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New David Leland Hyde Portfolio Prints

February 2nd, 2012

Unveiling 24 New Archival Digital Prints Added To The David Leland Hyde Portfolio At Philiphyde.com

To begin this exciting announcement, from the blog post, “Best Photos Of 2011,” four new Lightjet archival fine art digital prints are now part of the David Leland Hyde Portfolio:

Fountain, Main Courtyard, Sauk Institute, La Jolla Shores, San Diego, California, copyright 2009 by David Leland Hyde. Nikon D90.

- “Curved Shadow On Cliffs, Drakes Beach, Point Reyes National Seashore”

- “Thistle Heads And Pines, Northern Sierra Nevada,”

- “Tents, Dutton Hall Financial Aid, Fountain, Occupy UC Davis, Davis, California”

- “Grain Processing Plant At Night, Great Central Valley”

Additional NEW IMAGES added to the David Leland Hyde Portfolio at Philiphyde.com are:

- “Juniper Tree Skeleton Near Eureka, Nevada”

- “Panamint Mountains Near Panamint Springs, Approach To Death Valley National Park”

- “Granite, Pool And Maple Leaves At Indian Falls, Northern Sierra Nevada”

- “Daisies, Cracking Adobe Wall, Carmel Mission, Carmel”

- “Bicycle Church, Barrio Anita, Tucson, Arizona”

- “Historical Mansion, Downtown Santa Cruz, California”

- “Graffiti And Wall Art, San Francisco, California”

- “Self Realization Fellowship, Pacific Palisades, California”

- “Fountain, Main Courtyard, Sauk Institute, La Jolla Shores”

- “Wheelbarrow, Adobe Wall, Fall Leaves, Santa Fe, New Mexico”

- “Bell Tower, San Juan Bautista Mission”

- “Tokopa Falls, Kaweah River, Sequoia National Park”

- “Summit Sunset, Loveland Pass, Rocky Mountains, Colorado”

- “Sunrise And Volcano Along US Highway 6, Nevada”

- “Reflections Detail, Manzanita Lake, Lassen Volcanic National Park”

- “Hay Bales, Pacific Ocean, Santa Cruz County North Coast”

- “Foothills Of The Rocky Mountains Front Range Near Eldorado Canyon State Park, Boulder County, Colorado”

- “Ghost Ranch In Snake Valley, Snake Range, Near Milford, Utah”

- “Sierra Wave Cloud Over Bodie, Eastern Side Sierra Nevada, California”

- “Tufa, Mono Lake, East Side Sierra Nevada Near Lee Vining, California”

- “Tide Pool Rocks, Point Lobos State Natural Reserve, California”

- “Tokopah Falls, Sequoia National Park, Southern Sierra Nevada, California”

- “Bell Tower, San Juan Bautista Mission, California”

- “Foothills Of The Rocky Mountain Front Range Near Eldorado Canyon State Park, Boulder County, Colorado”

- “Snow And Grass Detail Near Angel Fire, Sangre De Christo Mountains, New Mexico”

View the photographs: “David Leland Hyde Portfolio.”

Please share which new photograph(s) you like best of the group and which you like least…?

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Denali National Park, Alaska Travel Log 17

January 19th, 2012

Denali National Park, Alaska Travel Log: June 14-September 14, 1971 by Ardis Hyde

(Pioneer landscape photographer Philip Hyde, his wife Ardis and son David in their Avion Camper on a 1968 GMC Utility Body Pickup. Continued from the blog post, “Denali National Park, Alaska Travel Log 16.”)

Part Seventeen: Fairbanks, Alaska to Donnelly Creek State Campground, Richardson Highway, Alaska

Cotton Grass, McKinley River Trail, Alaska Range, Denali National Park, Alaska copyright 1972 by Philip Hyde.

