Archive for ‘New Releases’ category

New Silver Gelatin Black And White Prints

February 5th, 2014

Son Hand Prints New Silver Gelatin Black And White Prints From Philip Hyde’s Original Negatives

 

Granite Arrow Shaped Rock, Hemlock Tree, High Sierra Near Matterhorn Canyon, Yosemite National Park, California, 1950.

Granite, Hemlock Tree, High Sierra Near Matterhorn Canyon, Yosemite National Park, California, copyright 1950 Philip Hyde. One of those darkroom printed in 2014 by David Leland Hyde and Stefan Kirkeby.

In October 2013 and January 2014, David Leland Hyde and Stefan Kirkeby darkroom hand printed brand new contemporary silver gelatin prints from Philip Hyde’s best vintage original negatives of Alaska, Grand Canyon, Glen Canyon, the Redwoods and Point Reyes. In October Hyde and Kirkeby printed 10 images for a total of 62 contemporary prints and in January they printed six images for a total of 28 prints.

In most cases, the vintage prints of these particular negatives are nearly or all sold out. More importantly, with these new prints, the public can obtain darkroom prints in the same tradition that Philip Hyde made his own, with much less outlay. The black and white estate prints made by Imogen Cunningham’s heirs are valued at $2,500 and the contemporary black and white prints of images by one of Philip Hyde’s classmates, William Heick, are priced at $1,800. The contemporary darkroom prints of Philip Hyde’s top black and white photographs are valued at only $1200.

Hyde and Kirkeby only made 3-8 prints of most of the images. Most of the new silver gelatin prints are available only in a limited edition of 10 prints per image, though a few of the photographs are limited editions of 20. For ins and outs of limited editions see the blog post, “Why Photography Galleries, Curators And Collectors Like Limited Editions.”

“We made these darkroom prints in collaboration to maintain coherence between the new and old silver gelatin prints, “ explained Stefan Kirkeby. “Making prints in the darkroom like this carries on the legacy of all the early darkroom printers. We do it out of respect for the medium.”

Stefan Kirkeby has helped other black and white photographers make new silver gelatin prints including Golden Decade photographers Stan Zrnich, David Johnson, William Heick and the heirs of Don Whyte, Benjamen Chinn and many others.

“We used Ilford warm tone fiber-based paper,” Stefan Kirkeby said. “It contains the most silver of all Ilford papers. That’s why the prints have such beautiful warm tone blacks like Philip Hyde’s prints from the 1940s and 1950s.” At Stefan’s darkroom in San Rafael, we used a Durst Laborata 1200 for the 2 ¼ and 4×5 negatives. We also made some contact prints from two of Philip Hyde’s early 8×10 negatives: “Looking Down Merced River At El Capitan” and “Aspens, Conway Summit” that appeared in This Is The American Earth, the first book in the Sierra Club Exhibit Format Series by Ansel Adams and Nancy Newhall. For the 5×7 negatives we rented a darkroom at Rayco in San Francisco where they had a Durst 8×10 Enlarger with a 5×7 easel.

“Philip Hyde did a lot of work and did not get enough recognition,” Stefan Kirkeby said. “So many people are using the parks without knowing that he helped protect those lands with his photography. We are printing and sharing his photographs out of respect for his hard work.”

Have you ever been in a darkroom or made silver gelatin prints?

Official New Release: Sierra Portfolio

May 29th, 2013

Announcing David Leland Hyde’s All New Sierra Portfolio

“The Sierra should be called, not the Nevada or Snowy Range, but the Range of Light… the most divinely beautiful of all mountain chains I have ever seen.” –John Muir

New Sierra Portfolio By David Leland Hyde On PhilipHyde.com

Half Dome From Mirror Lake Trail, Winter, Yosemite National Park, Sierra, California, copyright 2010 David Leland Hyde.

Half Dome From Mirror Lake Trail, Winter, Yosemite National Park, Sierra, California, copyright 2010 David Leland Hyde.

John Muir wandered and celebrated the Sierra for more than a decade inspiring thousands of artists and lovers of wilderness to “climb the mountains and get their good tidings.” My father, American landscape photographer Philip Hyde, was one artist so inspired. His last book, published in 1992 and titled, “The Range of Light,” featured quotes from John Muir to go with his color, as well as black and white photographs.

When Dad was 16 he first visited the Sierra and labeled his map of Yosemite National Park, “Home.” Twelve years later in 1950 he and my mother moved to the mountains in the Northern Sierra. Another 15 years later a doctor friend helped them give birth to me at home in the wilderness of the Sierra. I grew up in the woods along Indian Creek and have been “haunted by waters” like Norman Maclean ever since. The Sierra could also be called the “range of shimmering water” as it is more abundant in rivers, lakes and streams than any other mountain range.

The house I was born in is situated on an ancient granite rockslide that originated from Grizzly Peak. The peak itself is not visible from our home directly below the mountain. We see Grizzly Ridge, rising precipitously up 4,000 feet to 7,600 feet elevation, from Indian Creek at 3,600 feet elevation just below the house. Nonetheless, this northern end of the Sierra is mild, softly rounded and much lower than the high Sierra of Yosemite, Kings Canyon and the John Muir Trail.

As a child of the mountains, they raised me just as much as my parents. My mother knew I would learn many of life’s most important lessons by wandering around in the woods, fishing and hiking along Indian Creek, Spanish Creek, Greenhorn Creek, Ward Creek, Red Clover Creek, Montgomery Creek, Lights Creek, Hinchman Creek, Peters Creek and many of the other streams of Plumas County and the Feather River region.

