Posts Tagged ‘4X5 Baby Deardorff Large Format View Camera’

Outdoor Photographer Special Feature: Philip Hyde and the Art of Making National Parks

June 9th, 2016

Outdoor Photographer June National Parks Centennial Special Issue

Centerpiece Feature: Philip Hyde and the Art of Making National Parks by David Leland Hyde

Outdoor Photographer Cover, June 2016 National Parks Centennial Special Issue, cover photograph Mount Deception, Brooks and Silverthrone, Wonder Lake, the Alaska Range, Denali National Park by Carr Clifton.

Outdoor Photographer Cover, June 2016 National Parks Centennial Special Issue, cover photograph Mount Deception, Brooks and Silverthrone, Wonder Lake, the Alaska Range, Denali National Park by Carr Clifton. (Click on image to see larger.)

Outdoor Photographer magazine has come a long way lately. The magazine is under new ownership, Madavor Media, L.L.C. out of Braintree, Massachusetts. Wes Pitts, who worked for the previous owners for more than 17 years and apprenticed under Rob Sheppard, is the new Editorial Director/Editor. The articles and headlines now appeal as much to seasoned photographers as to beginners.

There are still many articles about gear and locations, but these are done more tastefully, while more articles about the art and craft of photography are appearing. Some of the best writers from the Rob Sheppard and Steve Werner eras are back like Lewis Kemper, Carr Clifton, James Kay, Mark Edward Harris, Art Wolfe and others. Columnists such as Amy Gulick, Frans Lanting, William Neill, David Muench and others continue to produce excellent advice and insight. David Leland Hyde has been named on the masthead as a Contributing Editor.

The reproduction quality still has a ways to go, but they are working internally on improving this and other aspects of the magazine to make gradual refinements over the coming months and years. The editor has expressed the objectives of bringing in more conservation photography and more quality coverage by the experienced professionals in the field.

Currently for June, the Outdoor Photographer editors and staff put together a National Parks Centennial Special Issue with cover photograph and personal experience feature article about the “Wildlands of the National Parks” by Carr Clifton. They invited David Leland Hyde to write the issue’s centerpiece feature article called, “Philip Hyde: The Art of Making National Parks.” Ben Horton wrote an excellent article about getting off the beaten path in the parks and long-time contributor William Sawalich wrote a fascinating feature profile of George Grant who, “Toiled in obscurity for nearly three decades as the first official photographer of the National Park Service.”

The Philip Hyde centerpiece feature immerses the reader in the conservation campaigns that made many of our Western National Parks. From Harvey Manning, author of the Sierra Club Exhibit Format Series book Wild Cascades: Forgotten Parkland, to David Simons, long-time resident, explorer, photographer and land conservationist in the North Cascades of Washington, from David Brower, Ansel Adams and Martin Litton to Eliot Porter, Point Reyes National Seashore, Dinosaur National Monument, Edward Weston, Minor White, the Bureau of Reclamation, Glen Canyon, Grand Canyon, Howard Zahniser, Edward Abbey, Slickrock, Canyonlands National Park, The Last Redwoods, Gary Braasch, Jack Dykinga, Backpacker Magazine, William Neill, Chris Brown, Lewis Kemper, Carr Clifton, Alaska: The Great Land and Wade Davis author of a new book, The Sacred Headwaters, this is an in-depth look at Philip Hyde’s career, his influences and those he influenced in the field of conservation photography.

The Outdoor Photographer June National Parks Centennial Special Issue is on newsstands now and is one of the best issues of Outdoor Photographer yet. Do not wait because the special editions of Outdoor Photographer often sell out. This is not just a sales pitch. You can go online now and read Philip Hyde: The Art of Making National Parks, but if you want the special issue in the paper version, I would get it as soon as possible. Find it at Barnes and Noble and other booksellers and magazine racks, wherever magazines are sold.

To read more about the George Eastman Museum Exhibition America’s National Parks, see David Leland Hyde’s guest post on the Outdoor Photographer Blog. To read an in-depth overview of the exhibit including special programs and lectures see Philip Hyde in Photography and America’s National Parks Exhibition–Programs and Lectures.

Photography and America’s National Parks at the George Eastman Museum

May 26th, 2016

Photography and America’s National Parks Exhibition at the George Eastman Museum

June 4 – October 2, 2016

Exhibition Preview Friday June 3, 2016, 7 – 9 pm

Featuring William Henry Jackson, Carleton E. Watkins, Ansel Adams, Edward Weston, Philip Hyde and Contemporary Photographers

Dune at Granite Falls, Grand Canyon National Park, Arizona, copyright 1956 by Philip Hyde from Time and the River Flowing: Grand Canyon. This photograph will be featured in Photography in America's National Parks and is part of the George Eastman Museum permanent collection.

Dune at Granite Falls, Grand Canyon National Park, Arizona, copyright 1956 by Philip Hyde. Color version featured in Time and the River Flowing: Grand Canyon, the 1964 book that helped galvanize worldwide opposition to two proposed dams in the Grand Canyon. This photograph will be featured in Photography in America’s National Parks and is part of the George Eastman Museum permanent collection. (Click on image to see larger.)

American entrepreneur George Eastman founded the Eastman Kodak Company and popularized photography through the mass production of film and the cameras he manufactured. While a number of entertainers and recording artists have more than one star in different categories on the Hollywood Walk of Fame, Eastman is the only honoree with two stars in the same category for the same achievement, the invention of roll film.

Besides inventing roll film, Eastman also invented the roll film holder, developed dry plate technology that simplified the mechanics of photography and bromide paper, which became a standard in the industry. Eastman’s transparent film enabled Thomas Edison to perfect the kinetoscope, a box that allowed one individual at a time to view films through a small viewer window, the forerunner of the present motion picture.

Eastman, after establishing a $200,000,000 industry, devoted most of his life to philanthropy. He pioneered sick pay, disability compensation, pensions and hospital benefits. He first distributed extra funds to employees doing a good job, one of the world’s first corporate bonuses. In the last decade of the 19th Century and in the first two of the 20th, he gave away more in wealth than anyone else besides John D. Rockefeller and Andrew Carnegie.

His gifts made the University of Rochester and MIT into first tier schools. He was the largest supporter of the education of African-Americans in the 1920s, donating to colleges like Tuskegee, Hampton, Howard and Meharry. He established dental clinics for children around the globe and founded the medical and dental school at the University of Rochester. He organized community music instruction, funded music education programs and concerts and built the Eastman Theater, still one of the largest and most eloquent concert halls in the country.

After his death in 1932, his 35,000 square foot home became part of the university, but proved too large for the president’s residence, as he had specified. In 1947, the state of New York chartered the George Eastman House as a non-profit museum of photography. After the Museum of Modern Art in New York City, the George Eastman Museum became the second museum in the world to have a photography department and also the second museum in the world to have a film department.

The George Eastman Museum went on to develop one of the largest photography collections in the world including cinema art and photographic and cinematic technology, for a total of several million objects including over 450,000 photographs dating from the introduction of the medium in 1839 to the present. The collection also includes more than 28,000 motion picture films, one of the leading libraries of books related to photography and cinema and extensive holdings of documents and other objects related to George Eastman. Each year now the museum presents at least ten curated exhibitions. However, in the early days of the museum, shows were not as frequent.