Thursday, July 15, 1971: The day started sunny and progressed to clouds and rain. At 7:00 am when Malcolm Lockwood left for work as staff photographer at the University of Alaska Museum, the sun was brightest. By 9:00 am when we left Malcolm Lockwood’s home, storm clouds were already gathering. After grocery shopping and gas pumping we drove out of Fairbanks a ways. We passed Alaskaland, then decided to turn around to take David through. Alaskaland combines an amusement park with museums, kids activities, restaurants, shops, educational shows and more. After eating lunch we ventured inside. David liked the paddlewheel river boat and the army helicopter most. At last he had a ferris wheel ride that he and Philip took together. When we got back onto the Richardson Highway and passed through Delta Junction. On leaving Delta Junction, the road became much more interesting than the flat country of the Alaska Highway. The terrain along the Richardson Highway, though also open, presented many wooded rolling hills with small lakes between. We had dinner at a turnout, then dropped down to the broad tree strewn Delta River bed at the base of the Alaska Range peaks. The fireweed and pea vine bloomed in mats out into the river flat. Philip took some photographs along here in the late light. We stopped to look at Black Rapids Glacier. We drove several miles beyond, then returned to Donnelly Creek State Campground. This way we could do that stretch again the next day. The air turned cold and the clouds were solid. We were out of the mosquitos. The temperatures dropped into the 50’s. We heard on the radio that it was 36 degrees in Anchorage.

Friday, July 16, 1971: Donnelly Creek Campground, Richardson Highway to Mile 65.5 Denali Highway, Alaska

We rose at 6:45 am. It had been raining hard in the earlier morning. When Philip looked out the back door of the camper he exclaimed, “Wow,” seeing the Alaska Range peaks visible through a lifting veil of clouds with fresh snow on the lower slopes. We left hurriedly to get down the road for pictures. First Philip made some 2 ¼ Hasselblad photographs before we pulled away, then a short way down the road he brought out the Baby Deardorff 4X5 camera. He drove on and stopped again near the Donnelly Inn Hunting Lodge log and sod cabins. He made more photographs at Darling Creek. At Black Rapids, he made photographs of Black Rapids Glacier upstream of the river flat. He also pulled over at Rainbow Mountain for more pictures. We drove off the main road into Fielding Lake. Fielding Lake was larger than other lakes along the way and surrounded by low brushy slopes and very wet meadows. Philip photographed the abundant wildflowers including Monkshood, Valerian, Mertensia, and Groundsel. On our way back out of Fielding Lake, the rain began again and soon increased to hail. We ate our lunch before reaching the main Denali Highway. Once back on the highway, we soon could see the Gulkana Glacier at a turnout. We also stopped shortly after at the Summit Lake Lodge for gas and propane. We watched a floatplane take off from Summit Lake. We did not stop again until Paxson, Alaska for more gas. We picked up two ladies who needed a ride about 20 miles with a repaired tire for their camper. The Denali Highway started and continued with attractive views of a beautiful alpine setting. The highway stayed high along the ridges, where we were above everything and could see in all directions. We saw rolling mid green tundra accented with darker spruce trees. Lakes and ponds lay in all the swales. The distant snow covered high mountain peaks with snow clouds and mist in veils crowned the scene. Philip made frequent picture stops. Showers continued. We stopped at Tangle Creek Campground to let our ladies put on their tire. We continued to McClaren Summit where it rained hard, but we could still see what a flower garden it was at the roadside. Beyond a short distance, after we looked down at the McClaren River Valley, we stopped for dinner and hoped for the rain to abate to enable photographs. The many ponds below were catching the light. The rain abates and the mosquitos become fierce. After we eat dinner, Philip and David go out on the Tundra for more pictures, both 4X5 and 35 mm. With David in bed we drove on along a moraine top, and stop abruptly for images of a cow moose browsing in the brush close to the road. We made it to Denali Highway Mile 43 by 7:30 pm. Our next stop was at a small pond on the roadside with grass growing in it. A Wilson’s Snipe sat on a post and “cheeped” continually. Driving along the road a few minutes later, Philip suddenly stopped and pointed out the high snowy peaks of the Alaska Range visible almost due west. He was sure we were looking at the slopes below Mount Denali. The light was just right to make Philip a show and having him hopeful that the clouds would part. More pictures at Mile 62 around 8:30 pm. We go on a short distance to Mile 65.5 where we pull off on a track dropping below the main road on the left side and still in view of the distant Alaska Range, which was less clear of clouds every minute. The mosquitos were terrible all night even though the low went down to 40 degrees Fahrenheit.

Continued in the blog post, “Denali National Park, Alaska Travel Log 18.”

