Posts Tagged ‘NANPA’

Enduring Images: Interview of Jack Dykinga for Outdoor Photographer Magazine

September 15th, 2016

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

Including Previously Unpublished Interview Sections and Materials

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hyde: Like Ansel talked about with the experience?

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

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

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

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

Big Wild, iLCP RAVE Sacred Headwaters By Paul Colangelo

November 29th, 2010
SPECIAL GUEST BLOG POST

Big Wild Raises Funds and the International League of Conservation Photographers (iLCP) Sponsors A Rapid Assessment Visual Expedition (RAVE) To The Coal Bed Methane Threatened Sacred Headwaters In Northern British Columbia…

By Paul Colangelo

In March, Paul Colangelo received the North American Nature Photography Association’s 2010 Philip Hyde Grant to help with photography of the Sacred Headwaters in Northern British Columbia, Canada. Paul Colangelo gives us an update on progress since in his own words. Please support the protection of the Sacred Headwaters with YOUR VOTE BY DECEMBER 7. (See below.)

Juvenile Stone Sheep, Todagin Mountain, Sacred Headwaters, British Columbia, Canada by Paul Colangelo.

The Sacred Headwaters is the shared birthplace of three of British Columbia’s greatest salmon-bearing rivers, the Stikine, Skeena and Nass. The Sacred Headwaters supports one of the largest intact predator-prey systems in North America, and it has been the territory of the Tahltan Nation for thousands of years. It is now under threat of industrial development, but a moratorium has given us two years to decide the fate of this land. We have until December 2012 to protect the Sacred Headwaters.

The Sacred Headwaters is a remote mountainous region in northern British Columbia, at the intersection of two of the continent’s major wildlife corridors: the Yellowstone to Yukon region and the boreal forest. In this subalpine basin, three of British Columbia’s salmon-bearing rivers – the Stikine, Skeena and Nass Rivers – are born among mountains and vast meadows. The Sacred Headwaters, known as the “Serengeti of the North,” supports one of the largest intact predator-prey systems in North America.

Volcanic Cone and the Headwaters of Maitland Creek, Sacred Headwaters, British Columbia, Canada by Paul Colangelo.

The Sacred Headwaters has been the traditional territory of the Tahltan First Nation for thousands of years. The Tahltan consider this land sacred for its hunting, cultural, and spiritual values. The health of the rivers’ salmon and trout populations are vital to the ecosystems, culture and local economies of the northwest.

In 2004, the British Columbian government granted Royal Dutch Shell tenure for nearly one million acres in the Sacred Headwaters for a Coal Bed Methane development. This would result in thousands of Coal Bed Methane wells, connecting roads and pipelines, turning the heart of the Sacred Headwaters into an industrial maze. Not only would this fracture critical habitat, but the process risks contaminating the rivers and altering water levels.

Members of the Tahltan Nation, environmental organizations, and concerned citizens of Northwestern British Columbia united in opposition to Shell’s Coal Bed Methane development and pressured the government to end resource development in the Sacred Headwaters. Tahltan elders blockaded road access, and every First Nation and municipal council downstream of the Sacred Headwaters called for a moratorium on development. Renowned environmentalist David Suzuki and National Geographic Explorer-in-Residence Wade Davis spoke out against the Sacred Headwaters development. Ali Howard from Smithers, British Columbia swam the entire 610 km Skeena River over 28 days to raise awareness.

Bobby Brush Readies Horses, Yehiniko Valley, British Columbia, Canada by Paul Colangelo.

In 2008, as a result of this pressure, the British Columbian government issued a temporary moratorium on Coal Bed Methane development in the Sacred Headwaters. This only delayed the Coal Bed Methane development, as the moratorium will expire in December 2012, allowing Shell to commence drilling. Conservation efforts are now aimed at increasing public pressure on the British Columbian government to establish a permanent moratorium on Coal Bed Methane development within the Sacred Headwaters.

Few people, however, have witnessed this remote landscape, and without a comprehensive body of visual work, campaigns cannot visually connect the public to the place they are being asked to protect from Coal Bed Methane destruction.

To aid in the conservation effort, I began shooting Sacred Headwaters, Sacred Journey, a photography project aimed at taking people on a journey through the Sacred Headwaters and presenting the issues that surround it. I have spent the past year and a half shooting and campaigning to raise awareness of this relatively unknown region. A big part of the project has been collaborating with environmental organizations, providing them with imagery for their campaigns to raise enough public support to permanently protect the Sacred Headwaters in our last window of opportunity.

