Posts Tagged ‘darkroom’

Renowned Photographers Son Carries on Historic Legacy With the Art of Small Agriculture

August 2nd, 2018

For Immediate Release

August 2, 2018

Contact Info:

Scott Lawson or Paul Russell
530-283-6320
pcmuseum [at] psln [dot] com

David Leland Hyde
info [at] hydefineart [dot] com

Renowned Photographer’s Son Carries on Historic Legacy With the Art of Small Agriculture

Dogs, Farm Hand, Horse, Overlees Farm Near Franklin, Nebraska, 2015 by David Leland Hyde. (Click on image to see large.)

Even if some Americans today do not recognize his name, most are familiar with Philip Hyde’s iconic 1960s and 1970s natural landscapes that appeared in a solo show at the Smithsonian, spearheaded conservation campaigns to establish many US national parks and helped popularize the large coffee table photography book. With Bob Moon, Philip Hyde also co-founded the Plumas County Museum, which now fittingly will host the first show of David Leland Hyde’s exhibition, “Agriculture West and Midwest: Visual Stories of a Fading Way of Life from 17 States with Special Emphasis on Sierra County and Plumas County,” from September 7 through December 29, 2018.

David Leland Hyde set out to make historically significant, yet aesthetic and artful photographs to preserve the memory of barns, farms and ranches that are vanishing all over the country. He also has brought out some of the differences between industrial agriculture and more sustainable or traditional methods. The art of agriculture is also a rich tradition itself, particularly going back to the Dust Bowl and the Great Depression. Hyde said one of his father’s teachers from photography school, Dorothea Lange, has had a profound influence on his work and on the genre. Ansel Adams, who founded the photography program at the California School of Fine Arts, now the San Francisco Art Institute, Minor White, the lead instructor and other renowned guest lecturers such as Edward Weston and Imogen Cunningham photographed agriculture. Also another Adams protégé, Morley Baer photographed barns in California particularly well, as did Carr Clifton, a neighbor and protégé of Philip Hyde.

Philip Hyde himself photographed cauliflower field’s and other agrarian subjects in a number of Bay Area Counties as early as the mid 1940s. By 1948, Philip Hyde photographed barns and ranches for the first time in Plumas County. He also gave his only son a Pentax manual only film camera and taught him the basics of how to use it when David was just 10 years old. For decades the younger Hyde made no more than a few hundred images. However, after 2009 when he bought a Nikon digital camera, David Leland Hyde has made over 80,000 images, more than one third of which depict agricultural subjects. He produces archival prints in limited editions of only 100 from single capture master files. He uses Photoshop mainly for the same adjustments film photographers like his father used in the darkroom.

D. H. Day Barn From North, Sleeping Bear Dunes National Lakeshore, Michigan, 2015 by David Leland Hyde. (Click on image to see large.)

“I strive to observe mundane scenes, everyday objects and simple beauty in an unusual and more present, mindful way,” Hyde said. “I look not just for light contrast, but psychological. I look for redemption in ruin, rebirth with decay, tolerance next to hate, yin within yang.” In 2015, he traveled over 10,000 miles around the US Heartland photographing for three months in a 1984 Ford van his dad converted when new from a cargo van to a specialized field photography camper. In the Midwest a reporter told him the state of Minnesota alone loses more than 300 barns a year. Meanwhile, in the West it has become common to use chutes to hold calves still for branding. However, David photographed local ranchers this year in Indian Valley who still do it the old way, roping and rustling the calves by hand.

Restoration has stabilized the base of the Olsen Barn in Chester, preventing potential collapse under heavy snow or wind. However, many old farm structures no longer get much use to justify the high costs of maintaining them. Hyde hopes his project can bring awareness and funding for historical restoration efforts. Additional shows of his agricultural work and a book are also in the works.

“We are excited to have a fund-raising exhibition here,” said Scott Lawson, Plumas County Museum Director. “It is noteworthy that David’s work will be displayed on the Mezzanine Gallery near his father’s 40×50 darkroom prints which have graced our walls since 1969.” David Leland Hyde plans to donate to the museum half of all proceeds from the sale of his fine art prints and other collectibles. Please enjoy the show and support the museum. The first 50 people to arrive at the opening will receive a keepsake gift.

Details:

Opening Reception: First Friday, September 7, 5 to 7 pm

Artist’s Talk: 6 pm, September 7

Exhibition: September 7 through December 29, 2018

Plumas County Museum
500 Jackson Street
Quincy, California
530-283-6320
pcmuseum [at] psln [dot] com

 

More Photographs From the Show:

Open Gate and Big Red Barn on Chandler Road near Quincy, California, 2013 by David Leland Hyde. (Click on image to see large.)

Amish Teenage Brothers and Horse Cart Near Holton, Michigan by David Leland Hyde (Click on image to see large.)

Cloudy Sunset, Olsen Barn, Lake Almanor Near Chester, California, Sierra, 2015 David Leland Hyde. This photograph has been actively used by Feather River Land Trust in the Olsen Barn Campaign. (Click on image to see large.)

Horse Barn, Tall Grass, Genesee Valley, Spring, Northern Sierra, California, 2017 by David Leland Hyde. (Click on image to see large.)

Ranch on North Side of Sierra Valley, Plumas County, California, 2017 by David Leland Hyde. (Click on image to see large.)

Horses on the Run, Central Wyoming, 2016 by David Leland Hyde. (Click on image to see large.)

Farm Workers, Strawberry Fields Near Oceano and Guadalupe, California, 2014 by David Leland Hyde. (Click on image to see large.)

Spanish Peak and Dyrr Barn, American Valley, Quincy, California, 2015 by David Leland Hyde. (Click on image to see large.)

Broken Gate Shadows, Willow, North Barn, Lemmon Canyon Ranch Near Sierraville, Sierra Valley, California, 2018 by David Leland Hyde. (Click on image to see large.)

Amish Horse & Buggy, Menno-Yoder ‘Brown Swiss Dairy’ 12-Sided Concrete Barn, Shipshewana, Indiana, 2015 by David Leland Hyde. (Click on image to see large.)

Keith Round Barn Under Tornado Skies, North Platte, Nebraska, Black and White, 2015 by David Leland Hyde. (Click on image to see large.)

Old Farm Machines, Outlaw Trail Ranch Near Escalante, Utah, 2014 by David Leland Hyde. (Click on image to see large.)

Fritz & Andy Roping, MH Branding, Openshaw Ranch, Mt. Hough, Indian Valley, California, 2018 by David Leland Hyde. (Click on image to see large.)

Living the Good Life 6: Search for the Good Life

February 27th, 2018

Living the Good Life with Ardis and Philip Hyde

Part Six: Ideas From and Review of Chapter One—We Search for the Good Life

(Continued from the blog post, “Living the Good Life 5: Agricultural Influences.“)

“Such is the superiority of rural occupations and pleasures, that commerce, large societies, or crowded cities, may be justly reckoned unnatural. Indeed the very purpose for which we engage in commerce is, that we may one day be enabled to retire to the country, where alone we picture to ourselves days of solid satisfaction and undisturbed happiness. It is evident that such sentiments are natural to the human mind.

~ John Loudon, A Treatise on Forming, Improving and Managing Country Residences, 1806

About This Series: “Living The Good Life”

Lower Lawn, Raspberries, Apple Orchard, Raised Beds, Midsummer, Rough Rock, Northern Sierra Nevada, California, 2015 by David Leland Hyde. After return from Midwest travels.

In 2002, two months before my mother passed on, I interviewed her for possible magazine articles about her locally popular organic gardening, preserving and food preparation. I also wanted to capture the essence of my parent’s philosophy of living. They lived a low impact sustainable lifestyle long before “sustainable” became a word or a trend.

Because Mom passed on suddenly, I only ever made one tape recording of me interviewing her. I regret not having started sooner and filled a cabinet full of tapes of her. After that first recording session on a bleak January day, she gave me her personal copy of Living the Good Life: How to Live Sanely and Simply in a Troubled World by Helen and Scott Nearing. She first paused to hold the book to her heart, put it in my hands with weight and gravity and said, “This was our Bible.”

This series of blog posts looks at how Ardis and Philip Hyde, while not on the road or on the trail in pursuit of flora, fauna and photographs, adapted and invented their own version of “The Good Life.”

Part Six: Searching for the Good Life—Based on Chapter One

After the Hydes experienced a series of setbacks and mishaps while attempting to make a life and a living in Carmel, they first moved to Casablanca, Morocco, where they worked for an American company that planned and built military bases. Stay tuned for more on Morocco in future blog posts. Working in Morocco with little overhead helped them get ahead financially and rebuilt their confidence as Dad had great success at work mentoring another photographer. Don’t miss the earlier blog post in this series, “Living the Good Life 4: Failure in Carmel.” Also for more about the Hydes’ early career, rising to meet life challenges with mentoring from Ansel Adams and touching briefly on their adventures in Morocco, see the blog posts, “The Battle Over Dinosaur: Birth of Modern Environmentalism 5,” and “The Battle Over Dinosaur: Birth of Modern Environmentalism 6.”