These local names are telltale signs of my focus on local photography for the last four years since I forged into digital photography; and for many years before that while carrying a film camera off and on, sometimes going whole decades without a camera too. Here I learned to walk, talk, run, swim, fish, ice skate, drive in the snow, jump off of big rocks into deep waters and all the fun a boy could ask for without any need of television, video games, cell phones or portable computers.

I understand the need, in some cases, for landscape photographers to travel. During his more than 60-year career, Dad traveled an average of 99 days out of every year. Yet even Dad’s travels were almost exclusively regionally limited to the Western United States, primarily in Arizona and Utah canyons and California mountains. Is it necessary that all photographers go to Machu Picchu, the Eiffel Tower, the Great Wall of China, or even Mesa Arch in Canyonlands, Tunnel View in Yosemite Park, or Zabriski Point in Death Valley National Park? Sometimes photographers traveling to Iceland might help save the ice sheet, photographers traveling to far northern British Columbia might save a vast wilderness like the Sacred Headwaters. However, generally, I feel more and more that I am a proponent of photographic bioregionalism. In other words, bloom where you’re planted. Considering that Edward Weston said he could look at his boot and find a great photograph, amazing images are everywhere, if the photographer looks, or rather sees closely enough. There is no need to travel great distances to find beauty. It can be found right in the backyard as locally focused well-known photographers like William Neill, Michael Frye, Gary Crabbe, Richard Wong and Guy Tal prove over and over, day in, day out.

I was born in the Sierra, here is where I live and here is where I photograph. This new portfolio is a collection of a small slice of my personal expression through the lens, very often one single rudimentary lens, a Costco special Nikon 18-55 mm that came in a kit with my Nikon D90, a Nikon 55-200 lens, a camera case, an SD card and camera manual. Sure, some day I hope to break out Dad’s large format Deardorff view cameras and his two medium format Rollei SL66 film cameras to try out some black and white film, but for now, I’ll stick to the easy to use and versatile Nikon D90. I am lucky to have Dad’s nearly indestructible Bogen #3028 tripod with handy pads on the legs for comfortable carrying over the shoulder for long distances or while free rock climbing with one hand down into some canyon in these fair mountains of home.

Nearly all of my photographs are single exposure, single image capture, though now that I’m learning to blend, I usually make at least two, sometimes three exposures of most high contrast photographs. The only photograph in this new Sierra Portfolio that is a blend is #3 “Oaks, Grizzly Ridge, Fall.” It is not a blend for contrast, but for the purpose of lightening the California Black Oaks and shifting color temperature of part of the image and not another. Many of these Sierra Nevada photographs involve very little Photoshop work at all, except where obvious. Color saturation was rarely increased with the saturation slider. I usually only increase saturation as a byproduct of working with the curves to attain the look of the original scene. People who don’t use Photoshop and claim their images are more pure because they for the most part use their RAW file, are generally producing images that are less true to life than those who use Photoshop because the RAW file rarely match any scene the way it looked originally. For more on this and related subjects see also the blog post, “David Leland Hyde’s Portfolio One Revisions And New Releases.” Please keep in mind that I create these photographs in limited editions of only 100. When they’re gone, they’re gone. Enjoy browsing: Sierra Portfolio… and please share which you like best…

(Originally posted for soft release May 29, 2013.)

David Leland Hyde’s Portfolio One Revisions And New Photographs

April 5th, 2013

Many New Releases Added And Others Revised In My Portfolio On PhilipHyde.com

Cypress Trees, Point Arena Odd Fellows Cemetery, Mendocino Pacific Ocean Coast, California, copyright 2012 David Leland Hyde.

Cypress Trees, Point Arena Odd Fellows Cemetery, Mendocino Pacific Ocean Coast, California, copyright 2012 David Leland Hyde.

Besides several images from the blog post, “My 12 ‘Greatest Hits’ Of 2012,” now on display large on PhilipHyde.com, many other newly released DLH images are now on view and a number of previously released photographs are now revised and updated. See the David Leland Hyde Portfolio at the end of 16 Philip Hyde Portfolios on the Philip Hyde Photography website and acquire a fine art archival lightjet chromogenic print out of a limited edition of only 100.

For those who are not familiar with the term chromogenic, the simple definition is that such prints are not inkjet digital prints, but form the image on photographic paper through exposing the paper with light in a photographic process as opposed to using a digital print making ink set to color the paper. For more on digital prints versus chromogenic prints, see the blog posts, “Photography Galleries, Collectors, Appraisers And Digital Prints,” and “Why Photography Galleries, Curators And Collectors Like Limited Editions.”

Mesas, Boulders, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

Mesas, Boulders, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

In this blog post, I will share a little about the making of a few of the newly released photographs now in the revised portfolio. In the blog posts, “Northern California Beaches: Misty Sonoma Coast” and “Actor, Photographer, Apple Farmer And 1960s Activist Nicholas King’s Memorial,” I included a few of the landscape photographs from the Sonoma County Pacific Ocean Coast and the Mendocino County Pacific Ocean Coast. Some of these California beaches and rocky cliffs can now be seen in the revised portfolio. One image that did not appear in “My 12 ‘greatest hits’ of 2012,” from my Sonoma and Mendocino Coasts trip, that now appears in my portfolio is “Cypress Trees, Point Arena Odd Fellows Cemetery.” Also, a photograph from 2009 of Utah called, “Mesas, Boulders, San Rafael Swell,” that I posted with my guest blog post on Greg Russell’s Alpenglow Images, “Make Your Own Tripod Tracks,” has itself also been revised and added to the remade portfolio gallery.

