Posts Tagged ‘Architectural Photography’

Heartland 3 – Starke Round Barn, Red Cloud, Nebraska

October 9th, 2015

Risk and Ruin at the Starke Round Barn, Red Cloud, Webster County, Nebraska

A Drive Through The Heartland, Part Three

Front Entrance and Second Floor of the Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde. (Click image to see larger.)

Front Entrance and Second Floor of the Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click image to see larger.)

(Continued from the blog post, “A Drive Through The Heartland 2.”)

Largest of It’s Type in the World

For their time, for any time, many Midwest barns were engineering marvels, especially the large round barns. Round barns do not have any European antecedents like other barn designs. They are entirely an American creation and an important part of American architectural history. Round barns are also the most rare. Less than one fifth of one percent of all barns in the US are round barns.

One of the most impressive designs and largest in the world of its type, the Starke Round Barn near Red Cloud, Nebraska holds together without any nails or pegs, entirely by the weight and balance of the building and the beams of the structure. However, the design of the Starke Round Barn is not the only interesting aspect of its history.

Conrad Starke and Sons Amassed a Fortune in Milwaukee

Interior of Second or Main Floor and Inner Silo, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde. (Click on image to see large.)

Interior of Second or Main Floor and Inner Silo, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click on image to see large.)

The Starke Round Barn story rises and falls with the fortunes of the owners. The builders of the Starke Round Barn, the four Starke brothers, came to Nebraska from Milwaukee, Wisconsin just after the turn of the century. The Starke family had been in engineering and building for many years, constructing ships on the Great Lakes.

Starke family members at the time were known to have attended elite Milwaukee society parties, having amassed a fortune and political influence through various enterprises. They owned shipping companies, tugboat lines and other businesses on Lake Michigan and the other Great Lakes.

The Starke Round Barn Historic Site explains that around 1880, Conrad Starke, Sr. and his wife Veronica purchased 400 acres of land in Webster County, Nebraska in the Republican River Valley near what is now Red Cloud. Veronica’s brothers, Gottleib and John Christian Rasser had homesteaded in the area in 1870 after serving in the Civil War.

Old Farm Equipment Inside Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde. (Click on image to see large.)

Old Farm Equipment Inside Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click on image to see large.)

Conrad Jr., Ernest, Bill and Christopher Starke Build An Engineering Marvel Round Barn

Still living in Milwaukee in 1902, Conrad Starke Sr., the mastermind behind the greatest portion of the Starke fortune, gave his four sons Conrad, Ernest, Bill and Christopher funding and supplies to go to Nebraska to live at the Starke property near Red Cloud. In addition to other building materials for a barn and other projects, the Starkes shipped gigantic 12” by 12” timbers from the Great Lakes to Nebraska. The Starke Round Barn took the Starke brothers two years to complete.

As the Starke brothers erected the barn, they did not use nails or pegs like other barns of the time. The citation for the Starke Round Barn in the National Register of Historic Places describes the construction and how the building holds together through tension, weight and balance:

The Starke barn is not polyhedronal, a type more common in Nebraska, but a true round barn. It is three stories tall and 130 feet in diameter. The central silo, of brick and mortar construction, is 28 feet in diameter and 65 feet in height, with a total volume of 40,000 cubic feet. The roof is a gable and of low pitch, required by the barn’s great circumference. The construction method is a combination of balloon framing and heavy timber supports. The entire three level vertical and horizontal support frame is of massive 12 X 12 timbers, which are held together by compressive and balancing tensile forces rather than by nails or pegs, which would be useless as fasteners under the thousands of tons the building was designed to hold. The barn was originally covered with horizontal siding. In the early 1960s, the original wood siding was covered over with corrugated iron sheets… With the exception of this minor alteration, the barn still stands today virtually unaltered since its construction.

Back Downhill Side of the Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde 2015. (Click image to see large.)

Back Downhill Side of the Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click image to see large.)

With the full three stories, the barn contains over 40,000 square feet of floor space. Other large round barns may have one level that is larger in diameter, but other levels are smaller. This is the case with the Central Wisconsin State Fairgrounds Round Barn in Marshfield, Wisconsin. The Wisconsin State Fairgrounds Barn is considered the largest round barn in the US.

The Thriving Starke Dairy Farm

The Starke Round Barn with extensive room on all three floors, originally supported a large dairy operation. The third top level, or loft, provided hay storage. The middle second floor, accessed directly from the front of the barn with a triple-wide driveway and doors, housed farm machinery, wagons, buggies and other conveyances, tools and equipment. The bottom ground floor stabled horses in one section and cows in another. Nearly half of the bottom floor extended into the hillside, while the remaining majority of the ground floor had windows around it. The milking area was on the window side of the basement floor. There were also windows on the main second floor originally, but many of these were covered in 1960 when the metal siding was installed.

