Posts Tagged ‘David Leland Hyde’

Art, Earth And Ethics 2

July 24th, 2014

Art, Earth And Ethics, Part Two

Climate Change, Big Oil, Politics, Walmart, God, Religion, St. Francis, John Muir And Leave No Trace

(Continued From the blog post, “Art, Earth And Ethics 1.”)

Recreational development is a job not of building roads into lovely country, but of building receptivity into the still unlovely human mind. – Aldo Leopold
Whiz Burgers, San Francisco, California, Custom, copyright 2010 David Leland Hyde.

Whiz Burgers, San Francisco, California, Custom, copyright 2010 David Leland Hyde.

(See the photograph large here in David Leland Hyde Portfolio One.)

Many people today would rather not discuss environmental issues. The environment is a subject that reminds people of thoughts and emotions they are often trying to forget. Bringing up such topics, some consider as taboo and as deadly to conversation as discussing politics or religion.

Along the same lines, when people are faced with, and allow to sink in a bit, some of the scientifically established facts of climate change, they respond with a wide range emotions: denial, rage, fear, grieving, indifference, resignation and others. If we do discuss climate change, it is with a dispassionate distance, as though it is not a matter of survival, of the life and death of our species, but something mildly in need of our intellectual attention and problem solving abilities, like an algebra equation. Some believe that an excessively hot planet with temperatures continuing to rise is something we can learn to live with. Meanwhile, many of the most credible sources say that just slight changes will bring about ongoing natural catastrophe, which in turn will readily destroy our economic system and our way of life.

Much of this can be debated indefinitely and is, but my intent in mentioning it here to begin with is to emphasize that these are serious, grown up problems that must be reckoned with, not forgotten about or avoided indefinitely. Each of us must start now to act in ways that have less environmental impact. We have to take responsibility and make changes ourselves, individually, regardless of what the US Congress, our president, or other world governments and corporations do. Regularly I see political slogans that say we need to keep Big Oil from causing climate change. True, we do need to stop subsidizing Big Oil, but we also need to remember they are in the business and we are all their customers. If we do not believe in their product, we need to gradually decrease our use of it, in all of its forms.

Climate Change through the refinement and distribution of fossil fuels is what Big Oil does for a living. It is what they have done for a living for a long time. Yet we must remember that it is the actual burning of the fossil fuels that is changing the climate. We are doing the burning. Meanwhile, we are asking them to change businesses, when we ourselves will not even change jobs to use less gasoline, or to do work that itself is more earth friendly. We will not change homes, change cars, or change other products we buy and use, yet we ask Big Oil to change the core of its livelihood. The picture will not change until we change. Major seed changes have almost always come from the people, from the bottom up, not from the top down. Top down management has brought us the world we have now, which is a calamitous train wreck about to happen. It would be easier to get off the train if it were moving more slowly, but as the train continues to gain momentum, we will begin to realize that jumping from the train is a better option than staying aboard. As a whole, the civilized world has doubled its energy use since 1980. This is a monumental trend in the wrong direction.

Most of it stems from short-term thinking, our own, as a people, and that of our leaders. The primary business of politicians on both the left and right is to kick the can down the road. As I listen to NPR or Democracy Now, I hear on a regular basis, politicians from California, or from the US, or from other countries, in the process of passing laws that set standards to be reached by a certain future year, usually 10 or 20 years from now. What is to stop the next batch of politicians in office from kicking the can farther down the road? Nothing. Which is why this kind of do-nothing, but appear-to-be-doing-something politics continues. We as a people rarely stop and say, “Hey, wait a minute, that law is not real. It is just a dog and pony show for the Television evening news.”

Examples of short-term thinking are abundant. When it comes to art, people would rather fill their homes with lots of cheap junk that will wind up in a landfill, than save and gather their resources to acquire a few quality pieces of artwork with provenance that will last and go up in value as a real asset to be sold at a profit or passed on to heirs. We have this same Walmart mentality about many items. We would rather buy a cheaper bike for $250 and have to buy a whole new one every four or five years, than save up and spend $800-$1000 on a bike that will last the rest of our lives. Even the $800 bike will no longer last a lifetime because planned obsolescence and lack of durability are built into the manufacturing system. Cheap is what people want, or is it?

Much of this comes down to education and how people are raised. Some parents teach their children to be racists, to hate people of other religions, or conversely, to be tolerant of all religions, to have empathy and appreciation for the diversity of cultures and myriad ways of living and worshipping on this planet. Some children rebel against whatever they are taught anyway, but Culture, environmental awareness, tolerance, open-mindedness or lack thereof are all teachings or programming, as are values, art, ethics and religion, which is man made. It’s all the same God, but some people try to claim that they have a different God, or that if you approach God any other way than by their approach, you are doomed and damned. I can see why some people don’t believe in God at all. Many others object to using the term, “God.” I certainly don’t believe in an angry, vengeful, insecure, spiteful God, the God forced down throats by Puritans and other fundamentalist extremists.

The early environmentalists and naturalists, sometimes called transcendentalists, such as Henry David Thoreau, Walt Whitman, Ralph Waldo Emerson and others from the 1800s, believed God was in nature. This is also what Saint Francis of Assisi taught much earlier in the 13th Century. There is much debate as to when environmentalism started, though it could be argued that St. Francis was the first environmentalist. Moving forward into the 19th and 20th Century, one of John Muir’s main purposes for getting out into nature as often as possible, much like St. Francis, was to get closer to God and through immersion in the “works” of God, to have a spiritual, transcendent experience. A belief in God is not required to live a good life, but we must be careful of Godlessness and a lack of responsibility based on lack of faith in anything. Lack of faith in anything often blocks transcendent experience, which is part of what maintains our belief in existence and meaning in it. A belief in karma, what comes around goes around, or religious morality, even the threat of punishment has helped guide people toward fulfilling, thoughtful, sensitive and generous lives. It has kept people from living without regard for fellows or surroundings. When Friedrich Nietzsche said God is dead in the 1800s and people began to give up religion en masse, they no longer had an ethical basis for decisions or actions. People did not espouse any concept of consequences like the karmic law of cause and effect, which western civilization found in the East during that same time, but did not widely accept until much later. With religions often operating at the extremes and religious leaders acting in materialistic or perverted hypocritical ways, outdoor organizations, in many cases, actually now serve the purpose of educating people about God, Goddess, Great Spirit, Allah, Yahweh, All That Is, whatever you want to call It.

John Muir founded the Sierra Club in 1892. The Sierra Club’s primary purpose was to educate people about how to live and take recreation in harmony with nature. The Sierra Club initiated the idea of national forest preserves that became our national forests. The early Sierra Club defended and helped maintain the sanctity of our national parks. In the 1960s and 1970s, the Sierra Club, Wilderness Society, Boy Scouts of America and other groups began to talk about the concept of minimal impact that later became Leave No Trace, which is a sort of environmental Golden Rule, or outdoor law of karma. The US Forest Service, Bureau of Land Management and National Park Service cooperatively produced a pamphlet in 1987 titled, “Leave No Trace Land Ethics.” In 1990, the Forest Service in conjunction with the National Outdoor Leadership School established a national education program of Leave No Trace, to work with the Forest Service instructions for motorized recreation called Tread Lightly. Low impact education is now offered through the Leave No Trace non-profit group and many other organizations all over the world.

The basic summary of Leave No Trace is formalized into seven principles:

  1. Plan Ahead and Prepare
  2. Travel and Camp on Durable Surfaces
  3. Dispose of Waste Properly
  4. Leave What You Find
  5. Minimize Campfire Impacts
  6. Respect Wildlife
  7. Be Considerate of Other Visitors

Visit LNT.org for an expanded explanation of each principle.

The Leave No Trace principles could even be extrapolated into a business philosophy, a way to create true sustainability on earth. If we could operate industries such as mining and logging using long-term Leave No Trace principles, this would accomplish sustainability, in fact, not just in name. Most sustainability advocates are working too gradually, offering proposals that make industry just slightly greener in baby steps, rather than rethinking from the ground up. Again, just like the issues with Big Oil, and in our own private lives, these changes are often easier said than made, but we need to step up the pace, if the changes are to do any good, or stave off the destruction that is already under way.

