Posts Tagged ‘Jack Dykinga’

Enduring Images: Interview of Jack Dykinga for Outdoor Photographer Magazine

September 15th, 2016

Enduring Images: An Interview with Pulitzer Prize Winning Photojournalist, Celebrated Nature Photographer and 2017 NANPA Lifetime Achievement Award Winner Jack Dykinga by David Leland Hyde

Including Previously Unpublished Interview Sections and Materials

Cover of Outdoor Photographer September Special Issue - Photography with a Purpose

Cover of Outdoor Photographer September 2016 Special Issue – Photography with a Purpose. (Click Image to see larger.)

Jack Dykinga won the Pulitzer Prize in photojournalism while documenting the turmoil of 1960s Chicago. In 1970 he read a Backpacker magazine interview of my father, conservation photographer Philip Hyde. The article by environmental photographer Gary Braasch inspired Dykinga to move West and begin photographing landscapes. He eventually met and became friends with Dad, who mentored him in the ways of conservation photography. They even photographed together on a number of trips, some with a few other photography friends around the Southwest U.S., as well as on mainland Mexico and Baja California.

Jack Dykinga over the years also became a pillar of Western nature photography, working with the acclaimed International League of Conservation Photographers, National Geographic, Arizona Highways and other renowned organizations. The North American Nature Photography Association plans to honor Dykinga with a Lifetime Achievement award this year, much as they did Philip Hyde and David Brower back in 1996.

My interview with Mr. Dykinga touched on how he made the transition from a Midwest urban setting to photographing the wide-open wilderness spaces of the West. It also revealed the sensibilities he discovered were necessary to photograph nature and wildlife for conservation purposes. Our discussion ranged from his experience at various well-known magazines to the refinement of his approach over the years with input from Dad. Dykinga gave insights into a number of conservation projects and the making of a number of his successful books for various causes, including the upcoming new release of A Photographer’s Life: A Journey from Pulitzer Prize-Winning Photojournalist to Celebrated Nature Photographer, in which Dykinga wrote an entire chapter about Dad.

My interview ran over 26,000 words, but I kept only 2,800 for the Outdoor Photographer piece. Some of the remaining 23,200 words will go into my book, but a few sections I will share with readers here. In one section I asked Jack Dykinga about Eliot Porter and Robert Glenn Ketchum. I specifically cut this portion from the Outdoor Photographer version because I did not feel the magazine article was the place to grind the axe about how Eliot Porter has received credit for a number of Dad’s and other’s accomplishments. At the right time and place, in the appropriate venue, a more detailed version of this discussion will be pertinent. For now, Landscape Photography Blogger is more appropriate than Outdoor Photographer for starting to bring some of it to light. The Outdoor Photographer audience is interested in learning from all of these greats of nature photography, not necessarily hearing why one or another have been over or under-recognized. In my opinion Dykinga’s response, while favoring Dad, was well-considered, balanced and tactful. Let’s see what you think when you read it below… In another section, Dykinga shared his experiences and impressions while working with National Geographic and while obtaining more personal, land and place oriented photographs.

David Leland Hyde: John Rohrbach in Regarding the Land: Robert Glenn Ketchum and the Legacy of Eliot Porter, made the exaggerated claims that Eliot Porter invented color nature photography and “almost single handedly saved the Grand Canyon.” Rohrbach also wrote that Robert Glenn Ketchum was the primary photographer carrying on Eliot Porter’s legacy. It was common knowledge among those who were there and widely known thereafter that Dad led the charge spiritually and produced the most photographs for the Grand Canyon campaign. Dad’s photographs illustrated three large format Sierra Club Books and were the cornerstone of Time and the River Flowing: Grand Canyon, the one book specifically produced to prevent two dams above and below the National Park in the Grand Canyon. Eliot Porter’s Glen Canyon book enjoyed wide readership during this time mainly because the campaign to prevent the Grand Canyon dams took on global proportions. The book Time and the River Flowing landed on the desk of every member of Congress and other Washington leaders, as well as quickly fulfilling significant international demand and distribution. As Time and the River Flowing went out all over the world, it effectively advanced the momentum of the global letter writing campaign that ultimately swayed American politicians and stopped the dams. Not all of Philip Hyde’s books in the Sierra Club Exhibit Format Series sold as well as Eliot Porter’s In Wildness Is the Preservation of the World, but Island In Time: Pt. Reyes Peninsula came out the same year. Several other photographers including Litton, Brower, Adams and others were nearly as prominent as Hyde and Porter in bringing color to landscape photography. As far as any photographer taking over Eliot Porter’s legacy, late in Porter’s life when he was ill before a Truckee Meadows Workshop, the organizers called in Hyde to take over Porter’s teaching position, not Robert Glenn Ketchum or anyone else.

