Posts Tagged ‘Circle Cliffs’

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?

Toward a Sense of Place by Philip Hyde 3

January 30th, 2010

(CONTINUED FROM BLOG POST “Toward a Sense of Place 2“)

(See the photograph full screen: Click Here.)

Horse and Cottonwoods at the Mouth of Canyon de Chelly, Canyon de Chelly National Monument, Arizona, 1963, by Philip Hyde. From Navajo Wildlands, Sierra Club Books.

Toward a Sense of Place 3

By Philip Hyde

From Navajo Wildlands: As Long As The Rivers Shall Run

Sierra Club—Balantine Books

*Note: Beware of using this as a travel guide. The areas where people are allowed and the approaches to them may have changed since 1967. Also, the politically correct term for the native people now is their own word, “Dineh,” in its various spellings, rather than the Spanish word in common practice then, “Navajo.”

Our Navajo Mountain adventure took on a new aspect two mornings later when our packer brought up his retinue of three horses, four people, and two dogs. Walking down into Painted Rock, where we would set up our base camp for exploring the westside canyons, we learned that the first four miles don’t prepare you for the spectacular climax. The trail traverses the slopes of the mountain—lightly dusted with snow on that early morning—crosses several incipient canyons, climbs a bit, and passes through a narrow sandstone defile called Sunset Pass on one side and Yabut on the other. Then the trail peels off like a dive bomber into a funnel-shaped abyss, Cliff Canyon, and its great sheer cliffs of warm yellow sandstone. The canyons that twist their way eventually into the waters of Lake Powell come into view, and the long backbone of the Kaiparowits Plateau recedes in a straight line northwestward into the blue slopes where the Escalante River begins.The isolated bulk of Cummings Mesa intervenes to the south. If you look when you are high enough, and it is a clear day, you will see the great arch of the Kaibab Plateau on the far southwestern horizon. We saw it. To the north, Waterpocket Fold, and its Circle Cliffs are partly cut off by the northwestern shoulder of Navajo Mountain. Within this arc you see what is left of the climax of the Glen Canyon system. They still have beauty, but to those of us who knew Glen before it was flooded this remains a supreme act of bureaucratic vandalism. Happily, little of the unnaturally—and temporarily—blue water of “Lake” Powell is visible from the trail.

Two miles beyond the great drop into Cliff Canyon is First Water. A mile beyond that, our trail turned out of Cliff Canyon to climb through a narrow cleft in the sandstone, Redbud Pass. At this turn, we saw the pictographs that gave Painted Rock its name. We camped, and spent one day exploring Cliff Canyon and Forbidden Canyon. The second we went as far as Oak Canyon on the trail leading around the Mountain. On the third day we reached around the Mountain. On the third day we reached the perigee of our five-day orbit when we decided to walk down to Rainbow Bridge.

(See the photograph full screen: Click Here.)

Rainbow Bridge from Downstream, Navajo Mountain in the Distance, Rainbow Bridge National Monument, Arizona, 1964, by Philip Hyde. Before Glen Canyon Dam filled and Lake Powell flooded Forbidden Canyon. Reached Hiking with a Backpack.

Our first view of the Bridge had been some years before, after coming up five miles from the river through a magnificent canyon of beautiful rock sculpture and delightful long, narrow pools. We were almost reluctant to go to the Bridge again after that fine, wild memory of it, knowing that it was now only a mile and a half from the rising edge of Lake Powell that is engulfing the stream that created the bridge.

We had been three days in the wilderness, with all that is implied in getting close to the land and letting it get close to you. For more on wilderness see the blog post, “Wallace Stegner: The Wilderness Idea.” We rounded the last great curve above the Bridge and began to see tourists. I sniffed the air and—sensed something extraordinary about it, but was not quite able to name it. Then I knew: it was perfume, emanating from some immaculately clad yachtsmen—or was it the yachtwomen among them—busily signing the register under the Bridge. The Bridge looked the same, or did it? Was it only an illusion that it looked a little like a reasonable facsimile, a little plastic? To know what the real Bridge looks like, don’t you have to participate in the finding of it, a little arduously along the stream that made it possible, the heat and the cobbles and the water and the time that all combined to build that Bridge? Can you merely sit, throttle, steer, and saunter and still begin to know what it was? For more about the color photograph of Rainbow Bridge see the blog post, “The Making Of ‘Rainbow Bridge From The Upstream Side.'”

I think of the land of the Navajos as a living entity of moods—of light moments and gloomy. Above all I think of color—color constantly changing with the light, color that infused the life of the people who have passed over this land.

Overpoweringly, this place testifies to man’s transitory nature—and yet confirms his continuity. That continuity may end if this should ever cease to be a land of time enough and room enough. The automobile could obliterate both, and along with them, the wilderness experience.

I still remember the climax of that experience for us. It was the walk to Keet Seel, and what we felt there. Keet Seel, the most remote of the three great Anasazi ruins in Navajo National Monument, is about eight miles by trail through the sandy canyons of the Tsegi system cut into the mesas just west of Monument Valley. The great ruin itself is not visible until the last quarter of a mile, and then it seems diminutive. Not until you are under the edge of the great sandstone shell sheltering the ruin does its scale become apparent.

Great Kiva, Mummy Cave Ruin, Canyon del Muerto, Canyon de Chelly National Monument, Arizona, by Philip Hyde.

We climbed up the ledge, into the ruin, and suddenly believed we were the discoverers. There were few footprints, and we saw only a lone Navajo looking for strays. The silence was so pervasive that we found ourselves speaking in low tones—I guess out of respect for the people who had just departed 700 years ago. The wind blew everywhere we went that spring, but it was still now. The silence grew as we cooked supper and rolled out our bags on a lower level beneath the ruin. A tiny seep, with a depression beneath it just big enough for a cup, gave us our nightcap, and we went to sleep where the ancient ones had gathered food and looked out and talked, and had put their children to sleep.

Philip Hyde, April 1967

To read more about Navajo Country go to the blog post, “The Making Of ‘Rainbow Bridge From the Upstream Side.'”