The Old Lady, aka A Human Document (4 min, 1958)
In 1957, Gardner visited the Kalahari with John Marshall to help film The Hunters. This short, observing an elderly !Kung woman, was made by Gardner alone while there.

Tide (6 min, 1966)
In the late 1960’s, Gardner visited the tidal flats of Nova Scotia where he filmed this short piece. The film follows an elderly farmer as he directs his horse and carriage across the beach, eventually stopping to fish a weir.

The Photographer (3 min, 1966/2007)
While traveling in Nova Scotia in 1966, Gardner and still photographer Len Gittleman found an old view camera which proved the inspiration for this short homage to the silent film era.

Salt (3 min, 1966)
While traveling northeastern Ethiopia in 1968, Gardner rode with a caravan of Afar camel herders plying the salt trade between the highlands and the salt flats of the Dallol Depression, which he called a “wondrous environment of unbearable heat and intense color.”

Creatures of Pain (5 min, 1968)
Gardner visited Nigeria in 1968, hoping to make a film about sheepherders. Civil war intervened, and he was only able to film this short piece about the “sharo” ritual  in a small village near Kano.

Three Non-commercials: Policeman, Lobsterman, Farmer (4 min, 1973)
In the 1970’s, Gardner was involved in the programming of WCVB, an ABC affiliate TV station in Boston. He took this opportunity to make what he called “non-commercials” – short vignettes of people in their ordinary lives – to be shown between programs.

Anthem (2 min, 1973)
In the days of Gardner’s involvement with Boston Broadcasters, Inc and Channel 5, TV stations stopped transmitting for the night – sometime in the early morning. Traditionally stations “signed off” with a clip of the American flag waving as the national anthem played. Bob asked filmmaker Richard Rogers to make a more interesting variation on this theme. Channel 5 declined to use it.

Healing (9 min, 1978)
This film arose from a trip to Ladakh, India, as Gardner searched for a shaman. There, he encountered this tradition of Buddhist healing, which involved trance and music.

Supplicating Women (3 min, 1985)
While shooting in Benares for Forest of Bliss, Gardner stumbled upon a temple frequently visited by women who suffered from ailments including love sickness and familial problems. This fragment details their pleading for healing.

Life Keeps on Passing (4 min, 1985)
Also filmed while on location for Forest of Bliss, this short was Gardner’s attempt to see and hear what local poets had to say about their surroundings. This beautiful short recounts some of their thoughts.

Hauling Sharks (10 min, 1988)
Upon returning to Ethiopia in 1988, Gardner visited the coastal Danakil. There he filmed communities who had developed an environmentally suitable way of netting sharks far out at sea, which they exported to southern Arabian states.

It Could Be Good, It Could Be Bad (6 min, 1997)
In 1997, Gardner joined his friend Robert Fulton to shoot aerial photography in the Southern Chilean Andes. Microphones were rigged to record their conversations as they flew among these extraordinary formations.

Deus Ex Boltanski (11 min, 2010)
In 2010, Gardner and photographer Michael Hutcherson travelled to Paris to make a film about French artist Christian Boltanski as he installed a piece entitled PERSONNES within the immense confines of the Grand Palais.

Still Journey On (20 min, 2010)
In his last years, Gardner worked at intervals constructing a film intended to weave together threads of thought and meaning that ran through his life and films. He took the title from “Keep Right On Till the End of the Road” a song by the Scottish singer, Harry Lauder – a favorite song of Robert’s father, who would play it on the record player every year as the family left the island in Maine where they spent much of the summer. Still Journey On remains a fragment.