Posts Tagged ‘Colorado River’

Moving Past The Repertoire by Greg Russell

December 19th, 2011

Moving Past the Repertoire: An Essay By Greg Russell

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

Moving Past The Repertoire By Greg Russell

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

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

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

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

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

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

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

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

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

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

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

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

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

All New Philip Hyde Video

November 17th, 2011

The New Short Video

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

Philip Hyde from Lumière on Vimeo.

The Making Of The New Video

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

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

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

Messages From The Wilderness Exhibition

November 12-December 23, 2011

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

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

New Portfolio Added: Grand Canyon National Park

October 13th, 2011

New Portfolio Of Philip Hyde’s Vintage Black And White Prints Of The Grand Canyon

(See the photograph large: Marble Gorge Near Nankoweap Creek, Grand Canyon National Park.)

Marble Gorge Near Nankoweap Creek, Grand Canyon National Park, Arizona, copyright by Philip Hyde.

Time and the River Flowing: Grand Canyon by Francois Leydet, in the Sierra Club Books Exhibit Format Series, came out in 1964 in response to two proposed dams, one just above and one just below Grand Canyon National Park. Time and The River Flowing formed out of a river trip down the Colorado River through the Grand Canyon, planned for that creative purpose. The river trip headed by David Brower, Executive Director of the Sierra Club and head of the Sierra Club books publishing program, and led on the river by lead boatman Martin Litton, has become legendary for including passengers who were the who’s who of landscape photography, conservation and the natural sciences of the time.

The illustrators of Time and The River Flowing were Katie Lee with one photograph, Joseph Wood Krutch and Eliot Porter each with two images, Daniel B. Luten with three, P. T. Reilly with four, Ansel Adams contributed five color photographs, Richard Norgaard six, Joseph C. Hall and Martin Litton, using the name Clyde Thomas, each provided nine photographs, David Brower had 10, Clyde Childress made 19 of the images and Philip Hyde supplied 31 of the book’s illustrations.

Published only two years after the introduction of color to Sierra Club Books, Time and the River Flowing contained only color photographs, even by Ansel Adams. As a result many of the best black and white photographs of the Grand Canyon by the artists above never received the same level of recognition, even though they were in some cases stronger images.

Now Philip Hyde’s black and white photographs of the Grand Canyon can potentially be more widely seen. See the new portfolio added to Philip Hyde Photography of Grand Canyon National Park original black and white prints. See also several more of Philip Hyde’s best black and white photographs of the Grand Canyon by visiting the portfolios “Black and White Vintage & Digital Prints 1,” “Black and White Vintage & Digital Prints 2” and “Vintage Black and White Prints & Raw Scans.”

For more information on the making of Philip Hyde’s original darkroom black and white prints see, “About Vintage Black and White Prints.”

Martin Litton: David Brower’s Conservation Conscience 2

October 7th, 2011

Martin Litton: Environmentalist, Conservationist, Sierra Club Director, Bush Pilot, River Guide, Hiker, Writer, Journalist, Visionary and Landscape Photographer

Continued from the blog post, “Martin Litton: David Brower’s Conservation Conscience 1.”

Chiaroscurro, Sun Through Fog, Avenue Of The Giants, Humboldt Redwoods State Park, California, copyright 1964 by Philip Hyde. First published in "The Last Redwoods: Photographs And Story Of A Vanishing Scenic Resource," by Francois Leydet with photographs by Philip Hyde and Martin Litton, in the Sierra Club Exhibit Format Series.

See the photograph larger here: “Avenue Of The Giants, Humboldt Redwoods State Park, California.”

After seeing Martin Litton’s feature articles in The Los Angeles Times protesting proposed dams in Dinosaur National Monument, David Brower recruited the young journalist to join the Sierra Club and continue the fight against dam building and other wilderness degradation in earnest.

Martin Litton and Philip Hyde made the landscape photographs of Dinosaur National Monument that became the Sierra Club book, This Is Dinosaur: Echo Park Country And Its Magic Rivers with introduction and chapter one by Pulitzer Prize novelist Wallace Stegner. The controversy over the dams in Dinosaur National Monument, along with the first quality images of the area brought home by Philip Hyde and eloquent arguments by Martin Litton in Sierra Club Board Meetings, prodded the Sierra Club Board of Directors to decide to expand the interests of the Sierra Club beyond California and the Sierra Nevada.

The battle over Dinosaur not only made the Sierra Club a national organization, but also brought the cause of conservation national recognition. A number of conservation groups including the Wilderness Society and others formed a coalition of organizations opposing the Dinosaur National Monument dams. The conservation ideals exemplified by visionaries such as Henry David Thoreau, Aldo Leopold, and John Muir, were combined with new lobbying efforts, grassroots on location campaigning, full-page ads in national newspapers and other methods that became modern environmentalism.

