Posts Tagged ‘Lassen Volcanic National Park’

Favorite Photographs of 2016

January 2nd, 2017

David Leland Hyde’s Personal Favorite Photographs of 2016

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Blog Project Posts From Years Past:

My Favorite Photographs of 2015

Best Photographs of 2014

Best Photographs of 2013

My 12 “Greatest Hits” of 2012

Best Photos of 2011

My Favorite Photos of 2010

Best Photographs Of 2014

December 18th, 2014

2014 The Year In Review

The Year 2014 was one of my most prolific since I started photographing 39 years ago when my father, American wilderness photographer Philip Hyde, gave me a Pentax K1000… Many people don’t realize that I have two of my own portfolios of images on Philip Hyde.com at the bottom of the dropdown menu after 26 portfolios of drum and flatbed scans of Dad’s classic color transparencies, as well as black and white prints, originally captured on medium and large format film. For a brief background on my travel and adventures in childhood and after read, “About David Leland Hyde.” A big thank you to Jim M. Goldstein for founding and again hosting this showcase every year since 2007. See details for participation and enjoyment, “Blog Project: Your Best Photos From 2014.”

The year 2014 also proved fruitful for me in words, both spoken and written. Besides working on longer projects and posting two feature length blog posts a month, I began writing for magazines again after a hiatus of more than a decade. My feature article, “The Art of Vision: Learn to Connect with the Landscape Like the Great Masters Ansel Adams, Minor White, Philip Hyde and Others,” appeared in the march print issue of Outdoor Photographer magazine and under “Locations” on the website. Many expert photographers and writers praised the article for its emphasis on craft and seeing rather than technical concerns and equipment. Read the conversation and insight by these industry leaders in my blog post announcing the feature story, “The Art of Vision: Outdoor Photographer Magazine Article By David Leland Hyde.” I also gave the Keynote Speech at the Escalante Canyons Art Festival in October, which drew the largest attendance of all keynote speeches in the 11-year history of the festival. I also gave or planned for 2015 a number of other smaller speeches at Colleges and Universities.

All “lucky 21” of my top photograph picks this year were single image capture, though I do blend images to capture highlight and shadow detail when necessary. However, this year I have used no blends so far, no HDR, only a few masks, did not move or remove objects, except for detailed retouching and otherwise optimized the photographs only with curves and a few other minor layer adjustments. This is essentially how the classic straight photographers printed in the darkroom, but in the digital workflow I make editing adjustments with much more precision than possible with any film process.

This year I kept 21,154 images as opposed to only 8,142 in 2013; 10,525 saved in 2012; 5,783 in 2011; 3,684 in 2010 and 8,877 in 2009 for a grand total of 60,178 since I went digital. Part of the increase is due to exposure bracketing for images that may need it. Totals are not easy to find before 2009, except in some years when I made no photographs. By comparison, my father in his 60 +/- years actively photographing full-time, made an estimated 50,000 large format film photographs, approximately 80,000 medium format images and another 20,000 tests or family snapshots with 35 mm film. While Dad would make at most 10-16 images a day in a subject rich area with the expenses and limitations of large format, I sometimes make as many as one or two hundred images on a big day. I am highly selective at times, but I also like to work the angles. I’m not usually shooting away hoping to get a few good pictures by sheer odds, an approach my father poked fun at, the majority of my photographs are potentially saleable. That is what I plan to focus on doing more of with my own work in the next several years. I already sell as many of my own prints as Dad’s, but his darkroom vintage gelatin silver prints, Cibachrome and dye transfer color prints blow my little ol’ chromogenic or digital prints away in dollar volume.

See many of the photographs below larger in Portfolio One and my Sierra Portfolio on philiphyde.com now. Later you will see that I am just beginning to build my own website. To see more David Leland Hyde photography, see the blog posts, “Best Photographs of 2013,” “My 12 ‘Greatest Hits’ Of 2012,” “Best Photos of 2011,” and “My Favorite Photos Of 2010.” To find out more about limited edition archival prints see the popular blog post, “David Leland Hyde Archival Prints Pre-Launch,” or for sizes and prices go to Portfolio One or Sierra Portfolio.