More on Leave No Trace, how children and grownups learn ethics, or not, and how to live responsibly, in future blog posts in this series…

(Continued in the blog post, “Art, Earth And Ethics 3.”)

References:

Walking Softly in the Wilderness: The Sierra Club Guide to Backpackingby John Hart

The Sierra Club Wilderness Handbook edited by David Brower

The National Outdoor Leadership School’s Wilderness Guide by Mark Harvey

Leave No Trace: A Guide to the New Wilderness Etiquette by Annette McGivney

Wikipedia Leave No Trace Entry

The Life of St. Francis of Assisi by St. Bonaventure

Dinosaur National Monument 2013, Part Three

July 3rd, 2014

Dinosaur National Monument 2013

Part Three: Down To The Green River And Up To Ely Falls

(Continued from the blog post, “Dinosaur National Monument 2013, Part Two.”)

Upper Jones Hole Near Fish Hatchery, Dinosaur National Monument, Utah, copyright 2013 David Leland Hyde.

Upper Jones Hole Near Fish Hatchery, Dinosaur National Monument, Utah, copyright 2013 David Leland Hyde.

Into Jones Hole

As we ambled down the trail away from the Diamond Mountain Fish Hatchery and into Jones Hole, we began to see signs of what Randy Fullbright and the Park Ranger had been talking about: the recent rock slide. High on the cliff we could see the fresh, unstained light tan undercut where giant sandstone boulders, just weeks before, had peeled away from the cliff and come tumbling nearly straight down at least 1,500 feet, landing like bombs in Jones Creek and rolling through the forest smashing trees and everything else in their path.

The Boulders ranged from small house size down to bowling balls and had badly broken up the deciduous forest and riparian undergrowth on both sides of Jones Creek. Jones Creek contained many of the light tan boulders, as did the entire surrounding area in about half a mile radius of the main devastated area. It must have been quite a sight to observe all that sandstone raining down from high on the cliff above–and the noise must have been deafening. The trail had been closed for weeks as the Park Service was still nervous about allowing anyone to hike into Jones Hole. They were afraid more sandstone would come tumbling down and crush unknowing hikers and fishermen. Park Rangers had re-routed the trail to skirt safely around what looked much like a war zone. Randy and I walked into the heart of the devastated area and approached the creek to see the damage. After observing the current effects of geology in action and making a few documentary snapshots, we moved back to the detoured trail and on down the canyon.

Fishing, Hiking And Photographing

Jones Hole attracts fishermen from all over that part of Utah and Colorado. The Park Service still plants Jones Creek with Rainbow Trout from the Fish Hatchery upstream. While Jones Hole generally appeared dry and desert like, cottonwood trees, willows, tamarisk and other riparian plants grew thickly along Jones Creek. Besides, on that day at times it felt like rain could overtake us any minute as the sky brooded overhead. Other times the ceiling thinned and the sun grew brighter trying to break through. The light greens of sage and sagebrush offset by the deeper greens of the larger trees along the creek, with dried yellows and beiges of meadow grasses provided a good mixed palette of colors and textures against the reds, browns and tans of the sandstone cliffs behind.

We mainly hiked, but stopped for photographs occasionally. Randy made only a few photographs the entire day, while I stopped more frequently and he waited in his courteous, quiet way. Photographing Jones Hole took some adjustment as I am used to the lush river canyons of the Northern Sierra in California, or the more complete desert scenes of other parts of Utah further south. Much of the views of Jones Creek were a wild tangle, but the creek itself had character, as did the cliffs all around, if we looked closely. Randy took me on a detour off the trail and over to the cliff across the creek at one point to show me the petroglyphs and pictographs he had promised. These were not large or overly striking, but they were impressive in how well preserved and distinctly they stood out in red-brown against the tan cliffs at that spot. Few people know where they are and Randy said he and the Park Rangers intend to keep it that way.

Back on the main trail, we stopped for lunch along the creek where there were a couple of giant 10X20 foot natural granite “tables” and a good spot for photographs up and down the creek. It was good to sit in the shade or what was trying to be sunshine, stop and breath in the warm desert air with the more fecund smell of mud and life along the water. After a good break from hiking and a dunk of our shirts in the stream, refreshed we set off again. Except for a few sections moving over boulders along Jones Creek, most of the trail was fairly smooth, though a bit sandy in places. The hike still felt fairly strenuous to me at four miles each way, down to the Green River and back to the Fish Hatchery. Across and high on the canyon wall, Randy pointed out where a spring came out of the rock and made a waterfall and place to “shower” and get refreshed high above the trail. Though the spring was only a trickle at that time, we could see a thin silver ribbon of falling water high up against the far cliff.

Green River, Rafting Party, Harpers Corner From Jones Hole, Dinosaur National Monument, copyright 2013 David Leland Hyde.

Green River, Rafting Party, Harpers Corner From Jones Hole, Dinosaur National Monument, copyright 2013 David Leland Hyde.

Dinosaur’s Main Character–The Green River And Its Canyons–Now And Then

Not long after, we emerged from the trees to find ourselves finally at the Green River. Almost immediately after we walked out on the gravel shore, a herd of bighorn sheep passed us. Randy told me some stories of the males being less than friendly in rutting season, but this day the herd passed close by us without much concern. We looked around behind us at a tall, cone shaped promontory towering above Jones Creek. When we got out in the open and could see upstream, we noticed a rafting party beached on a rock and gravel spit above the riffle at the mouth of Jones Creek. Way up the Green River past the rafting party we could make out the outlines of the rock outcropping called Harper’s Corner that I had driven to in 2005 from the Colorado entrance to Dinosaur National Monument. My father, pioneer landscape photographer Philip Hyde, made a black and white photograph, published in 1955 in the National Geographic, from Harper’s Corner looking down over 3,000 feet at the upturned strata typical of the Green River and Yampa River canyons. Harper’s Corner also overlooks Echo Park and Steamboat Rock farther upstream, the proposed site of one of the dams slated for Dinosaur that Dad’s photographs helped prevent. Dad was the first photographer ever sent on assignment for an environmental cause to Dinosaur in 1951 to help prevent two proposed dams that would have flooded 96 out of 104 river miles in the monument. Dad’s photographs and those by river guide and journalist Marin Litton became the illustrations for the first book ever published for an environmental cause, This Is Dinosaur: Echo Park Country and Its Magic Rivers, edited and with introduction by Wallace Stegner.

The sky had been darkening most of the day and here at the Green River, it finally began to rain lightly. Our shirts we had soaked just an hour earlier were already dried out and the cooling rain felt rejuvenating, even though it passed after only about 15 minutes and everything dried out again quickly. Having worked for the last two months moving furniture and packing boxes at my townhouse in Boulder, Colorado, and having minimal sleep for a number of days, I was already tired, but because this was one chance that might not come again for years, if ever, I agreed to hike with Randy up Ely Canyon to Ely Falls on the way back to the Fish Hatchery.

Ely Canyon was interesting and narrower than the Jones Hole canyon. There were a lot of small dead Juniper tree skeletons dotting the landscape. Ely Creek and Ely Falls were both small, Ely Falls only being about 12 feet high, while the creek was only a foot or two wide in most of its course. However, the falls were set in a greenery-surrounded oasis. Randy and I talked about conservation and my father’s work in the area, as well as the present day prospects of Dinosaur National Monument becoming a national park. More on Ely Creek, Ely Creek Canyon and the movement to form a national park in the next blog post.

(Continued in the blog post, “Dinosaur National Monument, 2013, Part Four.”)

Have you ever been to Dinosaur National Monument? Have you seen bighorn sheep or any other large wild animal up close?

Dinosaur National Monument 2013, Part Two

April 2nd, 2014

Dinosaur National Monument 2013

Part Two: Across The Misty Ranching Highlands

Jones Creek In Jones Hole, Dinosaur National Monument, Utah, copyright 2013 by David Leland Hyde.