The Dam Builders Reach For The Grand Canyon

“Post-War industrialists in league with the U.S. Bureau of Reclamation found their high water mark when they reached for the Grand Canyon,” Philip Hyde explained in a 2004 interview. “World wide citizen action prevented Big Dam Foolishness from getting a foothold in the Grand Canyon. Dam builder’s influence declined from then on.” Today, there is a world-wide movement to remove dams on major rivers, but in the 1950s and 1960s, conservation groups did not yet have much power. David Brower, leader of the new environmental movement and Executive Director of the Sierra Club, and Martin Litton hatched a plan to stop the Grand Canyon dams. They organized a river trip down the Colorado River through Grand Canyon National Park. The river trip participants included the who’s who of the day in landscape photography, geology, ecology and other sciences and disciplines. Martin Litton acted as lead boatman, Francois Leydet joined the trip as a writer, Eliot Porter and Philip Hyde as photographers, David Brower as filmmaker, to mention only a few. Their creative efforts and scientific observations became the Sierra Club Books Exhibit Format Series book, Time And The River Flowing: Grand Canyon. The book went out to every member of Congress and with other written material circled the globe and caused a worldwide outpouring of support for saving the Grand Canyon.

Also on Martin Litton’s list of conservation successes was the making of Redwood National Park. The centerpiece of the redwoods campaign, the Sierra Club Books Exhibit Format Series book The Last Redwoods: Photographs And Story Of A Vanishing Scenic Resource with text by Francois Leydet and photographs again by Philip Hyde and Martin Litton, helped the Sierra Club establish its argument for a Redwood National Park between the California state parks along Redwood Creek where the largest redwoods remained rather than a Redwood National Park proposed by Save The Redwoods League that merely combined existing state parks. Read more on the Redwoods campaign and the making of The Last Redwoods with Martin Litton and Philip Hyde in future blog posts.

Martin Litton was the 185th known person to float down the Colorado River through the Grand Canyon in 1955 and founded the company Grand Canyon Dories in 1971. He ran commercial river trips using small oar-powered wooden boats originally used for fishing in Oregon and known as drift boats, but adapted by Martin Litton for use in whitewater and renamed Grand Canyon Dories. Martin Litton wrote the introduction to a number of noted books on the Grand Canyon and other environmentally sensitive wilderness areas and national parks, as well as working as managing editor for Sunset Magazine. During his work for Sunset Magazine, Martin Litton used various made up names in print for his photo credits because Sunset Magazine did not want him to actively participate in controversial environmental campaigns.

At Age 94 Martin Litton Is Still Fighting For Redwoods

Though history has not given Martin Litton as much credit as others, at the present age of 94 he continues to work on various environmental campaigns and fly his Cessna 195. He even rowed a Dory through the Grand Canyon at age 90. Martin Litton held a seat on the Sierra Club Board of Directors from 1964 to 1973. He helped found the American Land Conservancy and served on its executive committee for 10 years. In 2005 he ran as a write-in candidate for the Sierra Club Board of Directors, but he did not win the election. His current focus is preventing the logging of Giant Sequoia Redwood Trees in Sequoia National Monument. See an excerpt from the recent film on Martin Litton. He still speaks regularly on conservation, often with outrage at the logging of the Giant Sequoia Trees:

The mission of the Forest Service is to get rid of all the nation’s forests so they can start over. Under the guise of removing hazardous trees, they are taking out all the dead trees that are serving as homes for woodpeckers and owls. Their credo is to remove trees that are dead, dying, or in danger of dying. That’s every tree in the world… I feel sorry for my grandchildren. The only true optimist is a pessimist. You have to realize how bad things are before you can improve them.

Stay tuned for excerpts from my fiery interview of Martin Litton in the next blog post in this series, “Martin Litton: David Brower’s Conservation Conscience 3.” Also in future blog posts read more stories of Philip Hyde and Martin Litton working or traveling together: a river trip up the Klamath River, down the Colorado river, flying over the California Coastal Redwoods, through Grand Canyon National Park.

Philip Hyde 2011 New Releases

August 5th, 2011

Philip Hyde 2011 New Releases

View And Read About The Making Of The Latest Philip Hyde First Time New Releases

Formations From Bryce Point, Bryce Canyon National Park, Utah, copyright 1963 by Philip Hyde. Widely exhibited and published including in "Drylands: The Deserts Of North America" and related major museum exhibitions. Dye transfer and Cibachrome prints in permanent museum collections.

See the photograph large: “Formations From Bryce Point, Bryce Canyon National Park.”

Read More…

New Release: Formations From Bryce Point, Bryce Canyon National Park, Utah

New Release And Making Of  “Reflection Pool, Arches, Escalante Wilderness, Utah”

New Release: Matterhorn With Cirrus Streamer, Zermatt, Switzerland

New Release: “Yucca, Cholla, Granite Boulders, Joshua Tree National Park, California”

New Release And Contest: Colorado River From Dead Horse Point, Utah

Nature Magazine: East Of Zion 2

July 21st, 2011

East Of Zion By Philip Hyde, Part 2

Continued from the blog post, “Nature Magazine: East Of Zion 1.”

Originally published by Nature Magazine, March 1957

(Nature Magazine was published by the American Nature Association and taken over by Natural History Magazine in 1960.)

Mission of Nature Magazine: “To stimulate public interest in every phase of nature and the outdoors, and devoted to the practical conservation of the great natural resources of America.”

