Comments on: Photography’s Golden Era 6 http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/ Fine Art Photography, Wilderness Travel and Conservation Photographers Fri, 18 May 2012 18:37:29 +0000 hourly 1 http://wordpress.org/?v=3.3.2 By: Minor White–Philip Hyde Letters http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/comment-page-1/#comment-16110 Minor White–Philip Hyde Letters Fri, 04 May 2012 12:09:46 +0000 http://landscapephotographyblogger.com/?p=3083#comment-16110 [...] After attending the 1946 Summer Session, due to a mix-up with Philip Hyde’s application paperwork, he could not start in the first full-time class in the Fall of 1946. Minor White suggested to Philip Hyde that he use his G. I. Bill funding and attend classes at UC Berkeley during the year he would be waiting to start in the second full-time class at CSFA in the Fall of 1947. At UC Berkeley, Philip Hyde ran across a young lady he had met at a New Year’s party right after his December 1945 honorable discharge from the Army Air Corp of World War II. The young lady named Ardis King and Philip Hyde took a few classes together at UC Berkeley including a calligraphy and painting class from the famous Japanese painter Chiura Obata. Ardis King and Philip Hyde married in June 1947 and Philip Hyde started photography school that Fall. (Read more about the courses and their content in the series of blog posts starting with th blog post, “Photography’s Golden Era 6.”) [...] [...] After attending the 1946 Summer Session, due to a mix-up with Philip Hyde’s application paperwork, he could not start in the first full-time class in the Fall of 1946. Minor White suggested to Philip Hyde that he use his G. I. Bill funding and attend classes at UC Berkeley during the year he would be waiting to start in the second full-time class at CSFA in the Fall of 1947. At UC Berkeley, Philip Hyde ran across a young lady he had met at a New Year’s party right after his December 1945 honorable discharge from the Army Air Corp of World War II. The young lady named Ardis King and Philip Hyde took a few classes together at UC Berkeley including a calligraphy and painting class from the famous Japanese painter Chiura Obata. Ardis King and Philip Hyde married in June 1947 and Philip Hyde started photography school that Fall. (Read more about the courses and their content in the series of blog posts starting with th blog post, “Photography’s Golden Era 6.”) [...]

]]> By: Tuolumne Meadows Parson’s Lodge Caretakers Hugh Sakols And Mara Dale » Landscape Photography Blogger http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/comment-page-1/#comment-15993 Tuolumne Meadows Parson’s Lodge Caretakers Hugh Sakols And Mara Dale » Landscape Photography Blogger Tue, 20 Mar 2012 19:53:27 +0000 http://landscapephotographyblogger.com/?p=3083#comment-15993 [...] Adams. For more on Ansel Adams’ innovative photography department, see the blog post, “Photography’s Golden Era 6.” During the summer 1949 break from photography school, Ansel Adams helped Ardis and Philip [...] [...] Adams. For more on Ansel Adams’ innovative photography department, see the blog post, “Photography’s Golden Era 6.” During the summer 1949 break from photography school, Ansel Adams helped Ardis and Philip [...]

]]> By: Photography’s Golden Era 10 » Landscape Photography Blogger http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/comment-page-1/#comment-14554 Photography’s Golden Era 10 » Landscape Photography Blogger Wed, 23 Feb 2011 19:40:25 +0000 http://landscapephotographyblogger.com/?p=3083#comment-14554 [...] In his book The Moment of Seeing: Minor White at the California School of Fine Arts, Jeff Gunderson wrote that by the Fall 1946 class, a more in-depth application had also been devised to better determine whether students were ready for the full-time course. By September 1947 there were 20 full-time students for the new fall class. Due to a mix up, Philip Hyde’s application did not get processed for the Fall 1946 Class. He had to wait until the Fall 1947 Class to start at the San Francisco Art Institute. For the story of what he did for that year read the blog post, “Photography’s Golden Era 6.” [...] [...] In his book The Moment of Seeing: Minor White at the California School of Fine Arts, Jeff Gunderson wrote that by the Fall 1946 class, a more in-depth application had also been devised to better determine whether students were ready for the full-time course. By September 1947 there were 20 full-time students for the new fall class. Due to a mix up, Philip Hyde’s application did not get processed for the Fall 1946 Class. He had to wait until the Fall 1947 Class to start at the San Francisco Art Institute. For the story of what he did for that year read the blog post, “Photography’s Golden Era 6.” [...]