In 1957, when Beaumont Newhall was head curator and Minor White was an assistant curator, the George Eastman Museum hosted a solo exhibition of the black and white prints of a new leading nature photographer and prolific user of Kodak paper and large format sheet film, Philip Hyde. The show consisted of 25 silver gelatin prints, three of which were purchased for the George Eastman House permanent collection.

Now in 2016, to celebrate the 100th Anniversary of the founding of the National Park Service, the George Eastman Museum presents Photography and America’s National Parks, an “exhibition exploring the role of photography in the development of the parks and in shaping our perception and understanding of these landscapes.”

From the early pioneers such as Alvin Langdon Coburn, Frank Jay Haynes, William Henry Jackson, the Kolb Brothers, Eadweard Muybridge and Carleton Watkins to the modernists including Ansel Adams, Edward Weston and Philip Hyde to contemporary photographers such as Marion Balanger, Binh Danh, Sean McFarland, Sharon Harper, Mark Klett, Abelardo Morell, David Benjamin Sherry and Byron Wolfe, exhibition curator Jamie M. Allen drew primarily from the George Eastman Museum collection to illuminate the history of the most significant national parks from the 1860s to the present. The exhibition also includes works on loan that broaden and deepen the presentation, as well as George Eastman’s travel albums from his trips to national parks.

To compliment the exhibition, the museum is co-publishing a book with Aperture titled, Picturing America’s National Parks, with introductory essay by Jamie M. Allen discussing the relationship between the parks and photography, available in June from the museum store and online at

Curator Jamie M. Allen wrote an informed and well-written article about the history of photography in the national parks for the March/April issue of Antiques, The Magazine. David Leland Hyde also wrote about the exhibition for the June issue of Outdoor Photographer magazine. The same June national parks special issue of Outdoor Photographer, is graced by a cover photograph by Carr Clifton, protégé of Philip Hyde, and a special feature article by David Leland Hyde about Philip Hyde’s role in conservation campaigns that helped establish or expand more national parks and wilderness lands than any other photographer. The June special issue of Outdoor Photographer will be on newsstands this Tuesday. For more information see the Exhibition Preview. To find out about related events throughout the summer go to Philip Hyde in Photography and America’s National Parks Exhibition–Programs and Lectures at Fine Art Photography Collector’s Resource.

George Eastman Museum
900 East Avenue
Rochester, NY   14607


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San Francisco Art Institute Photography History 17

May 12th, 2016

On the Fall Program, Student Supplies and Lab Schedule

Lecture by Ansel Adams

Philip Hyde’s 1947 Class Notes 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 16.)

Winter Forest Near Badger Pass, Yosemite National Park, High Sierra, California,

Winter Forest Near Badger Pass, Yosemite National Park, High Sierra, California, copyright 1949 by Philip Hyde from the Golden Decade book.

Below is the next in a series of excerpts from the only known existing complete student lecture notes from the photography program at the California School of Fine Arts, now the San Francisco Art Institute. During the “Golden Decade” while Minor White was lead instructor, beginning in the Ansel Adams Summer Session 1946, Philip Hyde kept a detailed record of class presentations.

A new book, Golden Decade: Photography at the California School of Fine Arts 1945-1955 by William Heick, Ira Latour, Ken Ball and Victoria Ball will be published June 2016 by Steidl of Germany with a small text contribution by David Leland Hyde and photographs by Philip Hyde, his classmates and other students during the era.

For the California School of Fine Arts Summer Session 1946, Ansel Adams brought in Minor White from Columbia University on recommendation from Beaumont and Nancy Newhall. In the 1946 Summer Session Minor White quickly proved himself as a coach of the young students and as a guest lecturer. Within a few weeks Ansel Adams felt confident enough in Minor White’s teaching abilities to leave him in charge of the class and set out on the road to photograph the national parks for his recently awarded Guggenheim Fellowship.

Today, the San Francisco Art Institute still has one of the world’s most cutting edge photography departments, however, in 1945-1955, the first ten years of the program made history as Minor White brought in Imogen Cunningham, Lisette Model, Dorothea Lange, and many other luminaries to guest lecture. Each semester Minor White also took the students on numerous field trips, the highlight of which was a visit to Wildcat Hill in Carmel to discuss the art and craft of photography, look at prints by Edward Weston and photograph with him out on Point Lobos State Natural Reserve.

Ansel Adams first taught the Summer Session in 1945. In the summer of 1946, Minor White joined him as a teacher and at the same time, Philip Hyde joined them as an early student. Due to an office paperwork error, Philip Hyde did not start in the first full-time class in 1946, but started in the second full-time class in the Fall of 1947. The extra year on the waiting list did not go to waste, however as Philip Hyde also used his G. I. Bill Veteran’s education benefits at U. C. Berkeley to take a number of art and design courses, including classes by the famous Japanese-American painter Chiura Obata. By this lecture in August 1947, Hyde had just been married to Ardis King in June of 1947, whom he met at a New Year’s party in San Francisco at the end of 1945 and got to know in the year at U. C. Berkeley before he attended the full-time photography program in the Fall of 1947. Philip Hyde’s notes quoted below are from a lecture where Ansel Adams outlined the Summer Session and Fall Full-Time 1947 program courses, lab schedule and supplies needed.

Philip Hyde’s Lecture Notes—August, 1947

Each student will be in a conference group for attending museum and lecture events.

Program – August 18-22


Morning            Introduction
Afternoon         Design, Society and Artist with Ernest Mundt [School Director]


Morning            Lecture—Minor White
Afternoon          Lecture—Ansel Adams


Morning             Lecture—Minor White
Afternoon          Design, Society and Artist


Morning             Lecture, Field Trip—Minor White
Afternoon           Lab


Morning              Lab
Afternoon           Design, Society and Artist

Lab Schedule Summer and Fall

[1st Year Student = 1; 2nd Year Student = 2]

Time                      Mon.           Tues.         Wed.       Thurs.      Fri.          Sat.

9 am – 12 noon         2                  2                  1                2               1               open

1 pm – 4 pm              2                  1                  2                1               2              open

4 pm – 7 pm              1                  1                  1                1               1

7 pm – 10 pm            1                  1                open            1               open

Also for 1st Year Students – Darkroom #6 – Mondays 4 pm – 7 pm, Fridays 9 am – 12 noon

Supplies for Student Purchase

  • Isopan Cut Film
  • Super XX Cut Film
  • 1 pound of Metol
  • 1 lb. Hydroquinone
  • 4 oz. Amidol
  • 4 oz.
  • 1 lb. Glacial Acetic Acid
  • 1 gallon of Acid Hypo
  • Gross 8X10 Dry Mount Tissue
  • 1 lb. Kodalk
  • 1 qt. Kodak Selenium Toner
  • 8X10 Printing Paper Contrasts—1, 2, 3 Cykora #2, Glossy #3
  • 1 Exposure Record
  • 1 Eastman Spotting Colors
  • Photo Course Worksheets
  • Spotting Brushes
  • Glassine Envelopes
  • Mount Boards


Interesting how many large format film photography supplies are now replaced by electronics and computers… Any thoughts on traditional processes, darkroom printing, art schools or another aspect of these notes?

