Dinosaur National Monument 2013, Part One

December 5th, 2013 by David Leland Hyde 6 comments »

Dinosaur National Monument 2013

Part One: Introduction And Setting

Diamond Mountain And Diamond Gulch Near Fish Hatchery, Dinosaur National Monument, Utah, copyright 2013 David Leland Hyde. Nikon D90.

Diamond Mountain And Diamond Gulch Near Fish Hatchery, Dinosaur National Monument, Utah, copyright 2013 David Leland Hyde. Nikon D90.

Early Travels To Dinosaur

When I was a boy of about nine, I visited Dinosaur National Monument with my parents. Later, in my early teens my father, pioneer landscape photographer Philip Hyde, and I stopped through Dinosaur on the way back from a Fastwater Expeditions Sportyak trip down the Green River with famous river guide Bill Belknap.

The second short visit, I do not remember much. From that trip, besides the vivid memories of the river run, the only memory I have of the Dinosaur area is of looking down on Flaming Gorge Reservoir in Wyoming upstream on the Green River. From the earlier trip with my parents, I recall only the visitor’s center and Dinosaur Quarry on the Utah side of the Colorado-Utah border that runs through Dinosaur National Monument. This is what most travelers to Dinosaur remember too, because it is all that most travelers see. However, there is much more to Dinosaur than fossilized bones or an interpretive building. The national monument consists of over 209,000 acres of sandstone bluffs, monuments, rolling hills, outcroppings, shale, slate and the most diverse and interesting feature of all, the labyrinthine canyons of the Yampa and Green Rivers. The highlight of these canyons is an oasis called Echo Park, where the two rivers come together and the canyons open up into a small valley between 1,000-foot cliffs. In the center of Echo Park rising straight out of the rivers at the confluence is a gigantic sandstone rock fin that on the near end looks like the cut off end of a loaf of bread. This 900 foot tall sandstone loaf end is called Steamboat Rock because from the side angle it looks like a steam ship.

Stories Of Our Fathers

Steamboat Rock figured prominently in discussions I had with my father after my mother passed away in 2002. After she was gone, I left a high paying job and moved from Upstate New York back home to Northern California. I moved in with Dad in the house I grew up in to help him out because he had not only lost the first love of his life, but had also lost his eyesight two years before and thus lost the second love of his life, photography. Dad explained how Steamboat Rock had become a symbol in the 1950s and 1960s of the then fledgling modern environmental movement and its first big success in defending Dinosaur from the invasion of dam builders, who wanted to erect two dams within the national monument, thereby flooding 96 out of 104 river miles of the Yampa and Green Rivers. For more about the battle over Dinosaur as well as conservation leader David Brower and photographer Philip Hyde’s roles in it, see the blog post series, “The Battle Over Dinosaur: Birth Of Modern Environmentalism.”

We talked much about Dinosaur and I poured over the maps and photographs. The series of blog posts above I originally wrote as a chapter in a book about my father’s life that I am still interviewing people for who knew Dad. By 2005, I could not wait to get up to the remote northern border of Utah and Colorado and see the place for myself. On the way back from a visit to Boulder, Colorado, I took the road less traveled, US Highway 40, and rolled across the open desert. A description of the approach and entry into Dinosaur can be found in the blog post, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 2.” In summary, I traveled the long pothole infested paved road out to Harper’s Corner, stopping at overlooks along the way and ending with a one mile hike out on a thin slice of sandstone 2,000 feet above the Green River at Harper’s Corner, where a large portion of Dinosaur’s geology and canyons can be seen all at once. I also took a risk going into Echo Park, made a tribute to my father at Split Mountain and had all sorts of other adventures, all fueled and inspired by my first listening to Jack Kerouac’s quintessential Beat Generation novel, On the Road. Kerouac’s lyrical, poetic prose lifted me and put a lilt in my step and my writing. For more on my journey as well as Dad’s explorations of the same territory and much more in the dusty, wild past of 1951, see the blog posts, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 3” and “The Battle Over Dinosaur: Birth Of Modern Environmentalism 4.”

Randy Fullbright And A New Dinosaur Campaign

I came back from Dinosaur changed, more on that and my profound experiences in future blog posts. The sad irony is that I did not have my camera with me in 2005 to record it all. Needless to say, this irony has been poking at me ever since I bought a Nikon D90, my first digital camera, in 2009. I have been hankering to go back, but never had the chance. Enter artist, goldsmith, gallery owner, gem and fossil expert, photography collector, photographer and impromptu wilderness guide Randy Fullbright.

I first started talking to Randy Fullbright via e-mail and phone in July 2011 when he introduced himself through comments on my blog post, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 9.” Ever since then we have talked from time to time about his extensive photographic explorations of Dinosaur and about my dad’s work there too. Randy has two goals: 1. To photograph all of Dinosaur, no easy feat, and 2. To help Dinosaur become a national park. To these ends he has worked tirelessly and become well acquainted with many of the park rangers and management of the monument, as well as the local politics of air quality, oil and gas exploration and drilling, mining, tourism, recreation, ranching and the boom time explosion of the population of Vernal, Utah. Randy operates Fullbright Studios in Vernal, is active in the community and knows just about anyone who is anyone in town and all over the West.

While I spent this last summer in Boulder, Colorado for the first time again after a two year absence, I began to talk seriously about taking Randy up on his offer to take me into Dinosaur to some of the places few to no one else has photographed and locations my father photographed in the 1950s. Isn’t that a great offer? Again on my way home to Northern California, I took Highway 40, the road less traveled, and raged across the desert to Vernal, where I arrived at Randy’s house behind his gallery at 4:00 am. I did not see him until the morning when we embarked on a dirt road romping, camera carrying trip in to Dinosaur and an unforgettable hike into Jones Hole. Stay tuned for the whole story in blog posts to follow in this series, plus more about the mystical canyons, people, politics, fishing and simple freedom of Jones Creek and the Green River in Dinosaur…

(Continued in the blog post, “Dinosaur National Monument 2013, Part Two.”)

Be Sociable, Share!

Happy Thanksgiving!

November 26th, 2013 by David Leland Hyde 18 comments »

Happy Turkey Feast Day 2013!

I want to know what sustains you from the inside when all else falls away.
I want to know if you can be alone with yourself,
And if you truly like the company you keep in the empty moments.

–From The Invitation by Oriah Mountain Dreamer

Grass Hummock, Indian Creek, Indian Valley, Plumas County, Northern Sierra, California, copyright 2013 by David Leland Hyde.

Grass Hummock, Indian Creek, Fall, Indian Valley, Plumas County, Northern Sierra, California, copyright 2013 by David Leland Hyde.

When you do not know the business of photography, it is challenging to jump right in full-time and make a living, regardless of experience in other businesses. This difficulty is eased in some ways, but ultimately more devastating in the long run, if you have some funds to start with. This tends to merely delay the necessary pain of actually having to produce, but when the funds finally do dry up, there is what seems like a long free fall before you finally learn enough to construct a net out of thin air, to save yourself from ruin.

They say you have to hit bottom before you can bounce. However, I have now proven that a person can skim along the bottom for quite some time before hitting the lowest point and bouncing. This year, for me, was the year of the bounce. Print sales are up. Business is up. Income is up. In fact, at one point early in the year I was mystified and lamenting my lack of earning power, when I began to ask around to find out what was really going on out there in the streets and with other photographers and landscape photographers. In most cases it is not very pretty, even though the images often are nothing but pretty.

