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The Naming Of ‘Hyde’s Wall’ By Writer And Photographer Stephen Trimble

August 8th, 2012

How The Photograph, ‘Junipers, Wall, Escalante Wilderness’ From Slickrock With Edward Abbey, Became ‘Hyde’s Wall, Escalante Wilderness’ Now The Grand Staircase-Escalante National Monument, Utah

Guest Blog Post By Natural Historian And Landscape Photographer Of The Western U.S., Stephen Trimble

Hyde’s Wall, East Moody Canyon, Grand Staircase-Escalante National Monument, Utah, copyright 1976 by Stephen Trimble. If you look carefully you will see that this photograph was not taken from the same distance, nor from the same lateral angle, in relation to the wall, as Philip Hyde’s photograph.

LP Blogger On Stephen Trimble:

Writer and photographer Stephen Trimble won the Ansel Adams Award for photography and conservation for his book, The Sagebrush Ocean: A Natural History of the Great Basin Stephen Trimble lives in Salt Lake City and in Southern Utah’s redrock country just outside of Torrey near Capitol Reef National Park. For more about his books, his conservation projects and other work visit his website at www.stephentrimble.net. Stephen Trimble is author of over 20 books on the natural West including

Hyde’s Wall, East Moody Canyon, Escalante Wilderness, Grand Staircase-Escalante National Monument, Utah, copyright 1971 by Philip Hyde. This was the favorite photograph from Slickrock, a Sierra Club book that sold well and received literary recognition for both Philip Hyde and Edward Abbey.

Lasting Light: 125 Years of Grand Canyon Photography, showcasing

photographs by Philip Hyde and the last living interview of the master landscape photographer. Stephen Trimble teaches writing in the University of Utah Honors College and spent the 2008-2009 academic year as a Wallace Stegner Centennial Fellow at the University of Utah’s Tanner Humanities Center. The Lasting Light Exhibition has been on a national tour with the Smithsonian Institute since 2006, when the show opened at the Historic Kolb Studio, father’s day weekend after Philip Hyde passed away.

By Stephen Trimble

In the long-ago spring of 1976, the side canyons of Utah’s Escalante River were more remote than they are now, and they are still pretty remote. My two buddies and I had driven without incident in our hand-me-down family sedans across the Circle Cliffs to the Moody Creek trailhead. We found no other vehicles parked at the end of the road. Once we set off on foot, we weren’t expecting to see anyone else for the next week.

As a college student, I had pretty much memorized the Sierra Club exhibit format books. I aspired to photograph like Philip Hyde and Eliot Porter and Ansel Adams. Though I used a 35 mm camera rather than their large-format view cameras, I knew I could learn a lot from thinking—and seeing—like they did. And I respected with all my heart their dedication to saving wild places.

I knew Philip Hyde’s photographs in Slickrock, the 1971 Sierra Club book he created with Edward Abbey on the southern Utah Canyon Country, and when I photographed in Capitol Reef and the Escalante, Hyde’s eye influenced what I framed in my viewfinder. I had always harbored a secret wish to stumble on the patch of lichened sandstone he chose for the cover of Slickrock.

Instead, I found Hyde’s Wall.

My friends and I made camp at the junction of East Moody Canyon and the Escalante. In the lengthening iridescent light of late afternoon we wandered up East Moody Canyon. Each rounding curve brought new walls. Desert varnish streaked the crossbedded sandstone, black swaths across lavender and vermillion. Here, the color fields of Rothko; there, the bold strokes of Franz Kline.

One wall in particular drew me. I moved my tripod this way and that, aiming my camera past piñons and junipers to a canyon wall reflecting purples and mauves, textured with fractures and cracks. The light had bounced down between canyon walls from the sky and the stars, distilled to an unbelievable saturation.  I had never seen such surreal and intense colors. As I wandered back to camp, I realized that this just might be the very same wall Philip Hyde had photographed for Slickrock: Endangered Canyons of the Southwest with Edward Abbey and for Philip Hyde’s Glen Canyon Portfolio. I was intensely curious to see if my hunch was correct, but of course I couldn’t verify the match until I had my slides back from processing and I had the book in my hand. Once verified, the fact that we had both found our way to this inspirational wall in the middle of nowhere struck me as incredibly cool and serendipitous.

In 1979, I first published my version of the East Moody wall in its desert-varnished sunset splendor, in my first book with a spine: The Bright Edge: A Guide to the National Parks of the Colorado Plateau Not long afterwards, I heard back from friends who were with Philip Hyde when he first picked up a copy of The Bright Edge and saw my version of his wall—and they reported that he wasn’t pleased. So I contacted Philip to make amends, and I started captioning the photo “Hyde’s Wall” as a tribute whenever I had control of captions—most notably in Blessed By Light: Visions of the Colorado Plateau (1986).

Years later, I had the wonderful opportunity and honor to interview Philip by phone for my book, Lasting Light: 125 Years of Grand Canyon Photography in December 2005, just three months before his death in March 2006. He was still passionate, still inspiring. He told me that he was down there photographing in the Grand Canyon in the 1960s and 70s “because we wanted to keep the dam builders out,” but the place itself was most important: “Here was this magnificent canyon full of wonderful things to photograph. It’s a matter of seeing, not deciding where you are going to photograph but just looking around, opening your eyes.”

