Posts Tagged ‘Arizona’

New Grand Canyon Battle: Tusayan Development

May 19th, 2015

New Threat To Grand Canyon: Mega Mall at Tusayan Just Outside Southern Boundary of National Park

New David Leland Hyde Photograph: Clearing Sunset Near Vista Encontada, Grand Canyon National Park, Arizona

Time Is Running Out: See Petition Below to Take Action Now to Stop Development That Will Alter Grand Canyon National Park Forever

2. Clearing Sunset Near Vista Encontada, North Rim, Grand Canyon National Park, Arizona. I exceeded the national park speed limit to get to this unnamed stop after photographing Point Imperial with the sun still above the horizon. I set up my camera and tripod as quickly as possible as the light was fading to dark fast. The howling strong wind required me to make a number of exposures before I got a sharp one.

Clearing Sunset Near Vista Encontada, North Rim, Grand Canyon National Park, Arizona, copyright 2014 by David Leland Hyde. I rushed to get to this unnamed stop after photographing Point Imperial with the sun still above the horizon. I set up my camera and tripod as quickly as possible as the light was fading fast. The strong howling wind required me to make a number of exposures before I got a sharp one. (Click on the Image to see the photograph large.)

Growing Up Wild

Starting when I was age four, my father, American conservation photographer Philip Hyde, and my mother, a self-trained ornithologist and botanist, took me on backpacks often more than a dozen miles into the wilderness in search of photographs to help establish national parks and wilderness areas.

(To see the photograph even larger or to order prints, go to “Clearing Sunset Near Vista Encontada, Grand Canyon, Arizona.”)

Dad also grew up watching his father compose and interpret wild places. My grandfather, Leland Hyde, a regionalist painter, depicted local scenes near the family home in Northern California. The Hydes also visited national parks when they took a drive across the rural countryside from San Francisco to New York. Dad first saw the Grand Canyon on that trip at age 11. With this first impression vivid in memory, during World War II on a furlough, he visited the Grand Canyon again with his sister, my aunt Betty. Dad later worked on a number of campaigns that took him down the Colorado River by Grand Canyon Dory, cousin of the drift boat, for the first time in 1956 and into the canyon on foot, mule or by riverboat at least a dozen more times in following decades.

A year before I was born, my parents explored the flooding Colorado River and side canyons after the completion of Glen Canyon Dam in 1964. That same year, Dad and a coalition of photographers, scientists, writers and filmmakers took a dory trip through the Grand Canyon to make a book to help save the canyon from two proposed dams, one just above the National Park and one below. With Time and the River Flowing: Grand Canyon landing on desks in Congress, full page ads in the New York Times and other major papers, an international letter-writing campaign and a groundswell of public support like the young environmental movement had not yet seen, the Bureau of Reclamation abandoned its plans to build the Grand Canyon dams.

Having had a childhood immersed in wilderness, I am a believer in wild country and silence for the power it has to build character. It is what has built the American character since before our Declaration of Independence.

The Wild Grand Canyon As Shaper of Character

If you take a helicopter or airplane into the Grand Canyon, it is more convenient, but less memorable. If I could take any of the tourists up on the North or South Rim behind the railings, making snapshots and give them all that I discovered about sedimentary rocks, erosion, myself and the world by investing the time to hike in the canyon, if I could give them the memory of what it was like to have a caring father hike the Bright Angel Trail with me as a teenager, they too would keep a piece of the Grand Canyon in their hearts forever.

My experiences on a river trip and hike from Phantom Ranch to the South Rim on the Bright Angel Trail happened at the right moment to shape me as a young man defining my outlook on the world. Grand Canyon National Park worked on me, but the place we visited in the spring of 1979 has already changed and may not be the same as it was for much longer. Already overcrowding, airplane noise and wear and tear on trails, natural features and park infrastructure are overwhelming the underfunded National Park Service in Grand Canyon. For the majority of guests, their experience has diminished from immersion in a life-altering challenge and an up-close view of grandeur to the passive observation of a soon forgotten curiosity, like those found at a carnival or behind glass in a museum.

New Threats to The Wilderness Experience in the Grand Canyon

Today, three major threats surround the Grand Canyon: uranium mining, a proposed development with a gondola tram to the bottom of the Canyon at the eastern border of the national park, and the largest of all, a mega mall and resort larger than the Mall of America just outside the southern park boundary in the town of Tusayan. Because of these threats and water mismanagement, American Rivers has named the Colorado River the number one endangered river in the U.S. for three years in a row.

Though the Department of Interior banned new uranium mining claims in the Grand Canyon area for 20 years, pre-existing claims like the Canyon Mine carry on, despite opposition based on risks to groundwater, wildlife, endangered species and sacred sites of the Hualapai, Kaibab Paiute, Zuni, Hopi and Navajo tribes.

The pending Grand Canyon Escalade development and tramway on Navajo lands bordering the national park on the east has divided the tribe and is currently in debate in the tribal council. The tramway would slice through Navajo, Zuni and Hopi sacred land at the confluence of the Colorado and Little Colorado Rivers. Nearly as great a travesty would be the visibility of the top of the tram and development from one of the most iconic views of the Grand Canyon, ironically called Desert View. The developer, R. Lamar Whitmer, said he wants to make this special part of the canyon easily accessible to the world. Next someone will want to build a tram to the top of Everest to allow everyone to experience the summit.

(To read more about the confluence and hiking over 32 miles to Cape Solitude where the confluence is best viewed, see these superb accounts by two online friends of mine: “Through The Grama” by Greg Russell of Alpenglow Images and “Pilgrimage To Solitude” by A. Jackson Frishman of Crest, Cliff and Canyon.)

The Marketing of The Grand Canyon Tourist Experience as the Ideal

Meanwhile, south of the national park boundary the U. S. Forest Service has opened a public comment period to end June 2, on whether it should approve the rights-of-way to pave and widen access roads providing for an 80 foot wide utility and footpath corridor through the Kaibab National Forest on the way into sections of speculative private land. The improved roads will pave the way for the quiet, recently incorporated company town of Tusayan to transform into a resort complex with three million square feet of commercial space including hotels, a luxury spa, a Western dude ranch, a Native American cultural center and boutique retail shops; as well as hundreds of private homes at a mixture of prices and a staging area for bus and air tours of the national park. These additions would greatly increase the burden of travelers in the already over-crowded national park with crumbling facilities.

For most of two decades, Italian owned Stilo Development Group has been quietly buying up private land around the village of Tusayan. About a decade ago, Stilo made a first attempt to build a resort at Tusayan, but Coconino County residents voted it down. Stilo then convinced the Arizona legislature to make an exception to the minimum population requirement of 1,500 residents for town incorporation. The village of Tusayan, population 558, incorporated and formed its own town council and planning board. Stilo and local air tour companies campaigned successfully to pack the elected town council with development supporters, who then approved a resort plan three times as large as the original voter rejected Canyon Forest Village.

Strategy Forty-Eight, the public relations firm for Stilo, on its website says it “helped Stilo develop a long-term strategy to build a positive corporate identity in town…” The PR firm’s “approach included targeted messaging, grassroots organizing, event planning and the production of a series of popular web videos during a successful political campaign funded by Stilo to incorporate the town in 2010.” Currently, on Tusayan’s Future Facebook page, Stilo is offering free tacos and the opportunity to “Learn more about the Tusayan Roadway Application and how to file a comment with the Forest Service.” Despite similar enticements by Silo several times a week, the majority of the Forest Service comments so far have been from all over the US, opposing the road improvements that will make possible a massive development close to the Grand Canyon.

Another Development in the West With No Plan for Water

The current proposed vacation complex still has no specific plan to supply the vast amount of water it will use. Drilling wells to tap groundwater could bring future lawsuits, but has not been ruled out. Arizona law requires that 100 years of water be available for any development in sensitive thirsty areas like Tucson, Scottsdale and Phoenix, but no restrictions exist around the vulnerable South Rim where most groundwater, seeps and springs source from two aquifers underlying the Coconino Plateau. Arizona law historically has separated surface and groundwater, but recent litigation in central Arizona along the San Pedro River has now legally established that surface and groundwater may be related, said Robin Silver, founder of the non-profit Center for Biological Diversity.

Silver also cited discharge analyses of two ecologically important Grand Canyon springs. Discharge flows from Cottonwood and Indian Gardens Springs have been decreasing since at least 1994. Though direct correlation has been difficult to establish because of the complexity of the two underlying aquifers, researchers have measured parallels between the small settlement already built at Tusayan and decreasing flows of the springs in the national park. National park officials and Havasupai tribal leaders have voiced concern that even small increases in groundwater pumping by any or all wells on the Coconino Plateau could deplete the more than 500 springs vital to life between the South Rim and the Colorado River. The aquifer-fed springs are also critical to the flow in Havasu Creek and its five waterfalls at the core of survival and tourism for the Havasupai Nation. The Forest Service is required to consider all of this in its cumulative effects analysis before approving the road rights-of-way.

Water for hotels and amenities at the South Rim inside the park comes by pipeline from Roaring Springs on the North Rim. Due to rock cracks, shifts, falls, traffic on the Bright Angel Trail surface above the pipeline and the age of the pipe, it breaks, leaks and has to be repaired six to 30 times a year, said Tim Jarrell, park maintenance chief.

Fishing Around For Water Options

Stilo representative Tom De Paolo said that other water supply possibilities for its mega resort include reversing and re-using the abandoned Black Mesa Pipeline that once carried coal slurry, coal mixed in water, from the Hopi Reservation to a power plant near Laughlin, Nevada. Water could also be trucked in or delivered by train, as done in other remote desert locations. Stilo has retained former U. S. Senator John Kyl as legal counsel to look into options.

“Pipeline is number one,” De Paolo said. “Rail is number two, truck is number three, groundwater is number seven. I haven’t thought up four, five or six yet.”

Endangering Endangered Species and Impacts to the National Park

Even if Stilo puts together a water scheme, the proposed development would infringe on wildlife and habitat and could jeopardize endangered species such as the California Condor, Northern Goshawk, Bald Eagle, Mexican Spotted Owl, American Peregrine Falcon and several species of bats and squirrels. Over 20 types of plants are listed on the Grand Canyon special status lists. Also threatened are a few flowering plant and animal species found only in the area.

The Center for Biological Diversity recently filed an emergency petition with the U.S. Fish and Wildlife Service seeking Endangered Species Act protection for the Arizona wetsalts tiger beetle and Macdougal’s yellowtop, a flower in the aster family found nowhere else on Earth besides the wet areas around South Rim seeps. The wetsalts tiger beetle is an important insect predator also endemic to springs of the Western Grand Canyon.

Besides threats to native flora and fauna, present national park facilities cannot sustain more visitors. Park facilities are currently $330 million underfunded and behind in key upgrades and maintenance. The National Park Service has considered cutting back the number of park visitors and indicated it may need to cut back air traffic over the canyon.

“It is a World Heritage Site, one of the Seven Wonders of the World—and that is not a place that needs additional development,“ said park superintendent David Uberuaga. “It is not a place to be entertained, but a place to come to connect to creation and this experience.” Uberuaga said the Tusayan development is the greatest threat in the 96-year history of the park.

Killing The Local Economy

The Stilo complex is expected to hurt the economy of neighboring Northern Arizona communities. The Flagstaff Council passed a resolution opposing the application to the Forest Service by the town of Tusayan for the road easements that would make expansion possible.

“Our hoteliers and our restaurateurs, our businesses here, we are the gateway to the Grand Canyon,” said Greater Flagstaff Chamber of Commerce government affairs director, Stuart McDaniel. Representatives from Williams, Cameron and Valle, Arizona also believe their communities will be adversely affected by a massive center at Tusayan.

With opposition from surrounding towns, the National Park Service, the Havasupai Nation, a conservation coalition consisting of Earthjustice, the Sierra Club, the Center for Biological Diversity and Grand Canyon Trust, not to mention comments and letters from around the world condemning the expansion of Tusayan; will the Forest Service listen? The Kaibab National Forest has a track record of taking any opportunity possible to widen or pave roads. The Center for Biological Diversity is also currently commenting on and opposing a proposal by the Kaibab National Forest to open 291 miles of roads across 30,000 acres in the forest to motorized dispersed camping.