The blog post, “Living the Good Life 4: Failure in Carmel,” ends with Mom and Dad returning to the mountains and finally acquiring land where they could build a home. However, before this became possible, they did a great deal of soul searching, home location research, and made a study of various gardening approaches, building methods and house designs.

In Living the Good Life, Helen and Scott Nearing described how they lost their livelihood in the Great Depression and grew weary of the worsening conditions and limitations of city life. By the time the Back to the Land Movement gained momentum on the West Coast after World War II, the Hydes and their like-minded contemporaries wished to escape the city and “Live in the country, in a decent, simple, kindly way,” as the Nearings put it.

In an interview by the now defunct Darkroom Photography Magazine, more recently republished in the blog post, “Philip Hyde at Home in the Wilds,” Dad disavowed the idea that he and Mom lived “too far” from any cities or even large towns.

“I don’t think it’s isolation, I think it’s insulation,” Dad told the Darkroom Photography interviewer. “We’re insulated from a lot of urban influences that I’m not all that interested in. Don’t get me wrong… I like people… But I guess I like them in small quantities… What’s most important to me is to be able to look out the window and see the changes of the seasons, or the rain pouring down, or the stars at night…”

While livelihood stood out among other considerations in looking for the Good Life for the Nearings, Dad had a sense, even a kind of faith, that if he lived in the wilderness that he wished to defend with photography, prosperity would follow. Mom and Dad made their exodus from the San Francisco Bay Area during the boom just after The War, while the Nearings left New York City during the Great Depression twenty years earlier. The Nearings’ observations at the time apply just as much today, now eight decades later and certainly applied during the cold war when Mom and Dad were settling in the mountains.

If profit accumulation in the hands of the rich and powerful continued to push the economy toward ever more catastrophic depressions; if the alternative to depression, under the existing social system, was the elimination of the unmarketable surplus through the construction and uses of ever more deadly war equipment, it was only a question of time before those who depended upon the system for livelihood and security would find themselves out in the cold or among the missing. We disapproved of a social order activated by greed and functioning through exploitation, acquisition and accumulation.

The Nearings explored Europe, Asia and much of North America before deciding to remain in the Northeastern U.S. for the seasonal aesthetic beauty of big snow in the winter, budding greenery in the spring, heat and swimming in summer and the “burst of colors in the fall.” Physically they discovered that “the changing weather cycle is good for health and adds a zest to life.” As can be read about more in the blog post, “Living the Good Life 3: The Change of Seasons,” Mom, Dad and myself in my time, all have loved the change of seasons.

The Nearings had a threefold purpose they sought in the ideal life:

  1. “A life based on the values of simplicity, freedom from anxiety or tension, an opportunity to be useful and to live harmoniously.”
  2. To make a living in conditions that “enlarge joy in workmanship, give a sense of achievement… promote integrity and self-respect… assure a large measure of self-sufficiency… and make it easier to guarantee solvency…”
  3. “Leisure during a considerable portion of each day, month or year, which might be devoted to avocational pursuits free from the exacting demands of bread labor, to satisfying and fruitful association with one’s fellows, and to individual and group efforts directed toward social improvement.”

“I’m not really trying to play the money game,” Dad said. “Photography has provided a living, not a bad living at all, but when I left the city… I knew that I was leaving behind the opportunity to make lots of money. I think that when I first chose photography, I knew I was choosing the pleasures of creativity over the consolations of wealth. I define success for myself in terms of lifestyle. Success is freedom and opportunity to do what I want to do.”

For the Nearings the “road from New York City to the wilderness was short in miles but far-reaching in social consequences.”

We were leaping from the economic and social sophistication of a metropolis to a neighborhood in which few of the adults and none of the youngsters had ever visited a large city, in which every house was heated with wood and lighted with kerosene. In the first year of our stay we piled the children of several neighbor families in the back of our truck and took them to get their first glimpse of the ocean, to see their first train, to attend their first movie and treated them to their first ice cream soda.

The Nearings started as “summer folk,” who are disliked by the local population because they “do not intend to stay long or work much.” “Summer residents do no great harm if they occupy abandoned land, or marginal land unfit for agriculture. However, many of them let their pastures go back to woodlots, which is detrimental to the agriculture of the state when the land goes out of production. The more summer people the more demand for factory goods and specialties in stores shipped in from out of state. “Summer folk,” for the most part, obtain their dollars out of state and exchange them for canned goods in the local market rather than growing their own produce.

The social consequences of turning the countryside into a vacationland are far more sinister than the economic results. What is needed in any community are individuals, householders, villagers and townsmen living together and cooperating day in, day out, year after year, with a sufficient output of useful and beautiful products to pay for what they consume and a bit over. This is solvency in the best social sense. Solvency of this nature is difficult or impossible except in an all-year-round community.

Therefore, the Nearings soon became all-year-round residents of Vermont. The Hydes also started as summer residents in the mountains. Their first residence in Plumas County at Lake Almanor was at the Fox Farm, a small community where they knew the Kurtzes and the Kurtzes knew most of the others. The summer of 1948, when Dad worked in the Cheney Mill in Greenville, was Ardis and Philip’s first summer after their marriage in June 1947 and their first summer in the mountains. The next summer they also spent in the wilderness. Ansel Adams helped the Hydes obtain a job at the Parson’s Lodge in Tuolumne Meadows, Yosemite National Park. They were to live in the renowned McCauley Cabin for two months and act as caretakers of the Sierra Club owned Parson’s Lodge for the summer, talking to visitors about the Sierra Club’s work and making photographs. Dad sung the praises of mountain life:

Went out this afternoon in the late low angle light and made more negatives of rocks, trees and Cathedral Peak, a photogenic, but difficult scene. We’re really beginning to realize what we have here in Tuolumne Meadows. We have no clock or watch. We eat when our stomachs announce the time for it and go to bed when it seems like the thing to do. We get up when we’ve had enough sleep. We feel no strain toward getting something completed by a certain span of time—it just takes until it’s done. This is altogether a wonderful way to live. We’re busy now laying plans for making it a permanent way of life. Why strain for security in the city when you can live in the mountains each day to the utmost—never seeking for tomorrow because you’re busy living today? Living is a full-time job—why relegate it to the leisure hours left after a hard day at the office? Why slave for retirement at 65 when all you mean by retirement is freedom to live. You can live now, live today. These Tuolumne days seem to bring out ever more clearly the things hinted at in our Greenville days and these sojourns in the mountains bring us into increasing contact with those who have found ways to live in the wilderness.

The Nearings 20 years earlier in Vermont were also looking for ways to live in the mountains full-time. They laid out their garden to produce a year around crop that more than fed their family. Another piece of the income puzzle turned out to be saving and buying properties in the neighborhood to operate as wood lots for firewood. Land was still very cheap at a handful or two of dollars an acre. The forests were good sources of income for many rural towns.

One piece of property the Nearings bought from Frank Hoard. He had licensed his land to Floyd Hurd and his wife and 11 children to harvest the maple syrup under a share agreement when the sap ran in the spring. The Nearings continued the same share agreement, ended up with half of the maple syrup harvest, and discovered that “maple syrup in Vermont is better than cash. It sells readily and does not depreciate.”

Here was something on which we had not counted. In a syrup season lasting from four to eight weeks, owning only the maple trees, the sugar house and some poor tools, and doing none of the work, we got enough syrup to pay our taxes and insurance, to provide us with all the syrup we could use through the year, plenty to give away to our friends and to sell. We realized that if we worked at sugaring ourselves, syrup would meet our basic cash requirements. We were surprised and delighted to learn that here might be the answer to our problem of making a living amid the boulders scattered over the green hills of Vermont… The possibility of sugaring for a living answered the second question: how to finance the good life. Our next job was to determine the way in which the good life was to be lived.

The passive solar, energy efficient, ahead-of-it’s-time construction of Rough Rock will be featured in “Living The Good Life 9.” The next two blog posts, Parts 7 and 8 in the series, will cover the ins and outs of various plans and designs for Living the Good Life. Part 7 will further examine the similarities and differences in methods and lifestyles between the Hydes and Nearings.

(Read more, “Living the Good Life 7: Nearings’ vs. Hydes’ Design for Living.”)

Best Photographs of 2017

January 4th, 2018

David Leland Hyde’s Own Favorite Photographs of the Year

The end of 2017 blasted right by and I almost missed the 11th Annual Blog Project: Your Best Photographs of the Year hosted by Jim Goldstein at JMG Galleries Blog. However, having participated every year since 2010, I refuse to quit now. At least this year most of my best images are lined up in select folders, making them easier to gather. Soon Jim will be making his follow-up blog post with the list of all of the “best of the year” blog posts from all of the participating photoblogs. I believe one year there were over 300 blogs participating.