Please help me improve by sharing in comments which two or so you like best and two or so that you like least…

1. Sunrise Sierra Wave Cloud Over Lone Pine, Sierra East Side, California. I drove six hours to Lone Pine arriving at 2 a.m., but awakened energized only four hours later, looked out and saw the entire sky was blazing red with a huge Sierra Wave Cloud directly overhead. I immediately drove East toward Death Valley enough to include Mt. Whitney, the mountains and the Sierra Wave Cloud in one frame.

1. Sunrise Sierra Wave Cloud Over Lone Pine, Sierra East Side, California. I drove six hours to Lone Pine arriving at 2 a.m., but awakened energized only four hours later, looked out and saw the entire sky was blazing red with a huge Sierra Wave Cloud directly overhead. I immediately drove East toward Death Valley enough to include Mt. Whitney, the mountains and the Sierra Wave Cloud in one frame.

2. Clearing Sunset Near Vista Encontada, North Rim, Grand Canyon National Park, Arizona. I exceeded the national park speed limit to get to this unnamed stop after photographing Point Imperial with the sun still above the horizon. I set up my camera and tripod as quickly as possible as the light was fading to dark fast. The howling strong wind required me to make a number of exposures before I got a sharp one.

2. Clearing Sunset Near Vista Encontada, North Rim, Grand Canyon National Park, Arizona. I exceeded the national park speed limit to get to this unnamed stop after photographing Point Imperial with the sun still above the horizon. I set up my camera and tripod as quickly as possible as the light was fading to dark fast. The howling strong wind required me to make a number of exposures before I got a sharp one.

 

3. Secret Cove, Ponderosa Pines, Lake Tahoe, Tahoe National Forest, California. This place is hard to find and a significant hike, more than two miles, from the highway. The interesting rock arrangements and opportunity to capture near, middle and far away scenic elements, kept me photographing here nearly all day.

3. Secret Cove, Ponderosa Pines, Lake Tahoe, Tahoe National Forest, California. This place is hard to find and a significant hike, more than two miles, from the highway. The interesting rock arrangements and opportunity to capture near, middle and far away scenic elements, kept me photographing here nearly all day.

4. Sun Rays Through Cloud Layers, Pacific Ocean, Cardiff-By-The-Sea, California. My friend Ralf and his daughter Mia and I were photographing her cousins and brothers surfing, when the sun, clouds and sunlight began to put on this epic show. I was using shutter priority to keep the surfers sharp, but shifted into manual, low ISO, small aperture settings for a series of landscape photographs.

4. Sun Rays Through Cloud Layers, Pacific Ocean, Cardiff-By-The-Sea, California. A friend of mine and his daughter and I were photographing her cousins and brothers surfing, when the sun, clouds and sunlight began to put on this epic show, while it was also getting dark fast. I had been using shutter priority to keep the surfers sharp, but shifted into manual, lower ISO, smaller aperture settings for a series of landscape photographs. That’s when the daughter started asking me about what tripods do for photographs…

 

5. Twilight, Mist Patterns, Round Valley Lake, Greenville, California. This photograph I made near dark and lightened it some in Photoshop. Images made around the dusk hour often exhibit shades of translucent blue like this.

5. Twilight, Mist Patterns, Round Valley Lake, Greenville, California. This photograph I made near dark and lightened it some in Photoshop. Images made around the dusk hour often exhibit shades of translucent blue like this.

6. Clay Rainbow Near Old Pareah, Grand Staircase-Escalante National Monument, Utah. No trip to the wilderness Southwest is complete without getting stuck in the sand and mud. I had to get stuck and unstuck by myself many miles from pavement to earn this photograph. Besides that, making the image was straightforward with just a little saturation added for spice, though I actually de-saturated the red after curves contrast made it a bit overdone.

6. Clay Rainbow Near Old Pahreah, Grand Staircase-Escalante National Monument, Utah. No trip to the wilderness Southwest is complete without getting stuck in the sand and mud. I had to get stuck and unstuck by myself many miles from pavement to earn this photograph. Besides that, making the image was straightforward with just a little saturation added for spice, though I actually de-saturated the red after curves contrast made it a bit overdone.

7. Logs And Reflections, Manzanita Lake, Lassen Volcanic National Park, California. This photo was among many I found walking around Manzanita Lake during the evening sun angle when the lake surface appeared to catch fire and glow with the most intensity.

