Posts Tagged ‘National Audubon Society’

Photography, Spam, Social Media and My Letters to Ken Burns Films Regarding The National Parks: America’s Best Idea

March 17th, 2017

Behind the Scenes in Photography, Spam, Email, Social Media, Mistakes, Misunderstandings, Films, The National Parks, World Class Quality, Wins, Losses and Reconciliation: A Film Review of Sorts and A Business Lesson Learned

How Philip Hyde Handled Correspondence

Redwood Giants, Sunlight on Trunks of Coast Redwoods at Jedediah Smith Redwoods State Park, California, 1962 by Philip Hyde. Published in the book The Last Redwoods that spearheaded the campaign to establish Redwood National Park. (Click on Image to See Large.)

When I was a boy, my mother Ardis rushed at all times of day and evening to answer the phone that was both the home and business line. She would call for Dad through the house announcing each caller, or run into the studio or outside to find him. She helped with his correspondence and kept in touch with our local friends. She managed our social life. She replied to all letters that were not requests for photographs. Dad had a policy of replying to all correspondence, a practice he adopted from one of his mentors, Ansel Adams.

Now that I carry on his photography business, I continue the same approach to correspondence. More than 90 percent of serious inquires come through email, but between the inbox, texts, phone, voicemail, Twitter and Facebook, communications can be a full-time job. On top of all these channels, well-meaning friends, even sometimes well-informed friends recommend looking into this or that. It all can be overwhelming at times. Replying to everything means I sometimes inadvertently waste time answering spam or at least have to take extra time determining borderline cases. My spam filters do a lot of the work, but a certain amount of stuff that crosses my desk every day is off mission, off-topic or is distracting in some way. Regularly I get strange inquiries that show people would rather write me first than start with their own Internet search to find the most relevant source to contact.

How to Judge Away an Opportunity

When I first started helping Dad in 2002 and took over Philip Hyde Photography in 2005, the year before he passed on, I was new and even a bit naïve as to what incoming information was worth paying attention to and what was not. Until you are in photography for a while, you don’t know the players, or even how a photographer successfully gets his message and photographs out to the world. I still discover new channels all the time. I also am inundated with the same old ones that don’t work for me trying to get my attention. In a short amount of time you begin to develop a healthy skepticism, even cynicism, about every idea, every inquiry that comes along. After this short time when you have become freshly cynical, you still have not heard of all of the good, legitimate opportunities that might possibly make your entire career. Even after you have been around for a long time, you may have heard of most of them, but not all, because new legitimate ones emerge all the time.

And so it was that I passed up one of the best and most important opportunities that I might have ever found. There is an important moral to this story that emerges by the end of this blog post article. It may sound silly to some people and natural to others, but there was a time when I had not heard of PBS filmmaker Ken Burns. Regardless how famous he may be, I did not know who he was. My editor, who I generally trust as a well-connected and knowledgeable man, gave me Ken Burns’ phone number and said I needed to call him regarding a new National Parks project he was working on. Not knowing the scope, audience or respect that Ken Burns Films usually garner, one day I picked the number out of a tall stack of calls I needed to make. With a dismissive attitude I dialed the phone.

My First Call to Ken Burns Films

A lady named Susanna Steisel answered the phone, but I subsequently forgot or mixed up her name with someone else and did not realize that she was the same lady I wrote to and conversed with later. Mixed in with some small talk, I explained who I was. I said that my father was one of the primary photographers for the Sierra Club Exhibit Format Series that originally popularized the large coffee table photography book and were known as battle books for making national parks. I explained that Dad’s work participated in more campaigns than any other photographer of his time, that he was one of just a few West Coast photographers who have ever had a solo Smithsonian exhibition, his in particular covering the national parks and monuments. Ms. Steisel told me about all the well-known people they already had in the film. Many of them related to the 1800s or early 1900s, or were more current interviews of National Park Service personnel.

“It sounds like this project is mainly focused on the earliest days of the founding of the parks, not the later days in the mid 1900s, around the 1950s, 60s and 70s, is that right?” I stopped her in the middle of her explanation and asked. Taken slightly aback, she agreed. We talked just a little more, I wished her well on the project and then got off the phone. I checked off that task and moved on with other calls.

What One Fool Loses Another Wise Man Will Find

Later, after I learned more about Ken Burns Films and what an opportunity I lost by not listening more and jumping in with a snap judgment, I was angry with myself and angry with Ken Burns Films. I felt especially bad after I met QT Luong, a contemporary landscape photographer who Ken Burns featured in one segment of the film series. QT Luong’s claim to fame was that he was the only photographer known to have photographed all 59 national parks. QT Luong’s photographs are exquisite and serve the purpose of showing the beauty of the parks with a contemporary aesthetic, much the way Dad’s photographs had for their time during Mid-Century Modernism. QT Luong also writes an excellent photoblog and it was through blogging that we became friends. Look for my review of QT Luong’s late 2016 book, Treasured Lands: A Photographic Odyssey Through America’s National Parks, a book that I helped edit. When I got to know QT Luong a little, he confided in me that significant income came from involvement in the 2009 film series, The National Parks: America’s Best Idea. However, he said recently that inquiries resulting from the film were fewer than he expected. Back in 2010, he wrote about this and other aspects of his involvement in a blog post, “QT Luong in Ken Burns National Park Series,” which might have cleared it up except that I didn’t see the post until after I wrote this article.

I like to think of myself as a good person, but hearing of the income that QT Luong earned  did not bring out the best in me. It sounded more substantial to me back then, but he explained recently it was not as large as I imagined. Either way, I became jealous of his success on Dad’s behalf, though I never told him. I even got mad at QT Luong, though I did not express it to him because he certainly did not deserve it. I also got angry with Ken Burns and even angrier with the poor lady I talked to in his office, whose name I did not remember. I blamed her even though I had cut her short and dismissed the project as not quite relevant for Dad’s photographs. Why wasn’t she more forceful in telling me the importance of the film? The more I thought about it, the angrier I became. This is the other side of snap judgements. When you make a snap judgement, by definition you don’t have much information. As a result you go off on all sorts of mental tangents, scenarios and imaginings that vilify those you made the judgement about, only increase your own animosity and are not factual, merely illusion. At the end of February 2014, when Susanna Steisel wrote me through the Philip Hyde Photography website contact form about a follow-up national parks book project they were researching, I did not realize she was the same lady to whom I had spoken several years before. I replied to her in early March:

Hi Susanna,

Did you get my voicemails? I returned your calls, but have heard nothing back from you.

Ken Burns is a very talented filmmaker and I hear he did a great job on his National Parks film. However, there is one aspect of his work that I am very disappointed in, well, not in him specifically, but in a lady on his staff in his office who made it seem like the Ken Burns documentary on the National Parks was only about the earliest founding days and not about the era when the most parks were formed in the 1950s, 1960s and 1970s. Due to a miscommunication and misunderstanding my father’s work did not make the film, while other photographers both contemporary to Dad and those who came after, were in it. This reflects badly on Ken Burns and his film. Why? Because my father helped make more national parks than any other photographer and is widely known as having been the backbone “go-to” photographer for more of the Sierra Club led national park campaigns than anyone else. My father was the first photographer sent on assignment for an environmental cause in 1951 to maintain the integrity of the national park system by helping to keep dams out of Dinosaur National Monument. Dad’s book, Time and the River Flowing: Grand Canyon, also was part of the core of the campaign to save the Grand Canyon. Dad had a solo show that opened at the Smithsonian in 1956 and was nationally toured to major museums during 1956-1959 called, “America’s National Parks and Monuments.” Dad’s national park related resume is one of the strongest. I hope at some point to have a friendly creative talk with Ken Burns about how Dad’s much deserved recognition, heretofore supplanted by other photographers, could come to fruition. It is high time Dad receive the recognition he deserved. When I say ‘supplanted by other photographers,’ I’m not referring to Ansel Adams, who belongs in any National Parks film. Ansel was a mentor, teaching associate, promoter and friend to Dad. I’m referring to other photographers covered in the film who happened to have photographed National Parks after Ansel Adams for their own benefit. Dad dedicated over 60 years of his life to exploring and defending wilderness. His story needs to be told “writ large” by someone like Ken Burns with real filmmaking talent.

Please let me know if and how I can help you.

David

How To Treat Irate Customers: Business 101

To this message, Ms. Steisel to her credit replied with “sincere apologies.” She mentioned that she had run across Dad’s photographs and “thought they were as beautiful as any I have seen of the parks… If we can talk perhaps I can make up for past transgressions. I don’t know how these photos got missed.” She asked for a number where I could be reached to talk about it. She had already begun to melt my heart, but I was still disappointed by the opportunity lost, knowing that the film would stand as it was for all time without Dad’s photographs in it.

My next message a month later had a more amicable tone:

…Thank you for your conciliatory remarks. I hold nothing against Ken Burns or his organization, though I was shocked to find out that the film was the quintessential film on the national parks and somehow the research did not discover Dad to be a key creative player. Anyone doing a project on the National Parks, is completely remiss to not cover the Sierra Club Exhibit Format Series, David Brower, Eliot Porter and Philip Hyde… Dad’s work not only suffered by not being in Ken’s film, but Ken’s film suffered by its omission…

Covering mainly Ansel Adams in such a film, is of course necessary, but is only the low-hanging fruit. Also, merely plucking contemporary photographers out of the air to be the token photographers in the film, without researching who actually deserved credit for making the national parks, is a disservice. In all other aspects, I hear the film is a moving tribute and one of the best ever made on the subject. As a highly talented and top notch filmmaker, I would hope that Ken Burns might be interested in righting these omissions and errors by considering doing a film on my father. Someone will sooner or later and it will have a wide audience. I have already had other filmmakers express interest, but I want a major player like Ken Burns to do it… call me any time.