My photographs below are all single-exposure, no bracketing, no HDR, no blends. I am not against these processes per se, but I find I do my strongest, simplest work without them. Particularly when photographing people, in the field I work intuitively, often slowly, but with faster lurches when necessary. My nature images come from a deeper, tranquil place, though I am developing a rougher and quicker approach to post-processing and in time plan to present work with more grain and noise, especially in street, industrial and some abstract scenes.

I develop my work in the digital darkroom much the way traditional film photographers like my father, conservation photography pioneer Philip Hyde, did in the wet darkroom. I alter most images little, doing the usual dodging and burning, or lightening and darkening, plus controlling contrast, shadow, highlight intensity, vibrance and saturation as mildly and tastefully as possible with similar aesthetics to traditional darkroom methods. However, I generally have much more control over all areas of the image and the resulting archival color or black and white prints.

Grizzly Peak From Near Nelson Street Bridge, Northern Sierra, California.  I have been photographing this view for many years. With a digital camera in this spot it is a bit challenging to get both the whole field and mountain sharp. Though still not completely perfect, this is one of the more pleasing and most appealing in print form of the photographs I have made here. The black and white prints also look good.

Indian Head Across Indian Valley, Northern Sierra, California. In early April, we had a beautiful snowfall of about 8-10 inches combined with spectacular clearing storm clouds. I spent most of the day photographing around Indian Valley, but this photograph near the end of the day when most of the clouds were gone I liked best.

Sunset, Ridge Lakes, Lassen Volcanic National Park, Cascade Range, California. After checking out the annual summer art show at the Visitor’s Center, I took this short, steep hike to catch Ridge Lakes after they had calmed for the evening, but lingered a bit too long and had to finish the end of my hike back to the Sulphur Works in the dark.

Eclipse Day Sundown and Catamarans on the Shore of Bucks Lake, Bucks Lake Wilderness, Northern Sierra, California. I have intended to photograph Bucks Lake for some time. The day of the eclipse, not long after the Minerva Fire, the light was unusual. I explored a number of areas around Quincy including downtown, Spanish Creek, Greenhorn Creek and finally up through Meadow Valley to the Bucks Lake Wilderness.

Aspens in Breeze, Thompson Lake, Bucks Lake Wilderness, Northern Sierra, California. Later in the evening on Eclipse Day, I stopped at Thompson Lake and made a few images before sunset and then stopped again later after sunset for this photograph and a few others in twilight.

Ranch on North Side of Sierra Valley, Northern Sierra, California. This photograph was another from a full day of great clouds from a clearing storm in Sierra Valley. I photographed a number of the ranches, found some unusual perspectives of the valley and wound up at sunset at the Beckwourth Barn complex.

Kettle Rock, Hosselkus Creek, Genesee Valley, Spring, Northern Sierra, California. Late in 2016, the Palmaz Family, new owners of the Genesee Valley Ranch, gave me an assignment to photograph the Genesee Store ‘Before’ and ‘After’ historical renovation. While working on this assignment and having the family acquire other images as prints, I began making many more images of Genesee Valley from angles and locations I had not yet tried. Fortunately, between these photographs and the many I have made going back to 2009, I was ready when the Palmaz Family began asking me for images to use in promoting the renovated Genesee Store, Genesee Valley Ranch, Brasas Beef Club and Genesee Valley in the Palmaz Vineyard in Napa, California. This is just one of many of my photographs the various Palmaz brands will use online, in social media, print advertising and for other promotional uses.

Fall, Indian Rhubarb in Spanish Creek, Northern Sierra, California. Finally this year I made quite a few Indian Rhubarb images worth keeping.

Evening Sun, Grizzly Ridge Across Genesee Valley, Northern Sierra, California. This was one of the photographs that the Palmaz Family liked both as an archival fine art digital print they hung in the winery and to license for use in promoting Palmaz brands.

Creamery, Tall Grass, Genesee Valley, Spring, Northern Sierra, California. One lazy summer day while wandering around in the pasture photographing cows with the mountains as backdrop, I discovered this view of the Creamery between the apple trees in late afternoon light. It will add a bit of a historic feel to my California Barns Portfolio.

Genesee Store, Front Entrance, Winter, Genesee, California. I processed this image into a number of versions that each make it look old in a different way. The designers made the new Genesee Store logo from this photograph.

‘Skute or Die’ Boxcar, Sky and Sage, Sierra Valley, Northern Sierra, California. On the same special clearing storm day in Sierra Valley, I found a string of old boxcars newly “painted” by graffiti artists.

Lady Looking and Boy With Camera, Palace of Fine Arts, San Francisco, California. After spending the night in San Francisco’s Marina District nextdoor, I arrived at the Palace of Fine Arts just after sunrise. An advertising film crew already set up in the middle of the main arch were chewing up pixels of two models together: an early 30s lady and a boy around eight years old. The director kept telling the boy to point and make photographs, or for the lady to point and the boy to make photographs, but the poses they made naturally were much better than “the look” the director was going for, whatever that was.

Jeep and View From Kettle Rock, Northern Sierra, California. My lifetime friend and next door neighbor took two of his sons and a few of their friends and me in his jeep up to the lookout on Kettle Rock. When we left the Jeep to hike the last several hundred feet, the Jeep with mountains all around it, looked like the ideal Jeep advertisement.

Steer Riding, Taylorsville Junior Rodeo, Taylorsville, California. Having grown up around the Taylorsville Silver Buckle Rodeo, for years I have wanted to try photographing the rodeo. My chance came when I heard the Junior Rodeo was on at a time I could get away. I made a lot of photographs of the people around the rodeo, but getting good action photos proved more challenging. This is one that came out fairly well, though I wish I had been more in front of the steer. Notice the only thing not in motion in the whole frame is the rider’s boot. There will be other rodeos other years for practice.

Two Bareback Riders, Indian Creek, Taylorsville Junior Rodeo, Taylorsville, California. During the Taylorsville Junior Rodeo the smoke from nearby forest fires was thick, which made the light good for photographing the young people riding bareback in the river.

Cowboy Leading Horses, Indian Creek, Taylorsville Junior Rodeo, Taylorsville, California. The July forest fire light helped make this photograph and others as an assortment of rodeo participants and observers paraded in and out of the water to cool off their animals.

 

 

 

 

 

 

The New Golden Decade by Steidl – Book Review

September 25th, 2017

Golden Decade: Photography at the California School of Fine Arts 1945-55

By William Heick, Ira H. Latour and C. Cameron Macauley, edited by Ken Ball and Victoria Whyte Ball

Book Review

The New Cover of The Golden Decade: Photography at the California School of Fine Arts 1945-55.

Cutting Edge of World Art Then, Publishing Today

A completely new, redesigned, re-edited and revised version of the Golden Decade: Photography at the California School of Fine Arts 1945-55, published by renowned photography book publisher Steidl based in Gottingen, Germany, has been selling steadily in the United States for close to a year. The new Golden Decade has already sparked glowing reviews by many major newspapers and magazines, instigated book signings at some of America’s most prominent bookstore venues and catalyzed a handful of exhibitions at major museums, galleries and art centers.

This year, Steidl, the book, or the photographers have been featured in USA Today, the New Yorker and many other prominent publications. Mainstay European newspaper, The Guardian, hailed the Golden Decade as the book about “the school that turned photography into art.” Beyond the Curtain, touted as Southern California’s premier art and society magazine, extolled the Golden Decade photography exhibition at the Laguna Art Museum as “not for the eye to miss” and “a special glimpse into California’s progressive cultural history.” The Beyond the Curtain review revealed the influential ties between Golden Decade photography and the world art scene, as well as the East Coast art establishment. The article in Beyond the Curtain showed how the West Coast, specifically the California School of Fine Arts, renamed the San Francisco Art Institute, between its painters and photographers, at the time became the world’s cutting edge expression of modernism.

Only five of the 35 photographers with portfolios in the book are still living, while none of the original authors William Heick, Ira H. Latour and C. Cameron Macauley are still with us. As a result, the book editors, Ken Ball and Victoria Whyte Ball are all but worn out by an extended season of bookstore events that launched at the end of last October with a book signing at The Strand in New York City and continues throughout California and other major art markets. For more about the development of the new Golden Decade at Steidl and a list of all 35 photographers see the Landscape Photography Blogger article, “The Golden Decade Book to be Published by Gerhard Steidl.

The New Golden Decade Book Versus the Old Book

Steidl’s new design for the Golden Decade is less folksy and not as loaded with memorabilia, but more artful, chic, streamlined and clean, though the book still weighs in at 416 pages. The book is far from sleek, but the design on each page is sleek, spacious and crisp. The book overall is less busy and more pleasing to the eye than the earlier self-published version. A section in the beginning now tells how the book came to be, followed by the feature essay in which Ira H. Latour, in easy-reading prose tells the story of the founding of the photography department by Ansel Adams and California School of Fine Arts director Douglas MacAgy. For more on how the Golden Decade began see the blog post, “The Golden Decade: Photography at the California School of Fine Arts.

