Montanan Bob McCullough played in all of the Denver Broncos 56 games between 1962 and 1965.
 

Born November 18, 1940, in Helena, McCullough’s father, Bob Sr., was a native of nearby Boulder and a traveling salesman and later sales manager at Montana Power and Equipment Company. A strong, precocious kid with a naturally husky frame, the boy attended grade schoolin Great Falls, returning to Helena at the start of sixth grade. He excelled as an all-star fullback for the Helena Crimson Bengals, playing at what is now one of Montana’s most notable high school venues: Vigilante Stadium. (Built in 1935, it survived three major earthquakes in the Capital City during the month of October, 1935, the biggest of the three (magnitude 6.3) shook on Oct. 18.)
 

“I went to Helena High School because there was only one high school in those days. If there’d been a Capital High School then, I would have gone to it, because I lived on that side of town – the west side.”
 

As an infant, McCullough was nicknamed “Spud” in honor of a local man that lived in the same “ramshackle neighborhood” as his father in Boulder, which proved to be a moniker of unshakeable longevity.
 

“My dad grew up back in the 1920’s and 30’s and everyone was poor as shit, but nobody knew it because they were all in the same boat. This little old guy lived down the street, a little Scottish guy of advanced age. My dad would help him chop wood and get water. His name apparently was Spud. Not strange or unusual a name back then. From the time I was born everyone has known me as Spud. You get the hell out of Helena, Montana, nobody knows whatyou are talking about as far as being a ‘Spud.’ When I was out of Helena, they would hear it and get a real chuckle out of it.”
 

McCullough chose to play college football at the University of Colorado, where he had a successful reign with the powerful Buffaloes under Everett “Sonny” Grandelius. He embarked on a professional path because it was “a lot of fun and all,” and “a lot better than what most people made.” The Denver Broncos were founded on August 14, 1959 as an American Football League (AFL) charter franchise and won the first-ever AFL game over the Boston Patriots 13–10, on September 9, 1960. When McCullough arrived in Denver in 1962, the struggling franchise was helmed by 35-year- old quarterback Frank Tripucka, who entered the league in 1949.
 

“We had the best season of the five that I was there when Frank was the quarterback, which was 7-7. He had a bad preseason in 1963 and he resigned (to be replaced by Mickey Slaughter and a couple of others). The Broncos had a quarterback problem until John Elway came in 1983.
 

“But you certainly weren’t going to go the rest of your life with it (the money from football). The greatest players might have made $20,000 bucks. My first year with the Broncos, I negotiated a contract for $11,500 dollars and they gave me a signing bonus of $2,500. That was far more than I was worth. I made $14,000 my first year. To put it in perspective, a highly paid electrical or engineering position straight out of college at the time made probably $5,500 to $6,000. Hell, when I was playing Joe Namath signed a $400,000 contract, and papers said nobody was worth that.”
 

As a rookie, McCullough earned the role of starting right guard, although he played at left guard throughout his second season. The offensive lineman’s job is one of constant action and reaction, and the learning process was a stiff jolt for McCullough, who can recall the very first time he had his bell clanged by a professional opponent, which happened in a preseason game in 1962.
 

“We got down to Atlanta and we were playing the Houston Oilers. There was no professional football team in Atlanta at that time and they certainly were trying to promote football there. It was a stadium in the woods, holding 35,000 people. There was a guy named Buzz Guy. I was just a rookie, and hoping to be one of the 35 guys left after preseason. I get to the field that night and James “Jungle Jim” Martin, our offensive line coach, says, ‘you are going to start tonight!’
 

“Buzz Guy had played some years with the New York Giants, but he had gotten fat and sassy. I was excited about my first pro game against an honest opponent. On my first play, the quarterback snapped the ball, and I’m pretty sure it was a pass play, and I took one step back, and Buzz Guy hit me so freaking hard. I went clear over my back. He went across my body with his cleats and everything. From that point on, I held my own.”
 

McCullough said that the “best defensive tackle” he ever played against was “the best guy you’ve never heard of: Tom Sestak (1962 to 1968). He was on one those great Buffalo Bills teams, with Jack Kemp and Cookie Gilchrist, who wound up playing in Denver. By far, he was the best. The only time the press ever asked for a quote from me was when they were asking how good Sestak was.”
 

