother Emery, an aspiring photographer, to join him. Together, they laid the foundation for a photography business that would shape Grand Canyon tourism.

In 1902, the Kolb brothers set up a tent at the head of the Bright Angel Trail, photographing tourists on muleback as they descended into the canyon. This marked the beginning of their entrepreneurial venture in the fledgling tourism industry, which was gaining traction as the Atchison, Topeka & Santa Fe Railway brought visitors to the South Rim. Their early darkroom was rudimentary—a blanket over a prospector’s hole—and they faced logistical challenges, such as hauling water from a muddy cow tank miles away or sprinting nine miles to Indian Garden for spring water to develop their photographs. Despite these hardships, their innovative approach to capturing the canyon’s beauty set them apart.

The Kolb Studio: A Grand Canyon Icon

By 1904, the brothers had constructed the Kolb Studio, a modest structure perched precariously on the South Rim, overlooking the Bright Angel Trail. Initially a two-room shack, it served as both their home and photographic studio. Over the years, it evolved through two major additions and numerous modifications, becoming a five-story building that included a small theater for showing their films. The studio became a cornerstone of early Grand Canyon tourism, where the Kolbs sold prints to returning mule riders, showcasing their valor against the canyon’s dramatic backdrop. The structure, now listed on the National Register of Historic Places, stands as a testament to their legacy and is operated by the Grand Canyon Conservancy as a gallery and bookstore.

Ellsworth’s easygoing, rakish personality complemented Emery’s intense, combative nature, creating a dynamic partnership. While Emery focused on the technical aspects of photography, Ellsworth’s adventurous spirit drove their bolder exploits. Their studio not only documented the canyon’s landscapes but also captured intimate portraits of early tourists, preserving a visual history of the park’s formative years. Their work faced resistance from the government, railroad companies, and competing tourism enterprises, but their persistence and ingenuity kept their business thriving.

The 1911–1912 Colorado River Expedition

Ellsworth’s most celebrated achievement was the 1911–1912 expedition down the Green and Colorado Rivers, a daring journey inspired by John Wesley Powell’s 1869 exploration. With little whitewater experience, Ellsworth and Emery set out from Green River, Wyoming, on September 8, 1911, in two wooden Galloway-type skiffs, aiming to capture the first motion pictures of the Colorado River’s rapids. The 1,100-mile journey to Needles, California, took 101 days, testing their physical and mental endurance as they navigated 365 large rapids, endured freezing waters, and salvaged equipment from flooded boats. Their first assistant abandoned the trip early, but they were joined by Bert Lauzon, a resilient miner, for the final leg.

The expedition was not just a physical feat but a groundbreaking cinematic endeavor. Using a newly invented motion-picture camera, the Kolbs produced the first moving pictures of the Colorado River, a film that became the longest-running movie in history, shown at their studio from 1915 until Emery’s death in 1976. Ellsworth’s journal from the trip formed the basis of his 1914 book, Through the Grand Canyon from Wyoming to Mexico, published by Macmillan, which included 76 black-and-white photographs and was featured extensively in the August 1914 issue of National Geographic. The book and film brought the Grand Canyon’s majesty to a global audience, cementing the Kolbs’ fame.

In 1913, Ellsworth returned alone to Needles, California, and rowed to the Gulf of California, completing the entire Colorado River journey. This solo trip further showcased his fearless nature and resulted in additional photographs and writings that enriched the Kolbs’ legacy. Their work not only popularized the Grand Canyon but also aided later expeditions, including a 1914 U.S. Geological Survey and Southern California Edison project to survey the river for maps and dam sites.

Later Years and Legacy

By 1924, Ellsworth sold his share of the Kolb Studio to Emery and moved to Los Angeles, though he occasionally returned for canyon adventures. Emery continued operating the studio, photographing mule strings and narrating their film nightly until his death in 1976 at age 95. Ellsworth died on January 9, 1960, at age 83, and was laid to rest in the Grand Canyon Pioneer Cemetery, near his brother. Their contrasting personalities—Ellsworth’s carefree adventurism and Emery’s tenacity—made them a formidable team, overcoming corporate and bureaucratic challenges to maintain their business.

The Kolb brothers’ contributions extended beyond photography. They were among the first to accomplish double crossings of the Grand Canyon, served as early guides, and participated in rescues, such as the 1919 search for a missing hiker. Their photographic archive, preserved at Northern Arizona University’s Cline Library, remains a vital historical resource. Their story, detailed in works like Roger Naylor’s The Amazing Kolb Brothers of Grand Canyon and William C. Suran’s biography, highlights their role as pioneers who blended art, adventure, and entrepreneurship to shape the Grand Canyon’s identity.

Ellsworth Kolb’s legacy is one of courage and vision. His fearless exploration and innovative use of photography and film brought the Grand Canyon’s wonders to the world, inspiring generations of adventurers and visitors. Today, the Kolb Studio stands as a monument to his and Emery’s indomitable spirit, inviting visitors to step into the history of two brothers who dared to chase their dreams on the edge of one of the world’s greatest natural wonders.