From obtaining funding through the Columbia Foundation, to securing facilities, the radio announcement, the first classes, launching the full-time program, abstract expressionism and much more, Latour’s essay informs, but does not overwhelm. Ansel Adams modeled the school on a rigorous piano conservatory approach to hands-on practice and set up the curriculum based on his famous Zone System. Early on a few students complained that the advertising promised courses by Ansel Adams just as he had become scarce at the school while working on his Guggenheim project photographing the national parks. The complaining faded when Ansel Adams hired Minor White, who in turn brought in prominent photographers to teach including Dorothea Lange, Imogen Cunningham, Lisette Model, Eliot Finkels, Frederick W. Quandt, Jr., Clyde Childress from the Art Center School, Robert McAllister, Homer Page, Rose Mandel and others. Beaumont and Nancy Newhall even gave a few lectures. The most anticipated student outings were to visit Edward Weston and Brett Weston at Wildcat Hill in Carmel, as well as photography field trips with Edward Weston out to Pt. Lobos State Reserve.

Minor White taught his, at the time somewhat confusing, but later much lauded Space Analysis. Benjamin Chinn, Philip Hyde, C. Cameron Macauley and others who wrote or talked about Space Analysis each had different understandings of it, but in June of 1952, the American Annual of Photography published an article by Minor White that defined Space Analysis as simply “The Use of Space in Defining Pictures.” C. Cameron Macauley’s essay in the Golden Decade also has provides readers with an understandable summary. Space Analysis brought the photographer’s awareness to vacant space, filled space and the relationships between objects and space, with more emphasis on the space than the objects. Students applied Space Analysis both before exposure while looking at the ground glass and after the production of a finished print.

Besides teaching portrait and landscape photography with large format cameras, White encouraged the study of motion by studying rush hour and doing street photography using “mini cameras,” that is, medium format and 35 mm. He also promoted the photographic interpretation of other arts including sculpture, plays, various other forms of performance and festivals. Students photographed the lively Fillmore District, the coast along Highway 1, industrial and architectural subjects with real world assignments by Pacific Gas and Electric Company, Stanford University, the City of Mendocino, the Gold Country, ghost towns and many other locations and clients all over Northern California.

Essays By Star CSFA Students

The essays by William Heick, C. Cameron Macauley, Ira H. Latour and others illuminate all aspects of student endeavor, both the day and night classes, student social gatherings, the striking philosophical differences between Minor White and Edward Weston and between Minor White and Ansel Adams. The latter at times brought on heated classroom discussions. Latour’s essay in particular offers an insightful, incisive dissecting not only of technical, creative and academic aspects of the photography program, but of the philosophy and character of both instructors and key innovative students.

Separate essays, all rearranged for better flow in this new Steidl version of the Golden Decade, also cover student print exchanges, a student print-based fundraising event, the world-famous 1954 “Perceptions” show at the San Francisco Museum of Art and the founding of Aperture magazine with several students including Philip Hyde, Benjamin Chinn and William Heick, being featured in early issues. Another essay described the students hanging out and later mounting a show at Vesuvio’s Bistro in the bustle of San Francisco’s North Beach District, which soon after became the home neighborhood of the Beat Generation poets. “Vesuvio’s is usually crowded with painters, photographers, craftsmen and sighseers,” wrote C. Cameron Macauley.

An essay by Pat Harris, “A Woman’s Perspective” explained that though most of the men had just come out of Word War II and were going to art school backed by the G.I. Bill, the primarily non-veteran women enrolled in the classes had to scrape and pay for school on their own. People kept saying to Pat Harris that science was not for women at each school she attended previously, but Ansel accepted her into the photography program and with mentoring from Imogen Cunningham she thrived.

Similarities, Differences and Influences in Student Photographs

Students at the school came from diverse backgrounds and circumstances, but the similarities that ran through many of the photographs do not end at the often-evident influence of Adams, Weston and White, but begin with it and go beyond it. Emerging from World War II, the country, the world and San Francisco in particular, had tremendous creative energy and productivity, while at the same time civilization carried the weight of what it had seen and endured, moving past it with transcendence and new purpose. Aspects of all of this are evident in the photographs, as well as meanings beneath the surface in most of the images. Edward Weston said, “To photograph a rock, make it look like a rock, but be more than a rock.”

The student portfolios exhibit a quiet intensity with clean lines, a new take on the modernist aesthetic, with room around subjects, objects well-placed in space, whether through space analysis or by emulating the quiet balance conveyed by Edward Weston. Many of the students’ photographs exhibit a strong design element. All are carefully conceived. For more about the contemporary exhibitions of the photographs starting in 2010 see the blog post, “Over 500 People Attend Golden Decade Opening.

Ansel Adams spoke of photographs representing a spiritual experience. The Golden Decade nature photographs exemplify either subtle or more obvious post-war transcendence. The landscape photographs contain some kind of spiritual quality, either through the use of light, or the arrangement of the subjects. Symbolism, ironic juxtaposition and the careful handling of negative and positive space around objects is as important as the objects and people themselves. The influence of Minor White also shows in the patterns and psychological emphasis, sometimes on humor, sometimes on tragedy, but always giving added meaning to the images. Metaphysics often shows or is alluded to in the street and people photographs as well. Pirkle Jones, William Heick, Gerald Ratto, David Johnson and many of the others expressed their greatest artistry in their photographs of people.

The first photograph in the student portfolios, “Nun and Child” by Ruth-Marion Baruch, like many others in the book, was clearly best expressed in black and white rather than in color. The nun’s habit with it’s black and stark white oversized collar contrasted with various grays and off-whites of the surrounding children all framed in a dark doorway. Baruch’s “Benicia” also juxtaposed innocence, optimism and the liveliness of youth in the foreground with the disappointment, unfairness and misfortune of life in the background. The images of Philip Hyde, Stan Zrnich and the other landscape photographers tended to speak of timelessness and at the same time remind us that we are here by either grace or accident and that this moment, this vivid now is fleeting. ‘Gather ye photographs while ye may.’ The Golden Decade shines on forever and glows golden for only one bright decade. It continues on and ended just yesterday: a book worth learning from and keeping safe for studying over and over; a time in history worth struggling to grasp and hold onto whether you are a historian, collector, photographer or artist in another medium.

Golden Decade Shows at Laguna Art Museum and Minnesota Street Project

February 22nd, 2017

Current Golden Decade Exhibits and Book Events

Smith Andersen North Gallery

Laguna Art Museum

Minnesota Street Project

San Francisco Art Institute

Bankhead Theater Gallery

The Golden Decade, San Francisco, Ansel Adams, Minor White and the California School of Fine Arts History

Piers, Waterfront, San Francisco, California, 1948 by Philip Hyde. An original vintage contact silver print of this photograph was the first to sell at the first Golden Decade Show in 2010 at Smith Andersen North, attended by over 500 people. (Click on image to see large.)

Art historians, critics, gallerists, curators and museum staff have taken to calling the 10 years after World War II, 1945-1955, The Golden Decade of photography on the West Coast and elsewhere around the nation. Not only did the arts bustle and surge with energy and popularity in San Francisco and elsewhere on the West Coast during this period, but a new department of photography founded by Ansel Adams would in time have world-wide influence as it helped to transform photography into art.

The photography department at the California School of Fine Arts, renamed the San Francisco Art Institute in 1961, was the first College level art program to teach creative photography as a full-time profession. At the recommendation of Beaumont Newhall, who had earlier co-founded with Ansel Adams the first museum photography department at the Museum of Modern Art in New York City, Ansel Adams hired and transplanted Minor White from Princeton to San Francisco to lead instruction at the new photography program at CSFA. Read the never before published Philip Hyde notes on a number of Minor White’s lectures including the famous one on Space Analysis, the notes from the Space Analysis Lecture start a short portion of a series of blog posts based on Philip Hyde’s notes.

Minor White in turn invited to guest lecture some of the most influential photographers at the time including Dorothea Lange, Imogen Cunningham, Lisette Model, Nancy and Beaumont Newhall, Homer Page, Alma Lavenson and Bill Quandt. The early classes at the school also took field trips down to Carmel to visit the studio of Edward Weston, now considered by many the father of modern photography. Students also photographed with Edward Weston in the field at nearby Point Lobos State Natural Reserve.

Ansel Adams taught a number of classes beginning in 1945. By 1946, Ansel Adams offered the first full-time Summer Session. Philip Hyde first attended the school and Minor White first assisted in this class. By the Fall of 1946, Minor White took over teaching and by the Fall of 1947 Philip Hyde began the full-time program, which ran three years through 1950. Read more on “The Early Days of Ansel Adams’ Photography Program.” Eavesdrop on a conversation with “Philip Hyde and Benjamen Chinn talking about Ansel Adams’ Photography Department.” Discover why “The California School of Fine Arts Makes Art History.”