A Glimpse of the Geology of Zion National Park:

Celebrating The Divine Artistry Of Falling Water Through Deep Canyons

By Philip Hyde

Cascade, Tributary To Clear Creek, Zion National Park, Utah, copyright 1978 by Philip Hyde. From "Drylands: The Deserts of North America." 4X5 Baby Deardorf Large Format View Camera. Original dye transfer prints, Original Cibachrome prints, archival digital prints by Carr Clifton.

(View the photograph large, “Cascade, Tributary To Clear Creek, Zion National Park, Utah, 1978.”

The great architect of this beautiful landscape is moving and falling water, and to this builder and remover of the landscape can be attributed the deep canyons of the region. The violence and power of moving water is often forcefully demonstrated during a summer thunderstorm. One of the writer’s earliest and most vivid recollections of travel in this area stems from a summer visit to Zion Canyon, when he arrived in the midst of a cloudburst. The violence of the storm was enough to justify repetition of Chicken Little’s oft-quoted exclamation: “The sky is falling!” I still have a vivid mental picture of the brown torrent that was the Virgin River, gnawing great chunks from its banks, ripping out trees, carrying debris before it in the surging current. After the climax of the storm passed, the raging water quickly abated, and within a few hours the brown flood disappeared, to be replaced by the river’s normally quiet murmurings.

Even during its quieter periods, however, the river is actively working on the confines of its bed. The low resistance of sandstone to erosion, combined with the steep gradients of the streams in this region, result in a rapid deepening of the stream canyons. Because of these two factors, the stream plays a lesser part in the process of widening the canyon. Seepage of ground water, direct action of rain water, and frosts produce the curves and crenelations that add so much to the sculptured beauty of the canyon walls.

The east side of Zion National Park displays progressive steps in the erosion cycle. In the beginning of this cycle, the land is relatively flat, illustrated by the present tops of plateaus. Where a stream gathers its waters from a small area, the stream remains small, probably runs only in response to rainfall, and manages to cut only a small canyon. The east Zion area contains many examples of this phenomenon; they are within walking distance of the highway, and can be more closely studied. In many respects these small streams are miniatures of the larger ones. They demonstrate processes and effects similar to those evidenced on a larger scale by their bigger brothers.

Another most interesting feature of the Zion region is the frequent occurrence of rock pedestals on the broad stone pavements near the highway. A closer examination of such pedestals reveals that they are capped by a material differing from the soft sandstone of the base; a layer of iron oxide that geologists believe was intruded, in solution into the sandstone. Since this material is harder, and therefore more resistant to erosive forces, it has protected the softer material directly beneath it while the surrounding material was being eroded away. So, when you look at these pedestals, you are really seeing a remnant of the layers of stone that formerly covered the presently exposed surface. The balance of this material has been carried away, either as wind-borne sand, or by stream action, to be deposited as part of a sandbar somewhere downstream. Or, perhaps it will find its way eventually to the sea, to be laid down as part of a delta at the Colorado River’s mouth.

In these pedestals, as in the rest of the landscape, can be read one of the grand lessons of geology—that Nature is not at rest, but is ever active, ever changing the face of the Earth; that even the stones, cold and dead to our eyes, have their own inner life and being. In the slow passage of geologic time, the surface we look at today will pass away to join its predecessors, each succeeding layer following in its turn, until Nature decrees a major change—such as has occurred we know not how many times past—to commence the cycle again at what men are pleased to call the beginning.

Martin Litton: David Brower’s Conservation Conscience 1

June 6th, 2011

Martin Litton, “Father of Redwood National Park,” “Grand Old Man of the Colorado River” and David Brower’s “Conservation Conscience.”

Martin Litton, Palo Alto, California, September 2009, Wikipedia. Martin Litton was 93 years old and still speaking on behalf of the Sequoia Redwoods.

The environmental organization, Save America’s Forests, on its website referred to Martin Litton as the “Father of Redwood National Park.” The Los Angeles Times called Martin Litton, “The Grand Old Man of the Colorado River.” The Sierra Club’s first Executive Director, David Brower called Martin Litton his “conservation conscience.” In the groundbreaking Sierra Club Books Exhibit Format Series, Martin Litton used several different names for his photograph credits because as Senior Editor of Sunset Magazine, Sunset did not want him involved in controversial conservation campaigns. Regardless of what he’s referred to as, Martin Litton has proved to be what Voice of the Environment called him, “The great American conservationist of the 20th century.”

In addition to being an environmental activist and conservationist, Sierra Club Board member, bush pilot, river guide, hiker, writer, journalist and landscape photographer, Martin Litton today at age 94 has held leadership titles with many environmental groups including Save America’s Forests, Lighthawk, Southern Utah Wilderness Alliance, and Glen Canyon Institute.

Shortly after the Sierra Club Board made David Brower the first Executive Director in 1952, David Brower saw articles Martin Litton wrote in the Los Angeles Times about proposed dams in Dinosaur National Monument. David Brower invited Martin Litton to join the Sierra Club and thus a powerful alliance began. To learn more about David Brower see the blog post, “David Brower: Photographer and Environmentalist 1.”

