Posts Tagged ‘Ansel Adams’

Enduring Images: Interview of Jack Dykinga for Outdoor Photographer Magazine

September 15th, 2016

Enduring Images: An Interview with Pulitzer Prize Winning Photojournalist, Celebrated Nature Photographer and 2017 NANPA Lifetime Achievement Award Winner Jack Dykinga by David Leland Hyde

Including Previously Unpublished Interview Sections and Materials

Cover of Outdoor Photographer September Special Issue - Photography with a Purpose

Cover of Outdoor Photographer September 2016 Special Issue – Photography with a Purpose. (Click Image to see larger.)

Jack Dykinga won the Pulitzer Prize in photojournalism while documenting the turmoil of 1960s Chicago. In 1970 he read a Backpacker magazine interview of my father, conservation photographer Philip Hyde. The article by environmental photographer Gary Braasch inspired Dykinga to move West and begin photographing landscapes. He eventually met and became friends with Dad, who mentored him in the ways of conservation photography. They even photographed together on a number of trips, some with a few other photography friends around the Southwest U.S., as well as on mainland Mexico and Baja California.

Jack Dykinga over the years also became a pillar of Western nature photography, working with the acclaimed International League of Conservation Photographers, National Geographic, Arizona Highways and other renowned organizations. The North American Nature Photography Association plans to honor Dykinga with a Lifetime Achievement award this year, much as they did Philip Hyde and David Brower back in 1996.

My interview with Mr. Dykinga touched on how he made the transition from a Midwest urban setting to photographing the wide-open wilderness spaces of the West. It also revealed the sensibilities he discovered were necessary to photograph nature and wildlife for conservation purposes. Our discussion ranged from his experience at various well-known magazines to the refinement of his approach over the years with input from Dad. Dykinga gave insights into a number of conservation projects and the making of a number of his successful books for various causes, including the upcoming new release of A Photographer’s Life: A Journey from Pulitzer Prize-Winning Photojournalist to Celebrated Nature Photographer, in which Dykinga wrote an entire chapter about Dad.

My interview ran over 26,000 words, but I kept only 2,800 for the Outdoor Photographer piece. Some of the remaining 23,200 words will go into my book, but a few sections I will share with readers here. In one section I asked Jack Dykinga about Eliot Porter and Robert Glenn Ketchum. I specifically cut this portion from the Outdoor Photographer version because I did not feel the magazine article was the place to grind the axe about how Eliot Porter has received credit for a number of Dad’s and other’s accomplishments. At the right time and place, in the appropriate venue, a more detailed version of this discussion will be pertinent. For now, Landscape Photography Blogger is more appropriate than Outdoor Photographer for starting to bring some of it to light. The Outdoor Photographer audience is interested in learning from all of these greats of nature photography, not necessarily hearing why one or another have been over or under-recognized. In my opinion Dykinga’s response, while favoring Dad, was well-considered, balanced and tactful. Let’s see what you think when you read it below… In another section, Dykinga shared his experiences and impressions while working with National Geographic and while obtaining more personal, land and place oriented photographs.

David Leland Hyde: John Rohrbach in Regarding the Land: Robert Glenn Ketchum and the Legacy of Eliot Porter, made the exaggerated claims that Eliot Porter invented color nature photography and “almost single handedly saved the Grand Canyon.” Rohrbach also wrote that Robert Glenn Ketchum was the primary photographer carrying on Eliot Porter’s legacy. It was common knowledge among those who were there and widely known thereafter that Dad led the charge spiritually and produced the most photographs for the Grand Canyon campaign. Dad’s photographs illustrated three large format Sierra Club Books and were the cornerstone of Time and the River Flowing: Grand Canyon, the one book specifically produced to prevent two dams above and below the National Park in the Grand Canyon. Eliot Porter’s Glen Canyon book enjoyed wide readership during this time mainly because the campaign to prevent the Grand Canyon dams took on global proportions. The book Time and the River Flowing landed on the desk of every member of Congress and other Washington leaders, as well as quickly fulfilling significant international demand and distribution. As Time and the River Flowing went out all over the world, it effectively advanced the momentum of the global letter writing campaign that ultimately swayed American politicians and stopped the dams. Not all of Philip Hyde’s books in the Sierra Club Exhibit Format Series sold as well as Eliot Porter’s In Wildness Is the Preservation of the World, but Island In Time: Pt. Reyes Peninsula came out the same year. Several other photographers including Litton, Brower, Adams and others were nearly as prominent as Hyde and Porter in bringing color to landscape photography. As far as any photographer taking over Eliot Porter’s legacy, late in Porter’s life when he was ill before a Truckee Meadows Workshop, the organizers called in Hyde to take over Porter’s teaching position, not Robert Glenn Ketchum or anyone else.