Klappan Range, Sacred Headwaters, British Columbia, Canada by Paul Colangelo.

This project was made possible by the generous support of foundations, companies and private donors. The NANPA Foundation or North American Nature Photography Association Foundation supported the project with its 2010 Philip Hyde Grant, which is awarded annually to an individual NANPA member who is actively pursuing completion of a peer-reviewed environmental project that is consistent with the missions of NANPA and the NANPA Foundation. [For more about the 2010 Philip Hyde Grant see the blog post, “NANPA Philip Hyde Grant 2010.” See also the blog post about the 2008 Philip Hyde Grant recipient, Amy Gulick, and her work in the Tongass National Forest, Alaska, “Salmon In The Trees: Amy Gulick’s Conservation Photography.”]

The International League of Conservation Photographers (iLCP) joined me in the Headwaters this past summer to conduct a Rapid Assessment Visual Expedition (RAVE). Go HERE to read what a RAVE is. The iLCP is made up of the world’s top conservation photographers and has a mission to further environmental and cultural conservation through ethical photography. Their RAVE initiative sends a group of conservation photographers to a threatened region to create a body of work to be used to raise awareness. This summer, iLCP photographers Wade Davis, Carr Clifton, Joe Riis and Claudio Contreras spent three weeks photographing in the Sacred Headwaters.

Moose, Sacred Headwaters, British Columbia, Canada by Paul Colangelo.

Sacred Headwaters, Sacred Journey was awarded Mountainfilm’s inaugural Commitment Grant, which supports five individuals who are producing film, video, photography, book, art, and multimedia projects intended to move audiences to action on issues that matter. The Mountainfilm Festival in Telluride, Colorado from May 27 – 30, 2011 will include an exhibit on the Sacred Headwaters, and Wade Davis will speak about the issue.

How You Can Help…

There are a number of ways you can support the Sacred Headwaters campaign. Visit www.sacredheadwatersjourney.com to learn more about the issues and tell the BC government that you support the protection of the Headwaters from Coal Bed Methane and other destructive uses by signing an online petition and emailing the Premier.

Grand Canyon of the Stikine River, Sacred Headwaters, British Columbia, Canada by Paul Colangelo

Vote Here Please…

You can also help the project win funding by voting for it in a competition sponsored by The Big Wild, an organization aimed at protecting half of Canada’s public land. The Big Wild will award $10,000 to three conservation projects out of a group of five finalists, and Sacred Headwaters, Sacred Journey is in the running under the North West Watch Society. Please visit www.thebigwild.org/bucks to cast your vote. A vote for the North West Watch Society is a vote for the Sacred Headwaters.

Paul Colangelo specializes in editorial assignments and conservation efforts. His work has been exhibited at the Smithsonian Institute, was awarded an honorable mention in the International Photography Awards, and named a finalist in BBC’s Wildlife Photographer of the Year. Paul Colangelo lives in Vancouver, British Columbia. www.paulcolangelo.com

Salmon In The Trees: Amy Gulick’s Conservation Photography

July 15th, 2010

A Profile Of Amy Gulick’s Work In Conservation Photography And An Announcement Of Her New Book… Salmon In The Trees: Life In Alaska’s Tongass Rain Forest

Amy Gulick Won the NANPA Philip Hyde Grant in 2008 for her work in the Tongass National Forest beginning in 2007.

(See also the blog post, “NANPA Philip Hyde Grant 2010” about Paul Colangelo’s conservation photography in Northern British Columbia)

Tongass National Forest, Alaska, by Amy Gulick, from the project Salmon in the Trees: Life in Alaska's Tongass Rain Forest

The Philip Hyde Grant’s 2008 recipient, Lowell Thomas Award winner and founding fellow of the International League of Conservation Photographers, Amy Gulick, recently launched her new book Salmon In The Trees: Life In Alaska’s Tongass Rain Forest.

Amy Gulick’s photographs in Salmon in the Trees, document the cycle of life in the Tongass National Forest in Southeast Alaska. The Tongass National Forest contains one-third of the world’s remaining rare temperate rain forests and the largest reserves of old growth forests in the United States. The Tongass rain forest, like other old growth forests, is an intricately balanced ecosystem and a chain of interactions with links that are weakening due to increasing outside pressures.