Jack Dykinga: Eliot Porter was a great photographer. I will say that right off the bat. Right almost in the second line of his autobiography, without even taking a breath, it says he was a medical doctor who gave that up to be a photographer. Your dad was a self-made person who wanted to be a photographer. He wasn’t a doctor that wanted to be a photographer. He didn’t have either the baggage or the promotional ability that Porter did. A guy like Robert Glenn Ketchum had Ketchum, Idaho named after his family. He lives in Bel Air and Hollywood and he’s done a lot of good conservation work, but the hardship that your father had to go through, made him stronger. Your dad was the kind of person who had to really work for everything he got. I don’t think he had time to blow his own horn. He was trying to make a living. If I had it to do over again, I sure wish I had a lot more money. I wouldn’t have to worry about the next check. But, I think that lack of money also gives you an edge, I don’t mean a winning edge, I mean there’s a certain edge to your life where you’re really having to push pretty hard to get things done and it helps you. Porter’s work had a totally different look, whereas your father’s strength was that he gave you the monumental look of the American West. Your father did a lot more trail hiking than Eliot did and really showed us the land without showing himself.

Hyde: In the early 1960s, the whole direction of the large format books shifted. At first there was the big black and white sensation, This Is The American Earth by Ansel Adams and Nancy Newhall, but then suddenly everybody was really excited about color.

Dykinga: Your father was more of a documenter of wild places. He would look at things as more of a narrative and a project. That’s more akin to what I do. A lot of my friends that I go camping with are what I call single image photographers. They go out and want to get the most powerful shot that day, where I’m more likely to be wrapped up in a concept. That’s because I’m the journalist. You get publishable shots every single day. They may not be the art you want to hang on your wall, but you may want to put them in a book to tell somebody a story. If you try to submit only those that whisper, you’ll never get published, but you can hang them on the wall and live with them and love them.

Hyde: With National Geographic are you doing more or less what Joel Sartore does?

Dykinga: I am a contract photographer. He is a contract photographer on their first list. I used to be on their first list. I have a deep connection with the magazine, but their overall view of landscape is erratic. We have different opinions.

Hyde: Their idea of landscape is always putting a person in the frame.

Dykinga: There you go. You hit it perfectly. The classic example would be the last issue on Yellowstone National Park with people, butchering animals, traps and cowboys. There’s not one sense of place in the whole article. Here we are in this dramatic, incredible landscape that just gets really short shrift with the tact they have taken. The current editor is a journalist. She was the editor of Time Magazine.

Hyde: Would you say that National Geographic goes after the culture more than the place or the wilderness?

Dykinga: You could say that. That’s sort of subjective. I was there when Chris Johns was editor and he loved my approach to landscapes. That went away when he went away. It changes all the time. I still work for them occasionally. A full feature is a 100 day contract and it’s pretty good money, except when you have things blow up, it maybe not as good as you thought.

Hyde: You were in Stephen Trimble’s book, Lasting Light: 125 Years of Grand Canyon Photography. I don’t know that he necessarily found all of the “Who’s who” of Grand Canyon photography, but he included many.

Dykinga: I spend less and less time in cliché locations. They may be visual touchstones for most people, but they’re not interesting to me because even more than the place the solitude is important to me.

Hyde: Like Ansel talked about with the experience?

Dykinga: Yes, a deeper connection. You can’t do that if you’re on a crowded boardwalk in Yellowstone with about 30 Chinese guys with selfie sticks like I just experienced. People now are interested in showing “me there,” more than “there.” I think there’s a profound shift with people being more anthropocentric.

Hyde: We have less and less connection to nature as decades go by and more and more words and noise surrounding ourselves when we do get out there.

Dykinga: I see it all the time where people really go on and on explaining their work. Your father’s message and his voice came through the image. If you go on and on about divinity and God and everything else, that’s maybe what you’re reading into it. A lot of us are just very happy when people see the place and make their own decisions based on their own divinity or lack thereof. That’s as good as you can go. It’s more of a Buddhist approach.

To read the best published portions of the above interview pick up the Outdoor Photographer September Special Issue still on newsstands now for a few more weeks, or available online in October.

Outdoor Photographer Special Feature: Philip Hyde and the Art of Making National Parks

June 9th, 2016

Outdoor Photographer June National Parks Centennial Special Issue

Centerpiece Feature: Philip Hyde and the Art of Making National Parks by David Leland Hyde

Outdoor Photographer Cover, June 2016 National Parks Centennial Special Issue, cover photograph Mount Deception, Brooks and Silverthrone, Wonder Lake, the Alaska Range, Denali National Park by Carr Clifton.

Outdoor Photographer Cover, June 2016 National Parks Centennial Special Issue, cover photograph Mount Deception, Brooks and Silverthrone, Wonder Lake, the Alaska Range, Denali National Park by Carr Clifton. (Click on image to see larger.)

Outdoor Photographer magazine has come a long way lately. The magazine is under new ownership, Madavor Media, L.L.C. out of Braintree, Massachusetts. Wes Pitts, who worked for the previous owners for more than 17 years and apprenticed under Rob Sheppard, is the new Editorial Director/Editor. The articles and headlines now appeal as much to seasoned photographers as to beginners.

There are still many articles about gear and locations, but these are done more tastefully, while more articles about the art and craft of photography are appearing. Some of the best writers from the Rob Sheppard and Steve Werner eras are back like Lewis Kemper, Carr Clifton, James Kay, Mark Edward Harris, Art Wolfe and others. Columnists such as Amy Gulick, Frans Lanting, William Neill, David Muench and others continue to produce excellent advice and insight. David Leland Hyde has been named on the masthead as a Contributing Editor.

The reproduction quality still has a ways to go, but they are working internally on improving this and other aspects of the magazine to make gradual refinements over the coming months and years. The editor has expressed the objectives of bringing in more conservation photography and more quality coverage by the experienced professionals in the field.