I often have quoted Philip Hyde’s preface to Slickrock, in which he articulated the wilderness photographer’s fear:

The focus of this book is on a part of Earth that is still almost as it was before man began to tinker with the land… Telling thousands about it—to get their help in what must be a prolonged struggle to keep it wild—is a calculated risk…. I have some hesitation in showing more people its delightful beauty—hesitation born of the fear that this place, like so many others of great beauty in our country, might be loved to death, even before being developed to death. So, if our book moves you to visit the place yourself sometime, first make sure you add your voice to those seeking its protection.

For every place, Philip Hyde said, “There will always be people that want to exploit it, and there will always be people—hopefully—that want to save it and keep it as it is.” Better to publish your photographs and rally the troops. What’s in the frame of the photograph matters artistically, to be sure, but what’s outside the frame can destroy it. The generation that followed—including myself—knew that the Grand Canyon was saved from dams, in part, by Philip Hyde’s photographs. We knew the power of nature photography. And we have tried to live up to his legacy.

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Landscape Photography Blogger Note: In 2012, this kind of inadvertent image similarity happens more regularly than it did in 1976 because many, many times the number of landscape photographers are out exploring the wilderness now; not to mention that many, many times more landscape photographs exist in the collective psyche as well. Discover more about Slickrock and Philip Hyde’s collaboration with Edward Abbey in the blog post, “Who Was Edward Abbey?” and under the blog post tag Edward Abbey: Blog posts that mention Edward Abbey.

 

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Denali National Park, Alaska Travel Log 18

May 22nd, 2012

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 17.”)

Part Eighteen: Mile 65.5 Denali Highway, Alaska to Riley Creek Campground, Denali National Park, Alaska (Previously McKinley National Park)

Lake Near Susitna River, Denali National Park, Alaska, copyright 1971 Philip Hyde.

Saturday, July 17, 1971: We were happy to wake up to blue sky between the clouds. We ate breakfast and got away by 8:45 am. Our first stop along the Denali Highway was Susitna River Lodge in a classic outdoors setting for it’s type of tourist destination. Susitna River Lodge offered hunting, sightseeing, fishing; float planes, land planes, helicopters, boats. Philip made photographs. We were impressed by the Susitna River, one of the most beautiful I have ever seen. The Susitna River ran brim full and filled its grassy banks. We were filled as well, looking up river at a wall of snowy peaks. Spruce grew above horizontal tundra green and the sky sunny. Some lands of the middle ground were in dark cloud shadow. Philip made photographs at the bridge and then further on with the lake or backwater of the river in the foreground and pleated, close mountain in the background at mile 88.5. Philip also took a picture of the tundra, Monahan Flat and West Fork Glacier at the high point on the shoulder of the road above the river where we stopped for lunch. Philip walked back the way we came with his Hasselblad 2 ¼ medium format camera for pictures of flowers and the view upstream toward the source of the Nenana River. David found the shoulder blade bone of some animal, an oil can and other assorted junk. Driving on, the road dropped down to an overlook of the Nenana River where Philip made more photographs. At Mile 124, Philip made a 2 ¼ photo of cotton grass and a black stream on the left. At Mile 126, Philip stopped to make a 2 ¼ photo of the mountains across a small lake at the road edge. The mountain across the small lake was streaked with buff orange talus slopes. We turned off the highway toward Cantwell, Alaska and pulled over to buy a loaf of Wheatberry bread for $0.80, inquire about Denali Lakes and obtain directions. We headed out the section of new Route 3, Anchorage to Fairbanks road. Philip stopped several times for views from this road. It traverses the same broad open valley that the Alaska Railroad does. After we turned around at the FAA Housing site we saw the northbound Alaska Railroad train go by. Back on the Denali Highway, we again stopped along the Nenana River for pictures. I made honey cake while waiting. Then we looked for a dinner spot as we passed Carlo Creek. Not far beyond was a gravel track taking off from the main road and paralleling it. We pulled in and ate there. David and Philip went out after dinner and picked out numerous tracks they reported including moose, fox, a dog-type track, moose droppings, and a dead porcupine. David to bed. We drove in the Danali Lakes road a short distance beyond. We stopped and inquired of Mrs. Nancarrow for artist Bill Berry. “He is in the park sketching,” was all she said. We looked up photographer Charlie Ott when we got inside Denali National Park. He wasn’t home. We went to the Hotel and bought the new Washburn Guidebook, Nancarrow silkscreen notepaper, and a new copy of the Heller flower book to replace the one I ruined with water.

Continued in the next blog post in the series, “Denali National Park, Alaska Travel Log 19.”

Do you remember the most beautiful river or other outdoor setting you have ever seen? Did you make photographs of it?

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Drylands: The Deserts of North America 1

April 3rd, 2012

Excerpts From The Text And Photographs Of Drylands: The Deserts of North America By Philip Hyde, Part One

Celebrating Landscape Photography Blogger’s 200th Blog Post!