Continuing In The Tradition Of Conservation Photography Pioneered By Philip Hyde

Salmon In the Trees: Life In Alaska’s Tongass Rain Forest deepens and expands the work of Philip Hyde, whose landscape photographs helped expand portions of the Tongass National Forest and protected it from destruction nearly 40 years ago. The threats today are greater as the delicate balance of the ecosystems within the Tongass rain forest are at risk. Yet Salmon In the Trees: Life In Alaska’s Tongass Rain Forest, “portrays a hopeful story,” said the website text of the publisher, Braided River. The text continues:

…The Tongass is one of the rarest ecosystems on Earth. Humpback whales, orcas, and sea lions cruise the forested shorelines. Millions of wild salmon swim upstream into the forest, feeding an abundance of bears and bald eagles. Native cultures and local communities benefit from the gifts of both the forest and sea. But the global demands of our modern world may threaten this great forest’s biological riches. With camera and rain gear in hand, photographer Amy Gulick paddled and trekked among the bears, misty islands, and salmon streams… she met bush pilots, fishermen, guides, and artists…

Black Bear Paws and Salmon, Tongass National Forest, Alaska, by Amy Gulick, from the project Salmon in the Trees: Life in Alaska's Tongass Rain Forest

Amy Gulick also wrote about her Tongass conservation photography project in Outdoor Photographer in an article with the same title as her book, Salmon In The Trees. The following is from a caption to one of her photographs of the Tongass National Forest in Outdoor Photographer:

At 16.8 million acres, the Tongass is the largest national forest in the U. S.; about 40% of the Tongass consists of glacial ice fields, alpine tundra, wetlands and water, [the rest is temperate rain forest]. Bears play a significant role in spreading nutrient-packed salmon carcasses throughout the forest—the bodies of the salmon decay into the soil, and trees absorb the nutrients through their roots.

Amy Gulick’s Outdoor Photographer article continues:

Salmon live on in frolicking spring cubs, plump blueberries, new growth rings in tree trunks and downy eaglets perched in their nests. And the next generation of salmon is swaddled in the streams and incubated by the forest. The fertilized eggs will soon hatch, ensuring that the cycle of life is a circle, always flowing, never broken…. But we’re on our way to carving up this extraordinary forest. We only have to look south to the once-magnificent salmon rain forests of Washington, Oregon and northern California to see how quickly we can decimate ancient trees, wild salmon and a rich way of life…. Continued threats include logging, mining, industrial-scale tourism, energy development and global climate change.

Salmon In The Trees: The Culmination Of A Three-Year Conservation Photography Project

When I heard about Salmon In The Trees, I asked Amy Gulick if her new book was a culmination of the conservation photography project she was working on in 2008 when she won the prestigious North American Nature Photography Association’s 2008 Philip Hyde Grant. She explained that part of the criteria for the NANPA Philip Hyde Grant is that the conservation photography project already be in progress. She explained:

When I won the 2008 Philip Hyde Grant, I was halfway through completing the photography for my Tongass project. I started the project in the spring of 2007, applied for the grant in August 2007, and was awarded the grant in winter 2008. I then spent the spring and summer of 2008 completing the photography. It took most of 2009 to design and produce the book, web site, YouTube videos, and exhibit in Juneau, Alaska.

Caribou Crossing, Arctic National Wildlife Refuge, Alaska, by Amy Gulick, from the project Arctic National Wildlife Refuge: Wilderness or Wasteland?

Besides her conservation photography work in the Tongass rain forest, Amy Gulick’s Internet story “Arctic National Wildlife Refuge: Wilderness or Wasteland?” won a Lowell Thomas Travel Journalism Award presented by the Society of American Travel Writers Foundation. Also, the Alaska Conservation Foundation named Amy Gulick the 2008 recipient of the Daniel Housberg Wilderness Image Award for Excellence in Still Photography. The award recognizes conservation photography projects that advance the protection of Alaska’s wilderness environment, further discussion of issues relating to habitat and stewardship of the state’s natural resources, and enhance greater public education relating to these areas. For more news about Amy Gulick and her conservation photography Click Here and to view the book trailer go to YouTube.

Backpacker Magazine Interview: Conservation Photographer Philip Hyde Part 1

March 17th, 2010

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NANPA Philip Hyde Grant 2010

January 27th, 2010

NANPA Foundation Announces 2010 Recipient of the Philip Hyde Grant

Award Highlights Use of Photography in Conservation

Bald-faced hornet, Vespula maculata, emerging from nest, Ontario, by Paul Colangelo. (Finalist in the BBC Wildlife Photographer of the Year competition.)