Currently for June, the Outdoor Photographer editors and staff put together a National Parks Centennial Special Issue with cover photograph and personal experience feature article about the “Wildlands of the National Parks” by Carr Clifton. They invited David Leland Hyde to write the issue’s centerpiece feature article called, “Philip Hyde: The Art of Making National Parks.” Ben Horton wrote an excellent article about getting off the beaten path in the parks and long-time contributor William Sawalich wrote a fascinating feature profile of George Grant who, “Toiled in obscurity for nearly three decades as the first official photographer of the National Park Service.”

The Philip Hyde centerpiece feature immerses the reader in the conservation campaigns that made many of our Western National Parks. From Harvey Manning, author of the Sierra Club Exhibit Format Series book Wild Cascades: Forgotten Parkland, to David Simons, long-time resident, explorer, photographer and land conservationist in the North Cascades of Washington, from David Brower, Ansel Adams and Martin Litton to Eliot Porter, Point Reyes National Seashore, Dinosaur National Monument, Edward Weston, Minor White, the Bureau of Reclamation, Glen Canyon, Grand Canyon, Howard Zahniser, Edward Abbey, Slickrock, Canyonlands National Park, The Last Redwoods, Gary Braasch, Jack Dykinga, Backpacker Magazine, William Neill, Chris Brown, Lewis Kemper, Carr Clifton, Alaska: The Great Land and Wade Davis author of a new book, The Sacred Headwaters, this is an in-depth look at Philip Hyde’s career, his influences and those he influenced in the field of conservation photography.

The Outdoor Photographer June National Parks Centennial Special Issue is on newsstands now and is one of the best issues of Outdoor Photographer yet. Do not wait because the special editions of Outdoor Photographer often sell out. This is not just a sales pitch. You can go online now and read Philip Hyde: The Art of Making National Parks, but if you want the special issue in the paper version, I would get it as soon as possible. Find it at Barnes and Noble and other booksellers and magazine racks, wherever magazines are sold.

To read more about the George Eastman Museum Exhibition America’s National Parks, see David Leland Hyde’s guest post on the Outdoor Photographer Blog. To read an in-depth overview of the exhibit including special programs and lectures see Philip Hyde in Photography and America’s National Parks Exhibition–Programs and Lectures.

Interview Of Gary Crabbe Part 2

June 27th, 2011

Landscape Photography Blogger Interviews Photographer Gary Crabbe

Part Two of a Three Part Series

(Continued from the blog post, “Interview Of Gary Crabbe Part 1.”)

On Personal Style, Book Projects, Photo Editing And Working With Galen Rowell

Interview Conducted By Phone May 25, 2011

Rural Highway Below Mount Shasta, Northern California, copyright 2009 by Gary Crabbe.

(View photograph large: “Mt. Shasta.”)

HYDE: You also said that one important lesson in landscape photography you learned from Galen Rowell had to do primarily with responding to the light.

GARY CRABBE: That lesson originated with Galen Rowell and ever since I’ve become hyper-sensitive and in tune with what the light is doing and what the light is hitting, versus the subject I set out to photograph. Now I say to my student’s, “A boring subject in great light will always make a better photo than a great subject in boring light.” I may have a subject in mind, but if I see the light happening somewhere else, I am willing at a moment’s notice to drop any preconceived idea.

HYDE: That flexibility strikes me as not only the similarity between you and Galen Rowell, but also between Galen Rowell and my father, Philip Hyde. Many landscape photographers have this philosophy that they go out, scout out a location, then literally set up camp and wait for the right light, sometimes for as long as several days. My dad never did that. He would photograph in the middle of the day rather than wait. Part of it had to do with limitations of budget and time. He had to cover certain territory because he had his itinerary planned. He had obligations. He was often on assignment and someone else was paying his expenses. Certain landscape photographers like Jack Dykinga, for example, take the exact opposite approach. Jack Dykinga is sometimes on a loose assignment from a group like the iLCP, International League of Conservation Photographers. He may be setting the direction and parameters of the assignment, maybe he picks his own. He’ll wait days for the right light or weather conditions. Do you do that?

GARY CRABBE: No, I wish I could. I know a friend who does and he returns with some gorgeous images. He also has the patience to wait for something better. I don’t get it. (Laughter) I make the best of what I can because I can’t wait with my book projects. Plus I’m also a stay at home Dad. I’m the one that drops my kids off at school and picks them up in the afternoon. When I’m out photographing, I have to turn tail and get back. My time is limited. I did double back one time on my way to Lava Beds National Monument up in Northern California on my last book project. I cut from Weed over to the Lower Klamath National Wildlife Refuge and then on to Lava Beds. I looked in my rear view mirror and said, “Wow, there’s a great shot of Mount Shasta,” making a note to come back for sunrise. I circled around through Alturas into Susanville, back over to Lassen Volcanic National Park and then up again toward Mt. Shasta, making a 500 mile loop. I can’t recall many occasions where I’ve made that choice, but it was my time to make something work. That’s why I’m here.

HYDE: So looping back 500 miles was more the exception than the rule for you?