Other historical footnotes include McCullough’s Broncos playing against the New York Jets in 1963, the final year that the Jets played at the Polo Grounds, as well as facing the Jets in their inaugural game at Shea Stadium on September 12, 1964. The talents he observed were ubiquitous, from Oakland Raiders cornerback Willie Brown to teammate Lionel Taylor, a nimble- footed wide receiver; though, roommate Wahoo McDaniel’s eccentricity stood out of the pack.
 

The Choctaw-Chickasaw Native’s post-football career included a successful stint as a professional entertainment wrestler who engaged in top-billed events with gimmicked titles such as “Indian Death Match.” “Nothing does him justice (as far as description),” said McCullough.
 

“He was a nutty guy from Oklahoma. He was trouble from the word go.” McCullough remembers vividly where he was when President John F. Kennedy was assassinated shortly after noon on November 22, 1963, as well as the pervasive unsettled feeling two days later when the NFL decided not to postpone its schedule (Pete Rozelle said the decision was his biggest regret as NFL Commissioner).
 

“We were practicing for a game and we pulled into a hamburger joint and we heard it on the radio that it was reported that Kennedy had been shot. By the time we were finishing, we heard it again on the radio, this time announcing that he was dead. It was a grief-strickened time in the wake of his death.”
 

Following his retirement from football in 1965, McCullough graduated from business school with a degree in marketing and worked as “a high-pressure stockbroker” in Denver for 12 years, and then branch manager in Spokane for two. After living close to the ocean in the Seattle area for approximately two decades, he returned to Helena in 2010. He still participates in Denver Broncos alumni and reunion events.
 

“It was unique at that time to be from Montana and to play for the Denver Broncos,” said McCullough. “It seems like in any given town now in Montana that fifty percent of the people are Broncos fans. It’s still a big deal to people. Personally, I don’t have a complaint about how it all went.”

 Brian D'Ambrosio is a writer/editor living in Missoula, Montana. D'Ambrosio is the author of more than 300 articles and five books related to Montana history, people, and travel.

Photographing Montana’s wildlife can be something you do in your back yard. Or, along the road. There are spectacular opportunities for incredible photographs every day in Yellowstone Park, if your timing is right. If you want a more solitary experience, here are some tips on how to achieve that.

 
To be one-on-one with nature, you’ll need to by–pass those places where the people are, find a remote location and walk. If you make that choice, you’ll need to be careful about the kinds of risks you take with animals that can be human-averse, like grizzly bear. And buffalo. AND Moose.

 
For solitary photographers, bear-spray is a must. Take two cans. Yes, they’re an investment. Aren’t your life, and the life of the animal you are photographing, worth it? Before heading out, check the expiration date on your spray. Most bear sprays are designed for use up-close, at ten feet or less. That means you need to have educated yourself on its use. Training cans are available for practice.
 

Always, always, stay aware of your surroundings. Stop and take a 360-degree look-around. Often. Know your escape route. Have that bear spray handy, not tucked away in your back pack.

 
If all of this seems overwhelming, and a little intimidating, if you know next to nothing about dangerous-to-people animals, then make your excursion with someone who is familiar with them. They will increase your odds of seeing what you want, and having a quality experience. Either way, alone or with company, learn about the animal you want to photograph. Even if you think you know enough.

 
Want to photograph bears? Know how close you can approach them and still stay relatively safe. The same with elk and wolves and buffalo. Know how they express agitation – learn signs like the raised, reverse-question mark of a bison tail. Consider the impact your presence might have on animals with newborn calves and cubs, on nesting birds. Then, what time of day will the animal you want to photograph be most active? Where can you find them where you WILL have a higher expectation that they’ll stick around for a while?

 
The best lighting for outdoor photography is in the morning, or evening, or on shiny-bright days that are slightly overcast. But maybe they are over-rated. For an extraordinary photograph, be adventurous. Fog and snowstorms and other variations of weather can create interesting opportunities for truly dynamic photographs.

