Posts Tagged ‘Eadweard Muybridge’

Book Review: Picturing America’s National Parks

September 1st, 2016

Book Review: Picturing America’s National Parks by George Eastman Museum Assistant Curator Jamie M. Allen

Cover of "Picturing America's National Parks" by Jamie M. Allen (2016).

Cover of “Picturing America’s National Parks” by Jamie M. Allen (2016). (Click on Image to See Larger.)

Landscape Photography Classics and Much More

To accompany the George Eastman Museum exhibition, Photography and America’s National Parks, the Eastman Museum and Aperture Foundation teamed up to publish assistant curator Jamie M. Allen’s new comprehensive book on the history of photography in our nation’s parks called Picturing America’s National Parks.

The George Eastman show, made up of the work of more than 50 photographers from all eras in the history of photography, includes landscape photography greats such as Ansel Adams, Alvin Langdon Coburn, Imogen Cunningham, John K. Hillers, Philip Hyde, William Henry Jackson, the Kolb Brothers, Eadweard J. Muybridge, Eliot Porter, Bradford Washburn, Carleton E. Watkins, Edward Weston and Minor White, as well as a good number of other renowned photographers who also happened to make exposures in the National Parks such as George Eastman, Andreas Feininger, Lee Friedlander, Johan Hagemeyer, Martin Parr, Stephen Shore, Garry Winogrand and others. The exhibition has also turned out to be one of the most popular and prominent museum shows of the year.

You See It “Everywhere”

As such, during the run of the exhibit from June 4 – October 2, 2016, Photography and America’s National Parks has enjoyed significant publicity, while the book, Picturing America’s National Parks, already has attracted even greater press exposure. The exhibition or the book or both were introduced or reviewed in Antiques Magazine, Outdoor Photographer magazine, the Los Angeles Times, Aperture, Real Clear Life, the Rochesteriat, the Nature Conservancy magazine, the Rochester City Newspaper, Smithsonian Magazine, the Wall Street Journal, Fortune Magazine, Museum of Photographic Arts, Visit Rochester, The Atlantic, Tween Tribune, Artsy, Outside Magazine, AnOther magazine, Mother Jones magazine, USA Today, Yahoo News, Slate, Audubon magazine, Artbook, Travel & Leisure magazine, Pop Photo, and many others. The book can be found online to purchase, borrow or to read more reviews at Amazon.com, Aperture Foundation, Target.com, Bookshop.com, eBay, Google Play, Library Resource Finder, Sweet, Abelardo Morell, Schaumburg Library, Crystal Bridges Museum of American Art bookshop, Worldcat, Fraser Muggeridge Studio, Loot, LibraryThing, Lenscratch, Photolucida, ALA Booklist, Beyond Words, PDN Online and many, many others too deep in Google search results to track down.

Fascinating, Well-Written and Leavened With Significant Detail

Like her pre-show introductory article in Antiques magazine, assistant Curator Jamie M. Allen’s main essay in the book is well written, smooth flowing and easy to read, yet packed with interesting history of both the national parks and early photography in them. The rest of the book displays the photographs with titles and an accompanying text for each of the featured photographers, interspersed with several paragraphs at a time on various historically relevant points such as the invention of the mass produced Kodak camera, the increase in availability of the automobile, the development of photomechanical and photolithographic postcards for sale at park concessions, 18-by-60-foot Colorama photo advertisements for the national parks, caretakers in the national parks and the National Park Service’s social media campaign #findyourpark.

Interspersed with the images from each major contributor at approximately every 16 pages, a timeline page provides the reader with significant dates in the history of photography and the history of the national parks. These timeline pages are loaded with fascinating tidbits that enrich the reading experience of the book. Despite many details included, the timelines present history in general, broad strokes. There are significant points of history, especially of the parks that are not detailed, but this would require a much larger, more difficult to read book.

A Popular Populist Approach

Ms. Jamie M. Allen approaches her subject from a populist perspective, which is somewhat unusual for a museum curator. More than one of the reviews of Picturing America’s National Parks said it was a comprehensive history of photography in the national parks. This is partly true, depending on the definitions of these terms. On a more close reading though, I would say that this volume is not necessarily the history of fine art photography or landscape photography in the national parks, but it could more accurately be described as the history of all photography in the national parks, or a history of cameras and images of any kind from any source made in the national parks.