The Power of a Gift and of a Sincere Review

When she called, we had a good, friendly conversation. She said Ken Burns was backlogged for years on film projects, but that his brother also made PBS films and perhaps I might talk to him. In a later conversation in 2015, it came out that I had The National Parks: America’s Best Idea saved in my Amazon favorites, but had still never seen it. I had never seen any Ken Burns films. After learning this she offered to send me The National Parks: America’s Best Idea and a number of others. From the list she gave me I picked out The Dust Bowl and Thomas Jefferson. Once I received the package of DVD’s from Ken Burns Films, I opened it right away and started watching The National Parks: America’s Best Idea. Early on it moved me to tears. I cannot overstate how impressed I was with the cinematography, the level of research, the quality of the story telling, the strength of the interviews and many other aspects of the film. It was one of the best non-fiction movies I had ever seen. I watched the whole first episode that evening. The next morning I sat down to write a thank you:

Hi Susanna,

Please share this with Ken if you at all can. Certainly you’ve heard countless rave reviews of the National Parks film, though with my background, I hope mine will still carry some weight. I am also a big fan of documentaries and have watched far more of them than the “average bear.” This one I have to say is one of the best I’ve ever seen. I agree with those who say that Ken and your team have a gift for storytelling. I loved all the detail and powerful intimate stories you all found and presented so well. I like the idea of telling “the bottom up stories,” rather than the top down ones, though there was plenty of that too with all the presidents. My father’s work and story would have been perfect for your approach because, as is widely known, he was the people’s photographer, the approachable guy, the hard-worker whose accomplishments to recognition ratio was one of the lowest. Ansel was the ambassador and entertainer of movie stars and politicians, while Dad had his boots on the ground in so many of the campaigns, sharing photographs with local leaders and going to many places way ahead of anyone else’s interest curve.

Speaking of which, in your film you mention a man going to Dinosaur in 1952 and making snapshots that influenced David Brower to get interested in saving the place. Actually, Martin Litton started writing about Dinosaur in the LA Times in 1951. Brower and Richard Leonard sent Dad to Dinosaur the same year. Dad’s photographs from four trips 1951-1955 and Litton’s were what made the book, This Is Dinosaur, though of course attaching Wallace Stegner’s name at the time is what put it on the map. With the bottom-up approach, it would have been perfect to tell the story of Litton and Hyde, more than Stegner, the Pulitzer Prize winner, especially since they did most of the work on the campaign. You can’t ever tell all the stories. I mention this not to say you got the story wrong, but as an example because there were other places where Dad’s involvement would have been interesting to your audience and added much more depth.

The whole time I was watching the film, I was incredibly moved and also kicking myself, for not having listened longer when we first talked on the phone. I remember the conversation and it was actually more my fault than yours that you did not find out more about Dad. Though obviously my whole life I was around Dad and the family part of his story, I was fairly new to telling his professional story. Also, we talked not long after Dad had passed on and I was still reeling. I was not sure how or what I was going to do with any of it.

Seems like the film contained a great deal about John Muir, but not as much about the Sierra Club, Wilderness Society, National Audubon, etc. Some of those names unfortunately have a stigma to some people, so I suppose I can see why they were not emphasized. I like how most of the stories were personal anyway, rather than about organizations. Yet, that coin has two sides. Reality is that nearly all the parks were all out battles just to bring into existence. Your film covered a smattering of that, but relatively little compared to how much of it occurred. In this sense, as pure journalism, it might not be considered as accurate by some, but the flip side of that is that your team told a story that was universal and could be related to by all. It was uniting, rather than divisive, which is exactly what the parks themselves were after they were formed. Getting them formed, however, created huge controversy, divisions and disagreements that continue to this day. You de-emphasized this, which I can see in the final analysis was for good reason.

Ultimately the film is a smashing success. I was nearly in tears at some points from the sheer beauty of the scenery and cinematography. The narrative too, had good pacing in that it snapped right along and engaged me deeply. I loved hearing from so many of the rangers.

Thank you again so much for sharing it with me.

David

Sounding the Human Note: Learn This Lesson Well

Susanna’s response:

David,
How completely touched I am by your letter. I will pass it on to both Ken and Dayton Duncan.
It is a really fine line between telling the actual whole story in detail and making a film that will be accessible to a wide-ranging audience. We really do try to do our best.
I lost both my parents early in life, and I have to say that I am envious of how proud you are of your father, and how much you know about his life, and appreciate his life. It is a gift that not many of us have.
Looking back, I wish we could have done better by him. I really do. Maybe I didn’t quite know what I was doing either.
Take good care and stay in touch if you want.
With great respect,
Susanna

I wrote her back and told her I appreciated her heartfelt response. I said that I was also touched by the gift of the films. I wrote, “A good lesson I have learned, I sure hope, is to listen more and not jump to conclusions. You all are doing wonderful, important work.” Ken Burns himself also wrote me to thank me for writing, to share how moved he was by my message and to say he was grateful to hear my story.

In this day of media sound bites, over-filled inboxes and the constant barrage of social media news feeds, I, like many of my peers in this civilization, have learned to skim through everything very quickly. I see people from all walks of life making snap judgements all the time that are way off the mark and lead to all kinds of problems. Someone misjudges someone else when they meet and an opportunity is lost. Someone makes comments on a Facebook post that are insulting or irrelevant merely because they didn’t take the time to read the conversation before they added to it. Now that my misunderstanding with Ken Burns Films is cleared up and a connection has developed, it may lead to something professionally interesting, but even if it doesn’t, the significance of the positive goodwill and mutual respect should not be underestimated. This experience and the loss to my father’s work and his legacy have taught me that I must slow down and review each contact or suggestion carefully. In particular I must beware not to take any conversation or meeting for granted because my next big career break might be lurking somewhere in the pile of messages, spam and irrelevance.

Living The Good Life 4

March 26th, 2015

Living the Good Life, Part Four

Failure In Carmel

(Continued from the blog post, “Living The Good Life 3.”)

 

“Only those who dare to fail greatly can ever achieve greatly.” ~ Robert F. Kennedy

“Everything you want is on the other side of fear.”  ~ Jack Canfield

About This Blog Post Series: “Living The Good Life”

Riffle Through Woods, Plumas County, Northern Sierra, California (Vertical Version) copyright 1983 by Philip Hyde. This view of Indian Creek is from the roof of the Hyde home they named Rough Rock. It is essentially the same view the Hydes watched wildlife through from the dining room table and living room beginning when the house was completed in 1959.

Riffle Through Woods, Plumas County, Northern Sierra, California (Vertical Version) copyright 1983 by Philip Hyde. This view of Indian Creek is from the roof of the Hyde home they named Rough Rock. It is essentially the same view the Hydes watched wildlife through from the dining room table and living room beginning when the house was completed in 1959.

In early January 2002, two months before my mother passed on, I asked her if she would be my interview subject, as I intended to write magazine articles about her locally popular gardening, preserving and cooking techniques. I also wanted reminders and more detail on my parents’ philosophy of living and making a sustainable low-impact lifestyle long before sustainability became a buzzword.

In response to my inquiries, my mother handed me her personal copy of Living the Good Life how to Live Sanely and Simply in a Troubled World by Helen and Scott Nearing, leaders of the 1950s Back to the Land Movement. Mom said simply, “This was our Bible.”

Through this series of blog posts, my parents, self-taught naturalist Ardis Hyde and pioneer conservation photographer Philip Hyde, while not on the road or on the trail for a photography project, in their quiet way adapted and invented their version of “The Good Life.” In the blog post, “Living The Good Life 2,” we reviewed Ardis’ upbringing and Philip’s and how each of them having fathers who loved nature, instilled in them the values that brought them eventually to the country and to their own land. In the third episode, “Living the Good Life 3” I reflect on the changing seasons and passing years as our dream home and my parents’ way of life continue here, after my mother has been gone 12 years and my father six. People dwelling in a simpler way, while gadgets and “conveniences” multiply, must remain constant to the vision of low impact living and stay vigilant to keep the freedom to live life this way. Technology itself can even sometimes help in this, but it can also be a distraction that interferes with the values of quiet, peace and the ability to listen to natural sounds, community and local conversations. The series began with the blog post, “Living the Good Life 1,” in which my friend Nancy Presser compared each key aspect of the Hydes’ sustainable life to points in the book, Living the Good Life. This comparative format will be common in blog posts to come in the series.

Part Four: Failure In Carmel Leads To Philip Hyde’s Greatest Success

Early Rental Homes

Before Ardis and Philip acquired their property and began to build their “dream home” on a natural bench above Indian Creek, they lived in half a dozen small rental houses and apartments, some mentioned in other blog posts, starting right after their marriage in Berkeley in 1947; in San Francisco and Daily City while Dad attended photography school at the California School of Fine Art, now the San Francisco Art Institute until 1950; in the primitive Macaulay Cabin in Tuolumne Meadows, Yosemite National Park for a summer in 1949; at the Fox Farm at Lake Almanor in the Northern Sierra and in nearby Greenville, where they moved into the Granary at Fredrickson’s Ranch while Mom taught kindergarten for 12 years. Her teaching at Greenville Elementary was interrupted for a few years and those interruptions made all the difference for the Hydes in the long run. This blog post is the story of the interruptions and how these showed the young couple they were doing what they were meant to do when they lived closest to nature in Indian Valley between the mountains of Plumas County.

The Granary at Fredrickson’s Ranch had been converted into an apartment before the Hydes lived there. Dad did his own conversion of one of the closets, about three by four feet, into a darkroom where he “souped” or processed his own film and made silver gelatin prints that he began to send out for publication. It was his first darkroom after he finished photography school. He did not have a darkroom while they lived at Benton’s Fox Farm on Lake Almanor, their first home near Greenville in Plumas County in the Northern Sierra Nevada.

First Publishing Credits

In 1949 while the Hydes lived at the Fox Farm, David Brower became the first Executive Director of the Sierra Club, a full-time paid staff position approved by the traditionally volunteer Board of Directors to better run the expanding hiking, climbing and conservation club that few people outside the mountains of California and the Bay Area knew about yet. David Brower had already led the Sierra Club’s High Sierra Pack Trips for a handful of years.

In 1950, Brower asked Dad to come along as official photographer for the Summer High Sierra Pack Trip. The other official photographer, Cedric Wright, mentored Dad on High Sierra tarp pitching, mountain film changing and timing meals and photography on the trip. Dad’s first publishing credit from the May 1951 Sierra Club Bulletin consisted of his photographs from the summer 1950 Sierra Club High Trip.

Mom and Dad moved from the Fox Farm at Lake Almanor to the Granary at Fredrickson’s Ranch, just below the California Highway 70 grade about two miles from Greenville in September 1951.