David Brower wrote in his 1982 introduction to Martin Litton’s University of California, Berkeley, Bancroft Library Oral History: “Some people get the kudos and others, out of inequity, don’t. Martin Litton is due most of those addressed to me in error: More years than I will ever admit, he has been my conservation conscience.” In the same introduction, David Brower added:

If you look over the illustrations in the battle to save Dinosaur National Monument, you will find Charles Eggert’s color films, “This Is Dinosaur” and “Wilderness River Trail,” Philip Hyde’s beautiful work in black and white, and Martin Litton’s 16mm color, 4X5 color, and black and white photographs from cameras he happened to be carrying in battery, along with an eye and ear that missed nothing. That was the beginning, but only the beginning. The proper photo history of Martin Litton , with accompanying legends, could occupy many volumes… If there was a piece of American environment that had problems, Martin found out about it, wrote about it, photographed it from the surface or, with a hand on the stick, from the air. Sometimes he could use his own name. At other times, he was Clyde Thomas or Homer Gasquez. So you have to go through numberless publications and add all three names up to appreciate the aggregate retrospective of Martin Litton.

One year the Sierra Club directors, having voted for Grand Canyon dams and a year later reversed themselves, were ready to re-reverse. Martin’s knowledge and eloquence stopped them. They were ready to go for the wrong Redwood National Park. It was Martin who knew where the best Redwoods were, who had the creativity to propose a comprehensive Redwood National Park that would have been a monument to conservation genius. We didn’t get it because organizational jealousies within the conservation movement—one of the major threats to environment—got in the way. It was Martin who knew where the gentle wilderness was on the Kern Plateau—wilderness that should have been added to Sequoia National Park. “Old-boy” conservation trades got in the way. It was Martin, alas, who happened to be in Bagdad when the Sierra Club directors voted, without seeing it, to accept Diablo Canyon as an alternate site for the reactor proposed to be built at Nipomo Dunes. Had he been in San Francisco instead, a different history would have been written… When the Sierra Club Board was discussing what to do at Mineral King with respect to Walt Disney’s proposed ski development, and when I myself had wobbled and was about to go along, it was Martin who got me to reverse myself right there on the spot, in front of everybody.

More on Martin Litton, David Brower and Martin Litton’s travels and projects with Philip Hyde in the next and other future blog posts in this series, “Martin Litton: David Brower’s Conservation Conscience 2.”

The Battle Over Dinosaur: Birth Of Modern Environmentalism 8

May 20th, 2011

Glen Canyon, Grand Canyon, The Escalante Wilderness And Other Regional Repercussions Of The Battle Over Dinosaur National Monument

(FROM THE CATEGORY, “Excerpts Of New Book,” CONTINUED FROM THE BLOG POST, “The Battle Over Dinosaur: Birth of Modern Environmentalism 7.”)

Anasazi Grain Storage In The Sandstone, Dinosaur National Monument, copyright 1951 by Philip Hyde.

The reservoirs on the Colorado River are currently at all-time lows because they lose more water annually to evaporation and seepage than they conserve, especially in drought years. Water and its management will increase in political prominence in the future as populations grow and the supply of water as a resource declines. The Glen Canyon Institute today is campaigning to have Glen Canyon Dam removed. As water in the Western United States grows more and more scarce, this idea is destined to gain momentum.

Immediately after the dams in Dinosaur National Monument were dropped from the Upper Colorado River Storage Project and the corresponding bill passed both houses of Congress, David Brower, still in Washington, spoke by telephone to a group of Sierra Club Board Members back in San Francisco, urging them to continue the fight and remain in opposition to Glen Canyon Dam. Unfortunately, in The History of The Sierra Club, Michael Cohen explained, “Bestor Robinson felt that such a purist stand would result in defeat, since the Club had made a compromise, saying in effect that the Bureau of Reclamation could have Glen Canyon. Bestor Robinson later said that ‘if you didn’t have the Grand Canyon then Glen Canyon should be preserved’; but, he argued, ‘the trade-off was necessary.’” For more about how long it took to fill Glen Canyon and other Glen Canyon miscalculations and mistakes, see the blog post, “Glen Canyon Lament By Philip Hyde 1.”

The Virtues And Vices Of Compromise

“Bestor Robinson was worse than a compromiser,” Martin Litton said. “It was as if he were on the other side. The point is, no matter how hard you fight, you are going to end up with a compromise. If you start with a compromise, you have lost. Richard Leonard, Sierra Club President, believed the compromise had to be kept if the Sierra Club was to maintain credibility.”

Martin Litton said that Richard Leonard expressed concern in Sierra Club Board Meetings that Congress would be convinced the ‘preservationists’ were unreasonable.

“Richard Leonard was afraid we would be accused of suggesting the waste of the ‘entire Colorado River,’” Martin Litton said. “He thought Congressmen would say conservationists intended the Colorado River to be ‘unused’ and allowed to flood away into Mexico and the Gulf of California, as if that would have been so bad.” Studies now show that the Gulf of California, also known as the Sea of Cortez, is dying because its salt content has increased to unnatural levels with less and less fresh water from the Colorado River reaching it.