(Continued in the blog post San Francisco Art Institute Photography History 18.)

Celebrating Wilderness By William Neill

March 30th, 2016

Celebrating Wilderness by William Neill

Reposted Today in Honor of the 10th Anniversary of the Passing of my Father, Philip Hyde.

Written by William Neill for the July 2006 Issue of Outdoor Photographer. Read more at and visit or William Neill’s Photography Blog at This article was originally posted to Landscape Photography Blogger as my first guest post. I am grateful to Dad’s good friend master photographer William Neill for sharing it with the world again through Landscape Photography Blogger. Coincidentally, just a few days before I originally posted this Bill Neill tribute, Guy Tal wrote a tribute on his own blog journal to William Neill called, “Inspiration: William Neill’s Yosemite Volume One.”

New Tribute to Philip Hyde by Outdoor Photographer

The current editor of Outdoor Photographer, Wes Pitts, today also wrote a must-read tribute to Dad, “Remembering Philip Hyde, Visionary Landscape Photographer and Conservationist.”

Celebrating Wilderness by William Neill

Sunset From Mt. Hoffman, Yosemite National Park, California, 2006 by William Neill.

On March 30, 2006, Philip Hyde passed away at the age of 84.  The community of photographers and nature lovers lost a true friend and pioneer. (See the June 2006 issue of Outdoor Photographer, A Voice for the Wild).  I count myself as being very blessed for having known him.


Many years before meeting Philip back in the early 1980s, I discovered his work in the Sierra Club’s famous “Exhibit-Format Series” of books.  His images opened my eyes, along with those of thousands of other photographers and wilderness enthusiasts, to the beautiful and endangered landscapes he had explored.  He helped us see the great potential use landscape photographs could have for environmental protection.  Philip’s images spoke to me quietly yet forcefully of wild nature’s value, and showed me the impact hard work, dedication and selflessness can have.

Philip’s sphere of influence has expanded outward far and wide, quietly and profoundly.  Hyde was the workhorse for the Sierra Club book series, providing images for nearly every battle of theirs in the 1960s and 1970s.  When David Brower, the director of the Club and creator of the book series, needed images to help preserve an endangered landscape, Philip and camera went to work.  Books in which his photographs are instrumental include The Last Redwoods, Slickrock, Island in Time: The Point Reyes Peninsula, Time and The River Flowing, Navajo Wildlands, The Wild Cascades: Forgotten Wildlands, and This Is Dinosaur: Echo Park Country and Its Magic Rivers.

I have little doubt that every published nature photographer of my generation has been inspired by Philip’s efforts.  The large number of photographers, professional or not, working today to use their imagery to help preserve wild places, both locally and on national issues, owe Philip a great debt.

When I looked at those Sierra Club books as a college student, my wildest dream was to use my images in such books and other forums to further the cause of conservation, and to make photographs for a living.  The success of the Sierra Club books not only gave a great boost to its own membership, but also showed publishers that such books had commercial value, thus spawning the publication of thousands of books modeled after them.  The resulting nature book industry allowed many photographers to develop careers, and brought to light many issues of preservation.  Even those not familiar with the full extent of Hyde’s accomplishments can trace their roots to his efforts.

Beyond his environmental contributions, Hyde has earned an honored place for his art.  His photographs have a quality of serene reality.  His choice of camera is a 4×5 for revealing the landscape in sharp detail.  The color is not amplified.  The light he preferred was understated, and he did not favor the “magic hour” that seduces most of us.  He has a disdain for the redundant sunset motif.  He chose Ektachrome film, over Kodachrome or Fujichrome, for its more neutral reproduction of nature’s colors.  In similar fashion, Philip’s compositions and use of lenses are simple and direct.  Rarely do you see a photograph where camera position or lens exaggerates any aspect of a landscape.

Commenting on his evolution from being a black and white photographer to predominantly using color, Philip wrote in his book The Range of Light, “Black-and-white lends itself to manipulation that can dramatize a subject.  Color tends to record what is seen, so it is no coincidence that I use color for that purpose.  I don’t feel nature needs to be dramatized: it is dramatic enough! …Color photographs that…rely too much on the shock value of color alone will not sustain interest.”

Philip’s approach, which seems at first to show the landscape in ordinary descriptive terms, is his attempt to make us realize nature’s profound beauty is always there for us to see, not just during a monumental performance of light or color.  There is selflessness to this approach.  In his images, his own importance recedes in the face of nature’s beauty and need for protection.  He once wrote to me, “There is no limit to what a man can do so long as he does not care who gets the credit.”

Many years ago, I hiked up Mt. Hoffman in Yosemite.  I walked slowly upward, alone in my thoughts. I carried all my 4×5 gear to the summit, planning to photograph the sunset and then hike down in the twilight.  At the top, the views of Yosemite’s wilderness stretch out all around.  There was virtually no sign of human life below.  The sunset light warmed the surrounding peaks, and the Sierra Nevada displayed why it is called The Range of Light!  The serenity I felt was powerful.

Thanks to far-sighted pioneers, this rare form of sanctuary exists for millions to enjoy.  The initial preservation of Yosemite by President Lincoln in 1864 and subsequent the formation of the National Park System, the inspiring words and energetic crusading of John Muir, the monumental photographs of Yosemite by Ansel Adams have all contributed to the cause of wilderness preservation.

At times like this, when a great person in our field or our life is lost, we might wonder who could ever replace them?  It is an important time to stop and remember the impact each one of us can have.  John Muir saw threats to the wildness of Yosemite, and fought to preserve it.  Ansel Adams felt deeply moved by the beauty of Yosemite and the Sierra that Muir helped preserve, and used his photographs to fight further for wilderness preservation.  Philip Hyde, learning from the example of Muir, Adams and David Brower, worked tirelessly to photograph threatened landscapes. Many photographers have followed Hyde’s example.  As a ripple expanding outward in a circle, more will follow those who have followed him.  We must all acknowledge our mentors, and I am proud to count Philip Hyde as one of mine.  We honor their legacy by following their example.  Let the circle be unbroken. — William Neill

I am interested primarily in what Emerson called “the integrity of natural objects.”  They express wholeness and individuality, and it is this sense of place that is the foundation of my work.  My life in photography has been taken up in exploring natural places for their beauty and uniqueness.  It has been a labor of love, and nature has provided me the perfect object. — Philip Hyde

William Neill’s Note:  The North American Nature Photography Association offers a grant in honor of Philip Hyde.  See for more info and for applications.


To sign up for newsletter updates, including info about his online workshops, please see William Neill’s web page at For more about wilderness see the blog post, “Wallace Stegner: The Wilderness Idea.” For the story on how I learned more about my father’s work see the blog post, “Memories Of Finally Working With Dad.”

Originally posted August 26, 2010

Philip Hyde in “Ansel Adams: Before and After” at the Booth Western Art Museum

December 15th, 2015

Ansel Adams Before and After

Exhibition at the Booth Western Art Museum

Over 400 People Attended the SOLD OUT Opening Reception…

Aspens, San Miguel River, San Juan Rockies, Colorado, 1974 by Philip Hyde. One of the images Lumiere is showing as part of the Lumiere Holiday Collection. The other two Philip Hyde photographs shown as part of the online exhibition are "Virginia Creeper, Northern Sierra Nevada, California, 1977" and "Mt. Denali, Reflection Pond, Denali National Park, Alaska, 1971."