Jack Dykinga: Eliot Porter was a great photographer. I will say that right off the bat. Right almost in the second line of his autobiography, without even taking a breath, it says he was a medical doctor who gave that up to be a photographer. Your dad was a self-made person who wanted to be a photographer. He wasn’t a doctor that wanted to be a photographer. He didn’t have either the baggage or the promotional ability that Porter did. A guy like Robert Glenn Ketchum had Ketchum, Idaho named after his family. He lives in Bel Air and Hollywood and he’s done a lot of good conservation work, but the hardship that your father had to go through, made him stronger. Your dad was the kind of person who had to really work for everything he got. I don’t think he had time to blow his own horn. He was trying to make a living. If I had it to do over again, I sure wish I had a lot more money. I wouldn’t have to worry about the next check. But, I think that lack of money also gives you an edge, I don’t mean a winning edge, I mean there’s a certain edge to your life where you’re really having to push pretty hard to get things done and it helps you. Porter’s work had a totally different look, whereas your father’s strength was that he gave you the monumental look of the American West. Your father did a lot more trail hiking than Eliot did and really showed us the land without showing himself.

Hyde: In the early 1960s, the whole direction of the large format books shifted. At first there was the big black and white sensation, This Is The American Earth by Ansel Adams and Nancy Newhall, but then suddenly everybody was really excited about color.

Dykinga: Your father was more of a documenter of wild places. He would look at things as more of a narrative and a project. That’s more akin to what I do. A lot of my friends that I go camping with are what I call single image photographers. They go out and want to get the most powerful shot that day, where I’m more likely to be wrapped up in a concept. That’s because I’m the journalist. You get publishable shots every single day. They may not be the art you want to hang on your wall, but you may want to put them in a book to tell somebody a story. If you try to submit only those that whisper, you’ll never get published, but you can hang them on the wall and live with them and love them.

Hyde: With National Geographic are you doing more or less what Joel Sartore does?

Dykinga: I am a contract photographer. He is a contract photographer on their first list. I used to be on their first list. I have a deep connection with the magazine, but their overall view of landscape is erratic. We have different opinions.

Hyde: Their idea of landscape is always putting a person in the frame.

Dykinga: There you go. You hit it perfectly. The classic example would be the last issue on Yellowstone National Park with people, butchering animals, traps and cowboys. There’s not one sense of place in the whole article. Here we are in this dramatic, incredible landscape that just gets really short shrift with the tact they have taken. The current editor is a journalist. She was the editor of Time Magazine.

Hyde: Would you say that National Geographic goes after the culture more than the place or the wilderness?

Dykinga: You could say that. That’s sort of subjective. I was there when Chris Johns was editor and he loved my approach to landscapes. That went away when he went away. It changes all the time. I still work for them occasionally. A full feature is a 100 day contract and it’s pretty good money, except when you have things blow up, it maybe not as good as you thought.

Hyde: You were in Stephen Trimble’s book, Lasting Light: 125 Years of Grand Canyon Photography. I don’t know that he necessarily found all of the “Who’s who” of Grand Canyon photography, but he included many.

Dykinga: I spend less and less time in cliché locations. They may be visual touchstones for most people, but they’re not interesting to me because even more than the place the solitude is important to me.

Hyde: Like Ansel talked about with the experience?

Dykinga: Yes, a deeper connection. You can’t do that if you’re on a crowded boardwalk in Yellowstone with about 30 Chinese guys with selfie sticks like I just experienced. People now are interested in showing “me there,” more than “there.” I think there’s a profound shift with people being more anthropocentric.

Hyde: We have less and less connection to nature as decades go by and more and more words and noise surrounding ourselves when we do get out there.

Dykinga: I see it all the time where people really go on and on explaining their work. Your father’s message and his voice came through the image. If you go on and on about divinity and God and everything else, that’s maybe what you’re reading into it. A lot of us are just very happy when people see the place and make their own decisions based on their own divinity or lack thereof. That’s as good as you can go. It’s more of a Buddhist approach.

To read the best published portions of the above interview pick up the Outdoor Photographer September Special Issue still on newsstands now for a few more weeks, or available online in October.

Book Review: Picturing America’s National Parks

September 1st, 2016

Book Review: Picturing America’s National Parks by George Eastman Museum Assistant Curator Jamie M. Allen

Cover of "Picturing America's National Parks" by Jamie M. Allen (2016).