I could sit here and moan about the economy like the majority of others do every day, even the very best, but it really isn’t “the economy, stupid.” It is really each of us making or breaking it daily. An interesting discovery I made not long ago was that the “economy” today is twice as big as it was in 1980. Why isn’t each of us earning twice as much? Well, because our individual incomes truly do not have all that much to do with the overall economy. In this essay, I’m going to play economic devil’s advocate.

The U. S. “Economy” alone is measured in hundreds of billions of dollars. If it goes down a few percentage points, the media spread hysteria and fright like wildfire, but if it goes up a small fraction, then we all rejoice. And what the heck is uncertainty? I thought the role of a leader is to banish uncertainty from people’s minds, but I guess we don’t have any leaders of consequence these days. The fluctuations in growth that are part of doing business affect each of us individually just about as much as we believe they do.

I am not blind to unemployment or the decline I see all around me, but to blame all of it on the idiot gamblers on Wall Street and the con artist mortgage bankers seems a bit overblown.  I know a huge number of people have been taken advantage of, lost their homes, lost their retirement funds and so on. I feel for these people and understand they are victims of the new corporate state. Toward changes, we all need to work and become activists, but what else is new? The big guys have been taking advantage of the little guys since history began. Each of us has to step to the plate and do it for ourselves despite the economy, despite unemployment, despite whatever the setbacks are of any nature.

I have discovered that if a collector wants to make an excuse not to acquire a print, he or she will find an excuse, lately it has conveniently been the economy. If you buy that excuse from someone who is more well off than you are, then you do not believe enough in art and you are not likely to sell much of it in the Soft Depression of the 21st Century. Go back and get a government job, oops, maybe that’s not such a good idea either. Nothing personal if you already work for the government. I feel for all those who were needlessly put out of work recently because of partisan politics. During the government shut down, members of Congress still collected their pay and retained all or most of their staff, while Nobel Prize winning scientists and other accomplished people were ejected. The only real security is the security each of us creates for ourselves. Henry David Thoreau called it self-reliance. This century we have to practice economic self-reliance. It is the only way we will have anything to be thankful for in the long run.

Back to landscape photography, certainly some superstars are still crushing it in the current “economy,” whatever that is, but it turns out that a lot of collectors and other print buyers are making a lot of excuses and most photographers have no decent response or plan to overcome these excuses. I certainly do not have all the answers, or even hardly any. However, I was heartened to find out when I checked around, that even though I consider my income paltry compared to the days of the late 1980s when I was making a six figure income, I am selling more prints than just about anyone else around, at least in the nature and landscape photography genre. That is something to be thankful for… and I am. Thank you Great Spirit, for the gifts you bestow. It has been a long road to get here. I still have a long way to go in many areas including time management, SEO, web development, social media, exhibiting at shows, museum relations, photography gallery development, printing my own prints and much more. My father once wrote that he had a long apprenticeship from the mountains themselves, mainly learning economics. More on the economy and selling photographic prints in future posts…

Happy Thanksgiving 2013!

What are you thankful for?

Be Sociable, Share!

Imogen Cunningham, Minor White And Their Students On The Art Of Seeing

November 12th, 2013 by David Leland Hyde 16 comments »

Photography, Art And The Art Of Seeing

Reading Photoblogs And Networking: A New World

Photo Session, Old Tower, Broomfield, Colorado, copyright 2013 David Leland Hyde.

Photo Session, Old Tower, Broomfield, Colorado, copyright 2013 David Leland Hyde. Nikon D90.

While junk dominates the internet in many categories of photography, some of the best photography ever made is also quietly being produced and published every day. Running a photoblog and networking with other blog writers has opened a whole new world.

One blog I have grown to enjoy is Mark Graf’s Notes In The Woods. He must be one of the most innovative photographers around today. He shares tips, tidbits and techniques that keep photography interesting. Jim Goldstein also runs a good blog with a wider mix of interests, at least indirectly related to photography, including expertise in social media and internet marketing. Recently, about two months apart, both Mark Graf and Jim Goldstein wrote about the same topic. Mark Graf advised, “Always Do That 180” and Jim Goldstein published, “Pro Tip: Always Check The Views Behind You.” Multiple bloggers post about similar subjects from time to time, but it is rare enough to stand out.

These blog articles, both advising to look behind you while you are photographing for additional photo opportunities, reminded me of my father, pioneer landscape photographer Philip Hyde, saying “a photographer has to look around.” Dad and other greats before him talked about looking in all directions. Mark Graf and Jim Goldstein are in good company. Their two blog posts triggered memories of my father in the field and how he approached making a photograph, as well as some advice given me by Stan Zrnich, one of Dad’s school associates under Ansel Adams and Edward Weston, while I photographed with him, and also a story about Imogen Cunningham told by one of Dad’s classmates, Benjamin Chinn.

Right after I read the blog posts I was photographing in Indian Valley in the Northern Sierra. I climbed into the bed of my Datsun 4×4 King Cab pickup, set up my Bogen tripod and pointed my Nikon D90 camera at the fresh snow on Grizzly Peak. In a few minutes, I turned around and looked behind me. Clouds were just peeling away to allow the sun to touch Indian Head Peak on the other side of the valley. I might have missed it if I hadn’t been recently reminded to look back.

How Philip Hyde Surveyed A Scene

My father would never have missed that moment of the light on Indian Head though… and he wouldn’t have to be reminded to look behind him. His overall approach to making photographs would have taken care of both. Dad’s approach was so different from how many photographers do it today. Often photographers now are in a hurry, I am no exception, though the more I photograph, the more I slow down. Photographers often must get somewhere else, or they are trying to “shoot” as many frames as they can in a certain amount of time. They may not be “allowing” or “making” photographs, but rather are “blazing” or “blasting away.”

When Dad was on the lookout for photographs, Mom and I were quiet in anticipation of the true quiet time, which began as soon as Dad pulled over and took out his Ziess wooden tripod and his 4X5 Baby Deardorff view camera, or the Hasselblad with Bogen tripod. He would say, “David, cut the chatter,” or “I can’t hear myself think,” or “Quiet on the Set.” While he was composing a photograph was one of the few times he asked me to be “seen and not heard. I remember him being in a different space mentally while in the act of making photographs. He kept a kind of intentional perimeter around the area he worked. Stepping into that circle was like walking into church: quiet and reverent. This working space was invisible but quite palpable, mainly made manifest by Dad’s attitude, emotional state and receptivity. In this enabling state of higher awareness, he missed nothing.

When he first arrived on any scene he would look in every direction many times and at every detail of the countryside around him. He would bend down and look up at a tree, crouch and look at a flower between two rocks, scramble up on top of a nearby overlooking rock, all in the interest of seeing every angle. He did some of this in his mind and some physically moving around in the area. By the time he settled in and planted his tripod, you knew he had checked all other possibilities and chosen one. There were exceptions to this longer process such as when he saw one isolated point of interest or when the light was fading or the situation was changing quickly for some other reason. In these instances Dad could move with the swiftness and efficiency of a stealth reconnaissance unit and make the image, but most of the time he did a good deal of looking around first.

Take A Walk In The Flow

The meditative state Dad adopted coincides with my experience in observing and photographing with Stan Zrnich, who also attended the California School of Fine Arts, now the San Francisco Art Institute, under Ansel Adams, Edward Weston and Minor White. Stan Zrnich and I took our cameras and went for a walk in downtown San Rafael, California one afternoon in July 2009. Stan talked about how Minor White taught his photography students to go into an altered state of heightened awareness when they photographed. That explained the roots of my father’s method. Stan’s calm mindset was evident in his tranquil facial expression and demeanor while walking around. He showed me numerous instances where I walked right by something photogenic, mainly because my mind was chattering on about what I thought I was looking for, what I wanted to accomplish that day by photographing and so on. Often in photography it is easy to get “stuck in the head” and become too analytical.