“Richard Leonard believed that the Sierra Club would not have been able to keep dams out of the Grand Canyon if Glen Canyon Dam had not been built,” said Martin Litton. “I disagreed with him. We had the public’s confidence in us, and we had the nation on our side as a result of Dinosaur. We could have carried that momentum right through the whole Colorado River system. I don’t mean there never would have been any pressures, but there wouldn’t have been any dam or reservoir once we got the great Escalante National Park.”

The Proposed Escalante National Park

Escalante National Park had been discussed by some members of Congress and President Franklin D. Roosevelt much earlier before World War II. It would have surrounded the entire area of Glen Canyon, the Escalante Wilderness and thousands of additional acres in the region. With the bombing of Pearl Harbor and the entry of the US into World War II, Congress turned its attention to more pressing matters and Escalante National Park never materialized beyond the idea stage, not even as a proposal. Escalante National Park would have saved Glen Canyon. The Escalante Wilderness finally became officially part of the National Park System in 2000. President Bill Clinton signed Grand Staircase-Escalante National Monument into existence on his last day in office. An act that enranged off-road vehicle users and local Utah anti-wilderness conservatives. The main drawback to President Bill Clinton’s National Monument is that under political pressure, he designated the new Monument under Bureau of Land Management care rather than the National Park service. The two agencies have significantly differing policies regarding their care and preservation of wilderness lands. President Bill Clinton compromised.

David Brower wrote in his autobiography about Glen Canyon, “My own bitter lesson there was that you don’t give away something that you haven’t seen; you don’t suggest alternatives until you’ve been there.”

The Green River, Yampa River And This Is Dinosaur

In 2005, the runoff was again higher than normal after years of drought, helping the reservoirs of the Upper and Lower Colorado River Storage Projects to recover from severe depletion. On the Green River below Steamboat Rock in Echo Park, Dinosaur National Monument, a river crew lifted a white three-pontoon river raft up the beach to the truck. The side of the boat’s inflatable outer pontoon said, “Outward Bound.”

The Outward Bound crew was one of hundreds of groups that float through the Dinosaur National Monument river canyons now every summer. Back when Philip Hyde ran the Green River and Yampa River, the Sierra Club had just overcome the myths of unknown danger and begun to prove to the American people that rafting through Dinosaur National Monument was safely possible.

Ardis and Philip Hyde ran the Yampa River in 1955 with a Sierra Club group. By then, many Sierra Club and other groups had run the Yampa River and the Green River since the first Sierra Club trip braved the canyons in the summer of 1951. That same year, 1951, Philip Hyde covered Dinosaur National Monument by land. It was the first photography assignment on behalf of an environmental cause. The Sierra Club sent Philip Hyde to see what Dinosaur National Monument had to offer and whether it was worth saving. Philip Hyde’s assignment and a group of essays by prominent river guides and naturalists of the time became the book This Is Dinosaur: Echo Park Country And Its Magic Rivers with introduction and a first chapter by Wallace Stegner and documentary and landscape photographs by Philip Hyde and Martin Litton.

(CONTINUED IN THE FINAL BLOG POST OF THE SERIES, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 9.”)

Earth Day Celebration Of Ardis And Philip Hyde And Canyonlands

April 29th, 2011

Happy Belated Earth Day 2011:

From The Archives…

Offering a Blessing for Future Generations and Tossing a Pinch Of Ardis and Philip Hyde’s Ashes in The Needles, Canyonlands National Park, Utah

Ardis, David and Philip Hyde In The Maze, Canyonlands National Park, Utah, 1968 by Parker "Ham" Hamilton. David Leland Hyde at age three was the youngest child to ride horseback into The Maze for many years, perhaps even to this day. The Hydes and Hamiltons were guided into The Maze, Canyonlands National Park, Utah by Art Ekker and his son A. C. Ekker, who later hosted and became friends with Robert Redford when he rode into their Robbers Roost Ranch in search of the real Outlaw Trail. Robert Redford wrote a book called, "The Outlaw Trail" and a National Geographic Article in 1976 that depicted A. C. Ekker on the cover.

(To see the photograph full screen Click Here.)

This was the 50th blog post of Landscape Photography Blogger. Originally published April 22, 2010.

(This year [2011] I was traveling on the days around Earth Day and in airports and airplanes most of Earth Day itself. Not so Earth-friendly, but it was for a good cause.)

Back to 2010…. To celebrate this milestone and Earth Day, I have posted a journal entry from July 30, 2008, that I wrote in Canyonlands National Park. I originally planned to start Landscape Photography Blogger with this post.

A Mission And Pilgrimage

A few months before my father, landscape photographer Philip Hyde passed on, he and I talked about taking a small amount of my mother Ardis Hyde’s ashes and his ashes, mixing them together and sprinkling just a pinch in some of their favorite places they helped preserve like Canyonlands National Park, Grand Canyon National Park and other monuments and wilderness areas of the Southwestern Desert Landscape, the California Mountains and elsewhere. This is of course not legal, but a small pinch would not hurt anything. It would merely nourish the sage and primrose.

