Posts Tagged ‘Arches National Park’

Four Philip Hyde Authorized New Releases From Slickrock With Edward Abbey

November 14th, 2014

Philip Hyde And Edward Abbey First Meet In The Remote Wilderness Of Canyonlands Near Spanish Bottom–Ardis Hyde’s Travel Log

The purpose of the now classic book, Slickrock: Endangered Canyons of the Southwest by Edward Abbey and Philip Hyde was to help in the conservation efforts to expand Canyonlands National Park and to aid in developing wilderness or national park protection for the Escalante River Canyons. Below read about the section of the project where Philip Hyde photographed the Escalante River and Ernie’s Country in Capitol Reef National Park and The Maze, Canyonlands National Park for Slickrock.

Also Below Are New Release Archival Prints From Slickrock: Endangered Canyons of the Southwest… 

Now On Sale For A Limited Time: Archival Chromogenic Lightjet And Digital Prints Of Four Iconic Philip Hyde Large Format Film Photographs

For more information about New Release Prints Pricing, Sale Specials and Time Limits see the blog post, “New Release Pricing,” For more about the archival prints and materials see the blog post, “About Archival Fine Art Digital Prints.” Also, to learn about special features of only the two largest sizes limited editions see the blog post, “Why Photography Galleries And Collectors Like Limited Editions.”

1951-1973 Slickrock Projects and Travels

1951   Dinosaur National Monument, Monument Valley, Canyon De Chelly, Canyonlands & others

1955   Glen Canyon, Grand Canyon, Dinosaur N. M., Canyon De Chelly, Canyonlands & others

1958-1997   Glen Canyon, Grand Canyon, Cataract Canyon, Colorado, Green, Yampa, San Juan, Delores, Rio Grande River Trips

1963   Canyon de Chelly, Monument Valley, Canyonlands, Capitol Reef, Grand Canyon, Hopi Villages & others.

1967   Navajo Res, Rainbow Bridge, Hole In The Rock, The Maze, Canyonlands, others.

1968   Escalante River Canyons and Tributaries, Canyonlands

1970   Coyote Gulch, Escalante River Canyons & Tributaries, Canyonlands

 

Stevens Arch, Escalante River, now Grand Staircase Escalante Natonal Monument, from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1970. Made on backcountry backpack into Coyote Gulch.

Stevens Arch, Escalante River, now Grand Staircase Escalante Natonal Monument, from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1970. Made on backcountry backpack into Coyote Gulch.

(See the photograph large, “Steven’s Arch, Escalante River, Utah.”)

One of the world’s most widely published stock landscape photographers Tom Till said my father, pioneer landscape photographer Philip Hyde, was one of the first to photograph some areas of the Maze and the Needles, Canyonlands National Park and Waterpocket Fold in Capitol Reef National Park.

Dad’s main purpose for exploring and artfully documenting these locations in the 1950s, 1960s and 1970s was to splash them in newly introduced color across the revolutionary new coffee table size Sierra Club Exhibit Format Series. These first landscape photography books, exploding in popularity were bringing the message of conservation to a widening audience. In the 1950s with the defense of Dinosaur National Monument against the building of two dams that would have flooded 96 out of the 104 river miles in Dinosaur, the Sierra Club had decided to advocate new wilderness beyond the borders of California and the Sierra.

Dad’s Spring 1970 itinerary primarily to photograph for the book Slickrock: Endangered Canyons of the Southwest with Edward Abbey, called for an extravagant 71 travel days, but there was only time for 50 days of travel with my mother Ardis and me in the GMC Pickup and Avion Camper. Beginning April 15, we started with 11 days in Nevada photographing Tonopah, Pahrump Valley, Red Rock Canyon, Henderson, Lake Mead, Valley of Fire and US Highway 93 north to Panaca, Nevada.

On the 12th day, we crossed into Utah to Bryce Canyon National Park, on to Escalante and out the Hole In The Rock Road. On the night of April 21, we camped at Willow Tanks. In the morning we parked at the junction of Hurricane Wash and Coyote Gulch where we began our backpack into Coyote Gulch. The three of us walked in just past Icicle Springs the first night, over eight miles. My Mother wrote in her travel log that at age five I hiked most of the distance, about five miles, but grew tired near the end having made too many side trips to investigate distractions. The horse packer from Escalante took me the rest of the way to camp on horseback.

We backpacked for five days in Coyote Gulch with the support of a horse packer from Escalante. For more on our backpack and camp at Icicle Springs see the online blog post version of my future book introduction, “58 Years In The Wilderness, Intro 1.”

Plunge Pool, Tributary To Coyote Gulch, now Grand Staircase Escalante National Monument, original version from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1978.

Plunge Pool, Tributary To Coyote Gulch, now Grand Staircase Escalante National Monument, original version from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1978.

(See the photograph large, “Plunge Pool, Tributary to Coyote Gulch, Utah.”)