GARY CRABBE: Absolutely, and it was one nice sunrise morning. Sure, I could have said, “I wanted more clouds in the sky, or the moon setting,” but I didn’t have the luxury to do that. In that regard I’m more of an editorial photojournalist. I’m out there to document the place. I need to get this, this, this and this for my book project. I work myself to max out a set schedule. Landscape photography art does not always happen like it did at Lava Beds National Monument. Two mornings later I also shot a wonderful sunrise in Susanville, but, the morning in between was crap. (Laughter) Nothing came out. It wasn’t the right weather. I couldn’t just stay there and hope that the next day was going to get better and miss all the other photographs I needed. In that regard, it sounds trite, but it’s a job. My work dictates my schedule and then my creative instincts guide what I do within the confines of that schedule. I just spent two days in Yosemite National Park. I had to get Vernal Falls for my next book project, Where to Photograph in Northern California. I’ve rarely ever tried to take, for lack of a better word, cheesy, iconic photos like the rainbow and Vernal Falls. But it’s the kind of photograph that provides the reason to go up to Yosemite National Park and face the crowds. It’s ironic to dread Yosemite Valley, but that’s summertime. In the text I’ll explain that to photograph the rainbow your best chance of seeing it is at ‘this time’ and ‘this time.’ Sure, my photograph was of Vernal Falls from the Mist Trail, but I am always happier as in this case when I came back with my own personal vision of the scene as opposed to the same image that has been on a post card for the last 35 years in every gift shop in Yosemite National Park.

HYDE: Speaking of waterfalls, I really like your “Sunlight on Berry Creek Falls.” You know my dad made a well-known photograph of Berry Creek Falls. Your photograph makes it look even more picturesque now. Berry Creek is a really nice waterfall. The way you framed it, that’s one of the best waterfall photographs I’ve ever seen.

GARY CRABBE: Wow, I’m beyond flattered. I just wrote about it. I put up an article at a place called Pro Photo Resource. It was called, “Seeking Out Definitive Moments In Outdoor, Nature And Travel Photography.” Berry Creek Falls was one of my examples.

HYDE: I want to talk to you about each of your book projects, maybe a spattering of what was interesting about each project. It’s important for people to know that you have illustrated six coffee table books. Also, there is one more question about your experience with Galen and Barbara Rowell that I want to ask you. It is personal to me because of my process working with my father’s photographs. Carr Clifton helped me all along in choosing images and many other people helped too, various gallery owners and other experts. I had consulting work by Ryan Baldwin, who at one point ran Galen Rowell’s Mountain Light Gallery in Emeryville. Did you work there when he did?

GARY CRABBE: Yes. I know him very well.

HYDE: OK. He actually did a little consulting with me in the very beginning when I really didn’t know anything about anything. He helped me start choosing images. I feel like my vision and my ability to choose photographs grew exponentially over the years since then. Ryan Baldwin’s good advice was to choose images of my dad’s at first that no other photographer could have done. He suggested that later I could mix in some that my dad did first and everybody else has done since. My question to you is, in managing Galen Rowell’s stock department of 300,000 images, you must have learned a lot about photo selection from Galen and also from editors. You stepped into it with no idea of what makes a good photograph. Tell me a little about your learning curve, what was that like?

Stormy Sunrise Over Lava Beds National Monument, Siskiyou County, California, copyright 2009 by Gary Crabbe.

(View the photograph large: “Lava Beds.”)

GARY CRABBE: Interesting question. I feel bad that at one point I fibbed to Galen, some people might call it a lie. I was so green, that when I first started working at Mountain Light and he asked me, “You know what a dupe is, right?” I said, “Sure.” (Laughter) I asked another employee later, “What is a dupe?” He said, “Oh, you know, a duplicate slide.” “Oh yeah,” I said. That’s how green I was. First I learned the basic technical points of what editors need. For a magazine cover, you need to have some negative space where your text can go, your subject needs to be centered in this area, you need to have space at the bottom of the frame where they can add the mailing label and bar code and so on. When you’re selecting a double page spread, be sure the most important part of the subject is not in the middle of the frame where the seam of the paper goes. I would go through slides and pull out what I thought might be appropriate and Galen would tell me what was good for what reason, “Yes this is good, this is good, no this one wouldn’t work.” Galen obviously had his own preferences. As part of the interview process, we started having people do light test submissions. You were put in a situation where an editor called you from National Audubon or National Wildlife Federation and you needed to send 20 images of polar bears or penguins. We would give the applicant the entire penguin folder or the entire polar bear folder and we’d see what they would choose to send. It was a great litmus test to see how people responded to what a photo editor wanted and how they responded to Galen’s images as well. Over time I got to where I could usually look at a sheet of 20 slides in approximately one second and know whether there were any images on that page worth taking a second look at for any given project. We’re dealing with hundreds of thousands of images. For example: you know you need a shot of the Marin County Coast. Galen didn’t have separate organized folders other than every shot from Marin County going into one folder. So I’d be looking at images of Point Reyes next to Mount Tamalpais next to Bolinas next to Fairfax, somewhere in that jumble of 35 mm frames was the photograph you needed. It always seemed that there was one or two images that would stand out. Those were the ones I found where the story and the light came together in the best way possible. That’s what I use to guide the editing of my own images. (For more about how Gary Crabbe edits photographs see his post on Jim M. Goldstein’s Blog, “Pro Tips: Photo Editing With Gary Crabbe.”) You want the viewer to instantly know what your photograph is about, if there is confusion, you’ve lost them. If something in the composition creates an emotional or bio-physiological hiccup, you’ve lost them. And this is what I said in this recent article I wrote is, you want every photograph you take to be a headline and an exclamation point for whatever you are photographing. You want the story to come across that quick, with no ambiguity whatsoever.

