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New David Leland Hyde Portfolio Prints

February 2nd, 2012

Unveiling 24 New Archival Digital Prints Added To The David Leland Hyde Portfolio At Philiphyde.com

To begin this exciting announcement, from the blog post, “Best Photos Of 2011,” four new Lightjet archival fine art digital prints are now part of the David Leland Hyde Portfolio:

Fountain, Main Courtyard, Sauk Institute, La Jolla Shores, San Diego, California, copyright 2009 by David Leland Hyde. Nikon D90.

- “Curved Shadow On Cliffs, Drakes Beach, Point Reyes National Seashore”

- “Thistle Heads And Pines, Northern Sierra Nevada,”

- “Tents, Dutton Hall Financial Aid, Fountain, Occupy UC Davis, Davis, California”

- “Grain Processing Plant At Night, Great Central Valley”

Additional NEW IMAGES added to the David Leland Hyde Portfolio at Philiphyde.com are:

- “Juniper Tree Skeleton Near Eureka, Nevada”

- “Panamint Mountains Near Panamint Springs, Approach To Death Valley National Park”

- “Granite, Pool And Maple Leaves At Indian Falls, Northern Sierra Nevada”

- “Daisies, Cracking Adobe Wall, Carmel Mission, Carmel”

- “Bicycle Church, Barrio Anita, Tucson, Arizona”

- “Historical Mansion, Downtown Santa Cruz, California”

- “Graffiti And Wall Art, San Francisco, California”

- “Self Realization Fellowship, Pacific Palisades, California”

- “Fountain, Main Courtyard, Sauk Institute, La Jolla Shores”

- “Wheelbarrow, Adobe Wall, Fall Leaves, Santa Fe, New Mexico”

- “Bell Tower, San Juan Bautista Mission”

- “Tokopa Falls, Kaweah River, Sequoia National Park”

- “Summit Sunset, Loveland Pass, Rocky Mountains, Colorado”

- “Sunrise And Volcano Along US Highway 6, Nevada”

- “Reflections Detail, Manzanita Lake, Lassen Volcanic National Park”

- “Hay Bales, Pacific Ocean, Santa Cruz County North Coast”

- “Foothills Of The Rocky Mountains Front Range Near Eldorado Canyon State Park, Boulder County, Colorado”

- “Ghost Ranch In Snake Valley, Snake Range, Near Milford, Utah”

- “Sierra Wave Cloud Over Bodie, Eastern Side Sierra Nevada, California”

- “Tufa, Mono Lake, East Side Sierra Nevada Near Lee Vining, California”

- “Tide Pool Rocks, Point Lobos State Natural Reserve, California”

- “Tokopah Falls, Sequoia National Park, Southern Sierra Nevada, California”

- “Bell Tower, San Juan Bautista Mission, California”

- “Foothills Of The Rocky Mountain Front Range Near Eldorado Canyon State Park, Boulder County, Colorado”

- “Snow And Grass Detail Near Angel Fire, Sangre De Christo Mountains, New Mexico”

View the photographs: “David Leland Hyde Portfolio.”

Please share which new photograph(s) you like best of the group and which you like least…?

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Denali National Park, Alaska Travel Log 17

January 19th, 2012

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

(Pioneer landscape photographer Philip Hyde, his wife Ardis and son David in their Avion Camper on a 1968 GMC Utility Body Pickup. Continued from the blog post, “Denali National Park, Alaska Travel Log 16.”)

Part Seventeen: Fairbanks, Alaska to Donnelly Creek State Campground, Richardson Highway, Alaska

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

Thursday, July 15, 1971: The day started sunny and progressed to clouds and rain. At 7:00 am when Malcolm Lockwood left for work as staff photographer at the University of Alaska Museum, the sun was brightest. By 9:00 am when we left Malcolm Lockwood’s home, storm clouds were already gathering. After grocery shopping and gas pumping we drove out of Fairbanks a ways. We passed Alaskaland, then decided to turn around to take David through. Alaskaland combines an amusement park with museums, kids activities, restaurants, shops, educational shows and more. After eating lunch we ventured inside. David liked the paddlewheel river boat and the army helicopter most. At last he had a ferris wheel ride that he and Philip took together. When we got back onto the Richardson Highway and passed through Delta Junction. On leaving Delta Junction, the road became much more interesting than the flat country of the Alaska Highway. The terrain along the Richardson Highway, though also open, presented many wooded rolling hills with small lakes between. We had dinner at a turnout, then dropped down to the broad tree strewn Delta River bed at the base of the Alaska Range peaks. The fireweed and pea vine bloomed in mats out into the river flat. Philip took some photographs along here in the late light. We stopped to look at Black Rapids Glacier. We drove several miles beyond, then returned to Donnelly Creek State Campground. This way we could do that stretch again the next day. The air turned cold and the clouds were solid. We were out of the mosquitos. The temperatures dropped into the 50’s. We heard on the radio that it was 36 degrees in Anchorage.