Contained in this blog post are four new releases of numbered archival prints. Two of the photographs were made on the 1970 Coyote Gulch backpack, “Steven’s Arch, Escalante River” and “Plunge Pool, Tributary To Coyote Gulch.” The third photograph Dad made a few days after the backpack in Capitol Reef National Park, “Canyon in Waterpocket Fold.” The fourth photograph, “Wingate Boulders In The Narrows,” Dad made in 1968 while hiking the Escalante River. See the previous blog post, “The Making Of Reflection Pool, Escalante River Side Canyon.”

I will share here a few choice excerpts of my mother’s travel log of our Coyote Gulch backpack and the four wheel drive trip in Waterpocket Fold, but they were only the beginning of our travels. Before we wound our way safely home, we also visited the Circle Cliffs, the Henry Mountains, spent six days with Art and A. C. Ekker by jeep and Wagoneer in Ernie’s Country, the Fins, Doll House, Spanish Trail, Candlestick and other areas of Canyonlands National Park.

We drove to Hite, Lands End Plateau, Hanksville, then Dad photographed for three days in northern Canyonlands, three days in Arches, two days at Hatch Point, two days at Harts Point, six days in the Needles, Canyonlands, two days at Cottonwood Creek Road near the headwaters of Lavender Canyon. By June 5 we had spent several days in Bullfrog and headed back through Nevada home to northern California.

Types of Sandstone Formations Photographed by Philip Hyde, Spring 1970

Mesa Verde—Tarantula Mesa
Mancos Shale—Blue Gate—Swap Mesa
Emery Sandstone
Dakota Sandstone—Cedar Mountain
Bentonite—Big Thompson Mesa
Salt Wash Sandstone
Summerville—thin bed
Curtis Sandstone—Cathedrals
Entrada Sandstone
Carmel, Gypsum Limestone, Sandstone
Navajo Crossbed
Kayenta
Wingate—Circle Cliffs
Chinle—Painted Base of Circle Cliffs
Shinarump
Moenkopi, Simbad Limestone, Chert
Kaibab Limestone
Coconino or Cutter Sandstone—White Rim, Organ Rock Tongue, Cedar Mesa
Hermosa Mesa

Wingate Boulders, Angular Shadows, Escalante River Narrows, now Grand Staircase Escalante National Monument, from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1968. from Slickrock with Edward Abbey.

Wingate Boulders, Angular Shadows, Escalante River Narrows, now Grand Staircase Escalante National Monument, from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1968. from Slickrock with Edward Abbey.

(See the photograph large, “Wingate Boulders, Escalante River Narrows, Utah.”

Lower Coyote Gulch is Wingate Sandstone and upper Coyote Gulch is Kayenta Formation where Hurricane Wash comes in having cut down through the Navajo Formation from Willow Tanks on the Hole in the Rock Road. The Wingate and Kayenta sing every note on the Earth color rainbow from red to yellow and deep into browns and blacks with some streaks of iridescent blue desert varnish from water seep mineral deposits.

On Thursday April 13, 1970, Ardis Hyde wrote:

Cloudless sky, cool enough but air warming up decidedly. Left camp at 9 am to head downstream with a goal of Icicle Springs tonight. Our feet were wet immediately. The ferryboat theme of carrying David over the deeper crossings began. He was a better hiker today, enjoying the interest of canyon, stream and foliage. Packer Reeves Baker from Escalante caught up with us and showed us some moqui steps, lichen covered, next to a dead cow with a calf skeleton along side. We heard the canyon wren song with only the soft water under it.

We camped with mom cooking dried add-water dinners over open flames with a #10 pound can and a small grill. Breakfast was muesli, a raw mix of dried fruit, rolled oats, nuts and coconut. One day we had omelets. Lunch was cracker sandwiches. I played in the water, Dad photographed. The sun was hot, but the canyon shade and water were cool to cold. In the days following we trekked along or in Coyote Gulch to its mouth at the Escalante River. There we hiked up and around the corner to a good view of Stevens Arch on the trail up and over the bench above the Escalante River. Dad photographed the arch and photographed Mom and me in front of the arch.

We also ventured down the Escalante River to a few side canyons. The water in the river was much colder. Mom ferried me across the few river crossings, but when we returned to go back up Coyote Gulch, I ran and played in the stream, now making all the crossings on my own.

 April 29, Layover Icicle Springs

We hiked toward Jug Handle arch and the sun at 9 am. Icicle Springs doesn’t get sun until noon and then only filtered through trees. We climbed up through the thicket and past wall seeps to get to the ledge under the arch to see the remains of the storage bins. Some small ones, one large one and one in between we didn’t notice at first because it was still intact with rock cover and blended in with the back of the canyon wall in perfect camouflage. We scrambled up into Hamblin Arch itself. Philip made lots of pictures in both places. Then we headed downstream to the Waterfall and a stop for lunch on large boulder in the middle of the stream. Philip left us and carried the Baby Deardorff back down Coyote Gulch for more images. David and I bee-lined for camp as the weather worsened threatening rain with much colder wind. Philip came into camp not long before dark. He said he had some cloud trouble but got the photograph he was after.