HYDE: Of course that is for editorial stock photography, but to play devil’s advocate, Paul Strand and my father even, at times, made images that when you look at them at first you have no idea what you are looking at, you can’t figure out what it is. (Find out more about the history of abstract photography and Paul Strand in the blog post, “Straight Photography And Abstraction.”)

GARY CRABBE: That’s true. That is where art photography is different. I love doing abstract photography myself, but that wasn’t the sort of work that Galen did. I used to judge local camera clubs. And they’d have a category that was called “Contemporary,” which meant it had to be some kind of abstract or manipulated photo. I would stand in front of 30 or 40 amateur photographers and say, “The faster I can figure out what you did the less I like it.”

HYDE: But it’s the opposite for magazine submissions or other types of stock photography, correct?

GARY CRABBE: Yes, but you are still trying to generate instant emotional impact, even from an abstract. You are trying to create some kind of subconscious emotional reaction. You don’t have to know what it’s about, but you need to know how it feels. And that’s where art becomes personal and subjective. Some people say, “That doesn’t do anything for me.” Others say, “I could spend a week looking at all the detail in that photograph.” All you can do as an artist is put out what you find interesting.

HYDE: When you first started working for Galen Rowell, your article said something like you had seen only two photography exhibitions, but was there an educational process for learning about the work of other landscape photographers?

GARY CRABBE: Looking through photography magazines, who pays attention to photographer credit lines? Other photographers. That’s how you learn. Every time I saw an image that made me say, “Wow,” I noticed the name. I began to recognize the names Galen’s work was published with right up through the evolution of outdoor photography. I certainly have developed my own personal preferences for the sort of work I like seeing.

HYDE: I’d like to hear how each of your book projects came about.  So how did Backroads of the California Coast: Your Guide to Scenic Getaways & Adventures published in 2001, which won Book of the Year 2002 from the California Outdoor Travel Writers Association, how did that book come about?

GARY CRABBE: Way back when, trying to get your work in front of people, you would buy these source book ads and they would be like $1000 or $2000 a page. And the publisher would send these big books out to all the advertising agencies and publishers and whatever. I went into one of those books my first year as an independent photographer. One of the images I put in was of a twisting road below the Grand Tetons. One day a publisher sent me a note, “Do you have more good road shots like that? We’re doing a book called, ‘The Back Roads of Northern California.’ We would like you to submit some photographs for the cover.” They already had the whole book photographed and written, they were just looking for a different cover. They went through my submission and they didn’t choose any of my photographs. They went with a photo by the photographer for the book, but the quality of the images I submitted stuck in their mind. From that one failed submission, when a well-published travel writer approached them to do a book on the California Coast, they asked, “We need a photographer for this project, are you interested?” That’s how it started. Voyager Press has been the publisher for five out of my six published books.

HYDE: So were Our San Francisco and Yosemite & The Eastern Sierra, similar books?

GARY CRABBE: All of them except for Yosemite & The Eastern Sierra, that’s the one that was published by a different publisher as its own stand-alone project. The editor for that book was Peter Beren, the foremost publisher for Sierra Club books. Peter knew me from Mountain Light. I worked with him as kind of a liaison. I had also done some freelance projects for him as a photo editor. I remember this vividly, it was my daughter’s first birthday, a Saturday afternoon, the house was packed with friends and relatives. My office phone rang. I was thinking I’m not going to bother answering. The phone rang once, twice, a third time, “Oh I can’t stand it.” I raced back to my office as fast as I could go, grabbed the phone, and I hear, “Gary, this is Peter Beren. You’ve got a bunch of Yosemite images, right?” I said, “Hi Peter, yeah.” “Great. I’m going to recommend your photos for a book project.” “OK, thanks.” “Alright, bye.” That was the entire extent of the conversation. A couple weeks later, the publisher called me from her office in New York, “Can you have images to us by next Wednesday?” “Sure.” I never needed to take another picture for that book. Every image came from my existing slides. I sent them 300. They did a beautiful job. Unfortunately the book is out of print now, but I remember approving all the color proofs. On their third or fourth go around, I said it was great, but they still went two more rounds with some of the images. They did an impeccable job with the printing. Peter did the editing of the book. He gathered quotes from Ansel Adams, John Muir and others, which they matched up with my images and boom, the book was done that fast.

Continued in the blog post, “Interview Of Gary Crabbe Part 3.”

New Portfolio Added: Old Mexico And Baja California

June 9th, 2011

New Portfolio: Old Mexico and Baja California In Color

Ardis And Philip Hyde’s Old Mexico And Baja California Travels And A New Portfolio Of Philip Hyde’s Photographs Added To PhilipHyde.com

Comala Church Interior, Comala, State of Colima, Mexico, copyright 1995 by Philip Hyde. This medium format photograph is a raw high resolution scan file, not yet post-processed for printing.

(See the photograph full screen Click Here.)