Sandstone Boulders Against The Sky, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

Sandstone Boulders Against The Sky, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

On the same trip through Utah in 2009, I also made the vertical, “Sandstone Boulders Against The Sky.” This photograph was one of many I made that morning. I left Boulder, Colorado the evening before and spent the night just past the Green River crossing where Interstate 70 climbs up onto the Colorado Plateau. It was a bitter cold winter night with blowing snow and howling gale force winds. In the morning my Ford Van was caked with frozen snow, ice and road grime. I stopped there to sleep only for a few hours in the middle of the night and woke up just as the light began to dawn on the snowy landscape. The desert lands of Southern Utah came to live with new definition and beauty in the fresh snow. In the early morning my hands, nose and other extremities felt like they would surely get frost bite, but I persisted to photograph all morning. By late morning the snow was beginning to melt off in the surprisingly warm sun, a welcome contrast to the cold of the night before. As the snow melted, intricate and visually fascinating snow patterns were left against the red rock sandstone background. Also, the light softened and became more diffuse as high clouds moved back in.  The sandstone boulders appeared in many of my photographs, but this image in particular also captured the sky and the light.

“Dawn, American River From Fair Oaks Bluffs,” I made in 2012 from another Uncle, Clint King’s home the morning of his memorial service. I got up about a half hour before sunrise to be able to catch the sunrise and the mist on the American River. Fair Oaks is a beautiful bedroom suburb town on the outskirts of Sacramento. My Uncle Clint was a self-made man who did very well. I will write a future blog tribute to him as I did for my Uncle Nick King. The tribute will also contain more images of the event and related subjects.

After my Uncle Clint’s memorial celebration in November 2012, I drove to Livermore to see the Golden Decade Legacy Show at Figurehead Gallery that included my father’s vintage and authorized archival prints, Ansel Adams prints, Minor White prints and the black and white photography of other students of theirs from the California School of Fine Arts, now the San Francisco Art Institute. After viewing the exhibition, I attempted to photograph at the Livermore Gravel Pits as Dad did in 1949. However, due to liability, they would only let me photograph on a day where the office foreman could accompany me. I tried to sneak some photos, but an upper level manager drove over and yelled obscenities at me.

Manly Beacon, Badlands And Panamint Range, Death Valley National Park, Mojave Desert, California, copyright 2009 David Leland Hyde.

Manly Beacon, Badlands And Panamint Range, Death Valley National Park, Mojave Desert, California, copyright 2009 David Leland Hyde.

I drove from there down to photograph some architecture of the restored old homes in downtown Pleasanton, California. However, still craving more gritty fare, I also stopped under the freeway to photograph graffiti and street art. On the way home through Stockton, I also exited in downtown there, but did not find much I wanted to photograph until I found my way to the Deep Water Port of Stockton. Again, I ran into management that would not allow photographs without contacting the corporate office and coming back another day. One of the homeland security guards told me how to drive around to the other side of the San Joaquin River and photograph the Port of Stockton from a distance. This is how I made the photograph, “Port of Stockton” that also appears in the updated portfolio.

In 2009 in Death Valley National Park, I first came across the phenomena of photographers overrunning an iconic landscape. I descended into Death Valley during the evening magic hour, made some images near Panamint Springs and a few other stops on the way down to Stovepipe Wells and the Mesquite Flats Sand Dunes. I hit the sand running in the Twilight hour. The dunes were heavily beaten with footprints, as I suppose there had not been any windstorms recently. Still, I managed to make a number of good images including some of the classic tallest dune there at Mesquite Flats with some Amargosa Range mountains in the background. I was satisfied, short on time and the campground and all lodging was full. I moved on to the Furnace Creek area and parked for the night in my Van in the hotel parking lot.

Two Horses With Live Oak, "Inveration," Sierra Foothills Near Dunlap, California, copyright 2009 David Leland Hyde.

Two Horses With Live Oak, “Inveration,” Sierra Foothills Near Dunlap, California, copyright 2009 David Leland Hyde.

The next morning I woke up in the dark and headed out to Zabriski Point. I was amazed to find that even an hour before sunrise, the parking lot already had around 10 vehicles in it. I took the paved road width trail up to Zabriski Point proper and found close to a dozen photographers already set up waiting for the sun to come up. I stopped briefly in the paved stone-encircled corral where more cattle were gathering by the minute to photograph the sunrise cliché.

I walked back toward the parking lot, but saw a small dirt trail taking off for the ridge that angled toward Manly Beacon. I took this trail and the crowd of gathering photographers soon faded into the distance. I followed the dirt trail along the ridge top marveling at the vast open space of the Badlands and how not one photographer could be seen in the entire Death Valley landscape, except in the small confines of one paved trail overlook. I made a few photographs of Manly Beacon, an icon, by any definition, though captured from an angle that only a few take the time to see because it requires a little extra walking. The irony is that the sunrise all those other photographers were waiting for never happened. The sun never came up and never came out. it remained cloudy, as you can see in my photograph. I thought about how my Dad would most probably have hiked way down into the Badlands with his large format view camera, miles from the parking lot, lost amidst the bare earth of the erosion landforms. I remembered being teased in school for being different. At that moment  in the Death Valley landscape, all I felt was gratitude for my upbringing. My parents taught me not only to think “outside the box,” but more importantly to live outside the box… and as Robert Frost said, “That has made all the difference.”

Urban Railroad Ultra Fine, Reno, Nevada, copyright 2009 David Leland Hyde.

Urban Railroad Ultra Fine, Reno, Nevada, copyright 2009 David Leland Hyde.

On that note I introduce “Two Horses With Live Oak, ‘Inveration,’ Sierra Foothills Near Dunlap, California,” and “Urban Railroad, Ultra Fine, Reno, Nevada.” These two 2009 photographs are what I call Photoshop experimental photography art. “Inveration” is a made up word to describe my Photoshop process for that image.