Take Action: Write the Forest Service or the White House

The Forest Service has a mandate to support many uses of its forests, not to allow forests and wildlife to be destroyed to pave the way for one use. It also has a mandate to consider all impacts. Regarding the Stilo development, the Forest Service must be mindful of spillover impact into the adjacent national treasure.

“The Kaibab National Forest continues to promote tribal participation in establishing agency management goals and activities,” said the 2013 Yearly Management Report. Readers who care about preserving the Grand Canyon and our national parks as they are, now is the time. Write the Forest Service before June 2, to make sure it lives up to its own publicity, or just fill out this handy, easy to fill out petition by the Center for Biological Diversity.

Perhaps with enough input from citizens, the Forest Service at the Grand Canyon will support the National Park Service in fulfilling its mission: “To conserve the scenery and the natural and historic objects and the wildlife therein and to provide for the enjoyment of the same by such means as will leave them unimpaired for the enjoyment of future generations.”

A Grand Canyon Watershed National Monument may also be possible. Arizona Congressional Representatives Raul Grijalva, Ann Kirkpatrick and Ruben Gallego wrote a letter in January to President Obama stressing the natural and economic importance of the Colorado River watershed and the serious threats it faces. Letters from readers to the White House would also help build momentum for a national monument. Future generations deserve to explore the Grand Canyon as it has been. Each visitor who is willing, deserves to experience the challenge and elation of immersion in the rugged wild of the Grand Canyon, like I did with my family growing up.

New Releases: Philip Hyde Signature Desert Landscapes

April 9th, 2015

New Releases: The History Behind Philip Hyde Desert Icons

Archival Chromogenic Prints from Large Format Film

Evening Light On West Mitten Butte, Monument Valley Navajo Tribal Park, Utah-Arizona, copyright 1963 Philip Hyde. From Navajo Wildlands in the Sierra Club Exhibit Format Series. (Click on the image to see it large.)

Evening Light On West Mitten Butte, Monument Valley Navajo Tribal Park, Utah-Arizona, copyright 1963 Philip Hyde. From Navajo Wildlands in the Sierra Club Exhibit Format Series. (Click on the image to see it large.)

Philip Hyde began photographing the desert Southwest with large format film in 1951. At that time, he used primarily black and white film, but did expose some large format color transparencies too. The Sierra Club book, This Is Dinosaur: Echo Park and It’s Magic Rivers, with introduction, one chapter and editing by Pulitzer Prize winning novelist Wallace Stegner, included as many color plates as black and white, but editor, journalist, conservationist, pilot and river guide Martin Litton also made nearly as large a share of these images in the book as Hyde. To read more about the making of This Is Dinosaur see the blog post series, “The Battle Over Dinosaur: Birth of Modern Environmentalism.” To read more about Martin Litton see the blog post series, “Martin Litton: David Brower’s Conservation Conscience.”

While on his way back and forth from his Northern Sierra home in California to Dinosaur National Monument, Philip Hyde explored and photographed much of Nevada, Utah, Arizona and parts of New Mexico. For more on his early travels in the deserts of North America, see the blog post series, “Toward a Sense of Place,” and the blog post, “Images of the Southwest Portfolio Foreword by Philip Hyde.” Below is the history of three Philip Hyde signature desert photographs that both exemplify his style of photography and inspired two generations of photographers.

Based on the photograph locations in Hyde’s Sierra Club Books Exhibit Format Series volumes Navajo Wildlands: As long As The Rivers Shall Run (1967) and Slickrock: Endangered Canyons of the Southwest (1973) with Edward Abbey and in other Hyde books for Sunset and the prominent travel and natural history magazines of the day, large format film photographer Tom Till said that Hyde was the first to photograph areas of The Maze District of Canyonlands National Park and Waterpocket Fold in Capitol Reef National Park. Large format photographer David Muench, who was 15 years younger than Hyde, a little later was also the first to photograph some iconic desert landscapes.

Evening Light on West Mitten Butte, Monument Valley

Possibly one of the most emulated American classics of all-time, Philip Hyde’s 1963 “Evening Light on West Mitten Butte, Monument Valley,” came into the public eye just as the quality of color printing in books developed enough for such books to become popular. “Evening Light on West Mitten Butte” enjoyed much recognition when it first appeared in the Exhibit Format Series book, Navajo Wildlands in 1967. Since 1967, hundreds of thousands of similar photographs have been made and many published of this view of Monument Valley. Navajo Wildlands helped the Navajo Nation, now more correctly called by their own name Diné Nation, to form seven Navajo Tribal Parks to preserve some areas of the reservation for all generations.

Ripples on Kelso Dunes, Mojave Desert

Ripples on Kelso Dunes, Mojave Desert, California, copyright 1987 Philip Hyde. From Drylands: The Deserts of North America.

Ripples on Kelso Dunes, Mojave Desert, California (Drylands Crop) copyright 1987 Philip Hyde. From Drylands: The Deserts of North America. (Click on the image to see it large.)

Two other Philip Hyde desert landscape icons have been emulated much since their creation, but they were neither the first, nor even early in the evolution of similar images, merely the most widely known and observed for inspiration. Ridges and ripples on sand dunes had been famously photographed by Brett Weston, Edward Weston, Ansel Adams and many others well before Philip Hyde made the color photograph, “Ripples on Kelso Dunes, Mojave Desert, California” in 1987. Hyde’s photograph perhaps was early in relation to all color images of this type of scene. Regardless, it was not until after “Ripples on Kelso Dunes” appeared in Drylands: The Deserts of North America that close up images of ripples on sand dunes flooded the photography market. Hyde’s original photograph was an unusual vertical that showed the ripples on the sand dunes in the foreground with the ripples fading into the distance at the horizon. Yolla Bolly Press, the packagers of Drylands, who also packaged Galen Rowell’s Mountain Light: In Search of the Dynamic Landscape, convinced Hyde to crop “Ripples on Kelso Dunes” to a horizontal for the front pages of Drylands. This version only showing the bottom half of the original vertical, the close up part of the image, became popular for its abstract qualities. Many still today find the Drylands crop of “Ripples on Kelso Dunes” a stronger image than the original vertical.

Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument

The second signature desert landscape that Hyde made as late as 1982 was “Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument, Utah.” This photograph also graced the pages of Drylands. Photography historians have found earlier photographs with vague similarity to this image, but it was not until after 1987 that similar images showed up in numerous magazines and other publications and now on the internet on various websites of photographers of the American Southwest.

Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument, Utah, copyright 1982 Philip Hyde. From Drylands: The Deserts of North America.

Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument, Utah, copyright 1982 Philip Hyde. From Drylands: The Deserts of North America. (Click on the image to see it large.)

So what? What is the point of researching who came first and who came later? This kind of tracking is not necessarily done for further recognition in and of itself, but it does serve to further establish and educate scholars, art historians and the public in this regard: it is important for determining the influence of an artist like Philip Hyde on his medium. Influence has a great deal to do with the perception of the significance of the life’s work of any artist and how his or her work is positioned in the historical record. These three photographs play a consequential role in the history of photography, particularly of landscape photography and photography of the Western US and Colorado Plateau. Similar photographs of a location do not necessarily emulation make, but in Hyde’s case, many of the who’s who of nature photography today acknowledge having been influence by his work.

Philip Hyde made six or fewer original dye transfer or Cibachrome hand made color prints of each of these four images. Only three original dye transfer prints remain of “Havasu Falls,” two of “Chinle Shales” and none of “Evening Light, West Mitten Butte” or “Ripples on Kelso Dunes.” Please consider acquiring our new archival chromogenic prints of these images, produced in a special numbered open edition, while they are at a special introductory price for a limited time. For more about new release pricing, see the blog post, “New Releases Now at Special Introductory Pricing.” For more information about the difference between archival digital prints and archival chromogenic prints, see the blog post, “About Archival Fine Art Digital Prints.” To purchase prints, see the images large and read more descriptions see the New Releases Portfolio on the Philip Hyde Photography website.

Have you ever seen photographs similar to any of these three?

Ed Cooper: Mountaineer, Rock Climber And Large Format Photographer

January 22nd, 2015

Rock Climber And Mountaineer Ed Cooper Packed A Large Format Camera To The Top Of Many Of North America’s Highest Peaks

Now He Speaks Out About His Explorations, First Ascents, Sierra Club Books, Conservation And Philip Hyde’s Contribution

Short Bio of Ed Cooper

Ed Cooper, author and photographer, working with a newly acquired 5x7 Gundlach Bundschu view camera, top of Mt. Reynolds, Glacier National Park, Washington, copyright Ed Cooper Collection 1964.

Ed Cooper, author and photographer, working with a newly acquired 5×7 Gundlach Bundschu view camera, top of Mt. Reynolds, Glacier National Park, Washington, copyright Ed Cooper Collection 1964. Cooper nearly always carried all of his own medium and large camera equipment to the tops of many of North America’s highest peaks. The only exception Cooper could remember was once on a pack trip into the Ramparts where grizzly bears were plentiful and a horse carried his view cameras.

Ed Cooper is a pioneer mountaineer and fine art photographer who lives in the California wine country. At age 16, he climbed Mt. Rainier, 14,411′ (4392 meters), one of Washington’s most formidable peaks and photographed the experience. He has climbed and photographed mountains ever since, nearly always with a large format camera. His collection of summits includes Mt. Denali, Denali National Park, Alaska (20,320) the highest peak in North America and the 3,000 foot vertical face of El Capitan in Yosemite Valley, Yosemite National Park.

In December 2003, the film, In the Shadow of the Chief: The Baldwin and Cooper Story came out telling the tale of Ed Cooper and Jim Baldwin’s unusual scaling of the Grand Wall of the Stawamus Chief near Squamish, British Columbia, Canada in 1961. The climb was sponsored by the town and the film features vintage footage of the original ascent, as well as new footage of a re-enactment.

Clouds wreathe Mt. Robson, 12,972', 3954m, highest peak in the Canadian Rockies in Mt. Robson Provincial Park. Original is an 8x10 black and white negative using Tr-X film and a red filter, taken 8-18-1968 about 10 am. An 8x10 Eastman view camera and a 36" Dallmeyer lens, weighing over 10 pounds, were used in a set-up requiring two tripods. Some burning and dodging was required to bring this print to completion. Copyright Ed Cooper, British Columbia.

Clouds wreathe Mt. Robson, 12,972′, 3954m, highest peak in the Canadian Rockies in Mt. Robson Provincial Park. Original is an 8×10 black and white negative using Tr-X film and a red filter, taken 8-18-1968 about 10 am. An 8×10 Eastman view camera and a 36″ Dallmeyer lens, weighing over 10 pounds, were used in a set-up requiring two tripods. Some burning and dodging was required to bring this print to completion. Copyright Ed Cooper, British Columbia.

His new book, Soul of Yosemite: Portraits Of Light And Stone (2011) consists of a selection, from his collection of Yosemite images dating back to 1962, which best represents the area and fits into the organization of the book entering Yosemite National Park from El Portal, progressing through Yosemite Valley on Southside Drive and on to Tuolumne Meadows, including a short section on the Hetch-Hetchy area, now a reservoir, once a valley flooded in 1914. It also includes a short section on the author climbing a new route on El Capitan in 1962.

His previous book, Soul of the Heights: 50 Years Going to the Mountains (2007) offers glimpses into mountaineering and rock climbing in the 1950s and early 1960s during the highly competitive era of first ascents, through his own experiences, photographs and exclusive firsthand accounts by climbers of the era about their first ascents of now top destination climbs. Ed Cooper’s 4×5 and 5×7 photographs include portraits of many of the best-known peaks in North America. His earlier books are Soul of the Rockies: Portraits of America’s Largest Mountain Range, The American Wilderness in the Words of John Muir, Grand Canyon: Shrine of the Ages and Early Mining Days – California Gold Country: The Story Behind the Scenery. Ed Cooper’s photographs graced the famous Sierra Club Desk Calendars for many years, as well as many other prominent publications including many of the Sierra Club Exhibit Format Series books and other Sierra Club Books and publications.

