Posts Tagged ‘National Parks’

The New Golden Decade by Steidl – Book Review

September 25th, 2017

Golden Decade: Photography at the California School of Fine Arts 1945-55

By William Heick, Ira H. Latour and C. Cameron Macauley, edited by Ken Ball and Victoria Whyte Ball

Book Review

The New Cover of The Golden Decade: Photography at the California School of Fine Arts 1945-55.

Cutting Edge of World Art Then, Publishing Today

A completely new, redesigned, re-edited and revised version of the Golden Decade: Photography at the California School of Fine Arts 1945-55, published by renowned photography book publisher Steidl based in Gottingen, Germany, has been selling steadily in the United States for close to a year. The new Golden Decade has already sparked glowing reviews by many major newspapers and magazines, instigated book signings at some of America’s most prominent bookstore venues and catalyzed a handful of exhibitions at major museums, galleries and art centers.

This year, Steidl, the book, or the photographers have been featured in USA Today, the New Yorker and many other prominent publications. Mainstay European newspaper, The Guardian, hailed the Golden Decade as the book about “the school that turned photography into art.” Beyond the Curtain, touted as Southern California’s premier art and society magazine, extolled the Golden Decade photography exhibition at the Laguna Art Museum as “not for the eye to miss” and “a special glimpse into California’s progressive cultural history.” The Beyond the Curtain review revealed the influential ties between Golden Decade photography and the world art scene, as well as the East Coast art establishment. The article in Beyond the Curtain showed how the West Coast, specifically the California School of Fine Arts, renamed the San Francisco Art Institute, between its painters and photographers, at the time became the world’s cutting edge expression of modernism.

Only five of the 35 photographers with portfolios in the book are still living, while none of the original authors William Heick, Ira H. Latour and C. Cameron Macauley are still with us. As a result, the book editors, Ken Ball and Victoria Whyte Ball are all but worn out by an extended season of bookstore events that launched at the end of last October with a book signing at The Strand in New York City and continues throughout California and other major art markets. For more about the development of the new Golden Decade at Steidl and a list of all 35 photographers see the Landscape Photography Blogger article, “The Golden Decade Book to be Published by Gerhard Steidl.

The New Golden Decade Book Versus the Old Book

Steidl’s new design for the Golden Decade is less folksy and not as loaded with memorabilia, but more artful, chic, streamlined and clean, though the book still weighs in at 416 pages. The book is far from sleek, but the design on each page is sleek, spacious and crisp. The book overall is less busy and more pleasing to the eye than the earlier self-published version. A section in the beginning now tells how the book came to be, followed by the feature essay in which Ira H. Latour, in easy-reading prose tells the story of the founding of the photography department by Ansel Adams and California School of Fine Arts director Douglas MacAgy. For more on how the Golden Decade began see the blog post, “The Golden Decade: Photography at the California School of Fine Arts.

From obtaining funding through the Columbia Foundation, to securing facilities, the radio announcement, the first classes, launching the full-time program, abstract expressionism and much more, Latour’s essay informs, but does not overwhelm. Ansel Adams modeled the school on a rigorous piano conservatory approach to hands-on practice and set up the curriculum based on his famous Zone System. Early on a few students complained that the advertising promised courses by Ansel Adams just as he had become scarce at the school while working on his Guggenheim project photographing the national parks. The complaining faded when Ansel Adams hired Minor White, who in turn brought in prominent photographers to teach including Dorothea Lange, Imogen Cunningham, Lisette Model, Eliot Finkels, Frederick W. Quandt, Jr., Clyde Childress from the Art Center School, Robert McAllister, Homer Page, Rose Mandel and others. Beaumont and Nancy Newhall even gave a few lectures. The most anticipated student outings were to visit Edward Weston and Brett Weston at Wildcat Hill in Carmel, as well as photography field trips with Edward Weston out to Pt. Lobos State Reserve.