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

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

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

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Carr Clifton At Mountain Light Gallery

January 9th, 2012

A Solo Exhibition of New Work

Carr Clifton

Nine Weeks In The Sacred Headwaters

Guest Artist Exhibit At Galen Rowell’s Mountain Light Gallery

Bishop, California

January 13 to March 15, 2012

Artist’s Reception and Booksigning

Friday, January 13, 5:30-8:30 p.m.

Slope in the Spectrum Range, Mount Edziza Provincial Park, Coast Mountains, British Columbia, Canada, copyright 2011 by Carr Clifton.

Please join Mountain Light Gallery on Friday, January 13 from 5:30 p.m. to 8:30 p.m. for the opening of its latest guest artist exhibition, Nine Weeks in the Sacred Headwaters, featuring 32 fine art prints of the Sacred Headwaters, British Columbia, Canada, by master printmaker and award-winning photographer Carr Clifton.

In collaboration with author and National Geographic Explorer-in-Residence Wade Davis, and the International League of Conservation Photographers (iLCP), Carr Clifton captured some of the most beautiful and most endangered lands in North America.

Nine weeks trekking hundreds of miles of backcountry trails and roads, and 10 aerial shoots from helicopters, Carr Clifton’s portfolio of this incredible region conveys the importance of protecting this precious place from large scale industrial development. Many individuals and organizations donated their time and financial support making this project possible, and resulting in the visually stunning book, The Sacred Headwaters: The Fight to Save the Stikine, Skeena, and Nass, written by Wade Davis, with photography by Carr Clifton and others, published by Greystone Books.

Mountain Light Photography, Inc.

106 S. Main Street

Bishop, California 93514

(760) 873-7700

Visit us at MountainLight.com

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Moving Past The Repertoire by Greg Russell

December 19th, 2011

Moving Past the Repertoire: An Essay By Greg Russell

Landscape Photography Blogger Note: My photoblog friendship with Greg Russell developed over the last year or more through an exchange of many e-mails and phone calls on the state of photography today and yesterday, philosophy, and our development as photographers.  This essay came out of our conversations. Concurrently on Greg Russell’s photoblog Alpenglow Images, he has posted an essay I wrote called, “Make Your Own Tripod Tracks.” For more background on Greg Russell see the blog post, “Monday Blog Blog: Greg Russell, Ph.D.” or his own short bio.

Moving Past The Repertoire By Greg Russell

Early Morning, Bisti Badlands, New Mexico, copyright 2011 by Greg Russell.

In a previous blog post, I mentioned Katie Lee, whose songs and essays have undoubtedly made her one of the greatest advocates for the Colorado Plateau, and the Colorado River in particular.  In one of her essays she talks about a photographer friend she once brought to Glen Canyon before it was dammed.  He dropped his camera in the sand before exploring a much-anticipated side canyon.  Instead of continuing up the canyon sans camera, he turned around, saying emphatically, “I don’t even want to see it if I can’t photograph it.”

Hmmm…that brings up an interesting question.  Imagine yourself on the trip of a lifetime, possibly even knowing you’re going to be one of the last people to see a particular canyon before it disappears underwater forever.  How would you react if your camera got filled with sand?

Personally, I would probably begin by using every curse word in my vocabulary.  Then, I would probably pout, and I hope I would enjoy the rest of the trip, even without “that shot.”

Today on my blog, David Leland Hyde in his blog post, “Make Your Own Tripod Marks,” likens landscape photography to trophy hunting, with intense competition to get “the shot.”  Indeed, despite the camaraderie, things have evolved into a very “me first” sort of culture.  As a result, as soon as a new location is discovered (and its coordinates disseminated), it quickly becomes part of hundreds of photographers’ libraries.  Mark Meyer has written an excellent article on the landscape photographer’s repertoire, which describes the mentality of this culture very well.

Rather than rehash Meyers’ comments (he makes his point much better than I ever could), I wonder to myself, can we move past the repertoire?  Can we discover our own little wild places, places that inspire creativity based on our own discoveries, our own way of seeing?

As a beginning landscape photographer, it seemed logical and intuitive for me to learn about composition and exposure by following in the footsteps of photographers who inspire me.  I visited the classic viewpoints—Mesa Arch, Tunnel View—and in all honesty, I don’t regret it.  I think everyone should see sunrise at the Towers of the Virgin at least once.

