Posts Tagged ‘British Columbia’

Denali National Park, Alaska Travel Log 2

February 4th, 2016

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

(Ardis, David and Philip Hyde in Their Camper. Continued from Blog Post, “Denali National Park, Alaska Travel Log 1.”)

Part Two: Kelsey Bay, British Columbia to Ketchikan, Alaska

Ridge of Wonder Pass Peak, Mt Assiniboine Provincial Park, British Columbia, Canada, 1995 by Philip Hyde.

June 20:  The Canadian ferry at Kelsey Bay depends on tides for its arrival and departure times. When we arrived at the dock under a heavy gray sky around 9:30 am, the ferry called the Queen of Prince Rupert was just unloading cars. We pulled into the parking lane to wait. They measured our rig. Including the Avion Camper and Utility body 1968 GMC Pickup, we measured 21 feet in length. They let us drive on at about 12:50 pm. The car deck is arranged for two stacks of cars on the outer edges. Campers, motor homes and small trucks park in the center lanes. We watched the closing of the car deck drawbridge, then climbed the stairs to the upper deck to see the bow lowered into place for the voyage. Next we went to our stateroom. David was glowing over “my own top deck.” He climbed up for a nap. Philip and I also had a brief nap on the bottom bunk. The dimensions of the stateroom precluded any possibility of sleeping on the floor, which we would prefer over a soft, sagging bed. The wash basin and seat reduced the area available.

When David woke up we went out on deck. The sky was full of clouds, but they were pretty ones. The air was mild, but we needed to be bundled up when walking the bow deck due to wind. We were excited to see numerous schools of killer whales, cavorting and spraying, emerging with high dorsal fins showing. We went in to dinner at 6 pm. The food was very ordinary but the service was good. The notable feature of this passage is the closeness to islands all the time. The islands are wooded with bare gray rock bases up to the high tide line. We finally got away from logging evidence but logs still occasionally floated by. We headed away from Vancouver Island during dinner and into the open ocean. Experienced a slight choppiness at times, but the whole voyage was generally smooth. Philip went out to the camper for the night to have more sleeping room. He said it was 70 degrees and too warm. Our stateroom was well ventilated. David and I slept well.

June 21, Monday:  Over an ordinary breakfast, we visited with a young couple from Toronto. They were headed back to Toronto by way of the Prince George Highway. Before breakfast we had the experience of searching for David. We had left him in the stateroom to go to the car deck. He had gone down a stairway, made a few turns and couldn’t find his way back. We retrieved him via the purser, who called the room to tell us David was at his office. We went out on deck after breakfast: rain and a low ceiling. We were close to shore and coming into Prince Rupert. We were the first ones off the ferry after the big bus at 9:15 am. First we drove to the local museum, then out to a view point overlooking a tidal rapid, Butze Rapids Park. Dreary and rainy all day. Lunch and naps. On out to Prince Edwards to the pulp mill. Stopped for pics. Small fishing port, nets drying on dock racks. Back into town and down to the ferry dock. Still early but many cars already parked in line up. I baked cornbread for dinner. Rain began in earnest and continued hard all night. Drove to get gas and oil supply in town and then back to parking area for the night.

June 22:  Philip woke up at 5:20 am, dressed and went to inquire about lining up for Customs. Turned out to be very routine. We passed onto the ferry Wickersham promptly. It was immediately apparent the difference in the way the two ferry systems operate. The Canadian ferry was immaculate, run with great efficiency and good service. The Alaska lines ferries were just the opposite. We settle down for the five and one half hour passage to Ketchikan, Alaska. David was occupied with Sesame Street Magazine until noon. We tried the cafeteria which was very poor, ugh. Weather continued wet with low clouds. Only a slight inkling of the high mountains along the inside passage. We were never away from the sight of land. We pass large and small islands and the passageway widens and narrows as we progress. At Ketchikan harbor the water had frequent jelly fish near the surface, pale orange and round.

The ferry Taku was at the dock when we arrived. As it pulled out we pulled in broadside to the dock with the exit door on the side. We were among the first to leave and drove onto Tongass Avenue. After getting our bearings and local information we drove right out to Saxman Village to see the Cape Fox Indian Dancers. They perform when a cruise ship comes in like the one this time called the Halia. We got there for the last two dances. Donations were asked for and we were appalled to hear that only $8.00 was collected from three bus loads of tourists. I bought souvenir leather doll pins. Next we spent some time at the adjacent Totem Park. A light rain fell but Philip took pictures anyway. In the yard of the Pentecostal Church across the street native forget-me-nots, Bachelor Button and wild roses grew in lush profusion.