Cover of “Picturing America’s National Parks” by Jamie M. Allen (2016). (Click on Image to See Larger.)

Landscape Photography Classics and Much More

To accompany the George Eastman Museum exhibition, Photography and America’s National Parks, the Eastman Museum and Aperture Foundation teamed up to publish assistant curator Jamie M. Allen’s new comprehensive book on the history of photography in our nation’s parks called Picturing America’s National Parks.

The George Eastman show, made up of the work of more than 50 photographers from all eras in the history of photography, includes landscape photography greats such as Ansel Adams, Alvin Langdon Coburn, Imogen Cunningham, John K. Hillers, Philip Hyde, William Henry Jackson, the Kolb Brothers, Eadweard J. Muybridge, Eliot Porter, Bradford Washburn, Carleton E. Watkins, Edward Weston and Minor White, as well as a good number of other renowned photographers who also happened to make exposures in the National Parks such as George Eastman, Andreas Feininger, Lee Friedlander, Johan Hagemeyer, Martin Parr, Stephen Shore, Garry Winogrand and others. The exhibition has also turned out to be one of the most popular and prominent museum shows of the year.

You See It “Everywhere”

As such, during the run of the exhibit from June 4 – October 2, 2016, Photography and America’s National Parks has enjoyed significant publicity, while the book, Picturing America’s National Parks, already has attracted even greater press exposure. The exhibition or the book or both were introduced or reviewed in Antiques Magazine, Outdoor Photographer magazine, the Los Angeles Times, Aperture, Real Clear Life, the Rochesteriat, the Nature Conservancy magazine, the Rochester City Newspaper, Smithsonian Magazine, the Wall Street Journal, Fortune Magazine, Museum of Photographic Arts, Visit Rochester, The Atlantic, Tween Tribune, Artsy, Outside Magazine, AnOther magazine, Mother Jones magazine, USA Today, Yahoo News, Slate, Audubon magazine, Artbook, Travel & Leisure magazine, Pop Photo, and many others. The book can be found online to purchase, borrow or to read more reviews at Amazon.com, Aperture Foundation, Target.com, Bookshop.com, eBay, Google Play, Library Resource Finder, Sweet, Abelardo Morell, Schaumburg Library, Crystal Bridges Museum of American Art bookshop, Worldcat, Fraser Muggeridge Studio, Loot, LibraryThing, Lenscratch, Photolucida, ALA Booklist, Beyond Words, PDN Online and many, many others too deep in Google search results to track down.

Fascinating, Well-Written and Leavened With Significant Detail

Like her pre-show introductory article in Antiques magazine, assistant Curator Jamie M. Allen’s main essay in the book is well written, smooth flowing and easy to read, yet packed with interesting history of both the national parks and early photography in them. The rest of the book displays the photographs with titles and an accompanying text for each of the featured photographers, interspersed with several paragraphs at a time on various historically relevant points such as the invention of the mass produced Kodak camera, the increase in availability of the automobile, the development of photomechanical and photolithographic postcards for sale at park concessions, 18-by-60-foot Colorama photo advertisements for the national parks, caretakers in the national parks and the National Park Service’s social media campaign #findyourpark.

Interspersed with the images from each major contributor at approximately every 16 pages, a timeline page provides the reader with significant dates in the history of photography and the history of the national parks. These timeline pages are loaded with fascinating tidbits that enrich the reading experience of the book. Despite many details included, the timelines present history in general, broad strokes. There are significant points of history, especially of the parks that are not detailed, but this would require a much larger, more difficult to read book.

A Popular Populist Approach

Ms. Jamie M. Allen approaches her subject from a populist perspective, which is somewhat unusual for a museum curator. More than one of the reviews of Picturing America’s National Parks said it was a comprehensive history of photography in the national parks. This is partly true, depending on the definitions of these terms. On a more close reading though, I would say that this volume is not necessarily the history of fine art photography or landscape photography in the national parks, but it could more accurately be described as the history of all photography in the national parks, or a history of cameras and images of any kind from any source made in the national parks.

This populist view of photography in the national parks puts significant emphasis on the various ways that photographs have helped to establish, preserve, depict and popularize the national parks. Allen observes that the history of the national parks is inextricably intertwined with the history of photography. After reading this inspiring book, I would go beyond saying that photography helped popularize the national parks to say that apparently the national parks helped popularize photography. In the development of the West, Allen points out that images produced on location at several of the most popular parks such as the Grand Canyon, Yellowstone and Yosemite became a hot commodity. A cottage industry in photograph sales developed with photographers establishing small shops where tourists could purchase various types of photographic reproductions of the scenery they had enjoyed during their visit and in some cases purchase photos of themselves in the scenery.