Dinosaur National Monument: The First Photography Assignment for an Environmental Cause

Meanwhile three states away, in the remote northeast corner of Utah near the Colorado border and not far from Wyoming, the town of Vernal, like many other small towns around the West, celebrated the possibility that it would soon become a boomtown. Vernal was the closest town of any size to two dams proposed on the Green River within the boundary of Dinosaur National Monument, one at Split Mountain and one at Echo Park.

Richard Leonard, Board Member of both the Sierra Club and the Wilderness Society, attended the Wilderness Society’s annual meeting in 1950 near Ft. Collins in northern Colorado. After the meeting, the founders of the Wilderness Society, Olaus and Margaret Murie, Richard Leonard and others drove through Dinosaur National Monument to see what it offered in scenic resources.

Highly impressed with the wilderness of Dinosaur, Richard Leonard back in San Francisco urged David Brower to expand the Sierra Club’s reach beyond the mountains of California to protect the spectacular Yampa and Green River canyons of Dinosaur. Brower needed to see more of Dinosaur. He needed better photographs. Other photographers’ images had been used in conservation campaigns before, but this was the first time a photographer would ever be sent on assignment for an environmental cause. Brower chose Philip Hyde, Brower said later because Hyde made reliable surveys of wild places and captured their unique natural features. However, when Hyde returned from Dinosaur, few of the conservation groups wanted to use his photographs or even exhibit his prints. Groups like the Wilderness Society, the Sierra Club, National Audubon and others that were starting to become more than regional, took very little action or even interest in Dinosaur from 1951 until 1954. Three years may seem like a short time now, but it is a long time to have little income for a young photographer. Dad had to wait three years before many publishers or non-profits would even look at, let alone buy or sell his photographs from Dinosaur.

Marketing, The Marketplace and Making a Living

“I think that you are making a great mistake to isolate yourself; you really should be right in the middle of humanity – bringing them the messages of nature which are of real value,” Ansel Adams wrote in a two-page letter to Dad dated May 4, 1952. Ansel urged Dad to find some means of support other than photography, which would work with photography. As Dad continued to struggle in Greenville, both Ansel Adams and David Brower suggested at different times that Dad try living closer to the marketplace for photography in San Francisco.

“Weeks of wondering and doubt,” said Dad’s personal log entry for May 16, 1952. “Ansel has been advising me to work toward some solution of economic problem. The two years in Greenville and the mountains seem to be drawing to a close. I have a feeling change is near. Ned Graves in Carmel suggests I work part-time in a photo shop and has provided the impetus. I will look into the possibility the second week of June when we go down below again.” Mom applied for the job of kindergarten teacher in nearby Del Ray Woods. Shortly after she landed the job, the Hydes moved to Carmel. For more on their life and struggles in Carmel, see the blog post, “The Battle Over Dinosaur: Birth of Modern Environmentalism 6.”

Loss and New Travels To Morocco

“Everything seemed to go wrong in Carmel,” Dad said. Even though they succeeded in buying a small property to build on, no bank would lend the young couple money to build a home. In those days banks did not count a newly married woman’s income because of the risk she might become pregnant and unable to work. Dad contracted a terrible case of Poison Oak trying to clear it from their lot. Dad lost his brother David Lee Hyde, my namesake, in the Korean War in mid 1952 and by the end of the year my grandfather Leland Hyde also passed on.

It was a lonely Christmas in Carmel. Jesse Hyde, Dad’s mom, came down from San Francisco for the weekend, but Dad’s new gas station job required him to work on Christmas Day, even after his boss learned of his recent loss of his father. About that time Mom’s dad, Clinton Samuel King Jr., an engineer, overseas in Africa building American Cold War Bases, told Dad he could come to Morocco and make a very good wage as a draftsman. Mom could work in the office and they could get caught up financially with the low cost of living on the large American base near Casablanca. After the drafting work wound down, Dad transferred to a department where they asked him to oversee a photographer documenting new American bases all over Morocco. Dad and the photographer became friends and traveled the country photographing everything because they had been instructed to stay busy even when there was frequently nothing to do.

It was through these travels in Morocco that Dad rekindled his enthusiasm for photographing nature in particular, even though he made more photographs of the local people and their culture and events than ever before. Also, by the middle of 1954 when the Hydes had been a year in Morocco, the battle over Dinosaur National Monument heated up when the Sierra Club decided to join the defense of the integrity of the national park system by keeping the two proposed dams out of Dinosaur.

Coming Home, Finding Home

Ardis and Philip, now with significant savings, longed to return to the mountains where the Fredrickson’s again had the Granary available for rent. After a few weeks in San Francisco with Grandma Jesse, the Hydes were again back home in Plumas County, this time actively looking for property to stay permanently.

In 1955, David Brower convinced the Sierra Club to publish This Is Dinosaur: Echo Park Country and Its Magic Rivers with photographs by Martin Litton and Philip Hyde. Brower had already asked Pulitzer Prize winning novelist Wallace Stegner to write the forward and one chapter of what would become the world’s first “battle book,” as Stegner called it. This Is Dinosaur was the first book ever published for an environmental cause. Hyde’s career took off with the buzz over the Dinosaur campaign. Parallel with Sierra Club’s efforts, Hyde sent an exhibition of his prints of the national monument to show in some of the most patronized libraries in the nation. The show started at the Chicago Public Library and traveled on to other major cities such as Washington D.C., New York, Cincinnati and others.

In December of 1955, when most land was still in big ranches in Plumas County, Mom and Dad bought 18 acres from David and Mary Ann Newcomb, who had a large ranch in Mormon Canyon between Grizzly Peak and Mt. Jura that included part of Genesee Valley. The Newcombs suggested the Hydes could pick out a piece of land anywhere on their big ranch. Mary Ann taught First Grade in Greenville and the couple had become good friends. So it was that in 1956 that Mom and Dad began cleaning up logging debris on the site that would become our home and gardens. And so it was that a series of failures led to what Dad called his biggest success, designing, drawing the plans for and nearly single-handedly over two years building the home that became known as Rough Rock.

(The passive solar, energy efficient, ahead-of-it’s-time construction of Rough Rock will be featured in “Living The Good Life 6.”)

Have you ever lived in or near wilderness?

This Land Is Our Land: Philip Hyde And The American Wilderness EXTENDED

February 28th, 2014

El Capitan, Clouds, Fall, Yosemite Valley, Yosemite National Park, Sierra Nevada, California, copyright 1973 by Philip Hyde. A giant 32x40 archival print of El Capitan, Clouds greets visitors to This Land Is Our Land show.

El Capitan, Clouds, Fall, Yosemite Valley, Yosemite National Park, Sierra Nevada, California, copyright 1973 by Philip Hyde. A giant 32×40 archival print of El Capitan, Clouds greets visitors to This Land Is Our Land exhibition.

This Land Is Our Land

Philip Hyde and the American Wilderness

Show Extended through March 18, 2014

Due to popular demand, we have extended the Philip Hyde show another two weeks, until March 18. We look forward to seeing you in the gallery.

Philip Hyde (1921-2006) dedicated his life to photographing and defending the western American wilderness, working with the National Audubon Society, Wilderness Society, Sierra Club, and other environmental organizations during a career that lasted more than 60 years. After studying at the California School of Fine Arts, now the San Francisco Arts Institute, under Ansel Adams, Minor White and Edward Weston, Hyde went on to make of some of America’s most respected landscape photographs, many of which were key elements in campaigns to protect the Grand Canyon, Point Reyes, California coastal redwoods, North Cascades National Park, and other sensitive lands.

Smith Andersen North Gallery
20 Greenfield Ave
San Anselmo, California
415-455-9733

Tuesday – Friday: 10AM – 6PM, Saturday: 12 – 5PM, and by appointment.

For more about Philip Hyde, Smith Andersen North and the exhibition see the blog post, “Major Northern California Philip Hyde Exhibition.”

Tuolumne Meadows Parsons’ Lodge Caretakers Hugh Sakols And Mara Dale

March 20th, 2012

Photographer Hugh Sakols And His Wife Mara Dale Work As Summer Caretakers Of Parsons’ Lodge And The Historic McCauley Cabin In Tuolumne Meadows, Yosemite National Park…

Environmental Educators And Back Country Mountaineers Hugh Sakols and his wife Mara Dale, Each Summer Since 2008, Have Honored And Educated About Early Conservation Leaders, While Acting As Volunteer Docents, Leading Interpretive Walks, Caretaking The Sierra Club Parsons’ Memorial Lodge And Staying In The Rustic McCauley Cabin, Much As Ardis And Philip Hyde Did In The Summer Of 1949. On This Land, Next To Soda Springs In Tuolumne Meadows, Yosemite National Park, John Muir And Other Pioneer Conservationists First Conceived The Sierra Club.

"Lenticular Clouds and Lembert Dome," Tuolumne Meadows, Yosemite National Park, Sierra Nevada High Country, California, copyright 2010 by Hugh Sakols.

(View the photograph large: “Lenticular Clouds and Lembert Dome.”)

Hugh Sakols first started exploring Yosemite National Park on a backpacking trip when he was seventeen years old. He started seriously photographing the Park after working as a Yosemite Institute instructor teaching environmental education. He later assisted photography workshops taught by Michael Frye through the Ansel Adams Gallery. Today he continues to explore the Yosemite back country, whether in summer or winter. He now lives just outside Yosemite National Park in El Portal, California, where he teaches elementary school during the school year. Hugh Sakol’s photographs have been used by the National Park Service, Yosemite Conservancy, Yosemite Institute, and have appeared at the Yosemite Renaissance. He has converted almost entirely to digital photography, now using a Nikon D300, whereas before he often used a Bronica SQA medium format film camera and a Horseman VH-R large format View Camera.

Summer In Tuolumne Meadows By Hugh Sakols

Over the last four summers, starting in 2008, my wife Mara, and I have worked as National Park Service Volunteers. We are summer caretakers for Parsons’ Memorial Lodge and the historic McCauley Cabin in Tuolumne Meadows, Yosemite National Park. We are lucky enough pull this off and continue working at our “real jobs” as Educators in Yosemite National Park.

Just like the Southern Miwok people have done for thousands of years, Mara and I migrate upslope, where at 8600 ft the meadows are green, the temperatures are generally cool, and the views are striking.  Tuolumne Meadows is a glacially scoured sub alpine landscape that is the heart of Yosemite’s high country and part of what John Muir referred to as the Range of Light. To learn more about John Muir and the Sierra Nevada, see the blog post, “Philip Hyde’s Tribute To John Muir.”