In subsequent years, students from the Golden Decade period put on a number of retrospective exhibitions, most of them located at the school, renamed the San Francisco Art Institute.

Contemporary Interest and Events

Interest in the photography of both students and teachers from the Golden Decade era stepped up significantly when Stephanie Comer, Deborah Klochko and Jeff Gunderson began interviewing and researching their 2006 book, “The Moment of Seeing: Minor White at the California School of Fine Art.” During the lead up to their book release, in December 2005, four months before Philip Hyde passed on, David Leland Hyde took his father to a reunion lunch in San Francisco organized by Ken and Victoria Whyte Ball. At the reunion lunch classmates who had not seen each other in many years, sometimes as long as 50 years or more, exchanged stories, signed each other’s prints, helped identify people in photographs, and talked of the years since photography school and the unforgettable times during photography school.

Victoria Whyte Ball is the daughter of Don Whyte, one of Philip Hyde’s classmates. After the reunion lunch, Ken and Victoria Whyte Ball began to help Bill Heick, Ira Latour and Cameron Macauley edit and complete their long-planned and only partly written book called “The Golden Decade: Photography at the California School of Fine Art 1945-1955.” The Golden Decade would be another retrospective volume, already many years in the making, though told more from the students’ perspective. All three of the original authors lived to see a self-published version of this book come out in 2010 in conjunction with a gallery show at Smith Andersen North in San Anselmo, Marin County, California. Over 500 people attended the Golden Decade show opening and a Philip Hyde vintage print of “Piers, Waterfront, San Francisco” was the first to sell. The show was extended for an extra month to include a new closing reception and book signing.

From 2010 to 2015, there were more Golden Decade Group Exhibits and a number of shows by the individual photographers at Smith Andersen North and elsewhere. At Mumm Winery in Napa, California, the holders of a large permanent collection of original Ansel Adams prints, Mumm Napa put on a Golden Decade show in February 2014. Stefan Kirkeby, gallery owner of Smith Andersen North, who had taken a special interest in representing and helping Golden Decade photographers, put on exhibitions of photographic prints by Golden Decade artists Benjamen Chinn, Ruth-Marion Baruch and Pirkle Jones, Leonard Zielaskiewicz, Charles Wong, Paul Caponigro, Philip Hyde and John Upton. The widely acclaimed and attended Smith Andersen North show This Land Is Our Land: Philip Hyde and the American Wilderness, put together by Stefan Kirkeby and David Leland Hyde, enjoyed a turnout larger than any other show at the gallery besides the 2010 Golden Decade show.

Redesigned New Golden Decade Book Published by Steidl

During this five-year period, Ken and Victoria Whyte Ball searched for a publisher for the Golden Decade. Finally in 2015, the internationally respected premier photography book publisher Gerhard Steidl of Göttingen, Germany, decided to publish a redesigned version of the Golden Decade book. Steidl published the book in April and shipped it to the US in May of 2016.

Book signings kicked off in the US at the famous Strand bookstore in New York City on Saturday, October 29. The Strand, one of the world’s most prominent English language bookstores, was established in 1927 and claims to contain 18 miles of books. From then on Steidl has kept Ken and Victoria Whyte Ball busy doing book signing events. Other Golden Decade photographers who are still alive, with us and have also attended and signed books at some signings include John Upton, Gerald Ratto, David Johnson, Stan Zrnich, Charles Wong, Stephen Goldstein and Zoe Lowenthal.

Following the book signing at the Strand in New York, the next major Golden Decade event was an opening and book signing at Smith Andersen North for Golden Decade photographer Gerald Ratto. Gerald Ratto’s photography exhibit was on view from November 12 thru December 23, 2016. Many Golden Decade fans bought books and had them signed at this gallery opening.

Golden Decade Gallery and Museum Shows

In case anyone missed this show and signing, an official Golden Decade Exhibition sponsored by Smith Andersen North and Casemore Kirkeby, housed at the Minnesota Street Project in San Francisco, opened February 4 and will run until February 28, 2017. At the opening for this Minnesota Street Project show, Stefan Kirkeby, owner of Smith Andersen North and co-owner of Casemore Kirkeby, made introductory remarks and introduced Jeff Gunderson, San Francisco Art Institute Librarian and Archivist and contributor to The Moment of Seeing. After Jeff Gunderson spoke, Jack Fulton, photographer and retired SFAI professor, talked further about the history of the photography program.

Also opening this month, on February 19, a Golden Decade museum show will run through May 29, 2017 at the Laguna Art Museum. Founded in 1918, the Laguna Art Museum is the premier museum of California Art created by California artists.

On March 1, 2017 back at the photography program campus at the San Francisco Art Institute, there will be another Golden Decade book signing and presentation. Specifics on the two shows currently up and ongoing and the upcoming signing at SFAI are listed below.

The Golden Decade Exhibit
February 4 thru 28, 2017
Smith Andersen North—Casemore Kirkeby
Minnesota Street Project
1275 Minnesota Street
San Francisco, California 94107
415-851-9808

The Golden Decade: Photography at the California School of Fine Arts, 1945-1955
February 19 thru May 29, 2017
Laguna Art Museum
307 Cliff Drive
Laguna Beach, California 92651
949-494-8971

The Golden Decade Book Signing and Panel Discussion
A Conversation with Ken and Victoria Whyte Ball, Jeff Gunderson, Stefan Kirkeby and Golden Decade Photographers John Upton, Stephen Goldstine, David Johnson, Charles Wong, Gerald Ratto and Stan Zrnich.
6 pm, March 1, 2017
San Francisco Art Institute
800 Chestnut Street
San Francisco, California 94133
415-771-7020

The Golden Decade Art Exhibition at the Bankhead Theater Gallery
March 4 thru May 1, 2017
Book signing March 10 at 6:30-8:30 pm
Bankhead Theater
Livermore Valley Performing Arts Center
2400 First Street
Livermore, CA 94551
925-373-6800

Favorite Photographs of 2016

January 2nd, 2017

David Leland Hyde’s Personal Favorite Photographs of 2016

Jim Goldstein at JMG Galleries Blog first started this group photoblog project in 2007. The blog project has run every year since. I have participated each year since 2010. The concept is simple: each photography blogger who wants to take part, near the end of each year, puts together his or her “best” or “favorite” photographs from that year. Once each respective photoblogger posts a blog post of his best photographs of the year, he then fills out a small form on Jim Goldstein’s blog. After a certain date, Jim then makes another blog post containing a list of all of the “best of the year” blog posts along with a link to each of them.

During the year 2016, while I concentrated on writing and other projects, I made fewer exposures than in any other year since 2009 when I switched to digital. I made about 10 percent or less of the number of images I made in 2015. Not only did I photograph less often, I made far fewer images each time I went out. Still, I discovered that not only did the overall quality go up, I made a much higher ratio of portfolio worthy or near portfolio worthy images than ever before when I was less selective. My hard drives and extra disk spaces are thanking me. It is satisfying and confidence building to know you do no have to make hoards of images to “get the shot,” or to make meaningful photographs, whichever of the two you prefer.

The below photographs are all single-exposure, no bracketing, no HDR, no blends. I am not against these processes per se, but I find I do my strongest work without them. Particularly when photographing people, in the field I work intuitively, more often quite slowly with faster lurches when necessary. My nature images come from a deeper, tranquil place, both outside and within, but even with landscape photography, I like a less-perfected, rougher and quicker approach to post-processing. I do bracket for exposure, but rarely end up using the resulting files in combination. I often find a single image within the bracket works just as well in much less time, or I end up using a different photograph.

I replace the traditional film darkroom methods of dodging and burning, that is, lightening and darkening certain areas, by using Photoshop for post-processing. I control contrast, shadow and highlight intensity with Photoshop levels, curves and a hopefully tasteful limited application of vibrance and saturation. In this way, I use the tools of the digital darkroom for similar purposes as film photographers use traditional post-processing. However, I generally have much more control over all areas of the image and the resulting archival chromogenic and digital prints than even the old large format masters like my father, conservation photography pioneer Philip Hyde. For more information about each image and to see them even larger visit my new website: Hyde Fine Art at http://www.hydefineart.com/ . Not all of these “Sweet 16 for 2016” photographs are up on the site yet, but they all will be soon.

Mt. Lassen From California Highway 89, Winter by David Leland Hyde. I have always wanted to make a photograph from this spot, but this was the first time I could get up there after a fresh snow and under the right conditions for a decent image. I was on my way to a meeting and stopping to make a few exposures made me late, but it was a “now or never” situation.