Please share: what do you think of these experiments and the other images? Do you live outside the box and away from the herd?

 

Running With The Bears Marathon Postcards Fundraiser

November 7th, 2012

“Mt. Hough And Cottonwoods Across Indian Valley” by David Leland Hyde Made Into Running With The Bears 100 Percent Recycled Postcards To Raise Funds For Mountain Circle

(REGULAR BLOG POSTS BEGIN BELOW.)

Do You Support Healthy Homes For Children And Outdoor Leadership Programs For Teenagers?

Front of Running With The Bears Marathon Postcards: “Mt. Hough And Cottonwoods Across Indian Valley, Northern Sierra Nevada, California” by David Leland Hyde copyright 2009.

(See the photograph large: “Mt. Hough And Cottonwoods Across Indian Valley.”)

Please help us raise funds for Mountain Circle foster care outdoor programs by purchasing Mountain Circle Running With The Bears Marathon 100 percent recycled Post Cards. Please tell your friends, tweet, retweet, post to Facebook and other social media. Explain to your friends and associates that they can help teenagers and children in foster care outdoor leadership programs by obtaining a 10 pack of these high quality post cards for only $9.95 plus $4.50 shipping and handling or a 25 pack for $19.95 plus $4.50 shipping. The postcards, originally printed to send to the Running With The Bears Marthon runners and sold at the run and Lu’au, depict the popular photograph “Mt. Hough And Cottonwoods Across Indian Valley” by David Leland Hyde copyright 2009. Order The Postcards Now through PayPal from the shopping cart of Philip Hyde Photography.

Back of Running With The Bears Marathon Postcards.

The Running With The Bears Marathon is held annually near Greenville, California in beautiful Indian Valley, Plumas County in the Northern Sierra Nevada, about two hours from Reno, three hours from Sacramento and five hours from the San Francisco Bay Area. The Marathon, which as of 2012 became a qualifier for major national marathons like the Boston Marathon, raises funds for an outdoor leadership program for Mountain Circle teenagers. This outdoor leadership program is called the PowderQuest Weekend, a ski trip to Sugar Bowl and Lake Tahoe. Also, Mountain Circle is committed to bringing back a strong past Therapy in the Wilderness Program for teens that taught self-esteem, peer relations and independence. Your purchase of Running With The Bears Postcards will help restart this inspiring program.

Please help out: Order Now through PayPal from the shopping cart of Philip Hyde Photography. Running With The Bears 100 % recycled Post Cards 10 for only $9.95 plus $4.50 shipping and handling. Or 25 cards for only $19.95 plus $4.50 shipping and handling. Your order also helps Philip Hyde Photography continue its mission of defending wilderness with photography, supporting sustainable technology and preserving Philip Hyde’s original film.

For more about Mountain Circle’s mission and services see the Mountain Circle What We Do page and the Running With The Bears Marathon page.

New Release: Glacier Peak From Above Image Lake

February 23rd, 2012

The Making Of “Glacier Peak From Above Image Lake, Glacier Peak Wilderness” Copyright 1956 by Philip Hyde

Ardis and Philip Hyde Write About Trekking Into The Glacier Peak Wilderness and Image Lake in Their Travel Logs.

In the proposed North Cascades National Park, Ardis and Philip Hyde backpacked To Image Lake with Philip & Laura Zalesky, Grant McConnell And Other Sierra Club Board Members with the David Brower family, Howard Zahniser family, Jane Goldsworthy, Bob Golden, Rich Miller and others joining the group for the Sloan Creek High Trip.
Lake Chelan,
Lyman Lake
Image Lake
Glacier Peak Wilderness

Glacier Peak: The Glacier Peak Wilderness was originally proposed as part of North Cascades National Park. The Seattle chapter and other chapters of The Mountaineers, the Sierra Club and many other environmental groups in and out of coalitions in the Northwestern United States have campaigned for more than 60 years to have the Glacier Peak Wilderness added to North Cascades National Park. Last year yet another failed proposal nearly made it through the US Congress.

The Photograph: Even though Philip Hyde was the primary illustrator, his 1956 photograph, “Glacier Peak From Above Image Lake,” was not part of the Sierra Club Exhibit Format Series book, “The Wild Cascades: Forgotten Parkland”  that helped in the campaign to make North Cascades National Park. However, the high mountain photograph became fairly well-known as it was used in the campaign to make the Glacier Peak Wilderness part of the National Park and in several other books and magazine articles. Philip Hyde never made a color fine art print of the photograph. Also, it was rare that Philip Hyde used 5X7 transparencies for color photographs. By far the majority of his color photographs were made with 4X5 film. The original 5X7 color transparency of “Glacier Peak From Above Image Lake,” has faded and color shifted significantly.

Restoration: The photograph was restored for archival fine art digital printing by David Staley, Jr. of Outdoor Plus Digital Print Lab. David Staley, Jr. quit counting his time at eight hours and worked long beyond that to get this photograph correct in Photoshop. Ed Cooper, a mountaineer, climber, outdoorsman, large format and Sierra Club Calendars photographer and book author who knew my father, confirmed that our restoration looked very close in color, hue, saturation and range to the original landscape that time of year and to his own Photoshop restoration of his color shifted 4X5 color transparencies of Glacier Peak and Image Lake. Ed Cooper has backpacked into Image Lake himself and photographed it a number of times.

For the first time ever produced as a fine art print, Archival Digital Prints of “Glacier Peak From Above Image Lake” are now available at New Release Pricing for a limited time.

Glacier Peak From Above Image Lake, Glacier Peak Wilderness, North Cascades, Washington, copyright 1956 by Philip Hyde.

(To see the photograph large go to: “Glacier Peak From Above Image Lake.”)