After a rainy layover at Icicle Springs, we hiked out of Coyote Gulch and gratefully reached our gray GMC Utility Body Pickup and Avion Camper that carried us on to the Henry Mountains and eventually to a rendezvous at Hite with Art and his son A. C. Ekker, horse pack and jeep guides, cowboys, ranchers, horse whisperers and wilderness connoisseurs. The Ekkers would take us into Ernie’s Country in the Waterpocket Fold of Capitol Reef National Park.

Canyon In Waterpocket Fold, Capitol Reef National Park, from Slickrock With Edward Abbey, Made On Backcountry Trip With Art And A.C. Ekker, Canyons Utah, copyright Philip Hyde, 1970.

(See the photograph large, “Canyon In Waterpocket Fold, Capitol Reef National Park, Utah.”

At first we continued in our Camper, leaving Hite Marina, with Ark Ekker and Jay in the Jeep Wagoneer and A.C. Ekker in his GMC 4×4 Pickup. We crossed a cattle guard and followed a dirt track on a high cliff contouring around to the head of Rock Canyon. We crossed Andy Miller Flats with Man in the Rock, or the Sewing Machine, in the distance. At about four and a half miles from pavement the group passes shearing corrals for sheep. At about Cove Canyon we passed two men on horses, one of them a sheep man Art knew with his camp nearby.

The next morning Art cooked bacon, eggs and toast in the dutch ovens over an open juniper fire. Dad photographed old names carved in the rock under a nearby overhang. Soon we came to a good view high over the South Hatch drainage. Nearby it joins the North Hatch Canyon and empties into the Dirty Devil River. The group made many stops for Dad and sometimes others to make photographs.

At one stop I hiked up above the Chinle rounded hills to the chunky rock formations on top. We finally came to a place to park our Camper in a large dip that would hide it. Soon the Hydes moved to the Wagoneer, but David’s car seat rode in A.C.’s shotgun seat in his GMC 4×4 truck for later riding. To start with I rode in the far back of the Wagoneer with the gear. My mother wrote that I slept during the roughest, hard jarring part of the road.

Nine miles beyond where we left the camper, we could already see the thin sandstone Finns rising above the near horizon. Dad photographed the many rock formations in all directions.

When we came out to the Wall Overlook into the Maze, we looked for a camp. Philip was already running for pictures. Art drove over to a ledge of Slickrock on the Finns side of the Lizard for camp. Philip photographed madly around the Wall down into the Maze, around the Lizard, Chocolate Drops, Elaterite Butte, Ekker Butte, Cleopatra’s Chair all in plain view. We made an exposed camp, but no wind and the view glorious. Art and I made Dutch oven steak and fried potatoes for dinner. We kept Philip’s warm until he quit working. David and A.C. climbed to the top of Lizard Rock. David went to bed and we stayed up around the fire a while.

From Lizard Rock we passed pinnacles of sandstone on up toward the La Sal Mountains. We drove along the Cedar Mesa rim and then into the Finns. While descending, on a high opposing canyon wall we saw an arch. We hiked to other arches. One time they went out on a ridge to an arch.

A.C. got right down under the arch and paced it at 100 feet wide by 75 feet high. Huge distinct muffin shaped rock form right behind the arch on the east end. Hence A.C.’s name for it: Muffin Arch.

Dad climbed with his large format view camera over another ridge to photograph down into the Colorado River drainage. The rest of the next few days they spent winding in and out of canyons. Sometimes they would stop the cars and we would venture on foot, sometimes we would stop and camp or eat, but Dad was always photographing.

We saw a man standing at the rim of the Spanish Trail. Soon Philip came into camp having stayed making photographs in the canyon. A.C., who had gone over a ridge to pick up David and I, brought us into camp. Philip said he talked to the man on the rim. The man had said he was of Ken Sleight’s river party and walked up from Spanish Bottom. He said Edward Abbey was coming up too. Philip was getting more film and Art went with him to the wash to meet up with the man again. While I was preparing dinner, Philip, Ed Abbey and a girl named Ingrid appeared. They had a cup of coffee with us and then headed back down the trail. Philip will also be making a planned meeting with Abbey in Moab on May 25.

Here my mother’s travel log described another viewpoint of the Philip Hyde – Edward Abbey spontaneous meeting in the wilderness of Canyonlands. For the detailed story of their first encounter see the book Slickrock: Endangered Canyons of the Southwest or the blog post, “Keynote Speech At Escalante Canyons Art Festival.”

For more information about New Release Prints Pricing see the blog post, “New Release Pricing,” For more about the archival prints and materials see the blog post, “About Archival Fine Art Digital Prints.” Also, to learn about special features of only the two largest sizes limited editions see the blog post, “Why Photography Galleries And Collectors Like Limited Editions.”

Have you ever photographed any unusual rock forms? Ever been to Canyonlands or walked on the sandstone of the Southwest?

eBook Review: Essential Guide To Photographing Arches National Park By Bret Edge

April 29th, 2014

The Essential Guide To Photographing Arches National Park

By Bret Edge

Published by NatureScapes.net

The Essential Guide To Photographing Arches National Park by Bret Edge. Copyright 2014 Bret Edge.