Most of their ashes are sprinkled around in the woods and gardens of the home I grew up in that they built in the wilderness of the northern Sierra Nevada in Northeastern California. I would begin to distribute the rest from a small pouch on my way from Boulder, Colorado back to the family home in California. I planned to visit Canyonlands National Park, Monument Valley Navajo Tribal Park, The North Rim of The Grand Canyon, Valley of Fire State Park and Death Valley National Park to throw a pinch of ashes and say a word of tribute in each.

The Needles, Canyonlands National Park, Utah

I arrived at the Needles, Canyonlands National Park, in Southeastern Utah, at 2:00 A.M. after driving 450 miles from Boulder, Colorado. I found the campground and backed into a site nestled between house-sized rock domes and the stars. A brief stop in Moab, Utah at the City Market for some area guides confirmed what I remembered from the National Park Service website. Canyonlands is Utah’s largest national park, 35 miles Southwest of Moab, downstream from where the mighty Colorado River meets the Green River. The Green River and the Colorado River divide Canyonlands National Park into three districts: Island in the Sky, The Maze and The Needles. The meanders of the two rivers come to confluence and form essentially the shape of a giant lower case “y.” Moab and Arches National Park are on the tip of the right branch of the “y” and the center of the “y” where the rivers meet is the heart of Canyonlands. Island in the Sky, to the North between the branches of the “y,” is the easiest part of the Canyonlands National Park to access by car, with plenty of paved roads, parking lots, turnouts and scenic overlooks.

The Maze, Canyonlands National Park, Utah

The Maze, to the West of the confluence of the two rivers, is the most wild and remote of the districts of Canyonlands National Park. Art and his son A. C. Ekker guided Dad, Mom, photographers Parker “Ham” Hamilton and Dilly Hamilton and myself at age 2 1/2 into The Maze in 1968. For many years, I was the youngest person to ever ride horseback into The Maze and may be still. I rode in front of my mother in the saddle. Art and A. C. Ekker also ran the nearby Robber’s Roost Ranch that had been a stronghold for Butch Cassidy and the Sundance Kid’s Wild Bunch in the late 1800’s.  Today there are even hiking trails into The Maze but it takes a full day in a 4X4 vehicle just to get into this remotest part of Canyonlands National Park, The Maze proper. The literature and websites all recommend allowing an average of five to seven days for a trip even by vehicle. They also caution to go in well provisioned.

The Needles district to the South and East of the confluence of the two mighty rivers is partially accessible by car, but it is farther from the main highway on a half pavement, half dirt road. Dad made photographs in all three districts, but the Needles looked the most promising for a compromise between accessibility and being, as my dad would play on words, “Picture Skew.”

I crawled into my sleeping bag in my pickup camper shell at the campground in The Needles, Canyonlands National Park at around 3 a. m. after gazing at the stars and brushing my teeth at the water spicket. There were no campsites across the road from me and those on either side were empty. I was alone in the smell of sagebrush and wrapped in the dark desert night.

Nature’s Morning Show At Canyonlands

The next morning, or rather, later that morning just barely at first light, I awoke at 6:15 a.m., ready to go, not even tired. I noted that this or earlier was the time Dad would have awakened to photograph if he was still with me in body. As I rolled out of the camper shell, a panorama of red, brown, tan, orange and all colors in between splashed in horizontal bands across a collection of mesas, spires, hoodoos, domes and rock columns, stretching out before me in every direction. The glow of pre-sunrise dawn made me wish I had a camera. I woke up inside a Needles postcard. As I drove to the end of the campground, the sun crested the horizon. Nature’s show was on. It also dawned on me that this was the time Dad passed away.

As I drove with eyes taking in the splendor, knowing Dad and Mom would love this moment, I thought back to the morning of Dad’s passing two years prior, at the end of March in 2006. He was in the desert then too, but in very different surroundings. He was in a room on the Neurosciences Wing of Washoe Medical Center, now Renown Medical Center, in Reno, Nevada. I remember the overnight nurse assured me that if Dad died on her shift, she would see him start to take agonal breaths and call me. I had already been by his side a week and had read to him late into the night, but decided to get some sleep. He had already lasted a week in his post-massive stroke state, and I didn’t know when he might go.

Philip Hyde Climbs The Mountains For Their Good Tidings One Last Time

The nurse did call me but she said he had already slipped away without so much as a single agonal breath. He went easy in the very end. Perhaps he wanted to get out of that hospital bed and that body that didn’t work like it had so well most of his life. I imagined at the time that perhaps he left his body behind early in the morning to take a few last mental exposures of the beautiful snow-covered Sierra Nevada Mountains visible in the distance outside the hospital window.

Until he died, Dad often recited by heart two appropriate quotes by John Muir, “Climb the mountains and get their good tidings. Nature’s peace will flow into you as sunshine flows into trees. The winds will blow their own freshness into you, and the storms their energy, while cares will drop off like autumn leaves.” Dad also had memorized this quote by John Muir, “I want immortality to read this terrestrial language. This good and tough mountain-climbing flesh is not my final home, and I’ll creep out of it, and fly free and grow.” I thought of those two favorites of Dad’s that he also published in his last book, The Range of Light, the name John Muir called the Sierra Nevada. Dad intended The Range of Light as a tribute to John Muir, Dad’s life-long inspiration, and to the Sierra Nevada, particularly Yosemite National Park, Dad’s spiritual home since age 16.