]]> By: Over 500 People Attend Golden Decade Opening » Landscape Photography Blogger http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/comment-page-1/#comment-7018 Over 500 People Attend Golden Decade Opening » Landscape Photography Blogger Thu, 09 Sep 2010 23:32:33 +0000 http://landscapephotographyblogger.com/?p=3083#comment-7018 [...] The Golden Decade Exhibition runs through October 15, 2010. For more specifics see the blog post, “The Golden Decade: California School of Fine Arts Photography.” Also, more description and information about the Golden Decade Opening itself can be found on the Large Format Photography Forum. The Contra Costa Times and other papers announced the Golden Decade Exhibition and Stefan Kirkeby ran a full-page advertisement in Black and White Magazine for the show. To learn more about the Golden Decade of photography in San Francisco and the California School of Fine Arts see the blog posts, “Photography’s Golden Era 7” and “Photography’s Golden Era 6.” [...] [...] The Golden Decade Exhibition runs through October 15, 2010. For more specifics see the blog post, “The Golden Decade: California School of Fine Arts Photography.” Also, more description and information about the Golden Decade Opening itself can be found on the Large Format Photography Forum. The Contra Costa Times and other papers announced the Golden Decade Exhibition and Stefan Kirkeby ran a full-page advertisement in Black and White Magazine for the show. To learn more about the Golden Decade of photography in San Francisco and the California School of Fine Arts see the blog posts, “Photography’s Golden Era 7” and “Photography’s Golden Era 6.” [...]

]]> By: Photography’s Golden Era 7 » Landscape Photography Blogger http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/comment-page-1/#comment-6548 Photography’s Golden Era 7 » Landscape Photography Blogger Sat, 04 Sep 2010 18:13:01 +0000 http://landscapephotographyblogger.com/?p=3083#comment-6548 [...] (Continued from the blog post, “Photography’s Golden Era 6.”) [...] [...] (Continued from the blog post, “Photography’s Golden Era 6.”) [...]

]]> By: The Golden Decade: California School Of Fine Arts Photography » Landscape Photography Blogger http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/comment-page-1/#comment-4887 The Golden Decade: California School Of Fine Arts Photography » Landscape Photography Blogger Tue, 10 Aug 2010 08:36:56 +0000 http://landscapephotographyblogger.com/?p=3083#comment-4887 [...] For more about the Golden Decade of photography in San Francisco and the California School of Fine Arts see the blog post, “Photography’s Golden Era 6.” [...] [...] For more about the Golden Decade of photography in San Francisco and the California School of Fine Arts see the blog post, “Photography’s Golden Era 6.” [...]

]]> By: David Leland Hyde http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/comment-page-1/#comment-4320 David Leland Hyde Fri, 30 Jul 2010 23:22:31 +0000 http://landscapephotographyblogger.com/?p=3083#comment-4320 Hi Sharon, thank you for your interesting observation about the good, the bad and the ugly in landscape photography and art. It is true that some believe that art is mainly, or even only, in the eye of the creator. According to my friend Dennis Flynn, an artist who also taught at the collegiate level, this is one of the claims of some artists and art officionados: the only art that is the true art is made for the artist alone. However, even if you were to agree with that way of looking at it, which I don't, but if you did, the believers in this philosophy are usually not the ones who make all the over-saturated photographs. The hopped-up images are made that way precisely because the creator thinks someone else will be looking and buying the print because it is somehow prettier. Plenty of people are fooled by this. To match all the bad art, there are the majority of people who know nothing about art. What is that saying about two suckers born a minute and two over-saturated digital print Photoshop manipulators to take them? Hi Sharon, thank you for your interesting observation about the good, the bad and the ugly in landscape photography and art. It is true that some believe that art is mainly, or even only, in the eye of the creator. According to my friend Dennis Flynn, an artist who also taught at the collegiate level, this is one of the claims of some artists and art officionados: the only art that is the true art is made for the artist alone. However, even if you were to agree with that way of looking at it, which I don’t, but if you did, the believers in this philosophy are usually not the ones who make all the over-saturated photographs. The hopped-up images are made that way precisely because the creator thinks someone else will be looking and buying the print because it is somehow prettier. Plenty of people are fooled by this. To match all the bad art, there are the majority of people who know nothing about art. What is that saying about two suckers born a minute and two over-saturated digital print Photoshop manipulators to take them?

]]> By: Sharon Van Lieu http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/comment-page-1/#comment-4314 Sharon Van Lieu Fri, 30 Jul 2010 21:33:33 +0000 http://landscapephotographyblogger.com/?p=3083#comment-4314 Of course, there are always the very few who are truly great in any era. Then there a bit more who are good and many, many who are fair, mediocre and bad. The same can be seen in any art form. I think the danger in relying too heavily on techniques such as "super-dramatic, pretty pictures" as you said is that you can possibly take the viewer out of the picture. You can make it impossible for them to be a part of the experience. Then you are producing interior decorations rather than art. (This is my opinion only. I believe there is the need for some reaction other than just the artist's to make something art. I know others who post here believe that art is in the eye of the artist only and I respect that point of view, even if I don't share it.) Sharon Of course, there are always the very few who are truly great in any era. Then there a bit more who are good and many, many who are fair, mediocre and bad. The same can be seen in any art form.

I think the danger in relying too heavily on techniques such as “super-dramatic, pretty pictures” as you said is that you can possibly take the viewer out of the picture. You can make it impossible for them to be a part of the experience. Then you are producing interior decorations rather than art. (This is my opinion only. I believe there is the need for some reaction other than just the artist’s to make something art. I know others who post here believe that art is in the eye of the artist only and I respect that point of view, even if I don’t share it.)