7. Logs And Reflections, Manzanita Lake, Lassen Volcanic National Park, California. This photo was among many I found walking around Manzanita Lake during the evening sun angle when the lake surface appeared to catch fire and glow with the most intensity.

8. Lower Spooky Gulch Slot Canyon, Grand Staircase-Escalante National Monument, Utah. I wanted to get into Coyote Gulch, but did not want to backpack overnight. This slot canyon and two others near it, including the Dry Fork of Coyote Gulch, provided plenty of interesting sandstone canyon sculpture without fighting the crowds at Antelope Canyon or The Wave in Arizona.

8. Lower Spooky Gulch Slot Canyon, Grand Staircase-Escalante National Monument, Utah. I wanted to get into Coyote Gulch, but did not want to backpack overnight. This slot canyon and two others near it, including the Dry Fork of Coyote Gulch, provided plenty of interesting sandstone canyon sculpture without fighting the crowds at Antelope Canyon or The Wave in Arizona.

9. Dawn Mist And Canoe On Millpond, Graeagle, California. Woke up in the dark to make this one. The mist accumulating on the surface of the Millpond peaked just as I began to see and decreased with the progression of daybreak. I made a few exposures when it was darker with more mist, but the mist patterns in this were more interesting, while less lightening and noise reduction is needed on this image.

9. Dawn Mist And Canoe On Millpond, Graeagle, California. Woke up in the dark to make this image. The mist accumulating on the surface of the Millpond peaked just as I began to see and decreased with the progression of daybreak. I made a few exposures when it was darker with more mist, but the mist patterns in this were more interesting, while less lightening is needed on this image.

10. Old Mission, San Juan Capistrano, California. I made this one, as I do many photographs, from the tripod platform Dad built on the roof of our family Ford 150 Econoline travel van. You cannot see over the mission wall from street level.

10. Old Mission, San Juan Capistrano, California. I made this one, as I do many photographs, from the tripod platform my father built on the roof of our family Ford 150 Econoline travel van. You cannot see over the mission wall from street level.

11. Bicyclists Rejoice, Murals, Balmy Alley, Mission District, San Francisco, California. I agree with Nina Simone that an artist’s responsibility is to reflect the times. I show the general mood and place where the murals are, without recording any of them specifically, but rather, transforming their combination into a telltale scene. I intend to draw attention to the neighborhood and encourage people to go see this incredible, often political art. I clicked one frame before the bicyclists came happily along and idealized the composition. Riding bicycles will become more and more a sign of the times in the future.

11. Bicyclists Rejoice, Murals, Balmy Alley, Mission District, San Francisco, California. I agree with Nina Simone that an artist’s responsibility is to reflect the times. I show the general mood and place where the murals are, without recording any of them specifically, but rather, transforming their combination into a telltale scene. I intend to draw attention to the neighborhood and encourage people to go see this incredible, often political art. I clicked one frame before the bicyclists came happily along and idealized the composition. Riding bicycles will become more and more a sign of the times in the future.

12. Farm Workers, Strawberry Fields Near Oceano and Guadalupe, California. I stumbled upon this field of workers and others picking strawberries and cabbages on the way to the Oceano Dunes, some sections of the dunes are called the Nipomo Dunes and Pismo Dunes in each respective town the dunes reach across. By seeking out the wildest part of the Oceano Dunes I also discovered several other subjects I had been thinking of photographing in the future. The vantage point of the top of my van came in handy again here.

12. Farm Workers, Strawberry Fields Near Oceano and Guadalupe, California. I stumbled upon this field of workers and others picking strawberries and cabbages on the way to the Oceano Dunes. Some sections of the dunes are called the Nipomo Dunes and Pismo Dunes in each respective town the dunes reach across. By seeking out the wildest part of the Oceano Dunes, I also discovered several other subjects I had been thinking of photographing for some time. The vantage point of the top of my van came in handy again here.

13. Broken Windows Detail, Abandoned School, Mare Island, California. I’m seeing abandoned buildings and homes all over the West, in cities and in rural areas. I made this image from the public roadway, as the condemned school was on property owned by a private corporation who bought it from the US Navy. The school was on part of the defunct Mare Island Naval Base.