This Section by Ardis Hyde

Friday, August 17, 1956:  We departed leisurely from Philip and Laura Zalesky’s home in Everett, Washington. We drove through miles of apple orchards to the Southern end of Lake Chelan to Lake Chelan State Park, which proved crowded with little privacy.

Saturday, August 18:  We just made the Lake Chelan Steamer at 9:10 am. We steamed up Lake Chelan, making two stops on the way. The land on both sides of the lake was low, hot and dry foothill country. The steamer was crowded, but comfortable and very maneuverable. We disembarked at Lucerne, Washington and transferred to a bus that took us up 10 miles of good graded gravel road to Holden, Washington. We were surprised to find Holden a pleasant shingle mining town, all company owned except for many private residences built on land leased from the US Forest Service. While we were walking to the Sierra Club camp, a Sierra Club truck met us, picked up our gear and delivered us to the packers just in time to have our duffle transferred to the pack horses. Shortly, around 2:30 pm, we set out on the 8 to 9 mile hike to Lyman Lake. The going was hot and humid through a lush young forest. Some kind of packing accident happened on the trail that spooked the horses and landed our dunnage and film box on the trail. They repacked our horses and headed on to camp, arriving after sundown around 7:45 pm. The packers were at that point only ahead of us by 15 minutes. With much of our trip after the sun slid behind the mountains, the nine mile hike seemed long enough, but not too hot or over strenuous. We arrived so late that we made our bedding and campsite right near the commissary by the lakeside.

Sunday, August 19:  It was the coldest night we spent sleeping out, the whole summer. Philip laid tarps over us that became soaking wet on the under side. After getting up, we found a good, sheltered and private campsite near the stream and relocated our gear. Philip photographed subjects around camp, while I spent the day reading the novelized true story of, Anna and the King of Siam, the book that inspired the film and Broadway Musical The King and I. I became acquainted with Sierra Club leader and pre-eminent political scientist Grant McConnell, his wife Jane, his daughter Ann and his son Jim. They spend the summers in a cabin at Stehikin, Washington and winters in Berkeley, California, where Grant McConnell teaches Political Science at the University of California. Also around camp were Al Schmitz and Oliver Kehrlein, co-leaders of the trip. There were only about 15 Sierra Club members in Base Camp at that time, while 125 more people from other groups and individuals were expected soon.

The Following Section Written by Philip Hyde

Sunday afternoon a group of us including Philip Zalesky and Grant McConnell hiked up to Phelps Creek Pass and Spider Pass for views down Phelps Creek and of the Entiat Mountains in the proposed Glacier Peak Wilderness. The Seattle group of The Mountaineers club proposed that the Glacier Peak Wilderness boundary run across Spider Pass.

Monday, August 20:  We gathered our gear together to backpack to Image Lake over Cloudy Pass and Siuattle Pass, then along Miner’s Ridge. We hiked past an old mining camp from several years ago. Several miles further we came across the present mining camp. What a mess. There were trees chopped off two feet or more from the ground in all directions, old oil drums, tin cans, bottles, and all sorts of other imaginable debris everywhere within throwing distance. The mining camps support diamond drilling operations prospecting for copper ore. Large scaffolds in several places support the drills. All of it is supplied by helicopter. We hiked on along Miner’s Ridge. It was a stiff climb to high steep grassy slopes, then around into a cove in the ridge and Image Lake finally below. Image Lake is in a small depression held back by a rock lip around the downhill edge. Below the lip, the valley plunges deeply down to the Suiattle River canyon, while our gaze moves upward to the steeper slopes across the river valley, up, up, to lower snow fields and finally to the immense, white glacier-covered slopes of Glacier Peak. Ardis preceded me into camp, while I exposed several large format black and white negatives and color transparencies of the Suiattle River Valley and surrounding peaks. I found Ardis’ welcome of hot soup as I walked into camp by the shore of Image Lake. There was a beautiful full moon that night over the snowy slopes of Glacier Peak across the valley.

Tuesday, August 21:  I woke up early to make more 5X7 view camera photographs of Glacier Peak across and from above Image Lake. Then I climbed the pass behind the lake for a view across Canyon Creek and Canyon Lake nestled in a cirque about two thirds of the way to the top of the ridge. Then I joined Ardis and some of the others, picking up our packs and heading back down to our Lyman Lake Sierra Club Base Camp. On the way, we took a high trail near the mine and ended up near one of the drilling rigs watching the helicopter operation. We took off cross-country, off-trail, bushwhacking while contouring along the ridge. After negotiating several patches of heavy forest and avalanche paths, we rejoined the trail for the climb up to Siuattle Pass and Cloudy Pass, followed by the drop down into the Lyman Lake basin. It’s a long haul, not so easily done with backpacks as we were led to believe. The mob had descended on Lyman Lake Base Camp. Already the lake surroundings look beat up. Circus tents are up, as well as individual large tents, which the management rents out.

Wednesday, August 22:  I hiked up to the South Peak of North Star Mountain today for magnificent views of Glacier Peak over Cloudy Pass and Siuattle Pass. Oliver Kehrlein made a sly dig at me at the evening campfire for going up alone.