The book Flow: The Psychology of Optimal Experience by Mihaly Csikszentmihalyi shares the advantages of getting “into the zone,” also called the optimal creative state. Being in this state increases effectiveness and quality of thinking, as well as even improving the quality of life. Flow describes this creative state:

People typically feel strong, alert, in effortless control, unselfconscious, and as if they were performing at the peak of their abilities. Both the sense of time and emotional problems seem to disappear. There is an exhilarating feeling of transcendence, of breaking out of the boundaries of identity.

Flow and other sources teach photographers and other artists and creative people how to obtain this state any time on demand and how to control it, rather than merely leaving its arrival to chance. Through practice we can attain this state quickly at any time. My father described it as a state of receptivity in which he looked more closely at everything and saw objects more deeply. Not only did he see the graphic qualities of subjects and what they would look like transformed into the two-dimensional plane of the photograph, but he also saw the very nature of the subject matter more deeply as well and could thereby depict it more effectively in his art. This relaxed mindset is not complex or dependent on ceremony, it can be started quite easily through deep breathing or other methods of relaxation and available by recall the more it is practiced.

The Quiet Mind Of Seeing

This is the art of seeing in photography, pirouetting in dance, or “getting air” in ski jump competition. It is the main event in any endeavor where results improve with concentration. Photographers who are in a heightened space for seeing do not miss anything in any direction. I saw this first hand from observing Dad and Stan Zrnich, They and their comrades learned it from Minor White and Imogen Cunningham in their day. Benjamin Chinn, one of Dad’s classmates known for photographing the streets of San Francisco’s Chinatown and of Paris, France, said that the “quiet mind” was responsible for much of his success in capturing people and moving events well. He said that one of his mentors, Imogen Cunningham, had made herself available for photo walks during photography school. When Minor White arrived at the right place in the curriculum, Imogen Cunningham took the students out for one or two hour walks to show them what they would have missed… and they missed a lot at first, but as their seeing strengthened over time, their images improved and they missed less and less.

What is your experience? Do you photograph better when relaxed and focused, or sometimes better when you’re in a hurry? Do you pre-visualize and plan or allow images to appear as you wander?

Be Sociable, Share!

Denali National Park, Alaska Travel Log 20

October 15th, 2013 by David Leland Hyde 11 comments »

Denali National Park, Alaska Travel Log: June 14-September 14, 1971 by Ardis Hyde

(Pioneer landscape photographer Philip Hyde, his wife Ardis and son David in their Avion Camper on a 1968 GMC Utility Body Pickup. Continued from the blog post, “Denali National Park, Alaska Travel Log 19.”)

Part 20: Layover Denali National Park (Formerly McKinley National Park) Back to Riley Creek Campground, Denali National Park, Alaska, from Toklat Road Camp and Finally on to Savage River Campground. Monday, July 19, 1971:

Kittiwake Bird Rookery Near Whittier, Alaska, copyright 1971 Philip Hyde.

Kittiwake Bird Rookery Near Whittier, Alaska, copyright 1971 Philip Hyde. Flatbed scan of vintage silver gelatin print. See PhilipHyde.com for full sun photos of Mt. Denali and others of Alaska.

Philip woke up first again. We were back in the sunshine of Riley Creek Campground, where we also camped a few nights ago. Night before last we tried Toklat Road Camp, but crowds there drove us back here. Philip at the wheel, took us out of Riley Creek Campground, while we ate breakfast en route toward Denali National Park Headquarters. We made our first picture stop at Toklat Bridge for the view upstream at the Toklat River with the 4X5 View Camera. The wind was stiff and the sky again beautiful with scattered clouds; an utterly different type from yesterday. A short distance on we stopped for our first view of the day of Mt. Denali (formerly Mt. McKinley). This view was not visible yesterday afternoon. By 6:40 am the sky had become cloudless.

On the climb up the road toward Polychrome Pass a red fox trotted across the road. Philip stopped and pulled out his 35 mm camera. David and I remained in the camper cab. Next thing we knew, the fox was trotting toward us with a half consumed ground squirrel in his mouth. Philip pursued the fox. The fox, while indifferent to us, occasionally stopped and looked back at Philip. He said he thought he had made several good photographs of the fox. As we climbed Polychrome Mountain, we stopped again for a picture across the green valley with tawny lower slopes and snow and rock contrasting higher ridges. We made another stop at Mile 47 for a cold breakfast and another photograph of Mt. Denali in the full sun without a cloud. (See PhilipHyde.com for more photographs of Alaska.)

We proceeded to the next photo stop for the braided pattern of a partially dry stream to the North and another to the East of the braided water streams reflecting in the light. By Mile 46, Mt. Denali was beginning to haul in a few clouds. Just beyond Mile 46 and at the top of Polychrome Pass, Philip stopped again for photographs with the view camera and the 2 ¼ Hasselblad. The next stop at around 9:30 am was for a Hasselblad photograph of Caribou on the skyline of green bald hills climbing to Sable Pass, followed by a 35 mm photograph of a bill Caribou on a snow patch at the top of Sable Pass.

Flat tires had become somewhat routine and we had another one at Sanctuary River. We then drove on to the service station at Park Headquarters. After the tire repair, we went over to the train depot to pick up our mail. We met Celia Hunter of Camp Denali, who was there to pick up her group of guests. After lunch and business taken care of, we drove back to Denali Lakes to visit Ginny Wood and Celia Hunter. As we arrived at Denali Lakes, we heard the hiss of air escaping from the tire we just had fixed. We turned around and retraced our progress back to the service station to have it fixed again. We pulled over to the Train Station area for dinner in the Camper. Off again we went, this time to Savage River Campground. On arrival at Savage River, we heard the familiar hiss of air escaping again. On returning to the service station a third time, we found it closed. Thus ended what was fortunately an unusually clear and warm day in Denali National Park. “Big Muh,” as David called Mt. Denali, was in view the entire day.

(Continued in the next blog post in the series, “Denali National Park, Alaska Travel Log 21.”)

Be Sociable, Share!

Glen Canyon Book Review: Resurrection By Annette McGivney With James Kay

September 25th, 2013 by David Leland Hyde 7 comments »

Book Review on the Biggest Conservation Story of All Time and New Solutions… Resurrection: Glen Canyon and a New Vision for the American West by Annette McGivney with Photographs by James Kay and Foreword by Bill McKibben (Braided River, 2009)

How We Lost Glen Canyon

Resurrection Book Cover, Photograph copyright 2009 James Kay.

Resurrection Book Cover, Lake Powell at Hite Marina, Glen Canyon National Recreation Area, Utah, Photograph copyright 2007 James Kay.

In the mid 1950s, David Brower, Executive Director of the Sierra Club, led a coalition of conservation groups in an effort to permanently banish industrial development from national park lands. The primary battle defending the sanctity of the national park system was over two dams proposed inside Dinosaur National Monument. The proposed dams in Dinosaur would have flooded 96 out of 104 river miles in the monument on the Yampa and Green Rivers.

David Brower in Congressional testimony used 9th Grade math to prove that if Glen Canyon Dam were higher, it could hold back and store more water than both proposed dams in Dinosaur. Congress removed the two dams in Dinosaur National Monument from the Colorado River Compact and passed the bill approving the construction of Glen Canyon Dam. Having never seen Glen Canyon, David Brower and many others did not know the extent or nature of the sacrifice made to protect the national park system. Looking back, especially after he floated through Glen Canyon on the Colorado River for the first time in 1958, David Brower mused that he and the coalition might have pushed on and possibly succeeded in saving Glen Canyon. (For more on David Brower see the blog post, “David Brower: Photographer and Environmentalist 1.”