Jones Creek In Jones Hole, Dinosaur National Monument, Utah, copyright 2013 by David Leland Hyde. Archival Chromogenic Prints Available.

 Arrival In Vernal, Departure For Dinosaur

(Continued from the blog post, “Dinosaur National Monument 2013, Part One.”)

Even with sporadic rain and spring virgas dotting the horizon, the high open mountain passes of Rocky Mountain National Park, shining with stark beauty, already felt dry like the deserts of the interior and Western side of Colorado. Coming from the drizzle of a wet summer on the Colorado Front Range in Boulder, the high desert plains north and west of Steamboat Springs were warm and welcoming with the smell of sage and sun cracked earth all the way to Vernal, Utah.

After arriving indestructible at Randy Fullbright’s house at 4:00 am, I followed his previous instructions for where to catch a few hours of sleep. After waiting as long as he could, Randy woke me up somewhere between 7:00 and 8:00 am, and I found I was no longer indestructible. Indeed, with the night’s caffeine worn off, I was bone tired. Not only did I have very little sleep that night, I had just spent two weeks with minimal sleep moving all of my belongings. Weariness finally caught up with me here, in Vernal, the very morning I was supposed to rise to the occasion for a long hike in Dinosaur National Monument.

Well, I couldn’t exactly drive all that way, show up on Mr. Fullbright’s doorstep and then try to explain why I was too tired to go, especially with excitement in the air and him already well into his coffee that was making him increasingly indestructible by the minute, not that he wasn’t tough as nails even in his sleep. Everything I began to say about being tired sounded like a feeble excuse on the way out. So, I abandoned that line for the time being. Somewhere in the back of my mind, I must have reasoned that there might be opportunities for complaining later, but fortunately that would prove not to be the case.

Just then it was all about gathering my hiking boots, socks, camera gear, day pack and other items for our outing that seemed determined to rock on whether my body was ready or not. Randy and I had been talking on the phone about exploring Dinosaur for weeks, if not months, and the day had arrived. It was overcast so far. We wrestled our gear into Randy’s Ford 4×4 pickup, made lunches, reshuffled my cooler and other food into a cool place in the house and jumped in the truck ready rumble.

The Approach: Diamond Mountain Road

Dinosaur lies east of Vernal. You can take the road to the Dinosaur Quarry on the Utah side before you get back into Colorado, or take Highway 40 across the Colorado border, turning left on the Harper’s Corner Road near the park headquarters and Colorado side visitor’s center, or enter the national monument on dirt roads that cross the prairie ranch lands just east of Vernal. We took Diamond Mountain Road. It jarred us around here and there with a few rough spots, but generally was smooth graded gravel that turned to pothole-riddled pavement in the national monument. Diamond Mountain Road meandered through dry washes and over low mesas that melted together as one open mesa top and faded into the mist in the distance. The sun nearly broke through in a few places, but mainly the clouds kept the sage-dotted sparsely grass-covered earth draped in mystery.

This land stage is battleground not only to the interests of Dinosaur National Monument, wealthy ranchers, developers, speculators and miners in a new energy boom. It is a battleground for idealists wishing to grow wealthy as Vernal develops as a mecca for fracking and other dirty mining approaches. Some special interests believe the only obstacle to Vernal’s rise to economic stardom and wealth would be Dinosaur becoming a national park and thereby imposing higher air quality standards on the area, limiting industrialization. Tourism interests and others on the other side of the issue believe the opposite. They argue that it is exactly Dinosaur’s conversion to national park status that would bring more new prosperity to the region than any other short-lived or even long-lived mineral or oil and gas extraction boom.

Randy and I had discussed many of these issues in the weeks and months leading up to my arrival in the area. Randy had also told me stories about photographing many of the remote and little known parts of Dinosaur, some that my father, pioneer wilderness photographer Philip Hyde had also photographed in 1951-1955, many that he had not. Randy spoke of places like Island Park, Echo Park, The Chairs, Jones Hole, Harper’s Corner, Mantle’s Ranch, Old Roundtop, Split Mountain, Whirlpool Canyon, Gates of Ladore, Hell’s Canyon, Yampa Bench, Rainbow Park, Douglas Mountain, Blue Mountain, Cub Creek, Deer Lodge Park and many others in the canyons of the Yampa and Green Rivers. For more on remote places to photograph see the blog series beginning with, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 1.”

Many Ranchers And Other Groups Are Against Dinosaur Becoming A National Park

“Many of the ranchers, who also happen to be old friends of mine, are against Dinosaur becoming a national park,” Fullbright said. “They are afraid that they will lose their rights to grazing on the national monument if it becomes a national park.” This has happened over time in several national parks of the west. In Canyonlands, for example, grazing rights and leases were written to run out after 100 years. Randy said that in contrast the National Park Service in Dinosaur would be willing to offer grazing rights in perpetuity. “It wouldn’t be that hard for the National Park Service to give each of the old ranching families a grandfather clause for running livestock as long as their blood lines last, but they don’t trust that.”

Later, after I returned home to Northeastern California, Randy suggested I contact Dan Johnson, Dinosaur’s Chief Interpretive Ranger, to hear more about the potential for a change in Dinosaur’s park status. More on the issues involved in the next blog post in this series…

As we crossed the high plateaus approaching the canyons of the Green River, the signs of grazing were apparent and an occasional lonely fence angled off into the distance to join others. The mood of austerity was accentuated by washed out skies, white mists and lands colored by a limited palette of grays and beiges. Even in these drab conditions, the desolate wind-swept near-raw land had a presence and nature that only brought joy rather than loneliness to the heart of long-time desert travelers and dwellers like Randy Fullbright and me. The ceiling began to lift as we drove. By the time we came up over a hill and could look down on the fish hatchery and see ahead the impressive 10-15 mile long escarpment of Diamond Mountain. The skies remained gray overhead, but we could see as far as the land allowed in every direction.

I made a few photographs before we plunged down toward Diamond Gulch on the road that began to wind sharply with the contours of the hillsides. We stopped once again before a longer stop for more photographs where the road turned to parallel Diamond Mountain. At that spot, the views up at the eroded sculpting of the strata of Diamond Mountain in subtle reds, oranges, tans and beiges, were well worth photographing.

Randy drove us on down just a little ways to the Fish Hatchery, where we parked, talked to the park ranger for a while, then hoisted day packs and set off down the fishing trail into Jones Hole along Jones Creek. More on the story of our hike, some of it’s highlights and surprises,  conservation photography, spiritual experiences in nature and more in the next blog post.

(Continued in the blog post, “Dinosaur National Monument 2013, Part Three.”)

Are you a desert lover? Why?

The Art Of Vision: Outdoor Photographer Magazine Article By David Leland Hyde

February 24th, 2014

The Art Of Vision

Learn to connect with the landscape like the great masters Ansel Adams, Minor White, Philip Hyde and others

By David Leland Hyde, Photography By Philip Hyde And David Leland Hyde

Original Proposed Article Title: Minor White, Philip Hyde and His Schoolmates on The Art Of Seeing

Expanded and revised from the blog post, “Imogen Cunningham, Minor White And Their Students On The Art Of Seeing.”

My four page feature article in this month’s print issue of Outdoor Photographer magazine, delineating how to more effectively harness the creative mind, bond with the natural world and make more sensitive imagery, has stirred up significant buzz and even a touch of controversy. See the examples below. For more on my writing background see, “About David Leland Hyde.”

You can find the March print issue of Outdoor Photographer magazine on newsstands and in bookstores online and off, or wherever else you get magazines now. For a sneak preview of my article, you can read the online version on the Outdoor Photographer magazine website under the category “Locations,” or just go to, “The Art Of Vision: Learn to Connect with the Landscape Like the Great Masters Ansel Adams, Minor White, Philip Hyde and Others.”