It was here at Soda Springs that John Baptist Lembert, namesake of Lembert Dome, spent his summers on a 160 acre homestead where he raised Angora goats and became an expert on local butterflies. John Baptist Lembert’s only friends in the summer were sheepherders, many of whom were Basque. At this time Tuolumne Meadows was essentially a land grab. Reportedly, in the late 1860s there were thousands of grazing sheep that later John Muir described as “hooved locust.” After John Lembert’s death (he was murdered in El Portal), the McCauley brothers acquired the land where they grazed cattle and built a log cabin. The McCauley Cabin now is a park service residence, where Mara and I live come summer.

Honoring The Place Where Western Conservation Began

Hugh Sakols And Mara Dale In Front Of The Historical McCauley Cabin, Tuolumne Meadows, Yosemite National Park, Sierra Nevada, California, copyright 2011 by Hugh Sakols. Self portrait.

While at the McCauley Cabin, Mara and I have some big shoes to fill.  It was here that the western conservation movement began. John Muir saw the commercialism that was taking over Yosemite Valley and dreaded what would happen to Tuolumne Meadows. In 1889 Robert Underwood Johnson convinced John Muir to write two articles for a popular East Coast magazine. In one article John Muir described the beauty of Yosemite, and in another article John Muir proposed the need for Yosemite’s preservation. Only a year later, Abraham Lincoln signed a bill to establish Yosemite as the country’s first national preserve. Soon after Yosemite became a national park.

In 1912, the Sierra Club bought the McCauley brother’s land in hopes that it would be saved from the building of hotels, stables and other improvements. The land around Soda Springs with Parsons’ Lodge and the McCauley Cabin on it, the Sierra Club eventually seeded to the National Park Service in 1973. During the Sierra Club’s ownership, this remarkably beautiful spot brought club members together for mountain adventures and a place to discuss the protection of wild lands, many of which are now national parks. The most famous early battle was probably over the damming of Hetch Hetchy Valley inside Yosemite National Park. Sierra Club leaders such as Edward Taylor Parsons, William E. Colby, and John Muir fought tooth and nail, but eventually lost the battle. Interestingly, the man Forest Service people call their first environmentalist, Gifford Pinchot, was in favor of damming Hetch Hetchy. Gifford Pinchot opposed John Muir in the ongoing public debate over building a dam in Hetch Hetchy Valley within Yosemite National Park around the turn of the century. In 1915 Parsons’ Lodge was built as a mountain headquarters and a place to reflect the work of forward thinking Sierra Club leaders.

A year after Parsons’ Lodge was built, Ansel Adams made his first trip to Yosemite National Park. After that he quickly became part of the Sierra Club where he first worked as a custodian at the LeConte Memorial and later served on the board of directors. The Sierra Club over time indoctrinated Ansel Adams to Yosemite’s High Country and the importance of preserving wilderness. This was the beginning of a close relationship between landscape photographers and conservationists.

Conservation, The Environmental Movement And Landscape Photography

Beginning in the late 1930s and 1940s, Ansel Adams and wilderness photographer Cedric Wright both contributed photographs to conservation campaigns. However, it wasn’t until 1951, when the Sierra Club sent photographer Philip Hyde on the first photography assignment ever for an environmental cause. The Sierra Club sent Philip Hyde, who had been a photography student of Ansel Adams in San Francisco, to Dinosaur National Monument to help prevent the building of two dams, again within the National Park System. The battle over Dinosaur, many consider the birth of the modern environmental movement because it combined the conservation ideals of John Muir and other turn of the century conservation leaders with the hard hitting tactics of David Brower and other environmentalists of the 1950s and 1960s. For more about David Brower see the blog post, “David Brower: Photographer And Environmentalist 1.” The Dinosaur battle redeemed the loss of Hetch Hetchy to the extent that it reversed the precedent set for such development within a national park. Read about the first photography assignment for an environmental cause in the blog post, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 1.” Activists are still working to remove Hetch Hetchy Dam and restore Yosemite Valley’s sister valley to its original pristine state.

In the decades that followed the Dinosaur battle, Philip Hyde, worked with the Sierra Club, National Audubon, Wilderness Society and other environmental groups, contributing his photographs to more environmental campaigns than any other photographer of his time. David Brower, Sierra Club Executive Director and head of the publishing program, used Philip Hyde’s widely published photographs in Sierra Club Books to help save such places as the Grand Canyon, the California Redwoods, the North Cascades and many other national treasures. The Sierra Club Books Exhibit Format Series, not only popularized coffee table photography books and the modern environmental movement, but paved the way for photographers to be able make a living from such publications. Photographs from this time period helped spark the 1960s interest in getting back to nature and helped instigate a backpacking boom in the 1970s.

Philip Hyde’s first exposure to vast wilderness also occurred in Yosemite National Park in 1938. Philip Hyde at age 16, joined a Boy Scout backpacking trip from Tuolumne Meadows to Yosemite Valley. To read this history see the blog post, “Lake Tenaya And Yosemite National Park.” For some years afterward, Philip Hyde visited and backpacked in Yosemite National Park until World War II. After the War, Philip Hyde studied photography under Ansel Adams. For more on Ansel Adams’ innovative photography department, see the blog post, “Photography’s Golden Era 6.” During the summer 1949 break from photography school, Ansel Adams helped Ardis and Philip Hyde land the caretakers job at Parsons’ Lodge in Tuolumne Meadows. Ardis and Philip Hyde stayed in the rustic McCauley cabin while Ardis Hyde studied for her teaching credential and Philip Hyde gleefully photographed. Future blog posts will share more about the Hyde’s Summer in Tuolumne Meadows. That summer Philip Hyde met David Brower briefly in Tuolumne Meadows, as the Sierra Club leader brought a Yosemite High Trip through the Soda Springs area. Philip Hyde and David Brower were more formally introduced later by Ansel Adams, which led to David Brower inviting Philip Hyde to act as official Sierra Club photographer for the 1950 Summer High Trip, one year before the battle over Dinosaur National Monument began to take the national stage. Read about the Sierra High Trip in the blog post, “Cedric Wright And Philip Hyde On The 1950 Sierra High Trip.”

Tuolumne Meadows And Landscape Photography Today

"Golden Reflection, Gaylor Lake" Yosemite National Park, Sierra Nevada High Country, California, copyright 2008 by Hugh Sakols.

(See the photograph large click: “Golden Reflection, Gaylor Lake.”)

Understanding the history and traditions of Tuolumne Meadows has helped me to realize why I am so intrigued by landscape photography.  First I have always felt the need to venture into wilderness. Second, I hope my photography advocates the importance of wilderness preservation and the complexity of nature. And third, I want to uncover Yosemite National Park as a place I have spent years exploring and observing.

While at the McCauley Cabin, some of our tasks include taking care of Parsons Memorial Lodge and assisting presenters who come each summer.  Also, I lead weekly photography walks while my wife teaches Junior Rangers.  Together each Sunday we serve coffee in the campground where we are able to talk with a very diverse group of visitors. It is not uncommon to have gritty looking backpackers who are passing through on their way along the Pacific Crest Trail, a computer geek from the Silicon Valley, and a family looking for the falsely posted church service, all together around a single camp fire.The one thing we all have in common is our love for Tuolumne and of course, caffeine. It is during these informal programs that Mara and I try to instill the values of our predecessors. We remind the visitors of the challenges Yosemite National Park faces in finding a balance between preservation and access. Furthermore, we celebrate Yosemite’s timelessness by enjoying the rustic nature of places such as Tuolumne Meadows.

When I am scheduled in the Yosemite Guide, I lead a Monday morning photography walk for the general public.  During the walk I quickly go over the basics of composition, exposure, and quality of light.  Along the way I will pull out prints I have made that illustrate these concepts and show views from the trail that I have collected over the past summers. It is fun to pass them around and not worry about people handling them.  I’ve even dropped a few on the trail. I explain that for me the end product of an image is the print, and it is always fun to carry a few in a box to share with others.

Imparting Landscape Photography’s History And Significance To Yosemite National Park’s Visitors

Beyond the basics of photography, it is more important to help visitors understand what landscape photography represents today and how it co-evolved with the creation of national parks and organizations like the Sierra Club. Early photographs have documented changes in the landscape over time whether it be a sandstone tower that is now covered in water in Glen Canyon, a 1860s view of Yosemite Valley that shows a greater abundance of black oaks, or an 1870s view of thousands of sheep grazing in Tuolumne Meadows. Hopefully modern landscape photographs will someday represent our successes, failures and our human need to connect with nature.  I think understanding this tradition will help fellow photographers be more cognizant of their own impact in the park.

I also take the opportunity to discuss our increasing detachment from the natural world which could have alarming effects on the future of our natural heritage. Today our new generation of young people spend more and more of their free time glued to a monitor and show little interest in the out of doors. In fact many children do not know how to play outside unless they are playing organized sports.  Today most Yosemite visitors walk a quarter mile or less from the road. Increasingly I find visitors who don’t quite know what to do in a place like Tuolumne Meadows. For these visitors photography is a perfect way to have fun, become observant, and connect.

I am not sure how long we will continue to live in Tuolumne Meadows during our summers. At some point Mara and I want to have more time to explore areas of the park that take more than a long weekend to find.  However, having had this experience makes my photography all the more meaningful.

June 2, 2012 Exhibition At The Ansel Adams Gallery

Local artists including Hugh Sakols will show their work at the Ansel Adams Gallery on June 2nd.  All proceeds will go to Yosemite Park El Portal School.

What makes your photography more meaningful? Have you been to Yosemite or explored its back country? In what place or places do you enjoy getting off the beaten path?

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.”

Philip Hyde At Home In The Wilds 1

June 17th, 2010

Darkroom Photography Magazine: Masters of the Darkroom Series Presents Part One Of An Interview With Philip Hyde By Merry Selk Blodgett

At Home In The Wilds

One of this century’s premier interpreters of the American wilderness, Philip Hyde has carried his 4X5 to places no camera had been before. Famous for Sierra Club books like Island In Time and The Last Redwoods, Philip Hyde is also a dedicated darkroom “do-it-yourselfer” who uses the complex and beautiful dye transfer process to make color prints. (See the blog posts, “The Legend Of Dye Transfer Printing 1,” and “The Legend of Dye Transfer Printing 2.”) Together with his wife and son, Philip Hyde lives far up in the Sierra Nevada Mountains, in a house he built himself…

“When I first chose photography, I knew I was choosing the pleasures of creativity over the consolations of wealth.”