Milking Area, Interior, First Floor or Basement, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click image to see large.)

Milking Area, Interior, First Floor or Basement, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click image to see large.)

The Starke brothers enjoyed a successful farm for nearly 20 years. However, they also overspent on farm supplies, luxuries and lavish parties. Novelist Willa Cather may have attended one of the parties, speculated the current owner of the Starke Round Barn, Liz Rasser, a relative of the Starkes, in Nebraska Rural Living. Red Cloud was the childhood home of Willa Cather. In one of Willa Cather’s short stories, “The Bohemian Girl,” the main character attended a barn dance to celebrate the completion of the largest barn in the state. Willa Cather’s father, Charles, who owned a real estate, insurance and loan office in Red Cloud, signed some of the surviving historic papers of the Starke barn. The Starke brothers were popular in the area and known by most.

“Everyone wanted to come out and work for them because they would just go sit under a shade tree and drink out of a cider jug all afternoon,” Rasser said. In 1915, the Starke brothers started the dairy operation, with approximately 75 stanchions for milking on the lower level of the barn. In 1922, the Starkes had Nebraska’s best producing cow for milk and butter.

Tools, Chair, Window, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015.

Tools, Chair, Window, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click image to see large.)

The barn has made it through two tornadoes and been missed by nearby fires, but tragedy struck the Starke brothers when their dairy herd contracted tuberculosis and nearly all died in the early 1920s. Debts had been mounting. Two of the Starke brothers left town and both died of heart attacks. The remaining two brothers moved to town, but lost the barn and the whole farm to a foreclosure sale on the steps of the Webster County Courthouse in 1929.

Walter and Will Rasser, nephews of Conrad Sr. and Veronica Rasser Starke, purchased the Starke farm in fateful 1929. Percy, Liz and son Cal, the current owners, are descendent from the original Rassers who bought the farm. The Rassers today give tours of the barn and hold special events and historical activities on the grounds.

The Rassers are actively raising funds to further restore the barn. Through various grants they were able to replace the gigantic roof and more maintenance is needed. To donate or get involved with the Starke Round Barn go to The Starke Round Barn Historic Site.

(Continued in the next blog post in the series, “Heartland 4 – Nebraska – Little Ruins on the Prairie.”)

Additional References:

Starke Round Barn Family History

Visit Nebraska: Starke Round Barn

Red Cloud Attractions: Starke Round Barn

Heritage Highway, US 136, Pioneer History

Milwaukee Waterways: Conrad Starke

A Drive Through The Heartland 2

September 4th, 2015

A Drive Through The Heartland, Part Two

Transition from West to Midwest

(Continued from the blog post, “A Drive Through The Heartland 1.”)

What I Have Found…

Horst Barn With Cumulus Clouds, Potter, Nebraska copyright 2015 David Leland Hyde. This is a Western style barn in Western Nebraska. More round barns occur in Eastern Nebraska.

Horst Barn With Cumulus Clouds, Potter, Nebraska copyright 2015 David Leland Hyde. This is a Western style barn in Western Nebraska. More round barns occur in Eastern Nebraska. (Click on image to see large.)

Along the way, on this journey through the Heartland of America, I have now photographed each subject I suggested in the first blog post in this series, except for waterfalls and a shipwreck. The falls I planned to photograph were in the Upper Peninsula of Michigan, in Kentucky and in Tennessee. The southern section of my trip through Kentucky, Tennessee, Arkansas and Texas has been postponed due to heat. If I had traveled up into the Michigan Upper Peninsula, as originally outlined, I would have also visited a shipwreck or two.

Nonetheless, cutting out the southern portion and the Michigan U.P. will allow me to get to a bit of Minnesota, photograph the world’s largest round barn in Marshfield, Wisconsin and find the many historically significant barns in the southeastern corner of South Dakota.

In my now nearly 6,000 miles of wandering through California, Nevada, Utah, Wyoming, Nebraska, Iowa, Illinois, Indiana, Michigan and Ohio, I have managed to run across numerous old mills, historic round barns, rectangular barns, multi-sided barns, one tobacco barn, and even a Swedish Gothic Revival style milk barn listed on the National Register of Historic Places. I have photographed gardens, farm animals, birds, people, children, horses, pigs, hogs, cows, goats, chickens, beaches, trees, forests, two county fairs, one covered bridge, plastic animals, stone animals, diners of various ethnicities, ponds, lakes, grasses, cornfields, old farm equipment, fast cars, slow cars, Ottawa National Wildlife Refuge, abandoned homes, barns and whole farms, renovated homes and barns, relocated barns and the cityscapes of Detroit, living, dying, dead and resuscitating.