This populist view of photography in the national parks puts significant emphasis on the various ways that photographs have helped to establish, preserve, depict and popularize the national parks. Allen observes that the history of the national parks is inextricably intertwined with the history of photography. After reading this inspiring book, I would go beyond saying that photography helped popularize the national parks to say that apparently the national parks helped popularize photography. In the development of the West, Allen points out that images produced on location at several of the most popular parks such as the Grand Canyon, Yellowstone and Yosemite became a hot commodity. A cottage industry in photograph sales developed with photographers establishing small shops where tourists could purchase various types of photographic reproductions of the scenery they had enjoyed during their visit and in some cases purchase photos of themselves in the scenery.

Intertwining Histories of National Parks and Photography

The development of postcards, the snapshot camera and many other aspects of photography that were popular rather than professional, were a large part of the story of the intertwining histories. In addition these aspects make a more interesting read than a mere compilation of the great photographers who have depicted the national parks. Because some of the professionals have been left out, the collection of photographs represented acts less as a survey of those famous for photographing the parks and more as a compilation of famous people and ordinary people who also made images in the national parks.

Both the exhibition and the book tie all of this history into current trends by bringing to light the masses of images and selfies made each day and shared hourly on social media. However, Allen and the Eastman Museum go beyond the mere mention of this phenomenon, to incorporating it as an activity at the exhibit. In the entryway to the show a photograph of the Grand Canyon containing a life-sized figure of George Eastman standing on the rim gives visitors to the show an opportunity to make a selfie with Mr. Eastman and the Grand Canyon in the background to take home, share on social media and discuss the exhibit with friends online. This feature and the encouragement of phone snapshots in the museum makes the visitor experience more fun while portraying the museum as cool and up to date in their delivery of history, not to mention making the show and the museum extremely popular, as well as the objects of considerable buzz.

Strengths and Weaknesses

Allen and her team are to be commended for their fanning of the media flames through her appearance on local TV and the comprehensive development of publicity across the country, but also in their exhaustive and colossal volume of research necessary for such a project. As excellent as done, their research was not necessarily perfect, or perhaps for sake of simplicity and accessibility they chose to leave some information out. For example: the timeline for the 1960s is missing the introduction of color to photography books. Though the timelines are a small part of the overall book presentation, this was a major breakthrough for the parks, for photography and for the fortunes of Kodak because it caused a huge spike in the popularity of color film. It also was part of what led to the popularization of the coffee table photography book, which changed the face of the photography industry and paved the way for more photographers to make a living in the medium.

In the timelines, there is also no mention of the Sierra Club Exhibit Format Series, which during the 1960s, especially in the Western U.S., but also all over the world, greatly advanced the momentum of the movement to conserve more public lands and to further popularize the national parks themselves. The timeline entry for 1963 mentioned that David Brower and Eliot Porter published several books on the parks, but the mention of popular books by Philip Hyde in the Exhibit Format Series, who is represented in the Eastman Museum collection, also is omitted. David Brower called Philip Hyde his go-to photographer because he produced the images for many books that made or protected national parks just in the 1960s alone, such as The Last Redwoods (1963), Time and the River Flowing: Grand Canyon (1964), The Wild Cascades: Forgotten Parkland (1965), Not Man Apart (1965) Navajo Wildlands (1967), The Grand Colorado (1969) and even more volumes in the 1970s.

Philip Hyde’s book, Island In Time: The Point Reyes Peninsula (1962) was the first book to ever raise funds to purchase land to make a national park service unit, Point Reyes National Seashore. It was also published the same year as Eliot Porter’s In Wildness Is the Preservation of the World, (also not mentioned in Picturing America’s National Parks) in 1962, giving both books the shared title of the first major book projects published in color.

Outstanding Image Choice and the Making of an Evergreen Title

I like Allen’s image choices for the sections on Ansel Adams, Edward Weston, Minor White and many of the others because she used photographs we don’t often see from these well-known masters. Adams as usual gets a huge amount of credit for his work in the national parks, most of which is well-deserved. However, also as usual, Adams gets credit for some of the accomplishments of other photographers such as the help in conservation and formation of national parks, which Adams did do some and quite effectively, but not more than or even at the same level as photographers such as Philip Hyde and Eliot Porter, who essentially took over the Sierra Club Books from Ansel Adams after they transitioned to color. The description under Ansel Adams carried on at length about conservation and the national parks, whereas the Philip Hyde description mentioned it only briefly, especially in light of his much greater volume of work on wilderness and national park protection campaigns. When I asked Allen about the difference, she said that originally her text included much more about Philip Hyde’s work in preserving national parks, but that her editors cut some of it. Apparently editors need educating as well about the figures behind major conservation efforts.