 
If you’re shooting with a film camera, take several kinds of film in order to work with whatever lighting situations you find. With a digital camera, you can just flip a switch to quickly change your shutter speed, as the conditions, and the light, change. With either type of camera, experiment with different shutter speeds and try photographs of both stationary, or resting animals, and animals that are in-movement. Resist the temptation to stay with safe, and static, holding-still animal portraits.

 
Since photographing wildlife does require distance for safety and good inter-species relations, you’re going to be working with larger lenses, 300mm or more. Use a point-and-shoot camera to photograph a fox sunning itself on a rock that’s even a couple dozen yards away, and when you look at the picture later, you may not be able to tell why you took it. With a good telephoto lens, you’ll capture the fox.
 

In order to support a camera and a heavy lens, you need a tripod. A good one. One that can handle the weight of your equipment. That’s not just about having a tripod with easy-to-adjust, solid and secure legs. The tripod head also needs to offer stability and ease of use; where the camera is balanced, moves freely, and won’t fall off. Most pros choose a well-built ball head with adjustable tension or a gimbal head like the Wimberly.
 
All of this preparation increases the odds of your taking a good, or even great, photograph. With a digital camera, you can check to see the quality of photographs you’ve taken and respond. With film you’re committed until you are completely away from the scene. Either way, carry a notebook along to document your experience, to remind yourself what did and didn’t work, what you’d want to do differently next time.
 

Whether you aim toward a solitary photography expedition, or a group shoot, the legs of your camera tripod in a line with others; be respectful, both of yourself, the animals you photograph, and other photographers. Remember, wildlife photos that have impact are those that show your subject matter interacting with the landscape, the weather, with other animals. Watch and learn. Experiment. Experience.

Jenna Caplette migrated from California to Montana in the early 1970s, first living on the Crow Indian reservation. A Healing Arts Practitioner, she owns Bozeman BodyTalk & Integrative Healthcare. For relaxation, she reads novels and walks the trails around Bozeman with her four legged companion. Oh, and sometimes she manages to sit down and write.

The Missoulian reporter dutifully noted Missoula artist Scott Miller's comments about how his canvass sometimes twitched as he painted. Scott wasn't prepared for the vastness of the canvass or for Lady Lonza's twitching as he applied his paints to her sometimes sensitive body. It was his first ever horse painting.
 

Scott is partnering with Dunrovin Ranch to experiment with painting ponies in anticipation of helping Dunrovin create a series of equine art contests for the first annual Big Sky Equine Art Fringe Festival to be held at Dunrovin during the third week of August 2017. He gathered his nontoxic paints, conjured a vision in his head, and spent a good four hours working with her. He learned a great deal and he crafted a beautiful work of art. While Scott worked up a sweat on that hot afternoon, the lovely Lady Lonza lazily munched hay from a nearby hay bag and enjoyed the attention.

Kyla Two Bulls at Dunrovin Ranch. Photos by Tamar Kasberg
 

Dunrovin's fascination with painting ponies started when we had the great fortune of employing a young Lakota Sioux woman as a wrangler. Kyla Two Bulls brought to us a great deal of energy, horse skills, and knowledge of her people's traditions and art. She gladly shared them with us and with the many kids who attended our summer camps that year.   
 

One of the many wonderful results of having Kyla at Dunrovin is that she planted the seeds for our painting horses. She taught us to paint them in the tradition of the Plains Indians of North America. However, within no time, we were branching off on our own. Soon Martine, Cool Dude, Whiskey, Annie, and Mickey all were stepping up and standing still while kids of all ages, and from all over the world, expressed themselves through horse painting. 
 

Then in 2015, I decided to get serious. But frankly, I didn't really know how to do that. While I have a great appreciation for art, my own painting/decorating/artistic skills are nonexistent. So I turned to three young women who were working for me at the time: Nevaeh, Sarah, and Maggie. All of them showed artistic talents and seemed willing when I asked them to paint and decorate a horse. Then I asked two professional photographers, John Ashley and Laurie Childs, to come and capture their work. 
 

My long-term goal for painting ponies at Dunrovin is to establish online and onsite horse decorating contests to raise money to support equine assisted therapy and wellness program and for university level research into their effectiveness. I strongly believe in the ability of horses to heal people from all sorts of physical, emotional, and mental trauma and disabilities. I have personally experienced it and I have seen it in others. However, I also know that such programs are expensive and that insurance companies will not reimburse for many of these program without further evidence of their effectiveness. Equine assisted therapy programs across the country a constantly seeking funds to provide their services, and I want to help.
 