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Carr Clifton At Mountain Light Gallery

January 9th, 2012

A Solo Exhibition of New Work

Carr Clifton

Nine Weeks In The Sacred Headwaters

Guest Artist Exhibit At Galen Rowell’s Mountain Light Gallery

Bishop, California

January 13 to March 15, 2012

Artist’s Reception and Booksigning

Friday, January 13, 5:30-8:30 p.m.

Slope in the Spectrum Range, Mount Edziza Provincial Park, Coast Mountains, British Columbia, Canada, copyright 2011 by Carr Clifton.

Please join Mountain Light Gallery on Friday, January 13 from 5:30 p.m. to 8:30 p.m. for the opening of its latest guest artist exhibition, Nine Weeks in the Sacred Headwaters, featuring 32 fine art prints of the Sacred Headwaters, British Columbia, Canada, by master printmaker and award-winning photographer Carr Clifton.

In collaboration with author and National Geographic Explorer-in-Residence Wade Davis, and the International League of Conservation Photographers (iLCP), Carr Clifton captured some of the most beautiful and most endangered lands in North America.

Nine weeks trekking hundreds of miles of backcountry trails and roads, and 10 aerial shoots from helicopters, Carr Clifton’s portfolio of this incredible region conveys the importance of protecting this precious place from large scale industrial development. Many individuals and organizations donated their time and financial support making this project possible, and resulting in the visually stunning book, The Sacred Headwaters: The Fight to Save the Stikine, Skeena, and Nass, written by Wade Davis, with photography by Carr Clifton and others, published by Greystone Books.

Mountain Light Photography, Inc.

106 S. Main Street

Bishop, California 93514

(760) 873-7700

Visit us at MountainLight.com

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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.

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Moving Past The Repertoire by Greg Russell

December 19th, 2011

Moving Past the Repertoire: An Essay By Greg Russell

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

Moving Past The Repertoire By Greg Russell

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

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

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

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

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

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

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

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

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

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

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

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

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

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Craters Of The Moon Collector’s Greeting Cards

December 8th, 2011

(Please Find Regular Blog Posts Below This Holiday Special.)

Now Available While Supplies Last…

“Authorized Edition” Collector’s Museum Graphics Greeting Cards

Perfect For The Holidays…

Of “Lava, Flowers, Craters Of The Moon National Monument, Idaho, 1983″ by Philip Hyde

Lava, Flowers, Craters Of The Moon National Monument, Idaho, 1983 by Philip Hyde. Museum Graphics "Authorized Edition" Collector's Greeting Card.

Original printing Museum Graphics Greeting Cards

Collector’s Item, out of print.

5X7 Color Cards, blank inside.

One card $8.70.

10 cards $24.

20 cards $40.

Plus $5 shipping and handling for any amount of cards.

Order Now. Limited Supply.

To Order Click Here and scroll to the bottom of the page for information and shopping cart. Or go to PhilipHyde.com, PORTFOLIOS, Greeting Cards.

Originally printed by Museum Graphics in 1987 in conjunction with the release of the book Drylands: The Deserts of North America by Philip Hyde.

Back Of Museum Graphics "Authorized Edition" Collector's Cards of "Lava Flowers, Craters Of The Moon National Monument, Idaho, 1983" by Philip Hyde.

Virginia and Ansel Adams founded Museum Graphics in 1952. Museum Graphics has been family owned since. For years Museum Graphics has set the industry standard for quality in notecards, postcards, posters, matted reproductions and more. Museum Graphics published a number of Philip Hyde “authorized edition” greeting cards and these are the last remaining. Several years ago, The Ansel Adams Gallery absorbed Museum Graphics. Before this merger, Museum Graphics sold its small remaining stock of “Lava, Flowers, Craters Of The Moon” Greeting Cards to Philip Hyde Photography, now making them available while they last.

Send a special message to someone you love this Holiday Season. Wow, that sounds a lot like Hallmark, but these are higher standard cards…

Order Today… Don’t Wait…

To Order Click Here and scroll to the bottom of the page for information and shopping cart. Or go to PhilipHyde.com, PORTFOLIOS, Greeting Cards.

Originally posted Nov. 22, 2010.