However, I began to realize that by visiting these locations and making the same compositions as everyone else, my creativity was impeded.  By photographing the repertoire, my technical skills matured, but when the time to look for unique, incongruous, compositions and to attempt to break the “rules” in an artful way, it was obvious to me.  In other words, it was time to put down the roadside guide, to stop letting highway pullouts dictate what would make an interesting photograph.

Wave Abstract, Channel Islands National Park, California, copyright 2010 by Greg Russell.

In the search for my own voice, I quickly learned that for me, fostering a connection with the land—a sense of place—was the most valuable tool in letting me discover the landscape’s “unseen” beauty.  As a result, my writing and photographs focus on the place, rather than the technical aspect of photography, see, for example, the blog post: “Overland Flight.”

It was my voice, not the voice of others, that I wanted people to hear; speaking for the land, in my opinion, is an important aspect of being an artist.

All of this isn’t to say you should avoid Yosemite Valley at all costs, or that you should never venture into the eastern Sierra in October.

What I am saying, however, is to enjoy the landscape for its own sake.  Ask yourself, “If I forgot my camera on this trip, would I still be enjoying myself?”  After all, the first step to moving past the repertoire is to foster a connection with the land, not to race everyone else in documenting it.

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‘Occupy Wall Street’ At UC Davis

December 8th, 2011

Occupy UC Davis: Save Public Education

Background Scenario to My On Location Account: Video Induced Honesty, World Wide Outrage and Pepper Spraying as Meme

'Save Public Education,' Tents, Protest Signs, Early Morning, Main Quad, UC Davis, Davis, California copyright 2011 by David Leland Hyde.

The peaceful Occupy Wall Street uprising of 99 percent of the people against the richest ruling class one percent, started in New York in September and spread around the world. Out of all Occupy Wall Street protests from Philadelphia to San Francisco to many “small town, USA” main streets, Occupy UC Davis has drawn the most publicity and discussion.

Why? Simple answer: Police brutality. As you may have seen on major network news, YouTube or any number of blogs around the internet, University of California, Davis Campus Police officer John Pike pepper sprayed his way into history, became a Photoshop Meme and is now known as “Casually Pepper Spray Everything Cop.” Students did not take it sitting down for long. They responded powerfully to the excessive force applied against them. In one video made at an Occupy UC Davis demonstration, one member led the crowd in a chant. He shouted, “Is this what a police state looks like?” And the crowd roared, “This is what a police state looks like.”

Late Sun On 'Occupy UC Davis' Tent Encampment, Main Quad, UC Davis, Davis, California copyright 2011 by David Leland Hyde.

The Chief of UC Davis Campus Police, Annette Spicuzza, later explained to the Sacramento Bee that John Pike and another police officer pepper sprayed the students seated on the ground, arms linked with no way to protect their faces because, “There was no way out of that circle. They were cutting the officers off from their support. It’s a very volatile situation.” However, the website, Know Your Meme, said over a dozen videos from different angles were uploaded to YouTube and showed that the UC Davis police were walking freely around the area. Soon after Chief Spicuzza placed the two officers on leave. University of California President Mark Yudof subsequently put Chief Spicuzza on leave as well. Meanwhile UC Davis dropped charges against the non-violent student demonstrators.

Occupy UC Davis participants demand UC Davis Chancellor Linda Katehi resign largely because she defended the Police actions to begin with, but as dissent increased, she realigned with Occupy UC Davis student and faculty protestors. Following the pepper spray incident she sent a letter to University officials: “The group was informed in writing… that if they did not dismantle the encampment, it would have to be removed…  However a number of protestors refused our warning, offering us no option but to ask the police to assist in their removal.” Later after the uprising reached a crescendo, she told a crowd of over 1,000 students at a town hall that she, “Explicitly directed the chief of police that violence should be avoided at all costs.”

Traveling To Photograph ‘Occupy UC Davis’ And What I Discovered

Tibetan Prayer Flags, Geodesic Dome Tent, Tents, Fog, Night, Main Quad, UC Davis, Davis, California copyright 2011 by David Leland Hyde.

Believing this to be a potentially significant defining moment in history, and living within 180 miles of Davis, last week I packed up my father pioneer landscape photographer Philip Hyde’s trusty 1984 Ford Econoline traveling Van and headed for UC Davis to document with photography what I could. I missed a major rally scheduled for 9:00 am Monday, November 28, 2011, but finally finished enough work to get away and arrived on the UC Davis campus that evening. I found the Quad by 10:00 pm, just in time to photograph several TV crews from various stations filming in front of UC Davis’ Dutton Hall Financial Aid. Donations from around the world through Amazon.com had just paid for 25 new tents to bring the total in the Quad up to 75 and add more than a dozen to the inside lobby and main entry courtyard of the financial aid building. That day financial aid closed down early and remained closed the following day except for check disbursement.