How Is The US Doing?

If this trip were like taking the temperature of the country, I would say I have found it very much alive and well in many ways, and deeply sick in others. I have been surprised by the extent of blight, ruin and decay, not just in Detroit or other urban areas, but also in the country, in small towns and large towns. One of the reasons I started photographing barns in the first place is that they are going away, but I have been struck most by how many are going and gone and how fast. Barns are dying, no doubt about it. The whole small-farm way of life is a thing of the past and fading fast in the memory of the aging and dying.

Meanwhile, Topher and Kori’s wedding was an inspiration and party to remember. More on it in blog posts to come in this series. I have learned that love takes on many shapes and forms, unless it does not, as I have had at least three romances on this trip that never became romances… more on them in subsequent posts too.

Round Barns, Multi-Sided Barns, Rectangular Barns, Barns of All Shapes

Elijah Filley Stone Barn and Masonic Temple, Filley, Nebraska, copyright 2015 David Leland Hyde. Stone barns are far more rare than round barns, except in New England.

Elijah Filley Stone Barn and Masonic Temple, Filley, Nebraska, copyright 2015 David Leland Hyde. Stone barns are far more rare than round barns, except in New England. (Click on image to see large.)

When I started actually reading the books on barns I bought from Amazon Marketplace, I discovered in A Round Indiana that round barns are extremely rare. Only about 1/5 of one percent of all barns built are round barns. If searching for barns were like playing poker, round barns would be the blue chips.

The author of A Round Indiana, John T. Hanou, wrote that Indiana has more round barns than any other state, but that if as exhaustive a study as he had made were done in Wisconsin, as many or more round barns might be discovered there. Also, there are true round barns and multi-sided barns. I have photographed eight-sided, ten-sided, 12-sided, 14-sided, 16-sided and 18-sided barns.

Western Deserts Give Way to Midwestern Grassland and Prairie

The drive across Nevada and Utah on Interstate 80 goes through some forested high mountain passes, but primarily it runs through a dry, dusty land of the Great Basin and Painted Deserts. Wyoming, along the freeway, is a cross between desert and grassland, a high plateau of boulder dotted baked cattle land. Nebraska feels much like Wyoming, but greener, more like the Midwest. Nebraska hayfields are more productive and plentiful and the woods are more lush and extensive.

The light changes from West to Midwest, generally. Evenings have more glow and afterglow. The light is softer and more diffuse. It is also less harsh and with less contrast, as you travel from West to East. Water becomes more plentiful moving toward the heartland of America. There is more dew, more sweat, more condensation, more mold, more rot, more rust and more and faster decay. Progressing from Nebraska into Iowa and from Iowa into Illinois and Indiana, you find yourself constantly surrounded by lawn mowers and people mowing along the road and around their homes and businesses. The volume of lawns and grass increases as you head east.

Water and Greenery

Fresh Round Hay Bales Near Ogallala, Nebraska, copyright 2015 David Leland Hyde. A high humidity muggy day in the Midwest. Trees and greenery along the roadside are more lush than Wyoming or other Western states. (Click on image to see large.)

Fresh Round Hay Bales Near Ogallala, Nebraska, copyright 2015 David Leland Hyde. A high humidity muggy day in the Midwest. Trees and greenery along the roadside are more lush than in Wyoming or other Western states. (Click on image to see large.)

For many generations, ever since we settled California, we have kept up the illusion that California is lush and green like the Midwest or the East. However, California is primarily desert, just like Nevada, Utah and in places if we are lucky, like Wyoming. Nonetheless, we have imported water, especially into Southern California from all over the West, particularly Northern California, where I live, with the idea that we could make Southern California look lush and inviting.

California already has the most interesting terrain, but we wanted it all. We had to have the green too. Now we are paying for this. Now we are rippling out lawns, xeriscaping, reengineering and trying to get back to a more natural version of ourselves because the water chickens have finally come home to roost during the current drought.

Much of the Midwest has been overly wet lately, particularly Michigan, for example. In Michigan and elsewhere in the Midwest, it is still politically ok to run the faucet as long as you like, have a giant lawn and giant lawn mower and the excess just drains away. While California has had the most severe drought in recorded history, bridges are out all over the heartland of America due to torrential rains and flooding over the last few years. The Great Lakes are all at least two to four feet above normal, which is a huge amount of water stored in excess.

Recently while talking to Mark Hursey, the owner of the Smith Round Barn in Ligonier, Indiana, I said, “I didn’t realize you irrigate in the Midwest, but now I see your irrigation ditch.” The watercourse I had noticed was brimming full of water.