Wheat Ridge, Colorado – The NANPA Foundation has announced that Paul Colangelo of Vancouver, British Columbia, Canada is the recipient of the 2010 Philip Hyde Grant for his work in British Columbia. This $5,000 peer-reviewed grant is awarded annually to an individual member of the North American Nature Photography Association who is actively pursuing completion of an environmental project.

Sacred Headwaters, Sacred Journey is a documentary project of the Sacred Headwaters. Wildlife and nature photographer Paul Colangelo and writer Amanda Follett plan to raise awareness of this remote land and the issues surrounding it. See www.paulcolangelo.com and http://www.sacredheadwatersjourney.com/ for more information about Paul and the project in the northern reaches of North America.

Forest fire remains, Kootenay National Park, British Columbia, Canada, by Paul Colangelo. (In the group exhibit at the Smithsonian.)

Paul Colangelo specializes in editorial assignments and conservation efforts. His work has been exhibited at the Smithsonian Institute, was awarded an honorable mention in the International Photography Awards, and named a finalist in BBC’s Wildlife Photographer of the Year. Paul Colangelo lives in Vancouver, British Columbia.

In northern British Columbia, three of the province’s greatest salmon-bearing rivers (the Skeena, the Stikine and the Nass) are formed in the subalpine basin known as the Sacred Headwaters. The land has one of the largest intact predator-prey systems in North America, earning it the nickname, “Serengeti of the North,” and is the traditional territory of the Tahltan First Nation. It also is the location of natural resources such as coal and coal-bed methane and gold.

Headwaters of the Skeena River, Sacred Headwaters, British Columbia, by Paul Colangelo. (From the Sacred Headwaters, Sacred Journey project.)

The Sacred Headwaters are at the center of a dispute between the Tahltan First Nation, resource development industries, government and environmental groups. Competing interests concerning land use, mining and hunting have created divides and put the future health of the Sacred Headwaters at risk.

The NANPA Foundation develops, supports and implements nature photography projects jointly with the North American Nature Photography Association and other organizations. It initiates, partners, operates and generates funding for projects that advance awareness of and appreciation for nature through photography. For information about the NANPA Foundation, visit its website at www.nanpafoundation.org. For information about NANPA and the Annual Summit, visit www.nanpa.org.

58 Years In The Wilderness Intro 1

January 18th, 2010

Cathedral In The Desert, Glen Canyon, Utah, 1964, by Philip Hyde. Named One of The Top 100 Photographs of the 20th Century by American Photo Magazine

(See the photograph full screen: Click Here.)

Revised January 17, 2010
Originally written 2005

From 58 Years In The Wilderness:
The Story of Ardis and Philip Hyde Traveling, Defending and Living in the Wilderness

Introduction First Draft

Two days of rain battered our white plastic rain fly. The 20-foot-square white tarp hung from ropes tied to trees on the two diagonal corners and to stakes in the ground on the remaining corners. Under the tarp our orange four-man tent billowed in gusts of wind.

I snuggled into my down sleeping bag in the tent and listened to the drone of rain. Just outside the front flap of the tent, though well under the rain fly, squatted Mom. She held a Sierra Club cup with a decaf coffee freshly poured from the small teapot on the grate down at the fire.

It was April 1970 and we were backpacking in Coyote Gulch in the Escalante Wilderness, Utah in an area that later became inaccessible as the waters of “Lake” Powell drowned the mouth of Coyote Gulch. My dad, Philip Hyde, a freelance landscape photographer, often worked with the Sierra Club and other environmental organizations such as the Wilderness Society and National Audubon. He found out about this spectacular red-walled canyon full of arches, overhangs and green seeps slipping over hidden ledges, because the area was part of a proposed wilderness and more than once put forward as a potential National Park. By 1970 Dad’s photographs had already appeared in dozens of books and before the United States Congress, Senate and many other state and local political leaders on behalf of wild lands all over the Western U.S. His photographs were applied to more environmental campaigns than those of any other photographer of his time.

Ardis and David, Camp at Icicle Springs, Coyote Gulch, Escalante Wilderness, Utah, 1970, by Philip Hyde. Baby Deardorf 4X5 View Camera taking a break, Hasselblad in operation. Ardis Hyde writing in the trip log.

The wind picked up and the rain fly pelted the tent roof, keeping me from dozing off and getting my daily nap I usually had in the afternoon at age five.