Minor White taught his, at the time somewhat confusing, but later much lauded Space Analysis. Benjamin Chinn, Philip Hyde, C. Cameron Macauley and others who wrote or talked about Space Analysis each had different understandings of it, but in June of 1952, the American Annual of Photography published an article by Minor White that defined Space Analysis as simply “The Use of Space in Defining Pictures.” C. Cameron Macauley’s essay in the Golden Decade also has provides readers with an understandable summary. Space Analysis brought the photographer’s awareness to vacant space, filled space and the relationships between objects and space, with more emphasis on the space than the objects. Students applied Space Analysis both before exposure while looking at the ground glass and after the production of a finished print.

Besides teaching portrait and landscape photography with large format cameras, White encouraged the study of motion by studying rush hour and doing street photography using “mini cameras,” that is, medium format and 35 mm. He also promoted the photographic interpretation of other arts including sculpture, plays, various other forms of performance and festivals. Students photographed the lively Fillmore District, the coast along Highway 1, industrial and architectural subjects with real world assignments by Pacific Gas and Electric Company, Stanford University, the City of Mendocino, the Gold Country, ghost towns and many other locations and clients all over Northern California.

Essays By Star CSFA Students

The essays by William Heick, C. Cameron Macauley, Ira H. Latour and others illuminate all aspects of student endeavor, both the day and night classes, student social gatherings, the striking philosophical differences between Minor White and Edward Weston and between Minor White and Ansel Adams. The latter at times brought on heated classroom discussions. Latour’s essay in particular offers an insightful, incisive dissecting not only of technical, creative and academic aspects of the photography program, but of the philosophy and character of both instructors and key innovative students.

Separate essays, all rearranged for better flow in this new Steidl version of the Golden Decade, also cover student print exchanges, a student print-based fundraising event, the world-famous 1954 “Perceptions” show at the San Francisco Museum of Art and the founding of Aperture magazine with several students including Philip Hyde, Benjamin Chinn and William Heick, being featured in early issues. Another essay described the students hanging out and later mounting a show at Vesuvio’s Bistro in the bustle of San Francisco’s North Beach District, which soon after became the home neighborhood of the Beat Generation poets. “Vesuvio’s is usually crowded with painters, photographers, craftsmen and sighseers,” wrote C. Cameron Macauley.

An essay by Pat Harris, “A Woman’s Perspective” explained that though most of the men had just come out of Word War II and were going to art school backed by the G.I. Bill, the primarily non-veteran women enrolled in the classes had to scrape and pay for school on their own. People kept saying to Pat Harris that science was not for women at each school she attended previously, but Ansel accepted her into the photography program and with mentoring from Imogen Cunningham she thrived.

Similarities, Differences and Influences in Student Photographs

Students at the school came from diverse backgrounds and circumstances, but the similarities that ran through many of the photographs do not end at the often-evident influence of Adams, Weston and White, but begin with it and go beyond it. Emerging from World War II, the country, the world and San Francisco in particular, had tremendous creative energy and productivity, while at the same time civilization carried the weight of what it had seen and endured, moving past it with transcendence and new purpose. Aspects of all of this are evident in the photographs, as well as meanings beneath the surface in most of the images. Edward Weston said, “To photograph a rock, make it look like a rock, but be more than a rock.”

The student portfolios exhibit a quiet intensity with clean lines, a new take on the modernist aesthetic, with room around subjects, objects well-placed in space, whether through space analysis or by emulating the quiet balance conveyed by Edward Weston. Many of the students’ photographs exhibit a strong design element. All are carefully conceived. For more about the contemporary exhibitions of the photographs starting in 2010 see the blog post, “Over 500 People Attend Golden Decade Opening.

Ansel Adams spoke of photographs representing a spiritual experience. The Golden Decade nature photographs exemplify either subtle or more obvious post-war transcendence. The landscape photographs contain some kind of spiritual quality, either through the use of light, or the arrangement of the subjects. Symbolism, ironic juxtaposition and the careful handling of negative and positive space around objects is as important as the objects and people themselves. The influence of Minor White also shows in the patterns and psychological emphasis, sometimes on humor, sometimes on tragedy, but always giving added meaning to the images. Metaphysics often shows or is alluded to in the street and people photographs as well. Pirkle Jones, William Heick, Gerald Ratto, David Johnson and many of the others expressed their greatest artistry in their photographs of people.