13. Broken Windows Detail, Abandoned School, Mare Island, California. More signs of the times. Watch your step in ruined buildings. Watch out above too. I have been dive bombed by birds, charged at by ferrel cats and made to jump by mice and rats. I notice abandoned buildings and homes all over the West, in cities and in rural areas. I made this image from the public roadway, as the condemned school was on property owned by a private corporation who bought it from the US Navy. The school was on part of the defunct Mare Island Naval Base. To see the photograph large

http://www.philiphyde.com/#mi=2&pt=1&pi=10000&s=3&p=27&a=0&at=0

14. Freeway Curves, Vallejo, California. I like the curves and shapes found in many of the giant concrete bridges, ramps, columns, buttresses and beams of our interstate highway system. Photographing freeways is dangerous and sometimes tough on the lungs in rush hour. Often high contrast separates the shadowy under sides of roadways from bright surroundings, yet shadows add curves and other interest.

14. Freeway Curves, Vallejo, California. I like the curves and shapes found in many of the giant concrete bridges, ramps, columns, buttresses and beams of our interstate highway system. Photographing freeways is dangerous and sometimes tough on the lungs in rush hour. Often high contrast separates the shadowy under sides of roadways from bright surroundings, yet shadows add curves and other interest.

15. Oakland Harbor From Yerba Buena Island, San Francisco Bay, California. This side of Yerba Buena Island is a challenging place to make photographs as there is no place to park and the construction crews for the new Bay Bridge want to keep people away from the construction zone. However, I managed to squeeze out a few images of Oakland across the Bay receding into the mist.

15. Oakland Harbor From Yerba Buena Island, San Francisco Bay, California. This side of Yerba Buena Island is a challenging place to make photographs as there is no place to park and the construction crews for the new Bay Bridge want to keep people away from the construction zone. However, I managed to squeeze out a few images of Oakland across the Bay receding into the mist.

16. California Highway One From Above, Big Sur Coast, Pacific Ocean, Los Padres National Forest, California. The color version of this is beautiful with a sapphire blue ocean and gold illuminated plants on the cliffs, but I feel the black and white version somehow transports us to another time with the help of winding two-lane State Highway 1. Climbing several hundred feet above the highway also gives this a unique perspective. I had to watch out for Poison Oak, which is prolific in Big Sur. In the end I was not careful enough and drove home with the rash on my face, forearm, ankle and calf.

16. California Highway One From Above, Big Sur Coast, Pacific Ocean, Los Padres National Forest, California. The color version of this is beautiful with a sapphire blue ocean and gold illuminated plants on the cliffs, but I feel the black and white version somehow transports us to another time with the help of winding two-lane State Highway 1. Climbing several hundred feet above the highway also gives this a unique perspective. I had to watch out for Poison Oak, which is prolific in Big Sur. In the end I was not careful enough and drove home with the rash on my face, forearm, ankle and calf.

17. San Juan River Canyons From Muley Point Overlook, Utah. Muley Point was one of Dad’s favorite photo stops. The dirt road and remote location weeds out many travelers. However, the views are great of Monument Valley and into the San Juan River canyons, offering all kinds of photographic possibilities.

17. San Juan River Canyons From Muley Point Overlook, Utah. Muley Point was one of Dad’s favorite photo stops. The dirt road and remote location weeds out many travelers. However, the views are great of Monument Valley and into the San Juan River canyons, offering all kinds of photographic possibilities.

18. Leaning Alders Abstract, Indian Creek Near Taylorsville, California. I made a number of variations on this, a few closer in, some including the shore, a few horizontals. This version stands out the most. The color version of this same composition looks nearly identical to the black and white, except for the large floating stick in the lower right that is brown in the color image. The Alder tree trunks are dark gray either way, as well as the water being the same slate gray in either color or black and white.

18. Leaning Alders Abstract, Indian Creek Near Taylorsville, California. I made a number of variations on this, a few closer in, some including the shore, a few horizontals. This version stands out the most. The color version of this same composition looks nearly identical to the black and white, except for the large floating stick in the lower right that is brown in the color image. The Alder tree trunks are dark gray either way, as well as the water being the same slate gray in either color or black and white.

19. La Jolla Caves, La Jolla Shores, California. A friend of mine’s kids were doing flips off rocks into the ocean at a place called Deadman’s, to the side and above La Jolla Caves. I photographed boys doing flips and a couple flops. Photographed the cormorants on the cliffs as well as the beautiful and frightening cave entrances at cliff base.