A quiet man slipped out of life softly. I was sad that I had missed the moment of death and that I had not been there for him. Though that was his way, he never called attention to himself or asked others to trouble about him. By the time I arrived at his bedside, about 15 minutes from getting the call in bed in my hotel room on the far end of the huge hospital campus, his face was already turning an off shade. As I sobbed, the nurses were reassuring that he went without any pain. Then I felt him. I felt something, maybe it was my imagination, but it felt like something more. I felt his joy at being free of that worn-out shell. I realized that he had left to “Climb the mountains and get their good tidings,” one last time. He flew free to see the sunrise and I found him gone just like I had 1,000 times before.

On dozens, perhaps hundreds of trips with him, throughout my life, I woke up and found him gone. He was typically gone out in the field taking photographs, starting much earlier than I usually awakened.  I woke up often to the smell of my mother’s breakfast cooking and her coffee brewing. That morning in Reno, I woke up and found Dad gone for the last time, probably carrying a 4X5 baby Deardorff camera as he soared over canyons and mountaintops, just like the famous Cartoon of Ansel Adams in heaven looking down on Half Dome and Yosemite Valley.

In The Needles, Canyonlands National Park, On The Slickrock Nature Trail

In Canyonlands National Park two years later, I woke up about the same time, at photography hour. How fitting, here I was in the heart of Canyonlands, at a short trailhead called Slickrock, no less. That was the name of Dad’s now collectible book with Edward Abbey in the renowned Sierra Club Exhibit Format Series that helped to expand Canyonlands National Park in 1971. For more on Edward Abbey, read the blog post, “Who Was Edward Abbey?

“Slickrock, a general term for any bare rock surface,” the trail brochure said, “dominates much of the landscape in Canyonlands.” I remember Dad saying that there are dozens of places named Slickrock in Southern Utah and Northern Arizona. The slickrock my dad photographed Mom and me standing on for the title page of the book Slickrock, could be anywhere in this country but was near the entrance of Capitol Reef National Park, also in Utah. At the end of this Slickrock Trail in the Needles, I will be only a little over a mile from pavement, not much by Dad’s standards, but at least off the road.

Whew, it was already hot at 8 a. m. Fortunately, I found enough shade under an overhanging rock wall to stop and write more. I see the mesas of Island in the Sky to the North in the distance to the left of the La Sal Mountains on the horizon. The smell of Pinon pine, Juniper, sage and dust fill my nose, while the sandpaper of sandstone under foot catches the soles of my cross-trainers. The trail brochure map indicates that the trail ends out on a point where canyons on either side narrow the mesa. Once I made it out there, I ventured out on a side arm of the mesa. I scrambled out to the end where there is a stair-step down from the rim. I stood on the rim looking down probably 1,000 or more feet, though the next ledge of the stair-step jutted into space just three stories distance below.

Above Big Springs Canyon, In The Heart of Canyonlands

I sat near the edge to write more of this. This place was perfect for tossing my parent’s ashes—in the heart of Canyonlands—within sight of Grandview Point and Junction Butte to the North. Near the end of the sandstone mesa top, to my right, stood an ancient dead Juniper tree skeleton that looked like it belonged in a Philip Hyde photograph. I opened the ornate little pouch from India and the sealed plastic bag of ashes inside. It was quite still for the edge of a canyon, just a faint breeze. I reached into the bag, took a three-fingered pinch of ashes and flung them into the air over Big Springs Canyon.

“For all the generations to come,” I said, “a blessing and prayer for Ardis And Philip Hyde. Here’s to Canyonlands, birthplace of many beautiful photographs and memories.” As I sat down on the very edge with just my feet, not my legs dangling, part of my pinch of ashes must have caught an updraft and drifted high, far out over the canyon. Some of it may drift over the Southwest still; while a moment later I heard the heavier bone fragments hit the ledge below.

To read more about my personal experiences with my father see the blog post, “Memories Of Finally Working With Dad.”

Glen Canyon Portfolio 3

April 14th, 2011

Glen Canyon Portfolio 3

Photographer’s Comment From The Original Vintage Black And White Glen Canyon Portfolio

Continued from the blog post, “Glen Canyon Portfolio 2.”

By Philip Hyde

Cathedral In The Desert (Horizontal), Glen Canyon, Utah, 1964 by Philip Hyde.

(See the photograph full screen Click Here.)

My involvement with the Colorado Plateau province and its centerpiece, the Colorado River, began in 1951 when I was commissioned by the Sierra Club to find out and to photographically document what was in Dinosaur National Monument, particularly along the Yampa River and Green River, that would be impacted by the dams proposed in the Upper Colorado River Storage Project.