On this special occasion Landscape Photography Blogger presents an excerpt from Drylands: The Deserts of North America, with photographs and text by Philip Hyde. Besides Slickrock with Edward Abbey and a few titles in the Sierra Club Books Exhibit Format Series, Drylands is considered Philip Hyde’s magnum opus, or great work. Yolla Bolly Press, which also packaged Galen Rowell’s Mountain Light, recently donated its archive to Stanford University. Help celebrate Landscape Photography Blogger’s 200th Post by reading a page from the great book that is becoming more rare all the time…

Drylands: The Deserts of North America 1

The Five Deserts of North America

…nature is already in its forms and tendencies, describing its own design. Let us interrogate the great apparition that shines so peacefully around us.  –Ralph Waldo Emerson

White Domes, Valley of Fire State Park, Mojave Desert, Nevada, copyright 1970 by Philip Hyde. Cover Photograph of “Drylands: The Deserts of North America.” Color Transparency: 4X5 Baby Deardorff View Camera. Dye Transfer Prints, Cibachrome Prints, and Archival Digital Prints. See PhilipHyde.com for Image Info and pricing.

(See the photograph large: “White Domes, Valley of Fire.”)

Webster’s dictionary defines a desert as “an arid region in which the vegetation is especially adapted to scanty rainfall with long intervals of heat and drought…amore or less barren tract incapable of supporting any considerable population without an artificial water supply…Desert rainfall is usually less than ten inches annually.”

This bare bones definition needs expanding. For one thing, barrenness, like beauty, is in the eye of the beholder. Ancients regarded the desert as a place to avoid—literally, to desert. The biblical “waste-howling wilderness” is a description of the Middle Eastern desert, a fearful place for most people. But even then it was for some a place for contemplation, a retreat from the cares of daily life. In our times, the desert is commonly a refuge, though we can be grateful that the deserts of North America were avoided by so many early travelers, and thereby protected. More recently, parts of these great deserts have become increasingly attractive to sun-worshipers. It is an irony that the climate, attractive to so many people, is being gradually altered by air pollution generated by population growth and its attendant requirements for industries and automobiles.

Webster’s definition doesn’t explain the aridity of the desert. High mountain chains intercept moisture-laden storms, keeping rainfall from the land in the lee of the mountains. Wind also contributes to desert dryness. A map plotting the course of trade winds in relation to deserts around the globe would show most arid lands to lie in the path of the trades. Though our deserts are not as directly in the path of the trades as some, strong winds persist over most of them for long periods, particularly in the spring.

The North American deserts are unlike most deserts in that they are not confined to the interior of the continent. They reach to the sea on both coasts of the Baja California peninsula and along the west coast of mainland Mexico as well, creating some unusual meetings of desert and water.

The scarcity of rainfall in the desert has one advantage. The surface of the land in well-watered regions is often obscured by dense vegetation. In the desert, land forms are readily apparent, the often beautiful sculpture of their contours revealed. This may be why geologists are drawn to the desert and sometimes inspired to near-poetic descriptions. A classic example can be found in Clarence Dutton’s monumental Tertiary History of the Grand Canyon District, first published in 1882. Here is his description of the Vermillion Cliffs in the Painted Desert:

During the midday hours the cliffs seem to wilt and drop as if retracting their grandeur to hide it from the merciless radiance of the sun whose very effulgence flouts them. Even the colors are ruined. The glaring face of the wall, where the light falls full upon it, wears a scorched, overbaked, discharged look; and where the dense black shadows are thrown—for there are no middle shades—the magical haze of the desert shines forth with a weird, metallic glow which has no color in it. But as the sun declines there comes a revival. The half-tones at length appear, bringing into relief the component masses; the amphitheaters recede into suggestive distances; the salients silently advance toward us; the distorted lines range themselves into true perspective; the deformed curves come back to their proper sweep; the angles grow clean and sharp; and the whole cliff arouses from lethargy and erects itself in grandeur and power as if conscious of its own majesty. Back also come the colors, and as the sun is about to sink they glow with an intense vermilion that seems to be an intrinsic luster emanating from the rocks themselves.

The stone landscape of which Clarence Dutton writes might appear austere and unfriendly to the casual traveler suddenly thrust into it. Many people would not recognize it as a part of their familiar world, but something about the place immediately appealed to me. Perhaps it struck some of the same harmonic notes evoked by the clean expanses of granite in the High Sierra Nevada I had learned to love in my youth. The place spoke to me of the same kind of purity that Ralph Waldo Emerson was alluding to when he wrote of the integrity of natural objects.

I am not able to take up full-time residence in the desert; my roots are too deep in the northern Sierra Nevada where I live now. I can, however, happily spend a season there and feel quite at home. It was not always like that. The ease I feel now is the product of many experiences, not all pleasant, but all valued for what they taught. Nor did the ease come without struggle, but as a result of an effort to understand, to penetrate the discomforts, to clear away the debris of prejudice and preconception that can so distort one’s view of a natural environment. It is not necessary to change the country—or to develop it. As Aldo Leopold put it so well: “Development is a job not of building roads into lovely country, but of building receptivity into the still unlovely human mind.”