I photographed Dutton Hall and then headed out to the Quad proper. A good number of students were still awake. I met Devin, Michelle, Anne and a number of others. Considering it was the last week of school before finals week, the Occupy UC Davis encampment had plenty of supporters and participants. I talked a bit and photographed until around 1:30 am, when the cold fog got the best of my fingers and toes. The nearby parking structure allowed free parking from 10:00 pm until 7:00 am. Besides the hundreds of bicycles in the Quad, there were still many vehicles in the parking structure despite postings of a regular security patrol. I decided to do my part in violating the campus policy of no camping and promptly curled up in my ultra comfortable bed in my warm van. I was not disturbed. Apparently UC Davis Police were preoccupied. Earlier in front of Dutton Hall, I witnessed several Campus Police cars drive up and a large group of police officers approach to talk to the student leaders present. At that point, both sides were going out of their way to be cordial to each other, but the police were making their presence known.

The morning fog brought a damper, lower cold. I put on my gloves and another jacket, fed the parking meter and walked back out to the Quad for more photographs. The student protesters on hand recommended I attend the teach-ins in the afternoon. Occupy UC Davis protesters had added quite a few signs and banners to the front of Dutton Hall. Besides the small signs everywhere that said, “No Tuition Hikes,” there was a huge poster of the list of the three main student demands posted near the doors, a gigantic sign that explained financial aid was closed and why from the protesters viewpoint, and a big banner calling for a general strike at UC Davis. The RNs and many teachers were already on strike.

Teach-Ins, Power, Organizing And Goals

Occupy UC Davis Information Booth, Main Quad, UC Davis, Davis, California copyright 2011 by David Leland Hyde.

Returning to my van I ate lunch, caught up on phone calls and drove off in search of a coffee shop to get online. I finished my internet business just in time to head back to UC Davis for the fog clearing and the Teach-Ins. The Teach-Ins scheduled an hour apart in the geodesic dome for November 29 by UC Davis professors or associate professors included Ari Kelman speaking about “Radicalism in the 1910s,” Victoria Langland, “Student Activism In Brazil, 1960,” Bob Ostertag, “Power and Approaches to Organizing,” and Larry Bogad, “Tactical Performance, Radical Spectacles.” Because it was just a little after 3:00 pm when I arrived at the Occupy UC Davis Information Booth, Professor Bob Ostertag had just begun leading his mix of discussion and lecture.

I made some photographs of the gathered group, gradually listening more closely to the discussion and Dr. Bob Ostertag’s captivating approach. As described at the heading of his recent article about Occupy UC Davis for the Huffington Post, Professor Bob Ostertag is a composer, historian, journalist, and Professor of Technocultural Studies, Film and Music at UC Davis. The students were highly focused, serious, and determined but they were for the most part without strong leadership and a well defined, unified direction. Many of them wanted to nominate leaders but others were also hesitant to do so. At the same time, they were concerned that the movement they had started continue and not fizzle out.

Professor Bob Ostertag Leading A Teach-In Discussion, Geodesic Dome Tent, Main Quad, UC Davis, Davis, California copyright 2011 by David Leland Hyde.

Professor Bob Ostertag witnessed some activism in South America and had other relevant experience leading groups. He defined the difference between organizing and mobilizing in non-violent movements. He pointed out that Police Officer John Pike pepper sprayed a line of seated students and suddenly 3,000 people turned out and mobilized, but at that time had yet to truly organize. The other part of the discourse I listened in on concerned setting goals. In my observation anger and outrage at the Police brutality were the primary motivators, as I easily understand, but Professor Ostertag helped to spark debate among the students about what their ultimate goals for the movement were. Occupy UC Davis’ immediate demands are for Chancellor Linda Katehi to resign, Police off campus with an alternative safety force and a freeze on tuition fee increases. In addition many other ideas were bandied around including the creation of feedback mechanisms in the University of California system allowing more student input to decisions and the reversal of the trend toward privatization of public education.

What Is At Stake?

In Dr. Bob Ostertag’s poignant piece for the Huffington Post he wrote:

Yes, there were about 200 people in the quad. It is a piece of grass that was placed by the designers of the campus to be an open, central meeting place for the university community. But somehow, 200 students in the quad has become a problem. A huge problem. A problem so big that, well, yeah it was too bad those kids got pepper sprayed, but hey, there were 200 people in the quad.

Like the chancellor, Chief Spicuzza justified the assault by saying that the protest was “not safe for multiple reasons,” none of which she specified.

How is it that non-violent student protest has suddenly become “unsafe” in the United States?

Good question, how is it indeed…?