Intertwining Histories of National Parks and Photography

The development of postcards, the snapshot camera and many other aspects of photography that were popular rather than professional, were a large part of the story of the intertwining histories. In addition these aspects make a more interesting read than a mere compilation of the great photographers who have depicted the national parks. Because some of the professionals have been left out, the collection of photographs represented acts less as a survey of those famous for photographing the parks and more as a compilation of famous people and ordinary people who also made images in the national parks.

Both the exhibition and the book tie all of this history into current trends by bringing to light the masses of images and selfies made each day and shared hourly on social media. However, Allen and the Eastman Museum go beyond the mere mention of this phenomenon, to incorporating it as an activity at the exhibit. In the entryway to the show a photograph of the Grand Canyon containing a life-sized figure of George Eastman standing on the rim gives visitors to the show an opportunity to make a selfie with Mr. Eastman and the Grand Canyon in the background to take home, share on social media and discuss the exhibit with friends online. This feature and the encouragement of phone snapshots in the museum makes the visitor experience more fun while portraying the museum as cool and up to date in their delivery of history, not to mention making the show and the museum extremely popular, as well as the objects of considerable buzz.

Strengths and Weaknesses

Allen and her team are to be commended for their fanning of the media flames through her appearance on local TV and the comprehensive development of publicity across the country, but also in their exhaustive and colossal volume of research necessary for such a project. As excellent as done, their research was not necessarily perfect, or perhaps for sake of simplicity and accessibility they chose to leave some information out. For example: the timeline for the 1960s is missing the introduction of color to photography books. Though the timelines are a small part of the overall book presentation, this was a major breakthrough for the parks, for photography and for the fortunes of Kodak because it caused a huge spike in the popularity of color film. It also was part of what led to the popularization of the coffee table photography book, which changed the face of the photography industry and paved the way for more photographers to make a living in the medium.

In the timelines, there is also no mention of the Sierra Club Exhibit Format Series, which during the 1960s, especially in the Western U.S., but also all over the world, greatly advanced the momentum of the movement to conserve more public lands and to further popularize the national parks themselves. The timeline entry for 1963 mentioned that David Brower and Eliot Porter published several books on the parks, but the mention of popular books by Philip Hyde in the Exhibit Format Series, who is represented in the Eastman Museum collection, also is omitted. David Brower called Philip Hyde his go-to photographer because he produced the images for many books that made or protected national parks just in the 1960s alone, such as The Last Redwoods (1963), Time and the River Flowing: Grand Canyon (1964), The Wild Cascades: Forgotten Parkland (1965), Not Man Apart (1965) Navajo Wildlands (1967), The Grand Colorado (1969) and even more volumes in the 1970s.

Philip Hyde’s book, Island In Time: The Point Reyes Peninsula (1962) was the first book to ever raise funds to purchase land to make a national park service unit, Point Reyes National Seashore. It was also published the same year as Eliot Porter’s In Wildness Is the Preservation of the World, (also not mentioned in Picturing America’s National Parks) in 1962, giving both books the shared title of the first major book projects published in color.

Outstanding Image Choice and the Making of an Evergreen Title

I like Allen’s image choices for the sections on Ansel Adams, Edward Weston, Minor White and many of the others because she used photographs we don’t often see from these well-known masters. Adams as usual gets a huge amount of credit for his work in the national parks, most of which is well-deserved. However, also as usual, Adams gets credit for some of the accomplishments of other photographers such as the help in conservation and formation of national parks, which Adams did do some and quite effectively, but not more than or even at the same level as photographers such as Philip Hyde and Eliot Porter, who essentially took over the Sierra Club Books from Ansel Adams after they transitioned to color. The description under Ansel Adams carried on at length about conservation and the national parks, whereas the Philip Hyde description mentioned it only briefly, especially in light of his much greater volume of work on wilderness and national park protection campaigns. When I asked Allen about the difference, she said that originally her text included much more about Philip Hyde’s work in preserving national parks, but that her editors cut some of it. Apparently editors need educating as well about the figures behind major conservation efforts.