The Essential Guide To Photographing Arches National Park by Bret Edge. Copyright 2014 Bret Edge.

Bret Edge is what I would call a power landscape photographer. His compositions are direct, with strong lines and bold arrangements that may often portray iconic scenery, but with more ingenuity and interest than most. The graphic design and lettering of Edge’s new guide to photographing Arches National Park are big and bold and frame his power images and direct text perfectly. In addition, NatureScapes’ logo and motif indicate that this new, bright and crisp PDF is one of their Photography Series eBooks and can be ordered directly from NatureScapes’ order page.

Besides small sections about the author, NatureScapes and a general introduction to the national park, the table of contents is divided into three main sections: Sunrise Locations, Sunset Locations and Alternative Locations. Immediately I want to ask, ‘What about midday locations?’ But much of the year photographing Arches in the middle of the day ranges from not much fun to downright miserable and even fatal due to the heat. As another outdoorsman I know said, “In that country in July you cannot carry enough water.”

Within the three main headings, each location gets a treatment. Each geographical area is laid out on one page with a short description; a section called, “Getting There,” essentially the trail directions; a “Need to Know” note that gives safety cautions, background, history, tips on how to tread lightly, or get more enjoyment out of each photo spot; and most importantly for our purposes, “Photo Advice.” Here Edge’s enthusiasm for the landscape shows, as does his acumen for open-ended suggestions that allow for more diverse possibilities rather than guiding everyone to make images like Bret Edge.

This format is not only clear and concise, but it saves time over wading through the many other guidebooks and pamphlets on Arches National Park. As might be expected in a guide devoted solely to one national park, Edge covers all of the locations found in the more broadly focused book, The Photographer’s Guide to Canyon Country: Where to Find Perfect Shots and How to Take Them by John Annerino, but Edge also adds quite a few more photo spots and goes into more depth on each. In Edge’s guide the type, though small, is in a clear, readable font. Division into the various headings and subsections as described above make Edge’s guide quicker to read and easier to find essential information inside than many guides arranged in standard text formats.

Moon Handbooks are known for quality and depth, but the Moon Handbook for Arches and Canyonlands National Parks, covers no more trails and destinations than Bret Edge’s NatureScapes eBook packs into only 30 pages. Besides, the Moon Handbook, of course contains minimal information specific to photography. A guide by Wilderness Press called 50 Best Short Hikes in Utah’s National Parks by Ron Adkison offers a rich narrative on Arches National Park including archeology, flora, fauna, park ranger interpretive activities and more, but the limited photographs in black and white do not evoke as much of what can be experienced visually. Travelers and explorers may read many books on the history and background of Southeastern Utah, but for photographers, Bret Edge lays it out best in his short easy to follow format. Only Photographing the Southwest: A Guide to the Natural Landmarks of Southern Utah & Southwest Colorado by Laurent Martres covers more photographic ground than The Essential Guide to Photographing Arches. However, Edge does offer a few spots and details about spots that Martres misses in his comprehensive photographer’s guide. Also, Edge’s Photo Advice is more specialized to fit local conditions and customized for photographing sandstone formations, reflecting the experience of Edge as a desert inhabitant and photography workshop leader in the area.

The only change I would make to the Essential Guide to Photographing Arches is to add information on photographing the national park in the winter or during the middle of the day when the season or weather allows. Nonetheless, if you want a book that gives you much solid information in a tight, focused and well-presented arrangement, Edge’s power photography guide is the NatureScapes eBook for you. Order here directly from NatureScapes’ order page.

New Release: Formations From Bryce Point, Bryce Canyon National Park

April 26th, 2011

The Making Of The Widely Published And Collected Photograph In Philip Hyde’s Own Words

New Release: Formations From Bryce Point, Bryce Canyon National Park, Utah, 1963

Landscape Photography Blogger Introductory Note:

Formations From Bryce Point, Bryce Canyon National Park, Utah, copyright 1963 by Philip Hyde. Widely exhibited and published including in “Drylands: The Deserts Of North America” and related major museum exhibitions. In permanent museum collections.

(See the photograph full screen Click Here.)

As part of his first explorations of the American Southwest in 1951 and 1955, Philip Hyde documented Dinosaur National Monument on the first photography assignment for an environmental cause. (See the series of blog posts that begin with, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 1“)

Ardis and Philip Hyde returned to the Southwest in the Fall of 1963 and visited Zion National Park, Bryce Canyon National Park, Capitol Reef National Park, Arches National Monument, now also a national park, Canyonlands, Natural Bridges, Monument Valley, Grand Canyon National Park, the Hopi Villages, Canyon de Chelly, Petrified Forest National Monument, Walnut Canyon, Oak Creek Canyon, “Lake” Mead National Recreation Area and Glen Canyon Dam. Philip Hyde on this trip planned to build his stock photography files, gather images for several upcoming conservation projects as well as working on an assignment from the National Park Service photographing several of the national park’s facilities and buildings’ architecture. After a stop in Zion National Park, the Hydes moved on to Bryce Canyon National Park…