We continued along South Tongass Avenue to the point where two islands just off shore caught our attention and stopped us. They were so like those we have seen in photographs of the Inland Sea of Japan, up-tilted strata, moss, bonsai conifers topping them. It was low tide so we could walk onto the smaller one. We broke out all of our rain gear. Philip photographed under the umbrella I held for him. David had a marvelous time exploring the tidal zone, pretending he was an Eskimo harpooner after whales, seals, dolphins, walruses, etc. On our way back he invited us into his house, a beautiful shelter provided by a huge overturned tree, the roots in a beautiful cross-work pattern overhead. Indeed, we entered a little room. He had found a piece of plywood drift, placed two rocks on it and offered us coffee. “The best coffee I’ve had,” Philip said. Literally and figuratively it was, our most hospitable moment so far.

We drove on out the road past the end of the pavement at eight miles. Beyond that we stopped for a photograph of a bald eagle perched on a snag. He was immature and wouldn’t fly away even when Philip moved close in. Soon we stopped at a wide pull off for the night and went to bed exhausted right after dinner. The drying line hung full of wet clothes. It poured hard outside as we fell asleep to the low roar of a roadside waterfall.

June 23:  It rained hard all night. We arose at 7 am to find…

CONTINUED IN THE BLOG POST, “Denali National Park, Alaska Travel Log 3.”

Originally posted April 7, 2010 6:22 am

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.

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.)

Carr Clifton At Mountain Light Gallery

January 9th, 2012

A Solo Exhibition of New Work

Carr Clifton

Nine Weeks In The Sacred Headwaters

Guest Artist Exhibit At Galen Rowell’s Mountain Light Gallery

Bishop, California

January 13 to March 15, 2012

Artist’s Reception and Booksigning

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

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

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

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

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

Mountain Light Photography, Inc.

106 S. Main Street

Bishop, California 93514

(760) 873-7700

Visit us at MountainLight.com

Big Wild, iLCP RAVE Sacred Headwaters By Paul Colangelo

November 29th, 2010
SPECIAL GUEST BLOG POST

Big Wild Raises Funds and the International League of Conservation Photographers (iLCP) Sponsors A Rapid Assessment Visual Expedition (RAVE) To The Coal Bed Methane Threatened Sacred Headwaters In Northern British Columbia…

By Paul Colangelo

In March, Paul Colangelo received the North American Nature Photography Association’s 2010 Philip Hyde Grant to help with photography of the Sacred Headwaters in Northern British Columbia, Canada. Paul Colangelo gives us an update on progress since in his own words. Please support the protection of the Sacred Headwaters with YOUR VOTE BY DECEMBER 7. (See below.)

Juvenile Stone Sheep, Todagin Mountain, Sacred Headwaters, British Columbia, Canada by Paul Colangelo.

The Sacred Headwaters is the shared birthplace of three of British Columbia’s greatest salmon-bearing rivers, the Stikine, Skeena and Nass. The Sacred Headwaters supports one of the largest intact predator-prey systems in North America, and it has been the territory of the Tahltan Nation for thousands of years. It is now under threat of industrial development, but a moratorium has given us two years to decide the fate of this land. We have until December 2012 to protect the Sacred Headwaters.

The Sacred Headwaters is a remote mountainous region in northern British Columbia, at the intersection of two of the continent’s major wildlife corridors: the Yellowstone to Yukon region and the boreal forest. In this subalpine basin, three of British Columbia’s salmon-bearing rivers – the Stikine, Skeena and Nass Rivers – are born among mountains and vast meadows. The Sacred Headwaters, known as the “Serengeti of the North,” supports one of the largest intact predator-prey systems in North America.

Volcanic Cone and the Headwaters of Maitland Creek, Sacred Headwaters, British Columbia, Canada by Paul Colangelo.

The Sacred Headwaters has been the traditional territory of the Tahltan First Nation for thousands of years. The Tahltan consider this land sacred for its hunting, cultural, and spiritual values. The health of the rivers’ salmon and trout populations are vital to the ecosystems, culture and local economies of the northwest.

In 2004, the British Columbian government granted Royal Dutch Shell tenure for nearly one million acres in the Sacred Headwaters for a Coal Bed Methane development. This would result in thousands of Coal Bed Methane wells, connecting roads and pipelines, turning the heart of the Sacred Headwaters into an industrial maze. Not only would this fracture critical habitat, but the process risks contaminating the rivers and altering water levels.