To illustrate this point and to show an example of how the descriptions were presented, here is the entry for Ansel Adams:

Ansel Adams‘ (American, 1902-1984) lifelong passion for the national parks began in 1916 when, at the age of 14, he read James Mason Hutching’s 496-page book In the Heart of the Sierras (1886) and convinced his parents to take him on vacation to Yosemite Valley. Equipped with a No. 1 Brownie camera that his parents had given him, Adams took his first images of Yosemite that year. Soon after, he became involved with the Sierra Club, starting as the custodian for the club’s headquarters in Yosemite and later leading tours and participating in trips to the Yosemite High Country. He was eventually elected to the board of directors and lobbied for additional areas to be set aside as national parks and monuments. By the 1930s, Adams’ photographic work had become well known, and in 1941 he was invited to participate in a project to photograph all the national parks. Organized by the Secretary of Interior, the initiative was abruptly cancelled when the United States entered World War II. Adams continued the project independently, supported by a series of Guggenheim Fellowships. His images of the parks have come to represent the grandeur of the American landscape, conjuring a sense of pride for American viewers in both the land itself and the preservation of these spaces through the National Park Service. Adams’ photographs have also had broad international appeal, establishing the national parks as globally recognizable icons.

Compare that to the entry for Philip Hyde, which is also excellent, but not as thorough:

In 1946, Philip Hyde (American 1921-2006) became one of the first students to attend the newly formed photography program at the California School of Fine Arts (now the San Francisco Art Institute). Here he studied under Edward Weston, Minor White, Imogen Cunningham, Dorothea Lange, and many other influential photographers of the time. After graduating, Hyde served as the official photographer of the Sierra Club High Trip during the summer of 1950, thus beginning his long relationship with the organization. His involvement with the club blossomed into relationships with other groups, including the Wilderness Society and the National Audubon Society. Hyde’s photographic work was used to advocate for and realize the preservation of places such as the Grand Canyon. While he photographed the characteristic vantages of many national parks, his images also show atypical views, such as a sand dune at the Grand Canyon.

Regardless, even with some omissions, Picturing America’s National Parks is destined to be a staple of bookstores, libraries, schools and universities for many years to come. I like the accessibility of the approach, the innovative layout and the depth of information presented in an easy to digest format. I like the cover art, but don’t particularly like the no dust-jacket cover. However, this keeps the costs down also adding to accessibility. Besides, this type of jacketless cover will likely prove ideal when the book is used as a textbook. It certainly ought to be mandatory reading for anyone studying photography, the national parks or any related outdoor curriculum.

Master of Platinum: Interview of Dick Arentz for Outdoor Photographer Magazine

August 9th, 2016

Master of Platinum and Palladium: An Outdoor Photographer Magazine Interview with Fine-Art Photographer, Innovator and Printer Dick Arentz

Cover of August Issue of Outdoor Photographer magazine.

Cover of August Issue of Outdoor Photographer magazine.

The August 2016 Outdoor Photographer Special Issue of the magazine print version features David Leland Hyde’s interview of Dick Arentz, an acclaimed large format photographer, workshop co-leader with Philip Hyde and expert platinum and palladium printer. Now the article, Master of Platinum, is available online.

The Arizona Arts and Humanities Commission honored Arentz as one of the most significant artists in the state. He helped Phil Davis develop the companion volume to Ansel Adams’ Zone System called Beyond the Zone System. He also has been researching 19th century techniques, testing, leading workshops and defining Platinum and Palladium printing for 43 years. His book, Platinum and Palladium Printing, is known in online forums and industry magazines as the quintessential book on the subject.

For those who are not familiar with this complex and difficult photographic black and white printmaking process, Arentz gave me a simplified summary himself:

In Platinum printing, as in most non-silver processes, an intense ultraviolet light must be passed though the negative to expose the paper coating. Because this is a higher intensity of light than is possible to project from an enlarger, the process requires contact. Before the ground breaking digital work of Dan Burkholder, there were basically two choices for the making of a negative: in-camera, or photo-mechanical enlargement by projecting the image on multiple stages of duplicating film. Later on, it became possible to use a service bureau to have a negative made using their image-setting equipment. Now, of course, using Burkholder’s method, many times with refinements added by others, a suitable negative can be made using an ink-jet printer.

As for the coating on the paper, the platinum process is one of many that depend on the reduction of a metallic salt to a pure metal. Instead of silver, which is most commonly used, platinum and/or its sister metal palladium make a high quality reproduction. Those with bit of background in photographic history know that in the nineteenth century, silver compounds were coating on paper as well. At the turn of the century, when commercially prepared silver gelatin paper became available, commercial platinum/palladium paper followed. However, pre-prepared platinum/palladium paper went out of production after World War I, though a packaged palladium paper was briefly available in the 1990s.

Arentz is known for his subtle, yet vivid and luminescent black and white photography presented through platinum and palladium prints and fine art photography books. His books are profound personal statements of his unique vision. Besides Platinum and Palladium Printing, Second Edition (2004), Arentz has published Four Corners Country (1986) with introduction by Philip Hyde, The American Southwest (1987), Outside the Mainstream (1990), British Isles (2002) and Italy Through a Different Lens (2009).