Excerpted From Philip Hyde’s 1963 travel log:

By Philip Hyde

September 24, 1963: We decided to go on to Bryce Canyon and come back to Zion National Park later—after Canyonlands, or on our way home before “Lake” Mead. We broke camp and headed for Bryce Canyon. On the way out of Zion, I spent an hour or so working on the East side formations after the tunnel—Checkerboard Mesa and Navajo Formation pavements. Then we went on out of Zion and north. We stopped about 11 am at Edith Hamblin’s place on the north end of Mt. Carmel. Edith Hamblin is the widow of painter Maynard Dixon. We also stopped in to see Dick McGraw at his studio and guest house with a view toward the White Cliffs, then drove on to Bryce Canyon, arriving about 3 pm.

At Bryce Canyon we went to the visitor’s center to meet with the Park Engineer and Naturalist. Then we headed on out to the first overlook road. In the fairyland section the light was gorgeous. I took my 4X5 view camera and walked down the trail half a mile or so into the canyon. I made six color transparencies and two black and white negatives. Then we drove back to the Visitor’s Center in later light which was also very good. Called it a day and headed to the campground, which was rather exposed with little gravel platforms for camp sites. The Park Ranger said that the low last night was down to 29 degrees Fahrenheit, so I put antifreeze into the radiator that I bought in Hatch, Utah.

September 25: In the morning I went up to the Visitor’s Center to shoot interiors for the National Park Service. Then we went first to Sunset Point and down the Navajo Loop Trail to the canyon bottom where I made several exposures. We drove out along the loop road to

Various viewpoints and eventually to Rainbow Point, then back along the rim. Back at Sunset Point I caught the late light and walked down the Queen’s Garden Trail just at Sunset when the light was magnificent. I photographed until the light failed. When we returned to the car, we ran into Adele and John Hampton of Lookout Mountain, Tennessee, whom we had met in Zion National Park. We had dinner with them and talked until about 9 pm—late for us.

September 26: We were up before dawn, about 5:30 am, to catch the sunrise light on the Queen’s Garden Trail. Hiked down into Queen’s Garden working all the way as the light was spectacular. Photographed in the Queen’s Garden until about 9 am, then back up to the car, showered, packed up and set out for Capitol Reef about 10:30 am. Drove down into the Paria Valley—now called Bryce Valley—around Tropic, Utah. Tropic is just awakening from its sleepy, remote, Mormon character to tourist awareness. However, only the main “street” has changed adding a drive-in and frosty store. The road is now paved all the way to Escalante, Utah—not just paved, but realigned to “modern” engineering high standards—70 mph in most places. It circles around the Table Cliffs of the Aquarius Plateau and crosses several layered ridges and streaks across some broad open plateau tops to reach Escalante. Several roads beckoned. One that looked interesting was the one to Hole In The Rock, which we will take before we finish this project—maybe on this trip or perhaps next Spring. About eight miles East of Escalante the dirt started and except for a stretch on top of a ridge several miles long near Boulder, Utah, it was much like it was five or six years ago, though the surface this time was in better shape and some of the notable grades have been eliminated.

Landscape Photography Blogger Postscript

Philip Hyde made four dye transfer prints of “Formations From Bryce Point, Bryce Canyon National Park, Utah, 1963” in the early 1970s and two more in 1987 when Drylands: The Deserts Of North America came out. See the blog post, “The Legend of Dye Transfer Printing, Interrupted 1” for more about dye transfer printing and “Philip Hyde At Home In The Wilds 1” for an interview in which Philip Hyde talks about his approach to dye transfer printing. Now for the first time since Kodak discontinued the manufacture of dye transfer printing materials in the early 1990s, “Formations From Bryce Point, Bryce Canyon National Park” is available as a color fine art print in archival digital print form. Also for a limited time “Formations From Bryce Point” is available at introductory New Release Pricing. For more about Philip Hyde’s connection to the Southwest see the blog post, “Earth Day Celebration Of Ardis And Philip Hyde And Canyonlands.”

Winter Snow On Desert Landscapes

March 7th, 2011

Angular Boulders, Snow Covered Mesa, San Rafael Swell, Utah, 2009 by David Leland Hyde. Nikon D90.

A road trip across the Western United States can take many courses. Often when driving from the Denver area to Northern California people travel north on Interstate 25 into Wyoming, then take Interstate 80 west into Utah and Nevada. This route is the fastest by a little over an hour, but it is more developed and goes through flatter, less interesting country than other alternatives. The route I like is direct and nearly as fast, but much more scenic and remote. I take Interstate 70 west from Denver over the Rocky Mountains, down into the Colorado River canyon, through Grand Junction and into Utah’s Canyon Country, past the turnoffs for Moab and Canyonlands National Park, Arches, The Grand Canyon, Capitol Reef, Bryce and Zion National Parks, over the San Rafael Swell, until Interstate 70 meets Interstate 15. To read more about one special trip to some of these destinations see the blog post, “Earth Day Celebration Of Ardis And Philip Hyde And Canyonlands.” I then go south on Interstate 15 a short way to Beaver, Utah, turn west on Utah State Highway 21, go through Milford and into Nevada, onto US Highway 50, the “Loneliest Highway in America,” past Great Basin National Park and Wheeler Peak, through Ely, Eureka, Austin, Reno and into California.