As a forest dweller and desert traveler, I am especially aware of the contrasts between an arid landscape and one that is well watered. The creek that flows beneath my window as I write; the groundcover, trees, shrubs, and flowering plants; the seasonal and atmospheric changes I observe here are all expressions of water abundance. In the desert it isn’t just the paucity of water that impresses me. I am delighted to discover water’s surprising, often beautiful presence in hidden places, as for example, the spring in Monument Valley that flows from beneath a high sand dune—or those few, small, spring-fed pools surrounded by the vast, sere, rocky landscape of Death Valley.

I also enjoy the contrast between desert vegetation and that of my home environment. In the southern part of the Baja California peninsula, the array of strange, even unique, plant forms is the result of the plants’ special adaptations to water scarcity…

Continued in the future blog post, “Drylands: The Deserts Of North America 2.”

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New Release: Glacier Peak From Above Image Lake

February 23rd, 2012

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

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

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

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

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

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

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

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

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

This Section by Ardis Hyde

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

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

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

The Following Section Written by Philip Hyde

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

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

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

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

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

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

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San Francisco Art Institute Photography History 14

February 16th, 2012

Space Analysis 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 13.”)

(View the photograph large: “Ship ‘China Victory,’ Fishing Boats, San Francisco Waterfront.”)

Ship "China Victory" And Fishing Boats, San Francisco Waterfront, San Francisco Bay, California, copyright 1948 by Philip Hyde. The fishing boat hulls on the left are an example of planes parallel to the focal plane.

Landscape Photography Blogger Note:

Perhaps one of the most renowned, yet mysterious concepts that Minor White taught was Space Analysis. Few of Minor White’s students gave any indication that they understood the idea completely. Interviews with Philip Hyde, William Heick, Ben Chinn, Stan Zrnich, David Johnson and others bear this out. Little has been written or described anywhere regarding the definition of Minor White’s Space Analysis. Now, here, published for the first time ever are Philip Hyde’s class notes from August 1947 covering Minor White’s lecture on Space Analysis.

Space Analysis Lecture By Minor White

August 26, 1947

Philip Hyde’s Class Notes

Introduction

  • Composition in the Graphic Arts consists of organization and construction; as contrasted with photography. Composition in photography consists of analysis and organization of existing elements.
  • In photography, the frame of the viewfinder or ground glass isolates or selects elements desired.
  • Closeness –> Restraint;  Distance –> Freedom
  • Implication of horizontal plane (as viewed from above) from Vertical Plane is part of Space Analysis. Arises from conventions, knowledge and due to the third dimensional effect inherent in a photograph.

The subject can dictate the organization of the rest of the photograph and the rest of the photograph should conform to the subject.

Space-Depth Concept

  1. Planes (or a plane) which are parallel to the focal plane
    1. Perhaps the simplest type of subject is one single plane photographed. For example: a wall.
    2. Parallel planes in depth—a series of objects without an intervening horizontal plane. For example: a series of stage sets. Sometimes called banding.
    3. Horizontal plane with lines of demarcation. For example: waves on the ocean photographed from a high cliff.
    4. Vertical lines open the space up a little more. For example: a series of planes in depth with vertical edges.
  2. Planes at an angle to the focal plane.
    1. Diagonal or Receding Planes. For example: a road going away from the camera.

Negative Space

The space between objects or around objects has existence and weight. This volume or space is exceptionally important in photography, as is the control of this space, as effected by the tone of respective objects, lighting of objects and placement of the horizontal plane—in tonal values. For example: Screens are placed near each other; the space between may be expanded or contracted by the control above.

(Continued in the blog post, “San Francisco Art Institute Photography History 15.”)

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Denali National Park, Alaska Travel Log 17

January 19th, 2012

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 16.”)

Part Seventeen: Fairbanks, Alaska to Mile 65.5 Denali Highway, Alaska

Cotton Grass, McKinley River Trail, Alaska Range, Denali National Park, Alaska copyright 1972 by Philip Hyde.

Thursday, July 15, 1971: Fairbanks, Alaska to Donnelly Creek State Campground, Richardson Highway, Alaska

The day started sunny and progressed to clouds and rain. At 7:00 am the sun was brightest when Malcolm Lockwood left for work as site photographer at NASA’s Gilmore Creek Tracking Site. By 9:00 am when we left Malcolm Lockwood’s home, storm clouds were already gathering. After grocery shopping and gas pumping we drove out of Fairbanks a ways. We passed Alaskaland, then decided to turn around to take David through. Alaskaland combines an amusement park with museums, kids activities, restaurants, shops, educational shows and more. After eating lunch we ventured inside. David liked the paddlewheel river boat and the army helicopter most. At last he had a ferris wheel ride that he and Philip took together. When we got back onto the Richardson Highway and passed through Delta Junction. On leaving Delta Junction, the road became much more interesting than the flat country of the Alaska Highway. The terrain along the Richardson Highway, though also open, presented many wooded rolling hills with small lakes between. We had dinner at a turnout, then dropped down to the broad tree strewn Delta River bed at the base of the Alaska Range peaks. The fireweed and pea vine bloomed in mats out into the river flat. Philip took some photographs along here in the late light. We stopped to look at Black Rapids Glacier. We drove several miles beyond, then returned to Donnelly Creek State Campground. This way we could do that stretch again the next day. The air turned cold and the clouds were solid. We were out of the mosquitos. The temperatures dropped into the 50’s. We heard on the radio that it was 36 degrees in Anchorage.