 

Virginia Creeper, Northern Sierra Nevada Mountains, California, 1977 by Philip Hyde. This photograph made at the home of the artist, became one of his signature images, though it is not in a pure sense a landscape photograph, as it depicts a domesticated vine on the wall of his house. The photograph appeared on more magazine covers than any other Philip Hyde image, starting with the now defunct Darkroom Photography magazine in 1980. Records are incomplete but some other covers included the Audubon Nature Calendar 1986, Scribner’s Group Catalog 1986, Photo-Design Magazine 1985, a poster by James Randklev 1986, New York Life Calendar 1987, Fine Print Custom Photo Lab Catalog 1987 and a number of other company catalogs and brochures. Ardis Hyde originally planted the Virginia Creeper. She was locally well-known in Plumas County for her work with the Audubon Society, for organic gardening and because she gave Virginia Creeper starts to many people. Virginia Creeper can be seen growing all over the Feather River country partly due to the gifts of Ardis Hyde.

DARKROOM PHOTOGRAPHY: It’s very beautiful up here in the mountains; the view from this window could be a Sierra Club calendar. But you’re also very far from any large towns, not to mention cities. Do you ever feel isolated up here?

PHILIP HYDE: I don’t think it’s isolation, I think it’s insulation. We’re insulated from a lot of urban influences that I’m not all that interested in. Don’t get me wrong…I like people. I’m very involved in the photographic workshops I’ve been doing. But I guess I like people best in small quantities. For me, the urban environment is too much of a man-made kind of thing. What’s most important to me is to be able to look out the window and see the changes of the seasons, or the rain pouring down, or the stars at night.

DARKROOM PHOTOGRAPHY: You’ve got a reputation as one of the top nature photographers in the country. Has your photography made you financially successful?

PHILIP HYDE: I’m not really trying to play the money game. Photography has provided a living, not a bad living at all. But when I left the city in 1959 to come up here, I knew that I was leaving behind the opportunity to make lots of money. I think that when I first chose photography, I knew I was choosing the pleasures of creativity over the consolations of wealth.

DARKROOM PHOTOGRAPHY: What is your personal definition of success?

PHILIP HYDE: I define success for myself in terms of my lifestyle. Success is freedom and opportunity to do what I want to do. I would say I’m a success in that respect. But some people seem to think that once you’re successful, you can just coast from then on. That’s certainly not true for me; I have to keep working hard, which is a good thing, or I might sit back on the oars and float downstream.

DARKROOM PHOTOGRAPHY: Anyone who makes his own dye transfer color prints certainly isn’t resting on his oars. Frankly, I was surprised to discover that someone as closely associated with outdoor color work as yourself would be spending so much time indoors. Dye transfer color printing is notoriously difficult and time-consuming; it’s usually done only in specially-equipped labs. What made you decide to tackle such a formidable process?

PHILIP HYDE: The beauty of a well-made dye transfer print, for one thing. It’s permanence, for another. I don’t know, maybe it’s lunacy. Or maybe it’s self-punishment and that’s part of my philosophy too. I think that you don’t get something for nothing in this world, and that perhaps struggling for it is a good thing. I’m saying that somewhat facetiously, but I’m not joking. I think there are a lot of aspects of photography now that are so automatic and so easy, and I think that explains the fact that there isn’t an awful lot that’s significant, from a long-term standpoint, being produced.

“Success is freedom and opportunity to do what I want to do.”

DARKROOM PHOTOGRAPHY: I take it you’re not partial to motorized, auto-everything 35mm SLRs.

PHILIP HYDE: Well, do you know that old saw about the bunch of monkeys? If you set a bunch of monkeys up at typewriters eventually they would end up typing the Encyclopedia Britannica. That’s a lot of nonsense really, but it’s certainly true that if you run enough film through a camera, sooner or later you’re going to make a significant image. I think an awful lot of people are using 35mm that way. On the other hand, there definitely are people whose work is suited to 35mm…people who can exploit the freedom and flexibility of that format.

DARKROOM PHOTOGRAPHY: But you’d rather carry around a 4X5 camera and 30 pounds of gear as you hike through the wilderness.

PHILIP HYDE: Yes.

DARKROOM PHOTOGRAPHY: Why?

PHILIP HYDE: For one thing, it would be very hard for me to make high-quality large dye transfer prints from 35mm originals. But deeper than that, I like the 4X5 format because it disciplines you to see carefully. By the time you’ve made the exposure, you are aware of little things you wouldn’t notice in a 35mm viewer. And it’s a discipline in not being profligate with materials; when you’re carrying 30 pounds on your back and have a limited supply of film, you look at everything very critically. You’re less apt to bang away and ask questions later.

DARKROOM PHOTOGRAPHY: Let’s return to your current work with the dye transfer color printing process. How long have you been doing it, and how did you get started?

PHILIP HYDE: I began dye transfer printing in 1974. I had been mulling it over for a few years before; my photographer friend Dennis Brokaw tipped the scales when he said he would help me begin. I can still remember the first dye transfer print I made. I was so excited, after years of seeing bad color prints made from my transparencies.

DARKROOM PHOTOGRAPHY: Doesn’t the process require a lot of skill and care on your part?

PHILIP HYDE: I suppose so, if you define skill as a reasonably precise manipulation of the material, and having your head together enough so that you do all the intermediate steps in the right order. Dye transfer is a rather complex process, especially when your originals are transparencies, as mine are. But there’s one nice compensation for all the complexity; there are a tremendous number of adjustments and controls at each step of the process, so you can alter the color balance, intensity of colors, and contrast along the way. Even after five years, I haven’t been able to get into all the refinements of the process.

DARKROOM PHOTOGRAPHY: How does your dye transfer printing relate to your primary objective of portraying nature?

PHILIP HYDE: I have always wanted to interpret and express the beauty of what I see in nature. My major objective is…

CONTINUED IN THE UPCOMING BLOG POST, “Philip Hyde At Home In The Wilds 2.”

The Oregon Cascades’ Impact On Conservation

June 14th, 2010

The National Implications of Land Wars Over the Oregon Cascade Mountain Forests

Ardis Hyde On Horseback With Packer Tom McAllister From Portland At Waldo Lake, Oregon Cascades, Oregon, 1969 by Philip Hyde.

Heated land use debates in the 1950s and 1960s concerning the forests of the Cascade Mountains in the Northwestern United States, helped define the future of wilderness protection nationwide. While the battle over the dams in Dinosaur National Monument took the national stage sooner, launched the modern environmental movement and set a precedent that would keep industrialists out of the National Park System; the land battles over the lush forests in the Northwestern U.S. began around the same time and cannot be underestimated in their national impact.

Decisions in Oregon and Washington State affected forest management policy in the National Forest System more than the National Park System. Nonetheless, the resulting conflicts and their outcomes played a significant role in the eventual forging of the Wilderness Act in Congress and provided a blueprint for grassroots environmental campaigns all over the country, particularly in the West where wilderness came under the greatest threat of desecration by resource exploitation.

The main purpose of the post-World War II Forest Service was to supply timber. The policy of multiple use often translated into allowing various uses of public lands, as long as they could co-exist with logging. Lumber companies kept pressure on the Forest Service to provide a guaranteed supply of logs. “An era of stewardship of the nation’s public forests gave way to an emphasis on rapid extraction of timber resources,” wrote Kevin R. Marsh in Drawing Lines in the Forest: Creating Wilderness Areas in the Pacific Northwest. “This spawned a grassroots movement that ultimately challenged the managerial power of the Forest Service.” It was 10 years in the making, but the Wilderness Act of 1964 finally opened the process to citizen participation, giving the public a say in the drawing of wilderness boundaries. Before 1964, small citizen groups had less power, but after 1964, the two opposing forces of industry and conservation shaped the Wilderness System.

Cascades Wilderness Battles Helped Conservationists Tune Their Message To Become The Wilderness Act

In the Cascade Mountain Range, a string of volcanic peaks and up thrust rocky crags extending from Northern California through Oregon and Washington and into Canada, many groups played a role—the U. S. Forest Service, the timber industry, recreationists and environmentalists. The opposing forces consisted of timber interests and the Forest Service on one side and local groups such as the Obsidians and Chemeketans on the other side, often supported by national environmental organizations such as the Sierra Club, National Audubon Society and the Wilderness Society. When enough national outcry supported the protection of an area, Congressional Law made it official but not without a tremendous fight and wrangling in and out of Congress right up to the final signing as in the case of North Cascades National Park or Olympic National Park. Needless to say, merely obtaining wilderness status for many areas engendered a terrific political and often legal war.

Originally in 1893, President Grover Cleveland established the Cascade Forest Reserve encompassing nearly 5 million acres, from Mt. Hood in Northern Oregon to Crater Lake in Southern Oregon, to limit the cutting of mountain forests and to protect watersheds. Aldo Leopold, author of A Sand County Almanac, a pro-wilderness polemic, set a national example as his worked within the Southwest agency of the Forest Service to found the Gila Wilderness in New Mexico in 1924. Forest Service leaders such as Arthur Carhart in Colorado and Elers Koch in Idaho thwarted the inroads of “progress” into wilderness and fostered the agency atmosphere in line with Gifford Pinchot’s vision from years earlier. These new leaders in the 1920s reformed management practices and created Primitive Areas in the National Forests, which limited but did not end industrial use. “The Forest Service would later argue that these boundaries were not meant to be permanent,” wrote Kevin R. Marsh.

Lumbering slowed significantly during the Great Depression, but took off again during and after the War. In the Willamette National Forest, the volume of logs cut more than quadrupled between 1945 and 1955 and continued to increase for decades. The Forest Service began to reclassify many primitive areas without any input from the locals. Frequented by hikers, fishers and small boaters, Mt. Jefferson Primitive Area had some of the highest recreation levels of any wilderness in the Northwest, second in Oregon only to the Three Sisters Wilderness to the south. The Three Sisters Wilderness lies directly east of Eugene Oregon, a progressive college town that participated fully in the 1960s anti-establishment, anti-war “revolution.”