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San Francisco Art Institute Photography History 13

December 5th, 2011

Summer School 1946 With Ansel Adams

Description And Outline

(Continued from the blog post, “San Francisco Art Institute Photography History, Part 12.”)

Cumulus Clouds Over Indian Valley, Northern Sierra Nevada, copyright 1948 Philip Hyde.

Summer School, as Ansel Adams referred to it, first started in 1946. The course ran for six weeks of intensive instruction based on the regular day school in photography at the California School of Fine Arts now the San Francisco Art Institute. Minor White first taught with Ansel Adams in the Summer of 1946 with students including Philip Hyde, Benjamen Chinn, William Heick, Ira Latour, Pirkle Jones, Ruth-Marion Baruch, Don Whyte, Pat Harris, David Johnson, John Rogers, Al Richter, Bob Hollingsworth, Walter Stoy, Helen Howell and others.

In preliminary descriptions of the course for the CSFA School Board, Ansel Adams suggested: “It should be considered as part of the full day school year rather than… supplementary…” The Summer Session became what Ansel Adams described as “a ‘screening course’ for the main student body of the day school.”

Ansel Adams further described the proposed course:

It should be made very intensive and should reveal within its six weeks span the abilities – or lack of them – of the students. Only those should be admitted who have definite intention to take at least the first year of the main school sessions. The exact topics to be considered in the summer school will be basic but of course should not be too extensive. The first summer school period in 1946 will enable us to clear up various ‘bugs’ in the studio, lab, and general operation. The summer school of 1947 should be designed, I believe, as a buffer course to enable the regular day students to perfect their work and to round out missing or weak aspects of their knowledge.

Outline Of Ansel Adams’ Summer Session 1946

Department of Photography

California School of Fine Arts

Day School:

Week 1

Period:

1:            Organization, outline of study and general assignments, etc.

2:            Functions of the Camera and Lens

3:            Demonstration of above

4:            Photographic Visualization

5:            Demonstration

6:            Basic Photographic Esthetics

Week 2

Period:

1:            Resume of Photographic History and Esthetics

2:            Philosophy of Exposure and Development of the Negative

3:            Demonstration Including Darkroom Mechanics

4:            Demonstration Including Orthochromatics

5:            Problem: demonstration-Visualization through execution

6:            General Discussion

Week 3

Period:

1:            Presentation of a photographic problem  (1st assignment)

2:            Execution of the problem – exposure and development of the negative

3:            Printing

4:            Demonstration

5:            Printing of the negatives of the above problem

6:            Discussion and criticism of problem-assignment results

Week 4

Period:

1:            Elements of photographic Composition

2:            Presentation of 2nd Photographic Problem (2nd assignment)

3:            Field or Studio work under direction

4:            Printing under direction

5:            Toning of prints

6:            Discussion and criticism of second assignment

Week 5

Period:

1:            Expressive fields of photography

2:            Presentation of the 3rd Photographic Problem (assignment)

3:            Field or Studio work under direction

4:            Mounting and spotting of prints (presentation)

5:            Philosophy of Artificial light in photography

6:            General Discussion and criticism of assignment 3

Week 6

Period:

1:            Assignment using artificial light and analysis (4th assignment)

2:            Assignment: Three interpretations of the same subject (5th assignment)

3:            Minor darkroom techniques (reduction, intensification, bleaching, etc.)

4:            Survey of contemporary directions in photography, Critical basis.

5:            Resume of philosophy of technique

6:            General discussion, exhibit work and criticism.

Four periods devoted to work in addition to the six periods outlined above are required. The exact assignments will be worked out well in advance. An emphasis on regional subject material to be maintained throughout. Full demonstration of all work required. Laboratory assistants will be on constant duty five or six periods out of the total of 10 periods per week.

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On The Road To Dinosaur By Philip Hyde

November 28th, 2011

The Beginning Of Ardis And Philip Hyde’s First Trip To Dinosaur National Monument

From the Rough Draft of an Unpublished Article By Philip Hyde Originally Titled, “In Quest of Dinosaur.”

Circa 1951. Edited by David Leland Hyde 11-28-11.

Steamboat Rock, Echo Park, Dinosaur National Monument, Colorado, copyright 1955 by Philip Hyde. Philip Hyde's most published black and white photograph.

(See the photograph large: “Steamboat Rock, Dinosaur National Monument, Colorado.”)