“That’s not an irrigation ditch like you have in the West,” Mark Hursey replied. “That’s a drainage ditch. You see that round metal cap in the middle of the field?”

“Yes,” I said.

“That is the well for that field,” He said. “The water from the well covers that field and the excess drains off in the drainage ditch.”

“Because you have had a number of wet years lately, you aren’t drawing down your aquifer like they are in the Great Plains, in Nebraska, Iowa, Kansas, Oklahoma and Texas, right?”

“Well, not as much, but we have had problems in the past with drawing the aquifers down in this part of the Midwest too.”

You will read more about Mark and Laura Hursey, their farm and the Smith Round Barn in future blog posts.

Western Barns Versus Midwestern Barns

Large Brick Round Barn Near Conroy, Iowa, copyright 2015 David Leland Hyde. Round barns are more common in Iowa than in Nebraska, or any Western states. (Click on image to see large.)

Large Brick Round Barn Near Conroy, Iowa, copyright 2015 David Leland Hyde. Round barns are more common in Iowa than in Nebraska, or any Western states. (Click on image to see large.)

Other differences distinguish West and Midwest. With some regional exceptions, people all over the West are generally friendly to strangers, but Midwesterners are generally more easy going and more apt to help and be generous to strangers. Still, just like rural areas in California, Utah, Nevada or elsewhere in the West, a stranger must be careful when approaching a home in a remote area in the Midwest. Farmers and other rural people can be heavily armed and on some occasions may be dangerous. In blog posts to come I will share stories, one in particular, that scared me out of my Chacos Sandals and gave me cause to rethink how I approach rural requests for photograph permissions.

All types of barns can be found in all regions now, but originally, barn types followed the settlement patterns in different areas of the country by ethnicity. The typical Western barn has a roof that is steeper in the center and then decreases in steepness as it goes out toward the edges, whereas the Midwestern barn is the opposite. The top of the roof is typically less steep and the outer edges are the steepest, as in, what is called the Gambrel roof. Also, Western barns usually have the hay hoist up at the roof peak. Western farmers hoist their hay up to the upper floors on the outside of the barn, then lift it through a large opening up under the eave, protected by an extension of the roof called a hood.

One of the reasons round barns became more popular in the Midwest is that Midwestern farmers generally hoist the hay upstairs after the hay wagon enters the barn. In a round barn the hay wagon and a team of horses has enough room to circle the barn moving forward, without having to get the horses to back up to turn around. In the transition states between West and Midwest, there is a greater mixture of types of barns. The transition from West to Midwest is noticeable in the types of barns. For example, Nebraska has more Western style barns than Iowa, but Iowa has more than Illinois and Indiana and so on from West toward the East. The Midwestern state that feels the most Eastern is Ohio. Ohio transitions from Midwest to East. More typical in the East are stone barns, but stone barns can be found all over the US. More on different types of barns and different ethnicities in different areas in future blog posts.

(Continued in the next blog post in this series, “Heartland 3: Starke Round Barn, Red Cloud, Nebraska.”)

What types of barns are typical where you live?

David Leland Hyde’s Portfolio One Revisions And New Photographs

April 5th, 2013

Many New Releases Added And Others Revised In My Portfolio On PhilipHyde.com

Cypress Trees, Point Arena Odd Fellows Cemetery, Mendocino Pacific Ocean Coast, California, copyright 2012 David Leland Hyde.

Cypress Trees, Point Arena Odd Fellows Cemetery, Mendocino Pacific Ocean Coast, California, copyright 2012 David Leland Hyde.

Besides several images from the blog post, “My 12 ‘Greatest Hits’ Of 2012,” now on display large on PhilipHyde.com, many other newly released DLH images are now on view and a number of previously released photographs are now revised and updated. See the David Leland Hyde Portfolio at the end of 16 Philip Hyde Portfolios on the Philip Hyde Photography website and acquire a fine art archival lightjet chromogenic print out of a limited edition of only 100.

For those who are not familiar with the term chromogenic, the simple definition is that such prints are not inkjet digital prints, but form the image on photographic paper through exposing the paper with light in a photographic process as opposed to using a digital print making ink set to color the paper. For more on digital prints versus chromogenic prints, see the blog posts, “Photography Galleries, Collectors, Appraisers And Digital Prints,” and “Why Photography Galleries, Curators And Collectors Like Limited Editions.”