For more about his development as a photographer and lead technician of his printing medium, and for his words of wisdom about projects, making subjects fresh and capturing unusual perspectives seek out the Black and White Special Issue of Outdoor Photographer in print and on newsstands and in bookstores now. It can often be found at Barnes & Noble and some Safeways. The August Black and White Special Issue is also loaded with many other excellent articles on black and white photography. An online version of the article is now available at Master of Platinum. If you want the print version, pick up your copy soon because special issues sometimes sell out early.

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 Eastman.org/store.

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
585-271-3361

Sources:

George Eastman Museum
Los Angeles Times
Hollywood Walk of Fame
Wikipedia
Kodak.com
Biography.com
Philanthropy Round Table Hall of Fame
Antiques, The Magazine
Outdoor Photographer magazine

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

Monday

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

Tuesday

Morning            Lecture—Minor White
Afternoon          Lecture—Ansel Adams

Wednesday

Morning             Lecture—Minor White
Afternoon          Design, Society and Artist

Thursday

Morning             Lecture, Field Trip—Minor White
Afternoon           Lab

Friday

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 OutdoorPhotographer.com and visit WilliamNeill.com or William Neill’s Photography Blog at WilliamNeill.com/blog/. 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 http://www.nanpafoundation.org/hyde_grant.html for more info and for applications.

______________________

To sign up for newsletter updates, including info about his BetterPhoto.com online workshops, please see William Neill’s web page at WilliamNeill.com. 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

Living The Good Life 5: Agricultural Influences

March 18th, 2016

Living the Good Life with Ardis and Philip Hyde

Part Five: Agricultural Influences

(Continued from the blog post, “Living the Good Life 4: Failure in Carmel.”)

“There are two spiritual dangers in not owning a farm. One is the danger of supposing that breakfast comes from the grocery, and the other that heat comes from the furnace.”

~ Aldo Leopold from A Sand County Almanac

About This Series: “Living The Good Life”

Fall Maples, Aspens, Black Oaks and Fresh Snow on Grizzly Ridge From the Garden at Rough Rock, Northern Sierra, California, copyright 2015 David Leland Hyde.

Fall Maples, Aspens, Apple Trees, Black Oaks and Last Sun on Fresh Snow on Grizzly Ridge From the Garden at Rough Rock, Northern Sierra, California, copyright 2015 David Leland Hyde. Scene when I arrived home from the #Heartland. (To see large click on image)

In 2002, two months before my mother passed on, I asked to interview her about her locally popular organic gardening, homemade preserves and all natural cuisine. I also wanted to capture the essence of my parent’s philosophy of living, their low impact lifestyle and long-term sustainability way before the word “sustainability” existed or the philosophy became a trend.

While the tape recorder ran, my mother joyfully began to answer my questions about more than 56 years of vegetable gardening, flower cultivation, ornamental breeding, gardening for butterflies and birds, natural pest control, fruit tree pruning, grafting and much more.

Unfortunately, we only made one tape. She died suddenly while I was 3,000 miles away on the East Coast before the interviews could continue. The afternoon after that fated first taping, she 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. She first paused to hold the book and look at it for moment, put it in my hands with gravity and said, “This was our Bible.”

The Nearings and their methods as professed in Living the Good Life, spiritually led and inspired the 1950s “Back to the Land” movement. The Hydes were at the early edge of this movement, leaving the Bay Area in 1950 to settle first in Indian Valley among the remote mountains of the Northern Sierra, then on a rocky flat bench of land on a branch of the Feather River Canyon, looking down on Indian Creek and up at Grizzly Ridge towering more than 4,000 feet straight up above the house they carved out of the wilderness.

This series of blog posts examines how Ardis and Philip Hyde, while not on the road or on the trail in pursuit of flora, fauna and photographs, adapted and invented their own version of “The Good Life.”  Part One serves as an introduction, citing sections of the book and how the Hydes applied them. Part Two reviews Ardis and Philip Hyde’s respective childhoods and how their influences brought them together and eventually to their own land in the country. In the third episode of “Living the Good Life with Ardis and Philip Hyde” I reflected on the changing seasons and passing years as their dream home and their way of life continue here. Part four of Living the Good Life, came from my interviews of Dad about defeated attempts to establish a home in Carmel near the photography market as he and my mother were advised to do by his mentors and friends Ansel Adams, David Brower and others. Failure in Carmel surprisingly took them overseas to Morocco in Northern Africa and eventually back to California where they built their dream home in the Sierra. More on Morocco in future articles and blog posts.