19. La Jolla Caves, La Jolla Shores, California. A friend of mine’s kids were doing flips off rocks into the ocean at a place called Deadman’s, to the side and above La Jolla Caves. I photographed the boys doing flips and a couple flops. I photographed the cormorants on the cliffs as well as the beautiful and a bit spooky cave entrances at the cliff base.

20. Burney Falls, McArthur-Burney Falls Memorial State Park, California. I have wanted to visit Burney Falls for a long time to see if I could photograph it significantly different than my father did. He photographed it in all seasons, but his most known image of the falls he made in winter with the foreground deciduous trees bare and few leaves on any other shrubs. I was happy to find that there are many viewing areas and many angles from which to photograph the waterfall, including from downstream, from front, side and from several different levels above the 129-foot drop.

20. Burney Falls, McArthur-Burney Falls Memorial State Park, California. I have wanted to visit Burney Falls for a long time to see if I could photograph it in a different way from the many my father did. He photographed it in all seasons, but his most known image of the falls he made in winter with the foreground deciduous trees bare and few leaves on any other shrubs. I was happy to find that there are many viewing areas and many angles from which to photograph the waterfall, including from downstream, from front, side and from several different levels above the 129-foot drop.

21. Spring Showers, Table Mountain, Sierra Foothills Near Oroville, California. Many of my best images I drive right by and then turn around to go back and make the image. This photograph was located on a part of the highway with narrow shoulders and steep drop offs on either side of the road.  This meant the nearest place to park was a good half-mile down the road. I felt this one was worth hiking a mile, but I also had to watch for some time the sun going in and out of the clouds to pick the best moment when the trees would be lit, but also when they cast at least some shadow, which I feel adds interest.

21. Spring Showers, Table Mountain, Sierra Foothills Near Oroville, California. Many of my best images I drive right by and then turn around to go back and make the exposure. This photograph was located on a part of the highway with narrow shoulders and steep drop offs on either side of the road. The nearest place to park was more than half-mile down the road. I felt this one was worth hiking a mile round-trip, but I also had to watch for some time, the sun going in and out of the clouds to pick the best moment when the trees would be lit, but also when they cast at least some shadow, which may add interest.

 

 

 

 

 

 

 

 

 

 

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.”

My Favorite Photos Of 2010

January 7th, 2011

Mirror Lake, Mist, Winter, Yosemite National Park, Sierra Nevada, California, 2010 by David Leland Hyde. Nikon D90.

For the next 10 or more years, in some ways the rest of my life, I have my work assignment: representing my father, prominent Western landscape photographer Philip Hyde. Also, you may or may not notice from this blog, but I consider myself a writer first and a photographer as a sideline, at least for quite some time to come.

Edward Weston’s Darkroom, Wildcat Hill, Carmel Highlands, California, 2010 by David Leland Hyde. Nikon D90.

My secret to making it into print in the past was to edit several more times than I do when I write blog posts. However, I haven’t made any print or online magazine submissions recently.

Fall Color, Summit County, Rocky Mountains, Colorado, 2010 by David Leland Hyde. Nikon D90.

Even though I am still interviewing people for my book, I hope to get a chance to do more regular magazine writing this year. Perhaps I will even write about other interests besides my father, his photography and life, as is my focus here and during the majority of days.

Mission San Miguel De Arcangel, Paso Robles, California, 2010 by David Leland Hyde. Nikon D90.

Meanwhile, I have been inspired by photographer and fellow blogger Jim M. Goldstein, who seems to have instigated nearly every photo blogger in the photo blogosphere to post their “Best Photos of 2010.” To see more “Best Photos of 2010” from all around the web see Jim M. Goldstein’s blog post, “Top 10 ‘Top Photo Lists.'” Also, the Nature Conservancy just posted a great slide show of its, “Best Nature Photos of 2010.”

Neighbors, San Francisco, California, 2010 by David Leland Hyde. Nikon D90.

I am discovering that I greatly enjoy the photography blogosphere. The community is diverse yet generally friendly and helpful to each fellow blogger. Each photo blogger benefits from the network and contributes as well. Each blogger has something to teach and something to learn. Like minds tend to come together and those who differ widely also cross-pollinate methods and ideas and friendships develop. Through the process I am catching a more serious case of the photography bug all the time. I make photographs in my spare time, about five minutes a month.