Mesas, Boulders, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

Mesas, Boulders, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

In this blog post, I will share a little about the making of a few of the newly released photographs now in the revised portfolio. In the blog posts, “Northern California Beaches: Misty Sonoma Coast” and “Actor, Photographer, Apple Farmer And 1960s Activist Nicholas King’s Memorial,” I included a few of the landscape photographs from the Sonoma County Pacific Ocean Coast and the Mendocino County Pacific Ocean Coast. Some of these California beaches and rocky cliffs can now be seen in the revised portfolio. One image that did not appear in “My 12 ‘greatest hits’ of 2012,” from my Sonoma and Mendocino Coasts trip, that now appears in my portfolio is “Cypress Trees, Point Arena Odd Fellows Cemetery.” Also, a photograph from 2009 of Utah called, “Mesas, Boulders, San Rafael Swell,” that I posted with my guest blog post on Greg Russell’s Alpenglow Images, “Make Your Own Tripod Tracks,” has itself also been revised and added to the remade portfolio gallery.

Sandstone Boulders Against The Sky, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

Sandstone Boulders Against The Sky, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

On the same trip through Utah in 2009, I also made the vertical, “Sandstone Boulders Against The Sky.” This photograph was one of many I made that morning. I left Boulder, Colorado the evening before and spent the night just past the Green River crossing where Interstate 70 climbs up onto the Colorado Plateau. It was a bitter cold winter night with blowing snow and howling gale force winds. In the morning my Ford Van was caked with frozen snow, ice and road grime. I stopped there to sleep only for a few hours in the middle of the night and woke up just as the light began to dawn on the snowy landscape. The desert lands of Southern Utah came to live with new definition and beauty in the fresh snow. In the early morning my hands, nose and other extremities felt like they would surely get frost bite, but I persisted to photograph all morning. By late morning the snow was beginning to melt off in the surprisingly warm sun, a welcome contrast to the cold of the night before. As the snow melted, intricate and visually fascinating snow patterns were left against the red rock sandstone background. Also, the light softened and became more diffuse as high clouds moved back in.  The sandstone boulders appeared in many of my photographs, but this image in particular also captured the sky and the light.

“Dawn, American River From Fair Oaks Bluffs,” I made in 2012 from another Uncle, Clint King’s home the morning of his memorial service. I got up about a half hour before sunrise to be able to catch the sunrise and the mist on the American River. Fair Oaks is a beautiful bedroom suburb town on the outskirts of Sacramento. My Uncle Clint was a self-made man who did very well. I will write a future blog tribute to him as I did for my Uncle Nick King. The tribute will also contain more images of the event and related subjects.

After my Uncle Clint’s memorial celebration in November 2012, I drove to Livermore to see the Golden Decade Legacy Show at Figurehead Gallery that included my father’s vintage and authorized archival prints, Ansel Adams prints, Minor White prints and the black and white photography of other students of theirs from the California School of Fine Arts, now the San Francisco Art Institute. After viewing the exhibition, I attempted to photograph at the Livermore Gravel Pits as Dad did in 1949. However, due to liability, they would only let me photograph on a day where the office foreman could accompany me. I tried to sneak some photos, but an upper level manager drove over and yelled obscenities at me.

Manly Beacon, Badlands And Panamint Range, Death Valley National Park, Mojave Desert, California, copyright 2009 David Leland Hyde.

Manly Beacon, Badlands And Panamint Range, Death Valley National Park, Mojave Desert, California, copyright 2009 David Leland Hyde.

I drove from there down to photograph some architecture of the restored old homes in downtown Pleasanton, California. However, still craving more gritty fare, I also stopped under the freeway to photograph graffiti and street art. On the way home through Stockton, I also exited in downtown there, but did not find much I wanted to photograph until I found my way to the Deep Water Port of Stockton. Again, I ran into management that would not allow photographs without contacting the corporate office and coming back another day. One of the homeland security guards told me how to drive around to the other side of the San Joaquin River and photograph the Port of Stockton from a distance. This is how I made the photograph, “Port of Stockton” that also appears in the updated portfolio.

In 2009 in Death Valley National Park, I first came across the phenomena of photographers overrunning an iconic landscape. I descended into Death Valley during the evening magic hour, made some images near Panamint Springs and a few other stops on the way down to Stovepipe Wells and the Mesquite Flats Sand Dunes. I hit the sand running in the Twilight hour. The dunes were heavily beaten with footprints, as I suppose there had not been any windstorms recently. Still, I managed to make a number of good images including some of the classic tallest dune there at Mesquite Flats with some Amargosa Range mountains in the background. I was satisfied, short on time and the campground and all lodging was full. I moved on to the Furnace Creek area and parked for the night in my Van in the hotel parking lot.

Two Horses With Live Oak, "Inveration," Sierra Foothills Near Dunlap, California, copyright 2009 David Leland Hyde.