Conservation Strategy From The Cascade Mountains Became A Blueprint For Local Efforts Nationwide

In 1954, when the Forest Service proposed reclassifying the Three Sisters Primitive Area, a widely divergent range of local hiking clubs, conservationists, scientists and social liberals, began to evolve over the next few decades into a powerful grassroots movement in Oregon and across the nation. Since 1951, when the Forest Service had tried to pass off shrinking the primitive area as beneficial to the local economy, Carl Onthank and his wife Ruth Onthank, Ruth Hopson and other local activists rallied supporters to form the Friends of the Three Sisters Wilderness. Karl Onthank, dean of students at the University of Oregon, described the leaders of the new group as “scientists who know something of our Cascade Mountains and are interested in seeing a little of them preserved for future enjoyment in their natural state and for scientific study.”

Friends of Three Sisters became an example for later site-specific grassroots campaigns. At a 1955 Forest Service hearing, local groups from all over Oregon such as The Mazamas, the Obsidians, chapters of the Sierra Club, National Audubon Society groups, Wilderness Society leaders, the Oregon Federation of Garden Clubs, the Mountaineers, Olympic Park Associates, the Izaak Walton League Eugene Chapter, the AFL and CIO unions and many others rallied against reducing the Three Sisters Wilderness. The Forest Service expected a one day hearing but had to carry it into a second days when a total of 79 speakers wanted their turn. Some voiced concern for retaining recreational space, some for not allowing wilderness to be reduced over and over as in other states, some wanted to protect areas for scientific study, and others thought logging interests could make more efficient use of the existing public and private timber lands.

On the second day of hearings, Howard Zahniser, executive director of the Wilderness Society arrived and testified with hints of the language from the Wilderness Act that would not pass Congress until 1964, but that he had already begun to draft in 1955. The Three Sisters campaign was pivotal to the national cause of wilderness preservation as it would set a precedent for whether people had a say when Federal lands were reduced to benefit private industry. David Brower, Executive Director of the Sierra Club corresponded with Karl Onthank to stay informed of developments. David Brower and other Sierra Club leaders contributed to the campaign by writing letters to the media and leaders in Washington DC, just as Ruth and Karl Onthank and their associates were doing.

Disperate Conservation Campaigns Organized Into The Modern Environmental Movement

Nationally the tide was high for conservation as the wilderness ideals of John Muir and Henry David Thoreau were hitched to a new environmental movement that employed the media, Congressional lobbying, letter writing campaigns, the courts, full-page newspaper ads and grass root organizing. At first it the purpose was wilderness protection, but later environmental campaigns strived to limit water and air pollution and other environmental destruction brought on by land development, growth and a booming industrial age.

In 1955, The Sierra Club published This is Dinosaur: Echo Park Country and Its Magic Rivers, edited by Pulitzer Prize winning novelist Wallace Stegner with photographs by Philip Hyde, Martin Litton and others. A copy of This is Dinosaur landed on the desk of every Congressman just as they were deciding how to vote on the Colorado River Storage Project Bill. David Brower testified in Congressional hearings against the dams and the Sierra Club ran full page newspaper ads warning Congress not to endorse a hotly opposed expensive project in an election year. The new brand of environmentalism worked. The bill passed Congress without the Dinosaur Dams and with a phrase added barring dams in national parks or monuments.

Following this national land conservation victory, Three Sisters activists communicated their position with a growing effectiveness that surprised the Forest Service, but as the struggle went on, the Forest Service defined the debate and wilderness advocates had to stay on the defensive. By 1957, the Friends of Three Sisters had lost the battle and the Forest Service went through with their original planned boundaries. The loss confirmed the fears of wilderness proponents across the country but solidified determination to push for a Wilderness Act to prevent “having this kind of battle on every one of the primitive and the limited areas,” said Karl Onthank. Oregon senators responded by sponsoring the Wilderness Act and helping Howard Zahniser and others draft it. The Forest Service decision on the Three Sisters Wilderness, swung support toward the Wilderness Act but years of conflict over it were yet to come.

Future Blog Posts share the story of the making of North Cascades National Park. For parts of the Mt. Jefferson Wilderness Area skirmish, see the blog post “Oregon Cascades Conservation: Mount Jefferson Wilderness Area,” which touches on the interrelated role of Philip Hyde’s landscape photography. For a closer view of Ardis and Philip Hyde in action see the blog post, “North Cascades And Mt. Jefferson Travel Log.”

BP Oil Spill: Who Is Responsible For Oil Drilling And Spilling?

May 27th, 2010

The Quintessential Summary of the Most Important and Bizarre Aspects of the BP Oil Spill, the Response and Who Is Responsible…

Cleaning Spilled Oil In The Mississippi River Delta from the BP Deepwater Horizon Oil Spill, 2010. Photograph courtesy of Greenpeace and the Mobile Press-Register.

See also the blog post, “New Oil Spills Threaten Fresh Water.”

A neighbor of mine installs solar power systems, lives completely off the grid and drives only restaurant oil powered vehicles. He has a sign on the side of his work truck that says, “Vegetable Oil Powered Vehicle. NO WAR REQUIRED.” He was a conscientious objector to the Viet Nam war, which if you dig a bit you will find was also a resource war like those of the 21st Century. Recently this neighbor had black T-shirts printed that have a picture of an oil drilling rig in flames sinking beneath ocean waves with a slogan across the top, “Happy Earth Day 2010.” His dark sense of irony is not humor.

Over the last 10 years, the battle has heated up over oil drilling in the Arctic National Wildlife Refuge. Oil drilling promoters claim it would ease our pain from high gasoline prices. Fact is that the total amount of oil in the Arctic National Wildlife Refuge is enough to power America’s gas guzzling habit for only a few weeks. We could “develop” far more extra oil than the Arctic National Wildlife Refuge could provide, merely by cutting down on driving and increasing car pools. Carl Donohue of Skolai Images wrote a quality blog post about the Arctic National Wildlife Refuge and recent hearings held on its wilderness status. His previous well-written post was called, “A Tragedy In The Gulf of Mexico.” The controversy of oil drilling has been in the news for a long time.

‘Drill, Baby, Drill’ Has Been The Call For Too Long

On the front page of Section E of the Sunday November 6, 2005 Denver Post, the headline read, “The Big Rush To Drill.” The article covered most of the page and jumped to 4E. It discussed the future of natural gas and oil drilling in the Colorado Rockies. An area east of Parachute, Colorado called the Roan Plateau had 70 gas and oil drilling sites on it. The Roan Plateau next to Interstate 70 and the Colorado River, is rich in both energy resources and wildlife habitat. The article said nothing of what would happen to the water supplies of most of the West’s major cities if oil somehow leaked into the Colorado River.

The Earth Island Journal Spring 2010 issue had “To Drill Or Not To Drill,” splashed across the cover. Members of the Earth Island Institute will remember that cover as a timely one for years to come.

The Natural Resource Defense Council issued a press release on January 26, 2010 titled, “Oil and Polar Bears Don’t Mix. Stop Shell Now.” It said Shell gave the green light to exploratory drilling off the coast of the Arctic National Wildlife Refuge. It pointed out that though the NRDC won a major court victory defeating Shell’s oil drilling plan two years ago, the oil giant is back gunning for the Arctic National Wildlife Refuge again. “The shores of the Arctic National Wildlife Refuge are Alaska’s main birthing ground and denning area for polar bears…. The oil industry has no proven method for cleaning up oil spills in icy water.” The press release further explained that polar bears that swim in oil slick waters or step in oil washed up on shore and try to lick off the toxic oil would die. Whales would also suffocate or be poisoned and “hundreds of thousands of birds would be killed… and seal populations would be severely impacted by the spilled oil.”

A thick black soup in our ocean waters, covering our beaches, saturating our fragile wetlands, and destroying aquatic life and industries, is not the only legacy of oil drilling and spilling. Robert Redford in 2009 warned us in an article for the Natural Resource Defense Council, “We Can’t Drill Our Way Out of This Mess.” In November 2008 just after Barack Obama was elected, Robert Redford also wrote a piece in the Huffington Post in which he said, “Part of the change Americans just voted for in overwhelming numbers was to move away from the failed energy philosophy of ‘drill, baby, drill’ to a more farsighted strategy.”

Even after the spilled oil began to wash ashore on the Gulf Coast and President Barack Obama had put a freeze on additional oil drilling permits, there were still 17 offshore oil drilling projects that were given the go-ahead without any hesitation. Isn’t it time to say enough? To find permanent alternatives? Currently it is difficult for elected representatives of the American people to make any more than small changes in any policy because corporations now legally have the same rights as citizens. This further escalates the manipulation of the political process that has been increasing for years. Is this government by the people, for the people or a free system? Our political process is like a giant Super Bowl ad, produced by the companies with the deepest pockets. What will happen in 10-15 years when fossil fuels are much more scarce? Will we keep burning fossil fuels until we can hardly breathe and have to walk in sludge everywhere? We cannot allow corporate greed and an obsession with growth to dictate our future. Growth enriches the few and leaves most of us worse off.

Who Is Responsible for the BP Oil Spill?

It’s time we snap out of our denial. Who is responsible for the BP Oil Spill? Every single one of us who drives a car, truck or bus that is powered by petroleum. I think I am doing my part. I recycle. I drive very little, less than 8,000 miles a year, even with all my traveling. I eat local, organic food. I minimize my footprint. However, I realize none of this is enough as long as I am contributing to the need for offshore oil drilling or any kind of oil drilling. Now that I have been jarred out of my complacence, I plan to buy an all-electric car as soon as possible. Hello, they have been available for some time. And, don’t believe the propaganda about batteries not being good enough yet. I highly recommend the documentary film, “Who Killed the Electric Car?” It is an eye-opener.