Aspens, San Miguel River, San Juan Rockies, Colorado, 1974 by Philip Hyde. Courtesy of Lumiere Gallery.

In 2010, the second largest museum in Georgia, the Booth Western Art Museum, hosted an exhibition called Ansel Adams: A Legacy. This show attained a new milestone in attendance and helped the Booth establish creative photography as an important part of its future with the associated creation of the Booth Photography Guild.

The Booth Western Art Museum, affiliated with the Smithsonian Institute Museums in Washington DC, now presents a new exhibition, Ansel Adams: Before and After, which has already set new precedents in several ways. The outside marketing and publicity by photographers, galleries and other associates for Ansel Adams: Before and After was dark for the first 30 days. The Booth wanted to see how its own community would respond to museum originated outreach.

From the show text:

Exhibition Opening Reception and Lecture SOLD OUT!
On Saturday, November 14, 2015, over 400 people sat in awe of Dr. Michael Adams, son of legendary photographer, Ansel Adams, as he gave the keynote speech for the opening of Ansel Adams: Before and After. Many of the attendees had the opportunity to hear from contemporary photographers Cara Weston and Bob Kolbrener, who are both highlighted in the exhibition.

The Booth Western Art Museum sold $10.00 tickets to the show opening and could not fit any more people into the facility. The Booth written materials also refer to Ansel Adams as the most recognized name in photography. Ansel Adams is not only the most recognized name in photography, but the most recognized western photographer in Georgia and other southern and eastern states. The new Booth show is helping to change that though because besides exhibiting more than 25 original photographs by Ansel Adams, the more than 100 total works in the show “represent 24 photographers who influenced Ansel Adams, worked at the same time as his peers, or are contemporary artists and professional image makers who have been influenced by his legacy.”

The Influence of Ansel Adams

Ansel Adam’s influence on the entire medium of photography continues to show up in imagery today. Furthermore, those who worked with him cite him as one of their most significant influences. Having co-founded with Beaumont Newhall the world’s first photography department in a major museum at the Museum of Modern Art in New York City and having founded the first photography department in an art school to teach creative photography as a full-time profession at the California School of Fine Art, now the San Francisco Art Institute, Ansel Adams with more students than any other photographer in history, has influenced photography more than any other single photographer.

The exhibition also shows how photographers influenced by Ansel Adams, such as Philip Hyde, have influenced others. Ansel Adams was a teacher of teachers. “Aspens, San Miguel River, Rocky Mountains, Colorado” by Philip Hyde shows Ansel Adams’ influence, while “Spot Lit Trees II, Yosemite, California” by Robert Weingarten is reminiscent of Philip Hyde’s aspen image. Considering that Philip Hyde led some of the earliest color Ansel Adams Workshops and Robert Weingarten participated as a student and a teacher in his own right with the Ansel Adams Workshops, these and other influences had plenty of fertile opportunities to develop.

How Modernism Began in Photography

Curators and art critics have called Edward Weston the father of modern photography. As co-founder of Group f64 with Ansel Adams, Imogen Cunningham and Dorothea Lange, also part of the current Booth exhibit Ansel Adams: Before and After, Edward Weston and Ansel Adams were the spiritual leaders of the group whose members found themselves all moving away from pictorialism around the same time in the early 1930s. In the early part of the 20th Century, photographers practicing pictorialism using various techniques in lighting and soft focus and other effects to make photographs look like paintings with the intent that photography would be accepted as art and shown in museums and galleries.

With the striking example of the clean, crisp, sharp focused throughout, naturally lit images of Paul Strand, Alfred Stieglitz vocally abandoned pictorialism and embraced realism. He had the financial resources and influence in the arts to support like-minded photographers like those in Group f64 in California. Group f64, Stieglitz and Strand pioneered the modernist aesthetic in photography. Nature, natural objects, simple nudes, scenes of everyday life and people portrayed as they were found became the subjects and these were given space to breathe in compositions. Photography trailed behind some of the other arts in transitioning to modernism, but Encyclopedia Britannica defines well the rise of this revolution in the arts overall:

Modernism in the arts is a radical break with the past and the concurrent search for new forms of expression. Modernism fostered a period of experimentation in the arts from the 19th to the mid-20th Century, particularly in the years following World War I. In an era characterized by industrialization, rapid social change, and advances in science and the social sciences, Modernists felt a growing alienation incompatible with Victorian morality, optimism, and convention. New ideas in psychology, philosophy and political theory kindled a search for new modes of expression.

Photographs on Display in the Show

Ansel Adams: Before and After progresses chronologically through the work of Paul Strand, Alfred Stieglitz, Group f64, then later contemporaries and early protégés of Ansel Adams such as Brett Weston, Cole Weston, Philip Hyde, Pirkle Jones, Al Weber, Bob Kolbrener and Brett Weston’s daughter Cara Weston, who knew Ansel Adams growing up. Finally, contemporary photographers in the show who were influenced by Ansel Adams include Robert Weingarten, Julieanne Kost, Rex Naden, Robert Glenn Ketchum, Peter Essick, John Mariana, Jay Dusard, Tim Barnwell and others. The exhibition contains two to four photographs by each photographer.

The three photographs in the show by Philip Hyde are “Aspens, San Miguel River, Rocky Mountains, Colorado,” “Great Overhang, Moqui Canyon, Glen Canyon, Utah” and “Marble Gorge, Grand Canyon National Park, Arizona,” all by courtesy of Lumiere Gallery. Philip Hyde made “Great Overhang, Moqui Canyon” in 1964, the year Glen Canyon Dam began to back up “Lake” Powell. “Marble Gorge, Grand Canyon” appeared in the book Navajo Wildlands in the Sierra Club Exhibit Format Series, started by Ansel Adams, Nancy Newhall and David Brower, that popularized the coffee table photography book. This series more than any other photography books, exhibited the new look of modernism in photography and helped in the campaigns to make many of America’s national parks.

Welcome to the Booth Western Art Museum

The Booth Western Art Museum is the ideal venue for Ansel Adams: Before and After, offering plenty of space for such an overwhelmingly popular show and accompanying series of lectures. Besides the SOLD OUT Opening Reception and Lecture, on Saturday January 9, 2016, the Booth will host a Workshop and Evening Lecture with  on how Ansel Adams might have used Photoshop. On Saturday, January 23, 2016, contemporary photographers featured in the exhibition will participate in a Symposium with Scholars. Details of the four sessions of this event are below.

The Booth Western Art Museum, opened in August 2003, is the only museum of its kind in the Southeast. With its 120,000 square foot building, The Booth houses the largest permanent exhibition space for Western American art in the country. Permanent galleries include: American West Gallery, Cowboy Gallery, Face of the West, Heading West, The Modern West, Sagebrush Ranch, James and Carolyn Millar Presidential Gallery, War is Hell, and a two-story Sculpture Court. There is also a Temporary Exhibition Gallery, a Special Exhibition Gallery and the Bergman Theatre Lobby Gallery, as well as two theaters, a café, a ballroom, museum store, a reference library and one of only two glass elevators in the country with historical balance weights.