Thursday, August 23:  We were up early for the walk out to Holden, Washington, leaving the Lyman Lake Base Camp for the trip around to the Sloan Creek Sierra Club High Trip. It was cloudy early, bringing the first threat of rain this week. It rained some on us backpacking down. We took the bus from Holden to Lucerne and down Lake Chelan in a boat. There was some hard rain on the lake. It was overcast all afternoon and night, as we camped in the US Forest Service campground on Steven’s Pass…

More in another blog post as the Hydes met up with the David Brower family, Howard Zahniser family, Jane Goldsworthy, Bob Golden, Rich Miller and other Sierra Club Board members and regular members…

New David Leland Hyde Portfolio Prints

February 2nd, 2012

Unveiling 24 New Archival Digital Prints Added To The David Leland Hyde Portfolio At Philiphyde.com

To begin this exciting announcement, from the blog post, “Best Photos Of 2011,” four new Lightjet archival fine art digital prints are now part of the David Leland Hyde Portfolio:

Fountain, Main Courtyard, Sauk Institute, La Jolla Shores, San Diego, California, copyright 2009 by David Leland Hyde. Nikon D90.

– “Curved Shadow On Cliffs, Drakes Beach, Point Reyes National Seashore”

– “Thistle Heads And Pines, Northern Sierra Nevada,”

– “Tents, Dutton Hall Financial Aid, Fountain, Occupy UC Davis, Davis, California”

– “Grain Processing Plant At Night, Great Central Valley”

Additional NEW IMAGES added to the David Leland Hyde Portfolio at Philiphyde.com are:

– “Juniper Tree Skeleton Near Eureka, Nevada”

– “Panamint Mountains Near Panamint Springs, Approach To Death Valley National Park”

– “Granite, Pool And Maple Leaves At Indian Falls, Northern Sierra Nevada”

– “Daisies, Cracking Adobe Wall, Carmel Mission, Carmel”

– “Bicycle Church, Barrio Anita, Tucson, Arizona”

– “Historical Mansion, Downtown Santa Cruz, California”

– “Graffiti And Wall Art, San Francisco, California”

– “Self Realization Fellowship, Pacific Palisades, California”

– “Fountain, Main Courtyard, Sauk Institute, La Jolla Shores”

– “Wheelbarrow, Adobe Wall, Fall Leaves, Santa Fe, New Mexico”

– “Bell Tower, San Juan Bautista Mission”

– “Tokopa Falls, Kaweah River, Sequoia National Park”

– “Summit Sunset, Loveland Pass, Rocky Mountains, Colorado”

– “Sunrise And Volcano Along US Highway 6, Nevada”

– “Reflections Detail, Manzanita Lake, Lassen Volcanic National Park”

– “Hay Bales, Pacific Ocean, Santa Cruz County North Coast”

– “Foothills Of The Rocky Mountains Front Range Near Eldorado Canyon State Park, Boulder County, Colorado”

– “Ghost Ranch In Snake Valley, Snake Range, Near Milford, Utah”

– “Sierra Wave Cloud Over Bodie, Eastern Side Sierra Nevada, California”

– “Tufa, Mono Lake, East Side Sierra Nevada Near Lee Vining, California”

– “Tide Pool Rocks, Point Lobos State Natural Reserve, California”

– “Tokopah Falls, Sequoia National Park, Southern Sierra Nevada, California”

– “Bell Tower, San Juan Bautista Mission, California”

– “Foothills Of The Rocky Mountain Front Range Near Eldorado Canyon State Park, Boulder County, Colorado”

– “Snow And Grass Detail Near Angel Fire, Sangre De Christo Mountains, New Mexico”

View the photographs: “David Leland Hyde Portfolio.”

Please share which new photograph(s) you like best of the group and which you like least…?

New Official Philip Hyde Short Video

November 17th, 2011

The Official Philip Hyde Short Video

Bob Yellowlees, proprietor of Lumiere Gallery in Atlanta is a genius for hiring Tony Casadonte as gallery manager. Tony Casadonte also builds the Lumiere Gallery search-friendly website on WordPress, presents and sells vintage prints and digital prints, oversees matting and framing, coordinates events, activities and a lecture series with the High Museum of Art, Atlanta… and… oversees the recording of videos. He directed the NEW 3:18 MINUTE PHILIP HYDE SHORT VIDEO…

Philip Hyde from Lumière on Vimeo.

The Making Of The New Video

One day Tony Casadonte told me I would receive a recorder in the mail. Seemed a bit strange, but everything is strange these days when it comes to technology. Sure enough, one day this box about 6″ X 10″ X 8″ arrived in my mailbox. I opened it up. Tony explained the contraption, “It’s only a couple hundred dollar recording machine, but we shipped it FedEx to be sure it arrived safely.” It was digital. No tapes. OK, I know I am hopelessly stuck in the 1980s when I remember my father picking up the first tape recorder commercially available from Sony. Anyway, no moving parts, amazing. Just press a button and start talking.

Tony gave me an outline of his interview points and I started speaking into the microphone to answer them. Every so often Tony interrupted and said, “Well, what about this?” or “That?” In a flash, seemed like, we had an hour and a half of me rattling on about my father pioneer landscape photographer and conservationist Philip Hyde and his work. I burned a copy of the recording right to my computer for backup, put the recorder in the box and done. Tony said he would have to edit it. OK, I agreed. He sent me several versions of the audio, cut down to three and four minutes. The editing shined in one version. Tony said, I’ll have my guy Neal go to work on this and cue up a video with music and your father’s photographs. Hopefully we will be able to make a video or two more out of the rest of the recording.

In a day or two Tony and Neal posted the newest version of the video on Vimeo and a slightly different version on YouTube. Take a look. I am amazed at the results. From my convoluted ramblings, they somehow cut a very focused, concise statement about my father that would have made him proud. Hats off to Tony Casadonte and his team, or is it Bob Yellowlees’ team? Anyway, great job gentlemen, thank you. Take a look yourself… and… don’t miss the current exhibition at Lumiere Gallery, “Messages from the Wilderness,” prominently featuring Dad’s conservation photography and the work of other great conservation photographers such as Ansel Adams, Edna Bullock, Peter Essick, Robert Glenn Ketchum, Tom Murphy, Bradford Washburn, Edward Weston and Brett Weston.