Ironically, before World War II, Glen Canyon had been part of a proposed national park that would have encompassed more than two million acres spread across much of Southeastern Utah including most of what are now Grand Staircase-Escalante National Monument, Capitol Reef National Park and all of Glen Canyon. The attack on Pearl Harbor interrupted these discussions and turned the attention of Congress to preparations for war.

Drought, Distortions, Glen Canyon Dam And A New Dream Of The West

The Bureau of Reclamation closed the gates on Glen Canyon Dam in 1964, but “Lake” Powell did not reach full capacity until 1980. The reservoir water level ebbed and flowed until the last time it was full in 1996, then drew down over 100 feet by 2003 and has remained nearly half empty or more than half empty ever since. It turns out that the Colorado River flow calculations that justified the building of Glen Canyon Dam in the first place were exaggerated, as were the rainfall estimates on which expansion and development interests based the entire settlement of the Western US plains and Southwestern desert. Tree ring studies and other climate measures show that the 20th Century was one of the wettest ever in the Western US. Today’s much lower rainfall and river flow rates are more characteristic of the region, though big dam proponents are officially calling the present conditions a drought. Nonetheless, scientists project that “Lake” Powell may never be full again. Odds are that both “Lake” Mead and “Lake” Powell will both remain as they are now, roughly half full or less for the foreseeable future.

Annette McGivney, in Resurrection: Glen Canyon and a New Vision for the American West, tells the story of the loss of Glen Canyon, but more importantly the rebirth of life in the side canyons since the reservoir has subsided. Glen Canyon today is the poster child for watershed recovery for both Glen and Grand Canyon, as well as for the resilience of nature in general. McGivney’s easy-flowing text accompanies the photography of James Kay, who for more than three decades has photographed the Colorado Plateau, the seismically uplifted high desert that the Colorado River cuts through in Utah and Arizona. James Kay knows this land and these canyons. His sensitive, artistic eye finds for us the devastation that was, and the haunting, unparalleled paradise that is Glen Canyon.

McGivney and Kay explored many of the tributary canyons together for this project, either by boat, by kayak, but most often on foot, backpacking from the reservoir up canyon; or from the rims of the sandstone tablelands above, down into narrow, winding passages and rock alcoves. These slot canyons, often hundreds of feet tall and in places only a few feet wide, are already verdant with newly rooted cottonwoods, willows, and grasses, as well as teaming with wildlife just as they had been for centuries before everything drowned under the full reservoir.

Annette McGivney quotes Richard Ingebretsen, co-founder with David Brower of Glen Canyon Institute, who asked, “Why keep two reservoirs half empty?” Glen Canyon Institute, founded for the ultimate purpose of reclaiming Glen Canyon and turning it into a national park, is working on a current campaign called, “Fill Mead First.” The idea is to keep “Lake” Mead full because it supplies many cities of the Southwest with water and generates their electricity. If “Lake” Powell were then drawn down, Glen Canyon could be restored and even made into a national park. Many who saw Glen Canyon before the reservoir say that it rivaled the Grand Canyon in beauty.

Canyon Photography On Par With The Best Ever

Kayaker on Lake Powell in Reflection Canyon, Glen Canyon National Recreation Area, Utah, copyright 2006 James Kay.

Kayaker on Lake Powell in Reflection Canyon, Glen Canyon National Recreation Area, Utah, copyright 2006 James Kay.

James Kay’s photographs in Resurrection certainly provide the proof of this claim to canyon beauty. Traveling by Kayak, powerboat and most often on foot, Kay has shown us as never before, the side canyons and back alcoves of Glen Canyon reborn. His style is both effectively documentary, yet artistically strong. Kay’s experience in the canyons of the Southwest has given him not just an eye for form; he has an eye for gracefully capturing the forms of canyons. His understanding of natural light and how to use it to best portray the curves, edges, near and far, contrasts, shadows and indirect illumination of layers on layers of weather-sculpted sandstone.

Some of Kay’s compositions are simple. For example, one photograph in Resurrection depicts a massive wall of rock that juts out into “Lake” Powell like the prow of a ship. The vantage point of the image is from a boat close to water level. At the bottom of the wall that is about 200 feet tall, we see a small boat dwarfed by the immensity of stone above. The photograph is a work of beauty, while at the same time it accomplishes the practical task of dramatizing just how far the reservoir has receded from the high water line marked by a gray-tan mud stain, or “bathtub ring,” as people call it. The top half of the cliff is the beautiful red-brown of native rock, while the bottom half of the cliff is coated with ugly mud stain.

Other images give us the haunting, far away longing of luminous reflections or newly sprouted grasses, shrubs, cottonwoods and other lush greenery. Some photographs are purposely ugly, some are otherworldly and nearly abstract, while still others incorporate hikers in soaring walled narrows or show us intimate rushing water. If you love the desert and canyons, this is a book and a place different. Yet despite how unusual this place is, those who see it as nothing more than a holding tank, a cash register or a recreation area for motorized tourism, have seemingly never stopped to see it the way James Kay shares it.

The Desert, Progress, Jobs, Money And Other Myths

Despite US Bureau of Reclamation and pro-development rhetoric, the only two justifiable reasons Glen Canyon Dam was ever necessary, and remotely remains necessary, were the Politics surrounding the agreement between the seven Western states that share the water; and the Income from recreation on “Lake” Powell. The viability of Hydropower generation has nearly run out with low water levels often not providing enough gravity water drop to turn the turbines at sufficient speed. Besides, the 1992 Grand Canyon Protection Act no longer allows the fluctuation of water levels caused by increased dam releases during peak power usage.

Politically in relation to water use, the three Upper Colorado River Basin states: Utah, Colorado and Wyoming, for good reason mistrust the four lower basin states: California, Nevada, Arizona and New Mexico. The lower basin states have all along taken more than their share of Colorado River water. Glen Canyon Dam provides a physical obstruction by which the upper states can regulate the flow to the lower states and keep them from taking more than their allotment, if and when the upper states catch up with the lower states in their land development and thirst for water.

Even though the desert does not inherently provide the water to support the building of industry and commercial buildings, suburbs, golf courses, and abundant water features, the seven Western states of the Colorado River system have been in a race to develop as fast as they can to be sure they obtain as much Colorado River water as possible in relation to the neighboring states. John Wesley Powell, whom the reservoir was named after, warned against developing the West beyond its water capacity. He recommended a number of water saving approaches that have been implemented by a few wise communities, but ignored by most.

Indeed, McGivney reminds us that the cities of the desert tend to flaunt the image of the manufactured oasis. The Phoenix Convention and Visitors Bureau in 2005 adopted the slogan, “The Desert is a Myth.” A July hike in any direction beyond the edge of a Phoenix suburb like Anthem, for instance, and it becomes readily apparent that the desert is real and it is the lush golf courses that perhaps are already, or soon will be a mirage. Land development in the West has achieved similar temporary high profits and blindness to long-term consequences as recent Wall Street derivative speculation and the banking system near meltdown.

Nonetheless, it is less the cities that would run dry without “Lake” Powell than the farming of water-intensive crops like alfalfa, hay and cotton, grown not to supply market demand, but to take advantage of government subsidies and tax breaks. Dams are portrayed as symbolizing progress and economic growth, but special interests are the primary benefactors. In Utah, for example, mining, ranching and industrial agriculture represent less than 3% of the economy, but they use 85% of Utah’s water. Even though industrial agriculture comprises a decreasing portion of the Western economy, the industry is one of the largest contributors to political campaigns. Thus, even though dam projects, expanded water pipelines and other water infrastructure will not sustain society long-term, these outdated public works continue to garner support of those in political power.