Ongoing Related Events and Activities

Exhibition Opening Reception and Lecture SOLD OUT! (Over 400 people attended.)
Saturday, November 14, 2015
Dr. Michael Adams, son of Ansel Adams

Workshop and Evening Lecture
Saturday, January 9, 2016
Ms. Julieanne Kost, Adobe Systems, Inc.

Symposium with Scholars and Photographers in the Exhibition
Saturday, January 23, 2016

Opening Session: The People Behind the Pictures
Bob Yellowlees, moderator and Meg Partridge, photography scholar and filmmaker

Second Session: Archiving Americana a Face at a Time
Seth Hopkins, moderator, photographers Jay Dusard and Tim Barnwell

Third Session: Landscape Photography and Public Policy
Seth Hopkins with photographers Bob Kolbrener, Peter Essick and Robert Glenn Ketchum

Fourth Session: Photography in the 21st Century
Bob Yellowlees with photographers Rex Naden and John Mariana

The Booth Western Art Museum
501 Museum Drive
Cartersville, Georgia  30120

The Golden Decade Book To Be Published By Gerhard Steidl

June 17th, 2015

The Golden Decade Book in Pre-Production at Steidl in Germany

Original limited edition printing design of The Golden Decade. Gerhard Steidl already redesigned the book, fonts and colors with a more contemporary art look.

Original limited edition printing design of The Golden Decade. Gerhard Steidl already redesigned the book, fonts and colors with a more contemporary art book layout and look.

The Golden Decade: California School of Fine Arts Photography 1945-55 by Ira Latour, Cameron Macauley and Bill Heick, edited by Ken Ball and Victoria Whyte Ball, sold out in two special oversize limited editions of 100 books each in 2010. In conjunction with the release of the book, Smith Andersen North Gallery held a two-month exhibit of original darkroom silver prints by 36 students of Ansel Adams and Minor White.

Now The Golden Decade will be published by world-premier art book publisher Steidl of Germany and is in pre-production. Ken and Victoria Whyte Ball recently traveled to Gottingen, Germany for the beginning of pre-production to work with Gerhard Steidl on the layout and design of the book. The production process with a master art publisher such as Steidl, Ken and Victoria said has been fascinating, besides, the Balls had fun in Steidlville getting to know the other photographer teams and curators also putting books together including Joshua Chuang from the Center for Creative Photography in Tucson, Arizona and Anna Davidson, daughter of New York Magnum photographer Bruce Davidson. Follow the Ball’s adventures in Germany and the Golden Decade journey into print at a delightful blog Victoria has been writing called the Golden Decade Blog, supplemented by Victoria Whyte Ball’s Facebook page.

During the first 10 years of the photography program founded by Ansel Adams at the California School of Fine Arts, now called the San Francisco Art Institute, Minor White was lead instructor. He invited Imogen Cunningham, Dorothea Lange, Edward Weston, Lisette Model and other definers of 20th Century photography to be guest instructors.

The Golden Decade Book author Ira Latour was in the first full-time class of the photography department, while Bill Heick was in the second class with Victoria Whyte Ball’s father Don Whyte, Philip Hyde and 12 other students. Cameron Macauley was in a later class. The authors and a large number of other contributors including David Leland Hyde share stories and biographical sketches from the early days of West Coast Photography when the earliest students of straight photography started journeys in the medium, many of which went on to notable publishing and exhibiting achievements of their own.

All Golden Decade photographers are:

Ruth-Marion Baruch

John Bertolino

Lee Blodget

Benjamen Chinn

Eliot Finkels

Oliver Gagliani

Stephen Goldstine

Muriel Green

Pat Harris

William Heick

Frederick H. Hill

Robert Hollingsworth

Helen Howell

Joe Humphreys

Philip Hyde

David Johnson

Pirkle Jones

Fritz Kaeser

Ira H. Latour

Zoe Lowenthal Brown

C. Cameron Macauley

Rose Mandel

Nata Piaskowski

William Quandt

Gerald Ratto

Alfred Richter

John Rogers

Walter Stoy

John Upton

George Wallace

Don Whyte

Charles Wong

Harold Zegart

Leonard Zielaskiewicz

Stan Zrnich

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 show see the blog post, “Over 500 People Attend Golden Decade Opening.”

Update: You can now pre-order the Golden Decade from Amazon with a guaranteed savings of $24.09 off the regular retail of $75. The pre-order guaranteed price is 33 percent off at $50.09. To pre-order click The Golden Decade.

Have you ever met any of the students of Ansel Adams?

New Releases: Philip Hyde Signature Desert Landscapes

April 9th, 2015

New Releases: The History Behind Philip Hyde Desert Icons

Archival Chromogenic Prints from Large Format Film

Evening Light On West Mitten Butte, Monument Valley Navajo Tribal Park, Utah-Arizona, copyright 1963 Philip Hyde. From Navajo Wildlands in the Sierra Club Exhibit Format Series. (Click on the image to see it large.)

Evening Light On West Mitten Butte, Monument Valley Navajo Tribal Park, Utah-Arizona, copyright 1963 Philip Hyde. From Navajo Wildlands in the Sierra Club Exhibit Format Series. (Click on the image to see it large.)

Philip Hyde began photographing the desert Southwest with large format film in 1951. At that time, he used primarily black and white film, but did expose some large format color transparencies too. The Sierra Club book, This Is Dinosaur: Echo Park and It’s Magic Rivers, with introduction, one chapter and editing by Pulitzer Prize winning novelist Wallace Stegner, included as many color plates as black and white, but editor, journalist, conservationist, pilot and river guide Martin Litton also made nearly as large a share of these images in the book as Hyde. To read more about the making of This Is Dinosaur see the blog post series, “The Battle Over Dinosaur: Birth of Modern Environmentalism.” To read more about Martin Litton see the blog post series, “Martin Litton: David Brower’s Conservation Conscience.”

While on his way back and forth from his Northern Sierra home in California to Dinosaur National Monument, Philip Hyde explored and photographed much of Nevada, Utah, Arizona and parts of New Mexico. For more on his early travels in the deserts of North America, see the blog post series, “Toward a Sense of Place,” and the blog post, “Images of the Southwest Portfolio Foreword by Philip Hyde.” Below is the history of three Philip Hyde signature desert photographs that both exemplify his style of photography and inspired two generations of photographers.

Based on the photograph locations in Hyde’s Sierra Club Books Exhibit Format Series volumes Navajo Wildlands: As long As The Rivers Shall Run (1967) and Slickrock: Endangered Canyons of the Southwest (1973) with Edward Abbey and in other Hyde books for Sunset and the prominent travel and natural history magazines of the day, large format film photographer Tom Till said that Hyde was the first to photograph areas of The Maze District of Canyonlands National Park and Waterpocket Fold in Capitol Reef National Park. Large format photographer David Muench, who was 15 years younger than Hyde, a little later was also the first to photograph some iconic desert landscapes.