Friday, July 16, 1971: Donnelly Creek Campground, Richardson Highway to Mile 65.5 Denali Highway, Alaska

We rose at 6:45 am. It had been raining hard in the earlier morning. When Philip looked out the back door of the camper he exclaimed, “Wow,” seeing the Alaska Range peaks visible through a lifting veil of clouds with fresh snow on the lower slopes. We left hurriedly to get down the road for pictures. First Philip made some 2 ¼ Hasselblad photographs before we pulled away, then a short way down the road he brought out the Baby Deardorff 4X5 camera. He drove on and stopped again near the Donnelly Inn Hunting Lodge log and sod cabins. He made more photographs at Darling Creek. At Black Rapids, he made photographs of Black Rapids Glacier upstream of the river flat. He also pulled over at Rainbow Mountain for more pictures. We drove off the main road into Fielding Lake. Fielding Lake was larger than other lakes along the way and surrounded by low brushy slopes and very wet meadows. Philip photographed the abundant wildflowers including Monkshood, Valerian, Mertensia, and Groundsel. On our way back out of Fielding Lake, the rain began again and soon increased to hail. We ate our lunch before reaching the main Denali Highway. Once back on the highway, we soon could see the Gulkana Glacier at a turnout. We also stopped shortly after at the Summit Lake Lodge for gas and propane. We watched a floatplane take off from Summit Lake. We did not stop again until Paxson, Alaska for more gas. We picked up two ladies who needed a ride about 20 miles with a repaired tire for their camper. The Denali Highway started and continued with attractive views of a beautiful alpine setting. The highway stayed high along the ridges, where we were above everything and could see in all directions. We saw rolling mid green tundra accented with darker spruce trees. Lakes and ponds lay in all the swales. The distant snow covered high mountain peaks with snow clouds and mist in veils crowned the scene. Philip made frequent picture stops. Showers continued. We stopped at Tangle Creek Campground to let our ladies put on their tire. We continued to McClaren Summit where it rained hard, but we could still see what a flower garden it was at the roadside. Beyond a short distance, after we looked down at the McClaren River Valley, we stopped for dinner and hoped for the rain to abate to enable photographs. The many ponds below were catching the light. The rain abates and the mosquitos become fierce. After we eat dinner, Philip and David go out on the Tundra for more pictures, both 4X5 and 35 mm. With David in bed we drove on along a moraine top, and stop abruptly for images of a cow moose browsing in the brush close to the road. We made it to Denali Highway Mile 43 by 7:30 pm. Our next stop was at a small pond on the roadside with grass growing in it. A Wilson’s Snipe sat on a post and “cheeped” continually. Driving along the road a few minutes later, Philip suddenly stopped and pointed out the high snowy peaks of the Alaska Range visible almost due west. He was sure we were looking at the slopes below Mount Denali. The light was just right to make Philip a show and having him hopeful that the clouds would part. More pictures at Mile 62 around 8:30 pm. We go on a short distance to Mile 65.5 where we pull off on a track dropping below the main road on the left side and still in view of the distant Alaska Range, which was less clear of clouds every minute. The mosquitos were terrible all night even though the low went down to 40 degrees Fahrenheit.

Continued in the blog post, “Denali National Park, Alaska Travel Log 18.”

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San Francisco Art Institute Photography History 13

December 5th, 2011

Summer School 1946 With Ansel Adams

Description And Outline

(Continued from the blog post, “San Francisco Art Institute Photography History, Part 12.”)

Cumulus Clouds Over Indian Valley, Northern Sierra Nevada, copyright 1948 Philip Hyde.

Summer School, as Ansel Adams referred to it, first started in 1946. The course ran for six weeks of intensive instruction based on the regular day school in photography at the California School of Fine Arts now the San Francisco Art Institute. Minor White first taught with Ansel Adams in the Summer of 1946 with students including Philip Hyde, Benjamen Chinn, William Heick, Ira Latour, Pirkle Jones, Ruth-Marion Baruch, Don Whyte, Pat Harris, David Johnson, John Rogers, Al Richter, Bob Hollingsworth, Walter Stoy, Helen Howell and others.

In preliminary descriptions of the course for the CSFA School Board, Ansel Adams suggested: “It should be considered as part of the full day school year rather than… supplementary…” The Summer Session became what Ansel Adams described as “a ‘screening course’ for the main student body of the day school.”

Ansel Adams further described the proposed course:

It should be made very intensive and should reveal within its six weeks span the abilities – or lack of them – of the students. Only those should be admitted who have definite intention to take at least the first year of the main school sessions. The exact topics to be considered in the summer school will be basic but of course should not be too extensive. The first summer school period in 1946 will enable us to clear up various ‘bugs’ in the studio, lab, and general operation. The summer school of 1947 should be designed, I believe, as a buffer course to enable the regular day students to perfect their work and to round out missing or weak aspects of their knowledge.

Outline Of Ansel Adams’ Summer Session 1946

Department of Photography

California School of Fine Arts

Day School:

Week 1

Period:

1:            Organization, outline of study and general assignments, etc.