A very big thank you to all those who have commented on Twitter, sent me e-mail and otherwise showed signs of enjoying the article. Here is some of the feedback, including some by today’s who’s who in nature and landscape photography:

Indeed a wonderful article. Deep and inspirational. I am so glad that Outdoor Photographer published it, most of all for them, since articles like these raise publications of photography to another level. Well done.  – Rafael Rojas

I really enjoyed this article – if only all photography writing was as good.  – Tim Parkin

In my own photography journey I noticed an incredible improvement in both my images, and my happiness, when I started doing my twilight photography. Those images required me to commit to a single composition for the entire evening, and as a result I spent a lot more time looking, observing, and fine-tuning. I got into that “zone.” Eventually I started taking that approach more for many of my images. Slowing down like that is harder in the digital world, but David makes a very compelling case for it, and hopefully it will inspire some photographers to try it out.  — Floris van Breugel

In this current world of quick, fast and overly saturated photography, David shows us how to slow down and “smell the roses” to make meaningful images through the historical approaches of masters like his father, Minor White and Ansel Adams.  – Joseph Kayne

Great article. I would like to see more of these photography-as-art pieces.  – Chuck Kimmerle

One of the best articles that Outdoor Photographer has run in a long time. Like Floris and Chuck, I too would rather read articles that educate and inspire like David’s rather than another “Best Winter Hotspots” or “DOF De-Mystified.” The qualities that made Galen Rowell’s OP columns so interesting to read back in the day are the same qualities found in David’s article. I think it’s fine to have sensationalist headlines on the cover to sell magazines but inside the magazine should be filled with substantive content.  – Richard Wong

A superb article touching on many important points. I’d love to see more like it in print.  – Guy Tal

It was a great article (mandatory reading)… Hopefully David’s article will set the magazine on a more educational path. (Ten Secrets/Ten Top Spots has run its course.) Good stuff.  – Michael Gordon

Really great article David. Congratulations. It makes me want to go out and take photographs – to feel that ‘in the moment’ feeling. And your Dad’s photograph of “White Domes, Valley of Fire” is just especially sublime. The kind of photograph I can contemplate for a very long time.  – Eric Fredine

Excellent! Very refreshing to see an article about being in the moment, instead of “getting the shot.”  — Lori Kincaid

Must read. Wonderful Piece. If you haven’t already you should read this article by David Leland Hyde.  – Rob Tiley

Great article on mindfulness when making photos. I found myself slowing down just from the rhythm of the words.  – Nancy E. Presser

REALLY great piece! Terrific history lesson, too.  – Robin Black

One of the best articles in Outdoor Photographer magazine in a while.  – QT Luong

Loved hearing about David’s experiences with his father in this month’s isssue of Outdoor Photographer.  – Russ Bishop

Great Read! David’s opening photo, of tall grasses lit by the sun next to a stream, is exquisite. The kind of image that instantly brings peace to the viewer.  – Bret Edge

I haven’t subscribed to Outdoor Photographer for many years and more articles like this would make it more tempting to read more often. For the past year I have been trying to slow down and not force the issue, letting the images reveal themselves rather than actively hunting. Freeman Patterson’s Photography and the Art of Seeing was the first photography book I ever bought and it may be time to pull it off of the shelf for another reading. Thanks for the reminder.  – David Chauvin

Fantastic read! Congratulations!! Hope you and Outdoor Photographer do more of these types of articles.  – Colleen Miniuk-Sperry

About time there’s more than just the latest equipment review and how it will make you like Ansel Adams. If someone wants to create a great photograph, the process begins with clarity of vision and ends with well-crafted execution of the image. The equipment is just the tools of the trade and worthless without the vision and craft. Edward Weston didn’t have great equipment, but brought to fruition through great vision and exquisite craft. Ansel had the best equipment and a great vision. Philip Hyde likewise. Many of today’s “photographers” have the best equipment and tools the world has yet imagined. However most lack a clear vision and many of those are clueless as to the craft. Instead, they rely upon the crutch of technology and gimmicks contained in their iPhones and plug-ins on their editing software. Still others offer excuses for their lack of vision and craft and reliance upon funky effects. No matter how eloquently you explain the image, “I worked so hard…” underneath it all, a polished turd smells the same. Your article is a good start to get the ball rolling to a higher plane. Keep it going…  – Larry Angier

What a refreshing article!  First I have to say how happy I am to see such a wonderful piece of writing. It is long overdue. David Leland Hyde gives us a glimpse into the true meaning of the photographic vision. Learning how to see, not just with our eyes and camera, but with our soul. Getting in tune with the environment we’re in while out in the field, taking our time, and planning. In this day and time we see so much about gear and equipment, and so little about photographic  substance. I hope that there will be more articles like this in the future.  — Rachel Cohen

Absolutely loved the piece in Outdoor Photographer. It’s rare to see something of useful value in the rags these days. Great insight into the minds of very gifted photographers. You gave some very good information on creativity, lacking in most magazines recently. — Ed Cooley

Excellent article! I think David hit a rich vein of subject matter both personally and for the photography community. The ideas in the article need to be shared and become a bigger part of the discussion in photography (and life in general). The pixel peepers, the camera companies, the low hanging fruit photo tours, etc, have all hogged the mike for too long. Sing it out brother David! It will be interesting to see the reaction you get from the article. The quiet approach and the process of slowing down the feverish mental activity scare many. There’s no hiding from the truth in such a state. It’s a lot easier to be go go go because then there’s no time for the big questions. I enjoyed reading about White’s blank mind and the receptive place of readiness in the creation of a photograph. The very first book on photography I read was Freeman Patterson’s Photography and the Art of Seeing. I pull it off the bookshelf and read it every so often because I need to be reminded of one of the first ideas Patterson shares in the book – letting go of self is an essential precondition of real seeing. I’m not a big fan of pre-planning images because I feel too much organization and control results in self as an obstruction in the creative process. It’s my experience that my images which are too pre-conceived, while they may achieve a good technical level, lack soul. I don’t achieve a feeling of transcendence in their creation and viewers don’t respond in a very strong emotional way either. I totally agree with Stan Zrnich – “the process is about getting out of my own way and quieting the ego.” Too much desire to control maybe doesn’t result so much in the Art of Seeing as the Art of Ego.  – Peter Carroll

Please write me in the Contact Form above, by e-mail or comment here and let me know your reactions, ideas, critiques or any other response you have to the article…

 

New Silver Gelatin Black And White Prints

February 5th, 2014

Son Hand Prints New Silver Gelatin Black And White Prints From Philip Hyde’s Original Negatives

 

Granite Arrow Shaped Rock, Hemlock Tree, High Sierra Near Matterhorn Canyon, Yosemite National Park, California, 1950.

Granite, Hemlock Tree, High Sierra Near Matterhorn Canyon, Yosemite National Park, California, copyright 1950 Philip Hyde. One of those darkroom printed in 2014 by David Leland Hyde and Stefan Kirkeby.

In October 2013 and January 2014, David Leland Hyde and Stefan Kirkeby darkroom hand printed brand new contemporary silver gelatin prints from Philip Hyde’s best vintage original negatives of Alaska, Grand Canyon, Glen Canyon, the Redwoods and Point Reyes. In October Hyde and Kirkeby printed 10 images for a total of 62 contemporary prints and in January they printed six images for a total of 28 prints.

In most cases, the vintage prints of these particular negatives are nearly or all sold out. More importantly, with these new prints, the public can obtain darkroom prints in the same tradition that Philip Hyde made his own, with much less outlay. The black and white estate prints made by Imogen Cunningham’s heirs are valued at $2,500 and the contemporary black and white prints of images by one of Philip Hyde’s classmates, William Heick, are priced at $1,800. The contemporary darkroom prints of Philip Hyde’s top black and white photographs are valued at only $1200.

Hyde and Kirkeby only made 3-8 prints of most of the images. Most of the new silver gelatin prints are available only in a limited edition of 10 prints per image, though a few of the photographs are limited editions of 20. For ins and outs of limited editions see the blog post, “Why Photography Galleries, Curators And Collectors Like Limited Editions.”