Fall on Spanish Creek Near Quincy, California by David Leland Hyde. I love roaming Spanish Creek and Indian Creek with or without camera in the autumn of the year. Fall in Plumas County in the headwaters of the Feather River is like no other place on Earth. Certainly there are no other “California rivers” quite like Spanish and Indian. As much as I love it, my life is usually in high gear coming out of the summer and I often miss the peak Indian Rhubarb moment, which lasts just a few days and varies as much as a week or two on arrival each year. This year I caught it a little past the peak, but the bright colors were still going strong and worked well with the dogwoods, willows and alders that were already turning. This year more than others, everything seemed to peak at different times, so this idyllic blue sky day on tranquil Spanish Creek represented the happiest medium possible. If there was ever a place to get lost in time and drift away to another world, this was it and will hopefully long be it. It has changed little since the days of the California Gold Rush.

Empowered at the Waterfall on Ward Creek, Sierra Nevada Mountains, California by David Leland Hyde. One of my best friends I grew up with and two of his boys and a friend of theirs went on a secret hike near my home. I say “secret” because it is on gated, fenced private property that nobody else can enter, unless you know the owner. We hiked past a spooky old falling down mine we used to visit as kids to the waterfall on Ward Creek, a tributary of Indian Creek. I photographed the group standing in front of the waterfall, the waterfall by itself and the boys in various poses and clowning around. At one point Landon stepped up onto that rock in the center and made a pose facing the camera, then turned and faced the waterfall. Though the falls were so loud in the narrow gorge that none of us could hear each other, Landon clearly had a feeling come over him as he faced the falls. His pose here was the spontaneous result.

Yoga-Like Poses, Bonneville Salt Flats, Great Salt Lake, Utah by David Leland Hyde. Towing a U-Haul trailer loaded to the gills with fire safes and stuff from Colorado to Northern California, I stopped for a much needed rest from the road at this rest stop on Interstate 80. At first I had my camera on my tripod photographing the salt flats and the distant mountains. However, I soon got more interested in the people who kept walking out on the jagged rough salt and making all sorts of stretching and other strange motions. This group was off to the far side, but started doing exercises like pilates or yoga. I panned back and forth making a series of images of the various tourists against the white lake bottom background.

Wild Mustangs, Hazy Morning, Tall Grass, Central Wyoming Open Range II by David Leland Hyde. Somewhere in Central Wyoming this herd of wild horses grazed peacefully along the freeway. I stopped and walked back toward them with camera off my tripod and ready for action photographs. At first they were skittish and ran a little ways away, but slowly and seemingly curious, they came back toward me as I waited in silence. I made my best attempt at horse whispering to get them to walk toward me. After a little time went by, they were playful in front of the camera and acted as though they were familiar with being photographed. I was able to make some exposures of them walking, standing, grazing and on the run. Thank you Wyoming and my new four-legged friends. This was a special gift because throughout my summer 2015 17-state, 10,000 mile trip to the Midwest photographing farms, I came back with only a few photographs of horses. Though these Wyoming wild mustangs’ coats were a little scrappy and their tails had burrs, they were big and lean and more muscular than most domestic animals.

Storm Surf, Point Pinos, Pacific Grove, Monterey County, California Beaches by David Leland Hyde. With only an afternoon left in Monterey, a local large format photographer recommended I check out Point Pinos. The surf turned out to be larger than usual, which made for a number of interesting frames.

Fall Alders, Indian Creek and Grizzly Peak From the Taylorsville Bridge by David Leland Hyde. One afternoon coming home from Quincy and having photographed fall color on Spanish and Indian Creek most of the afternoon, as I crossed the Taylorsville Bridge, I saw what could be a keeper image. This is probably one of the most, if not the most photographed place in Indian Valley. My father made a number of large format photographs here in different seasons, going back as far as the early 1950s. If I was going to stop, it had to be good. I still would like to get a lot of snow on the mountain with fall color sometime, but the timing here turned out well with the interesting light and shadow in the middle distance and the lines and shapes that echo from the foreground beaver dam, beach and reflection to the distance.

Fields of Flowers With California Poppies, Mokelumne River Near Jackson, California, Sierra Nevada Foothills by David Leland Hyde. Though my father was crazy for photographing wildflowers, I have not been big on it so far, though flower photography is growing on me. This year a photographer friend in Jackson who helped me scan some of Dad’s collection, also showed me the wildflower mother lode near town. People say this type of photograph makes good wallpaper or large wall decor. Maybe this could even work for a matted and framed fine art photography presentation as well…

Olsen Barn and Meadow, Evening Sierra Mist, Winter, Lake Almanor, Chester, California by David Leland Hyde. This photograph has special meaning to me because I am a member of the Stewardship-Management Group for this Feather River Land Trust property. I made this photograph as a plume of smoke or Sierra mist came in low across the meadow just after a cloudy sunset several hours after a meeting of our committee at the barn. I made several images over the space of about 10 minutes and suddenly the mist or smoke was gone.

Wall Murals, Detour Sign, Carpet Warehouse, Oakland, California by David Leland Hyde. One morning driving out of Alameda I saw this wall mural on a carpet store and had to stop because of the vivid colors. I made quite a few exposures of details and from different angles, but this one stood out most. I wonder if a certain photographer friend who lives in Alameda has photographed this store…?

Fund Raising, Haight-Ashbury Neighborhood, San Francisco, California by David Leland Hyde. I love street photography. Here I just roamed up and down the Haight and surrounding streets at night with camera hand-held, photographing whatever I liked. This young hippie couple had obviously just eaten. He was reading the Bible and she was rocking the electric guitar… and I do mean rocking. She started out very slow with acoustic-like finger picking and gradually built up energy until she was standing up and blasting the neighborhood with her bell-clear voice and grungy bar chords. What a great smile too. All the time I was connecting with her and making a lot of photographs, her companion hardly moved, but just kept his head down reading away.

Hippie With Coffee and Phone, Haight-Ashbury Neighborhood, San Francisco, California by David Leland Hyde. This man had a warm smile and agreed right away to let me make his photograph. What a scene with the cafe windows, colors, coffee, red chairs, his backpack and the gray, spot stained sidewalk. I wish I had talked to him more. He seemed as though he had great tales to tell, like a Hobbit, Elf or some other traveler from distant lands.

Sunset Clouds, Carmel Mission a.k.a. Mission San Carlos Borromeo del río Carmelo, Carmel-by-the-Sea, California by David Leland Hyde. This trip I arrived at the Carmel Mission less than half an hour before closing. By the time I got in, made a donation and started photographing I had 15 minutes to catch what I could of the Basilica interior and grounds of the Mission. I thought to myself that I could chose to get stressed out, cry, moan, complain, swear a lot, leave without trying or think of it as an exercise. Ok, 15 minutes, go… I was off. I made quick decisions, photographed the key subjects and most important angles. Surprisingly enough, all of my images were strong with few throwaway frames between. All in all a good exercise. Try it sometime. It is important to note that this approach is the exact opposite of what I typically use or recommend. However, mixing it up now and then, shaking up the routine, breaking all rules, including your own, builds not only photographic skills, but character and a sense of humor as well.

Sunset, Barn Skeleton and Playground Equipment, San Mateo County Coast, California by David Leland Hyde. I saw this rundown barn silhouetted against the setting sun, but there was no place to stop or turn around. I had to jog back over half a mile while the sunset was in motion. Still, all turned out ok. I even made it further down the coast to San Gregorio for more photographs before daylight faded all the way to night. Anyone who believes online jpegs do photographs justice compared to prints is probably looking through the wrong end of the kaleidoscope of history, or at the very least the distorted viewpoint of a throwaway device. Possibly they are being fooled by new screen technology on a computer with a perpetually outdated updating agenda.

Twilight, San Gregorio State Beach and Lagoon, San Gregorio, California by David Leland Hyde. I arrived at San Gregorio Beach with little more light than an orange glow on the horizon. I kept going for longer and longer exposures as I photographed the beach and lagoon from different angles into complete darkness. The people on the beach were the biggest challenge and asset to the images. I tried to catch them while standing still, but some exposures show them in motion on the whole spectrum from slightly blurry to transparent ghost figures.

“You Are Beautiful,” Central Wyoming by David Leland Hyde. Somewhere in Central Wyoming off Interstate 80 there is a lonely service exit with some road building materials and a good wide gravel area to park for a nap when tired on a long drive. I slept for a few hours from around 4:00 am to daybreak. I photographed the sunrise over a corrugated shed and saw this scene behind my van just before getting back on the road. It reminded me of the beautiful cinematography and hand-held imagery of a plastic bag blowing in the wind in the film American Beauty. To me this scene contains warmth in coolness, humanity in loneliness and beauty in the mundane. It is a reminder to find beauty in yourself and in even the most plain or “ugly” of places. Ugly is only in the eye of the judge. It is not “real” in any sense, except that given to it.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Blog Project Posts From Years Past:

My Favorite Photographs of 2015

Best Photographs of 2014

Best Photographs of 2013

My 12 “Greatest Hits” of 2012

Best Photos of 2011

My Favorite Photos of 2010

Master of Platinum: Interview of Dick Arentz for Outdoor Photographer Magazine

August 9th, 2016

Master of Platinum and Palladium: An Outdoor Photographer Magazine Interview with Fine-Art Photographer, Innovator and Printer Dick Arentz

Cover of August Issue of Outdoor Photographer magazine.