A Dying Motor Tourism Industry And The Future

Cathedral In The Desert, Glen Canyon, Utah, copyright 1964 Philip Hyde. Named one of the top 100 photographs of the 20th Century.

Cathedral In The Desert, Glen Canyon, Utah, copyright 1964 Philip Hyde. Named one of the top 100 photographs of the 20th Century. James Kay used this photograph side-by-side with his own like this in the book Resurrection too.

Cathedral in the Desert, Glen Canyon National Recreation Area, copyright 2005 James Kay. Water level of Lake Powell near the lowest point.

Cathedral in the Desert, Glen Canyon National Recreation Area, copyright 2005 James Kay. Water level of Lake Powell near the lowest point, with the Cathedral almost fully recovered as only a few feet of water were left in the bottom.

The motorized brand of tourism that thrived on “Lake” Powell in the 1980s and 1990s, has generated significant income for concessionaires and boat operators, who also provide proportionally large support to politicians and boost the local economy. In 1992, Glen Canyon National Recreation Area hosted a record 3.5 million visitors, nearly as many at this peak as visited the Grand Canyon. Yet today with the shrinkage of the “lake” area, the closure of two out of five of the marinas and high gasoline prices area hotel stays and other tourism has dropped by 40 percent. Nearby national parks such as the Grand Canyon and Zion each increased visitation in the last decade. Indeed, the economy is playing a major role in the dying of motorized tourism nearly everywhere. Less disposable income, especially among the upper-middle class and upper class has led to less motorized lake recreation. In the past many high earning tourists have spent discretionary money on Jet Skis, Houseboat shares and other expensive water toys, but in the last 10 years public lands hiking and camping has grown, while motor boating has decreased significantly. Local jobs in Page, Arizona and elsewhere around “Lake” Powell have depended almost entirely on motor tourism. Most local people, including the Native Americans in the area, want to prolong a dying industry to maintain their livelihoods. While denying that their way of life is dying, they are likely missing the opportunities and shift in perspective that could bring them a far more sustainable, Earth-friendly and perhaps most importantly, a more permanent security.

McGivney’s “Step-by-step guide to saving Glen Canyon and then, perhaps the world” offers the kind of forward thinking solutions that thought leaders have begun to discuss in recent years. While these innovative resolutions will become requirements, rather than options in the near future, as a civilization we have a big leap to negotiate before we are ready to leave our self-serving short-term approaches behind and move into a mindset that is more conducive to sustaining our society and all life on Earth. This is perhaps the text’s only flaw, or perhaps it is more of a challenge: the leap from where our watershed management and environmental stewardship are now to where they need to be to sustain life in the Southwest and on Earth long range may be too big. Are we up to the task? Perhaps an even better question is: can we learn to cooperate with, listen to, find new ways to meet the needs of and educate those who have a vested interest in business as it has been for far too long?

For more on Glen Canyon and Philip Hyde’s photography of the lost paradise see the blog posts, “Glen Canyon Portfolio 1,” or “Glen Canyon Lament By Philip Hyde 1.”

Be Sociable, Share!

Letters From The Ansel Adams Color Photography Workshop

August 14th, 2013 by David Leland Hyde 13 comments »

Philip Hyde Letters Home To Ardis And David From Yosemite Valley

Wednesday, May 29, 1974, 8 am

Yosemite Lodge, Yosemite National Park, California

Cottonwoods, Merced River, Fall, Yosemite Valley, Yosemite National Park, Sierra Nevada, California, copyright 1973 by Philip Hyde. This is the original 2 1/4 Hasselblad framing. Philip Hyde often cropped his 2 1/4 photographs to 4X5 dimensions and composed accordingly.

Cottonwoods, Merced River, Fall, Yosemite Valley, Yosemite National Park, Sierra Nevada, California, copyright 1973 by Philip Hyde. This is the original 2 1/4 Hasselblad framing. Philip Hyde often cropped his 2 1/4 photographs to 4X5 dimensions and composed accordingly. Click on the image to see it larger with the 4X5 cropping.

Dear A & D,

Cooool this morning! – Very hot Sunday and Monday, but more like May on Tuesday. I’m really enjoying this workshop. Lots of talk – some interesting people and especially enjoying my “colleagues” and getting acquainted. Doing plenty of talking myself – a “loosed tongue.” Learning something.

Workshop seems pretty well organized. I’m having trouble sleeping – being “over-stimulated” I guess. Went to bed around 11 pm. Woke up at 5:30 this morning  and not tired. This is really good for me!!! ;) Not just the shorter sleep, but stimulation, talk, interchange, etc.

Yosemite Falls brimming – I can hear its thunder from my room at night – a  pleasant kind of noise, not distracting… I think now I might stay a day or two here as I won’t be making many pix while workshop is on. But more of that later.

Hope all is well with you two.
Love,
Dad

 

Sunday, June 2, 1974, 6:30 am

Yosemite Lodge

Dear Mommio and Davio ;)

Well, here I am again! To bed last night after a critique until 1:30 am. Awoke at 6 am and couldn’t sleep any more, so here I am waiting for Steve Crouch to come by the room so we can have breakfast together. It’s Sunday morning and after breakfast I’ll check out and go over to the Gallery for a farewell session with everybody. It’s been a very full week and at this point I’m a little tired but still exhilarated. I’ve enjoyed the exchange with people immensely and think it’s been very good for me. The group has been a very heterogeneous collection of people and that’s been stimulating. There were also some whose talent stands out and that is a miracle to me to observe.

In sort and in all it’s been an experience I was ready for and needed and I feel like I have done something with it. For once I haven’t been frantic to make photographs but seemed to be aware on many levels of consciousness what I was really here for. Perhaps – or maybe I should say – surely my photography will benefit far more by this than if I had merely made pictures on this occasion.

Gotta go – love to you two.

Me  ;)

 

Tuesday, June 4, 1974, 8:15 pm

Campground, Yosemite Valley, Yosemite National Park

Dear Sweetie and Son,

It’s 8:15 pm and I’ve just finished the dishes after dinner. It was good talking with you two tonight. I’m enjoying my stay in this beautiful place that has meant so much to the Hyde family. It never palls on me and always seems that there’s more that I haven’t seen before. This morning Jim Speer and I walked up from the campground along the river to Happy Isles. As always I found lots to photograph and I really enjoyed having Jim along too.

This week has been a monumental talk fest and I’ve thoroughly enjoyed it! Though there were all levels of accomplishment and ability, everyone was serious and interested in photography. I feel that I got completely out of my usual – I should say, former self-consciousness. I relaxed and enjoyed the people and the interchange. Jim told me he thought I am an extrovert! Funny how the barriers come down when you forget self and stop worrying about what other people are thinking about you. I could do this in our sessions, even when I was talking about my work, career, experiences, etc. Many people commented on the good mix of personalities among the four staff and I think, too, that it made for a more interesting interchange for the students – though, unfortunately we didn’t really have a lot of chance to talk with each other, except sometimes at meals and odd times.

I sat in on a Steve Crouch critique and several of William Garnett’s critique sessions. Though not actually scheduled for any myself, after the first day or two, people began asking me if I’d look at their work. I ended up having unscheduled critiques three of the evenings. I enjoyed this, particularly since many of them were young people. I’m now going to make an astonishing statement: I think I would enjoy teaching! Not full-time, but as a periodic thing – a change of pace and a kind of recharging of my own interest. I can already feel changes there. Of course, some of this is the magic of Yosemite – but it is also the magic of getting rid of the feeling that I don’t like people. That feeling was never really part of me, or natural to me, and I feel that “the scales have fallen away from my eyes.” With more openness and generosity toward people, it’s wonderful to see how they respond. I feel like a great weight of negativism has been taken off me. Surely I’m not the same now after this experience. How good that I saw it as an opportunity and didn’t shrink from it. May I have good judgment to recognize such opportunities in the future.