Painted ponies at Dunrovin Ranch. Photos by Tamar Kasberg

So in order to hold online equine art contest, I would need to ascertain how interesting horse painting would be for online, rather than onsite, participants. Was my technology professional enough to really engage an audience and bring them right into the activity? I needed answers so I needed to experiment. Thus, I build this into my 2015 experiment.
 

Everything surpassed my expectations by a mile. The young women did an outstanding job of creating three very different artistic expressions. Photographers John Ashley and Laurie Childs went out of their way to pose the women and the horses in a variety of circumstances and natural light to capture some truly stunning photos. Furthermore, the online audience was most excited and engaged. They loved watching the art unfold and talking with us as it happened. Our web cameras captured it all in great detail and high definition.

The photos speak for themselves. The first set of photos were taken by John Ashley, the second set by Laurie Childs, and the third set came directly from my web cameras.

Photo by John Ashley

Photos by Laurie Childs

Photos by Dunrovin Ranch web cameras
 

Some of the lessons we learned are obvious from the photographs:

1. It is as much about the photo as it is about the art. Photography is an integral part of this art form.
2. It involves both still art and art in motion. Running horses, horses walking through fields, horses splashing in the river, or horses being ridden all offer different artistic options.
3. The web cameras are capable of capturing the art and the process. 
4. Natural surroundings provide many photographic options.

Lessons that we learned which are not evident through the photos include:

1. The horses tolerated it very well. They seemed to enjoy the attention and generally stood quietly throughout the decorating (well, the hay bags helped!).
2. Our low quality paints were difficult to use and required several coats for each color. Quality, nontoxic paints with more pigments would work better.
    

Armed with these lessons, we organized another horse painting trial in July of 2016 which brought Scott Miller to Dunrovin along with photographer Pam Voth to try to take things to the next level. Pam suggested creating an outdoor "studio" and special lighting to try to capture a quality portrait of a painted horse. This became our goal. Again, the photos tell the story. 

Artist Scott Miller paints on the lovely Lady Lonza. Photos by Pam Voth

As you can see, the higher quality paints really make a difference. Scott chose some a wide array of vivid colors that really pop out on Lonza's uniformly champagne coat.

While the white backdrop proved too small for a horse portrait studio, Pam Voth's white lights evened out the bright sun on the colors on Lonza's body. Photos by Pam Voth

At her studio, Pam Voth was able to use her computer to take Lonza's image and create this truly unique and striking composite photo as her portrait. This is a wonderful example of the collaboration between our Dunrovin horse, artist Scott Miller, and photographer Pam Voth. All three components were essential. 
 

I deem our 2016 experiment to be another success. We learned what didn't work to construct a real portrait studio and I have already taken some steps to correct the problems of size and stability (more on that in a later magazine article - my solution will surprise you!) and I am now confident that artists will now have the opportunity to not only paint a horse, but prepare/paint a special backdrop/studio in which to photograph their results. 
 

We are very excited for this rather new art form and we eagerly await our First Annual Big Sky Equine Art Fringe Festival from August 12 through 20, 2017. Our festival will include a children's art and horseback riding camp, equine art workshops for adults, theater and dance performances involving equines (not just horses as our donkey Divas insist on being part of the action), and equine painting contests. 
 

We are forming a board of directors consisting of artists, gallery owners, and tourism businesses to ensure the quality and success of our festival. Calls for art will go out at the first of the New Year in 2017, with contest rules and applications.  Our hope is that you will join us onsite or online for a real art and equine extravaganza.

Photos by Pam Voth (www.PamVoth.net)
 

SuzAnne Miller is the owner of Dunrovin Ranch. A fourth-generation Montanan, SuzAnne grew up roaming the mountains and fishing the streams of western Montana. Her love of nature, animals, science, and education prompted her to create the world’s first cyber ranch where live web cameras bring Dunrovin’s wildlife and ranch life to internet users across the globe.

Visit SuzAnne live at www.DaysAtDunrovin.com!