Messages From The Wilderness Exhibition

November 12-December 23, 2011

Lumiere Gallery
425 Peachtree Hills Avenue
Building 5, Suite 29B
Atlanta, GA 30305
404-261-6100

For more information about the exhibition see the blog post, “Messages From The Wilderness Opening At Lumiere Gallery.”

New Portfolio Added: Grand Canyon National Park

October 13th, 2011

New Portfolio Of Philip Hyde’s Vintage Black And White Prints Of The Grand Canyon

(See the photograph large: Marble Gorge Near Nankoweap Creek, Grand Canyon National Park.)

Marble Gorge Near Nankoweap Creek, Grand Canyon National Park, Arizona, copyright by Philip Hyde.

Time and the River Flowing: Grand Canyon by Francois Leydet, in the Sierra Club Books Exhibit Format Series, came out in 1964 in response to two proposed dams, one just above and one just below Grand Canyon National Park. Time and The River Flowing formed out of a river trip down the Colorado River through the Grand Canyon, planned for that creative purpose. The river trip headed by David Brower, Executive Director of the Sierra Club and head of the Sierra Club books publishing program, and led on the river by lead boatman Martin Litton, has become legendary for including passengers who were the who’s who of landscape photography, conservation and the natural sciences of the time.

The illustrators of Time and The River Flowing were Katie Lee with one photograph, Joseph Wood Krutch and Eliot Porter each with two images, Daniel B. Luten with three, P. T. Reilly with four, Ansel Adams contributed five color photographs, Richard Norgaard six, Joseph C. Hall and Martin Litton, using the name Clyde Thomas, each provided nine photographs, David Brower had 10, Clyde Childress made 19 of the images and Philip Hyde supplied 31 of the book’s illustrations.

Published only two years after the introduction of color to Sierra Club Books, Time and the River Flowing contained only color photographs, even by Ansel Adams. As a result many of the best black and white photographs of the Grand Canyon by the artists above never received the same level of recognition, even though they were in some cases stronger images.

Now Philip Hyde’s black and white photographs of the Grand Canyon can potentially be more widely seen. See the new portfolio added to Philip Hyde Photography of Grand Canyon National Park original black and white prints. See also several more of Philip Hyde’s best black and white photographs of the Grand Canyon by visiting the portfolios “Black and White Vintage & Digital Prints 1,” “Black and White Vintage & Digital Prints 2” and “Vintage Black and White Prints & Raw Scans.”

For more information on the making of Philip Hyde’s original darkroom black and white prints see, “About Vintage Black and White Prints.”

David Leland Hyde Archival Prints Pre-Launch

September 29th, 2011

David Leland Hyde’s Archival Lightjet Digital Prints

Pre-Launch of Limited Edition Archival Digital Prints

(REGULAR BLOG POSTS BEGIN BELOW THIS ANNOUNCEMENT.)

7X.-DHCA-BSur-39-09-River-Mouth,-Beach,-Big-Sur.sharp-For-Web-blog

Beach At Little Sur River Mouth Near Pacific Coast Highway 1, Ice Plant, Fog, Pacific Ocean, California Beaches, copyright 2009 David Leland Hyde.

(See the photograph larger, go to “River Mouth, Beach, Big Sur, California.”)

Now in an unusual and unprecedented pre-launch time frame, we are offering fine art archival Lightjet digital prints of my photographs. This group of images is the first version of my first portfolio offered in a Limited Edition of only 100 archival digital prints of each photograph. While I am full-time in the business of photography representing my father pioneer landscape photographer Philip Hyde’s work, I am only a part-time photographer. My photographs and archival digital prints will continue to be rare. There will be only 100 prints offered in all sizes of each image as long as I live. In the future my photographs will be advertised, covered and offered in major media, but will be available now only by word of mouth and online during the pre-launch.

David Leland Hyde’s Artist Statement

My purpose is to hurl down icons and smash conventions while expressing who I am through street, still life, architectural and landscape photography. I seek equalization and spiritual freedom with a laughing irreverence for ideologies perpetuated out of fear. I aspire to portray all races, cultures and life as I find them, yet with a twist added through my own selection of the elements within the frame. I often strive for irony, symbolism or to send a message to the viewer through the photographic image that will help people awaken from the present mass slumber party.

A Note On the Photographs

These photographs are all single exposures made with a Nikon D90, often hand held, some with minimal post-processing, some are camera raw. For the most part, I do not pre-plan photographs, or even often take special outings for the purpose of photographing, but make my images in the course of my travels and activities. Thus these were nearly all what would be called “found” photographs, though in the case of those occurring around where live, I sometimes made the photograph on a different day from when I first saw the opportunity.

David Leland Hyde Archival Print Pricing

Print Size      Unmatted/Unframed           Matted         Matted & Framed

8X12                    $55                                $75                         $95

16X24                  175                                245                         315

20X30                  385                                475                         565

For Print Acquisitions Please Contact:

David Leland Hyde

303-562-8198 cell

david@philiphyde.com

http://www.philiphyde.com/

Or order the archival digital prints from inside the Portfolios tab on the Philip Hyde Photography website. Go into the David Leland Hyde Portfolio and scroll down below each photograph to read image information, sizes and pricing information.

To see David Leland Hyde’s best photographs from 2011 see the blog post, “Best Photos Of 2011,” or to view the best of 2012 see the blog post, “My 12 Greatest Hits of 2012.” To read an interview by landscape photographer and blogger Guy Tal go to, “Interview With David Leland Hyde.” To see David Leland Hyde’s photographs of winter in the desert see the blog post, “Winter Snow On Desert Landscaspes.” Or for his images of San Francisco see the blog post, “The Flowers Of San Francisco.” To view David Leland Hyde’s photographs of the ghost town Bodie, Mono Lake and the Sierra Nevada East Side see “Sierra Eastside Adventures: Bishop, Mono Lake and Bodie.” To see another high quality interview by photographer Richard Wong see, “Son Of An Environmental Photography Pioneer.”