The creeping death of exploitation was threatening another great natural area. Through certain members of the Sierra Club and the Wilderness Society including Martin Litton, Richard Leonard, and Olaus and Margaret Murie, David Brower heard and subsequently I heard about the beauty of Dinosaur National Monument and the proposed destruction of its integrity as a unit of the national park system.

On the phone, in letters and when we visited the San Francisco Headquarters of the Sierra Club, David Brower, Richard Leonard and Martin Litton told Ardis and I about the debates over Dinosaur in Sierra Club board meetings. The Sierra Club board was divided as to whether to remain a California centered organization with a primary emphasis on the Sierra Nevada, or whether to expand regionally and possibly nationally. Already other land use debates in the Pacific Northwest in Oregon and Washington were beginning to heat up. [Read about how campaigns in the Cascade Mountain Range became important blueprints for environmental grass roots organizing across the nation in the blog posts, “Oregon Cascades’ Impact On Conservation,” and “Oregon Cascades Conservation: Mount Jefferson Wilderness Area.” Also, learn more the Sierra Club’s first Executive Director and his contributions to photography and land preservation in the blog post, “David Brower: Photographer and Environmentalist 1.” To find out more about Martin Litton read the blog post, “Martin Litton: David Brower’s Conservation Conscience 1” and later posts in that series.]

Word and newspapers had it that those promoting the building of two dams inside Dinosaur National Monument claimed it was only another inaccessible scramble of river canyons. Defenders of Dinosaur retorted that as a scenic and geological spectacle, it was unique in the world. Now at long last, we were going to see it. We were heading out to the far reaches of Utah and Colorado up near Wyoming where Dinosaur National Monument straddles the Utah-Colorado border. We will see for ourselves if this little known land is worth preserving in its natural state. [To read more about how Richard Leonard and Olaus and Margaret Murie, founders of the Wilderness Society, traveled to Dinosaur and how Richard Leonard and David Brower sent Philip Hyde on the first photography assignment for an environmental cause, see the blog post, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 2.” For an introduction to why Dinosaur was pivotal for the Sierra Club and the entire conservation movement that it transformed into modern environmentalism, see the blog posts, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 1,” and other blog posts in the series.]

Packing and organizing for a photographic expedition of a month is a long chore. The scheduled day for departure found us still packing until early afternoon, but eagerness to get on the road would not allow us to wait another day for an early morning start. When we finished packing, we set off in our trusty Champion, leaving Monterey and crossing California’s great Central Valley toward the mountains and the deserts beyond.

Nightfall found us looking for a dirt road to turn off on for our first night’s sleep in the open, somewhere in the foothills above Auburn, California. The thrill of sleeping under the stars was still new to us, though we had both been doing it most of our lives. This was the first night of a new adventure and it quickened us with anticipation. The next day flew by as did the miles of Nevada’s Basin and Range Province. Our second night found us on an old road on a hill high above the lights of Winnemucca, Nevada. It was early June and the desert nights were still nippy, but we were warmed by the exhilaration of being out again in wide open spaces. Our third night out we spent in the “luxury” of a Salt Lake City motel before embarking on the final lap to our destination. We became tourists for a few hours of sight seeing around Salt Lake City, visiting the Utah State capital, the Mormon Temple and other main attractions of a city we had only traveled through briefly before.

The final hundred miles to Dinosaur took us up over the Wasatch Mountains out of Salt Lake City and along high plateaus covered with whole forests of aspens. Then we dropped gradually down, down to the semi-arid plains of eastern Utah, skirting the Uinta Mountains, whose snow capped summits we could see dimly in the north. Here and there along the plains among the low naked hills were green fields of Alfalfa and other crops. We came to a road sign that said, “Dinosaur National Monument 7 Miles.” This trip would be our first encounter with the infamous Dinosaur dirt roads, sometimes when wet they were made of slippery axel grease, sometimes they were nothing but a jumble of jagged rocks. The first dirt road proved prosaic enough and took us without difficulty to the Monument headquarters and the nearby Dinosaur Quarry.