Members of the Tahltan Nation, environmental organizations, and concerned citizens of Northwestern British Columbia united in opposition to Shell’s Coal Bed Methane development and pressured the government to end resource development in the Sacred Headwaters. Tahltan elders blockaded road access, and every First Nation and municipal council downstream of the Sacred Headwaters called for a moratorium on development. Renowned environmentalist David Suzuki and National Geographic Explorer-in-Residence Wade Davis spoke out against the Sacred Headwaters development. Ali Howard from Smithers, British Columbia swam the entire 610 km Skeena River over 28 days to raise awareness.

Bobby Brush Readies Horses, Yehiniko Valley, British Columbia, Canada by Paul Colangelo.

In 2008, as a result of this pressure, the British Columbian government issued a temporary moratorium on Coal Bed Methane development in the Sacred Headwaters. This only delayed the Coal Bed Methane development, as the moratorium will expire in December 2012, allowing Shell to commence drilling. Conservation efforts are now aimed at increasing public pressure on the British Columbian government to establish a permanent moratorium on Coal Bed Methane development within the Sacred Headwaters.

Few people, however, have witnessed this remote landscape, and without a comprehensive body of visual work, campaigns cannot visually connect the public to the place they are being asked to protect from Coal Bed Methane destruction.

To aid in the conservation effort, I began shooting Sacred Headwaters, Sacred Journey, a photography project aimed at taking people on a journey through the Sacred Headwaters and presenting the issues that surround it. I have spent the past year and a half shooting and campaigning to raise awareness of this relatively unknown region. A big part of the project has been collaborating with environmental organizations, providing them with imagery for their campaigns to raise enough public support to permanently protect the Sacred Headwaters in our last window of opportunity.

Klappan Range, Sacred Headwaters, British Columbia, Canada by Paul Colangelo.

This project was made possible by the generous support of foundations, companies and private donors. The NANPA Foundation or North American Nature Photography Association Foundation supported the project with its 2010 Philip Hyde Grant, which is awarded annually to an individual NANPA member who is actively pursuing completion of a peer-reviewed environmental project that is consistent with the missions of NANPA and the NANPA Foundation. [For more about the 2010 Philip Hyde Grant see the blog post, “NANPA Philip Hyde Grant 2010.” See also the blog post about the 2008 Philip Hyde Grant recipient, Amy Gulick, and her work in the Tongass National Forest, Alaska, “Salmon In The Trees: Amy Gulick’s Conservation Photography.”]

The International League of Conservation Photographers (iLCP) joined me in the Headwaters this past summer to conduct a Rapid Assessment Visual Expedition (RAVE). Go HERE to read what a RAVE is. The iLCP is made up of the world’s top conservation photographers and has a mission to further environmental and cultural conservation through ethical photography. Their RAVE initiative sends a group of conservation photographers to a threatened region to create a body of work to be used to raise awareness. This summer, iLCP photographers Wade Davis, Carr Clifton, Joe Riis and Claudio Contreras spent three weeks photographing in the Sacred Headwaters.

Moose, Sacred Headwaters, British Columbia, Canada by Paul Colangelo.

Sacred Headwaters, Sacred Journey was awarded Mountainfilm’s inaugural Commitment Grant, which supports five individuals who are producing film, video, photography, book, art, and multimedia projects intended to move audiences to action on issues that matter. The Mountainfilm Festival in Telluride, Colorado from May 27 – 30, 2011 will include an exhibit on the Sacred Headwaters, and Wade Davis will speak about the issue.

How You Can Help…

There are a number of ways you can support the Sacred Headwaters campaign. Visit www.sacredheadwatersjourney.com to learn more about the issues and tell the BC government that you support the protection of the Headwaters from Coal Bed Methane and other destructive uses by signing an online petition and emailing the Premier.

Grand Canyon of the Stikine River, Sacred Headwaters, British Columbia, Canada by Paul Colangelo

Vote Here Please…

You can also help the project win funding by voting for it in a competition sponsored by The Big Wild, an organization aimed at protecting half of Canada’s public land. The Big Wild will award $10,000 to three conservation projects out of a group of five finalists, and Sacred Headwaters, Sacred Journey is in the running under the North West Watch Society. Please visit www.thebigwild.org/bucks to cast your vote. A vote for the North West Watch Society is a vote for the Sacred Headwaters.