2:            Functions of the Camera and Lens

3:            Demonstration of above

4:            Photographic Visualization

5:            Demonstration

6:            Basic Photographic Esthetics

Week 2

Period:

1:            Resume of Photographic History and Esthetics

2:            Philosophy of Exposure and Development of the Negative

3:            Demonstration Including Darkroom Mechanics

4:            Demonstration Including Orthochromatics

5:            Problem: demonstration-Visualization through execution

6:            General Discussion

Week 3

Period:

1:            Presentation of a photographic problem  (1st assignment)

2:            Execution of the problem – exposure and development of the negative

3:            Printing

4:            Demonstration

5:            Printing of the negatives of the above problem

6:            Discussion and criticism of problem-assignment results

Week 4

Period:

1:            Elements of photographic Composition

2:            Presentation of 2nd Photographic Problem (2nd assignment)

3:            Field or Studio work under direction

4:            Printing under direction

5:            Toning of prints

6:            Discussion and criticism of second assignment

Week 5

Period:

1:            Expressive fields of photography

2:            Presentation of the 3rd Photographic Problem (assignment)

3:            Field or Studio work under direction

4:            Mounting and spotting of prints (presentation)

5:            Philosophy of Artificial light in photography

6:            General Discussion and criticism of assignment 3

Week 6

Period:

1:            Assignment using artificial light and analysis (4th assignment)

2:            Assignment: Three interpretations of the same subject (5th assignment)

3:            Minor darkroom techniques (reduction, intensification, bleaching, etc.)

4:            Survey of contemporary directions in photography, Critical basis.

5:            Resume of philosophy of technique

6:            General discussion, exhibit work and criticism.

Four periods devoted to work in addition to the six periods outlined above are required. The exact assignments will be worked out well in advance. An emphasis on regional subject material to be maintained throughout. Full demonstration of all work required. Laboratory assistants will be on constant duty five or six periods out of the total of 10 periods per week.

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On The Road To Dinosaur By Philip Hyde

November 28th, 2011

The Beginning Of Ardis And Philip Hyde’s First Trip To Dinosaur National Monument

From the Rough Draft of an Unpublished Article By Philip Hyde Originally Titled, “In Quest of Dinosaur.”

Circa 1951. Edited by David Leland Hyde 11-28-11.

Steamboat Rock, Echo Park, Dinosaur National Monument, Colorado, copyright 1955 by Philip Hyde. Philip Hyde’s most published black and white photograph.

(See the photograph large: “Steamboat Rock, Dinosaur National Monument, Colorado.”)

The creeping death of exploitation was threatening another great natural area. Through certain members of the Sierra Club and the Wilderness Society including Martin Litton, Richard Leonard, and Olaus and Margaret Murie, David Brower heard and subsequently I heard about the beauty of Dinosaur National Monument and the proposed destruction of its integrity as a unit of the national park system.

On the phone, in letters and when we visited the San Francisco Headquarters of the Sierra Club, David Brower, Richard Leonard and Martin Litton told Ardis and I about the debates over Dinosaur in Sierra Club board meetings. The Sierra Club board was divided as to whether to remain a California centered organization with a primary emphasis on the Sierra Nevada, or whether to expand regionally and possibly nationally. Already other land use debates in the Pacific Northwest in Oregon and Washington were beginning to heat up. [Read about how campaigns in the Cascade Mountain Range became important blueprints for environmental grass roots organizing across the nation in the blog posts, “Oregon Cascades’ Impact On Conservation,” and “Oregon Cascades Conservation: Mount Jefferson Wilderness Area.” Also, learn more the Sierra Club’s first Executive Director and his contributions to photography and land preservation in the blog post, “David Brower: Photographer and Environmentalist 1.” To find out more about Martin Litton read the blog post, “Martin Litton: David Brower’s Conservation Conscience 1” and later posts in that series.]

Word and newspapers had it that those promoting the building of two dams inside Dinosaur National Monument claimed it was only another inaccessible scramble of river canyons. Defenders of Dinosaur retorted that as a scenic and geological spectacle, it was unique in the world. Now at long last, we were going to see it. We were heading out to the far reaches of Utah and Colorado up near Wyoming where Dinosaur National Monument straddles the Utah-Colorado border. We will see for ourselves if this little known land is worth preserving in its natural state. [To read more about how Richard Leonard and Olaus and Margaret Murie, founders of the Wilderness Society, traveled to Dinosaur and how Richard Leonard and David Brower sent Philip Hyde on the first photography assignment for an environmental cause, see the blog post, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 2.” For an introduction to why Dinosaur was pivotal for the Sierra Club and the entire conservation movement that it transformed into modern environmentalism, see the blog posts, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 1,” and other blog posts in the series.]

Packing and organizing for a photographic expedition of a month is a long chore. The scheduled day for departure found us still packing until early afternoon, but eagerness to get on the road would not allow us to wait another day for an early morning start. When we finished packing, we set off in our trusty Champion, leaving Monterey and crossing California’s great Central Valley toward the mountains and the deserts beyond.