“We made these darkroom prints in collaboration to maintain coherence between the new and old silver gelatin prints, “ explained Stefan Kirkeby. “Making prints in the darkroom like this carries on the legacy of all the early darkroom printers. We do it out of respect for the medium.”

Stefan Kirkeby has helped other black and white photographers make new silver gelatin prints including Golden Decade photographers Stan Zrnich, David Johnson, William Heick and the heirs of Don Whyte, Benjamen Chinn and many others.

“We used Ilford warm tone fiber-based paper,” Stefan Kirkeby said. “It contains the most silver of all Ilford papers. That’s why the prints have such beautiful warm tone blacks like Philip Hyde’s prints from the 1940s and 1950s.” At Stefan’s darkroom in San Rafael, we used a Durst Laborata 1200 for the 2 ¼ and 4×5 negatives. We also made some contact prints from two of Philip Hyde’s early 8×10 negatives: “Looking Down Merced River At El Capitan” and “Aspens, Conway Summit” that appeared in This Is The American Earth, the first book in the Sierra Club Exhibit Format Series by Ansel Adams and Nancy Newhall. For the 5×7 negatives we rented a darkroom at Rayco in San Francisco where they had a Durst 8×10 Enlarger with a 5×7 easel.

“Philip Hyde did a lot of work and did not get enough recognition,” Stefan Kirkeby said. “So many people are using the parks without knowing that he helped protect those lands with his photography. We are printing and sharing his photographs out of respect for his hard work.”

Have you ever been in a darkroom or made silver gelatin prints?

Ken Brower Speaks At “This Land Is Our Land” Philip Hyde Exhibition Opening

January 30th, 2014

250 People Attend The Opening For The Largest Exhibition Of Philip Hyde In Northern California In 20 Years

Ken Brower And David Leland Hyde Speak About The Collaboration Between Their Fathers, David Brower And Philip Hyde, On Behalf Of Wilderness

“This Land Is Our Land: Philip Hyde And The American Wilderness,” will run through March 1, 2014

David Leland Hyde, Ed Cooper And Debby Cooper At The Opening of "This Land Is Our Land." Ed Cooper was another mainstay photographer for the Sierra Club, his work appearing in the famous Sierra Club calendars of the 1970s and 1980s that contained the who's who of landscape photography at the time. He is a well-known mountaineering large format photographer. His latest book, "Soul Of The Rockies" came out in 2008.

David Leland Hyde, Ed Cooper And Debby Cooper At The Opening of “This Land Is Our Land.” Ed Cooper was another mainstay photographer for the Sierra Club, his work appearing in the famous Sierra Club calendars of the 1970s and 1980s that contained the who’s who of landscape photography at the time. He is a well-known mountaineering large format photographer. His latest books are, “Soul Of The Rockies” (2008) and “Soul of Yosemite.” (2011)

Stefan Kirkeby, gallerist of Smith Andersen North Gallery, said over 250 people attended the Philip Hyde exhibition opening this last Saturday evening, January 25, 2014. Included in the crowd were Ken Brower–history making editor of Sierra Club Books and National Geographic writer and author of several books, Sierra Club Calendar and mountaineering photographer Ed Cooper, Golden Decade photographers Stan Zrnich, Gerald Ratto and David Johnson, who each have significant accomplishments of their own, Jack Fulton department head and associate professor of photography at the San Francisco Art Institute, Jeff Gunderson co-author of The Moment of Seeing: Minor White at the California School of Fine Arts, black and white architecture and landscape photographer Mark Citret, contemporary landscape photographer Gary Crabbe–protegé of Galen Rowell, a Sonoma County winery owner and other collectors, photographers and fans of photography.

“It was our largest show opening since the Golden Decade,” said Stefan Kirkeby.

The Golden Decade in West Coast photography refers to the first 10 years of Ansel Adam’s photography department at the California School of Fine Arts, now the San Francisco Art Institute when Minor White was lead instructor and other teachers included Edward Weston, Imogen Cunningham, Dorothea Lange and Lisette Model. The Golden Decade exhibit at Smith Andersen North drew over 500 people and exhibited the work of over 20 of Philip Hyde’s contemporaries.

“This Land Is Our Land: Philip Hyde And The American Wilderness” exhibition will run through March 1, 2014 and consists of vintage color dye transfer and Cibachrome prints, original vintage black and white silver gelatin prints, contemporary black and white darkroom prints from Philip Hyde’s original 2 ¼, 4×5, 5×7 and 8×10 negatives, and photographer authorized archival chromogenic lightjet and inkjet digital prints.

Stefan Kirkeby opened the evening’s talk by recognizing the commitment and dedication of Philip Hyde to preserving wilderness through conservation photography. He introduced David Leland Hyde, who first recognized Stefan Kirkeby’s dedication to art and artists. Then Hyde spoke about his father’s various campaigns and what it was like growing up with a father who was on the road 100 days out of every year for nearly 60 years. The young Hyde spoke of his good fortune to have traveled with his mother and father on many of their outdoor adventures. He told the story of traveling to a small wild island in the Caribbean as part of an assessment of whether or not to protect the island and it’s unique native species and endangered species in their home habitat, or to maintain the island as a US Navy bombing range.

David Leland Hyde described landing in a small plane in a grass field on Isla Mona, the island off Puerto Rico, driving through the jungle, staying in small beach bungalows, snorkeling in shallows filled with multi-colored fish that stretched for miles, backpacking across the hot desert interior of the 10-mile across island, hiking along the beach, camping near a Korean War era plane crash, befriending a four foot iguana, visiting a bat cave and getting up in the middle of the night with his parents and naturalist Frank Wadsworth to see the Southern Cross gleaming overhead in the clear milky way decorated night sky.

Ken Brower spoke next about the collaboration between his father, environmental leader David Brower, and his “go-to” photographer, Philip Hyde. Ken Brower told the story of David Brower and Philip Hyde having traveled to Hetch Hetchy Reservoir together in 1955 to photograph and motion picture film the low water that revealed the devastated dusty field of stumps as depicted in Philip Hyde’s famous photograph of the same title. Ken Brower also talked about other conservation campaigns and how art ultimately can make a big difference in the world.

The atmosphere in the gallery during the opening was festive and lively with plenty of refreshments including a selection of several types of white wine. You have never before seen gallery opening finger food cuisine like this: toothpick strawberries, kiwis, raspberries, grapes, cantaloupe, brie and three other types of cheese, four types of crackers, raspberries, cantaloupe, Shrimp Spring Rolls and sauce, both made on location, as were fresh Pico de Gallo with two types of chips and much more.

Besides being the first large photography exhibition of Philip Hyde’s work in nearly 20 years in the Bay Area, “This Land Is Our Land: Philip Hyde And The American Wilderness,” will run through March 1, 2014 and display the various regions in which Philip Hyde photographed and helped to protect wilderness.

For more on Philip Hyde’s career and “This Land Is Our Land” Exhibition, see the blog post, “Major Northern California Philip Hyde Exhibition.”

Smith Andersen North Gallery
20 Greenfield Ave
San Anselmo, California
415-455-9733

Tuesday – Friday: 10AM – 6PM, Saturday: 12 – 5PM, and by appointment.

Smith Andersen North Gallery Representing Philip Hyde At Photo L. A.

January 13th, 2014

Smith Andersen North Gallery at Booth 308

The 23rd Annual International Los Angeles Photographic Art Exposition

L. A. Mart

1933 Broadway

Los Angeles, California   90007

January 16 – 19, 2014

 

Featuring photography by:

Daido Moriyama

Philip Hyde

Paul Caponigro

Benjamen Chinn

Golden Decade Photographers

Malick Sidibé

Klea McKenna

  

Stocking-by-Daido-Moriyama-blog

Stocking, copyright Daido Moriyama. Used by permission of Smith Andersen North Gallery.