Another thing this whole experience teaches me is that I need this kind of interchange for my own growth. It is Spring here in more ways than the obvious – your shrinking violet has bloomed, Love. It’s a sweet scent and I have such a good feeling about it. What a phenomenon. Well it’s getting on toward 9 pm and I’m going to be early and will start early in the morning. The afterglow is gone from Half Dome, which I see clearly from my campsite, but the afterglow is still in my heart.

I love you,

Dad

For more about photography workshops taught by Philip Hyde in Yosemite National Park and elsewhere see the blog post, “Photography Workshops Taught By Philip Hyde.”

What is your experience? Have you ever been in a social or learning situation where the human interaction inspired or changed you creatively or otherwise?
Be Sociable, Share!

eBook Review: Creative Processing Techniques In Nature Photography By Guy Tal

August 7th, 2013 by David Leland Hyde 5 comments »

Review Of Guy Tal’s Creative Processing Techniques In Nature Photography

“In art, the hand can never execute anything higher than the heart can imagine.” – Ralph Waldo Emerson

“The goal is to produce images that uniquely represent the photographer’s vision and possess meanings beyond the literal visual elements they portray.” – Guy Tal

Cover, Creative Processing Techniques In Nature Photography By Guy Tal.

Cover, Creative Processing Techniques In Nature Photography By Guy Tal. Click On The Image To Read More…

In Guy Tal’s ebook, Creative Processing Techniques In Nature Photography, he assures the reader that digital image processing can be a much richer introspective and creative experience than can possibly be provided by formulas or rote routines to “achieve such trivial goals as more vibrant colors or gimmicky visual effects.”

In the introduction to Creative Processing Techniques, Guy Tal wrote, “The digital studio at your fingertips is every bit the fertile bed for creative expression as any field technique…” He refers to the process of visualization discussed in his ebook, Creative Landscape Photography, and explains how decisions in the “studio” give the photographer a wide spectrum of possibilities and control for attaining the “visualized end result.”

Guy clearly favors creative post-processing over using presets or leaving image files the way the camera captured them. He also makes a good case that the answer to the question, ‘How much is too much?’ is best left up to each photographer’s own discretion and intended use of the image. He argues that the creative photographer’s purpose is to go beyond a mere documentary recording of subjects. However, he urges us to remember, “We chose the medium of nature photography because we were moved by the beauty of natural phenomena, and we may not want to venture too far from our source of inspiration.”

From Basics To Advanced Techniques

From the basics of monitor calibration, definitions of bits, 8-bit versus 16-bit, RGB, CMYK, color channels, RAW files, JPEGs, TIFFs, GIFs, conversions, Bayer patterns, Digital Negative or DNG files, clipping of highlight or shadow detail, file storage, compression, Tiff versus PSD and other image file formats, pixels, PPI, DPI, the International Color Consortium or ICC Profiles, color space or gamut, monitor and printer profiling or calibration using a colorimeter, target images, hue, saturation, “dodging” and “burning,” .icc, .icm, Perceptual and Relative Colorimetric rendering intents, sRGB, Adobe RGB, Kodak’s ProPhoto RGB,  pixilation, and why images do not look the same online as they do when made into archival fine art digital prints, all the way through the process of creating and working on digital master files, Guy Tal guides us with smooth, clear and thoughtful precision. Not only are you rarely confused by Guy’s explanations, but at the end of each chapter to assure even better understanding of the ideas presented, we find short, fun exercises and self-quizes about various points in the text.

Guy Tal suggests that as you process an image, you may change your mind as to how you will finish it. Your pre-visualized goal when you made the photograph can be refined and reconsidered along the way in a process Guy calls Dynamic Visualization. The way Guy Tal presents global and local adjustments had me anticipating the development of my next photograph in the digital darkroom. I became inspired by the possibilities as I began to see the process through new eyes from what I did previously. I realized that by employing Guy Tal’s workflow, I caught his vision and enthusiasm for image refinement, while at the same time I came into a deeper understanding of my own approach to creative landscape photography.

Unconventional Self-Awareness In Photography

Guy Tal is photographically self-aware and by example he teaches the reader to be more self-aware of his or her own creative process. Guy’s wisdom is often unconventional. For example, one of his image captions reads:

Do not assume that just because something is technically deficient, it should always be corrected. For example, the image on the right contains areas of both over-exposed highlights and under-exposed shadows. Still, I found these perfectly acceptable and decided not to correct them. In fact, it is likely that if I had corrected them (e.g., by blending multiple exposures), the result would have looked decidedly unnatural.

In the film era, under and over exposed areas in photographs were common, even with the use of the zone system. It was only with the advent of digital and especially High Dynamic Range or HDR that striving for detail in all areas of photographs became the norm. In this sense, Guy Tal’s experience in large format film photography serves him well as to what is worth spending time adjusting. Along the same lines, Guy provides good guidance as to what to adjust and what not to adjust in RAW conversion, as well as what to adjust minimally to avoid detail loss and fringe artifacts.

Guy Tal also bucks another trend in the digital darkroom. He points out that high contrast, more color saturated images often make a stronger first impression but may have less “’staying power’ if bold color is all they have to offer.” He writes, “…nuanced and subtle images often invite closer inspection and result in a more extended, contemplative viewing experience.” In this spirit Guy tells us how to use the various controls in Adobe Photoshop and Adobe Lightroom. Not only does he provide a clear description of each tool and how it works, but he also explains various situations where one tool works better than another and shows us how the results differ.

Photoshop Setup And Tool Optimization

From giving recommendations for how to arrange your tools for easy access in Adobe Photoshop, to how best to apply each tool and adjustment, Guy shows you the best practices and set up to make Photoshop easier to use. My impression is that with Guy’s technical background, he has a better understanding how and why each tool in Photoshop works the way it does, than many of the most prominent photographers in the field. Reading Guy’s ebook clarified some ambiguities and showed me better technique than what I have learned by observing or talking to many other photographers working in Photoshop. For example, I had learned that in using “Levels” to find the white and black point in an image that it is necessary to bring the corresponding sliders into the histogram slightly. However, Guy recommends bringing the sliders to where they are either just touching the histogram or even just outside the histogram, not touching it at all. Guy explains succinctly why this is a better approach.

In this extensive ebook Guy also discusses layer blending and how to combine the highlight detail from one image with the shadow detail of another, a process many refer to as High Dynamic Range or HDR. With Guy’s specific and complete directions, I performed my first blending of two versions of an image. How exciting: I have hard drives filled with bracketed images waiting for this moment. As can be expected, much more can be learned and realized by applying each exercise to your own images. I had a sense of anticipation and accomplishment in the learning by running my own images through each process and exercise that Guy outlines.

Global And Local Adjustments And A Different Way To Dodge And Burn

Besides philosophy and global adjustments, Guy also touches briefly on a number of local adjustments including Cloning and Spot Removal. This helps to round out the reading experience, but other books or tutorials may be necessary for more detail. I like the way Guy moves on to expand on more advanced methods such as Layer Masking and various uses for these layer masks. Most of Guy’s explanations are clear and thorough, but in some instances, he summarized a bit too much in my opinion, shortening the explanation of certain steps when he might have included more specifics without taking too much more space and reader time. Nonetheless, no one book could ever cover all features and tools in Photoshop. Anyone can Google the step-by-step functions of whatever basic tools Guy leaves out. Guy warns us against attachment to any particular tools or methods, but shares the importance of developing a strong working approach to visualizing and finding gaps between what we envision and what we have so far attained. Meanwhile, Guy’s explanation of non-destructive Dodging and Burning is comprehensive and extremely helpful for improved image editing, as are most of his other process explanations.