Nightfall found us looking for a dirt road to turn off on for our first night’s sleep in the open, somewhere in the foothills above Auburn, California. The thrill of sleeping under the stars was still new to us, though we had both been doing it most of our lives. This was the first night of a new adventure and it quickened us with anticipation. The next day flew by as did the miles of Nevada’s Basin and Range Province. Our second night found us on an old road on a hill high above the lights of Winnemucca, Nevada. It was early June and the desert nights were still nippy, but we were warmed by the exhilaration of being out again in wide open spaces. Our third night out we spent in the “luxury” of a Salt Lake City motel before embarking on the final lap to our destination. We became tourists for a few hours of sight seeing around Salt Lake City, visiting the Utah State capital, the Mormon Temple and other main attractions of a city we had only traveled through briefly before.

The final hundred miles to Dinosaur took us up over the Wasatch Mountains out of Salt Lake City and along high plateaus covered with whole forests of aspens. Then we dropped gradually down, down to the semi-arid plains of eastern Utah, skirting the Uinta Mountains, whose snow capped summits we could see dimly in the north. Here and there along the plains among the low naked hills were green fields of Alfalfa and other crops. We came to a road sign that said, “Dinosaur National Monument 7 Miles.” This trip would be our first encounter with the infamous Dinosaur dirt roads, sometimes when wet they were made of slippery axel grease, sometimes they were nothing but a jumble of jagged rocks. The first dirt road proved prosaic enough and took us without difficulty to the Monument headquarters and the nearby Dinosaur Quarry.

We introduced ourselves to the Park Ranger on duty, Max James. He found Jess Lombard, the Superintendent of Dinosaur. We were greeted like returned relatives and offered the empty section of the barracks, which we gratefully accepted. The sky looked like it would burst open in torrents any minute, which it did shortly after we made it safely under cover with our gear.

This area was our base during that month in 1951 when we roamed over Dinosaur National Monument. It proved to be a great help to leave some of our equipment and extra film here while we were off for a few days in some remote hinterland of Dinosaur’s canyons. Our first job here involved evolving some kind of plan to see the whole National Monument. In this project the Park Ranger, Max James and the Monument Superintendent, Jess Lombard, were invaluable with their extensive knowledge of the terrain.

Because of unpredictable weather, we decided to stay in the immediate area for a few days to see the Quarry, the sandstone reefs near it and Split Mountain Gorge, the mouth of which, where the Green River emerged and would be flooded by 300 feet of water if the dam builders had their way, could be reached on a branch road about three miles from Monument Headquarters. This was enough to keep us busy for a while. The sandstone reef turned out to be full of fabulous rock forms that could have provided subject matter for the camera for weeks without stopping. [To continue Ardis and Philip Hyde’s adventures in Dinosaur National Monument see the blog post, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 3."]

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Minor White-Philip Hyde Letters 2

October 25th, 2011

Minor White Letters To Philip Hyde 2

(Continued from the blog post, “Minor White-Philip Hyde Letters 1.”)

Minor White’s Letters And The San Francisco Art Institute

Piers, San Francisco Waterfront, Bay Bridge, San Francisco Bay, City of San Francisco, California, copyright 1948 by Philip Hyde.

(See the photograph large: “Piers, San Francisco Waterfront, California.”)

Philip Hyde first met Minor White in the 1946 Photography Summer Session taught by Ansel Adams at the world-renowned California School of Fine Arts, now the San Francisco Art Institute. Ansel Adams soon after made Minor White lead instructor of his photography program at the San Francisco Art Institute. Ansel Adams’ photography program was the first of all photography schools to teach creative photography as a full-time profession. Philip Hyde enrolled in the full time day student photography course taught by Minor White in 1947 and earned his certificate of completion in the Spring of 1950. The letter correspondence between Philip Hyde and Minor White began shortly after in May 1950. The letters of Minor White to Philip Hyde are clearly responses to letters from Philip Hyde to Minor White. However, the first three letters from Philip Hyde to Minor White appear to be missing. For more related background on Minor White, Alfred Stieglitz, Philip Hyde, Ansel Adams and other points in the history of photography see the blog post, “Minor White–Philip Hyde Letters.”

 

Minor White’s Letter To Philip Hyde

(From Philip Hyde’s correspondence file with Minor White. Permissions in process from the Princeton University Art Museum, Princeton, New Jersey, copyright by the Trustees of Princeton University?)

 

13  July  1950

Dear EXTATIC Youse Both,

The voice of the Junipers

Articulate the stars

You the words and the wisdom of the moon over sleeping bags

OH BROTHER

You sure have it bad.

And so I shall leave it to youth and vinegar – the whole outdoors. Otherwise I should enjoy a night or two contemplating nature – I think some of the the sting of camping out is slowly going away – not so much that I plan on doing anything about it, but it is going. And I trust that is of great comfort to you.

Your letters to Duggins – great stuff. I was feeling mean the other morning so wrote a letter to above twerp also. And my answer was interesting – he wanted to know what I meant by “creative photography” and who the big names of the state were and who ought to be nominated for judges. And he mentioned that a couple of other SFers [People attending or graduated from photography schools in San Francisco, in those days essentially California School of Fine Arts students.] gave him the impression that Salon stuff was considered the rankest of amateurism. Not bad – in fact I loved it. So you were one of the SFers. Whoops!