Ardis, David and Philip Hyde traveled to Baja California, Mexico with trip leader and photographer Terrence Moore and assistant leader Tom Pew in 1973. The purpose of the journey was to seek out the wildest places on the Baja peninsula that could be reached by four wheel drive vehicle. The year 1973 will always be significant to Baja California wilderness history because that year the Mexican Government completed all pavement sections of the main road from Tijuana and Mexicali on the California, United States border to the end of the 800-mile Baja peninsula at Cabo San Lucas and Cabo Falso. In 1973, Cabo San Lucas was still mainly wild, while today it is a tourist mecca and resort destination. See Philip Hyde’s well-known black and white photograph of Cabo Falso compared with the beaches at Cabo Falso and Cabo San Lucas today.

Outdoor Photographer Terrence Moore had been an expert for decades on Baja California, Mexico. Terrence Moore knew the roads, the missions, the towns, the beaches or playas, the Mexican people and the Spanish language. Tom Pew was also a long-time Baja California explorer, long time Southwestern US explorer and the publisher of American West Magazine when it was about all aspects of the Southwest, particularly the arts of the Southwest, as opposed to after 1989 when he sold American West Magazine and it became solely a cowboy Western magazine.

The 1973 Baja California Camping Trip Began A Wilderness Love Affair

The 1973 four-wheel-drive wilderness camping trip down Baja California began in Yuma, Arizona where Ardis, David and Philip Hyde met trip leader and photographer Terrence Moore, as well as assistant leader and publisher Tom Pew and the rest of the participants in the group. They all set out in the Hydes’ Toyota Land Cruiser Wagon and two Chevrolet Blazers down the Gulf of California coast from Mexicali to San Felipe to Puertocitos, Bahia San Luis Gonzaga, Calamujue, San Borja Mission, Bahia de los Angeles, Bahia de la Giganta, San Javier Mission, Punta Conejo, La Paz, Cabo Pulmo and finally to Cabo San Lucas. On the return up Baja California, back to the US, the Hydes traveled without the group back to La Paz and then on to Commandu, Bahia Concepcion, Rancho Rosarito, Rancho Jaraguay, El Rosario, San Ysidro, Baja and finally to San Diego, California, USA. For more about the 1973 Baja California trip stay tuned for future blog posts.

The 1973 wilderness camping trip began Ardis and Philip Hyde’s love affair with Baja California, as well as their love affair with Mexico. The Hydes returned to Baja California in  1981, 1984, 1988, and in 1995 with Jack Dykinga and Susan and Tom Bean when Ardis Hyde was nearly 70 years old and Philip Hyde was almost 74.

Travels To Mainland Old Mexico

In 1980, Ardis and Philip Hyde visited mainland Mexico. They traveled by air from Sacramento, California to Guadalajara, Mexico, rented a car and drove to Patzcuaro Michoacan, Mexico and Colima. Near Colima they re-discovered Rancho El Balcon, where Ardis Hyde’s Grandparents and her father’s family lived for nearly a decade in the early 1900s. Ardis and Philip Hyde attended an Audubon seminar at Cobano, visited Cuyatlan Lagoon, Manzanillo and Volcan de Colima before flying back to the US. More on this trip in future blog posts.

As part of Philip Hyde’s desert project that later became the book Drylands: The Deserts of North America, Ardis and Philip Hyde made a field trip to the Sonoran and Chihuahuan Deserts through Arizona and into Baja California, Mexico at San Luis and through the Pinacate Volcano Field and the Cerro Colorado Volcanic Crater area in Pinacate Biosphere Reserve, Mexico and the Elegante Volcano field in Pinacate Natonal Park, Mexico, Puerto Penasco, Playa Encanto, Cabeza Prieta, Granite Range, Ligerta RV Park, Microonda Basura, Kino Bay, Hermosilo, Nogales, Chihuahua, Paquime, PIrineos, Cuatro Cienegas, Pozo Churince, Canon Huasteco, Gomez Palacio, Posada del Rio, Villa Humada, Samalayuca Sand Dunes and up to El Paso, Texas. The Hydes also returned to the Sonoran and Chihuahuan Deserts in 1989. In 1990, Ardis and Philip Hyde traveled to Mexico City and the City of Oaxaca, Oaxaca, Mexico. See the blog post, “Mexico City And Oaxaca Travel Log.”

The New Portfolio And Future New Releases

The photographs in the “Old Mexico And Baja California Color Portfolio” on PhilipHyde.com represent a cross-section of the places Ardis and Philip Hyde visited in Mexico and Baja California. The portfolio as you see it is just beginning and currently incomplete with many of the images remaining in raw high resolution drum scan form, not yet post-processed for archival fine art digital printing. Also, only 12 photographs out of 18 to 20 are now available for viewing even in raw form. Many more Mexico and Baja California photographs will be drum scanned, post-processed and made available as archival fine art digital prints. Please stay tuned.

Backpacker Magazine Interview: Conservation Photographer Philip Hyde Part 1

March 17th, 2010

Upper Iceberg Lake, Minarets Wilderness, Now Cecile Lake, Ansel Adams Wilderness, 1950 by Philip Hyde. The Minarets were one of the first places Philip Hyde backpacked with his father Leland Hyde and brother David Lee Hyde in the early 1940s before World War II.