Climbing Mountains, Photographing For Sierra Club Books, Glen Canyon And Conservation

By Ed Cooper, March 2012

Date: Sometime in late 1956 or early 1957

Place: Washington State

Climber on cornice at about the 12,000' (3650m) altitude on Mt. Robson. Mt. Resplendent, 11,240' (3426m) is in the left background. Copyright Ed Cooper Photo 1961. British Columbia.

Climber on cornice at about the 12,000′ (3650m) altitude on Mt. Robson. Mt. Resplendent, 11,240′ (3426m) is in the left background. Copyright Ed Cooper Photo 1961. British Columbia.

Back then I was about 20 years old, busying myself with climbing the volcanoes and other peaks in the Pacific Northwest. These activities were carried on when I was not occupied with my studies at the University of Washington, or perhaps I should say, I went climbing when I should have been occupied with my studies. I had aspirations to visit other mountain areas also, such as the Sierra Nevada. One day I walked into a bookstore and spotted the following book: The Climber’s Guide to the High Sierrawritten by Hervey Voge and published by the Sierra Club. Immediately I purchased the book from the meager funds I had available at that time.

At the first opportunity, I sat down to look through the book and began to plan climbing objectives in the Sierra Nevada for the time when my financial situation would allow me to go there. At the front of the book were 17 black and white photographs. Six of the photos were by Ansel Adams, whose name I had heard only recently at that time. However, as I looked at all the images, my gaze quickly settled on one that was my favorite–the   now iconic black and white photograph of Lake Ediza and the Minarets with the rock slabs on the left side of the picture. All the elements fall into place perfectly. It turned out that the photographer was Philip Hyde. Years later I heard that Ansel Adams had remarked that he liked Philip Hyde’s rendition of the Minarets better than his own.

It was to be a number of years before I made it to the Sierra Nevada, but it was not nearly so long before I learned more about Philip Hyde and his outstanding contribution–through his photography–to the conservation movement.

I remember looking with fascination at This is Dinosaur: Echo Park Country and Its Magic Rivers(1955) with an introduction and chapter by Pulitzer Prize winner Wallace Stegner and photographs by Philip Hyde and Martin Litton. Somewhat later I pored over Island in Time: The Point Reyes Peninsula(1962) by Harold Gilliam and Philip Hyde. Philip’s books were all aimed at protecting diverse wilderness areas in the Western US. He provided more photography for the Sierra Club Exhibit Format Series than did any other photographer.

Igloo Camp at about 13,500' (4115m) at Windy Corner on Mt. Denali (was Mt. McKinley) 20,320' (6194m) June, 1958. Climber Fergus O'Connor is on the right. Copyright Ed Cooper Photo. Alaska.

Igloo Camp at about 13,500′ (4115m) at Windy Corner on Mt. Denali (was Mt. McKinley) 20,320′ (6194m) June, 1958. Climber Fergus O’Connor is on the right. Copyright Ed Cooper Photo. Denali National Park, Alaska.

In these years my climbs became increasingly difficult, but I found that I had a penchant for photography myself, progressing from an Ansco Panda box camera, to two 2 ¼ square folding cameras, and finally to my first 4×5 camera—a Speed Graphic in 1962. Later I progressed to actual view cameras, 4×5, 5×7 and 8×10. I found myself becoming more interested in capturing images on film than reaching summits or climbing large cliff faces.

I made what might be considered a pilgrimage about 1969 to meet Philip in his home in the northern Sierra Nevada. He was gracious; there was no air of pretentiousness about him. He wowed me by showing me his studio work area and many samples of his darkroom prints.

The Exhibit Format Series packed a powerful punch. How powerful it was I did not realize until February of 2012, when I received a letter from Bill Douglas in Annapolis, Maryland. I had done photography for The Alpine Lakes, a de facto wilderness area in the Cascade Mountains not far from Seattle. This book was published in a large format edition, similar to the Sierra Club Books, by the Seattle Mountaineers in 1971. The pressure by the mining, logging, and other interests to exploit this area was intense.

Bill described how President Ford had been persuaded to sign the bill to protect the Alpine Lakes Wilderness Area. Washington’s then Governor Dan Evans had flown to Washington for an appointment with President Ford to try to persuade him to sign the bill, but had forgotten to take a copy of The Alpine Lakes book with him. Bill Douglas and Dan Evans were hiking buddies who had talked about the importance of this meeting. Bill ended up taking his own copy of the book to the White House, where Dan showed the book to President Ford. Words were not needed. Ford exclaimed something like “This is beautiful country – it’s gotta be protected,” and signed the bill. Bill still has that book with the inscription “To Bill Douglas, with warmest best wishes, Gerald R. Ford.” That is the power of conservation photography.

Photographer Ed Cooper with special telephoto set-up for large format. An 8x10 Eastman Kodak view camera was attached to a 36" Dallmeyer lens (former aerial spy lens). Two tripods were required to support this set-up. Ed Cooper installed a Packard shutter triggered by a red bulb. September 1970 in the White Mountains looking towards the Sierra Nevada. Copyright Debby Cooper Photo. California.

Photographer Ed Cooper with special telephoto set-up for large format. An 8×10 Eastman Kodak view camera was attached to a 36″ Dallmeyer lens (former aerial spy lens). Two tripods were required to support this set-up. Ed Cooper installed a Packard shutter triggered by a red bulb. September 1970 in the White Mountains looking towards the Sierra Nevada. Copyright Debby Cooper Photo. California.

While Philip’s books resulted in the protection of many wild areas, conservationists will always remember with regret the place that got away. I refer to Glen Canyon, flooded when Glen Canyon Dam was built to create what is now Lake Powell in Utah and Arizona. I am sure Philip felt this regret acutely, as he had spent time capturing one-of-a-kind images of this now flooded national treasure. On a visit there just recently in 2011, I saw large areas of ugly mud flats left behind by receding Lake Powell with the reservoir level at that time down more than 100 feet.

Philip Hyde said: “For every place there will always be people that want to exploit it, and there will always be people—hopefully—that want to save it and keep it as it is. Even with the risk of inviting crowds into Paradise, better to publish your photographs and rally the troops. What’s in the frame of the photograph matters artistically, to be sure, but what’s outside the frame can destroy it.” Truer words were never spoken.

We are fortunate to have David Leland Hyde, Philip’s son, continuing to bring his father’s legacy to us in digital restorations of many of Philip’s images that were crucially important to the conservation movement, as well as the stories behind them. Both the stories and images might otherwise be lost.

Best Photographs Of 2014

December 18th, 2014

2014 The Year In Review

The Year 2014 was one of my most prolific since I started photographing 39 years ago when my father, American wilderness photographer Philip Hyde, gave me a Pentax K1000… Many people don’t realize that I have two of my own portfolios of images on Philip Hyde.com at the bottom of the dropdown menu after 26 portfolios of drum and flatbed scans of Dad’s classic color transparencies, as well as black and white prints, originally captured on medium and large format film. For a brief background on my travel and adventures in childhood and after read, “About David Leland Hyde.” A big thank you to Jim M. Goldstein for founding and again hosting this showcase every year since 2007. See details for participation and enjoyment, “Blog Project: Your Best Photos From 2014.”

The year 2014 also proved fruitful for me in words, both spoken and written. Besides working on longer projects and posting two feature length blog posts a month, I began writing for magazines again after a hiatus of more than a decade. My feature article, “The Art of Vision: Learn to Connect with the Landscape Like the Great Masters Ansel Adams, Minor White, Philip Hyde and Others,” appeared in the march print issue of Outdoor Photographer magazine and under “Locations” on the website. Many expert photographers and writers praised the article for its emphasis on craft and seeing rather than technical concerns and equipment. Read the conversation and insight by these industry leaders in my blog post announcing the feature story, “The Art of Vision: Outdoor Photographer Magazine Article By David Leland Hyde.” I also gave the Keynote Speech at the Escalante Canyons Art Festival in October, which drew the largest attendance of all keynote speeches in the 11-year history of the festival. I also gave or planned for 2015 a number of other smaller speeches at Colleges and Universities.

All “lucky 21″ of my top photograph picks this year were single image capture, though I do blend images to capture highlight and shadow detail when necessary. However, this year I have used no blends so far, no HDR, only a few masks, did not move or remove objects, except for detailed retouching and otherwise optimized the photographs only with curves and a few other minor layer adjustments. This is essentially how the classic straight photographers printed in the darkroom, but in the digital workflow I make editing adjustments with much more precision than possible with any film process.

This year I kept 21,154 images as opposed to only 8,142 in 2013; 10,525 saved in 2012; 5,783 in 2011; 3,684 in 2010 and 8,877 in 2009 for a grand total of 60,178 since I went digital. Part of the increase is due to exposure bracketing for images that may need it. Totals are not easy to find before 2009, except in some years when I made no photographs. By comparison, my father in his 60 +/- years actively photographing full-time, made an estimated 50,000 large format film photographs, approximately 80,000 medium format images and another 20,000 tests or family snapshots with 35 mm film. While Dad would make at most 10-16 images a day in a subject rich area with the expenses and limitations of large format, I sometimes make as many as one or two hundred images on a big day. I am highly selective at times, but I also like to work the angles. I’m not usually shooting away hoping to get a few good pictures by sheer odds, an approach my father poked fun at, the majority of my photographs are potentially saleable. That is what I plan to focus on doing more of with my own work in the next several years. I already sell as many of my own prints as Dad’s, but his darkroom vintage gelatin silver prints, Cibachrome and dye transfer color prints blow my little ol’ chromogenic or digital prints away in dollar volume.

See many of the photographs below larger in Portfolio One and my Sierra Portfolio on philiphyde.com now. Later you will see that I am just beginning to build my own website. To see more David Leland Hyde photography, see the blog posts, “Best Photographs of 2013,” “My 12 ‘Greatest Hits’ Of 2012,” “Best Photos of 2011,” and “My Favorite Photos Of 2010.” To find out more about limited edition archival prints see the popular blog post, “David Leland Hyde Archival Prints Pre-Launch,” or for sizes and prices go to Portfolio One or Sierra Portfolio.

Please help me improve by sharing in comments which two or so you like best and two or so that you like least…

1. Sunrise Sierra Wave Cloud Over Lone Pine, Sierra East Side, California. I drove six hours to Lone Pine arriving at 2 a.m., but awakened energized only four hours later, looked out and saw the entire sky was blazing red with a huge Sierra Wave Cloud directly overhead. I immediately drove East toward Death Valley enough to include Mt. Whitney, the mountains and the Sierra Wave Cloud in one frame.

1. Sunrise Sierra Wave Cloud Over Lone Pine, Sierra East Side, California. I drove six hours to Lone Pine arriving at 2 a.m., but awakened energized only four hours later, looked out and saw the entire sky was blazing red with a huge Sierra Wave Cloud directly overhead. I immediately drove East toward Death Valley enough to include Mt. Whitney, the mountains and the Sierra Wave Cloud in one frame.

2. Clearing Sunset Near Vista Encontada, North Rim, Grand Canyon National Park, Arizona. I exceeded the national park speed limit to get to this unnamed stop after photographing Point Imperial with the sun still above the horizon. I set up my camera and tripod as quickly as possible as the light was fading to dark fast. The howling strong wind required me to make a number of exposures before I got a sharp one.

2. Clearing Sunset Near Vista Encontada, North Rim, Grand Canyon National Park, Arizona. I exceeded the national park speed limit to get to this unnamed stop after photographing Point Imperial with the sun still above the horizon. I set up my camera and tripod as quickly as possible as the light was fading to dark fast. The howling strong wind required me to make a number of exposures before I got a sharp one.

 

3. Secret Cove, Ponderosa Pines, Lake Tahoe, Tahoe National Forest, California. This place is hard to find and a significant hike, more than two miles, from the highway. The interesting rock arrangements and opportunity to capture near, middle and far away scenic elements, kept me photographing here nearly all day.

3. Secret Cove, Ponderosa Pines, Lake Tahoe, Tahoe National Forest, California. This place is hard to find and a significant hike, more than two miles, from the highway. The interesting rock arrangements and opportunity to capture near, middle and far away scenic elements, kept me photographing here nearly all day.