For weeks now I have been inundated with BP Oil Spill press releases from the environmental organizations to which I subscribe. I have been listening every day on NPR for blow-by-blow updates on the unfolding tragedy. If you want to make yourself sick, do an internet search on the BP Oil Spill and read the articles and comments. I feel I may have something to say about this maritime Chernobyl, but frankly I have not been sure what to add to the maelstrom, other than the idea that every one of us who uses petroleum is part of the problem and partly responsible. Here’s a timeline of the bizarre developments in this Century’s largest environmental catastrophe:

Wacky Timeline Of An Oil Drilling Maritime Chernobyl

April 20, 2010: Environmental Defense Fund issued a press release outlining how damaged ocean ecosystems are and how only 25 percent of U.S. Fisheries will be able to continue. The majority of all fishing communities are already on the brink of collapse. Catch shares, a method of regulating fishing and stabilizing the 50 fish stocks that are threatened has been working and could be expanded with introduction to Congress. Read More >>

April 20, 2010: two days before Earth Day, the Deepwater Horizon oil drilling platform located 40 miles southeast of the Louisiana coast suffered a catastrophic explosion that caused the oil drilling platform to sink. Nearly a mile below the Gulf of Mexico water’s surface an oil gusher started with an oil well blowout. Eleven oil drilling rig workers are missing and considered dead, while 17 others were injured. In Depth Summary >>

April 21, 2010: National Public Radio later said that President Barack Obama held an emergency White House meeting about the BP Oil Spill disaster.

April 22, 2010: Earth Day: Celebrations worldwide mark the 40th Anniversary of the day that commemorates environmental awareness. Much of this year’s focus is on the development of energy alternatives to petroleum and coal.

CNN Breaking Oil Spill News Story Titled: “Exploded Oil Rig Sinks! (DRILL! BABY! DRILL! HAPPY EARTH DAY!)”

April 23: The New York Times and other major media first reported the BP Oil Spill catastrophe three days after it occurred. Treehugger blog in its BP Gulf Oil Spill Cheat Sheet said the oil spill was reported on April 20 but does not identify who reported it. I can not find any reports before April 23 in the online versions of the major papers. If anyone finds it sooner, let me know which media.

April 30: The Nature Conservancy reported that the first wave of oil came ashore around noon, approximately 45 miles south of New Orleans on the Mississippi River Delta. The seas were running six to eight feet high and an abnormally high tide made it impossible for responders to employ the booms that would normally help to contain the oil slick.

An Environmental Defense Fund press release quoted an e-mail from Paul Harrison, Senior Director for Rivers and Deltas, leader of EDF’s Coastal Louisiana restoration campaign for the last four years writing from the Gulf Coast, “News accounts can hardly do justice to the epic human and environmental tragedy that is unfolding…. It is especially sad that this catastrophe threatens the fishing communities of the Gulf that have become national leaders in transforming ocean fisheries to sustainability…. It appears that the oil slick will most directly devastate the salt marshes and the species that rely on them along the coast—including hundreds of migratory bird species that are nesting and breeding as we speak. This area also produces 50 percent of the nation’s wild shrimp crop, 35 percent of its blue claw crabs and 40 percent of its oysters. We are doing everything possible to coordinate with our colleagues at National Audubon, NWF, Coalition to Restore Coastal Louisiana, Lake Pontchartrain Basin Foundation, the Gulf Restoration Network, and others—as well as coastal community contacts—to monitor the extent of the damage and provide whatever support we can. For those interested in doing what you can to help go to the Coalition to Restore Coastal Louisiana Website, where you can sign up to volunteer.

May 2: Greenpeace issued it’s new “Spill, Baby, Spill” bumper sticker to raise awareness and funding for oil spill cleanup support and to fight new oil drilling.

May 3: Sarah Palin, former Vice Presidential candidate and the Alaskan who added the phrase “Drill, Baby, Drill” to the language said that even though the BP Oil Spill is potentially the worst ever, it is no cause for giving up off-shore drilling.

May 5: The Sierra Club’s new Executive Director Michael Brune reported on his visit to the Gulf Coast. He described oyster boats and crab nets sitting idle and out of work and the size of the spill reaching up to 76 miles from its source. “You can’t see this mess and not be angered by the impact BP has had on this entire region. Now BP is running an expensive public relations campaign in an attempt to mask the full extent of the damage in the Gulf and minimize their accountability…This disaster is a wakeup call. We need to stop the expansion of offshore drilling, immediately. We need to eliminate subsidies and giveaways to companies like BP, which had more than $5.5 billion in profits in the first quarter of 2010 alone. We need our leaders to deliver a plan to get us off of oil by promoting clean energy solutions that already exist, we just need the political will to implement them.”

May 7: Matter of Trust collected hair clippings from thousands of salons, barber shops, even pet groomers across the country, along with pantyhose and stockings — all to be used to help mop up the oil threatened wildlife and livelihoods in the oil’s path. Read More >>

May 8: The Sierra Club, fishing industry, shrimpers, and local leaders rally in Lafayette Square, New Orleans, Louisiana and call for BP disaster response and clean energy solutions. Read More >>

May 11: The U.S. Senate Environment and Public Works Committee and the Senate Natural Resources Committee held hearings on the environmental and economic impacts of the BP offshore oil drilling disaster. Witnesses from BP America and Transocean Ltd. testified, along with fishing and tourism industry representatives and environmental scientists. Meanwhile, Interior Secretary Ken Salazar announced reforms to the Minerals Management Service, the agency charged with overseeing offshore drilling operations. Read More >>

May 12: The White House unveiled a legislative package to respond to the BP Oil Spill Disaster. The
 Sierra Club called for an oil drilling moratorium and a clean energy policy. Read More >>

May 13: The Big Oil Bailout Prevention Act was introduced by Senators Robert Menendez, Bill Nelson and Frank Lautenberg. It would raise the liability caps for oil companies from $75 million to $10 billion to help ensure that they pay the full costs of economic and environmental disasters caused by their negligence. Alaskan Senator Lisa Murkowski (R) blocked the act by objecting to a voice vote on the measure. Read More and see the video >>

May 17: Rush Limbaugh blamed the Sierra Club for the BP Gulf Oil Spill. He asked his listeners, “When do we ask the Sierra Club to pick up the tab for this leak?” and blamed “the greeniacs” for driving oil drilling offshore. Sierra Club supporters responded with outrage and donations to the Sierra Club. The response has been enough for the Sierra Club to launch a new fund-raising campaign in Rush Limbaugh’s name. The goal is to make Rush Limbaugh the Sierra Club’s top fund raiser.

The League of Conservation Voters sent out a press release called, “Dirty Politics Spilling Into The Gulf.” The press release said, “In 2009 alone, oil companies spent $154 million to lobby to perpetuate the oil addiction that led to the Gulf Coast Oil Disaster.”

May 20: The Nature Conservancy issued a press release announcing a video made just before the oil came ashore. The video gave insight into the role marshes have in protecting valuable wetlands in the region. The press release also directs readers to the Nature Conservancy’s blog that will feature regular Oil Spill updates from an ecological standpoint.

May 24: National Public Radio reported that independent scientists estimated the amount of oil spilling daily could be as much as 10-20 times BP’s estimates of 5,000 barrels.

May 25: The Los Angeles Times reported that Sarah Palin accused President Barack Obama of a slow response to the BP Oil Spill because he had campaign support from oil companies. She questioned whether “there’s any connection there to President Obama taking so doggone long to get there, to dive in there, and grasp the complexity and the potential tragedy that we are seeing here in the Gulf of Mexico.” White House Press Secretary Robert Gibbs responded that the oil companies do not consider Obama an ally, “We proposed a windfall profits tax when they jacked their oil prices up to charge more for gasoline.” Gibbs said, “My suggestion to Sarah Palin would be to get slightly more informed as to what’s going on in and around oil drilling in this country.” The oil and gas industry donated $2.4 million to Sarah Palin’s running mate, John McCain, in the 2008 election, and $900,000 to Barack Obama, said the Center for Responsive Politics.

The U. S. Inspector General’s investigation of the Minerals Management Service that was overseeing offshore oil drilling said that MMS staff members “accepted tickets to sporting events, lunches and other gifts from oil and gas companies and used government computers to view pornography…. An inspector for the Minerals Management Service admitted using crystal methamphetamine…at work. The report cites a variety of violations of federal regulations and ethics rules at the agency’s Louisiana office.” Read More >>

The Wall Street Journal reported, “BP Decisions Set Stage for Disaster.” While the well was in progress it threw up many challenges to BP, “swallowing expensive drilling fluid and burping out dangerous gas. Those woes put the Gulf of Mexico project over budget and behind schedule by April 20… BP made choices over the course of the project that rendered this well more vulnerable to the blowout…. BP for instance, cut short a procedure involving drilling fluid that is designed to detect gas in the well and remove it before it becomes a problem, according to documents belonging to BP and to the drilling rig’s owner and operator, Transocean Ltd. BP also skipped a quality test of the cement around the pipe—another buffer against gas—despite what BP now says were signs of problems with the cement job and despite a warning from cement contractor Halliburton Co. Once gas was rising, the design and procedures BP had chosen for the well likely gave this perilous gas an easier path up and out, say well-control experts. There was little keeping the gas from rushing up to the surface after workers, pushing to finish the job, removed a critical safeguard, the heavy drilling fluid known as “mud.” BP has admitted a possible “fundamental mistake” in concluding that it was safe to proceed with mud removal, according to a memo from two Congressmen released Tuesday night.

May 28: President Barack Obama’s 30-day moratorium on new oil drilling will expire. Arctic drilling is set to proceed. Read More >>

BP Accountability, By the Numbers

[From a Sierra Club press release. Courtesy of Progressive Media.]

$450 MILLION…The estimated total BP has spent so far to clean up its catastrophic oil spill in the Gulf of Mexico.

$93 MILLION…BP’s daily profit during the first quarter of this year.

5…The approximate number of days of BP’s profits that would cover its total cleanup costs thus far.

11 percent…The percentage of Americans who hold a positive view of BP, according to a new poll from NBC and the Wall Street Journal.

2 percent…The size of the current leak relative to what BP promised federal regulators it could handle in its drilling permit application.

260…The number of failure modes the supposedly “fail-safe” blowout preventer used on BP’s leaking Mississippi Canyon 252 well head.   
 

6…The number of dead dolphins that have washed up along the Gulf Coast.

87…The number of dead sea turtles that have washed up along the Gulf coast.

6,414…The number of claims filed against BP so far, mostly from fishermen and others for lost wages.

400,000 pounds…The amount of hair collected and being sent to the Gulf to be used to soak up oil.  In response to the spontaneous, nationwide outpouring of hair, the National Oceanographic and Atmospheric Administration issued a fact sheet stating: “Recent reports of a need for hair are exaggerated and not helpful to the response effort.” Meanwhile BP may still attempt a widely-ridiculed “junk shot” using golf balls, old rope, and shredded tires to slow or stop the leaking oil.