Wheeler Peak With Snow Streamer, Great Basin National Park, Nevada, 2010 by David Leland Hyde. Nikon D90.

This itinerary takes me on a traverse of one of the world’s most majestic mountain ranges, the Rocky Mountains, climbing to over 11,000 feet at the top of Loveland Pass. It winds through the enchanting headwaters and upper canyons of the Colorado River and the verdant foothill farmland of the Rocky Mountains’ West Slope. From the great heights of the Rockies, Interstate 70 drops all the way to 4,075 feet when it crosses the Green River in Utah. It then rises again to cross the plateaus, canyons, hoodoos, monuments, bluffs, arches and other spectacular formations of the Colorado Plateau of Southern Utah. With all of this breath-taking scenery left behind, many people consider Nevada plain, but Nevada has an elusive beauty of its own with the roller coaster traverse of Basin and Range, mountains and valleys. Nevada is one of the places where the West lives up to its reputation for wide open spaces. With up to 80-mile straightaways, Highway 50 crosses huge dried up prehistoric glacial Pleistocene lake beds, sometimes still in the form of mud flats, sometimes sprinkled with sage, sometimes lush with grasslands and ranches. Then the “Loneliest Highway In America” roller coaster ride makes a few turns and rises over mountain ranges between the giant valleys. Each mountain range sequesters its own secret old mines, ghost towns, rugged canyons, forests, mountain meadows, rushing streams, snow-capped peaks, small settlements, ranches and mineral deposits. US Highway 50 is a road tripper’s dream, but its beauty is somewhat hidden and subtle, it does not blare at the traveler, but whispers like the ghosts lurking on its dusty side roads.

Juniper Tree Skeleton Along US Highway 50, Nevada, 2010 by David Leland Hyde. Nikon D90.

In the winter any route from Colorado to Northern California is susceptible to sudden storms, icy roads, blizzards, bitter below zero daytime high temperatures, heavy snows and snow drifts. Driving is risky with few guard rails on the steep, winding, approaches to the passes over the many mountain ranges that run north-south and all but block passage to the unprepared traveler. Any venture through this near wilderness, must not be taken lightly in the winter season and must be planned around the weather. Such adventures must be well-timed to avoid heavy winter storms that pass from West to East across the open expanses and often leave unwary motorists stranded for days in their vehicles waiting for assistance that may never come, or at the least may come too late.

So far I have been fortunate most of the time to have good traveling days even in the winter, with only minor snow or rain showers while on the road. One time I drove in horizontal snow with up to five inches on the pavement, not able to see far beyond the front of the hood, just trying to limp to the next town with a motel. In mid November 2010, a low pressure system hit the Western states. This storm system produced heavy snows and temperatures as low as -15 degrees Fahrenheit in mountain towns in Northern California and in Boulder, Colorado, as well as -25 degree weather on the Colorado Plateau in Utah. The roads were treacherous enough to question making any kind of journey at all, but according to the Doppler radar a window of opportunity opened up where it looked as though I could leave Boulder, Colorado and make it over Loveland Pass, out of the Rocky Mountains and down into lower terrain in Utah before the next major rack of clouds and snow hit. Sure enough I made it over the Rockies and into Utah by evening sailing clear. I imagined that I would drive as far as I could before the storm hit, find a good place to stop and wait out the system’s passing over night.

Dried Desert Flowers In The Snow, Along US Highway 50, Nevada, 2010 by David Leland Hyde. Nikon D90.

As I breezed through Green River, Utah the sky was still completely clear and full of bright stars and moonlight. From Green River it is about 104 wide open empty miles to the next town of any kind, Salina, Utah. About half-way to Salina the wind started to blow much harder and clouds began to dot the sky. Within another 10 miles tiny flakes of snow mixed in with the high winds. I was still about 40 miles from Salina. As I drove directly into the storm, the snow fell heavier and heavier. Soon it was piling up on the pavement. Fortunately, I was in my truck, which is four-wheel-drive and good at negotiating snow, unless the roads are also icy due to cold temperatures as was the case that night. By this time I was about 30 miles from civilization in Salina, the snow had become very heavy and the road was obliterated beyond recognition, even though Interstate 70 is a four lane freeway in that area. I thought about stopping, but decided I would press on because I didn’t want to get buried in snow on the side of the road. Needless to say, the last 25 miles were very slow and half the time I was merely hoping I was mostly on the road. Apparently the locals and other travelers had turned off for the night and retreated from the storm. I was nearly alone on the Interstate. Then far ahead I spotted a lone big rig truck plowing its way through the mess. I drove up behind and used the big truck’s taillights as a guide, hoping that his sense of the road would prove accurate. This went on for what seemed like hours and then we came up on a snow plow. The truck and I had been going about 10 miles an hour, but the snow plow was going about five miles an hour. The last 12 miles took 2 1/2 hours. I have never been more happy to see a freeway off ramp than that night in Salina. As I slowed even more to nose down the off ramp, my truck began to slide to one side. Fortunately I was able to correct and stay on what was left of the off ramp. I fish-tailed to the right, across and up what looked like the driveway to a local motel. The cheesy, low-budget room with internet access, color TV, half-broken wooden veneer furniture and musty bedding seemed like the coziest room I had ever slept in.