Two Horses With Live Oak, “Inveration,” Sierra Foothills Near Dunlap, California, copyright 2009 David Leland Hyde.

The next morning I woke up in the dark and headed out to Zabriski Point. I was amazed to find that even an hour before sunrise, the parking lot already had around 10 vehicles in it. I took the paved road width trail up to Zabriski Point proper and found close to a dozen photographers already set up waiting for the sun to come up. I stopped briefly in the paved stone-encircled corral where more cattle were gathering by the minute to photograph the sunrise cliché.

I walked back toward the parking lot, but saw a small dirt trail taking off for the ridge that angled toward Manly Beacon. I took this trail and the crowd of gathering photographers soon faded into the distance. I followed the dirt trail along the ridge top marveling at the vast open space of the Badlands and how not one photographer could be seen in the entire Death Valley landscape, except in the small confines of one paved trail overlook. I made a few photographs of Manly Beacon, an icon, by any definition, though captured from an angle that only a few take the time to see because it requires a little extra walking. The irony is that the sunrise all those other photographers were waiting for never happened. The sun never came up and never came out. it remained cloudy, as you can see in my photograph. I thought about how my Dad would most probably have hiked way down into the Badlands with his large format view camera, miles from the parking lot, lost amidst the bare earth of the erosion landforms. I remembered being teased in school for being different. At that moment  in the Death Valley landscape, all I felt was gratitude for my upbringing. My parents taught me not only to think “outside the box,” but more importantly to live outside the box… and as Robert Frost said, “That has made all the difference.”

Urban Railroad Ultra Fine, Reno, Nevada, copyright 2009 David Leland Hyde.

Urban Railroad Ultra Fine, Reno, Nevada, copyright 2009 David Leland Hyde.

On that note I introduce “Two Horses With Live Oak, ‘Inveration,’ Sierra Foothills Near Dunlap, California,” and “Urban Railroad, Ultra Fine, Reno, Nevada.” These two 2009 photographs are what I call Photoshop experimental photography art. “Inveration” is a made up word to describe my Photoshop process for that image.

Please share: what do you think of these experiments and the other images? Do you live outside the box and away from the herd?

 

David Leland Hyde Archival Prints Pre-Launch

September 29th, 2011

David Leland Hyde’s Archival Lightjet Digital Prints

Pre-Launch of Limited Edition Archival Digital Prints

(REGULAR BLOG POSTS BEGIN BELOW THIS ANNOUNCEMENT.)

7X.-DHCA-BSur-39-09-River-Mouth,-Beach,-Big-Sur.sharp-For-Web-blog

Beach At Little Sur River Mouth Near Pacific Coast Highway 1, Ice Plant, Fog, Pacific Ocean, California Beaches, copyright 2009 David Leland Hyde.

(See the photograph larger, go to “River Mouth, Beach, Big Sur, California.”)

Now in an unusual and unprecedented pre-launch time frame, we are offering fine art archival Lightjet digital prints of my photographs. This group of images is the first version of my first portfolio offered in a Limited Edition of only 100 archival digital prints of each photograph. While I am full-time in the business of photography representing my father pioneer landscape photographer Philip Hyde’s work, I am only a part-time photographer. My photographs and archival digital prints will continue to be rare. There will be only 100 prints offered in all sizes of each image as long as I live. In the future my photographs will be advertised, covered and offered in major media, but will be available now only by word of mouth and online during the pre-launch.

David Leland Hyde’s Artist Statement

My purpose is to hurl down icons and smash conventions while expressing who I am through street, still life, architectural and landscape photography. I seek equalization and spiritual freedom with a laughing irreverence for ideologies perpetuated out of fear. I aspire to portray all races, cultures and life as I find them, yet with a twist added through my own selection of the elements within the frame. I often strive for irony, symbolism or to send a message to the viewer through the photographic image that will help people awaken from the present mass slumber party.

A Note On the Photographs

These photographs are all single exposures made with a Nikon D90, often hand held, some with minimal post-processing, some are camera raw. For the most part, I do not pre-plan photographs, or even often take special outings for the purpose of photographing, but make my images in the course of my travels and activities. Thus these were nearly all what would be called “found” photographs, though in the case of those occurring around where live, I sometimes made the photograph on a different day from when I first saw the opportunity.

David Leland Hyde Archival Print Pricing

Print Size      Unmatted/Unframed           Matted         Matted & Framed

8X12                    $55                                $75                         $95

16X24                  175                                245                         315

20X30                  385                                475                         565

For Print Acquisitions Please Contact:

David Leland Hyde

303-562-8198 cell

david@philiphyde.com

http://www.philiphyde.com/

Or order the archival digital prints from inside the Portfolios tab on the Philip Hyde Photography website. Go into the David Leland Hyde Portfolio and scroll down below each photograph to read image information, sizes and pricing information.