Paul Colangelo specializes in editorial assignments and conservation efforts. His work has been exhibited at the Smithsonian Institute, was awarded an honorable mention in the International Photography Awards, and named a finalist in BBC’s Wildlife Photographer of the Year. Paul Colangelo lives in Vancouver, British Columbia. www.paulcolangelo.com

Denali National Park, Alaska Travel Log 1

March 29th, 2010

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

(Ardis, David and Philip Hyde in Their Avion Camper on a GMC 3/4 ton Utility Body Pickup)

Part One: Northern California to British Columbia

Mt. Lassen from Manzanita Lake, Lassen Volcanic National Park, California by Philip Hyde.

(See photograph full screen: Click Here.)

June 14:  Left home at 8:15 am. Sunny with scattered puffy clouds. North to Susanville, through Adin to Alturas. Brief lunch stop along roadside. David piled out with his “new” twin lens reflex camera (out of commission) and tripod Philip gave him. David’s purpose was to “take pictures of flowers.” Marvelous to behold David’s detailed imitations of his father. He woke up knowing this was the day we were leaving for Alaska. “My head is shaking because I’m so excited.” The land showed beautiful lush green evidence of the wet season we’ve had. The pluvial lakes were all extra high as well as many no-name lakes in low places. Farm country, range cattle and open space. First open range, bluffs of lava flows, then into lodgepole pine forest. Spent the night at Lava Butte, Oregon in the planted pine forest for possible pics in the morning. The Three Sisters, Bachelor Butte, Mt. Brokeoff all snow-covered.

June 15:  Woke up about 6 am and drove up toward the top of Lava Butte, but the gate was closed until 9:30 am. Started out on foot, David and Philip with their cameras and tripods over their shoulders. A park ranger stopped and gave us a ride to the top. On foot again we circled the crater, David and Philip taking pictures of good views of the peaks including Mt. Shasta and Mt. Theilsen. Into Bend, Oregon to Jerry’s Trailer Supply to see about repairing the Camper’s Monomatic Toilet that had been leaking. Philip bought the faulty valve and repaired the toilet himself. I grocery shopped in the meantime. North to Madras where we turned into the Warm Springs Reservation to go swimming at Ka-Nee-Ta again. David enthusiastic and worked hard practicing swimming. Leaving the reservation we were treated to masses of wild flowers in all directions: Mules Ears or Wyethia especially abundant, lupine and buckwheat grass lush everywhere. Snow-topped Mt. Jefferson was glorious. North to Dalles Bridge. Wheat fields turning gold. David woke up from a nap in his bunk over the cab, just as we crossed the Columbia River, looking upstream at Celilo Dam (Dalles Dam) that submerged the once mighty Celilo Falls. After dinner we drove on to Yakima State Park, Washington, on the banks of the Yakima River.

June 16:  Before leaving Yakima State Park, David had a swing and play on the equipment nearby. Beautiful clear morning going over Snoqualmie Pass. Cold, lots of old snow, some fog on top. Into Seattle traffic lineup across Lake Washington floating bridge. Into worse congestion trying to reach parking lot at Seattle Center.  Finally found our way around traffic by going way around Queen Anne Hill to get to the other side of the city. We rode downtown on the Monorail. Shopped at the REI Coop, then returned to Seattle Center. We walked through the Fire Engine Museum. David chose a fire engine to ride on in the nearby concession. Just made it to Mukeliteo in time to get on the ferry to Columbia Beach on Whidbey Island. We drove the length of Whidbey Island in late sunlight to Deception Bay State Park (Deception Pass State Park). At Deception Bay State Park we ate a quick dinner at Rosario Beach while watching a couple put on all their diving equipment. We walked down the beach and around the headland as we had on a previous visit. David enjoyed the tide pools and rock scrambling.

June 17:  Caught the 8 am ferry from Anacortes. Another perfect sunny day with the water glassy and smooth. Ferry stopped at Lopez Island and Orcas Island, then on to Vancouver Island, British Columbia, Canada. At Sidney, Vancouver Island, no trouble with customs. They only wanted to know about stone fruits and didn’t want to look into anything else. In Victoria we parked downtown and walked to the harbor, tourist information and the Provincial Museum. Also parked on Government Street and looked around in the shops. Parking lots and streets were nearly empty. Canadians very pleasant and the lack of automobile traffic is refreshing. The Provincial Museum exhibited Indian Canoes, Totem Poles, Lodges and many other artifacts. We bought David a small hand-carved dugout canoe.

June 18:  North up Vancouver Island on Canada Route 1 in intermittent rain. Drove into Goldstream Park to admire the lush, undisturbed rain forest. Around Comax, development has reduced the charm and the natural setting. Pulled into Miracle Beach Campground. Picked out a campsite on Maple Lane. They were all like private rooms with leafy walls and ceiling. Rain stopped, so we cooked hotdogs over alder wood fire. We walked out to the beach of large pebbles and many driftwood logs. Coming back we wound around a network of trails through the woods. The wild roses were the largest we have ever seen, as big as Philip’s hand. Found a flame-colored honeysuckle, foam flower and other delicate white blossoms in the deep shade. Mosquitoes are bad here.