Is it possible that certain factions have helped us learn to give up our rights? Is the U.S. Constitution and Bill of Rights now a sham, merely an outdated philosophical façade? Fox news anchor Bill O’Reilly has the answer: “I don’t think we have the right to Monday-morning quarterback the police. Particularly at a place like UC Davis, which is a fairly liberal campus.” Wait a minute, if we still have a government of the people, by the people and for the people, then the Police work for us. When did we give up the right to direct the way they respond, especially to peaceful protests?

See more of my best photographs in the blog posts, “David Leland Hyde Archival Prints Pre-Launch” and “My Favorite Photos Of 2010.”

References:

Know Your Meme

Davis.Patch.com

Huffington Post: Militarization of Campus Police by Bob Ostertag and other posts.

Occupy California Blog

The Washington Post

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Posted in David's Perspective

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Happy Thanksgiving!

November 24th, 2011

Pumpkin, Melting Snow Patterns On Deck, Northern Sierra Nevada, California, copyright 2011 by David Leland Hyde. Nikon D90.

Dear Pilgrims and Natives, the Turkey is a little slim this year, but we all still have much that deserves gratitude. Every day, even in the darkest of times, each of us can find something for which we are grateful. This Thanksgiving I am grateful for good neighbors, good friends, a good guitar or two or three strummed or picked around a warm wood stove with a glass of wine and more food than anyone needs. I am also grateful for Lumiere Gallery and the Messages From The Wilderness Show. I am grateful for all other photography galleries and venues that have hosted exhibitions of Dad’s photographs in the last few years, as well as each of the photography galleries that now represent my father’s pioneering conservation landscapes in the form of vintage black and white prints, archival digital prints, dye transfer prints and Cibachrome prints. I am also thankful to the following bloggers and websites for either Tweeting, Twittering, Re-tweeting, putting on Google+, on Facebook, embedding in their website or photoblog, or otherwise linking to or mentioning the ALL NEW PHILIP HYDE SHORT VIDEO. Dad would be shocked, humbled, amazed, and when he got used to the idea, happy to see his photographs shown around the world. Thank you to each and every one of you from the bottom of my heart…

Note: Those names below in blue are links as customary. Those in black that are not links I either could not find again or they were buried in a long list of shares. Topsy and some other social media search sites are currently having technical difficulties. Even the Holy Grail, Google Search, does not seem to crawl all tweets and shares, even on its own platform Google+. Also, as I am not yet a participant of some of the social media, not all searches are available to me. If you are one of those listed below and would like your name linked to your share or post of the video, please send me the link in the contact form above or in an e-mail. Same goes for those who I have accidentally omitted from the list and deserve my apologies.

Jim M. Goldstein

William Neill

Sharon and Dirk Van Lieu

Robert Rodriguez, Jr.

Guy Tal

Art Wolfe

PJ Finn

Richard Wong

Stephen Gingold

G. Dan Mitchell

Steve Sieren

Seung Kye Lee

Dan Baumbach

Greg Russell

Michael Frye

Paul Dickenson

Michael E. Gordon

Jim Sabiston

Carl Donohue

Q.T. Luong

Russ Bishop

Sven Seebeck

Michael R. Reynolds

John Paul Caponigro

Paul Colangelo

Sean Arbabi

Buzztail

Atlanta Celebrates Photography

Alltop

Creative Live

F8 Daily

Networked Blogs

World Panorama Stock

Fox News Travel Section

Newsodrome

Technorati

Shootplex

Photo Life Magazine

Photogravity

New School of Photography

Gaia Gallery

Byte Photo

Orlando Photography

Travelscenics

Mitrasites

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All New Philip Hyde Video

November 17th, 2011

The New Short Video

Bob Yellowlees, proprietor of Lumiere Gallery, is a genius. Why? Well, among the reasons has to be that he hired Tony Casadonte as gallery manager. Tony Casadonte runs the gallery, builds the Search-friendly website on WordPress, presents and sells vintage prints and digital prints, oversees matting and framing, coordinates events, activities and a lecture series with the High Museum of Art, Atlanta, a large number of other tasks and accomplishments… and… oversees the recording of videos. He coordinated and designed the ALL NEW 3:18 MINUTE PHILIP HYDE VIDEO…

Philip Hyde from Lumière on Vimeo.

The Making Of The New Video

One day Tony Casadonte told me I would receive a recorder in the mail. Seemed a bit strange, but everything is strange these days when it comes to technology. Sure enough, one day this box about 6″ X 10″ X 8″ arrived in my mailbox. I opened it up. Tony explained the contraption, “It’s only a couple hundred dollar recording machine, but we shipped it FedEx to be sure it arrived safely.” It was digital. No tapes. OK, I know I am hopelessly stuck in the 1980s when I remember my father picking up the first tape recorder commercially available from Sony. Anyway, no moving parts, amazing. Just press a button and start talking.