New Portfolio: Yosemite And Sierra Black And White Prints

August 30th, 2011

New Portfolio Added To PhilipHyde.com: Yosemite, Kings Canyon And Sierra Nevada Vintage Black and White Prints

Climb the mountains and get their good tidings. Nature’s peace will flow into you as sunshine flows into trees. The winds will blow their own freshness into you, and the storms their energy, while cares will drop off like autumn leaves.  –John Muir

McClure Meadow, Evolution Valley, Kings Canyon National Park, Sierra Nevada, California, copyright 1970 by Philip Hyde. Deardorff 5X7 Large Format Camera. Widely exhibited and published including in “The Range of Light” with quotes by John Muir. Still available as an original vintage darkroom black and white print. Three 8X10 vintage prints left available for sale at this time. Other original vintage black and white prints in the “Yosemite, Kings Canyon and Sierra Portfolio” also available in limited quantities. Please inquire for details.

(See the photograph larger: “McClure Meadow, Evolution Valley, Kings Canyon.”)

In his preface to The Range of Light, with Selections from the Writings of John Muir, my father pioneer landscape photographer Philip Hyde wrote about choosing photographs and John Muir quotes for his book. To read more about The Range of Light see the blog post, “Philip Hyde’s Tribute To John Muir.” Philip Hyde described his process in the Preface to The Range of Light:

It was a labor of love rereading John Muir some fifty years after my first reading. In searching for quotations to use with my photographs, I found the same inspiration and delight I recall feeling in the past—more, really, since my love for the mountains has only increased with the familiarity experience has given me… I wanted to go out again, to go in further, to explore all the places I had missed, and I wanted to improve on the pictures I had made to illustrate the heightened savor I was finding in his words. In nearly a lifetime of returning again and again, I began to feel I had barely scratched the surface. But over the life of the project, my view began to shift from unfulfilled desire to gratitude. I was coming to see that I would never satisfy my thirst for wildness and mountains. I could never make all the definitive photographs of them. But hadn’t I already had more than most men’s share of them? In general, the matching of quotations with pictures should be understood as equivalents—some descriptive, some expressing an experience of feeling that seems to parallel in some way one which John Muir describes. Others are visual equivalents of the words in less direct, more personal ways. There was a basic purpose in all this: my hope to somehow discharge a little of my debt to John Muir for his keen observation that informed and sharpened my own; for his words that amplified my feeling and experience, and colored them both brighter; for his boundless enthusiasm for Nature; for his clear vision that it would not be enough, living in an exploitive culture just to love Nature, but essential for Nature’s continued existence unimpaired, that one work to carry those “good tidings” to others who would, in their turn, work to protect Nature.

In 1938, just before he turned 17, Philip Hyde first visited Yosemite National Park and the Sierra Nevada. On that trip he made his first photographs with a Kodak Readyset 120 camera that he borrowed from his sister. He brought the camera along thinking he would photograph his Boy Scout friends, but when he had the film developed, he discovered that most of the photographs were of nature rather than people, a tendency that stayed with him throughout his career. For more on Philip Hyde’s early trips to Yosemite National Park, see the blog post, “Lake Tenaya And Yosemite National Park.” His wilderness photographs participated in more environmental campaigns than any other photographer of his time and helped to establish the genre of landscape photography as a recognized art form while his photographs served as the backbone of the groundbreaking Sierra Club Books Exhibit Format Series. The Exhibit Format Series, invented by Ansel Adams, David Brower and Nancy Newhall, became known for popularizing the coffee table photography book and helping to establish many national parks and wilderness areas of the Western U. S. Beginning with participation in the first book in the Sierra Club Books Exhibit Format Series, This Is The American Earth, Philip Hyde went on to publish more photographs in more volumes in the series than any of the other photographers, including Eliot Porter, who was known for illustrating the best selling book of the series, In Wildness Is the Preservation of the World with quotes by Henry David Thoreau. To read more about these photographers and the development of the Sierra Club Books Exhibit Format Series see the blog post, “How Color Came To Landscape Photography.”

Though the various book projects influenced a generation of photographers and brought his work acclaim, Philip Hyde himself said, “I didn’t want to be distracted by fame.” He was more apt to spend his time working on any of many local environmental campaigns around the West, rather than talking to photography galleries, museum curators or photography agents. Although the best art museums and collectors did take interest in his work, often through recommendations from mentors such as Ansel Adams, Edward Weston and Minor White; Philip Hyde, until recently has been less well-known than some other leading landscape photographers. Now for the first time in more than a decade, Philip Hyde’s vintage black and white prints, as well as his original dye transfer and Cibachrome prints are offered by a select number of the world’s best photography galleries. To read more about the galleries who carry Philip Hyde’s work see the blog posts in the category “Galleries for Philip Hyde” or go to “About Vintage And Black And White Prints.” A limited number of his vintage and original prints are still available for viewing and acquisition on the Philip Hyde Photography website. As we scan Philip Hyde’s original vintage black and white prints and film, a few new images, and on a few rare occasions a whole new portfolio is added to PhilipHyde.com. The selection of photographs chosen for the new “Yosemite, Kings Canyon and Sierra Black and White Portfolio” were carefully reviewed by many experts in the art world, in photography galleries and by other professional photographers. Please enjoy and write me as you have questions.

What writers, artists or other influences helped you connect to a place?