Reflection Detail, Manzanita Lake, Lassen Volcanic National Park, California, 2010 by David Leland Hyde. Nikon D90.

I photograph a combination of subjects and do not limit myself to a certain genre or type of photography like many “experts” suggest. My father knew how to specialize. His type of landscape photography was ideal for him. His work was also part of one of the biggest changes in photography to come along, besides perhaps what is happening now and when negatives changed from glass plates to film. Digital photography today, besides being much easier than film, is also more freeing, providing the flexibility and opportunity to pursue various branches of photography and often combine them in new ways.

Fast Food Traveling Band, Travel Stop On Interstate 5, Northern California, 2010 by David Leland Hyde. Nikon D90.

The Road To Mt. Hough, Northern Sierra Nevada, California, 2010 by David Leland Hyde. Nikon D90.

I was fortunate to grow up in the wilderness. I find because natural surroundings are my roots that I naturally photograph the natural scene. However, I also notice that I am drawn to photograph people, and people in nature. I am attracted to social activism as well as environmental activism. If I were to pursue photography full-time rather than writing, or more than writing, the ideal life for me would be as a freelance photojournalist. I would be on the plane as soon as news broke of the BP Oil Spill, down there right in the oil slick with the workers and dead birds. Or I could see photographing inner city poverty and homeless people, or the dot com collapse, hurricanes, earthquakes, environmental disasters, as long as I wasn’t sensationalizing other people’s misfortunes, but doing something to help them.

Colorado Cleanup Demolition, Downtown Denver, Colorado, 2010 by David Leland Hyde. Nikon D90.

These photographs show where my vision is at this time after making digital photographs for just under two years and film photographs off and on for most of my life. Most of the images here are camera raw or close to it with only a few minor adjustments. One of my favorite photography quotes not by my father is, “To see color as form means looking at the image in a new way, trying to free oneself from absorption in subject matter.” –Cole Weston. This quote is part of what I’m about in my photography and will substitute for my own artist’s statement until I write one.

Summit Sunset, Loveland Pass, Rocky Mountains, Colorado, 2010 by David Leland Hyde. Nikon D90. I remember the evening I made this photograph. I had just that morning been commenting that sunsets are cliche and voila: one of the most amazing sunsets I have ever seen was waiting for me just as I emerged from the Loveland Pass Eisenhower Tunnel. I was in the fast lane and literally skidded to a stop in about a foot of snow and flying powder on the center median to make this photograph. Fortunately I was in my 4X4 truck or I would not have made it back onto the pavement without a tow.

“Freeing oneself from absorption in subject matter,” is nearly the opposite of what my father was doing with a camera. His photography was primarily about place and as Emerson put it, “the integrity of natural objects.” I would expand my statement to include the integrity of all objects, as well as the breakdown, disintegration and rearrangement of all objects. Not to mention the celebration of place without attachment to place or to subject matter in the photograph.

Another photographer, I don’t remember who, said something else I like that applies, “Photography is not about what objects look like, it is about what objects look like when photographed.”

Snow Cornice Detail Along Highway 50, Nevada, 2010 by David Leland Hyde. Nikon D90. Sometimes it pays off to be out driving across several states after a fresh snowfall. Amazingly, even though I drive back and forth from California to Colorado a few times a year, I still drive fewer than 8,000 miles a year, significantly less than the average American at just over 12,000 miles a year.

Whiz Burgers, San Francisco, California, 2010 by David Leland Hyde. Nikon D90. Something about fast food, the Catholic Church and all those electric wires powered by San Francisco’s electricity grid set me onto going for an apocalyptic sky look.

As long as I’m borrowing phrases from other photographers I will quote my favorite pioneer landscape photographer and hero, my father, from his Artist’s Statement to close this post. To me this is one of the wisest statements he ever made and part of what drives me, “A mind at peace may be found in any individual or people who have kept touch with what the land is saying and who lack the benefits of instant dissemination of the human troubles that make news. After reading Gandhi, I see that what we need now is a peaceful environmental revolution. The Earth will survive, but will man survive on the Earth?”

To read an introduction to what else I learned from my father see the blog post, “Memories Of Finally Working With Dad.” For more of my photographs see the blog posts, “David Leland Hyde Archival Prints Pre-Launch” and “Best Photos Of 2011.”