“Where’s Daddy-O?” I asked, up on an elbow to see Mom.

“He’s getting firewood.”

“In the rain?”

“He must have had to go farther than expected and decided to hole up under an overhang or something,” Mom said.

“Hmm. I hope he’s all right.”

“Now David, your father is a very capable man. Do you want more hot chocolate?”

“Yeah,” I sat up, pulled my Sierra Club cup out and held it up to her.

“Say please,” she responded.

“Please,” I said.

She carried my cup down to the fire in the rain, balanced it on a rock, lifted the larger kettle from the campfire with pliers, tilted it and poured into my cup spilling only slightly. She delivered the hot chocolate to me, safely squatting and dry still just inside the tent and without shoes.

“Let that cool again now,” she said.

“OK,” I said, balancing the cup to the side and scrunching back down into my bag. “It seems pretty dark.”

“There is plenty of light left,” she said.

The wind and rain blended into a rising roar. I was back down into my bag but up on my elbows. I shivered though I was a mummy in down. I sipped tiny scalding tastes of hot chocolate. The light from the campfire flashed and flickered dimly on the tent ceiling. The shadows deepened. Every few seconds I heard the splitting of limbs or the thunk of twigs on the tarp. The fresh smell of masses of water pounding sand and sandstone was punctuated with bursts of lightning followed by deafening cracks in the sky.

Just then Dad appeared with a large arm-full of wood.

“You sure are soaking wet,” Mom said. “Why don’t you come in and take off those wet clothes?”

“I need to get a few more armloads of wood,” he said. He began to jog off into the rain but she stopped him.

“Philip?”

“Ardis?”

“There’s hot chocolate here,”

“Ummm,” he said kissing her quickly on the lips and running. “Thank you love, I’ll have some in just a minute.”

I snuggled deeper. Mom poked the fire. The rain fell even harder. It seemed the raindrops were bunching together in torrents and falling like waterfalls on the flap bucking in the wind.

Mom never doubted Dad’s capabilities. She added her talents to the collaboration perfected and imperfected by time and exposure to a spectrum of weather conditions. Dad fixed flat tires, dead batteries and broken equipment with patience, ingenuity and often little resources. Mom planned and prepared. She managed the food and supplies. She supported emotionally, physically and spiritually. She kept the daily trip logs, read the guidebooks and for fun studied plants, animals and especially birds.

Preparing for excursions, Dad studied the geology of the area he would scour for picture possibilities. In the field he knew the weather. On his studio wall he kept a chart of more than 20 types of clouds. He could often accurately predict the weather by looking at the sky or indicators like the barometer and thermometer. He kept a constant vigil for the light and atmospheric conditions favorable to photography.

From their marriage on June 29, 1947, until Dad began to lose his eyesight in 1999, he spent an average of 99 days a year in the field. Mom accompanied him more than half the time. They traveled mainly between April and October in the Western United States camping, backpacking, driving, riding horses, mules, trains, planes and boats to access wilderness for almost one third of every year of his working life. Summers were not the best months for photographs, but that was mainly when he traveled, so that Mom could go along in her time off from teaching kindergarten.

The summer of 1955 was typical of Dad’s early career. After buying a 1954 Chevrolet Pickup in March from Brett Weston, a contemporary photographer, Mom and Dad spent 12 days in April in the California Redwoods, across the state, 300 miles west of their home in the mountains of Northeastern California. Then Dad turned around and journeyed alone 600 miles south of home, May 3-14 to photograph Hetch Hetchy Valley in Yosemite National Park. Continuously for the next three months Mom and Dad backpacked, camped, river rafted and drove thousands of miles through Nevada, Utah, Arizona, Colorado, Wyoming, Montana, Idaho, Washington and Oregon. This included three river trips: 13 days on the Colorado River through little known Glen Canyon, 26 days on the Yampa River in Utah and Wyoming inside Dinosaur National Park, and five days on the Ladore River, also in Dinosaur. By August 16, after three weeks in Wyoming in Yellowstone National Park and Grand Tetons National Park on a Sierra Club Pack Trip, Mom got a ride home with participants, but Dad continued on to Glacier National Park, Montana for 10 days and Olympic National Park, Washington for two more weeks. Dad did not see home until September 10.

Why did the pair spend one third of their lives pursuing this unusual brand of adventure?  (Rhetoric question. Part of the text.)

(CONTINUED IN BLOG POST, “58 Years In The Wilderness Intro 2“)