4. Sun Rays Through Cloud Layers, Pacific Ocean, Cardiff-By-The-Sea, California. My friend Ralf and his daughter Mia and I were photographing her cousins and brothers surfing, when the sun, clouds and sunlight began to put on this epic show. I was using shutter priority to keep the surfers sharp, but shifted into manual, low ISO, small aperture settings for a series of landscape photographs.

4. Sun Rays Through Cloud Layers, Pacific Ocean, Cardiff-By-The-Sea, California. A friend of mine and his daughter and I were photographing her cousins and brothers surfing, when the sun, clouds and sunlight began to put on this epic show, while it was also getting dark fast. I had been using shutter priority to keep the surfers sharp, but shifted into manual, lower ISO, smaller aperture settings for a series of landscape photographs. That’s when the daughter started asking me about what tripods do for photographs…

 

5. Twilight, Mist Patterns, Round Valley Lake, Greenville, California. This photograph I made near dark and lightened it some in Photoshop. Images made around the dusk hour often exhibit shades of translucent blue like this.

5. Twilight, Mist Patterns, Round Valley Lake, Greenville, California. This photograph I made near dark and lightened it some in Photoshop. Images made around the dusk hour often exhibit shades of translucent blue like this.

6. Clay Rainbow Near Old Pareah, Grand Staircase-Escalante National Monument, Utah. No trip to the wilderness Southwest is complete without getting stuck in the sand and mud. I had to get stuck and unstuck by myself many miles from pavement to earn this photograph. Besides that, making the image was straightforward with just a little saturation added for spice, though I actually de-saturated the red after curves contrast made it a bit overdone.

6. Clay Rainbow Near Old Pahreah, Grand Staircase-Escalante National Monument, Utah. No trip to the wilderness Southwest is complete without getting stuck in the sand and mud. I had to get stuck and unstuck by myself many miles from pavement to earn this photograph. Besides that, making the image was straightforward with just a little saturation added for spice, though I actually de-saturated the red after curves contrast made it a bit overdone.

7. Logs And Reflections, Manzanita Lake, Lassen Volcanic National Park, California. This photo was among many I found walking around Manzanita Lake during the evening sun angle when the lake surface appeared to catch fire and glow with the most intensity.

7. Logs And Reflections, Manzanita Lake, Lassen Volcanic National Park, California. This photo was among many I found walking around Manzanita Lake during the evening sun angle when the lake surface appeared to catch fire and glow with the most intensity.

8. Lower Spooky Gulch Slot Canyon, Grand Staircase-Escalante National Monument, Utah. I wanted to get into Coyote Gulch, but did not want to backpack overnight. This slot canyon and two others near it, including the Dry Fork of Coyote Gulch, provided plenty of interesting sandstone canyon sculpture without fighting the crowds at Antelope Canyon or The Wave in Arizona.

8. Lower Spooky Gulch Slot Canyon, Grand Staircase-Escalante National Monument, Utah. I wanted to get into Coyote Gulch, but did not want to backpack overnight. This slot canyon and two others near it, including the Dry Fork of Coyote Gulch, provided plenty of interesting sandstone canyon sculpture without fighting the crowds at Antelope Canyon or The Wave in Arizona.

9. Dawn Mist And Canoe On Millpond, Graeagle, California. Woke up in the dark to make this one. The mist accumulating on the surface of the Millpond peaked just as I began to see and decreased with the progression of daybreak. I made a few exposures when it was darker with more mist, but the mist patterns in this were more interesting, while less lightening and noise reduction is needed on this image.

9. Dawn Mist And Canoe On Millpond, Graeagle, California. Woke up in the dark to make this image. The mist accumulating on the surface of the Millpond peaked just as I began to see and decreased with the progression of daybreak. I made a few exposures when it was darker with more mist, but the mist patterns in this were more interesting, while less lightening is needed on this image.

10. Old Mission, San Juan Capistrano, California. I made this one, as I do many photographs, from the tripod platform Dad built on the roof of our family Ford 150 Econoline travel van. You cannot see over the mission wall from street level.

10. Old Mission, San Juan Capistrano, California. I made this one, as I do many photographs, from the tripod platform my father built on the roof of our family Ford 150 Econoline travel van. You cannot see over the mission wall from street level.

11. Bicyclists Rejoice, Murals, Balmy Alley, Mission District, San Francisco, California. I agree with Nina Simone that an artist’s responsibility is to reflect the times. I show the general mood and place where the murals are, without recording any of them specifically, but rather, transforming their combination into a telltale scene. I intend to draw attention to the neighborhood and encourage people to go see this incredible, often political art. I clicked one frame before the bicyclists came happily along and idealized the composition. Riding bicycles will become more and more a sign of the times in the future.

11. Bicyclists Rejoice, Murals, Balmy Alley, Mission District, San Francisco, California. I agree with Nina Simone that an artist’s responsibility is to reflect the times. I show the general mood and place where the murals are, without recording any of them specifically, but rather, transforming their combination into a telltale scene. I intend to draw attention to the neighborhood and encourage people to go see this incredible, often political art. I clicked one frame before the bicyclists came happily along and idealized the composition. Riding bicycles will become more and more a sign of the times in the future.

12. Farm Workers, Strawberry Fields Near Oceano and Guadalupe, California. I stumbled upon this field of workers and others picking strawberries and cabbages on the way to the Oceano Dunes, some sections of the dunes are called the Nipomo Dunes and Pismo Dunes in each respective town the dunes reach across. By seeking out the wildest part of the Oceano Dunes I also discovered several other subjects I had been thinking of photographing in the future. The vantage point of the top of my van came in handy again here.

12. Farm Workers, Strawberry Fields Near Oceano and Guadalupe, California. I stumbled upon this field of workers and others picking strawberries and cabbages on the way to the Oceano Dunes. Some sections of the dunes are called the Nipomo Dunes and Pismo Dunes in each respective town the dunes reach across. By seeking out the wildest part of the Oceano Dunes, I also discovered several other subjects I had been thinking of photographing for some time. The vantage point of the top of my van came in handy again here.

13. Broken Windows Detail, Abandoned School, Mare Island, California. I’m seeing abandoned buildings and homes all over the West, in cities and in rural areas. I made this image from the public roadway, as the condemned school was on property owned by a private corporation who bought it from the US Navy. The school was on part of the defunct Mare Island Naval Base.

13. Broken Windows Detail, Abandoned School, Mare Island, California. More signs of the times. Watch your step in ruined buildings. Watch out above too. I have been dive bombed by birds, charged at by ferrel cats and made to jump by mice and rats. I notice abandoned buildings and homes all over the West, in cities and in rural areas. I made this image from the public roadway, as the condemned school was on property owned by a private corporation who bought it from the US Navy. The school was on part of the defunct Mare Island Naval Base. To see the photograph large

http://www.philiphyde.com/#mi=2&pt=1&pi=10000&s=3&p=27&a=0&at=0

14. Freeway Curves, Vallejo, California. I like the curves and shapes found in many of the giant concrete bridges, ramps, columns, buttresses and beams of our interstate highway system. Photographing freeways is dangerous and sometimes tough on the lungs in rush hour. Often high contrast separates the shadowy under sides of roadways from bright surroundings, yet shadows add curves and other interest.

14. Freeway Curves, Vallejo, California. I like the curves and shapes found in many of the giant concrete bridges, ramps, columns, buttresses and beams of our interstate highway system. Photographing freeways is dangerous and sometimes tough on the lungs in rush hour. Often high contrast separates the shadowy under sides of roadways from bright surroundings, yet shadows add curves and other interest.

15. Oakland Harbor From Yerba Buena Island, San Francisco Bay, California. This side of Yerba Buena Island is a challenging place to make photographs as there is no place to park and the construction crews for the new Bay Bridge want to keep people away from the construction zone. However, I managed to squeeze out a few images of Oakland across the Bay receding into the mist.

15. Oakland Harbor From Yerba Buena Island, San Francisco Bay, California. This side of Yerba Buena Island is a challenging place to make photographs as there is no place to park and the construction crews for the new Bay Bridge want to keep people away from the construction zone. However, I managed to squeeze out a few images of Oakland across the Bay receding into the mist.

16. California Highway One From Above, Big Sur Coast, Pacific Ocean, Los Padres National Forest, California. The color version of this is beautiful with a sapphire blue ocean and gold illuminated plants on the cliffs, but I feel the black and white version somehow transports us to another time with the help of winding two-lane State Highway 1. Climbing several hundred feet above the highway also gives this a unique perspective. I had to watch out for Poison Oak, which is prolific in Big Sur. In the end I was not careful enough and drove home with the rash on my face, forearm, ankle and calf.

16. California Highway One From Above, Big Sur Coast, Pacific Ocean, Los Padres National Forest, California. The color version of this is beautiful with a sapphire blue ocean and gold illuminated plants on the cliffs, but I feel the black and white version somehow transports us to another time with the help of winding two-lane State Highway 1. Climbing several hundred feet above the highway also gives this a unique perspective. I had to watch out for Poison Oak, which is prolific in Big Sur. In the end I was not careful enough and drove home with the rash on my face, forearm, ankle and calf.

17. San Juan River Canyons From Muley Point Overlook, Utah. Muley Point was one of Dad’s favorite photo stops. The dirt road and remote location weeds out many travelers. However, the views are great of Monument Valley and into the San Juan River canyons, offering all kinds of photographic possibilities.

17. San Juan River Canyons From Muley Point Overlook, Utah. Muley Point was one of Dad’s favorite photo stops. The dirt road and remote location weeds out many travelers. However, the views are great of Monument Valley and into the San Juan River canyons, offering all kinds of photographic possibilities.

18. Leaning Alders Abstract, Indian Creek Near Taylorsville, California. I made a number of variations on this, a few closer in, some including the shore, a few horizontals. This version stands out the most. The color version of this same composition looks nearly identical to the black and white, except for the large floating stick in the lower right that is brown in the color image. The Alder tree trunks are dark gray either way, as well as the water being the same slate gray in either color or black and white.

18. Leaning Alders Abstract, Indian Creek Near Taylorsville, California. I made a number of variations on this, a few closer in, some including the shore, a few horizontals. This version stands out the most. The color version of this same composition looks nearly identical to the black and white, except for the large floating stick in the lower right that is brown in the color image. The Alder tree trunks are dark gray either way, as well as the water being the same slate gray in either color or black and white.

19. La Jolla Caves, La Jolla Shores, California. A friend of mine’s kids were doing flips off rocks into the ocean at a place called Deadman’s, to the side and above La Jolla Caves. I photographed boys doing flips and a couple flops. Photographed the cormorants on the cliffs as well as the beautiful and frightening cave entrances at cliff base.

19. La Jolla Caves, La Jolla Shores, California. A friend of mine’s kids were doing flips off rocks into the ocean at a place called Deadman’s, to the side and above La Jolla Caves. I photographed the boys doing flips and a couple flops. I photographed the cormorants on the cliffs as well as the beautiful and a bit spooky cave entrances at the cliff base.

20. Burney Falls, McArthur-Burney Falls Memorial State Park, California. I have wanted to visit Burney Falls for a long time to see if I could photograph it significantly different than my father did. He photographed it in all seasons, but his most known image of the falls he made in winter with the foreground deciduous trees bare and few leaves on any other shrubs. I was happy to find that there are many viewing areas and many angles from which to photograph the waterfall, including from downstream, from front, side and from several different levels above the 129-foot drop.

20. Burney Falls, McArthur-Burney Falls Memorial State Park, California. I have wanted to visit Burney Falls for a long time to see if I could photograph it in a different way from the many my father did. He photographed it in all seasons, but his most known image of the falls he made in winter with the foreground deciduous trees bare and few leaves on any other shrubs. I was happy to find that there are many viewing areas and many angles from which to photograph the waterfall, including from downstream, from front, side and from several different levels above the 129-foot drop.