Cover of August Issue of Outdoor Photographer magazine.

The August 2016 Outdoor Photographer Special Issue of the magazine print version features David Leland Hyde’s interview of Dick Arentz, an acclaimed large format photographer, workshop co-leader with Philip Hyde and expert platinum and palladium printer. Now the article, Master of Platinum, is available online.

The Arizona Arts and Humanities Commission honored Arentz as one of the most significant artists in the state. He helped Phil Davis develop the companion volume to Ansel Adams’ Zone System called Beyond the Zone System. He also has been researching 19th century techniques, testing, leading workshops and defining Platinum and Palladium printing for 43 years. His book, Platinum and Palladium Printing, is known in online forums and industry magazines as the quintessential book on the subject.

For those who are not familiar with this complex and difficult photographic black and white printmaking process, Arentz gave me a simplified summary himself:

In Platinum printing, as in most non-silver processes, an intense ultraviolet light must be passed though the negative to expose the paper coating. Because this is a higher intensity of light than is possible to project from an enlarger, the process requires contact. Before the ground breaking digital work of Dan Burkholder, there were basically two choices for the making of a negative: in-camera, or photo-mechanical enlargement by projecting the image on multiple stages of duplicating film. Later on, it became possible to use a service bureau to have a negative made using their image-setting equipment. Now, of course, using Burkholder’s method, many times with refinements added by others, a suitable negative can be made using an ink-jet printer.

As for the coating on the paper, the platinum process is one of many that depend on the reduction of a metallic salt to a pure metal. Instead of silver, which is most commonly used, platinum and/or its sister metal palladium make a high quality reproduction. Those with bit of background in photographic history know that in the nineteenth century, silver compounds were coating on paper as well. At the turn of the century, when commercially prepared silver gelatin paper became available, commercial platinum/palladium paper followed. However, pre-prepared platinum/palladium paper went out of production after World War I, though a packaged palladium paper was briefly available in the 1990s.

Arentz is known for his subtle, yet vivid and luminescent black and white photography presented through platinum and palladium prints and fine art photography books. His books are profound personal statements of his unique vision. Besides Platinum and Palladium Printing, Second Edition (2004), Arentz has published Four Corners Country (1986) with introduction by Philip Hyde, The American Southwest (1987), Outside the Mainstream (1990), British Isles (2002) and Italy Through a Different Lens (2009).

For more about his development as a photographer and lead technician of his printing medium, and for his words of wisdom about projects, making subjects fresh and capturing unusual perspectives seek out the Black and White Special Issue of Outdoor Photographer in print and on newsstands and in bookstores now. It can often be found at Barnes & Noble and some Safeways. The August Black and White Special Issue is also loaded with many other excellent articles on black and white photography. An online version of the article is now available at Master of Platinum. If you want the print version, pick up your copy soon because special issues sometimes sell out early.

Photography and America’s National Parks at the George Eastman Museum

May 26th, 2016

Photography and America’s National Parks Exhibition at the George Eastman Museum

June 4 – October 2, 2016

Exhibition Preview Friday June 3, 2016, 7 – 9 pm

Featuring William Henry Jackson, Carleton E. Watkins, Ansel Adams, Edward Weston, Philip Hyde and Contemporary Photographers

Dune at Granite Falls, Grand Canyon National Park, Arizona, copyright 1956 by Philip Hyde from Time and the River Flowing: Grand Canyon. This photograph will be featured in Photography in America's National Parks and is part of the George Eastman Museum permanent collection.

Dune at Granite Falls, Grand Canyon National Park, Arizona, copyright 1956 by Philip Hyde. Color version featured in Time and the River Flowing: Grand Canyon, the 1964 book that helped galvanize worldwide opposition to two proposed dams in the Grand Canyon. This photograph will be featured in Photography in America’s National Parks and is part of the George Eastman Museum permanent collection. (Click on image to see larger.)

American entrepreneur George Eastman founded the Eastman Kodak Company and popularized photography through the mass production of film and the cameras he manufactured. While a number of entertainers and recording artists have more than one star in different categories on the Hollywood Walk of Fame, Eastman is the only honoree with two stars in the same category for the same achievement, the invention of roll film.

Besides inventing roll film, Eastman also invented the roll film holder, developed dry plate technology that simplified the mechanics of photography and bromide paper, which became a standard in the industry. Eastman’s transparent film enabled Thomas Edison to perfect the kinetoscope, a box that allowed one individual at a time to view films through a small viewer window, the forerunner of the present motion picture.

Eastman, after establishing a $200,000,000 industry, devoted most of his life to philanthropy. He pioneered sick pay, disability compensation, pensions and hospital benefits. He first distributed extra funds to employees doing a good job, one of the world’s first corporate bonuses. In the last decade of the 19th Century and in the first two of the 20th, he gave away more in wealth than anyone else besides John D. Rockefeller and Andrew Carnegie.

His gifts made the University of Rochester and MIT into first tier schools. He was the largest supporter of the education of African-Americans in the 1920s, donating to colleges like Tuskegee, Hampton, Howard and Meharry. He established dental clinics for children around the globe and founded the medical and dental school at the University of Rochester. He organized community music instruction, funded music education programs and concerts and built the Eastman Theater, still one of the largest and most eloquent concert halls in the country.

After his death in 1932, his 35,000 square foot home became part of the university, but proved too large for the president’s residence, as he had specified. In 1947, the state of New York chartered the George Eastman House as a non-profit museum of photography. After the Museum of Modern Art in New York City, the George Eastman Museum became the second museum in the world to have a photography department and also the second museum in the world to have a film department.

The George Eastman Museum went on to develop one of the largest photography collections in the world including cinema art and photographic and cinematic technology, for a total of several million objects including over 450,000 photographs dating from the introduction of the medium in 1839 to the present. The collection also includes more than 28,000 motion picture films, one of the leading libraries of books related to photography and cinema and extensive holdings of documents and other objects related to George Eastman. Each year now the museum presents at least ten curated exhibitions. However, in the early days of the museum, shows were not as frequent.

In 1957, when Beaumont Newhall was head curator and Minor White was an assistant curator, the George Eastman Museum hosted a solo exhibition of the black and white prints of a new leading nature photographer and prolific user of Kodak paper and large format sheet film, Philip Hyde. The show consisted of 25 silver gelatin prints, three of which were purchased for the George Eastman House permanent collection.

Now in 2016, to celebrate the 100th Anniversary of the founding of the National Park Service, the George Eastman Museum presents Photography and America’s National Parks, an “exhibition exploring the role of photography in the development of the parks and in shaping our perception and understanding of these landscapes.”

From the early pioneers such as Alvin Langdon Coburn, Frank Jay Haynes, William Henry Jackson, the Kolb Brothers, Eadweard Muybridge and Carleton Watkins to the modernists including Ansel Adams, Edward Weston and Philip Hyde to contemporary photographers such as Marion Balanger, Binh Danh, Sean McFarland, Sharon Harper, Mark Klett, Abelardo Morell, David Benjamin Sherry and Byron Wolfe, exhibition curator Jamie M. Allen drew primarily from the George Eastman Museum collection to illuminate the history of the most significant national parks from the 1860s to the present. The exhibition also includes works on loan that broaden and deepen the presentation, as well as George Eastman’s travel albums from his trips to national parks.

To compliment the exhibition, the museum is co-publishing a book with Aperture titled, Picturing America’s National Parks, with introductory essay by Jamie M. Allen discussing the relationship between the parks and photography, available in June from the museum store and online at Eastman.org/store.

Curator Jamie M. Allen wrote an informed and well-written article about the history of photography in the national parks for the March/April issue of Antiques, The Magazine. David Leland Hyde also wrote about the exhibition for the June issue of Outdoor Photographer magazine. The same June national parks special issue of Outdoor Photographer, is graced by a cover photograph by Carr Clifton, protégé of Philip Hyde, and a special feature article by David Leland Hyde about Philip Hyde’s role in conservation campaigns that helped establish or expand more national parks and wilderness lands than any other photographer. The June special issue of Outdoor Photographer will be on newsstands this Tuesday. For more information see the Exhibition Preview. To find out about related events throughout the summer go to Philip Hyde in Photography and America’s National Parks Exhibition–Programs and Lectures at Fine Art Photography Collector’s Resource.