In Keeping with the vision of publisher Bill Kemsley, Jr., Backpacker Magazine writers interviewed landscape photographers who were significant in the fledgling modern environmental movement. For background on Bill Kemsley, Jr., the founding of Backpacker Magazine and on how the original Backpacker Magazine became a force for wilderness conservation and a voice for environmental photographers, read the blog post, “The 1970s Backpacking Boom, Conservation and Photography.”

The following interview helped inspired Pulitzer Prize winning photographer Jack Dykinga to leave photojournalism and the city of Chicago, move to the West and take up landscape photography for conservation. The interview was first published in the Spring 1975 issue of Backpacker Magazine. Interviewer, Gary Braasch is an environmental photojournalist who went on to attain the Sierra Club’s Ansel Adams Award for conservation photography, “Outstanding Nature Photographer” from the North American Nature Photography Association and “Legend Behind the Lens” from Nikon. He was also a Founding Fellow of the International League of Conservation Photographers of which Philip Hyde and Galen Rowell are the only honorary members. Click Here to read about his latest book, Earth Under Fire, and previous books he has written about nature photography and the environment. The following article is republished with the permission of Gary Braasch and Bill Kemsley, Jr., founder of Backpacker Magazine.

BACKPACKER MAGAZINE:  The world is so full of beautiful places. How do you, with a drive to photograph them all, decide when and where to travel?

PHILIP HYDE:  My trip planning evolves out of a combination of wanting to go back to places I really liked where I find a lot of subject matter, and the need to see new territory. Sometimes when I go to a new place I get certain images that I will never again get just because of the newness and the excitement of being in a place that’s different.

BACKPACKER MAGAZINE:  What kind of kit do you take backpacking?

PHILIP HYDE:  This is always a great debate. Should I take the Hasselblad and have a lot of 2 ¼ X 2 ¼ inch exposures, or should I take the view camera and make a few good 4 X 5s? It depends on the situation and the place and how vigorous I feel. If I backpack the view camera for three or four days, I can carry three or four film magazines—36 or 48 sheets—and two or three lenses. My tripod weighs about five pounds. By the time I have it all thrown in I’ve got 30 pounds. The Hasselblad, with a lot of rolls, will add up to about half that.

BACKPACKER MAGAZINE:  But what kind of sacrifices to you make in the rest of your dunnage to survive the weight when you’re going into the wilderness for any length of time?

PHILIP HYDE:  Everything else is minimal. We backpack with just a piece of plastic for tent, tarp and groundsheet combined. A down bag. We survive on stuff like muesli, and the cooking is pretty simple. I find that if I carry too much, I just don’t have the energy or inclination to take pictures.

BACKPACKER MAGAZINE:  One answer, of course, is to go to a smaller camera. Why do you continue to use a 4 X 5 primarily rather than a 35mm, which is so much lighter?

PHILIP HYDE:  The basic reason is that I can’t get the detail I want on 35mm. A 35mm original boosted up to 20 X 24 inches or even 8 X 10 doesn’t have the sharpness I’m looking for. I’m always trying to compromise with the Hasselblad because with it I can go farther, faster and lighter. But then I get something I really like on the 2 ¼ X 2 ¼ inch film and wish I had taken my view camera along and done a little more struggling to get the picture on 4 X 5. Maybe that’s pure stubbornness, but I still think there’s a difference, and the difference, as far as I’m concerned, is crucial. There’s something else too: the view camera is a terrific discipline. I don’t have nearly the discipline with the Hasselblad because I know the film’s cheap and there’s a lot of it. Expense-wise, I can shoot only about two exposures of 4 X 5 for a roll of 120 film or about 20 exposures og 35mm film. If I get one or two really good 4 X 5 pictures, I’m way ahead of the game because I often don’t get that many on a roll of Hasselblad film.

BACKPACKER MAGAZINE:  The discipline you talk about—is it mostly a discipline of time? Waiting, walking around, getting the right angles and the right light?

PHILIP HYDE:  What I do is form a scene with my eyes and mind before exposure, rather than inside the camera. As an art-school-trained photographer, I have an axe to grind about getting people to look harder. I don’t think the small camera does much for that because it’s too easy. As for waiting, I don’t wait. In fact it’s almost always the other way around. A fellow who was here the other day looked at a photo of a meadow with a cloud up above it. He remarked, “Gee, you must have waited a long time until that cloud got just the way you wanted it.” I had to laugh because that wasn’t what happened at all. The cloud was already there when I saw it, and I had a hell of a time getting the view camera set up before it was gone. There are photographers who claim to work the other way. They know there’s going to be a picture at a certain place and certain time of day, so they go there. But I can’t imagine doing that, because the world is too full of pictures to wait a long time for any one of them. Also, it’s very difficult for me to visualize a picture if it’s not already there. It becomes something that’s kind of put together—constructed. And if I were going to do that, it would be much more efficient to be a hand artist and paint the scene. Photography is the art of getting what’s there, not creating something.

BACKPACKER MAGAZINE:  Are you saying that photography isn’t creative—isn’t a fine art?

PHILIP HYDE:  What I want to say about creativity in photography is that it is analyzing what is there, rather than constructing something out of one’s imagination. Analysis consists of seeing strongly. If you define creativity as the expression of individuality, then the kind of photography you’re talking about is “creative” when it communicates the maker’s viewpoint and individual vision. This may be more subtle than in other mediums, and our audience, despite Marshall McLuhan, still isn’t very educated about appreciating photographs, which explains why there are still people around asking, “But is it art?” It’s safe to say that photography can be art, and I see more and more evidence of individual expression by a growing number of photographers.