We introduced ourselves to the Park Ranger on duty, Max James. He found Jess Lombard, the Superintendent of Dinosaur. We were greeted like returned relatives and offered the empty section of the barracks, which we gratefully accepted. The sky looked like it would burst open in torrents any minute, which it did shortly after we made it safely under cover with our gear.

This area was our base during that month in 1951 when we roamed over Dinosaur National Monument. It proved to be a great help to leave some of our equipment and extra film here while we were off for a few days in some remote hinterland of Dinosaur’s canyons. Our first job here involved evolving some kind of plan to see the whole National Monument. In this project the Park Ranger, Max James and the Monument Superintendent, Jess Lombard, were invaluable with their extensive knowledge of the terrain.

Because of unpredictable weather, we decided to stay in the immediate area for a few days to see the Quarry, the sandstone reefs near it and Split Mountain Gorge, the mouth of which, where the Green River emerged and would be flooded by 300 feet of water if the dam builders had their way, could be reached on a branch road about three miles from Monument Headquarters. This was enough to keep us busy for a while. The sandstone reef turned out to be full of fabulous rock forms that could have provided subject matter for the camera for weeks without stopping. [To continue Ardis and Philip Hyde’s adventures in Dinosaur National Monument see the blog post, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 3."]

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Posted in Excerpts of New Book

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Happy Thanksgiving!

November 24th, 2011

Pumpkin, Melting Snow Patterns On Deck, Northern Sierra Nevada, California, copyright 2011 by David Leland Hyde. Nikon D90.

Dear Pilgrims and Natives, the Turkey is a little slim this year, but we all still have much that deserves gratitude. Every day, even in the darkest of times, each of us can find something for which we are grateful. This Thanksgiving I am grateful for good neighbors, good friends, a good guitar or two or three strummed or picked around a warm wood stove with a glass of wine and more food than anyone needs. I am also grateful for Lumiere Gallery and the Messages From The Wilderness Show. I am grateful for all other photography galleries and venues that have hosted exhibitions of Dad’s photographs in the last few years, as well as each of the photography galleries that now represent my father’s pioneering conservation landscapes in the form of vintage black and white prints, archival digital prints, dye transfer prints and Cibachrome prints. I am also thankful to the following bloggers and websites for either Tweeting, Twittering, Re-tweeting, putting on Google+, on Facebook, embedding in their website or photoblog, or otherwise linking to or mentioning the ALL NEW PHILIP HYDE SHORT VIDEO. Dad would be shocked, humbled, amazed, and when he got used to the idea, happy to see his photographs shown around the world. Thank you to each and every one of you from the bottom of my heart…

Note: Those names below in blue are links as customary. Those in black that are not links I either could not find again or they were buried in a long list of shares. Topsy and some other social media search sites are currently having technical difficulties. Even the Holy Grail, Google Search, does not seem to crawl all tweets and shares, even on its own platform Google+. Also, as I am not yet a participant of some of the social media, not all searches are available to me. If you are one of those listed below and would like your name linked to your share or post of the video, please send me the link in the contact form above or in an e-mail. Same goes for those who I have accidentally omitted from the list and deserve my apologies.

Jim M. Goldstein

William Neill

Sharon and Dirk Van Lieu

Robert Rodriguez, Jr.

Guy Tal

Art Wolfe

PJ Finn

Richard Wong

Stephen Gingold

G. Dan Mitchell

Steve Sieren

Seung Kye Lee

Dan Baumbach

Greg Russell

Michael Frye

Paul Dickenson

Michael E. Gordon

Jim Sabiston

Carl Donohue

Q.T. Luong

Russ Bishop

Sven Seebeck

Michael R. Reynolds

John Paul Caponigro

Paul Colangelo

Sean Arbabi

Buzztail

Atlanta Celebrates Photography

Alltop

Creative Live

F8 Daily

Networked Blogs

World Panorama Stock

Fox News Travel Section

Newsodrome

Technorati

Shootplex

Photo Life Magazine

Photogravity

New School of Photography

Gaia Gallery

Byte Photo

Orlando Photography

Travelscenics

Mitrasites

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Posted in David's Perspective

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All New Philip Hyde Video

November 17th, 2011

The New Short Video

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

Philip Hyde from Lumière on Vimeo.

The Making Of The New Video

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

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

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

Messages From The Wilderness Exhibition

November 12-December 23, 2011

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

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

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