George Eastman Museum
900 East Avenue
Rochester, NY   14607
585-271-3361

Sources:

George Eastman Museum
Los Angeles Times
Hollywood Walk of Fame
Wikipedia
Kodak.com
Biography.com
Philanthropy Round Table Hall of Fame
Antiques, The Magazine
Outdoor Photographer magazine

San Francisco Art Institute Photography History 17

May 12th, 2016

On the Fall Program, Student Supplies and Lab Schedule

Lecture by Ansel Adams

Philip Hyde’s 1947 Class Notes Notes

California School Of Fine Arts, Now The San Francisco Art Institute

Photography Program Founded By Ansel Adams, Minor White Lead Instructor

(Continued from the blog post San Francisco Art Institute Photography History 16.)

Winter Forest Near Badger Pass, Yosemite National Park, High Sierra, California,

Winter Forest Near Badger Pass, Yosemite National Park, High Sierra, California, copyright 1949 by Philip Hyde from the Golden Decade book.

Below is the next in a series of excerpts from the only known existing complete student lecture notes from the photography program at the California School of Fine Arts, now the San Francisco Art Institute. During the “Golden Decade” while Minor White was lead instructor, beginning in the Ansel Adams Summer Session 1946, Philip Hyde kept a detailed record of class presentations.

A new book, Golden Decade: Photography at the California School of Fine Arts 1945-1955 by William Heick, Ira Latour, Ken Ball and Victoria Ball will be published June 2016 by Steidl of Germany with a small text contribution by David Leland Hyde and photographs by Philip Hyde, his classmates and other students during the era.

For the California School of Fine Arts Summer Session 1946, Ansel Adams brought in Minor White from Columbia University on recommendation from Beaumont and Nancy Newhall. In the 1946 Summer Session Minor White quickly proved himself as a coach of the young students and as a guest lecturer. Within a few weeks Ansel Adams felt confident enough in Minor White’s teaching abilities to leave him in charge of the class and set out on the road to photograph the national parks for his recently awarded Guggenheim Fellowship.

Today, the San Francisco Art Institute still has one of the world’s most cutting edge photography departments, however, in 1945-1955, the first ten years of the program made history as Minor White brought in Imogen Cunningham, Lisette Model, Dorothea Lange, and many other luminaries to guest lecture. Each semester Minor White also took the students on numerous field trips, the highlight of which was a visit to Wildcat Hill in Carmel to discuss the art and craft of photography, look at prints by Edward Weston and photograph with him out on Point Lobos State Natural Reserve.

Ansel Adams first taught the Summer Session in 1945. In the summer of 1946, Minor White joined him as a teacher and at the same time, Philip Hyde joined them as an early student. Due to an office paperwork error, Philip Hyde did not start in the first full-time class in 1946, but started in the second full-time class in the Fall of 1947. The extra year on the waiting list did not go to waste, however as Philip Hyde also used his G. I. Bill Veteran’s education benefits at U. C. Berkeley to take a number of art and design courses, including classes by the famous Japanese-American painter Chiura Obata. By this lecture in August 1947, Hyde had just been married to Ardis King in June of 1947, whom he met at a New Year’s party in San Francisco at the end of 1945 and got to know in the year at U. C. Berkeley before he attended the full-time photography program in the Fall of 1947. Philip Hyde’s notes quoted below are from a lecture where Ansel Adams outlined the Summer Session and Fall Full-Time 1947 program courses, lab schedule and supplies needed.

Philip Hyde’s Lecture Notes—August, 1947

Each student will be in a conference group for attending museum and lecture events.

Program – August 18-22

Monday

Morning            Introduction
Afternoon         Design, Society and Artist with Ernest Mundt [School Director]

Tuesday

Morning            Lecture—Minor White
Afternoon          Lecture—Ansel Adams

Wednesday

Morning             Lecture—Minor White
Afternoon          Design, Society and Artist

Thursday

Morning             Lecture, Field Trip—Minor White
Afternoon           Lab

Friday

Morning              Lab
Afternoon           Design, Society and Artist

Lab Schedule Summer and Fall

[1st Year Student = 1; 2nd Year Student = 2]

Time                      Mon.           Tues.         Wed.       Thurs.      Fri.          Sat.

9 am – 12 noon         2                  2                  1                2               1               open

1 pm – 4 pm              2                  1                  2                1               2              open

4 pm – 7 pm              1                  1                  1                1               1

7 pm – 10 pm            1                  1                open            1               open

Also for 1st Year Students – Darkroom #6 – Mondays 4 pm – 7 pm, Fridays 9 am – 12 noon

Supplies for Student Purchase

  • Isopan Cut Film
  • Super XX Cut Film
  • 1 pound of Metol
  • 1 lb. Hydroquinone
  • 4 oz. Amidol
  • 4 oz.
  • 1 lb. Glacial Acetic Acid
  • 1 gallon of Acid Hypo
  • Gross 8X10 Dry Mount Tissue
  • 1 lb. Kodalk
  • 1 qt. Kodak Selenium Toner
  • 8X10 Printing Paper Contrasts—1, 2, 3 Cykora #2, Glossy #3
  • 1 Exposure Record
  • 1 Eastman Spotting Colors
  • Photo Course Worksheets
  • Spotting Brushes
  • Glassine Envelopes
  • Mount Boards

 

Interesting how many large format film photography supplies are now replaced by electronics and computers… Any thoughts on traditional processes, darkroom printing, art schools or another aspect of these notes?

(Continued in the blog post San Francisco Art Institute Photography History 18.)

The Golden Decade Book To Be Published By Gerhard Steidl

June 17th, 2015

The Golden Decade Book in Pre-Production at Steidl in Germany

Original limited edition printing design of The Golden Decade. Gerhard Steidl already redesigned the book, fonts and colors with a more contemporary art look.

Original limited edition printing design of The Golden Decade. Gerhard Steidl already redesigned the book, fonts and colors with a more contemporary art book layout and look.

The Golden Decade: California School of Fine Arts Photography 1945-55 by Ira Latour, Cameron Macauley and Bill Heick, edited by Ken Ball and Victoria Whyte Ball, sold out in two special oversize limited editions of 100 books each in 2010. In conjunction with the release of the book, Smith Andersen North Gallery held a two-month exhibit of original darkroom silver prints by 36 students of Ansel Adams and Minor White.

Now The Golden Decade will be published by world-premier art book publisher Steidl of Germany and is in pre-production. Ken and Victoria Whyte Ball recently traveled to Gottingen, Germany for the beginning of pre-production to work with Gerhard Steidl on the layout and design of the book. The production process with a master art publisher such as Steidl, Ken and Victoria said has been fascinating, besides, the Balls had fun in Steidlville getting to know the other photographer teams and curators also putting books together including Joshua Chuang from the Center for Creative Photography in Tucson, Arizona and Anna Davidson, daughter of New York Magnum photographer Bruce Davidson. Follow the Ball’s adventures in Germany and the Golden Decade journey into print at a delightful blog Victoria has been writing called the Golden Decade Blog, supplemented by Victoria Whyte Ball’s Facebook page.

Steidl redesigned new cover and inside layout of The Golden Decade book. (Click on image to see large.)

During the first 10 years of the photography program founded by Ansel Adams at the California School of Fine Arts, now called the San Francisco Art Institute, Minor White was lead instructor. He invited Imogen Cunningham, Dorothea Lange, Edward Weston, Lisette Model and other definers of 20th Century photography to be guest instructors.

The Golden Decade Book author Ira Latour was in the first full-time class of the photography department, while Bill Heick was in the second class with Victoria Whyte Ball’s father Don Whyte, Philip Hyde and 12 other students. Cameron Macauley was in a later class. The authors and a large number of other contributors including David Leland Hyde share stories and biographical sketches from the early days of West Coast Photography when the earliest students of straight photography started journeys in the medium, many of which went on to notable publishing and exhibiting achievements of their own.

All Golden Decade photographers are:

Ruth-Marion Baruch

John Bertolino

Lee Blodget

Benjamen Chinn

Eliot Finkels

Oliver Gagliani

Stephen Goldstine

Muriel Green

Pat Harris

William Heick

Frederick H. Hill

Robert Hollingsworth

Helen Howell

Joe Humphreys

Philip Hyde

David Johnson

Pirkle Jones

Fritz Kaeser

Ira H. Latour

Zoe Lowenthal Brown

C. Cameron Macauley

Rose Mandel

Nata Piaskowski

William Quandt

Gerald Ratto

Alfred Richter

John Rogers

Walter Stoy

John Upton

George Wallace

Don Whyte

Charles Wong

Harold Zegart

Leonard Zielaskiewicz

Stan Zrnich

For more about the Golden Decade of photography in San Francisco and the California School of Fine Arts see the blog post, “Photography’s Golden Era 6.” For more about the Golden Decade show see the blog post, “Over 500 People Attend Golden Decade Opening.”

Update: You can now pre-order the Golden Decade from Amazon with a guaranteed savings of $24.09 off the regular retail of $75. The pre-order guaranteed price is 33 percent off at $50.09. To pre-order click The Golden Decade.

Have you ever met any of the students of Ansel Adams?