Evening Light on West Mitten Butte, Monument Valley

Possibly one of the most emulated American classics of all-time, Philip Hyde’s 1963 “Evening Light on West Mitten Butte, Monument Valley,” came into the public eye just as the quality of color printing in books developed enough for such books to become popular. “Evening Light on West Mitten Butte” enjoyed much recognition when it first appeared in the Exhibit Format Series book, Navajo Wildlands in 1967. Since 1967, hundreds of thousands of similar photographs have been made and many published of this view of Monument Valley. Navajo Wildlands helped the Navajo Nation, now more correctly called by their own name Diné Nation, to form seven Navajo Tribal Parks to preserve some areas of the reservation for all generations.

Ripples on Kelso Dunes, Mojave Desert

Ripples on Kelso Dunes, Mojave Desert, California, copyright 1987 Philip Hyde. From Drylands: The Deserts of North America.

Ripples on Kelso Dunes, Mojave Desert, California (Drylands Crop) copyright 1987 Philip Hyde. From Drylands: The Deserts of North America. (Click on the image to see it large.)

Two other Philip Hyde desert landscape icons have been emulated much since their creation, but they were neither the first, nor even early in the evolution of similar images, merely the most widely known and observed for inspiration. Ridges and ripples on sand dunes had been famously photographed by Brett Weston, Edward Weston, Ansel Adams and many others well before Philip Hyde made the color photograph, “Ripples on Kelso Dunes, Mojave Desert, California” in 1987. Hyde’s photograph perhaps was early in relation to all color images of this type of scene. Regardless, it was not until after “Ripples on Kelso Dunes” appeared in Drylands: The Deserts of North America that close up images of ripples on sand dunes flooded the photography market. Hyde’s original photograph was an unusual vertical that showed the ripples on the sand dunes in the foreground with the ripples fading into the distance at the horizon. Yolla Bolly Press, the packagers of Drylands, who also packaged Galen Rowell’s Mountain Light: In Search of the Dynamic Landscape, convinced Hyde to crop “Ripples on Kelso Dunes” to a horizontal for the front pages of Drylands. This version only showing the bottom half of the original vertical, the close up part of the image, became popular for its abstract qualities. Many still today find the Drylands crop of “Ripples on Kelso Dunes” a stronger image than the original vertical.

Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument

The second signature desert landscape that Hyde made as late as 1982 was “Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument, Utah.” This photograph also graced the pages of Drylands. Photography historians have found earlier photographs with vague similarity to this image, but it was not until after 1987 that similar images showed up in numerous magazines and other publications and now on the internet on various websites of photographers of the American Southwest.

Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument, Utah, copyright 1982 Philip Hyde. From Drylands: The Deserts of North America.

Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument, Utah, copyright 1982 Philip Hyde. From Drylands: The Deserts of North America. (Click on the image to see it large.)

So what? What is the point of researching who came first and who came later? This kind of tracking is not necessarily done for further recognition in and of itself, but it does serve to further establish and educate scholars, art historians and the public in this regard: it is important for determining the influence of an artist like Philip Hyde on his medium. Influence has a great deal to do with the perception of the significance of the life’s work of any artist and how his or her work is positioned in the historical record. These three photographs play a consequential role in the history of photography, particularly of landscape photography and photography of the Western US and Colorado Plateau. Similar photographs of a location do not necessarily emulation make, but in Hyde’s case, many of the who’s who of nature photography today acknowledge having been influence by his work.

Philip Hyde made six or fewer original dye transfer or Cibachrome hand made color prints of each of these four images. Only three original dye transfer prints remain of “Havasu Falls,” two of “Chinle Shales” and none of “Evening Light, West Mitten Butte” or “Ripples on Kelso Dunes.” Please consider acquiring our new archival chromogenic prints of these images, produced in a special numbered open edition, while they are at a special introductory price for a limited time. For more about new release pricing, see the blog post, “New Releases Now at Special Introductory Pricing.” For more information about the difference between archival digital prints and archival chromogenic prints, see the blog post, “About Archival Fine Art Digital Prints.” To purchase prints, see the images large and read more descriptions see the New Releases Portfolio on the Philip Hyde Photography website.

Have you ever seen photographs similar to any of these three?

Living The Good Life 4

March 26th, 2015

Living the Good Life, Part Four

Failure In Carmel

(Continued from the blog post, “Living The Good Life 3.”)


“Only those who dare to fail greatly can ever achieve greatly.” ~ Robert F. Kennedy

“Everything you want is on the other side of fear.”  ~ Jack Canfield

About This Blog Post Series: “Living The Good Life”

Riffle Through Woods, Plumas County, Northern Sierra, California (Vertical Version) copyright 1983 by Philip Hyde. This view of Indian Creek is from the roof of the Hyde home they named Rough Rock. It is essentially the same view the Hydes watched wildlife through from the dining room table and living room beginning when the house was completed in 1959.

Riffle Through Woods, Plumas County, Northern Sierra, California (Vertical Version) copyright 1983 by Philip Hyde. This view of Indian Creek is from the roof of the Hyde home they named Rough Rock. It is essentially the same view the Hydes watched wildlife through from the dining room table and living room beginning when the house was completed in 1959.

In early January 2002, two months before my mother passed on, I asked her if she would be my interview subject, as I intended to write magazine articles about her locally popular gardening, preserving and cooking techniques. I also wanted reminders and more detail on my parents’ philosophy of living and making a sustainable low-impact lifestyle long before sustainability became a buzzword.

In response to my inquiries, my mother handed me her personal copy of Living the Good Life how to Live Sanely and Simply in a Troubled World by Helen and Scott Nearing, leaders of the 1950s Back to the Land Movement. Mom said simply, “This was our Bible.”

Through this series of blog posts, my parents, self-taught naturalist Ardis Hyde and pioneer conservation photographer Philip Hyde, while not on the road or on the trail for a photography project, in their quiet way adapted and invented their version of “The Good Life.” In the blog post, “Living The Good Life 2,” we reviewed Ardis’ upbringing and Philip’s and how each of them having fathers who loved nature, instilled in them the values that brought them eventually to the country and to their own land. In the third episode, “Living the Good Life 3” I reflect on the changing seasons and passing years as our dream home and my parents’ way of life continue here, after my mother has been gone 12 years and my father six. People dwelling in a simpler way, while gadgets and “conveniences” multiply, must remain constant to the vision of low impact living and stay vigilant to keep the freedom to live life this way. Technology itself can even sometimes help in this, but it can also be a distraction that interferes with the values of quiet, peace and the ability to listen to natural sounds, community and local conversations. The series began with the blog post, “Living the Good Life 1,” in which my friend Nancy Presser compared each key aspect of the Hydes’ sustainable life to points in the book, Living the Good Life. This comparative format will be common in blog posts to come in the series.

Part Four: Failure In Carmel Leads To Philip Hyde’s Greatest Success

Early Rental Homes

Before Ardis and Philip acquired their property and began to build their “dream home” on a natural bench above Indian Creek, they lived in half a dozen small rental houses and apartments, some mentioned in other blog posts, starting right after their marriage in Berkeley in 1947; in San Francisco and Daily City while Dad attended photography school at the California School of Fine Art, now the San Francisco Art Institute until 1950; in the primitive Macaulay Cabin in Tuolumne Meadows, Yosemite National Park for a summer in 1949; at the Fox Farm at Lake Almanor in the Northern Sierra and in nearby Greenville, where they moved into the Granary at Fredrickson’s Ranch while Mom taught kindergarten for 12 years. Her teaching at Greenville Elementary was interrupted for a few years and those interruptions made all the difference for the Hydes in the long run. This blog post is the story of the interruptions and how these showed the young couple they were doing what they were meant to do when they lived closest to nature in Indian Valley between the mountains of Plumas County.

