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Upon Ron’s return to the United States in the autumn of 1929, and his entrance into George Washington University a year later, professional work continued as both a staff photographer for the Washington Herald, and stringer for several national publications. Most notable among the former were shots of military mascots and equestrian debutants, while the latter featured work for the air-enthusiast publication, the Sportsman Pilot. (As a renowned daredevil pilot himself, Ron was particularly known for spectacular aerial shots.) Also of note from the days of primitive cameras and challenging shots was the later LRH advice to beginners: lest one miss a critical opportunity, learn to "handle your equipment till you can run it standing on your head."
While the typewriter tended to replace the camera beyond 1933, one still encounters several memorable impressions. From a famed 1940 Alaskan expedition, for example, come his utterly classic portraits of Ketchikan fisher-folk and his fully novel stereo-optic seascapes off a British Columbian coastline. That is, the shots were rendered with twin stereo lenses to convey a three-dimensional view through a stereo-optic viewer. Then too, these more or less intermediate years saw much experimentation with then ultrafast films in low light, and LRH designs for improved slide projectors. In the main, however, we do not find a significant body of work until the mid-1960s... whereupon, and specifically in reference to the color film revolution, “I had to go through photography all over again.” 
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