21. Spring Showers, Table Mountain, Sierra Foothills Near Oroville, California. Many of my best images I drive right by and then turn around to go back and make the image. This photograph was located on a part of the highway with narrow shoulders and steep drop offs on either side of the road.  This meant the nearest place to park was a good half-mile down the road. I felt this one was worth hiking a mile, but I also had to watch for some time the sun going in and out of the clouds to pick the best moment when the trees would be lit, but also when they cast at least some shadow, which I feel adds interest.

21. Spring Showers, Table Mountain, Sierra Foothills Near Oroville, California. Many of my best images I drive right by and then turn around to go back and make the exposure. This photograph was located on a part of the highway with narrow shoulders and steep drop offs on either side of the road. The nearest place to park was more than half-mile down the road. I felt this one was worth hiking a mile round-trip, but I also had to watch for some time, the sun going in and out of the clouds to pick the best moment when the trees would be lit, but also when they cast at least some shadow, which may add interest.

 

 

 

 

 

 

 

 

 

 

Keynote Speech At Escalante Canyons Art Festival

September 11th, 2014

Escalante Canyons Art Festival and Everett Ruess Days

David Leland Hyde Keynote Address

Friday, September 26, 2014 at 7:30 pm

Escalante High School Auditorium, Escalante, Utah

Why Escalante, Utah? Why Was David Leland Hyde Invited To Speak?

Hyde's Wall, East Moody Canyon, Escalante Wilderness, now the Grand Staircase-Escalante National Monument, Utah, copyright 1968 by Philip Hyde. One of the most renowned photographs from Sierra Club Books. "Hyde's Wall," originally titled "Juniper, Wall, Escalante" was first published in the Sierra Club book "Slickrock: The Canyon Country of Southeast Utah" with Edward Abbey. Search for "Hyde's Wall" on this blog for more about Edward Abbey, "Hyde's Wall," "Slickrock" and how the wall originally became known as Hyde's Wall.

Hyde’s Wall, East Moody Canyon, Escalante Wilderness, now the Grand Staircase-Escalante National Monument, Utah, copyright 1968 by Philip Hyde. One of the most renowned photographs from the early large format Sierra Club Books. “Hyde’s Wall,” originally titled “Juniper, Wall, Escalante” was first published in the Sierra Club book “Slickrock: The Canyon Country of Southeast Utah” with Edward Abbey.

My father, American landscape photographer Philip Hyde, (1921-2006) even more than his mentor and teaching associate Ansel Adams, explored and photographed remote areas of the Western US, helping to establish national parks and wilderness lands. Dad’s photographs, along with those of Ansel Adams, Eliot Porter, Martin Litton, David Brower and others, were the backbone of the Exhibit Format Series that popularized the coffee table photography book and helped to make or protect national parks and wilderness in Utah, Arizona, Colorado, Nevada, Wyoming, Idaho, Montana, California, Oregon, Washington, Alaska and beyond. Iconic locations that receive millions of visitors a year now were protected with the help of Dad’s images.

Projects included books and other photography assignments that were central to preventing dams in the Grand Canyon and Dinosaur National Monument, establishing North Cascades National Park, Redwood National Park, Pt. Reyes National Seashore and many others. For the 1971 book Slickrock: The Canyon Country of Southeast Utah with Edward Abbey, Dad was the first to photograph remote areas of Waterpocket Fold and the Escalante River canyons in what is now Grand Staircase-Escalante National Monument; as well as parts of the Dolls House in the Maze in Canyonlands National Park.

In the heart of canyon country, the small town (pop. 783) of Escalante, Utah for 12 years now has hosted the Escalante Canyons Art Festival and Everett Ruess Days. For a much longer time, Artists have come from all over the West and the world to photograph, paint, sculpt and otherwise portray the beautiful sandstone landscapes of the Escalante River Canyons, a tributary of the Colorado River. This artwork is often seen in galleries, on TV and in magazines and other media all over the world. During the Escalante Canyons Art Festival, the Plein Air painting competition allows artists a full six days to explore the canyons of Grand Staircase-Escalante National Monument, Glen Canyon National Recreation and other areas limited to Garfield, Wayne and Kane counties in the lower center of Southern Utah. Judges bestow a number of awards and the art from the competition is offered for sale as part of the weekend festival that includes an Arts and Crafts Fair, artist in residence and featured artist exhibitions, a speaker series, staged musical entertainment, special show presentations, workshops, demonstrations, open studios, tours, films, yoga, quilt exhibition, an art installation from Brigham Young University and my Keynote Address on Friday, September 26, 2014 at 7:30 pm.

Part Of Why Philip Hyde’s Approach To Art Matters Today

In my speech, I will show slides and tell stories of travels with my father and mother, Ardis, in the backcountry by 4X4, horse, burro, airplane, train; hiking, backpacking and boating. I will also share an overview of my father’s work, with an emphasis on the Southwest.

On seeing the giant topographic contour maps of the canyons of the Colorado Plateau that my father pinned up in his studio, with his travels drawn on them in various pen colors, and after more urging by Dad, John Mitchell, the editor of Sierra Club Books in the early 1970s, decided to develop a large format book project, that became the now classic Slickrock just as Edward Abbey signed on to write the text. Mitchell, in the introduction, told the story of how Abbey and Hyde first met. Abbey had hiked with a friend into a remote area of Canyonlands. Abbey’s friend scrambled ahead of him up to the rim where he ran into a photographer with a large format camera on a tripod poised on the sandstone:

Cameraman explains he is doing a book. Funny, Friend says, so is my buddy. Cameraman asks identity of buddy. Ed Abbey, says Friend. Funny, says Cameraman, same book. Friend hollers down canyon: Hey, Ed. Guy up here says you’re collaborators. Abbey scrambles up. Ed Abbey, says Friend, meet ‘Doctor’ Hyde.

Such a chance crossing of paths, deep in the heart of The Maze that was then roadless, fit well these two desert wanderers and their collaboration. The two creative personalities differed in their approach to social pastimes: Abbey was a wild party lover and Hyde was a subdued teetotaler. Yet they both had an unsurpassed love of deserts—sandstone, sage and open sky—and they each had an unparalleled gift for expressing this love and similar feelings about preserving the wilderness, as much as possible like it was, for generations to come. In addition to the list of areas Dad photographed first and beyond his accomplishments in helping to make national parks and wilderness, exhibited in his photographs and writings, was Dad’s warmth toward lands that many considered inhospitable or useless.

Often photographers today are in a hurry. They may not be “allowing” or “making” photographs, but rather they are “blazing” or “blasting away.” When I was a boy, I remember Dad on the lookout for photographs. Mom and I were often quiet in anticipation of the true silent time, which began as soon as Dad pulled over, or we hiked away from pavement, and he took out his Zeiss wooden tripod and 4X5 Baby Deardorff view camera, or his Hasselblad with Bogen tripod. For Dad’s own explanation of the Quiet Mind see the blog post, “Toward A Sense Of Place By Philip Hyde 2.”

When Dad first arrived on any scene he would look in every direction many times and at each detail of the countryside around him. He would bend down and look up at a Juniper, crouch and look at a cactus between two rocks, scramble up a nearby mesa top, all in the interest of seeing every angle. He did some of this in his mind and some physically. By the time he planted his tripod, you knew he had checked all other possibilities and chosen one. There were exceptions to this longer process such as when he saw one isolated point of interest or when the light was fading or the situation was changing quickly for some other reason. Then he moved swiftly and silently.

At the same time, Dad never waited for special lighting, weather, rainbows, sunsets, moonrises or other special effects of nature all dressed up on her best day. His goal was to capture the subtle beauty of nature as is, in her everyday wardrobe. Some of his work is dramatic, but much of it is more refined and delicately subdued. He studied geology, archaeology and the natural and human history of an area before photographing it. His photographs were invocations honoring place, rather than art for art’s sake. Dad’s goal was similar to that of his mentor and friend Edward Weston, the father of modern photography: to take himself out of the picture as much as possible, limiting the always present imposition of the photographer’s own interpretation.

Family Travels And Philip Hyde’s Love For The Escalante And Colorado River Tributary Canyons

Dad had a particular fondness for the canyons of the Escalante, including the portions now and from time to time under Lake Powell in Glen Canyon. He traveled through Glen Canyon by boat before the reservoir formed in 1958 and 1962 and as the waters were rising in 1964. His photograph, “Cathedral in the Desert, Glen Canyon,” on an Escalante River tributary, Clear Creek, was named one of the top 100 photographs of the 20th Century.

In 1980, when Lake Powell finally filled to capacity for the first time, 16 years after the US Bureau of Reclamation closed the dam gates, Dad published a lament for Glen Canyon, Coyote Gulch and the lower Escalante in Wilderness Magazine, see the series of blog posts beginning with “Glen Canyon Lament By Philip Hyde 1.” For other writings and to read about and see Dad’s Glen Canyon Portfolio see the series of blog posts that start with “Glen Canyon Portfolio 1.” With the reservoir full, the mouth of Coyote Gulch was effectively cut off from hiking and backpacking access. Ten years earlier when I was five years old, a guide from the town of Escalante horse packed our gear into Icicle Springs, where my father, mother and I could establish a base camp for exploration and photography of Coyote Gulch and the Escalante Canyons. However, it was two years earlier in 1968, trekking down the river with another party, yet by himself for the day, that Dad found a canyon with a hidden entrance few people had seen, and discovered the place in East Moody Canyon now unofficially called “Hyde’s Wall,” by photographers who have had what it took to hike that far on foot.

In my Keynote Presentation on September 26 at 7:30 pm in the Escalante High School Auditorium, I will elaborate on these stories and tell others. I will share how Dad prepared for his travels, how he recorded not just the scenery on the surface, but dug into the geology, history and archaeology of each place he photographed, and how he applied what he learned in photography school with the greats of the medium, to see more profoundly. I will share how his legacy lives on, through many of the who’s who of landscape photography today, through my own photographs and through the application of his life’s work and images to current conservation campaigns.

To read about the Hyde’s travels in the Escalante River Canyons see the blog post, “58 Years In The Wilderness Intro 1.” For more about Hyde’s Wall see the blog post, “The Naming Of ‘Hyde’s Wall’ By Writer And Photographer Stephen Trimble.” For a rundown on the controversy over the Lower Escalante River, the Colorado River, Lake Powell and new solutions to the problem see the blog post, “Glen Canyon Book Review: Resurrection by Annette McGivney With James Kay,” as well as the blog post series beginning with “The Battle Over Dinosaur: Birth Of Modern Environmentalism 1.”

Have you ever been to Escalante, Utah?

Drylands: The Deserts Of North America 3

August 26th, 2014

Excerpts From The Text And Photographs of Drylands: The Deserts of North America by Philip Hyde, Part Three

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

Capitol Reef from Cohab Canyon, Capital Reef National Park, Utah, 1978, by Philip Hyde. Nationally exhibited and first published in "Drylands: The Deserts of North America" by Philip Hyde. A stronger, more majestic photograph than a similar earlier image published in "Slickrock: The Canyon Country of Southeast Utah" with Edward Abbey.

Capitol Reef from Cohab Canyon, Capitol Reef National Park, Utah, 1978, by Philip Hyde. Nationally exhibited and first published in “Drylands: The Deserts of North America” by Philip Hyde. A stronger, more majestic photograph than a similar earlier image published in “Slickrock: The Canyon Country of Southeast Utah” with Edward Abbey.

Drylands: The Deserts of North America with photographs and text by Philip Hyde, developed out of nearly 60 years of exploring and defending western North American wilderness, with special emphasis on the five deserts of the continent. Yolla Bolly Press, which also packaged Mountain Light by Galen Rowell and other foundational landscape photography titles, recently donated its archive to Stanford University, where Drylands and its production can be viewed. Drylands is now out of print, but can be found at various online booksellers including Amazon under Drylands: The Deserts of North America by Philip Hyde.

The previous blog article in this series, “Drylands: The Deserts Of North America 2,” tells the story of the making of the book. The first blog post, “Drylands: The Deserts Of North America 1,” contained the beginning of the first chapter of the text of Drylands itself. We continue now where that blog post left off…

 

Passing through vast expanses of land that appear to be nearly bereft of any living thing, I wonder at the sight of a small plant braving the harsh environment. Its difficult circumstances do not evoke sympathy; I wonder that the plant grows in spite of difficulties, that it conserves what little moisture it gets and responds to the slightest moisture by blooming exuberantly.