To illustrate this point and to show an example of how the descriptions were presented, here is the entry for Ansel Adams:

Ansel Adams‘ (American, 1902-1984) lifelong passion for the national parks began in 1916 when, at the age of 14, he read James Mason Hutching’s 496-page book In the Heart of the Sierras (1886) and convinced his parents to take him on vacation to Yosemite Valley. Equipped with a No. 1 Brownie camera that his parents had given him, Adams took his first images of Yosemite that year. Soon after, he became involved with the Sierra Club, starting as the custodian for the club’s headquarters in Yosemite and later leading tours and participating in trips to the Yosemite High Country. He was eventually elected to the board of directors and lobbied for additional areas to be set aside as national parks and monuments. By the 1930s, Adams’ photographic work had become well known, and in 1941 he was invited to participate in a project to photograph all the national parks. Organized by the Secretary of Interior, the initiative was abruptly cancelled when the United States entered World War II. Adams continued the project independently, supported by a series of Guggenheim Fellowships. His images of the parks have come to represent the grandeur of the American landscape, conjuring a sense of pride for American viewers in both the land itself and the preservation of these spaces through the National Park Service. Adams’ photographs have also had broad international appeal, establishing the national parks as globally recognizable icons.

Compare that to the entry for Philip Hyde, which is also excellent, but not as thorough:

In 1946, Philip Hyde (American 1921-2006) became one of the first students to attend the newly formed photography program at the California School of Fine Arts (now the San Francisco Art Institute). Here he studied under Edward Weston, Minor White, Imogen Cunningham, Dorothea Lange, and many other influential photographers of the time. After graduating, Hyde served as the official photographer of the Sierra Club High Trip during the summer of 1950, thus beginning his long relationship with the organization. His involvement with the club blossomed into relationships with other groups, including the Wilderness Society and the National Audubon Society. Hyde’s photographic work was used to advocate for and realize the preservation of places such as the Grand Canyon. While he photographed the characteristic vantages of many national parks, his images also show atypical views, such as a sand dune at the Grand Canyon.

Regardless, even with some omissions, Picturing America’s National Parks is destined to be a staple of bookstores, libraries, schools and universities for many years to come. I like the accessibility of the approach, the innovative layout and the depth of information presented in an easy to digest format. I like the cover art, but don’t particularly like the no dust-jacket cover. However, this keeps the costs down also adding to accessibility. Besides, this type of jacketless cover will likely prove ideal when the book is used as a textbook. It certainly ought to be mandatory reading for anyone studying photography, the national parks or any related outdoor curriculum.

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

Best Photos Of 2011

December 28th, 2011

My Best Photos of 2011…

…And A Brief Summary Of How They Were Made

Curved Shadow On Cliffs At Drakes Beach, Point Reyes National Seashore, California, copyright 2011 David Leland Hyde. Nikon D90.

Last Light On Mount Hough, Arlington Ridge, Indian Valley, Northern Sierra Nevada, California, copyright 2011 David Leland Hyde. Nikon D90.

The Mayan Calendar signals not so much an ending, as many have misinterpreted, but a new beginning in 2012. The Mayan Calendar, besides merely dividing up and organizing time like any calendar, also measured the nature of time. Time periods were represented by architypal glyphs that described the nature of events likely to occur during that time cycle. According to the Mayan Calendar, the current time cycle has certain characteristics, as will future time cycles. Perhaps those who have been paying attention to events around the world have observed the nature of the transition between time cycles. The new beginning already under way in 2011 is characterized by upheaval of various industries brought on by the internet and transparency, development of green technologies, communications technologies and political regime changes.

The Mayans had two calendars. One for measuring in short time intervals such as 26 days, 20 days and 13 days. The 13 day cycle is the basis of this calendar. The Mayan’s second calendar measured longer time spans like 360 days, 7,200 days and

Granite, Pool, Maple Leaves At Indian Falls, Northern Sierra Nevada, California copyright 2011 David Leland Hyde. Nikon D90.