The Granary at Fredrickson’s Ranch had been converted into an apartment before the Hydes lived there. Dad did his own conversion of one of the closets, about three by four feet, into a darkroom where he “souped” or processed his own film and made silver gelatin prints that he began to send out for publication. It was his first darkroom after he finished photography school. He did not have a darkroom while they lived at Benton’s Fox Farm on Lake Almanor, their first home near Greenville in Plumas County in the Northern Sierra Nevada.

First Publishing Credits

In 1949 while the Hydes lived at the Fox Farm, David Brower became the first Executive Director of the Sierra Club, a full-time paid staff position approved by the traditionally volunteer Board of Directors to better run the expanding hiking, climbing and conservation club that few people outside the mountains of California and the Bay Area knew about yet. David Brower had already led the Sierra Club’s High Sierra Pack Trips for a handful of years.

In 1950, Brower asked Dad to come along as official photographer for the Summer High Sierra Pack Trip. The other official photographer, Cedric Wright, mentored Dad on High Sierra tarp pitching, mountain film changing and timing meals and photography on the trip. Dad’s first publishing credit from the May 1951 Sierra Club Bulletin consisted of his photographs from the summer 1950 Sierra Club High Trip.

Mom and Dad moved from the Fox Farm at Lake Almanor to the Granary at Fredrickson’s Ranch, just below the California Highway 70 grade about two miles from Greenville in September 1951.

Dinosaur National Monument: The First Photography Assignment for an Environmental Cause

Meanwhile three states away, in the remote northeast corner of Utah near the Colorado border and not far from Wyoming, the town of Vernal, like many other small towns around the West, celebrated the possibility that it would soon become a boomtown. Vernal was the closest town of any size to two dams proposed on the Green River within the boundary of Dinosaur National Monument, one at Split Mountain and one at Echo Park.

Richard Leonard, Board Member of both the Sierra Club and the Wilderness Society, attended the Wilderness Society’s annual meeting in 1950 near Ft. Collins in northern Colorado. After the meeting, the founders of the Wilderness Society, Olaus and Margaret Murie, Richard Leonard and others drove through Dinosaur National Monument to see what it offered in scenic resources.

Highly impressed with the wilderness of Dinosaur, Richard Leonard back in San Francisco urged David Brower to expand the Sierra Club’s reach beyond the mountains of California to protect the spectacular Yampa and Green River canyons of Dinosaur. Brower needed to see more of Dinosaur. He needed better photographs. Other photographers’ images had been used in conservation campaigns before, but this was the first time a photographer would ever be sent on assignment for an environmental cause. Brower chose Philip Hyde, Brower said later because Hyde made reliable surveys of wild places and captured their unique natural features. However, when Hyde returned from Dinosaur, few of the conservation groups wanted to use his photographs or even exhibit his prints. Groups like the Wilderness Society, the Sierra Club, National Audubon and others that were starting to become more than regional, took very little action or even interest in Dinosaur from 1951 until 1954. Three years may seem like a short time now, but it is a long time to have little income for a young photographer. Dad had to wait three years before many publishers or non-profits would even look at, let alone buy or sell his photographs from Dinosaur.

Marketing, The Marketplace and Making a Living

“I think that you are making a great mistake to isolate yourself; you really should be right in the middle of humanity – bringing them the messages of nature which are of real value,” Ansel Adams wrote in a two-page letter to Dad dated May 4, 1952. Ansel urged Dad to find some means of support other than photography, which would work with photography. As Dad continued to struggle in Greenville, both Ansel Adams and David Brower suggested at different times that Dad try living closer to the marketplace for photography in San Francisco.

“Weeks of wondering and doubt,” said Dad’s personal log entry for May 16, 1952. “Ansel has been advising me to work toward some solution of economic problem. The two years in Greenville and the mountains seem to be drawing to a close. I have a feeling change is near. Ned Graves in Carmel suggests I work part-time in a photo shop and has provided the impetus. I will look into the possibility the second week of June when we go down below again.” Mom applied for the job of kindergarten teacher in nearby Del Ray Woods. Shortly after she landed the job, the Hydes moved to Carmel. For more on their life and struggles in Carmel, see the blog post, “The Battle Over Dinosaur: Birth of Modern Environmentalism 6.”

Loss and New Travels To Morocco

“Everything seemed to go wrong in Carmel,” Dad said. Even though they succeeded in buying a small property to build on, no bank would lend the young couple money to build a home. In those days banks did not count a newly married woman’s income because of the risk she might become pregnant and unable to work. Dad contracted a terrible case of Poison Oak trying to clear it from their lot. Dad lost his brother David Lee Hyde, my namesake, in the Korean War in mid 1952 and by the end of the year my grandfather Leland Hyde also passed on.

It was a lonely Christmas in Carmel. Jesse Hyde, Dad’s mom, came down from San Francisco for the weekend, but Dad’s new gas station job required him to work on Christmas Day, even after his boss learned of his recent loss of his father. About that time Mom’s dad, Clinton Samuel King Jr., an engineer, overseas in Africa building American Cold War Bases, told Dad he could come to Morocco and make a very good wage as a draftsman. Mom could work in the office and they could get caught up financially with the low cost of living on the large American base near Casablanca. After the drafting work wound down, Dad transferred to a department where they asked him to oversee a photographer documenting new American bases all over Morocco. Dad and the photographer became friends and traveled the country photographing everything because they had been instructed to stay busy even when there was frequently nothing to do.

It was through these travels in Morocco that Dad rekindled his enthusiasm for photographing nature in particular, even though he made more photographs of the local people and their culture and events than ever before. Also, by the middle of 1954 when the Hydes had been a year in Morocco, the battle over Dinosaur National Monument heated up when the Sierra Club decided to join the defense of the integrity of the national park system by keeping the two proposed dams out of Dinosaur.

Coming Home, Finding Home

Ardis and Philip, now with significant savings, longed to return to the mountains where the Fredrickson’s again had the Granary available for rent. After a few weeks in San Francisco with Grandma Jesse, the Hydes were again back home in Plumas County, this time actively looking for property to stay permanently.

In 1955, David Brower convinced the Sierra Club to publish This Is Dinosaur: Echo Park Country and Its Magic Rivers with photographs by Martin Litton and Philip Hyde. Brower had already asked Pulitzer Prize winning novelist Wallace Stegner to write the forward and one chapter of what would become the world’s first “battle book,” as Stegner called it. This Is Dinosaur was the first book ever published for an environmental cause. Hyde’s career took off with the buzz over the Dinosaur campaign. Parallel with Sierra Club’s efforts, Hyde sent an exhibition of his prints of the national monument to show in some of the most patronized libraries in the nation. The show started at the Chicago Public Library and traveled on to other major cities such as Washington D.C., New York, Cincinnati and others.