Still another delight feeds the photographer within: the light. Desert light is crystalline and brilliant, making deep shadows and sparkling highlights. This is at least partly a result of the scarcity of moisture in the air—and, until recently, the scarcity of humans and their activities. When there were fewer people, the light everywhere must have had the clear quality that is still to be seen in some of the more remote quarters of the North American deserts.

As a mountain lover, I especially appreciate a characteristic that our deserts share with most of the country from the Rockies west: the deserts of North America are uncommonly mountainous. The two snowiest mountain chains in the country, the Sierra Nevada and the Cascades border the northernmost deserts on the windward sides. Scattered throughout all of the deserts are a large number of lesser mountain ranges that cast their own rain shadows on the adjacent areas. Some of these lesser ranges are high enough and wet enough to support forests on their upper slopes. Rising high above the parched plains and valleys below, they may be snow capped in winter, like the higher ones to the west. The White Mountains, Toiyabe, Snake, Ruby, and other ranges in Nevada, along with the high plateaus of Utah and Arizona and the Sierra Madre in Mexico, create their own microclimates: islands of plenty surrounded by desert.

Nowhere in the world is there as much diversity of desert weather as there is in western North America. In western Oregon, California, and Nevada precipitation occurs mostly in winter, in summer only rarely. In the eastern and southern parts of the Mexican deserts, summer is the rainy season. Where rainfall records are available for desert locations, they show radical irregularity. Downpours may occur at random intervals and locations, sometimes exceeding the year’s average in a few minutes or hours. In some places droughts can last several years, with no rainfall at all. The North American deserts are second to none for intensity of summer heat, but the dryness of the air makes the heat more bearable. Death Valley can be as hot on a summer day as any place on earth, while at higher elevations a sweater may be necessary when the sun sets and the air cools.

The great diversity of the vast desert landscape of North America suggests natural divisions that coincide with most scientific classifications. But the actual boundaries of these divisions are not so easy to draw within those of the larger desert region. In most cases, one desert shades into another, so boundaries must be somewhat arbitrary and indefinite, as are all attempts by humans to circumscribe nature. As I write this I think of Sir Francis Bacon saying: “Nature is a labyrinth in which the very haste you move with may make you lose your way.”

Continued in the blog post, “Drylands: The Deserts of North America 4.”

Which is your favorite desert?

Philip Hyde Explored Wilderness In Photographs

February 18th, 2014

Philip Hyde Speaks Out About Respecting And Defending The Five Deserts of North America

By Jane Braxton Little

Note: This article originally titled “Philip Hyde: Exploring World In Photos” by Jane Braxton Little appeared in the Feather River Bulletin on October 7, 1987 just before the release of Drylands: The Deserts of North America. Jane Braxton Little now writes for the Sacramento Bee and magazines such as Audubon, American Forests, Scientific American, Nature Conservancy, Sierra, Native Peoples and many others. She is a full-time freelance writer who travels the world on environmental stories. Drylands is out of print but readily available through used booksellers. See Drylands: The Deserts of North America on Amazon.

Anvil Cloud Over Badlands, Death Valley National Park, Mojave Desert, California, copyright 1975 Philip Hyde. A Drylands image. Philip Hyde was aided in image selection for Drylands by Jim and Carolyn Robertson of Yolla Bolly Press, who packaged the book for publishing by Harcort, Brace, Jovanovich. Yolla Bolly also packaged Galen Rowell's famous book Mountain Light. The Yolla Bolly archive with Drylands and Mountain Light now resides at Stanford University.

Anvil Cloud Over Badlands, Death Valley National Park, Mojave Desert, California, copyright 1975 Philip Hyde. A Drylands image. Philip Hyde was aided in image selection for Drylands by Jim and Carolyn Robertson of Yolla Bolly Press, who packaged the book for publishing by Harcort, Brace, Jovanovich. Yolla Bolly also packaged Galen Rowell’s famous book Mountain Light. The Yolla Bolly archive with Drylands, Mountain Light and others now resides at Stanford University.

Traveling The West

Philip Hyde glanced around his studio lined with full-color landscape photographs in various stages of framing and confessed a yen to travel.

“I haven’t taken any kind of trip for 18 months and I’m beginning to feel it,” Hyde said. “My feet are itchy.” The Mojave, Chihuahuan, Sonoran, Great Basin and Painted Deserts are what have kept Philip Hyde, age 66, at his studio in his home in the Northern Sierra. His new book, Drylands: The Deserts of North America, will be published this month.

Sculpted sand dunes, multicolored lava flows and the surreal cracks of a sun-parched mud patch are among Philip Hyde’s 95 photographs that convey, often with stark simplicity, the complex beauty of North America’s five deserts. Hyde also wrote the text of the new large format coffee table book.

Hidden Complexity In Deserts

“To the casual eye, deserts look like simple places: scattered sage brush, the occasional lizard, bare rock…” Hyde wrote in his introduction. “Yet deserts are not really simple places and the bareness can be deceptive.”

With the publication of Drylands nearly behind him, Hyde has been kept in his studio readying the photographs reproduced in the book for shows at the California Academy of Sciences in San Francisco, opening October 23, and at Lightworks in Sacramento, scheduled to open December 2.

Drylands is the most recent of the many books and calendars that have helped to establish Hyde as one of America’s most respected and experienced landscape photographers. His work has been exhibited nationwide and is represented in major photography collections. While Hyde’s work reflects the diversity of vegetation and topography from Alaskan tundra to the mountains of central Mexico, it projects a singular attitude towards his subject.

Reverence And Discovery In Nature Photography

“I photograph nature with great respect for it,” Hyde said. “I want people to appreciate wilderness and I would like to think that I have had a hand in making them more conscious of nature.” A perfectionist, who chooses his words with precision, Hyde refolds his lunch napkin into its brass ring and labels his studio typewriter with the date he installed a new ribbon. His photographs are the products of a fine eye distinguished by an appreciation for the subtly unusual.

“Photography for me is a discovery process,” Hyde said. “I don’t go to a place and wait. In a place that’s full of pictures, it doesn’t make sense to wait for them to happen. There are too many other pictures waiting to be taken.”

Philip Hyde and his wife Ardis spend an average of three months a year on photographic trips. They have climbed the mountains of Baja California, Mexico, rafted through the Grand Canyon, Rio Grand and many other river canyons, and camped on a glaciated beach in Glacier Bay National Park, Alaska. Before each trip, Hyde studies the geology and geography of the area and researches it pictorially. Hyde explained, “Basically I’m dealing with the land. I find out what I can about it in advance. When I get there I explore it—and see what happens.”

Environmental Activism And Politics

His travel far from the conventional tourist beats is in step with his environmental politics. An outspoken conservationist, he served as a photographer for the Sierra Club Exhibit Format Series that originally popularized the large format coffee table book. Hyde produced numerous books for the San Francisco based Sierra Club and worked with many other environmental organizations. He was a major contributor to the first Sierra Club desk calendar and his work continues to appear regularly in new editions, as well as numerous other publications. His pictorial record of Glen Canyon before it was flooded by Lake Powell is just one example of his use of photographs to make political statements.

“My photographs are my voice,” Hyde asserted. “They haven’t hurt people as much as I would have if I got mad and hit them over the head.” He is generally critical of the direction of national politics and specifically critical of the Reagan administration and James Watt, Reagan’s Secretary of the Interior.

“The whole idea of conserving things is more liberal than conservative,” Hyde said. “Conservatism, as practiced in this country is exploitation. It’s big business privilege. It doesn’t jibe with conservation or true conservatism.” Hyde has devoted a lifetime to photography out of a belief in communicating conservation ideals.

Art As Communication More Than Expression

“My philosophy of photography is communication,” He explained. “That rules out getting too far out and too personal—where the communication is so obscure you go to a show and the most banal photograph has three paragraphs of text to explain it. That’s not the true medium of photography. If it needs to be explained, it’s something else.” He also does not advocate art that is different merely for the sake of being different.

“There’s so much talk about creativity,” Hyde said. “Philosophically, I don’t know about creation. It seems to me there is no real need to make nature into something else. If you make a tree into something other than a tree, that’s not photography.”

“The picture doesn’t have to communicate just what the photographer is thinking,” said Hyde. “Let people play around with it. That’s part of the fun.” The best of Hyde’s photographs leave space for the viewer to complete the scene.

Self Made, Self-Reliant And Simple

Hyde does almost all of his own photographic printing in his studio, keeps all of his own clerical records and markets the bulk of his work by himself. Despite the challenges of running a one-man business, he prefers the simplicity of being self-contained to the complexities of being an employer.

“The hardest thing I do is to make things simple,” he said. Hyde recently simplified his printing process by replacing color dye transfer printing with Cibachrome, a color printing process manufactured in Belgium and marketed by an English company. Cibachrome has complexities in the chemical and manufacturing process, not in the print making methods.

When he is at home in the Sierra, Hyde maintains a disciplined schedule, working regular hours in his studio. The house where he and Ardis have lived since 1959 is decorated with clean, understated elegance: hand-made earthenware, Navajo rugs, books, rugs, wall hangings and brass trays from when the Hydes lived in Morocco for a year.  Their food is often picked from Ardis’ garden just up hill from Indian Creek, complimented by her homemade whole wheat bread.

His photographs bear a quest for simplicity, conveying a strong sense of the individuality of a single stone or the moment of a sunset over the Grand Canyon. They are images that may accurately reflect a point in time selectively plucked from a world in constant flux.

“Every day different things are happening. Every day the sun is in a different position… Photography is an exploration more than anything else.”

Glen Canyon Book Review: Resurrection By Annette McGivney With James Kay

September 25th, 2013

Book Review on the Biggest Conservation Story of All Time and New Solutions… Resurrection: Glen Canyon and a New Vision for the American West by Annette McGivney with Photographs by James Kay and Foreword by Bill McKibben (Braided River, 2009)

How We Lost Glen Canyon

Resurrection Book Cover, Photograph copyright 2009 James Kay.

Resurrection Book Cover, Lake Powell at Hite Marina, Glen Canyon National Recreation Area, Utah, Photograph copyright 2007 James Kay.

In the mid 1950s, David Brower, Executive Director of the Sierra Club, led a coalition of conservation groups in an effort to permanently banish industrial development from national park lands. The primary battle defending the sanctity of the national park system was over two dams proposed inside Dinosaur National Monument. The proposed dams in Dinosaur would have flooded 96 out of 104 river miles in the monument on the Yampa and Green Rivers.

David Brower in Congressional testimony used 9th Grade math to prove that if Glen Canyon Dam were higher, it could hold back and store more water than both proposed dams in Dinosaur. Congress removed the two dams in Dinosaur National Monument from the Colorado River Compact and passed the bill approving the construction of Glen Canyon Dam. Having never seen Glen Canyon, David Brower and many others did not know the extent or nature of the sacrifice made to protect the national park system. Looking back, especially after he floated through Glen Canyon on the Colorado River for the first time in 1958, David Brower mused that he and the coalition might have pushed on and possibly succeeded in saving Glen Canyon. (For more on David Brower see the blog post, “David Brower: Photographer and Environmentalist 1.”

Ironically, before World War II, Glen Canyon had been part of a proposed national park that would have encompassed more than two million acres spread across much of Southeastern Utah including most of what are now Grand Staircase-Escalante National Monument, Capitol Reef National Park and all of Glen Canyon. The attack on Pearl Harbor interrupted these discussions and turned the attention of Congress to preparations for war.

Drought, Distortions, Glen Canyon Dam And A New Dream Of The West

The Bureau of Reclamation closed the gates on Glen Canyon Dam in 1964, but “Lake” Powell did not reach full capacity until 1980. The reservoir water level ebbed and flowed until the last time it was full in 1996, then drew down over 100 feet by 2003 and has remained nearly half empty or more than half empty ever since. It turns out that the Colorado River flow calculations that justified the building of Glen Canyon Dam in the first place were exaggerated, as were the rainfall estimates on which expansion and development interests based the entire settlement of the Western US plains and Southwestern desert. Tree ring studies and other climate measures show that the 20th Century was one of the wettest ever in the Western US. Today’s much lower rainfall and river flow rates are more characteristic of the region, though big dam proponents are officially calling the present conditions a drought. Nonetheless, scientists project that “Lake” Powell may never be full again. Odds are that both “Lake” Mead and “Lake” Powell will both remain as they are now, roughly half full or less for the foreseeable future.