To see David Leland Hyde’s best photographs from 2011 see the blog post, “Best Photos Of 2011,” or to view the best of 2012 see the blog post, “My 12 Greatest Hits of 2012.” To read an interview by landscape photographer and blogger Guy Tal go to, “Interview With David Leland Hyde.” To see David Leland Hyde’s photographs of winter in the desert see the blog post, “Winter Snow On Desert Landscaspes.” Or for his images of San Francisco see the blog post, “The Flowers Of San Francisco.” To view David Leland Hyde’s photographs of the ghost town Bodie, Mono Lake and the Sierra Nevada East Side see “Sierra Eastside Adventures: Bishop, Mono Lake and Bodie.” To see another high quality interview by photographer Richard Wong see, “Son Of An Environmental Photography Pioneer.”

Monday Blog Blog: Derrick Birdsall

September 26th, 2011

Monday Blog Blog: Derrick Birdsall of My Sight Picture Lands A Book Deal To Photograph North Texas Frontier Forts And Lives For A Week In A Historical Log Cabin

Sunset, Log Cabin, Farmer's Branch Historical Park, Farmer's Branch, Texas, copyright 2009 Derrick Birdsall.

(See the photograph large here.)

What in the world is Monday Blog Blog? See the blog post, “Monday Blog Blog Celebration.”

Some photographers have no problem with singing their own praises or even over-blowing the merit of their own work. In contrast, many photographers and other creative people hesitate to promote themselves because either they doubt their own work, feel self-aggrandizement is tacky or any number of other reasons. My father, pioneer landscape photographer Philip Hyde, fit into the second category and architectural, historical, street and landscape photographer Derrick Birdsall does as well.

When I proposed doing a Monday Blog Blog on Derrick Birdsall and his popular blog My Sight Picture, he said something about the caliber of photographers I feature, how short a time he had been “serious” about photography and that he felt highly honored to be the subject of such a blog post. My reply was that my father liked to support and encourage those who were the most dedicated to the craft and the most accelerated in their development. Besides, Dad was always egalitarian in his association with all levels of photographers. I added that even though Landscape Photography Blogger exists to honor my father, it is my blog, doggon it, and I will feature who I want, which essentially in time will be a wide variety of landscape photographers from all over the world that I haven’t even met yet, but to start with I will feature those who I like and who support this blog the most.

Derrick Birdsall began his participation on this blog by asking in a comment if I thought that the current period was another Golden Era for photography. See comments on the blog post, “Photography’s Golden Era 2.” Ever since, he has shown a knack for asking pithy, discussion sparking and often difficult questions. I have always been amazed at his prolific volume of photography. This month, for example, he made over 20,000 exposures. Also, he puts up blog posts more frequently than any other blog I follow.

Just five years ago, Derrick Birdsall began photographing with a small Hewlett Packard “point-and-shoot” that came with a printer he bought. Because it was convenient to keep in his pocket, he took it everywhere he went. At first he had mainly an “I was here” style, but once he was out exploring around the Gila River in New Mexico and a storm blew across the canyon. Derrick “snapped” a few pictures and found that one of them had an “Ansel Adams style to it and something just clicked in my head, that I could do this.” He now photographs mainly with his Canon 7D, with his earlier Canon 50D as a backup. For post processing, he uses only Adobe Lightroom and Idealab/Google Picasa, no Photoshop.

Right away Derrick made an impression on me with his polite, Southern manner sprinkled with “please” and “thank you, Sir.” He was born in Virginia and has lived in Texas since the 4th Grade. His distinct photography in some ways is best exemplified by his photographs from his visit to Santa Fe, New Mexico. Rather than going for the landmarks: the adobe, Native Americans on the Plaza, or other typical Santa Fe clichés, his images on Smug Mug are of the land and not even of the most prominent features. He explained that this was partially circumstantial as he had attended a museum conference, took a walk and photographed what looked good to him. “A lot of times we miss something right under our noses because we’re too busy trying to put tripods where someone else already has. Part of my uniqueness is that growing up, I never spent much time looking at, or learning about art or photography. Even now, I don’t look to others’ photographs to guide what I do.”

