[For many years I have been studying, amongst other branches of Philosophy, the subject of Art.]

     Moreover, those initials were by no means confined to the printed page. By the summer of 1937, for example, one finds an LRH stamp on such scripts for the big screen as The Mysterious Pilot, The Adventures of Wild Bill Hickock and the Spider series; while the name L.  Ron Hubbard was quite formally attached to The Secret of Treasure Island–among the most profitable serials of Hollywood’s golden age. That some forty years later, one further finds the name L.  Ron Hubbard on an internationally best-selling Battlefield Earth, and the ten-volume dekalogy of Mission Earth–each volume also an international bestseller–only serves to underscore our point: here is a man both deeply committed and perennially involved in the arts. Yet for all the name conjures in literary circles–and herein lies our next preliminary point–L.  Ron Hubbard was by no means only an author.

     Consider LRH the photographer. Although lesser known, the LRH photographic output was actually just as prodigious and just as professionally rendered as any LRH work of fiction. A keen student of the craft through his youth, by early 1929, his celebrated China landscapes were acquired by none other than National Geographic, while his spectacular aerial shots were soon gracing the pages of a very prestigious Sportsman Pilot. His later work, including promotional photographs for various European governments and official portraits of heads of state, was equally acclaimed. Then again, LRH photographs have appeared in salons and galleries throughout the United States and Europe, while annual LRH calendars and the traveling exhibition and companion text, L.  Ron Hubbard: Images of a Lifetime, have thus far attracted tens of thousands of viewers.

     “Every separate sector of artistic creations,” Ron tells us, “has its own basic rules.” By way of example, he referenced both writing and painting, but was particularly addressing members of the cinemagraphic unit he had established for the production of Scientology films in 1978. His involvement in the field says much about the man. Although he had only informally stood behind the camera through his Hollywood stint in the 1930s and 1940s, by the spring of 1979, one can name no aspect of the filmic process he had not mastered. In consequence, his instructional notes on cinematography, directing, costume design, lighting, scoring and makeup comprise a perfect distillation of film-making basics, while his instructional material and drills for actors are nothing short of revolutionary.

Writer Photographer Filmmaker Maker of music Philosopher of Art