58 Years In The Wilderness Intro 2

January 18th, 2010

Drake's Beach, Point Reyes National Seashore, California, 1972, by Philip Hyde. From the Reprint of "Island In Time: Point Reyes Peninsula." (Out of Print)

(See the photograph full screen: Click Here.)

(CONTINUED FROM BLOG POST, “58 Years In The Wilderness Intro 1“)

Why did the pair spend one third of their lives pursuing this unusual brand of adventure?

As the 1950s became the 1960s, groups like the Sierra Club, the Wilderness Society, the Izaak Walton League, the National Audubon Society and the National Wildlife Federation brought public attention to protecting and enjoying nature. Howard Zahniser of the Wilderness Society authored the Wilderness Act legally defining wilderness. In 1962, Rachel Carson’s Silent Spring came out in protest of chemical spraying and exposed corporate environmental negligence. The same year, Sierra Club Books released In Wildness Is The Preservation of the World with color photographs by Eliot Porter with quotes from Henry David Thoreau and Island in time: The Point Reyes Peninsula by Harold Gilliam with photographs by Philip Hyde. These were the first two widely distributed books with large color fine art landscape photographs sharing the beauty of nature. While Eliot Porter’s book was all color, Philip Hyde mixed beautiful vintage black and white photographs with large color plates. Dad was recognized as a master of both mediums, though as color caught on, Porter’s book sold more copies. A handful of photographers, through the Sierra Club and its leader David Brower, brought wilderness right to the United States Congress and Senate and into living rooms across the country. The Sierra Club had reinvented the large picture book as the Exhibit Format Series. These high-quality coffee table volumes represented, as never before, the wild places the Sierra Club wanted to protect.

Photographs first helped preserve wilderness in 1864, moving President Abraham Lincoln to establish Yosemite as the world’s first scenic land preserve. Yet in the 1950s and 1960s the use of the camera to defend wilderness reached its zenith. More preserves, wildernesses, National Parks and Monuments formed out of campaigns by environmental groups than ever as America’s leaders and people saw natural landscapes through a “new” medium. During the heyday of the Sierra Club publishing program, Club membership grew exponentially. The first book in the series, This Is The American Earth featured primarily the work of Ansel Adams though other well-known western photographers such as Eliot Porter, Philip Hyde, Edward Weston, Pirkle Jones, Minor White and Cedric Wright had one or two photographs. Ansel Adams, Eliot Porter and Philip Hyde became the primary illustrators of the series. Dad’s photographs in particular, appeared in eight out of the sixteen books published in the sequence. Several volumes in the series became bestsellers and this combined with Washington DC lobbying, brought the Sierra Club into national prominence.

After marrying in June 1947, Dad and Mom joined the Sierra Club later that year while Dad started photography school. The Club had just over 900 members, but within the next two decades the ranks swelled to over one million. Other conservation organizations like the Wilderness Society also grew exponentially and many new organizations formed.

Photography itself had undergone a transformation as well. Soft focus pictorialism dominated the first third of the 1900s. Few photographers successfully bucked the trend toward printing on canvas and other art papers, soft focus and special effects that made photographs resemble paintings, until Alfred Stieglitz published a magazine called Camera Work in which he began to encourage what he called “straight photography.” Photographers in the Western United States increasingly made photographs of landscapes without people. Only a few pioneers had captured landscapes previously, they were not common. In 1932 photographers Willard Van Dyke, Imogen Cunningham, Edward Weston, Henry Swift, Sonya Noskowiak, John Paul Edwards and Ansel Adams formed Group f.64 in San Francisco. Named after f.64, the smallest lens setting enabling the most detail in a photograph, the group composed a manifesto limiting “members and invitational names to those workers who are striving to define photography as an art form by simple and direct presentation through purely photographic methods… Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form.”

In the mid 1940s, Group f.64 member Ansel Adams founded a fine art Photography Department, the first ever of its kind, at the California School of Fine Arts, now the San Francisco Arts Institute. When Ansel Adams first started the department, students of painting, sculpture and other disciplines erupted into a school-wide protest against photography being part of a fine art school. In those days, photography was not considered an art form, let alone a fine art. Yet Ansel Adams persisted with encouragement and support from San Francisco art patron Albert Bender and other California art movers, as well as fellow photographers such as Paul Strand in the Midwest, whose work appeared in Camera Work, and from Alfred Stieglitz himself. Group f.64 members Edward Weston and Imogen Cunningham helped teach at the California School of Fine Arts. Besides Philip Hyde, the program turned out such notable photographers as Pirkle Jones, Ruth-Marion Baruch, Charles Wong, Bill Heick, Cameron Macaulay, Benjamen Chinn, Don Whyte, Rose Mandel, Bob Hollingsworth, Stan Zrnich, Pat Harris Noyes, David Johnson, Ira Latour, Gerald Ratto, John Upton, Walter Stoy,  and others.

With three years of photography school and a certificate of completion, Dad built on what became known as the west coast tradition and went on to influence a generation of nature photographers with his simple, understated forms and subtle desert and mountain landscapes.

“Dear Phil,” Minor White, lead instructor at CSFA, wrote in a letter to Dad in 1950, “Your pictures are as clean as Ansel’s, with a slant of your own seeing. You are starting your career as few of my students have done. In a way I envy your present mastery of the medium…”

By 1971, Ansel Adams wrote that Philip Hyde was “one of the very best photographers of the natural scene in America.” Ansel Adams said he liked Dad’s photograph, “The Minarets from Tarn Above Lake Ediza,” better than his own photograph of the Minarets in the Ansel Adams Wilderness. In 1999, American Photo Magazine named Dad’s “Cathedral in the Desert, Glen Canyon” one of the top 100 photographs of the 20th Century. Dad’s work appeared in more than 75 books, 130 newspapers, 100 exhibitions and over 60 magazines including Audubon, Wilderness, Life, National Geographic, Aperture, Newsweek, Time and Reader’s Digest. He has received many awards including one for lifetime achievement from the North American Nature Photography Association in 1996 and the Albert Bender Award in 1956. The principal artist in over a dozen books, he also wrote magazine articles and an autobiographical essay to accompany his photographs and the writings he selected of John Muir’s in The Range of Light (1992). Dad wrote the text for Drylands: The Deserts of North America (1987), which won three literary awards. Beginning in the 1970s he taught photographic workshops for more than 30 years for organizations such as the Museum of Northern Arizona, John Sexton Workshops, Ansel Adams Gallery Workshops in Yosemite and many other schools of photography.

Dad and Mom stand as examples of how to tread lightly on the earth and find satisfaction in a simple self-sufficient lifestyle. Early in Dad’s career he made a decision to live in the mountains of Northeastern California far away from the photography marketplace. By living in such a remote place, he also gave up the opportunity to be more involved in the Sierra Club and other organizations. With fewer book signings, gallery openings and connections he sacrificed greater financial success to live close to nature.

Mom worked by his side from the beginning. While he attended the California School of Fine Art she worked as the receptionist at the school. Later she became known as an excellent kindergarten teacher and was renowned in the mountain valleys of Plumas County for her knowledge of birds, plants, organic gardening and natural cuisine long before it became popular. Dad thought he would go on working and making photographs his entire life, but in the summer of 1999 he began to lose his eyesight, and within a year he was completely blind.

(See the photograph full screen: Click Here.)

Virginia Creeper, Northern Sierra Nevada, California, 1977, by Philip Hyde. Made more magazine covers than any other Philip Hyde photograph. Example of Straight Photography and colorful enough without amping up the saturation.

Yet Dad proved there is more to vision than eyes and more to seeing than vision. He was one of the first to visualize a civilization in harmony with all life rather than exploiting the Earth as a commodity. In his photography training, as in any good art training, he learned to see deeply. Photography is the art of seeing patterns, forms, relationships that the untrained eye would not see. One day in 1987 he slowed his gait as he passed through our yard at home. He stared at the Virginia Creeper Vines against the weathered gray cedar siding of the house he built. Besides autumn reds, yellows and oranges contrasting with unturned green leaves, some of the leaves reflected blue from the sky. Most eyes do not notice the blue because we automatically edit it to green, the expected color for leaves without the reflected sheen. He ran inside and gathered his wooden Reis tripod and 4X5 Baby Deardorf view camera and set up on our front lawn for one of his most widely-published and exhibited photographs.

By late 2001, his 58-year photography career ended suddenly as his sight fully faded to black and he could no longer make photographs or even print them in his darkroom. Mom acted as his guide, business manager and constant companion. She tried to do the work of two people, keeping up with the photography business and finances as well as maintaining the grounds, house and kitchen. Then the second devastation arrived, Mom died suddenly in March 2002.When she passed on, I moved back to the mountain home where I was born, from my place across the country in upstate New York. We cried, reminisced and cried some more. Sometimes we screamed into the lonely woods, at the sky, at the stars, but the night absorbed it all. In time we began to talk on tape about the many wilderness miles we walked together. Dad described his adventures with Mom seeking the “Good Life” while helping to protect such places as Dinosaur National Monument, The Grand Canyon, The California Redwoods, and many other seashores and wilderness areas of the American West.

Until his death in 2006, I read him the environmental news almost daily. He relied on dreams for glimpses of the natural world he spent a lifetime defending. We sought to make sense of the loss of my mother; the loss of Dad’s eyesight and the state of environmental decline and violence the world is in today. Dad sometimes wondered why he worked so hard. Unfortunately environmental battles are never won, they are merely postponed. The dam site is still there, the mineral resources are still in the ground, the trees are still uncut, the road plans may some day yet destroy the pristine meadow. The beaches are always ripe for new hotels and condominiums. Nonetheless Dad saw clearly two possible visions for the future. In one we continue to poison our home until we destroy ourselves. In the other we learn to live in harmony with life and sustain ourselves on this planet perpetually. In the chapters that follow, I retrace the wanderings of Ardis and Philip and sometimes me tagging along, throughout the wilds on an odyssey through remote terrain from Alaska to Switzerland to Mexico to Southern Utah, my dad’s favorite state besides his home in the mountains of Northern California. All with the purpose of offering a glimpse of how one family lived and did what they could to make a difference and inspire others to do the same, to bring about the future with the most possibilities.

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“)