(CONTINUED IN THE BLOG POST “Backpacker Interview: Conservation Photographer 2“)

To hear from Paul Strand and other photographers about creative photography and how a photograph becomes art, see the blog post, “What Makes A Photograph Art?

The 1970s Backpacking Boom, Conservation and Photography

February 13th, 2010

What is your favorite place to hike or backpack?

The Role of Landscape Photography and Backpacker Magazine in the 1970s Backpacking Boom and the Combined Impact on Conservation

At the Celebration of Philip Hyde’s Life in May 2006, Pulitzer Prize winning photographer Jack Dykinga said a 1975 article in Backpacker Magazine by Gary Braasch about Philip Hyde called “Conservation Photographer” began Jack Dykinga’s journey to leave photo journalism in Chicago, move to the West and become a landscape photographer.

(See photograph full scree: Click Here.)

David, Ardis and Philip Hyde on Drake's Beach, Point Reyes National Seashore, California, 1972, by unknown bystander. The last photography visit to Point Reyes before the Sierra Club re-issued "Island In Time: The Point Reyes Peninsula," in 1974 in the Exhibit Format Series. The first issue was released in 1962, the same year as Eliot Porter's "In Wildness Is the Preservation of the World," and Rachel Carson's "Silent Spring." Eliot Porter's book consisted of all color photographs and Philip Hyde's book contained half color and half black and white. The second edition of "Island In Time" had more color plates including the most well-known image of Drake's Beach. "Island In Time" played a significant role in the campaign to make Point Reyes National Seashore. The Sierra Club published the second edition in 1974 to celebrate the creation of the National Seashore and announce that more funds were needed to complete the purchases that would make the final boundaries. On backpacks, Philip Hyde carried mainly photography gear and the campfire grate or cook stove, while Ardis Hyde carried most of the food and related supplies. This was about the age that David began to carry more of the food too. Hence the glum facial expression.

“We were delighted that Philip Hyde was willing to do an interview with a virtually unknown magazine at the time,” said Bill Kemsley, Jr, founder of Backpacker Magazine. “We were still at the beginning of the current environmental movement. Virtually every issue of the magazine was a soft-sell promotion of conservation. We carried an article stating our position on the role of the backpacker in conservation.” The article was titled “Backpack and Camera: the Battle Tools of the Conservation Movement.” In the first two years Bill Kemsley said they worked hard “at building a constituency for the environment.”

The first issue of Backpacker Magazine came out in spring 1973, which took three years to put together. Bill Kemsley, Jr worried that America in the early 1970s did not have a backpacking community large enough to support a magazine. He wanted Backpacker Magazine to support itself through subscriptions rather than through advertising. By 1973, the Baby Boomers had taken up backpacking. “The number of new backpackers alone in that year exceeded the total number of all backpackers on the trails just four years earlier,” Bill Kemsley said in “How the 1970s Backpacking Boom Burst Upon Us” in Appalachia Magazine. The total number of backpackers between 1968 and 1973 nearly doubled in just four years to more than 15 million. It took another 24 years until 2007 for the total number of backpackers to double again to 31 million.

In 1963, Bill Kemsley had observed a group of teenage backpackers leave their camp without putting out their camp fire. He went over to put out their fire and discovered they had “scattered tin cans, paper plates, cups, forks, spoons, scraps of food, assorted plastic containers and wrappers all about their campsite.” It took him nearly an hour to clean up the mess. Bill Kemsley began to ask himself the question, “What could be done to get newcomers to be more respectful of our backcountry?” He had mixed feelings because he was glad more people were enjoying the outdoors, but many of them were “careless and inadvertently despoiling the backcountry I loved. It struck me that one way to influence newcomers would be to fuel their fantasies with heroes they would like to emulate.”

“One of my heroes was David Brower,” Bill Kemsley, wrote recently in an e-mail. “One of the main influences for my including photo interviews in almost every issue was David Brower’s use of coffee table books for promoting the preservation of wilderness. I had lots of cooperation from nature photographers because of our mission.” The second issue of Backpacker Magazine featured Eliot Porter and the list went on: Galen Rowell, Ed Cooper and many others. Besides the Spring 1975 article on Philip Hyde, Backpacker Magazine featured Philip Hyde interviewing Ansel Adams in the June 1976 issue. You will see this article by Philip Hyde and the interview of Philip Hyde by Gary Braasch in future blog posts.

Bill Kemsley, Jr sold Backpacker Magazine in 1980. It went through several owners before Active Interest Media, the current owners, bought it in 2007. Active Interest Media, based in Boulder, Colorado, also publishes Yoga Journal and American Cowboy Magazines.

For the story of Ardis and Philip Hyde backpacking a decade before the trend on the Navajo Reservation in Northeastern Arizona from Rainbow Lodge down to Rainbow Bridge see the blog post, “The Making Of ‘Rainbow Bridge From The Upstream Side.'” For more about landscape photography and wilderness travel and living see also the blog post, “Backpacker Magazine Interview: Conservation Photographer 1” and the blog post, “Backpacker Magazine Interview: Conservation Photographer 2.”)

What is your favorite place to hike or backpack?