144,000 days. This second calendar the Mayans called their “Long Count.” In 2012 the Mayan Calendar reaches the end of the current Long Count, which began in 3114 BCE, and begins a new Long Count. The year 2012, marks a transition from one world age to another. The smallest unit of time in the Mayan Calendar was 13 days. The next largest measurement was 20 days. The shorter calendar divided the year into 13 months of 20 days. In honor of the Mayan Calendars, the passing away of the old order and the transition to a new way of life on Earth, I have selected the best 13

Grain Processing Plant At Night, Great Central Valley, California, copyright 2011 David Leland Hyde. Nikon D90.

photographs from 2011. Keeping time as the Mayans did, in 13s rather than 12s, as with the Gregorian Calendar, enhances creativity, connection with nature, grounding and expansion of thought to more awareness of the universe and the unity of all things. Whereas the number 12, used in the Gregorian Calendar and our daily time keeping system of clocks, encourages logic, systematization and conformity to the established order.

Clocks and factories developed in Europe at the same time in history. Factory

Thistle Heads And Pines, Northern Sierra Nevada, California, copyright 2011 David Leland Hyde. Nikon D90.

management encouraged town citizens to follow a system of time schedule regimentation. Large clocks in town centers were installed to regulate workers in large numbers. The daily schedule regulated by clocks with time measured in units of 12, brought higher productivity and profitability to the factories, while instilling a certain order in worker’s lives and dependence on the factory system. Today in this time of transition, the human race is reinventing time and the system and thereby changing our lifestyle from

Tent Camp, Night Mist, Occupy UC Davis, Davis, California, copyright 2011 David Leland Hyde. Nikon D90.

servitude to freedom. In that spirit I present my Best Photos of 2011, as suggested by Jim M. Goldstein’s blog project.

All of these photographs except “Dancer Pose, Natarajasana, Black Oak, Mount Jura,” are single image capture with minimal post processing, if any. To read my photography philosophy and artist’s statement see the blog post, “My Favorite Photos of 2010.”

The first landscape photograph comes from Point Reyes National Seashore,

Old Cabin Porch, Feather River Canyon, Northern Sierra Nevada, California, copyright 2011 David Leland Hyde. Nikon D90.

California. I chose it as a tribute to my father, pioneer conservation photographer Philip Hyde, whose photographs originally helped create Point Reyes National Seashore. Point Reyes, on the coast of Marin County just north of the San Francisco Bay Area, is not an easy place to photograph because it is a low moor country of rolling grassland hills. The skies are often drab and the scenery rather subtle in its beauty. I have fond memories of backpacking with my parents on Drake’s Beach, renting bicycles in Olema and riding along the tree lined sleepy roads of

Dancer Pose, Natarajasana, Black Oak, Mount Jura, Northern Sierra Nevada, California, copyright 2011 David Leland Hyde. Nikon D90.

the Inverness Ridge area. Despite the challenges, Dad made some timeless photographs around Point Reyes, including one “quintessential Philip Hyde” that he titled simply, “Drake’s Beach, Point Reyes National Seashore.” Many masters of the West Coast tradition photographed Point Reyes including Ansel Adams, Brett Weston, Edward Weston, Eadweard Muybridge and others.

During our travel adventure in Point Reyes, I was fortunate to arrive with my companions at Drake’s Beach while the low sun angle brought on the evening magic hour. I photographed until Sundown. Before we visited Drake’s Beach, my party and I had walked out to the top of the stairway down to the Lighthouse, but the gate at the top of the stairway was already closed and locked for the evening. On the way out to the Lighthouse, I made the tenth photograph in this blog post, “Sand Fence Near Point Reyes Light House.” After some group photos, rock climbing and other fun around the Point Reyes Lighthouse, we drove down to Drakes Beach where I made the first photograph.

The second landscape photograph of the Sun hitting just the very top of Mt. Hough in the Northern Sierra Nevada did not result from careful planning, studying a photographer’s ephemeris or long

Japanese Maple In Upper Garden Against Forest And Sky, Northern Sierra Nevada, California, copyright 2011 David Leland Hyde. Nikon D90.

waiting for the right moment. I was driving home from Greenville one day and looked up and there it was. (View this photograph large: “Last Light On Mt. Hough, Arlington Ridge.”) Photographs like this are gifts from Nature, God or whatever you believe in or call it. The photograph comes through me and I merely receive it. I am the creator, yet not the creator.