Part Five: Agricultural Influences

Before continuing the more or less chronological story of the Hyde’s “Living The Good Life” dream with the construction of their home to include passive solar and other green or passive energy features in Part Six of this series, in this Part Five I will share how my mother’s ancestors helped found part of Sacramento and through their ranch contribute to the agrarian lore of the Great Central Valley. My mother orchestrated at least a start in agricultural knowledge during my childhood.

My father, born and raised in San Francisco, sought out nature all over the Bay Area. His father was an artist, draftsman and furniture designer and maker who also loved nature and loved the Sierra. He descended from a long line of schoolteachers. For more on my grandfather Leland Hyde and Dad’s other early influences, see the blog post, “Photography’s Golden Era 4.”

In contrast my mother’s ancestors were early pioneer families of the California Central Valley. My mother grew up in the greater Sacramento area, spending most of her childhood in the rural outskirts away from the town that is now downtown Sacramento. My mother’s maiden name was King. Ardis King Hyde’s father, Clinton Samuel King, Jr. grew up on the King ranch outside Sacramento. Mom’s mother, Elsie Van Maren King grew up on the Van Maren Ranch. The King’s sold their ranch when my mother was too young to remember. However, my entire life, until my mother passed on, she talked about her vivid memories of the Van Maren Ranch.

The Van Maren Ranch was located in the part of Sacramento that is now called Citrus Heights. The Van Marens were one of Citrus Heights founding families. Van Maren Boulevard was named after the family. The main ranch house, roughly in the center of the 1,000-acre ranch, stood on a hill that has now been removed where a shopping mall now sprawls.

One Van Maren family myth had it that during the Great Depression, my great grandfather Nicholas Van Maren exclaimed one day in exasperation that his greenbacks were worth so little that he might as well pave the lane into the ranch house with them.

“I’ll call it my Greenback Lane,” he cried out. From then on the family and their friends called the road Greenback Lane. This was how the familiar Citrus Heights thoroughfare received its name.

The main crops on the Van Maren Ranch were wheat, oats and barley, with a secondary production of grapes, almonds, apples and olives. There were also a number of milk cows, horses, chickens, goats, lambs and pigs to supply the family pantry. My grandmother Elsie had three sisters and no brothers. The four girls grew up doing the farm chores that in those days were usually done by boys, in addition to the household chores as well. My grandmother was a superb cook, who could easily feed a few dozen people. My mother, who had three brothers and no sisters, as the only girl in her generation, was constantly in the kitchen with her mother. Some of my mother’s best recipes were handed down from generation to generation.

My mom remembered trips out from the suburbs to the rural area that is now Citrus Heights to the Van Maren Ranch on weekends one or two times a month. She learned to ride a horse on the ranch as a little girl, milked cows and helped out with all of the tasks on the ranch that her mother had grown up doing. Mom loved visits to the ranch and did not mind pitching in and working with her grandfather around the ranch and grandmother in the kitchen. Mom was quite capable and hard working, even as a child. Her grandparents in turn enjoyed the companionship and help of their eager, inquisitive suburban granddaughter each time she visited. She remembered hauling water from the hand-dug well to the house by bucket the old-fashioned way and making everything in the kitchen by hand.

Both my mother and grandmother were tough as nails. They could out work and out rough-and-tumble any boy or man their whole lives. Part of what attracted Dad to Mom years later was how comfortable and fearless she was in the outdoors, yet how she also carried herself with grace indoors.

Besides being an artist in the kitchen, my mother was what gardeners call a “green thumb.” She could make flowers grow from rocks, which is essentially what she did for close to 60 years at our home in the Sierra Nevada. She had not had her hands in the soil much at all though for many years when my parents finally bought the property in December 1955.

Soon after, Mom and Dad walked the property with their friends Cornell and Pat Kurtz from nearby Lake Almanor, who also were accompanied by their four-year-old daughter Kit. A tangle of branches, decimated small trees and bulldozed piles of dirt and rock, the house site had been a logging staging area. Not much dirt mixed in with the Grizzly Formation igneous andesite rock. Indian Creek over geological time cut down through a giant rockslide that came down off of Grizzly Ridge and dammed up the creek. The bench a few hundred yards above the present riverbed consisted mainly of angular fracturing Grizzly Formation rock with some dirt in between to further wedge in the rock and make it hard to move.

This was more than 15 years before the publishing of Dad’s renowned book, Slickrock with Edward Abbey, but Dad and Mom had traveled much in the Southwest where the name “Slickrock” was common as were other names with “rock” in them such as “Smooth Rock” or “Balanced Rock.” For more about Slickrock see the blog post, “Who Was Edward Abbey?”