In December of 1955, when most land was still in big ranches in Plumas County, Mom and Dad bought 18 acres from David and Mary Ann Newcomb, who had a large ranch in Mormon Canyon between Grizzly Peak and Mt. Jura that included part of Genesee Valley. The Newcombs suggested the Hydes could pick out a piece of land anywhere on their big ranch. Mary Ann taught First Grade in Greenville and the couple had become good friends. So it was that in 1956 that Mom and Dad began cleaning up logging debris on the site that would become our home and gardens. And so it was that a series of failures led to what Dad called his biggest success, designing, drawing the plans for and nearly single-handedly over two years building the home that became known as Rough Rock.

(The passive solar, energy efficient, ahead-of-it’s-time construction of Rough Rock will be featured in “Living The Good Life 6.”)

Have you ever lived in or near wilderness?

New Philip Hyde Exhibit, SFO Museum, San Francisco International Airport

February 17th, 2015

“Philip Hyde: Mountains And Deserts” Exhibit, SFO Museum

Snow On Cinders And Cinder Cone, Nevada, copyright 1962 Philip Hyde. This was one of the images chosen for the SFO Museum show, "Philip Hyde: Mountains And Deserts."

Snow On Cinders And Cinder Cone, Nevada, copyright 1962 Philip Hyde. The main publicity photograph chosen for the 2015 SFO Museum show, “Philip Hyde: Mountains And Deserts.”

If you are flying into or out of San Francisco International Airport, (SFO) and you are traveling via Southwest, US Airways, Delta, AirTran or Alaska Airlines, you will have the opportunity to see a museum installed exhibition of Philip Hyde’s photographs in Terminal One. The show called, “Philip Hyde: Mountains and Deserts,” will hang from now in February through April 2015.

The SFO Museum, which puts on over 40 exhibitions a year in all four of SFO’s terminals, is the only accredited museum in an airport in the US, said Curator of Exhibitions, Ramekon O’Arwisters. The SFO Museum displays a rotating schedule of art, history, science, and cultural exhibitions, as well as the San Francisco Airport Commission Aviation Library and Louis A. Turpen Aviation Museum, which houses a permanent collection dedicated to preserving the history of commercial aviation. The SFO Museum also exhibits color images and prints, but it tends to specialize more in black and white photography of note.

The SFO Museum has shown such distinguished black and white photographers as Carleton E. Watkins, Edward S. Curtis, Imogen Cunningham, Wynn Bullock, Fan Ho, Fred Lyon, Michael Kenna, John Sexton and many others. The museum has also exhibited the work of a number of Golden Decade photographers, photographers who studied under Ansel Adams and Minor White in the first 10 years after World War II of the burgeoning art scene of San Francisco. To discover more about this period, see the blog post, “The Golden Decade: Photography At The California School Of Fine Arts.” The SFO Museum specializes in giving high quality artwork a large exposure. To learn more about the SFO Museum, visit its Mission and History. The Philip Hyde exhibition is beyond gate security and therefore can typically only be seen by those with a boarding pass, but the show will enjoy a high volume of traffic located in Terminal One.

To curate the show, Mr. O’Arwisters asked me to put together a selection consisting only of horizontal 16X20 original Philip Hyde black and white silver prints. From these he chose 12 prints for the final show. Within the constraints of only horizontal images and fitting the Mountains and Deserts theme, some of the final selection prints are original silver prints and some are photographer authorized archival chromogenic prints. The SFO Museum, then, with matting, framing and horizontally oriented prints produced a consistent look and presentation, complete with a biographical description of the artists career and approach to photography written by O’Arwisters. You can see a preview of the show and description online at the SFO Museum “Philip Hyde: Mountains And Deserts.

Philip Hyde Exhibit

February – April 2015

SFO Museum, San Francisco International Airport

San Francisco, California

Have you ever flown in or out of SFO and noticed the exhibit spaces?

Denali National Park, Alaska Travel Log 21

January 29th, 2015

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

(Ardis, David and Philip Hyde in Their Camper. Continued from the blog post, “Denali National Park, Alaska Travel Log 20.”)

Part 21: Traveling Inside Denali National Park, Alaska. (Formerly McKinley National Park.) Savage River Campground to Mt. Denali, Wonder Lake Campground (Mt. McKinley, Wonder Lake Campground.)

Mt. Brooks, Alaska Range near Mt. Denali, Denali National Park, Alaska, copyright Philip Hyde 1971. Previous digital image was a Creo flatbed scan of a 10x 12 dye transfer print. This image is from a newer higher quality drum scan just being optimized for print making.

Mt. Brooks, Wonder Lake, Alaska Range near Mt. Denali, Denali National Park, Alaska, copyright Philip Hyde 1971. Previous digital image was a Creo flatbed scan of a 10×12 dye transfer vintage print. The image above is from a newer higher quality Tango drum scan of the original Kodak 4×5 color transparency just now being optimized for digital print making.

(See the photograph large: “Mt. Brooks, Alaska Range, Denali National Park.”)

Tuesday, July 20, 1971: Rain. The sky was fully clouded over again this morning. We made it over to the service station by 7:45 a.m. It opened at 8:00 a.m. and immediately had a jam of gas customers. We got the tire fixed again by 9:30 a.m. They replaced the large boot, which had been applied twice unsuccessfully, with a smaller patch. Finally, we were on our way west toward Wonder Lake. At Mile 16, 10:35 a.m., we stopped to look at a bull moose willow grazing up slope too far away to photograph. At Mile 17 we saw a Ptarmigan. Philip got photos of two adults with their young. At Mile 18 we looked for foxes as reported to us by photographer Charlie Ott, whom we had met at the Post Office before we left Savage River. No foxes were at home. We reached Teklanitka in time for lunch beside the Teklanitka River in the same spot as we did before. After lunch, we ran into some excitement along Igloo Mountain, where Philip spotted some mountain Dall sheep. We stopped to look long at them, passing the binoculars between the three of us. They were in three groups, 13 sheep in total. We also saw another small group closer down on the far side of Igloo Creek. We stopped again about 4:00 p.m. on the climb up to Highway Pass. Philip made a Hasselblad 2 ¼ image looking back at Polychrome Pass with a foreground of dryas flowers, as on the hillside. The sky continued heavy with clouds and temperatures remained cool. We caught not a single glimpse of Mt. Denali all day. We reached Ellison Visitor Center after it closed at about 5:45 p.m. I cooked a cornbread and beans dinner while Philip photographed Sunset Glacier with the 4×5 view camera. Thorofare River was beautiful with Muldrow Glacier and lower colorful slopes of grey and gold rock and talus. I put David to bed before we left. Philip took a 2 ¼ picture of an interesting effect of light falling on Sunset Glacier behind a grey cloud curtain with a straight line bottom. Onward slowly we drove, while admiring the beautiful delicate colors of what was visible. Rain started and continued all the way to Wonder Lake. When we arrived, the campground was pretty well filled with campers. So, we parked with permission over near Wonder Lake, for which they charged us $2.00. It was still raining when we went to sleep.

(Continued in the next blog post in the series, “Denali National Park, Alaska Travel Log 22.”)

Has it ever rained for days on any of your travels? Were you able to photograph or do other activities?