June 19: At Black Creek we stopped to walk along driftwood on the beach and rocks of the breakwater out to an old ship hull beached in the sand. David was singing and beachcombing along the way. Soon his pockets were bulging with crab skeletons, shells and driftwood.  When we returned to the Camper, he arranged them in a display in his “studio.” David sleeps in the bed above the cab and rides up there sometimes while we are driving. He calls it his “studio.” He is also very busy building a float plane with Nuts and Bolts and a ferry and a fire boat out of Lego. Lunch at Elk Falls in Strathcona Provincial Park. Philip walked to the overlook. He said there was only a trickle of water because it had been diverted for the hydro-electric works. Up to Middle Lake and across the crest of the mountains. Everywhere logging and fire scars but many small lakes covered with blooming water lilies. Some light rain, but a stiff south wind raised the clouds until we could see the snow patched mountain peaks. The Strait of Georgia narrows and the opposite shore was close, with the dark red vertical faces of the mountains, and forests on their layered shelves, all easily visible. Made another stop for the view down into Crown and Zellerback’s Duncan Bay Mill and Pulp Plant, a vast layout of mill, plant, sawdust barges, log booms and machinery with lots of activity and smoke emissions. No road sign for Morton Lake Park, missed it completely and the town too. Signs and even towns not visible where they were shown on the map, we’ve found is typical of British Columbia. Ended up camping in a gravel pit on the left side of the road. At least David had a big pile of white sand to play in.

June 20:  The Canadian ferry at Kelsey Bay depends on tides for its arrival and departure times…

(CONTINUED IN THE BLOG POST, “Denali National Park, Alaska Travel Log 2.”

NANPA Philip Hyde Grant 2010

January 27th, 2010

NANPA Foundation Announces 2010 Recipient of the Philip Hyde Grant

Award Highlights Use of Photography in Conservation

Bald-faced hornet, Vespula maculata, emerging from nest, Ontario, by Paul Colangelo. (Finalist in the BBC Wildlife Photographer of the Year competition.)

Wheat Ridge, Colorado – The NANPA Foundation has announced that Paul Colangelo of Vancouver, British Columbia, Canada is the recipient of the 2010 Philip Hyde Grant for his work in British Columbia. This $5,000 peer-reviewed grant is awarded annually to an individual member of the North American Nature Photography Association who is actively pursuing completion of an environmental project.

Sacred Headwaters, Sacred Journey is a documentary project of the Sacred Headwaters. Wildlife and nature photographer Paul Colangelo and writer Amanda Follett plan to raise awareness of this remote land and the issues surrounding it. See www.paulcolangelo.com and http://www.sacredheadwatersjourney.com/ for more information about Paul and the project in the northern reaches of North America.

Forest fire remains, Kootenay National Park, British Columbia, Canada, by Paul Colangelo. (In the group exhibit at the Smithsonian.)

Paul Colangelo specializes in editorial assignments and conservation efforts. His work has been exhibited at the Smithsonian Institute, was awarded an honorable mention in the International Photography Awards, and named a finalist in BBC’s Wildlife Photographer of the Year. Paul Colangelo lives in Vancouver, British Columbia.

In northern British Columbia, three of the province’s greatest salmon-bearing rivers (the Skeena, the Stikine and the Nass) are formed in the subalpine basin known as the Sacred Headwaters. The land has one of the largest intact predator-prey systems in North America, earning it the nickname, “Serengeti of the North,” and is the traditional territory of the Tahltan First Nation. It also is the location of natural resources such as coal and coal-bed methane and gold.

Headwaters of the Skeena River, Sacred Headwaters, British Columbia, by Paul Colangelo. (From the Sacred Headwaters, Sacred Journey project.)

The Sacred Headwaters are at the center of a dispute between the Tahltan First Nation, resource development industries, government and environmental groups. Competing interests concerning land use, mining and hunting have created divides and put the future health of the Sacred Headwaters at risk.

The NANPA Foundation develops, supports and implements nature photography projects jointly with the North American Nature Photography Association and other organizations. It initiates, partners, operates and generates funding for projects that advance awareness of and appreciation for nature through photography. For information about the NANPA Foundation, visit its website at www.nanpafoundation.org. For information about NANPA and the Annual Summit, visit www.nanpa.org.