The wording and quiet tone of explanation is just plain good. Keep it up.

I expect to answer the required info very soon. Judges is a hard one. In fact outside of some class mates I don’t know of any competent ones in town.

Summer Session is in the midst of utmost confusion. I am shooting five days a week – though only a few hours each day, running film at night and letting the negs pile up unprinted till it scares me. All over town, landscapes, fog, industry, people – anything that gets in the way that I can get. Even the cable car on Market Street. And incidentally I am feeling much better.

But hardly EXTATIC.

 

Minor [Hand written signature]

Do you agree with or apply Minor White’s approach to photographing, “All over town, landscapes, fog, industry, people – anything that gets in the way…”?

(Continued in the blog post, “Minor White-Philip Hyde Letters 3.”)

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Denali National Park, Alaska Travel Log 16

October 18th, 2011

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 15.”)

Part Sixteen: The Alaska Highway, Mile 1337 to Fairbanks, Alaska

Fall Tundra Near Brushkana Creek, Denali Highway, Alaska Range In The Distance, Alaska, copyright 1976 Philip Hyde.

(See the photograph larger, “Fall Tundra Near Brushkana Creek, Denali Highway, Alaska Highway In Distance, Alaska.”)

Monday, July 12, 1971:  We awoke at 6:00 a.m. to rain showers, but the visibility improved and the sun even came out between showers. We spent the morning right at our camp while Philip photographed the swallows. We also did office chores, each took showers and I baked bread. We ate lunch also before leaving. The Alaska Range was clear of the clouds with sunshine on all the peaks. After leaving at 12:10 p.m., we made some picture stops for flowers with the 35 mm camera. We stopped at Mile 1377 for yellow poppies and wild aster. At Mile 1379 we stopped for Larkspur where a scenic turnout, several campers and two tour buses brought out a swarm of people. We also stopped at Johnson Road Bridge for Philip to make photographs upstream. Mile 1381 presented a roadside cut bank for a flower garden with poppies in white, yellow, coral, orange, pale and deep pinks. A stunning sight that Philip photographed in 35 mm and 4X5 view camera. Some wind, but not enough to spoil the picture show. I gathered seeds as plants had everything from flower buds to ripe and dry fruit pads on them. It grew cloudier now, almost solid overcast. At the Big Gerstle River Bridge, Mile 1392.8, we descended by gravel road out onto the gravel river bed for the view and a 4X5 photograph back at the Alaska Range, rising in height now and showing some glacier laden peaks. David played with the spread of stream pebbles. Philip was pleased with the photographs he made of the Alaska Range here. We stopped at Delta Junction for gas. We found an overlook of the Tanana River flats, but the mountains were cloud-veiled so we at dinner and waited. Philip exposed a 4X5 color transparency, but had to retreat before he could get a black and white negative because of rain. It was very humid. We have started seeing Arctic Larch trees. The Arctic Larch are about the same size as the Spruce here, but with lighter, feathery foliage. After dinner we continued North with David in bed. Soon we were coming into birch stands. It was wonderful to see a native forest of birch trees. We arrived at Harding Lake Campground and decided to spend the night as it was now raining harder. The fee was $2.00 for Harding Lake because it was a new state campground. We used the dumping facilities. Philip had to change the right front tire for the second time. It was one we had repaired in Juneau. The surroundings consisted of a mixed birch and spruce forest with a moss carpet. Douglas squirrels and snowshoe rabbits were common. It was a warm, though wet night, only getting down to 60 degrees Fahrenheit.

Tuesday, July 13, 1971:  We woke up at 6:00 a.m. to rain and left Harding Lake Campground about 8:30 am. We drove through the big campground and along Harding Lake, then out to the Alaska Highway. Intermittent houses and businesses appeared along the highway all the way into Fairbanks. The dirt Alaska Highway would soon be replaced by a freeway that was under construction from Eielson Air Force Base into Fairbanks. We stopped along the runway to watch a B-52 Jet Bomber taxi out to the runway. We waited but they didn’t take off. We headed on into Fairbanks by 10:00 a.m. Our first destination was a service station to get the tire fixed. I shopped next door at Traveland. Then we drove on to the parking area next to the China River Restaurant where we ate lunch. We crossed the Eagle River over a bridge to the Fairbanks Chamber of Commerce located in a sod roofed log house. Then we headed out to the College and the University of Alaska Museum, the Student Union, bookstore and so on. Drove over to Malcolm Lockwood’s home where we met Jean and her daughter Elisha. In the evening I went with Malcolm’s mother to look at Eskimo made objects. I bought a group for Christmas presents. Philip looked at prints of the University of Alaska’s Museum staff photographer Barry McWayne.

Wednesday, July 14, 1971:  We spent the overcast and partly rainy day mainly visiting with Malcolm Lockwood’s family. David and Elisha played very well together. Philip and Malcolm Lockwood were in conversations about photography or out on a short field trip in the afternoon to a birch grove with Barry McWayne. I wrote letters, baked cookies and baked bread. About dinnertime the sun began to come out, but most of the day had been grey with rain off and on.

Continued in the blog post, “Denali National Park, Alaska Travel Log 17.”

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