Before reading Creative Processing Techniques, I had a fair understanding of many of the controls in Photoshop, but some of the time I was just guessing as to how to obtain what I wanted in my images. Afterwards, I now have much more control and am more able to directly obtain what I intend in my photographs. Guy wrote by e-mail that it is better to learn good workflow and processing methods from the beginning rather than trying to unlearn bad habits later. With the reading of Guy’s ebook, I feel I have caught the best wave to take me all the way into the shore of happy image making.

To order click this link: Creative Processing Techniques. Also, a two volume bundle discount is available when you purchase Guy Tal’s Creative Processing Techniques with Creative B&W Processing Techniques.

Be Sociable, Share!

The Quabbin Reservoir And The Spirituality Of Place By James Hunt

July 22nd, 2013 by David Leland Hyde 14 comments »

How A Man Made Reservoir Created A Wilderness

Short Biography of James Hunt

James Hunt has been an environmental and fine art photographer in Worcester, Massachusetts for about 12 years. He graduated from the professional photography program at Boston University’s Center for Digital Imaging Arts. You can see more of his photography at jameshuntphotography.com and read his blog at jameshuntphotography.wordpress.com. James Hunt’s photography has been exhibited a number of times including in a show called, ”Boston’s Water, Quabbin Memories” at the Jewish Community Center of Worcester, Massachusetts, a major venue in New England’s second largest city. His photographs have been involved in significant projects on urban trees and parks. James wrote, “My work explores the link between human needs and their actions in relation to the natural environment. In particular, I’m interested in the experience of ‘being there’ in the natural or man-made environment.” James is also an award winning associate professor of management at Babson College where he has chaired his department, teaches leadership, organizational behavior and most recently, sustainability. He designed and co-founded Babson’s Coaching Inside the Organization Program at Babson Executive Education and also co-founded and co-Faculty Directed Babson’s Coaching for Leadership and Teamwork Program. Babson College is one of the top colleges for entrepreneurship in the world.

The Quabbin Reservoir And The Spirituality Of Place By James Hunt

The Bridge at Gate 30. On the road to the lost town of Dana. Built in 1866 by a wounded civil war veteran for $55.00. Surrounded now by the accidental wilderness. Dana.

The Bridge at Gate 30 Near Dana, Massachusetts, copyright 2010 by James Hunt. On the road to the lost town of Dana. Built in 1866 by a wounded civil war veteran for $55.00. Surrounded now by the accidental wilderness.

Philip Hyde typically opposed building dams on rivers, but ironically in the case of the Quabbin Reservoir in central Massachusetts, the damming the Swift River has resulted in the kind of spirituality of place with important tangible and intangible benefits that he drew our attention to in his writings. I am grateful that I have had the chance to immerse myself in this story for the past six years and for the opportunity to share it here.

Seventy-five years ago this spring, four towns in the center of Massachusetts, ceased to exist by an act of the state legislature. The citizens of the farming towns of Enfield, Prescott, Greenwich and Dana were all put off their land for minimal compensation, to make way for the creation of the Quabbin Reservoir. Two large structures, the Winsor Dam and Goodnough Dike, along with several minor dams were erected to contain the three branches of the Swift River that flowed into the valley.

The Quabbin Reservoir that resulted is one of the largest on the East Coast of the United States covering 39 square miles with over 180 miles of shoreline. It provides fresh forest filtered water to two million residents of Greater Boston. In order to filter that water, the custodians of the Reservoir helped to create, an “accidental wilderness” by planting millions of trees. Soon, wildlife, which had largely disappeared from the valley returned in force: bear, turkeys, coyote, deer, moose, and a host of other species including Bald Eagles by the 1980s.

This development occurred in the larger context of widespread Farmland abandonment throughout the Northeast and into Quebec for economic reasons. By the beginning of the Twentieth Century, thousands of square miles of what once had been fields were naturally reforested. These “new” forests were doing yeoman’s work in creating habitat and absorbing Carbon Dioxide. But, there is yet more to the story.

The Intangible Benefits Of Wilderness

As Philip Hyde probably would have appreciated, the intangible, spiritual benefits of this wilderness have become increasingly clear. To go there, just two hours from downtown Boston gives you the opportunity to be alone if that is your choice. However, you are not truly alone. The forest is there with you, and you know it. You can feel it. You can also feel the presence of those who were put off the land. Signs are everywhere, from the few remaining structures to numerous cellar holes, to strategically planted but ancient shade trees and the occasional broken dish or other artifact. It is relatively easy to walk for miles by yourself, but occasionally you do run into fellow travelers. Often it strikes me that these fellow travelers are seeking a kind of spiritual tranquility, like myself.

Hanks’ Meadow Near Enfield, Massachusetts, copyright 2010 by James Hunt. Site of the Hanks’ farm and the Quabbin Reservoir Beyond.

Hanks’ Meadow Near Enfield, Massachusetts, copyright 2010 by James Hunt. Site of the Hanks’ farm with the Quabbin Reservoir Beyond.

It is of course not the spiritual nature of the place that protects it from development. Economic conditions are such that there is little commercial urge to develop the area. The over 38 square miles inside the Reservoir perimeter is protected by two state agencies Boston’s source of drinking water.  Only passive recreational activities are allowed inside the perimeter. That is not to say, however, that the Reservoir and the larger region do not face challenges. Commercial logging has supposedly only been allowed inside the Reservoir perimeter for the purposes of forest management, in other words, to protect the filtration of the water. However, much of the forested land outside that perimeter is private property.

Threats To The Quabbin Reservoir Wilderness

A brief bio fuels push a few years ago threatened the Quabbin and other forests of the area with aggressive wood harvesting until regulatory changes ceased to encourage the large scale burning of wood as an alternative fuel, at least in Massachusetts. Climate change is a significant concern however, as the forest must continually fight off a variety of invasive species that challenge the viability of the area as tolerable habitat for wildlife.

Over the past two years the Red Pine Trees planted at the creation of the Reservoir to provide a natural filtration system have been under attack from Red Pine needle scale. Pine needle scale has no known treatment and can decimate a stand of trees in just a few years. Bittersweet, the vine with which many of us in North America have become familiar, is visible everywhere. The evidence, though tentative, is growing for a direct relationship between climate change and the spread of such invasive species. Regardless, the message is clear: the tangible “wilderness” resource that emerged from the farmlands of the 1820s is fragile and its protection requires vigilance.

The intangible, spiritual benefits of the area are not widely known, except by the people of the towns surrounding the Quabbin Reservoir. Most people I ask in Boston do not even know where their water comes from. At least they did not know until a couple of years ago when there was a catastrophic leak along the tunnel that brings water into Boston necessitating a boil water order from the authorities. Suddenly the water could no longer be taken for granted. People then took notice, at least for a time.

The lessons from this story are complex. The Quabbin’s creation required the forced sacrifice of thousands of homes. It occurred, in that place on the Swift River, in large measure because those communities were without much political clout. The good news is that the Quabbin Reservoir and the resulting wilderness nourish body and mind, as well as even our, souls, if we so choose. It is an incredible resource now, but one that we cannot take for granted.

Nature Photography And The Quabbin

Pine Plantation, Enfield, Massachusetts, copyright 2011 by James Hunt.

Pine Plantation, Enfield, Massachusetts, copyright 2011 by James Hunt.