Rabbit Tracks And Shadows Along US Highway 50, Nevada, 2010 by David Leland Hyde. Nikon D90.

Morning came quickly as I had arrived late and hit the hay around 2:00 am. I dragged myself to the 1970s era window curtain, pulled it open and beheld a new world. There was about six inches of new snow, but the skies were blue. I waited until around 9:30 am to get rolling, hoping that by then the snow plows would have made a few passes. Once I made it onto the freeway, both lanes were clear and the slow lane was even half dry. I didn’t loose any time as I drove off down the Interstate at near normal travel speed. Driving late into the night was now taking its toll on my body, but my persistence paid off as I had smooth sailing nearly all day except some snow patches on the road on the high passes and some slow-going around Ely, Nevada where there was still a lot of snow on US Highway 50. The real payoff came in the form of the gorgeous scenery freshly covered with new snow. I was on a deadline and couldn’t stop too often, but I did allow myself to stop for as many photographs as I possibly could dare. I made it to my meeting late, but it was quite a day photographing along the “Loneliest Highway in America,” well worth driving one evening in a blizzard and risking getting stuck on the side of the road in the middle of the high desert in the snow.

Colorado River From Dead Horse Point State Park

January 20th, 2011

Colorado River From Dead Horse Point

Contest Still In Progress…

The Legend Of Dead Horse Point

Colorado River From Dead Horse Point, Dead Horse Point State Park, Utah, 1963 by Philip Hyde. He also made a vertical color transparency and exposed two slightly different angles, that is two versions, of the photograph as a black and white negative on the same trip. I still have one 11X14 vintage black and white print of one version and two 20X24 vintage black and white prints of the other version. I have not yet searched for the printing card in Dad’s printing index, but it appears he made a number of black and white prints. However, by the time he started printing color dye transfer prints in the mid 1970s, the early Kodak E-3 film may have already color shifted and faded too much to print color prints. To work this up as a color print now took significant restoration work. The color horizontal was published in 1969 in Dad’s book “The Grand Colorado” by T. H. Watkins with photographs by Philip Hyde. It was also published in Geo Magazine in 1989. The color vertical was published in an instructional TV program for 5th Graders called “The Seed Gatherers” in 1969. It was also published in 1982 in National Parks Magazine and in 1987 in “Drylands: The Deserts Of North America.”

(To see the photograph full screen Click Here.)

Dead Horse Point State Park lies at the heart of canyon country in Southeast Utah just 32 winding miles West of Moab. Dead Horse Point overlooks part of Canyonlands National Park and the Colorado River 2,000 feet below. From Dead Horse Point 150 million years of geological time and erosion of the Colorado River canyons can be viewed on a grand scale. The river is still slicing down through the slowly rising Earth’s crust “sculpting the fantastic shapes of the precipitous bluffs and towering spires.” Utah.com, the Utah travel industry website explains how Dead Horse Point received its name:

Before the turn of the century, mustang herds ran wild on the mesas near Dead Horse Point. The unique promontory provided a natural corral into which the horses were driven by cowboys. The only escape was through a narrow, 30-yard neck of land controlled by fencing. Mustangs were then roped and broken, with the better ones being kept for personal use or sold to eastern markets. Unwanted culls of “broomtails” were left behind to find their way off the Point. According to one legend, a band of broomtails was left corralled on the Point. The gate was supposedly left open so the horses could return to the open range. For some unknown reason, the mustangs remained on the Point. There they died of thirst within sight of the Colorado River.

At first glance, Dead Horse Point appears to be a barren land, but it is teaming with plants and animals that have adapted to survive on a severely limited water supply. Many animals are nocturnal, coming out in the evenings when the intense heat subsides. Other wildlife and vegetation have dormant periods that vary with the limited rainfall.

One Of The Most Photographed Views In The World

The Discover Moab website says, “The view from Dead Horse Point is one of the most photographed scenic vistas in the world.” My father pioneer landscape photographer Philip Hyde may have been the first to photograph Dead Horse Point in 1963. I have not found record of any other photographer having made a published photograph from Dead Horse Point of the Colorado River and canyons before 1963.