“Granite, Pool, Maple Leaves” surprised me. That day at Indian Falls I thought I had made a number of excellent photographs, but none of them turned out to be all that great when I opened them in Photoshop. However, “Granite, Pool, Maple Leaves” grew on me and people I showed it to liked it. (View large:

Sand Fence Near Point Reyes Lighthouse, Point Reyes National Seashore, California, copyright 2011 David Leland Hyde. Nikon D90.

Granite, Pool, Maple Leaves At Indian Falls.”) The seventh and 12th photographs, “Old Cabin Porch, Feather River Canyon” and “Indian Creek Above Indian Falls” came from around the same area on a different day.

Rolling through Central Valley towns on California State Highway 113 on my way to Occupy UC Davis, I noticed these strangely shaped and colored shadows on this odd industrial farm building. I stopped and made, “Grain Processing Plant At Night, Great Central Valley.”

Arlington Ridge, Oak Knoll, Indian Valley, Northern Sierra Nevada, California, copyright 2011 David Leland Hyde. Nikon D90.

Once I arrived at UC Davis that evening about 10:00 pm, I found the main Quad and made photographs there and in front of the Financial Aid building until around 2:00 am, then got up later that morning at 7:00 and photographed most of the day. I share more about the experience of photographing Occupy UC Davis in my blog post, “Occupy Wall Street At UC Davis.” Both of the Occupy UC Davis photographs that made it into the top 13 group here, I made the first night I arrived within a few minutes of each other. Number 13 at the end of this blog post, “Tents, Fountain, Dutton Hall Financial Aid, Occupy UC Davis” was one of the last few I made at the Financial Aid Building before I wandered back out to the Main Quad. On my way out to the Main Quad a group of campus Policemen pulled up in two police cars and asked me if I was photographing for my own purposes or for the media. I said that I was a blogger but I didn’t know yet how the photographs were going to turn out. I made “Tent Camp, Night Mist, Occupy UC Davis” shortly after.

Last week, after playing ice hockey and making a series of action photos at a local pond ice hockey game, I noticed these thistle heads next to the pond backlit by the sun. The beauty of the golden illumination around the edges of each thistle head caught my eye, but I made quick exposures not thinking much of note would result. The moment I reviewed this photograph after

Indian Creek Above Indian Falls (Vertical), Northern Sierra Nevada, California, copyright 2011 David Leland Hyde. Nikon D90.

pressing the shutter, I decided it was one of my best of the year.

The ‘nude in nature’ photograph of a friend is a tribute to Edward Weston and Kim Weston, who showed me excellent hospitality last year when I visited Edward Weston’s home where Kim Weston now lives on Wildcat Hill in Carmel Highlands, California. Kim Weston leads photo workshops on the spot where Edward Weston lived. Kim Weston is also known for his nudes in nature, as of course was his grandfather.

My mother, Ardis King Hyde, descended from four generations of farmers in California’s Great Central Valley. She excelled in the art of gardening and farming, as did all of her three brothers. She studied and planted ornamental shrubs and trees, flowers and vegetables. She planted a number of Japanese Maples that put on a brilliant display every Fall color season without fail, even on a lesser Fall color year like this one, where most of the other trees leaves turned quickly from green to brown in a matter of less than

Tents, Fountain, Dutton Hall Financial Aid, Occupy UC Davis, Davis, California, copyright 2011 David Leland Hyde. Nikon D90.

a week without stopping at yellow, orange or red in between. I have made many photographs of Mom’s Japanese Maples, especially in the Fall the last several years. This year’s photograph, “Japanese Maple In Upper Garden Against Forest And Sky” in my opinion is the best.

Unlike this winter, which so far has proved to be mainly dry and cold, last winter proved heavier than many with snow after snow hitting the Northern Sierra Nevada. During the many weeks when not much else could be accomplished outdoors, I went out photographing often. “Arlington Ridge, Oak Knoll, Indian Valley” was one of the gift fruits of these labors of love. Thank you for sharing in this love. To view more of my photographs see the blog post, “David Leland Hyde Archival Prints Prelaunch” or my portfolio on the Philip Hyde website.