Tony gave me an outline of his interview points and I started speaking into the microphone to answer them. Every so often Tony interrupted and said, “Well, what about this?” or “That?” In a flash, seemed like, we had an hour and a half of me rattling on about my father pioneer landscape photographer and conservationist Philip Hyde and his work. I burned a copy of the recording right to my computer for backup, put the recorder in the box and done. Tony said he would have to edit it. OK, I agreed. He sent me several versions of the audio, cut down to three and four minutes. The editing shined in one version. Tony said, I’ll have my guy Neal go to work on this and cue up a video with music and your father’s photographs. Hopefully we will be able to make a video or two more out of the rest of the recording.

In a day or two Tony and Neal posted the newest version of the video on Vimeo and a slightly different version on YouTube. Take a look. I am amazed at the results. From my convoluted ramblings, they somehow cut a very focused, concise statement about my father that would have made him proud. Hats off to Tony Casadonte and his team, or is it Bob Yellowlees’ team? Anyway, great job gentlemen, thank you. Take a look yourself… and… don’t miss the current exhibition at Lumiere Gallery, “Messages from the Wilderness,” prominently featuring Dad’s conservation photography and the work of other great conservation photographers such as Ansel Adams, Edna Bullock, Peter Essick, Robert Glenn Ketchum, Tom Murphy, Bradford Washburn, Edward Weston and Brett Weston.

Messages From The Wilderness Exhibition

November 12-December 23, 2011

Lumiere Gallery
425 Peachtree Hills Avenue
Building 5, Suite 29B
Atlanta, GA 30305
404-261-6100

For more information about the exhibition see the blog post, “Messages From The Wilderness Opening At Lumiere Gallery.”

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Messages From The Wilderness Opening At Lumiere Gallery

November 11th, 2011

Lumiere Gallery Opening: Photography as Propaganda

Messages from the Wilderness

Saturday November 12

10 am – 4 pm

Opening All Day

Exhibition: November 12-December 23, 2011

Messages From The Wilderness Installation At Lumiere Gallery, Atlanta, Georgia, Copyright 2011 by Tony Casadonte. Note the 32X40 archival digital print of Philip Hyde's "Great Overhang, Moqui Canyon, Glen Canyon, 1964" in the center flanked by 11X14 digital prints of "Virginia Creeper, Northern Sierra Nevada, California" and "Mt. Denali, Reflection Pond, Denali National Park, Alaska." Two Robert Glen Ketchum prints outside of that between the Philip Hyde prints with Philip Hyde's "Cathedral In The Desert, Glen Canyon, Utah" and "Dogwood, Sequoia National Park, California," on the outside far ends of the main wall. Other areas of the show feature Philip Hyde's hand made vintage black and white prints of Glen Canyon, Grand Canyon National Park, Canyonlands National Park and others.

Lumiere Gallery
425 Peachtree Hills Avenue – Building 5
Atlanta, GA 30305
404-261-6100

See the Lumiere Gallery website for a new video featuring David Leland Hyde talking about his father and the birth of modern environmentalism.

This exhibition features works deploying the visual power of photography to communicate and understand an appreciation of the great American Wilderness. These photographers have captured the beauty and form of nature using straight photography, documentary, pictorialism, abstraction and unusual lighting effect to communicate a story or to stimulate the viewer’s innate imagination. The work involved often has provided the foundation for major conservation campaigns.

The show includes photography by: Philip Hyde, Ansel Adams, Edna Bullock, Peter Essick, Robert Glenn Ketchum, Tom Murphy, Bradford Washburn, Edward Weston and Brett Weston.

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Northern Sierra Nevada Fall Color

November 9th, 2011

Fall Color In The Northern Sierra Nevada Of Northeastern California

Indian Creek Above Indian Falls, Fall Color, Northern Sierra Nevada, California, copyright 2011 by David Leland Hyde. Nikon D90. Single exposure. I saw this scene with the sunlight on a large area of the trees making an array of reflections as I drove home from the annual Apple Harvest at the Dawn Institute near Indian Falls. By the time I turned around, came back, parked and set up, the sunlight had faded down to this one small spotlight. There were no more still afternoons on Indian Creek when I looked before the trees lost most of their leaves.

Autumn 2011 has been the strangest Fall color season yet in the Sierra Nevada of Northern California. Many types of trees in the Northern Sierra have had a leaf disease. I have seen it mainly effecting black oaks and some maples, but also showing up on the leaves of some Indian Rhubarb. The leaf disease has caused many deciduous trees to turn brown and not produce any Fall color at all. Because of erratic weather and temperatures, some trees without leaf disease dropped their green summer cloaks slower than usual, others changed into their Fall color dressing much faster than usual.