It was a tough assignment for a fledgling photographer whose only other exposure to the landscape of the Colorado Plateau province had been as a boy on a visit to Grand Canyon. My work up to that time had been in the well-watered forests and mountains of the Pacific Coast, and I was at first a victim of the landscape shock Dutton speaks of in his Tertiary History of the Grand Canyon Region. I had to learn how to cope, both physically and photographically, with the heat, haze, and dryness that dulled the mind, fogged the shadow, and made the distances disappear.

I needed more time to digest what I saw in the arid lands, and besides I still had a love affair going with mountains. It wasn’t until 1955 that I went back to accompany a Sierra Club group that floated the length of Glen Canyon from Hite to Lees Ferry. One of the high points of this trip, oddly enough, was the prelude, a two-day school bus ride around the canyon overland from Lees Ferry to the start of the river trip at Hite. The frustration of being imprisoned on a bus going through such radically different and beautiful country was so great that it etched that country in my mind and programmed me to spend the next twenty-plus years trying to find some of those retinal images that had rushed past too fast, unfixed on film. Leaving Lees Ferry we scanned the Vermillion Cliffs while climbing up the edge of the Kaibab, then the White Cliffs while climbing the Southern Utah plateaus; we then made the long descent down the slopes of Thousand Lake Mountain through Capitol Reef, past the soft gray shales of Caineville, into the deepening, sinuous White Canyon to Hite and the Colorado River.

In my memory of the river trip, nights on rocks radiating too much heat for sleeping are mingled with days of growing awe of the strange forms of this stone country. My awareness of water as a miracle was born in the shining trickles in canyon bottoms and the sudden springs that gushed out of rock as though piped through the water bearing Navajo Sandstone. These imprints went deep. This landscape took hold of me, in spite of physical discomforts and the initial visual strangeness.

An opportunity for a closer look at a piece of Glen came in the spring of 1962, when I joined a backpack expedition into Rainbow Bridge whose purpose was to study the possibility of building a small dam to prevent the reservoir’s waters from undermining Rainbow Bridge’s sandstone base.

Later, in June, I joined another float trip, this time with fewer people and a slower pace that provided better opportunities for making photographs. The collection made on this trip provided a majority of the photographs in this portfolio. A high point was climbing to the top of Rainbow Bridge at David Brower’s urging, with his climbing expertise to assure success.

Glen Canyon Dam was nearly finished at this point; a short time after the trip, the gates of the diversion tunnels were closed to begin the filling of “Lake” Powell.

Two years later, in 1964, I participated in a wake for Glen Canyon. Starting near the dam on two hundred feet of water, we floated over Music Temple and passed over the Great Overhang in Moki Canyon well known to river travelers, but now barely traceable by the top of its great curve. We boated through the narrows of Aztec Creek, floating over what had been a most beautiful stream junction, with small, sculptured pools in lovely curves linked by a trickle of water. Landing a short distance below Rainbow Bridge, we walked past groups of people in yachting clothes to pay our respects to the now domesticated bridge. We then returned to our raft to push out of the narrows past some small boats in a cove cowering from the howling gale roaring across the reservoir’s open water; such gales were unknown on the river with its high, sheltering walls. Oh, there were some healthy winds on the river, but they gave you a choice: if blowing downstream, you could continue; if blowing upstream, you found the nearest sandbar, made camp, and hoped the wind would abate after sundown.

Continuing up the stormy “lake,” we entered the Escalante arm, crossed its flooded lower reaches to Clear Creek while marveling at the sheer height of the canyon walls, and walked the remaining mile of canyon above slack water into the Cathedral in the Desert. This place was not drowned yet, but later that summer we learned that the water had come in for the first time and flushed out the floor, destroying the lovely rich green moss carpet the ages had furnished.

Investigating half-drowned Davis Gulch and Soda Gulch, we floated past half-submerged entrances, straining to imagine their lost beauty, up to the point where the boat grated on sand at water’s edge; then we walked up canyon as far as we could. In Soda we found the water lapping at the base of Gregory Natural Bridge, a named glory among uncounted, unnamed glories flickering out.

In subsequent trips to the Colorado Plateau province, I have passed the remnants of Glen Canyon to go on to happier places to walk and photograph. Somehow, the passing of Glen Canyon gave me a better reason to see as much of the province as I could, before all of it changed. These trips took me to the Grand Canyon, Navajoland, slickrock country – Escalante, Waterpocket Fold, Canyonlands – from the edge of the Great Basin to the feet of the Rocky Mountains.  Subconsciously I always kept looking for something as fine as Glen Canyon, holding my memories of Glen Canyon up to new country as a standard for color, sculpture, and fineness of detail.

My search confirms an early belief that Glen Canyon was one of the two grand climaxes of the land of the sediments, both born of the river. The other, kindred though quite different, but not less glorious, is Grand Canyon. One is flooded. The other, owing its life to the sacrifice of the flooded one, still lives.

To read an impassioned essay by Philip Hyde on the failings of the Glen Canyon Dam project see the blog post, “Lament For Glen Canyon By Philip Hyde 1.” To read about Canyonlands National Park and other areas of the land of sediments see the blog post, “Earth Day Celebration Of Ardis And Philip Hyde And Canyonlands.”