I began my photographic relationship with the Quabbin in 2008. The nature of that relationship evolved over time. Initially, I had thoughts of taking a documentary approach to the project but I found that somehow, I was not capturing that intangible quality that is so critical to understanding the Quabbin. Inspired by artists such as Philip Hyde, I have tried to create compelling artistic images that can communicate something of what it feels like to go there. Perhaps, if we can create art that gets people’s attention, we can inform at the same time. In that regard, I have two simple messages in my work on the Quabbin: First, people should be aware of where their water comes from, and second, I hope that through my work, people will become more aware of, and appreciate, the intrinsic values that other great photographers have portrayed so well.

What intrinsic values do you look for in connecting to a place in the “natural or man-made environment”?
Be Sociable, Share!

San Francisco Art Institute Photography History 15

July 9th, 2013 by David Leland Hyde 26 comments »

Technical Aspects of Visualization

Lecture By Minor White

Philip Hyde’s 1947 Class Notes

California School Of Fine Arts, Now The San Francisco Art Institute

Photography Program Founded By Ansel Adams, Minor White Lead Instructor

(Continued from the blog post, “San Francisco Art Institute Photography History 14.”)

Landscape Photography Blogger Note:

Bristlecone Pine Snag Against Sky, Tuolumne Meadows, Yosemite National Park, Sierra Nevada, copyright 1949 by Philip Hyde. 8X10 Deardorff Large Format View Camera.

Bleached Juniper Trunk On Ridge Above Parson’s Lodge, Cumulus Clouds, Tuolumne Meadows, Yosemite National Park, Sierra Nevada, copyright 1949 by Philip Hyde. 8X10 Deardorff Large Format View Camera.

(View the photograph large: “Bleached Juniper Trunk, Tuolumne Meadows, Yosemite.”)

Alfred Stieglitz, Ansel Adams, Edward Weston and Minor White were all proponents of visualization or pre-visualization as it is sometimes called. Ansel Adams wrote about visualization, as did Minor White to some extent. However, few, if any, of their students ever published any lecture notes sharing the contents of lectures on the subject. Here for what is likely the first time ever published, are the notes from star photography student Philip Hyde on a lecture by Minor White during the summer session, on August 19, 1947. Today is Minor White’s birthday. He was born on July 9, 1908.

Half way through the class lecture in 1947, Minor White shifted into a technical discussion regarding film density, exposure, the Zone System, film testing, tonal reproduction, tonal separation, contrast control by underdevelopment, various aspects of darkroom processing, waterbath formulas, and other details of film darkroom photography. The purpose of the lecture was to applying darkroom post-processing tools to carry out and complete the process of visualization as begun at the point of exposure in the field with the camera. This technical discussion consisted mainly of graphs and charts that do not apply to today’s digital photography and in some cases not even to today’s film photography. This complex portion of Minor White’s lecture is omitted here, for the most part, with some portions summarized, leaving us with the non-technical core of the subject.

These lecture notes are presented here mainly as a historical record, more than for teaching or learning purposes, though they may serve the latter two purposes as well, with certain readers. More on the theory and philosophy of visualization will follow in future articles and blog posts. Yet this lecture, may put into perspective how relatively easy making good photographs has become, due to technology replacing many of the processes mentioned below. Photoshop is certainly not simple, nor do we now merely press one button that eliminates all visual distractions and turns our images into artistic masterpieces, as many uninformed people seem to believe. Nonetheless, the lecture below puts into perspective the level of diligence involved in darkroom black and white photography. Which of these two post-processing methods do you feel took more skill? Or if the skills are different, how do they compare?

Technical Aspects of Visualization Lecture By Minor White

Philip Hyde’s Notes August 19, 1947
Visualization

Visualization is the basis of creative photography as taught at the California School of Fine Arts (now the San Francisco Art Institute) photography school. Visualization is simply visualizing, imagining in the mind, the final print while looking at the scene you are photographing. The approach to applying visualization is to place tones on a scale, in the 10 gradations of tone in the Zone System and internalizing the relationship of exposure to development taking into consideration the relationship between exposure and density of the film being used.

Any tone in nature can be reproduced with exposure control exactly as is with normal development. This is considered a normal exposure to development relationship. The relationship of tones remains the same with normal development. Less than normal development will compact the relationship, that is, it will compact the scale of tones. More than normal development will stretch the scale.

A full-scale print is one in which all the values of the 10 Zone scale are present including white and black, Zones 0-9. When exposure is graphed against density, there is a portion of the curve at the beginning, or toe, where the curve gradually increases steepness. This toe portion of the curve is preferred for enlargement, but can cause loss of accuracy of tonal relationships in darker areas. The curve then straightens out. This part of the curve is where tonal reproduction is accurate. The top, or shoulder, of the curve, where it gradually decreases steepness, is the least desirable for photographic enlargement and printing.

The lightest Zones, Zones I, II and III are on the toe portion of the graph and will be less dense than expected. Contrast can be controlled by underdevelopment. This must be determined by testing of the film to see whether upper or lower values will contrast more and in what relation to development. When lower values are in the toe, they can suffer serious loss of tonal quality. A good waterbath helps to increase separation in the lower tones, or the toe of the curve(s) and decreases or diminishes this effect in the upper Zones. Testing is done with a gradated step wedge.

Lens testing is also related to the success or failure of visualization efforts. Testing lenses determines the differences between theoretical and actual light transmission, due to flare, aberrations in the lens and technique of the photographer.

For those of you who did both post-processing in a film darkroom and now use Photoshop, Lightroom or some equivalent, do you feel traditional film black and white photography or digital photography post-processing is more difficult? In what ways are the challenges of each different?
Be Sociable, Share!

Ode To Freedom by Ralph Waldo Emerson

July 3rd, 2013 by David Leland Hyde 4 comments »

Happy 4th of July, 2013!

Ralph Waldo Emerson was one of Philip Hyde’s favorite writers. His essays, though challenging, inspire and illuminate the natural world, political issues and other matters of philosophy. This poem is from his Complete Collected Works.

Sung in the Town Hall of Concord, Massachusetts July 4, 1857

Ode To Freedom by Ralph Waldo Emerson

Apetizers of Santa Maria Style Barbequed Linguisa, July 4th, 2009, Watson's Walking G Summer Family Camp, 2009 copyright David Leland Hyde. Nikon D90.

Apetizers of Santa Maria Style Barbequed Linguisa, July 4th, 2009, Watson’s Walking G Summer Family Camp, 2009 copyright David Leland Hyde. Nikon D90.

O tenderly the haughty day
Fills his blue urn with fire;
One morn is in the might heaven,
And one in our desire.

The cannon boom from town to town,
Our pulses beat not less,
The joy bells chime their tidings down,
Which children’s voices bless.

For he that flung the broad blue fold
O’er mantling land and sea,
On third part of the sky unrolled
For the banner of the free.

The men are rip of Saxon kind
To build an equal state,
To take the statute from the mind
And make of duty fate.

United States! The ages plead,
Present and Past in under-song,
Go put your creed into your deed,
Nor speak with double tongue.

For sea and land don’t understand,
Nor skies without a frown
See rights for which the one hand fights
By the other cloven down.

Be just at home; the write your scroll
Of honor o’er the sea,
And bid the broad Atlantic roll,
A ferry of the free.

And henceforth there shall be no chain,
Save underneath the sea
The wires shall murmur through the main
Sweet songs of liberty.

The conscious stars accord above,
The waters wild below,
And under, through the cable wove,
Her fiery errands go.

For He that worketh high and wise,
Nor pauses in his plan,
Will take the sun out of the skies
Ere freedom out of man.

Be Sociable, Share!