Recently Pat Kurtz described that she and Cornell had visited the Hydes in 1956 while they were still living in one of the neighbor, Bill Burford’s houses, before Mom and Dad started building our home in 1957.

“I remember picking up the sharp, pointy rocks on your land,” Kit Kurtz added. “The rocks I were used to at Lake Almanor were rounded. I was already thinking, ‘this is rough rock.’” While showing the Kurtzes the land, Dad mentioned that they could not think of a name for the place.

“Your Dad looked down at Kit,” Pat Kurtz said. “He asked, ‘What do you think?’ and Kit said, ‘Rough Rock.’” Dad and Mom looked at each other and at Kit with smiles of acknowledgement and agreement.

“That’s it,”Dad said. “That’s the name.” Our home has been Rough Rock ever since. I will say with great assurance that to this day it lives up to its name in spades, or despite and intensely in spite of spades, or any other digging implement.

Dad even had to blast or chip a few giant rocks. Tons more he removed to pour the foundation. The rocks taken out of the trenches for the foundation were distributed along the hillside to make terraces. My parents filled in behind them to build the soil for a garden. I was not born until 1965, but the pickup truck hauling program was far from over when I got old enough to wield a shovel or pitchfork. I remember a childhood filled with trips to nearby ranches and farms to clear manure, used hay or combinations of the two out of horse stalls. We made those trips in an old 1952 Chevy Pickup we called the Covered Wagon when it still had a corrugated steel camper shell-like canopy on the back. For more on the adventures of Covered Wagon all over the West see the blog post, “Covered Wagon Journal 1.” We also hauled dirt, sand, grass clippings, straw, wood chips and just about anything else that would make soil. I will write more about the gardens and gardening in future blog posts.

Besides being a laborer and off and on participant in Mom’s gardening efforts, thanks to my mother I was exposed to other agrarian influences. As a very small boy, probably around age three, my mother took me to a nearby dairy farm, introduced me to the farmer and to his dairy cows up close. Mom and I watched while the farmer milked his cows. We tasted the milk and I even took a turn at milking. When I was young we had milk delivered by a milk truck as part of a regular milk route. Later, I would go with my mother to pick up whole milk directly from the dairy farms that sold it. Mom skimmed the cream off the top and used it to make butter or to whip cream. We also made homemade ice cream from local whole milk.

My mother raised me on unpasteurized milk. I lived a highly active, sports-filled life and never broke a bone until I was in my 40s far away from my childhood home. I have never had any allergy problems either. A substantial body of scientific evidence links pasteurization, hormone supplementation and genetic modification of milk and dairy cows to food and pollen allergies.

My mother and my mother’s brother, Nick King, taught me how to care for, prune and organically fertilize our apple trees. For more on my uncle’s nursery, apple farm and beekeeping, see the blog post, “Actor, Photographer, Apple Farmer and 1960s Activist Nicholas King’s Memorial.” Every year Dad and I helped Mom pick apples in our mini orchard of three trees. Mom tried many other types of fruit trees, but few of them bore much fruit in our mountain climate and elevation of 3600 feet above sea level. Just before she passed on in 2002, Mom planted a plum tree in front of the house that just started bearing fruit four years ago. It produced a heavy limb-bending crop of plums one year, but unfortunately the raccoons ate most of them.

Another agricultural, small farm activity Mom instigated at Rough Rock when I was a kid was raising chickens. They were bantam hens named Henny Penny and Peg Leg. They laid a slightly smaller egg than most chickens, but they each produced one to three a day, which was all we needed. Dad built them a chicken wire cage inside our garden shed. They would go in at night and out during the day. I fed them around the same time each day as I fed Pad, our German Shorthaired Pointer dog.

Pad was our primary domesticated animal. Pat Kurtz originally found her for us and named her P. – A. – D. after Philip, Ardis and David. The Kurtzes had a long line of their own German Shorthaired Pointers for many years. Pad would stay with them when we traveled. Pad was also good with the chickens. She hardly even went near them. She ignored them with disdain and distaste. We never knew why. After a few years Peg was taken out one day by what must have been a raccoon, or possibly a Bobcat or even Mountain Lion. All we found were a few feathers. Penny lasted a few months longer before suffering a similar fate.

I am grateful to my mother for introducing me in small ways to farming and ranching. While I did not grow up on an actual working farm or ranch, I had at least enough taste of it to understand what the lifestyle was like and what producing your own food is like. Farming is hard, but highly rewarding work.

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

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
770-387-1300
www.boothmuseum.org

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?