Annette McGivney, in Resurrection: Glen Canyon and a New Vision for the American West, tells the story of the loss of Glen Canyon, but more importantly the rebirth of life in the side canyons since the reservoir has subsided. Glen Canyon today is the poster child for watershed recovery for both Glen and Grand Canyon, as well as for the resilience of nature in general. McGivney’s easy-flowing text accompanies the photography of James Kay, who for more than three decades has photographed the Colorado Plateau, the seismically uplifted high desert that the Colorado River cuts through in Utah and Arizona. James Kay knows this land and these canyons. His sensitive, artistic eye finds for us the devastation that was, and the haunting, unparalleled paradise that is Glen Canyon.

McGivney and Kay explored many of the tributary canyons together for this project, either by boat, by kayak, but most often on foot, backpacking from the reservoir up canyon; or from the rims of the sandstone tablelands above, down into narrow, winding passages and rock alcoves. These slot canyons, often hundreds of feet tall and in places only a few feet wide, are already verdant with newly rooted cottonwoods, willows, and grasses, as well as teaming with wildlife just as they had been for centuries before everything drowned under the full reservoir.

Annette McGivney quotes Richard Ingebretsen, co-founder with David Brower of Glen Canyon Institute, who asked, “Why keep two reservoirs half empty?” Glen Canyon Institute, founded for the ultimate purpose of reclaiming Glen Canyon and turning it into a national park, is working on a current campaign called, “Fill Mead First.” The idea is to keep “Lake” Mead full because it supplies many cities of the Southwest with water and generates their electricity. If “Lake” Powell were then drawn down, Glen Canyon could be restored and even made into a national park. Many who saw Glen Canyon before the reservoir say that it rivaled the Grand Canyon in beauty.

Canyon Photography On Par With The Best Ever

Kayaker on Lake Powell in Reflection Canyon, Glen Canyon National Recreation Area, Utah, copyright 2006 James Kay.

Kayaker on Lake Powell in Reflection Canyon, Glen Canyon National Recreation Area, Utah, copyright 2006 James Kay.

James Kay’s photographs in Resurrection certainly provide the proof of this claim to canyon beauty. Traveling by Kayak, powerboat and most often on foot, Kay has shown us as never before, the side canyons and back alcoves of Glen Canyon reborn. His style is both effectively documentary, yet artistically strong. Kay’s experience in the canyons of the Southwest has given him not just an eye for form; he has an eye for gracefully capturing the forms of canyons. His understanding of natural light and how to use it to best portray the curves, edges, near and far, contrasts, shadows and indirect illumination of layers on layers of weather-sculpted sandstone.

Some of Kay’s compositions are simple. For example, one photograph in Resurrection depicts a massive wall of rock that juts out into “Lake” Powell like the prow of a ship. The vantage point of the image is from a boat close to water level. At the bottom of the wall that is about 200 feet tall, we see a small boat dwarfed by the immensity of stone above. The photograph is a work of beauty, while at the same time it accomplishes the practical task of dramatizing just how far the reservoir has receded from the high water line marked by a gray-tan mud stain, or “bathtub ring,” as people call it. The top half of the cliff is the beautiful red-brown of native rock, while the bottom half of the cliff is coated with ugly mud stain.

Other images give us the haunting, far away longing of luminous reflections or newly sprouted grasses, shrubs, cottonwoods and other lush greenery. Some photographs are purposely ugly, some are otherworldly and nearly abstract, while still others incorporate hikers in soaring walled narrows or show us intimate rushing water. If you love the desert and canyons, this is a book and a place different. Yet despite how unusual this place is, those who see it as nothing more than a holding tank, a cash register or a recreation area for motorized tourism, have seemingly never stopped to see it the way James Kay shares it.

The Desert, Progress, Jobs, Money And Other Myths

Despite US Bureau of Reclamation and pro-development rhetoric, the only two justifiable reasons Glen Canyon Dam was ever necessary, and remotely remains necessary, were the Politics surrounding the agreement between the seven Western states that share the water; and the Income from recreation on “Lake” Powell. The viability of Hydropower generation has nearly run out with low water levels often not providing enough gravity water drop to turn the turbines at sufficient speed. Besides, the 1992 Grand Canyon Protection Act no longer allows the fluctuation of water levels caused by increased dam releases during peak power usage.

Politically in relation to water use, the three Upper Colorado River Basin states: Utah, Colorado and Wyoming, for good reason mistrust the four lower basin states: California, Nevada, Arizona and New Mexico. The lower basin states have all along taken more than their share of Colorado River water. Glen Canyon Dam provides a physical obstruction by which the upper states can regulate the flow to the lower states and keep them from taking more than their allotment, if and when the upper states catch up with the lower states in their land development and thirst for water.

Even though the desert does not inherently provide the water to support the building of industry and commercial buildings, suburbs, golf courses, and abundant water features, the seven Western states of the Colorado River system have been in a race to develop as fast as they can to be sure they obtain as much Colorado River water as possible in relation to the neighboring states. John Wesley Powell, whom the reservoir was named after, warned against developing the West beyond its water capacity. He recommended a number of water saving approaches that have been implemented by a few wise communities, but ignored by most.

Indeed, McGivney reminds us that the cities of the desert tend to flaunt the image of the manufactured oasis. The Phoenix Convention and Visitors Bureau in 2005 adopted the slogan, “The Desert is a Myth.” A July hike in any direction beyond the edge of a Phoenix suburb like Anthem, for instance, and it becomes readily apparent that the desert is real and it is the lush golf courses that perhaps are already, or soon will be a mirage. Land development in the West has achieved similar temporary high profits and blindness to long-term consequences as recent Wall Street derivative speculation and the banking system near meltdown.

Nonetheless, it is less the cities that would run dry without “Lake” Powell than the farming of water-intensive crops like alfalfa, hay and cotton, grown not to supply market demand, but to take advantage of government subsidies and tax breaks. Dams are portrayed as symbolizing progress and economic growth, but special interests are the primary benefactors. In Utah, for example, mining, ranching and industrial agriculture represent less than 3% of the economy, but they use 85% of Utah’s water. Even though industrial agriculture comprises a decreasing portion of the Western economy, the industry is one of the largest contributors to political campaigns. Thus, even though dam projects, expanded water pipelines and other water infrastructure will not sustain society long-term, these outdated public works continue to garner support of those in political power.

A Dying Motor Tourism Industry And The Future

Cathedral In The Desert, Glen Canyon, Utah, copyright 1964 Philip Hyde. Named one of the top 100 photographs of the 20th Century.

Cathedral In The Desert, Glen Canyon, Utah, copyright 1964 Philip Hyde. Named one of the top 100 photographs of the 20th Century. James Kay used this photograph side-by-side with his own like this in the book Resurrection too.

Cathedral in the Desert, Glen Canyon National Recreation Area, copyright 2005 James Kay. Water level of Lake Powell near the lowest point.

Cathedral in the Desert, Glen Canyon National Recreation Area, copyright 2005 James Kay. Water level of Lake Powell near the lowest point, with the Cathedral almost fully recovered as only a few feet of water were left in the bottom.

The motorized brand of tourism that thrived on “Lake” Powell in the 1980s and 1990s, has generated significant income for concessionaires and boat operators, who also provide proportionally large support to politicians and boost the local economy. In 1992, Glen Canyon National Recreation Area hosted a record 3.5 million visitors, nearly as many at this peak as visited the Grand Canyon. Yet today with the shrinkage of the “lake” area, the closure of two out of five of the marinas and high gasoline prices area hotel stays and other tourism has dropped by 40 percent. Nearby national parks such as the Grand Canyon and Zion each increased visitation in the last decade. Indeed, the economy is playing a major role in the dying of motorized tourism nearly everywhere. Less disposable income, especially among the upper-middle class and upper class has led to less motorized lake recreation. In the past many high earning tourists have spent discretionary money on Jet Skis, Houseboat shares and other expensive water toys, but in the last 10 years public lands hiking and camping has grown, while motor boating has decreased significantly. Local jobs in Page, Arizona and elsewhere around “Lake” Powell have depended almost entirely on motor tourism. Most local people, including the Native Americans in the area, want to prolong a dying industry to maintain their livelihoods. While denying that their way of life is dying, they are likely missing the opportunities and shift in perspective that could bring them a far more sustainable, Earth-friendly and perhaps most importantly, a more permanent security.

McGivney’s “Step-by-step guide to saving Glen Canyon and then, perhaps the world” offers the kind of forward thinking solutions that thought leaders have begun to discuss in recent years. While these innovative resolutions will become requirements, rather than options in the near future, as a civilization we have a big leap to negotiate before we are ready to leave our self-serving short-term approaches behind and move into a mindset that is more conducive to sustaining our society and all life on Earth. This is perhaps the text’s only flaw, or perhaps it is more of a challenge: the leap from where our watershed management and environmental stewardship are now to where they need to be to sustain life in the Southwest and on Earth long range may be too big. Are we up to the task? Perhaps an even better question is: can we learn to cooperate with, listen to, find new ways to meet the needs of and educate those who have a vested interest in business as it has been for far too long?

For more on Glen Canyon and Philip Hyde’s photography of the lost paradise see the blog posts, “Glen Canyon Portfolio 1,” or “Glen Canyon Lament By Philip Hyde 1.”

Grand Canyon Book Review: “Path Of Beauty” by Christopher Brown

June 19th, 2013

Review Of Christopher Brown’s New Coffee Table Photography Book On The Grand Canyon: Path of Beauty

"Path of Light" Book Cover: "Colorado River In The Grand Cayon, Grand Canyon National Park, Arizona, copyright Christopher Brown.

“Path of Beauty” Book Cover: Colorado River In The Grand Canyon, Grand Canyon National Park, Arizona, copyright 1986 Christopher Brown.

Wilderness Guide, River Captain and Photographer Christopher Brown has given the world a photography book that highlights the Grand Canyon as grand vista, secret garden and old friend. Certainly great craft and care are evident in Brown’s intimate images of luminous side canyons, but his big scenes of the Grand Canyon show us the Canyon’s vast size like never before.

Chris Brown’s well-written text also puts the reader right into the canyons of sun-drenched rock, rampaging white water and hidden oasis gardens. We feel the desert heat and the cold wave spray. We sense the weight of time drifting slowly by as we descend into the deep gorges that Brown has explored for more than 50 years.

Christopher Brown gets into Path of Beauty by showing us various ways to get into Grand Canyon National Park. His discussion of Geography and the forces that shape the canyon is more wild than dry, the wildest forces being the raging of water in the river and the dumping of water from the sky in Monsoons and flash floods that choke the Colorado River with sticks, boulders and other material from side canyons. Brown vividly illustrates with active, interesting language and his powerful photographs how debris flows from side canyons produce increased excitement and danger in the rapids on the river.

Crystal Rapid is an example of this rapid building process. When Major John Wesley Powell navigated the Grand Canyon in 1867, “Crystal was a small riffle spread across the canyon bottom. It was mentioned only in passing in river journals for almost 100 years. Until 1966.” That year, a major flash flood “pushed several thousand tons of rocks and boulders” into the Colorado River, changing it’s course and raising the pool level above the rapid, making the rapid’s drop much more precipitous, concentrated and swift, as well as adding a giant hole created by an immense new underwater boulder. Brown describes how the rapid is run now:

A boat caught in the hole can surf around for a moment on the wave, do a pirouette, flip back into the hole, sometimes with a half or full twist, and can window shade, flipping over and over. A swimmer going into a big hole can be driven to the bottom of the river by the strong down current, and tumbled along the rocks on the bottom while being thrashed around in every which direction by the water currents trying to break her arms and legs and pound the air out of her lungs. It’s dark down there too. On a good day, which is most of the time, she will come to the surface a hundred or more feet downstream, gasp for air, and wonder for a second if she is alive or in boatman heaven, and which would be preferable. Hopefully she won’t be tangled up with her boat, which usually comes out of the hole just behind her. This is one of life’s longest 15 seconds.