Dad and my mother Ardis made their September-October 1963 Southwest Trip almost exactly a year before the original founding of Canyonlands National Park in September 1964. The park was already proposed, but a great deal of road building and damage to the land had been recently inflicted through the search for Uranium mining sites. Before exploring Canyonlands, Mom and Dad stopped at Arches, which at the time was a National Monument. They met with Russel “Slim” Maybery. They went to dinner with Slim Maybery and his wife Juanita. After dinner Mom and Dad watched Slim Maybery do a slide presentation on canyon country. Slim Maybery became famous as one of those who along with Bates Wilson led the campaigns to make Canyonlands and Arches National Parks. Slim Maybery also became famous for inventing the double slalom ski event.

In those days many of the roads were extremely rough, primitive and only passable by 4-wheel drive vehicle. Mom and Dad drove their International Travelall into Canyonlands. The Travelall was like a large Suburban but with only 2-wheel drive. Dad arranged to have a guide in a Jeep named Tom Mulhern drive ahead. Whenever the going became too rough for the Travelall, Mom and Dad would leave it and pile into the Jeep and continue on.

The Photographs That Helped Save Canyonlands And Arches National Parks

A number of Dad’s photographs from that trip later became part of the Sierra Club Exhibit Format Series book Navajo Wildlands: As Long As The Rivers Shall Run and one of the most well-known Sierra Club Books Exhibit Format Series volumes, Slickrock: The Canyon Country Of Southeast Utah by Edward Abbey and Philip Hyde. Slickrock helped in the campaign to expand Canyonlands National Park and Arches, as well as to make Arches a National Park in 1971.

In Canyonlands they explored the “bays” of the White Rim, which Dad described in the travel log as, “A sandstone cap on a terrace which runs back to the talus slopes below the sheer cliffs of the plateau edge.” Dead Horse Point is on one end of these bays and Island In The Sky and Grandview Point are on the other. Mom, Dad and Tom Mulhern took off on several short hikes, or rather scrambles, down into the canyons. They also took the Jeep down a precipitous road that led all the way to the Colorado River.

“Everywhere thus far the country shows the effect of the Uranium Boom in roads going everywhere and in occasional pits, tailings piles or bulldozer scars,” Dad wrote. Tom left them and they followed the main road to Dead Horse Road. They finished the afternoon of October 6, 1963 at Dead Horse Point and camped there for the night. Because the air was heavy and hazy, Dad had to come back a few days later to photograph the view from Dead Horse Point using both black and white film and color film. It may have been the first time the view was photographed by a widely published photographer. Now “Colorado River From Dead Horse Point, Dead Horse State Park, Utah, 1963” is available for a limited time as a NEW RELEASE AT NEW RELEASE PRICING. For new release pricing see the portfolios and “Image Info” below each photograph on PhilipHyde.com or the blog post, “New Release Pricing.”

Who Photographed Dead Horse Point First?

Al Weber taught the Ansel Adams Workshops and Ansel Adams Gallery Workshops for over 30 years. “Unfortunately that happens a lot,” Al Weber said. “People like Phil got there first and someone else came along, did it later and publicized it more. The tables are almost turned. The uninformed don’t recognize it.” Al Weber went on to talk about his first time at Dead Horse Point:

The first time I went to Dead Horse Point, which was around that time, I was working in Canyonlands for Ilford. The bridge going out to the last promontory at Dead Horse Point was really treacherous. I remember there were people who would drive up to it and would not drive across it. You’d go out there and there was this gap spanned by a hand made bridge with logs and planks over the logs, with no side rails. It was a natural corral. They didn’t have to fence it. When your Dad went out there, he had to cross that bridge. Knowing Phil he probably didn’t drive across, he probably walked across it. If you go down in my darkroom there is a panorama from Dead Horse Point, but it was mid 1970s by a friend of mine. I went up and camped out there for several days. I photographed all around, but I didn’t photograph the view. For some reason or other it just didn’t click for me to do it. The big scene is not that high on my list, but I was very taken with Dead Horse Point. I loved the solitude of it. Besides the fact that you could walk all around the rim of it and in every direction was something totally different.

For many years there has been a campaign to make Dead Horse Point part of Canyonlands National Park. Al Weber said, “They will get it, but that will be too bad because the next thing you know there will be a freeway out there.” The formation of National Parks often results in another type of over-development brought on by heavy visitation. Today, the campground at Dead Horse Point still has limited water and only 21 spaces.

The Contest: Colorado River From Dead Horse Point

Now for the contest… The New Dead Horse Point Contest is simple. Anyone who finds and can show proof of a photograph made before 1963 and published before 1969 of the view of the Colorado River and part of Canyonlands from Dead Horse Point, black and white or color, either through a website link or written copy of the image and verifiable date from a credible source as defined by me, will receive an 11X14 Philip Hyde authorized archival fine art digital print of any image of choice we are printing on the Philip Hyde Photography website, a $450 value. One person can win more than one print if he or she finds more than one photograph of Dead Horse Point made before 1963 and published before 1969. Also, there can be multiple winners, if multiple photographs meet the criteria. The contest will not go on indefinitely, but the ending date is unknown as of right now. The contest may end suddenly without any prior notice. Please report your progress and findings in the comments below.