In keeping with the increasing significance of Los Angeles in the international art market, Photo L. A. 2014 has relocated to the historic L. A. Mart in downtown Los Angeles. Photo L. A. is the longest running art fair West of New York. Photo L. A. organizers are expecting photography galleries and participants from all over the world and the West Coast in particular. The City of Los Angeles will host three major art shows the same weekend. The L. A. Art Show will be held at the L. A. Convention Center January 15-19 and Classic Photographs Los Angeles 2014 will grace Bonham’s on Sunset Boulevard on Janauary 18 and 19.

Photo L. A. will offer participants the opportunity to visit the booths of 54 gallery exhibitors, 11 non-profit organizations, six installations and five art schools. In Booth 308, near the main entrance, Smith Andersen North Gallery of San Anselmo, Marin County, California, will show some of the most sought after photography on the market today. Stefan Kirkeby, proprietor of Smith Andersen North said his gallery will be one of the few galleries exhibiting at Photo L. A. with a primary focus on California and West Coast photographers. However, Smith Andersen North will also show the world-famous Japanese street photographer Diado Moriyama, known for depicting the breakdown of traditional values in post World War II Japan.

Kirkeby also said that Smith Andersen North is one of the few Galleries publishing and producing copper plate photogravure prints. Smith Andersen North Lab produces photogravures of the photographs of Daido Moriyama and Malick Sidibé, an African black and white photographer most noted for his portraits of 1960s popular culture in Africa’s fastest growing city, Bamako, Mali.

Stefan Kirkeby is possibly most acclaimed for his custom wood framing and installations at many of California’s major museums including the recent Fisher Collection expansion at the San Francisco Museum of Modern Art. Kirkeby also specializes in the development of the photography from the first ten years of Ansel Adams’ photography department at the California School of Fine Art, now the San Francisco Art Institute. This first ten years of the world’s first photography school to teach creative photography as a profession, when Minor White was lead instructor with guest lecturers Edward Weston, Imogen Cunningham, Dorothea Lange, Lisette Model and others, is now called the Golden Decade. The first contemporary group show of Golden Decade photographers at Smith Andersen North enjoyed a turnout of over 500 patrons. To read more about this see the blog post, “Over 500 People Attend Golden Decade Opening.” For more history and background on the Golden Decade, see the blog post, “The Golden Decade: Photography At The California School Of Fine Arts.”

The centerpiece of the Smith Andersen North booth at Photo L. A. will feature Golden Decade photographers, particularly Philip Hyde, Benjamen Chinn and Paul Caponigro. Kirkeby said, “I chose to show Philip Hyde at Photo L. A. to support the upcoming Philip Hyde show at Smith Andersen North. We just finished a show with Paul Caponigro and have exhibited not long ago Benjamin Chinn as well.” One of the hottest contemporary artists today is Klea McKenna, who will also be featured at Photo L. A.. McKenna is a San Francisco based experimental photographer.

Tickets to Photo L. A. are $20.00 for one day and $30.00 for the weekend. Any Landscape Photography Blogger reader who would like a complimentary ticket to the show, please contact Smith Andersen North Gallery at 415-455-9733 and tell them David Leland Hyde sent you. They will contact Stefan Kirkeby at the show and he will put you on the Will Call List for a free one day pass.

Best Photographs Of 2013

December 23rd, 2013

Best David Leland Hyde Photographs Of 2013

The Year In Review…

Willow, Alder, Indian Creek, Fresh Snow, Plumas County, Northern Sierra, California, copyright 2013 David Leland Hyde.

Willow, Alder, Indian Creek, Fresh Snow, Plumas County, Northern Sierra, California, copyright 2013 David Leland Hyde.

Near the end of 2012, as I began to wrap up my new Sierra Portfolio, my mind sauntered off on a trail toward crafting a black and white portfolio. Since 2009, every so often I have made images that I thought might convert well to black and white. However, starting in late 2012, after I made a new image folder and began thinking about black and white art, more and more black and white subjects seemed to shown up in my life. (To see any of the photographs larger see my, “Portfolio One,” or “Sierra Portfolio.”

Sundown, Lake Almanor, California, copyright 2013 David Leland Hyde.

Sundown, Lake Almanor, California, copyright 2013 David Leland Hyde.

On the morning of January 27, 2013 I woke before daybreak. An eight-inch blanket of heavy fresh snow turned my mountain hideaway into the proverbial winter wonderland. I shifted into high gear, grabbed some food for the road and my camera gear and ran for my 1980 King Cab 4X4 Datsun Pickup, the same truck I learned to drive in the snow when it was new and I was 16 years old. My old truck and I shuffled off down the half-plowed county road looking for adventure and photographs. With the quiet of the snow I slipped quickly into the receptive state of mind described in the blog post, “Imogen Cunningham, Minor White And Their Students On The Art Of Seeing.”

Indian Rhubarb Shoots In Spanish Creek Near Quincy, California, copyright 2013 David Leland Hyde.

Indian Rhubarb Shoots In Spanish Creek Near Quincy, California, copyright 2013 David Leland Hyde.

Just as I passed the road to Carr Clifton’s house, who was out of the country in Iceland, South America or somewhere else, I looked down toward “the river,” which is what we locally call Indian Creek of Plumas County in the Northern Sierra Nevada, California.

Big Horn Sheep, Rocky Mountain National Park, Colorado, copyright 2013 David Leland Hyde.

Big Horn Sheep, Rocky Mountain National Park, Colorado, copyright 2013 David Leland Hyde.

The low slanting rays of the sun were just beginning to illuminate the water and surrounding forest in a way I had never seen before. I have driven by that spot thousands of times since age 16, sometimes noticing what the river looked like, sometimes not, eyes glued to the winding country road in all manner of weather and road conditions. Today, in a peaceful, open frame of mind, I quickly pulled over to look closer with the camera out. “Willow, Alder, Indian Creek, Fresh Snow” and an SD card full of other images seemed like the type that would make great black and white photographs, but with mist clearing to reveal a rich blue sky reflecting in Indian Creek, they make good color images too.

Storm Clouds Over Boulder III, Boulder, Colorado, copyright 2013 David Leland Hyde.

Storm Clouds Over Boulder III, Boulder, Colorado, copyright 2013 David Leland Hyde.

Even as more black and white suited subjects appeared before me in 2013, more wildly colorful scenes paraded into my vision as well. Lake Almanor, which is known for colorful sunsets, was the stage one evening for a beautiful, yet subtle pastel show. Because it had been partly cloudy in the afternoon, I expected a good sunset, but I was running late. By the time I was in position along the lakeshore, I missed the sunset, but the aftermath after sundown turned out to be even better.

Old Wall And Young Woman, Broomfield, Colorado, copyright 2013 David Leland Hyde.

Old Wall And Young Woman, Broomfield, Colorado, copyright 2013 David Leland Hyde.

In making the editing cuts on my Sierra Portfolio, It became more clear than ever that I not only loved to photograph water, but apparently the Sierra is the ideal place to do so. To read more about what John Muir called the Range of Light see the blog post, “Official New Release: Sierra Portfolio.” In Colorado, I struggled at first in the Rocky Mountains because everything seemed dry after photographing only in the Sierra for two years. I did manage to find water at Walden Ponds in Boulder County, part of the Sawhill Ponds Wildlife Preserve. Besides, it rained much more than usual in Boulder the whole summer.

Cattails, Willows, Reflections, Walden And Sawhill Ponds Wildlife Preserve, Boulder, County, Colorado, copyright 2013 David Leland Hyde.

Cattails, Willows, Reflections, Walden And Sawhill Ponds Wildlife Preserve, Boulder, County, Colorado, copyright 2013 David Leland Hyde.

The skies were spectacular with some of the wildest, apocalyptic cloud formations I have ever seen. I made many cloud photographs that I plan to make into a cloud portfolio. Days after I left Boulder, the biggest rainfall on record slammed the Rocky Mountain Front Range and huge floods swamped the cities at the base of the Rockies. Average normal rainfall for the entire month of September is a little over one inch, but during September 11-13, 2013, over 17 inches of rain fell in Boulder County, with over nine inches in one day.

Diamond Mountain And Diamond Gulch Near Fish Hatchery, Dinosaur National Monument, Utah, copyright 2013 David Leland Hyde.