Chris Brown goes on to share sometimes scary, sometimes humorous accounts of other mishaps and adventures he witnessed or participated in during his many decades rafting the wild Colorado River. Few men alive today know the Grand Canyon the way Brown does and it shows in his hard-won river wisdom and in his astonishing and vivid photographs.

Path Of Beauty And The Photography Of Natural Landscapes

In the back of the book, Brown includes a chapter on his approach to photography:

To begin I ask myself: “Where do I want to be today; what is calling me?” There may be a favorite place I want to revisit, or a new place I want to see. I don’t expect to see anything in particular, or to take a specific photograph. Mostly I want to photograph in a place where I enjoy being, and that is sufficient. I begin right there, and I go where I am drawn. I might wander off in one direction, and for no apparent reason, go off in another. I follow the slightest impulses and urgings, wherever the moment pulls me. I generally end up in a good place, and sometimes I wonder how I got there. Over the years I have learned that the intuition that guides me works well, so I trust it… When I hear someone espousing rules of composition I divert my eyes and cover my ears… If I have the desire to take a preconceived photograph, one that is in my head, or to find a certain light, I will feel this expectation and will see only this imaginary photograph, and nothing else. If I don’t find what I desire, I will feel nothing but frustration… The desire to create a good photograph can tie me in a knot of anxiety and paralysis. If it has to be good, this is an invitation for the gremlin of judgment and criticism to sit on my shoulder, just out of sight. He questions if something is really good, suggests it has been done better before, and tells me it’s not worth the time and effort. This is the kiss of death for any creative endeavor. I have learned to simply ignore this voice when I am working on anything creative, and the decision to ignore it is actually quite simple, and totally freeing. I have to remind myself of this every time I go out, because desire and expectation creep up unnoticed. I find that the less I expect, the more things will reveal themselves to me.

Brown’s photographs, while spontaneously found, also exhibit a thoughtful, deliberate method once in process. His selection in the field and his processing of the image at home is carefully orchestrated, sometimes right down to each individual pixel. He spends at least many hours and most often many days working on each image in post-processing to get it exactly right. His images capture the context and character of the Grand Canyon, like few have ever done for any place. Brown took his friendship and insights from Philip Hyde seriously in that he has shown the world sights and insights that they might not have ever seen or realized otherwise. Through Path of Beauty, you can treat yourself to a whole new, more lifelike version of the Grand Canyon, the next best thing to being there. Though be hereby warned, Brown’s book will most certainly entice you to go there and perhaps inspire you to photograph the place yourself from a different perspective than you might have before.

The only aspect missing from the book, in my opinion, is at least some mention of the grave threats to the ecosystems and doubts as to the very survival of the river itself, as it is known, going into the future. Nonetheless, keeping in mind this is not an environmental activism project or a book for a cause specifically, except perhaps the cause of natural beauty and the enjoyment of an unparalleled visual journey through the Grand Canyon on the Colorado River, this canyon and this river cannot receive too much praise or recognition for aesthetic and wilderness qualities alone. Feast your eyes on Path of Beauty. You will not be sorry, but you may be changed by the experience.

About Christopher Brown’s Friendship With Philip Hyde And Learning Photography

The North Canyon Pool, Grand Canyon National Park, Arizona, copyright Christopher Brown.

The North Canyon Pool, Grand Canyon National Park, Arizona, copyright 1990 Christopher Brown.

In the last 40 years, Christopher Brown has become a leading and award-winning full-time “professional” creative photographer and master print maker. He teaches photography and print making in Boulder, Colorado. His work is displayed in many private and public collections across the United States, including the Denver Art Museum and the San Francisco Museum of Modern Art. Brown was a guide and boatman for Outward Bound for over 30 years, during which time he began to make photographs of the natural landscape.

In the early 1970s, Brown decided to become more serious about photography and wrote a note to Galen Rowell, Eliot Porter, Bill Ratcliff and to Philip Hyde. He received a reply from all of them, but the reply from Philip Hyde was in Chris Brown’s words, “by far the longest and most thoughtful.” Not long after, Brown asked Hyde and Porter to review his portfolio. Porter wrote back to say that he was very busy and that Brown ought to do what he, Porter, had done and study the work of the masters. Hyde wrote Chris a letter that was “six pages, single spaced, both sides.” Brown, in a taped interview in 2005, said that he and Hyde in many ways had a similar approach to the world:

If somebody wrote me today, I would just send them a copy of that letter because what Philip said is what I would say to aspiring photographers now. He talked a lot about that if you are going to be an artist, you make your own path and you design your own life. I’ve always been that kind of person, a do it yourself guy. It was good to hear from him and realize that the struggles I was having, in terms of how to do this, were basically what it was going to be like. Nothing was going to change and that was ok.

Christopher Brown and his wife Elizabeth Black, a painter, went to visit Ardis and Philip Hyde in their mountain home in the Northern Sierra of California. “It was like we were on the same river trip. He was just a lot further downstream.” Brown and Hyde went on to travel together many wilderness miles, including self-guided river trips down the Rio Grande and the San Juan Rivers, in the Needles and Island in the Sky, Canyonlands National Park.

Early in their correspondence Brown wrote to Hyde that he occasionally felt the need for the perspective controls and depth of field possible with a large format camera. He saw switching to a 4X5 film camera as an inevitability that he was not ready for at the time. Hyde wrote back regarding many of the advantages and disadvantages of large format photography. (Stay tuned for future blog posts that will include portions of these letters.) Brown at first used his medium format camera more, then converted to large format for several decades. Brown described his relationship with Hyde in Path of Beauty:

Photographer Philip Hyde let me be his friend, and we hung out together on the Rio Grand and in Canyonlands, laughing at each other fumbling with lens caps, debating whether an exposed piece of film was empty or full, while we searched for the next “snap.” Phil refused to be a guru or give advice, and steadfastly lived the belief that each artist has to find his own path.

In another section of Path of Beauty where Brown discusses the “art of seeing,” he recalls,

Photographer Philip Hyde said to me: “If you see a picture, better take it.” Life is always uncertain, so why not take yet another chance? You can debate the merits back in the studio. I try to save my analysis and critique for later. It is a distraction while I am photographing. “Shoot first and ask questions later.”

This may not be good advice for the use of guns, but it probably is the best policy for the use of cameras.

(More of the Philip Hyde—Chris Brown correspondence, the merits and drawbacks of color versus black and white photography and David Leland Hyde interviewing Christopher Brown in future blog posts.)

What is your process for making photographs? 

Official New Release: Sierra Portfolio

May 29th, 2013

Announcing David Leland Hyde’s All New Sierra Portfolio

“The Sierra should be called, not the Nevada or Snowy Range, but the Range of Light… the most divinely beautiful of all mountain chains I have ever seen.” –John Muir

New Sierra Portfolio By David Leland Hyde On PhilipHyde.com

Half Dome From Mirror Lake Trail, Winter, Yosemite National Park, Sierra, California, copyright 2010 David Leland Hyde.

Half Dome From Mirror Lake Trail, Winter, Yosemite National Park, Sierra, California, copyright 2010 David Leland Hyde.

John Muir wandered and celebrated the Sierra for more than a decade inspiring thousands of artists and lovers of wilderness to “climb the mountains and get their good tidings.” My father, American landscape photographer Philip Hyde, was one artist so inspired. His last book, published in 1992 and titled, “The Range of Light,” featured quotes from John Muir to go with his color, as well as black and white photographs.

When Dad was 16 he first visited the Sierra and labeled his map of Yosemite National Park, “Home.” Twelve years later in 1950 he and my mother moved to the mountains in the Northern Sierra. Another 15 years later a doctor friend helped them give birth to me at home in the wilderness of the Sierra. I grew up in the woods along Indian Creek and have been “haunted by waters” like Norman Maclean ever since. The Sierra could also be called the “range of shimmering water” as it is more abundant in rivers, lakes and streams than any other mountain range.

The house I was born in is situated on an ancient granite rockslide that originated from Grizzly Peak. The peak itself is not visible from our home directly below the mountain. We see Grizzly Ridge, rising precipitously up 4,000 feet to 7,600 feet elevation, from Indian Creek at 3,600 feet elevation just below the house. Nonetheless, this northern end of the Sierra is mild, softly rounded and much lower than the high Sierra of Yosemite, Kings Canyon and the John Muir Trail.

As a child of the mountains, they raised me just as much as my parents. My mother knew I would learn many of life’s most important lessons by wandering around in the woods, fishing and hiking along Indian Creek, Spanish Creek, Greenhorn Creek, Ward Creek, Red Clover Creek, Montgomery Creek, Lights Creek, Hinchman Creek, Peters Creek and many of the other streams of Plumas County and the Feather River region.

These local names are telltale signs of my focus on local photography for the last four years since I forged into digital photography; and for many years before that while carrying a film camera off and on, sometimes going whole decades without a camera too. Here I learned to walk, talk, run, swim, fish, ice skate, drive in the snow, jump off of big rocks into deep waters and all the fun a boy could ask for without any need of television, video games, cell phones or portable computers.

I understand the need, in some cases, for landscape photographers to travel. During his more than 60-year career, Dad traveled an average of 99 days out of every year. Yet even Dad’s travels were almost exclusively regionally limited to the Western United States, primarily in Arizona and Utah canyons and California mountains. Is it necessary that all photographers go to Machu Picchu, the Eiffel Tower, the Great Wall of China, or even Mesa Arch in Canyonlands, Tunnel View in Yosemite Park, or Zabriski Point in Death Valley National Park? Sometimes photographers traveling to Iceland might help save the ice sheet, photographers traveling to far northern British Columbia might save a vast wilderness like the Sacred Headwaters. However, generally, I feel more and more that I am a proponent of photographic bioregionalism. In other words, bloom where you’re planted. Considering that Edward Weston said he could look at his boot and find a great photograph, amazing images are everywhere, if the photographer looks, or rather sees closely enough. There is no need to travel great distances to find beauty. It can be found right in the backyard as locally focused well-known photographers like William Neill, Michael Frye, Gary Crabbe, Richard Wong and Guy Tal prove over and over, day in, day out.

I was born in the Sierra, here is where I live and here is where I photograph. This new portfolio is a collection of a small slice of my personal expression through the lens, very often one single rudimentary lens, a Costco special Nikon 18-55 mm that came in a kit with my Nikon D90, a Nikon 55-200 lens, a camera case, an SD card and camera manual. Sure, some day I hope to break out Dad’s large format Deardorff view cameras and his two medium format Rollei SL66 film cameras to try out some black and white film, but for now, I’ll stick to the easy to use and versatile Nikon D90. I am lucky to have Dad’s nearly indestructible Bogen #3028 tripod with handy pads on the legs for comfortable carrying over the shoulder for long distances or while free rock climbing with one hand down into some canyon in these fair mountains of home.

Nearly all of my photographs are single exposure, single image capture, though now that I’m learning to blend, I usually make at least two, sometimes three exposures of most high contrast photographs. The only photograph in this new Sierra Portfolio that is a blend is #3 “Oaks, Grizzly Ridge, Fall.” It is not a blend for contrast, but for the purpose of lightening the California Black Oaks and shifting color temperature of part of the image and not another. Many of these Sierra Nevada photographs involve very little Photoshop work at all, except where obvious. Color saturation was rarely increased with the saturation slider. I usually only increase saturation as a byproduct of working with the curves to attain the look of the original scene. People who don’t use Photoshop and claim their images are more pure because they for the most part use their RAW file, are generally producing images that are less true to life than those who use Photoshop because the RAW file rarely match any scene the way it looked originally. For more on this and related subjects see also the blog post, “David Leland Hyde’s Portfolio One Revisions And New Releases.” Please keep in mind that I create these photographs in limited editions of only 100. When they’re gone, they’re gone. Enjoy browsing: Sierra Portfolio… and please share which you like best…

(Originally posted for soft release May 29, 2013.)