The U.S. Department of Agriculture Forest Service puts out a report called Pest Alert. The following is what Pest Alert said about this leaf disease:

A phenomenon known as Sudden Oak Death was first reported in 1995 in central coastal California. Since then, tens of thousands of tanoaks (Lithocarpus densiflorus), coast live oaks (Quercus agrifolia), and California black oaks (Quercus kelloggii) have been killed by a newly identified fungus, Phytophthora ramorum. On these hosts, the fungus causes a bleeding canker on the stem. The pathogen also infects Rhododendron spp., huckleberry (Vaccinium ovatum), bay laurel (Umbellularia californica), madrone (Arbutus menziesii), bigleaf maple (Acer macrophyllum), manzanita (Arctostaphylos manzanita), and California buckeye (Aesculus californica). On these hosts the fungus causes leaf spot and twig dieback. As of January 2002, the disease was known to occur only in California and southwestern Oregon; however, transporting infected hosts may spread the disease. The pathogen has the potential to infect oaks and other trees and shrubs elsewhere in the United States. Limited tests show that many oaks are susceptible to the fungus, including northern red oak and pin oak, which are highly susceptible. On oaks and tanoak, cankers are formed on the stems. Cankered trees may survive for one to several years, but once crown dieback begins, leaves turn from green to pale yellow to brown within a few weeks. A black or reddish ooze often bleeds from the cankers, staining the surface of the bark and the lichens that grow on it. Bleeding ooze may be difficult to see if it has dried or has been washed off by rain, although remnant dark staining is usually present.

Indian Rhubarb Near Indian Falls, Northern Sierra Nevada, California, copyright 2011 by David Leland Hyde. Nikon D90. Single exposure. The wild Indian Rhubarb had just begun to change color as I made this photograph. I probably missed the peak of the Indian Rhubarb because I haven't made it back since.

I have seen the red ooze or the dark stain on many leaves of many trees this Fall season. Some disease has also infected the aspens, the leaves of which in many cases this Fall turned straight from green to brown, or from green briefly to gold and then to brown. Before the last storm, some of the Indian Rhubarb looked like it was starting to show some good color. At first, in early October, it seemed all the tree species leaves were turning faster than usual, then for about a week everything turned very slowly. It was unusually warm into early October. We went skinny dipping in Indian Creek on October 1. It was a bit too cold to feel the elation Walt Whitman described in Leaves of Grass, but it was the first time we have ever swam in Indian Creek that late in the year without wetsuits and river rafts. In early October the oaks were just starting to go yellow and I’m sure the aspens were already turning up high. In the second week of October I heard that the aspens at higher elevations had gone straight from green leaves to brown. Here the few my mother planted were normal: their leaves turned from green to yellow and gold.

Maple Impressions, Northern Sierra Nevada, California, copyright 2011 by David Leland Hyde. Nikon D90. Single exposure. I tried a number of soft focus images of this composition. This was the frame that seemed to work best, but I'm still not sure if it is as I would like it to be.

After being warm enough to skinny dip on October 1, it snowed the morning of October 5. The temperatures dropped from 85 plus degrees Fahrenheit in a few days down to 34 degrees with a light dusting of snow. The temperature drop brought on the Fall color. During the first week of October, in a sea of green leaves I saw only one yellow Indian Rhubarb leaf. Today I will go check on more patches of wild Indian Rhubarb, but I believe I missed the peak of the Fall color for the Indian Rhubarb, which is a shame. I had looked forward to a lot of Fall color photography this year, but it has been for the most part a disappointment, except for in my mother’s garden right around the house where her dogwoods and Japanese maples were consistently brilliant in oranges, yellows, and reds as usual. The Virginia Creeper also proved disappointing, changing straight from green to red without much in between this year. For more contemporary landscape photography see the blog post, “David Leland Hyde Archival Print Pre-Launch.”

Was your Fall color season unusual this year? Where did you photograph?

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Monday Blog Blog: Review Of ‘Light And Land’ by Michael Frye

October 31st, 2011

Monday Blog Blog: Review Of Light And Land: Landscapes In the Digital Darkroom By Michael Frye

Light And Land E-Book Promotional Image.

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

Michael Frye’s articulate, yet casual writing style in Light And Land: Landscapes In The Digital Darkroom, easily conveyed ideas to me that perhaps had seemed more complicated or even intimidating before. Right from the start I felt relaxed as though he would take me through a challenging journey safely. For example:

In this book I’ll take you step-by-step through each decision as I process five different images in Adobe Photoshop Lightroom. You’ll see my workflow in action, and I’ll explain why I use particular techniques in a particular order. But more importantly, you’ll come to understand the aesthetic judgments behind each decision… you’ll gain insights about how to convey your own unique vision, and how to squeeze every ounce of beauty, emotion, and inspiration out of your photographs…. While I use Lightroom for these examples, the basic principles apply to any software. Learning how to make good decisions and find the right balance is more important than learning any particular tool or technique.