Diamond Mountain And Diamond Gulch Near Fish Hatchery, Dinosaur National Monument, Utah, copyright 2013 David Leland Hyde.

One rainy afternoon when the sun was peeking in and out of the clouds causing rainbows and dramatic lighting effects, I saw an old grain tower off of a main street in Bloomfield, Colorado. When I approached the old tower building, a group of three ladies were gathered on the train tracks nearby. One lady was feverishly wielding a camera, one was holding a deflector shield and the other made sexy poses on the railroad tracks. I asked if they minded if I made a photograph or two with them as the foreground and they agreed.

Rocky Shoreline, Taylor Lake, Fall, Northern Sierra, California, copyright 2013 David Leland Hyde.

Rocky Shoreline, Taylor Lake, Fall, Northern Sierra, California, copyright 2013 David Leland Hyde.

On my way out of Boulder toward Dinosaur National Monument, I passed through Rocky Mountain National Park, where it rained in the distance forming picturesque early autumn virgas. Besides the black clouds and grayscale mountains, the highlight of my Rocky Mountain National Park visit was a sighting of big horn sheep. About seven or eight of these hoofed giants were grazing and moseying along parallel to Trail Ridge Road.

Signs all along the route say not to stop, but a long line of cars did, to watch the big horn sheep. Because I could not move forward anyway, I quickly reached over and put on my long lens, took the camera off the tripod and abandoned my car mid highway. The group of sheep followed the edge of Glacier Gorge, moving slightly away from the highway and over a knoll topped by jagged angular rock outcroppings. I saw that if I ran forward along the road and stayed low with the knoll between the flock and myself, I could sneak around the rock outcroppings and end up very close to the sheep before they could see me. Besides, up until I made this new plan, all my photographs of the herd of big horns were from behind. I needed some front view images.

Shadow Patterns, Crystal Lake And Indian Valley From Mt. Hough, Plumas County, Northern Sierra, California, copyright 2013 David Leland Hyde.

Shadow Patterns, Crystal Lake And Indian Valley From Mt. Hough, Plumas County, Northern Sierra, California, copyright 2013 David Leland Hyde.

The big male leading the group foiled my plan. As I came partly around the knoll, there he already was, quite close and not looking jovial or friendly. He was not hostile either, just looking his experienced tough old self, keeping a close eye on me. He turned several different ways, as if to pose for the camera, and then wandered on down the slope away from my prying zoom lens.

In Dinosaur National Monument, Randy Fullbright, a local artist and jeweler and gallery owner, took me into Jones Hole. For more on my adventures in Dinosaur from 2013 and other years, see the blog post series, “Dinosaur National Monument 2013.”

After being gone from my home in Northeastern California for three months when I only expected to be gone three weeks, I only had two weeks at home, then I had to rush off to the Bay Area to deliver my father’s vintage prints for the upcoming Photography Gallery show at Smith Andersen North in San Anselmo, Marin County, California. For the big exhibition, we made contemporary gelatin silver black and white prints. More announcements will come about the show and about the contemporary darkroom prints. Between darkroom printing and the making of new archival digital prints at the Smith Andersen Lab, I stayed in Marin County two weeks and missed nearly all of the fall leaf color back at home in the Sierra.

11.-DHCA-CrysL-259-13-Shadow,-Rock-And-Snow-Patterns,-Crystal-Lake-(Vert)-BW-blog

Shadow, Rock And Snow Patterns At Crystal Lake, (Vertical) California, copyright 2013 David Leland Hyde.

Once I returned, I did however make a few photography outings, one to Taylor Lake, where the rocky shoreline and fall leaf color reflections made striking subjects. The most appropriate black and white subject of the whole year turned out to be the rocks and melting snow patterns, shadow patterns and granite cliff faces at Crystal Lake earlier this month. We have had such light snowfall this year, that the road that would usually have three to four feet of snow on it by now, is still passable by four wheel drive.

I will save a more in-depth explanation about the last photograph for another blog post. In short, it is the continuation of a direction I began in 2009 because in my own photography I like to go beyond the genre of landscape photography, exploring street photography, abstract photography and experimental approaches. Also, while my father was the conservation photographer, as my work develops professionally I would like to explore social activism more than environmental activism. I also have some ideas and experience with mixed media and multi-media as well. Stay tuned…

Open Door At Blue Minnie's, San Rafael, California, copyright 2013 David Leland Hyde.

Open Door At Blue Minnie’s, San Rafael, California, copyright 2013 David Leland Hyde.

For more “Best of” see the blog posts, “My Greatest Hits Of 2012,” “Best Photos Of 2011” and “My Favorite Photos of 2010.”

Please share which images you like best and which you like least and why, if you like. It will be helpful…

Happy Thanksgiving!

November 26th, 2013

Happy Turkey Feast Day 2013!

I want to know what sustains you from the inside when all else falls away.
I want to know if you can be alone with yourself,
And if you truly like the company you keep in the empty moments.

–From The Invitation by Oriah Mountain Dreamer

Grass Hummock, Indian Creek, Indian Valley, Plumas County, Northern Sierra, California, copyright 2013 by David Leland Hyde.

Grass Hummock, Indian Creek, Fall, Indian Valley, Plumas County, Northern Sierra, California, copyright 2013 by David Leland Hyde.

When you do not know the business of photography, it is challenging to jump right in full-time and make a living, regardless of experience in other businesses. This difficulty is eased in some ways, but ultimately more devastating in the long run, if you have some funds to start with. This tends to merely delay the necessary pain of actually having to produce, but when the funds finally do dry up, there is what seems like a long free fall before you finally learn enough to construct a net out of thin air, to save yourself from ruin.

They say you have to hit bottom before you can bounce. However, I have now proven that a person can skim along the bottom for quite some time before hitting the lowest point and bouncing. This year, for me, was the year of the bounce. Print sales are up. Business is up. Income is up. In fact, at one point early in the year I was mystified and lamenting my lack of earning power, when I began to ask around to find out what was really going on out there in the streets and with other photographers and landscape photographers. In most cases it is not very pretty, even though the images often are nothing but pretty.

I could sit here and moan about the economy like the majority of others do every day, even the very best, but it really isn’t “the economy, stupid.” It is really each of us making or breaking it daily. An interesting discovery I made not long ago was that the “economy” today is twice as big as it was in 1980. Why isn’t each of us earning twice as much? Well, because our individual incomes truly do not have all that much to do with the overall economy. In this essay, I’m going to play economic devil’s advocate.

The U. S. “Economy” alone is measured in hundreds of billions of dollars. If it goes down a few percentage points, the media spread hysteria and fright like wildfire, but if it goes up a small fraction, then we all rejoice. And what the heck is uncertainty? I thought the role of a leader is to banish uncertainty from people’s minds, but I guess we don’t have any leaders of consequence these days. The fluctuations in growth that are part of doing business affect each of us individually just about as much as we believe they do.

I am not blind to unemployment or the decline I see all around me, but to blame all of it on the idiot gamblers on Wall Street and the con artist mortgage bankers seems a bit overblown.  I know a huge number of people have been taken advantage of, lost their homes, lost their retirement funds and so on. I feel for these people and understand they are victims of the new corporate state. Toward changes, we all need to work and become activists, but what else is new? The big guys have been taking advantage of the little guys since history began. Each of us has to step to the plate and do it for ourselves despite the economy, despite unemployment, despite whatever the setbacks are of any nature.

I have discovered that if a collector wants to make an excuse not to acquire a print, he or she will find an excuse, lately it has conveniently been the economy. If you buy that excuse from someone who is more well off than you are, then you do not believe enough in art and you are not likely to sell much of it in the Soft Depression of the 21st Century. Go back and get a government job, oops, maybe that’s not such a good idea either. Nothing personal if you already work for the government. I feel for all those who were needlessly put out of work recently because of partisan politics. During the government shut down, members of Congress still collected their pay and retained all or most of their staff, while Nobel Prize winning scientists and other accomplished people were ejected. The only real security is the security each of us creates for ourselves. Henry David Thoreau called it self-reliance. This century we have to practice economic self-reliance. It is the only way we will have anything to be thankful for in the long run.