He photographs landscapes, motorcycles, shooting competitions, airplanes, animals, architecture and many other subjects. Here’s his explanation for wide variety over specialization:

If I had my druthers, I’d be out working the Texas deserts and canyons every day with a camera. Unfortunately for me, I can’t get out there all the time, so I take images of what I have access to. There’s beauty to be found everywhere—whether that’s in a majestic desert landscape, a nice macro that you walk by every day, your dog laying out in the sun, or whatever you might pass by.  My rule number one is that to take a good picture, you’ve got to have your camera with you everywhere you go.  That way if you see something that catches your eye, you can take the time to stop and capture that moment. That being said, I think that to really capture the essence of something, you have to know it, and the images I share with folks are of things I know and love.  Basically, it’s all about ‘seeing.’  Once you start hunting for the light, you see it everywhere you go. I also use every photo opportunity as a way to become more skilled with the camera across the board. For example, I can learn something from taking an image of a hot rod and apply it to capturing reflections of a pool of water in the desert. In the short time I’ve been working at this, I’ve learned that photography is often about trial and error. Every time you hit the shutter button it’s a learning experience. Sometimes it works and sometimes it doesn’t, and the more images you take, the better you get at being able to bend the camera to your will so that you can capture the image you visualized.

The big news recently was a book deal with TSTC Publishing for a coffee table book featuring Derrick Birdsall’s photographs of the Texas Frontier Forts. Derrick Birdsall has a background in history and has been photographing the Texas Frontier Forts seriously since 2009. He earned an MA in History from Sam Houston State University and since then has been working in museums for over 20 years. He learned from a competitive shooting mentor that if you want to succeed, “you have to let other people know what your goals are and they will help you reach your goals.” Derrick Birdsall has had the goal to produce a coffee table book on the Texas Frontier Forts for some time. At one point, he collaborated with Margaret Hoogstra, who manages a cultural tourism trail centered on the Texas Frontier Forts called Texas Forts Trail. She was at a meeting with a representative from TSTC Publishing and they started talking about potential book projects. Margaret Hoogstra mentioned Derrick Birdsall’s photography of the forts. Subsequently the publisher set up a meeting in which they agreed to do the book. Derrick called it a “networking success.”

The forts project hits so many buttons for me. For starters, I am a historian by trade… I love history, always have. Secondly, the bulk of the forts are well off the beaten path and in some truly beautiful country. Thirdly, they are some of the only places you can get to anymore where you can not only see things the way they were, but you can feel it too. Standing inside some of the old buildings and hearing the wind whistling through the cracks in the walls without the interruption of modern noises is just magical to me… I can get my history fix and my landscape fix in the same breath.

The city of Farmer’s Branch, Texas has a historical city park with 28 acres of grounds and 12 structures dating from the 1840s to the 1930s. Derrick Birdsall, park Superintendent for 12 years, slept in one of the log cabins for a week this last March in commemoration of Farmer’s Branch Historical Park’s 25th Anniversary. The Dallas Morning News article shared how Superintendent Birdsall wore period clothing and cooked over an open fire to help bring frontier days to life. See the YouTube video here. The Farmer’s Branch Historical Park, with over 80,000 visitor’s a year, is an outdoor museum, special event venue and educational facility sharing the heritage of North Texas and Dallas County.

I enjoy being able to teach people… and there are definitely perks associated with the museum world. From time to time I can flash my “museum card” and get access to places that I otherwise would not have…. My museum is… not your usual gallery type setting. One of the things that just flat drives me nuts is that quite a few of the folks who work in a gallery setting are elitist snobs. It’s my belief that the objects in our care are to be shared with as many folks as possible and that visitors should have reasonable access to the artifacts. A lot of the gallery types keep everything behind glass if it’s accessible at all and more often than not you can’t even see the items because they are hiding back in the stacks. How can you educate and teach your visitors if all of your tools are locked up behind closed doors? The other thing that I notice about some folks in more traditional types of museums is that while they are often times highly educated, they only know what they’ve read, and not because they have any experience in their subject matter.  Those are the folks that talk about the rules in art and photography but if you put a paintbrush or camera in their hands they wouldn’t have the slightest idea how to use it.

When Derrick Birdsall studied museums, he attended graduate school. When he learned competition shooting, he took classes from the best marksmen in the world (See a YouTube video of the “Three Gun” type of shooting he does here). However, with photography he has been largely self-taught. He took one class online with master landscape photographer William Neill, but the rest of his training has been through trial and error in the field. He chooses photographs and guides his photography with the help of pre-visualization. In shooting competition, he made a sight picture, aligning the front and rear sight of his gun with the target. He also learned to fire between breaths, during what is called the respiratory pause. He sometimes uses this technique while photographing. As a result of his training, he can often defy the rules about when a tripod is necessary. He wrote about the parallels between both types of “shooting” in an excellent blog post appropriately called, “Sight Picture,” similar to the name of his highly visited blog My Sight Picture. Take a sight along his photo blog for yourself. You will see the work of a new voice in photography, traveling at a high velocity toward his target.