“OK, I’m in,” I said to myself. “I can do this.” Michael Frye then rolled right into Highlight and Shadow Detail, Black Points and White Points, Workflow, Curves, Tools, Default Settings, Finding Direction and other sections in the natural flow of his work on digital images. These sections, besides explaining technical concepts in non-technical terms, made the process seem simple, but not too simple. Many photography how-to books wax long on technique, but Michael Frye showed me what to do with the techniques to create images that bring out my own vision. He also told me how to best apply each technique depending on what I intend to accomplish in each photograph. In my view, this makes Michael Frye an above average teacher. No wonder he teaches workshops through the Ansel Adams Gallery. No wonder he is the author of the traditional paper paged book Digital Landscape Photography: In the Footsteps of Ansel Adams and the Masters. Michael Frye knows what he is doing regarding the unique considerations in landscape photography post processing. In his e-book, Light And Land: Landscapes In The Digital Darkroom, he also sprinkled in his own wit and wisdom for landscape photography in general:

…In some other photography genres the photographer is often concerned with only one subject. Landscape photography frequently requires blending many different ingredients in a harmonious way.

Or:

…Landscape photography is all about communicating the mood of a particular place at a particular time.

Or:

Ultimately it doesn’t matter whether you prefer using Curves or some other tool, what default settings you start with, or even what software you use. The goal is to make the image communicate something, and there are many ways to accomplish that. Knowing what you want to say is more important than using a particular procedure.

At the top of Michael Frye’s section on Workflow, he listed for us readers in order the various steps he takes in Adobe Photoshop Lightroom. Then he elaborated on each one. He showed how he goes about each step in a sort of “real time” demonstration on his landscape photographs.

He explained that “in a book of this size it’s impossible to describe every nuance and keyboard shortcut in Lightroom.” Then he went on to recommend the two books I already have on Lightroom, but have never read, how handy is that? Plus Michael Frye recommended one more book on Lightroom by David DuChemin called Vision & Voice: Refining Your Vision in Adobe Photoshop Lightroom. The other two books I have are Martin Evening’s The Adobe Photoshop Lightroom 3 Book: The Complete Guide for Photographers and D65′s Lightroom Workbook: Workflow, Not Workslow in Lightroom 3 by Seth Resnick and Jamie Spritzer.

Having watched master landscape photographer Carr Clifton work with curves since 2008, but having only minimally tried it myself, I found Michael Frye’s explanation of curves to be the easiest to understand of any I have read. To check out the Photoshop and Lightroom resources I have either studied or gathered and not yet studied, see the blog posts, “Monday Blog Blog: Photoshop For Pros” and “Monday Blog Blog: Lewis Kemper.”

What I liked about Michael Frye’s style of presentation in Light And Land: Landscapes In The Digital Darkroom was that he urged the reader to think and make decisions. He asked many questions that put me into action in processing images along with him and starting in on my own. His sections called “Evaluation” in Light and Land and on his “In The Moment: A Landscape Photography Blog” have encouraged and inspired us students of landscape photography to jump right in and get involved.

Michael Frye powerfully wound up Light And Land by advising us to go to galleries and museums and look at the finished product: fine art digital prints. He said not just to look at them but to ask yourself his many evaluation questions:

When viewing prints, look at the contrast. How much of the photograph is pure white? How much pure black? Is the print dramatic or understated? Notice the color balance and saturation. With black-and-white prints, check for slight color tints.

To bring home his e-book coaching Michael Frye in Light And Land quoted Ansel Adams, one of the world’s greatest fine art print makers of all time:

The difference between a very good print and a fine print is quite subtle and difficult, if not impossible, to describe in words. There is a feeling of satisfaction in the presence of a fine print—and uneasiness with a print that falls short of optimum quality.

The only aspect of Light And Land I don’t like is that it is too short. I would like to learn much more and have Michael Frye go into greater depth in many of the areas of his coaching in this e-book. Fortunately, Light And Land is priced at what David DuChemin termed the “outrageously low price” of only $5.00. If you look around some you may even find a coupon to purchase the e-book for $4.00. I recommend that each of you who takes the digital printing of landscape photography seriously not wait any longer: buy the book now. Michael Frye will show you how to make that subtle difference, referred to by Ansel Adams, in your fine art digital prints. To order go to Light And Land: Landscapes In The Digital Darkroom.

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