Back to landscape photography, certainly some superstars are still crushing it in the current “economy,” whatever that is, but it turns out that a lot of collectors and other print buyers are making a lot of excuses and most photographers have no decent response or plan to overcome these excuses. I certainly do not have all the answers, or even hardly any. However, I was heartened to find out when I checked around, that even though I consider my income paltry compared to the days of the late 1980s when I was making a six figure income, I am selling more prints than just about anyone else around, at least in the nature and landscape photography genre. That is something to be thankful for… and I am. Thank you Great Spirit, for the gifts you bestow. It has been a long road to get here. I still have a long way to go in many areas including time management, SEO, web development, social media, exhibiting at shows, museum relations, photography gallery development, printing my own prints and much more. My father once wrote that he had a long apprenticeship from the mountains themselves, mainly learning economics. More on the economy and selling photographic prints in future posts…

Happy Thanksgiving 2013!

What are you thankful for?

Imogen Cunningham, Minor White And Their Students On The Art Of Seeing

November 12th, 2013

Photography, Art And The Art Of Seeing

Reading Photoblogs And Networking: A New World

Photo Session, Old Tower, Broomfield, Colorado, copyright 2013 David Leland Hyde.

Photo Session, Old Tower, Broomfield, Colorado, copyright 2013 David Leland Hyde. Nikon D90.

While junk dominates the internet in many categories of photography, some of the best photography ever made is also quietly being produced and published every day. Running a photoblog and networking with other blog writers has opened a whole new world.

One blog I have grown to enjoy is Mark Graf’s Notes In The Woods. He must be one of the most innovative photographers around today. He shares tips, tidbits and techniques that keep photography interesting. Jim Goldstein also runs a good blog with a wider mix of interests, at least indirectly related to photography, including expertise in social media and internet marketing. Recently, about two months apart, both Mark Graf and Jim Goldstein wrote about the same topic. Mark Graf advised, “Always Do That 180” and Jim Goldstein published, “Pro Tip: Always Check The Views Behind You.” Multiple bloggers post about similar subjects from time to time, but it is rare enough to stand out.

These blog articles, both advising to look behind you while you are photographing for additional photo opportunities, reminded me of my father, pioneer landscape photographer Philip Hyde, saying “a photographer has to look around.” Dad and other greats before him talked about looking in all directions. Mark Graf and Jim Goldstein are in good company. Their two blog posts triggered memories of my father in the field and how he approached making a photograph, as well as some advice given me by Stan Zrnich, one of Dad’s school associates under Ansel Adams and Edward Weston, while I photographed with him, and also a story about Imogen Cunningham told by one of Dad’s classmates, Benjamin Chinn.

Right after I read the blog posts I was photographing in Indian Valley in the Northern Sierra. I climbed into the bed of my Datsun 4×4 King Cab pickup, set up my Bogen tripod and pointed my Nikon D90 camera at the fresh snow on Grizzly Peak. In a few minutes, I turned around and looked behind me. Clouds were just peeling away to allow the sun to touch Indian Head Peak on the other side of the valley. I might have missed it if I hadn’t been recently reminded to look back.

How Philip Hyde Surveyed A Scene

My father would never have missed that moment of the light on Indian Head though… and he wouldn’t have to be reminded to look behind him. His overall approach to making photographs would have taken care of both. Dad’s approach was so different from how many photographers do it today. Often photographers now are in a hurry, I am no exception, though the more I photograph, the more I slow down. Photographers often must get somewhere else, or they are trying to “shoot” as many frames as they can in a certain amount of time. They may not be “allowing” or “making” photographs, but rather are “blazing” or “blasting away.”

When Dad was on the lookout for photographs, Mom and I were quiet in anticipation of the true quiet time, which began as soon as Dad pulled over and took out his Ziess wooden tripod and his 4X5 Baby Deardorff view camera, or the Hasselblad with Bogen tripod. He would say, “David, cut the chatter,” or “I can’t hear myself think,” or “Quiet on the Set.” While he was composing a photograph was one of the few times he asked me to be “seen and not heard. I remember him being in a different space mentally while in the act of making photographs. He kept a kind of intentional perimeter around the area he worked. Stepping into that circle was like walking into church: quiet and reverent. This working space was invisible but quite palpable, mainly made manifest by Dad’s attitude, emotional state and receptivity. In this enabling state of higher awareness, he missed nothing.

When he first arrived on any scene he would look in every direction many times and at every detail of the countryside around him. He would bend down and look up at a tree, crouch and look at a flower between two rocks, scramble up on top of a nearby overlooking rock, all in the interest of seeing every angle. He did some of this in his mind and some physically moving around in the area. By the time he settled in and planted his tripod, you knew he had checked all other possibilities and chosen one. There were exceptions to this longer process such as when he saw one isolated point of interest or when the light was fading or the situation was changing quickly for some other reason. In these instances Dad could move with the swiftness and efficiency of a stealth reconnaissance unit and make the image, but most of the time he did a good deal of looking around first.

Take A Walk In The Flow

The meditative state Dad adopted coincides with my experience in observing and photographing with Stan Zrnich, who also attended the California School of Fine Arts, now the San Francisco Art Institute, under Ansel Adams, Edward Weston and Minor White. Stan Zrnich and I took our cameras and went for a walk in downtown San Rafael, California one afternoon in July 2009. Stan talked about how Minor White taught his photography students to go into an altered state of heightened awareness when they photographed. That explained the roots of my father’s method. Stan’s calm mindset was evident in his tranquil facial expression and demeanor while walking around. He showed me numerous instances where I walked right by something photogenic, mainly because my mind was chattering on about what I thought I was looking for, what I wanted to accomplish that day by photographing and so on. Often in photography it is easy to get “stuck in the head” and become too analytical.

The book Flow: The Psychology of Optimal Experience by Mihaly Csikszentmihalyi shares the advantages of getting “into the zone,” also called the optimal creative state. Being in this state increases effectiveness and quality of thinking, as well as even improving the quality of life. Flow describes this creative state:

People typically feel strong, alert, in effortless control, unselfconscious, and as if they were performing at the peak of their abilities. Both the sense of time and emotional problems seem to disappear. There is an exhilarating feeling of transcendence, of breaking out of the boundaries of identity.

Flow and other sources teach photographers and other artists and creative people how to obtain this state any time on demand and how to control it, rather than merely leaving its arrival to chance. Through practice we can attain this state quickly at any time. My father described it as a state of receptivity in which he looked more closely at everything and saw objects more deeply. Not only did he see the graphic qualities of subjects and what they would look like transformed into the two-dimensional plane of the photograph, but he also saw the very nature of the subject matter more deeply as well and could thereby depict it more effectively in his art. This relaxed mindset is not complex or dependent on ceremony, it can be started quite easily through deep breathing or other methods of relaxation and available by recall the more it is practiced.

The Quiet Mind Of Seeing

This is the art of seeing in photography, pirouetting in dance, or “getting air” in ski jump competition. It is the main event in any endeavor where results improve with concentration. Photographers who are in a heightened space for seeing do not miss anything in any direction. I saw this first hand from observing Dad and Stan Zrnich, They and their comrades learned it from Minor White and Imogen Cunningham in their day. Benjamin Chinn, one of Dad’s classmates known for photographing the streets of San Francisco’s Chinatown and of Paris, France, said that the “quiet mind” was responsible for much of his success in capturing people and moving events well. He said that one of his mentors, Imogen Cunningham, had made herself available for photo walks during photography school. When Minor White arrived at the right place in the curriculum, Imogen Cunningham took the students out for one or two hour walks to show them what they would have missed… and they missed a lot at first, but as their seeing strengthened over time, their images improved and they missed less and less.

What is your experience? Do you photograph better when relaxed and focused, or sometimes better when you’re in a hurry? Do you pre-visualize and plan or allow images to appear as you wander?