Sharon

]]> By: David Leland Hyde http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/comment-page-1/#comment-4148 David Leland Hyde Wed, 28 Jul 2010 01:23:46 +0000 http://landscapephotographyblogger.com/?p=3083#comment-4148 Hi PJ, thank you for the comment and excellent question. Dad never set out to be the bridge. Even after he was teaching workshops regularly, he never thought of himself as an influence or even a teacher. He resisted the concept of gurus in any endeavor. He never even liked the word "influence" applied that way. At the Center For Creative Photography in Tucson, I even found an exchange of letters between Dad and Edward Weston where they agreed that the word "influence" is not a good label for what a young artist learns from an older one. The irony is that a generation of photographers who are now literally the who's who of landscape photography, have either written or said that they were "influenced by Philip Hyde." What I was saying above, is that you can see it in their work. You can sense it in the feel of their websites. You can hear it in the way they talk about photography. They believe in living or at least becoming close to the land, in letting the land speak, in showing nature in her many guises and moods, not imposing their ideas and pre-conceptions for photographs on the land, and not limiting photographic vision to certain times of day when the light is "magical" or to subject matter that consists of the "roadside landmarks" and well-worn cliches. These people are now thankfully influencing a whole new batch of landscape photographers that I observe coming up with good taste. People who took workshops from John Sexton, for example. These are the people whose work is most often found in the best museums and galleries. What I also see at the same time are certain landscape photography masters that were able to make epic photographs, such as Galen Rowell and others. Galen Rowell did something unique, he mountain climbed, he invented the genre of adventure photography. His work was superb. However, I am not so sure about the photographers who try to do what he did. I think they often end up with oversaturated images, predominantly of alpenglow mountaintops that everyone else has since done repeatedly. Several other types of images that Galen Rowell often did first, others have now done over and over. That whole direction of super-dramatic, pretty pictures that are all made around sunrise or sundown has now become cliche and more likely to be found in certain galleries of certain photographers who sell millions of dollars of prints of the same pretty pictures to tourists who are easily wowed, but the photographers work is easily forgettable and not pursued by serious photography collectors. Hi PJ, thank you for the comment and excellent question. Dad never set out to be the bridge. Even after he was teaching workshops regularly, he never thought of himself as an influence or even a teacher. He resisted the concept of gurus in any endeavor. He never even liked the word “influence” applied that way. At the Center For Creative Photography in Tucson, I even found an exchange of letters between Dad and Edward Weston where they agreed that the word “influence” is not a good label for what a young artist learns from an older one. The irony is that a generation of photographers who are now literally the who’s who of landscape photography, have either written or said that they were “influenced by Philip Hyde.” What I was saying above, is that you can see it in their work. You can sense it in the feel of their websites. You can hear it in the way they talk about photography. They believe in living or at least becoming close to the land, in letting the land speak, in showing nature in her many guises and moods, not imposing their ideas and pre-conceptions for photographs on the land, and not limiting photographic vision to certain times of day when the light is “magical” or to subject matter that consists of the “roadside landmarks” and well-worn cliches. These people are now thankfully influencing a whole new batch of landscape photographers that I observe coming up with good taste. People who took workshops from John Sexton, for example. These are the people whose work is most often found in the best museums and galleries. What I also see at the same time are certain landscape photography masters that were able to make epic photographs, such as Galen Rowell and others. Galen Rowell did something unique, he mountain climbed, he invented the genre of adventure photography. His work was superb. However, I am not so sure about the photographers who try to do what he did. I think they often end up with oversaturated images, predominantly of alpenglow mountaintops that everyone else has since done repeatedly. Several other types of images that Galen Rowell often did first, others have now done over and over. That whole direction of super-dramatic, pretty pictures that are all made around sunrise or sundown has now become cliche and more likely to be found in certain galleries of certain photographers who sell millions of dollars of prints of the same pretty pictures to tourists who are easily wowed, but the photographers work is easily forgettable and not pursued by serious photography collectors.

]]> By: pj finn http://landscapephotographyblogger.com/photography-history/photographys-golden-era-6/comment-page-1/#comment-4146 pj finn Wed, 28 Jul 2010 00:36:30 +0000 http://landscapephotographyblogger.com/?p=3083#comment-4146 I've been on the road myself for about a week now and haven't had much time for keeping up on the blogs. I'm sitting in SF right now and just wanted to post a quick reply to you. Once again, a very interesting and worthwhile post David. I've read much about f64 in Adams and Weston's writings as well as elsewhere, and have always admired the approach of those pioneers of photography as art. It's truly fascinating to read your perspective on them as well as about your dad's involvement. From what I see, and you can correct me if I'm wrong, it appears that your dad was very much a bridge between the Adams/Weston/Strand/White generation and a younger generation of photographers. No? I’ve been on the road myself for about a week now and haven’t had much time for keeping up on the blogs. I’m sitting in SF right now and just wanted to post a quick reply to you.

Once again, a very interesting and worthwhile post David. I’ve read much about f64 in Adams and Weston’s writings as well as elsewhere, and have always admired the approach of those pioneers of photography as art. It’s truly fascinating to read your perspective on them as well as about your dad’s involvement. From what I see, and you can correct me if I’m wrong, it appears that your dad was very much a bridge between the Adams/Weston/Strand/White generation and a younger generation of photographers. No?

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