The first photograph in the student portfolios, “Nun and Child” by Ruth-Marion Baruch, like many others in the book, was clearly best expressed in black and white rather than in color. The nun’s habit with it’s black and stark white oversized collar contrasted with various grays and off-whites of the surrounding children all framed in a dark doorway. Baruch’s “Benicia” also juxtaposed innocence, optimism and the liveliness of youth in the foreground with the disappointment, unfairness and misfortune of life in the background. The images of Philip Hyde, Stan Zrnich and the other landscape photographers tended to speak of timelessness and at the same time remind us that we are here by either grace or accident and that this moment, this vivid now is fleeting. ‘Gather ye photographs while ye may.’ The Golden Decade shines on forever and glows golden for only one bright decade. It continues on and ended just yesterday: a book worth learning from and keeping safe for studying over and over; a time in history worth struggling to grasp and hold onto whether you are a historian, collector, photographer or artist in another medium.

Only A Little Planet by Philip Hyde

May 10th, 2017

Only A Little Planet

The Plumas Lantern Newspaper, Greenville, California, March 1973

Opinion Column by Philip Hyde on Behalf of Nature with a Call to Action for Public Lands

Buckskin Gulch, Paria River Canyon, Vermillion Cliffs Wilderness, Arizona, 1969, from Drylands by Philip Hyde. Now in the Vermillion Cliffs National Monument, which is under threat from the Trump administration. When Philip Hyde made this photograph, Buckskin Gulch was relatively unknown. Today it is a very popular destination for canyoneers and photographers, as are other locations within Vermillion Cliffs National Monument boundaries. “The Wave” is considered one of the top photography destinations in the world. (Click image to see large.)

“It is only a little planet, but how beautiful it is,” wrote the acclaimed poet Robinson Jeffers from Big Sur. His lines expressed the basic theme of this column: the inter-relatedness of all things. “The greatest beauty is organic wholeness, the wholeness of life and things, the divine beauty of the universe. Love that, not man apart from that, or else you will share man’s pitiful confusions, or drown in despair when his days darken.”

Our purpose here will be to communicate the love of Planet Earth that underlies every effort to conserve it. We are here to share the surpassing beauty and the relationship between all things on “this green ball that floats us through the heavens,” as Ralph Waldo Emerson called our home.

Our subject matter in this column will be the ever-expanding range of environmental problems and concerns, which we will explore through commentary, book reviews, related experiences and essays about natural beauty.

The “little planet” theme is at once a shrinking, and an expanding concept. While some exploiters are hurtling through space to make a revolution of our planet in minutes, others are looking into inner-space more deeply than ever before, studying its intricacies more carefully, and not a moment too soon. We need to know all we can about our only home, to learn again what John Ruskin knew two hundred years ago, that “there was always more in the world than a man could see, walked he ever so slowly.” We need to sense this one world we have in its wholeness, and to see our own wholeness in it. It can be no longer logical – if it ever was, to suggest that a problem of Earth’s is someone else’s. This is too much like saying to a fellow passenger, “Your end of the boat is sinking.”

History, we believe will record that the most important thing achieved by the epochal moon-walks of our times was not so much that man then first walked on the moon, but that he looked back from the moon to his own planet and saw it complete, a beautiful brown, blue and white ball sailing through the immense depths of space. Man looked back at Mother Earth from enough distance to see her perfection and isolation and to sense as well, even though nearly unseen, the presence of his own umbilical cord of dependence stretching to connect to Earths life-support systems.

It is good to remember when thinking of the sophisticated technology so widely extolled these days, that the spaceship that put those men on the Moon was not so much a result of inventive genius as it was a conscientious, but rather crude imitation of the naturally contrived life-support systems evolved through millions of years of life on Earth, which, though assaulted by many of men’s activities still continue to make possible our lives here. This has brought a dawning recognition that we need to do more to preserve and protect these life-preserving systems to continue to survive.

There is an absurd charge made by some who would like to ignore the magnitude of this recognition, that those who view nature as necessary to survival are an “elite” who want to keep it for themselves. Such a fantasy would be ludicrous, if it were not tragic. The ranks of conservationists are filled with people with a large experience of nature. Were they indeed selfish “elitists” they would not be getting the word out as widely as possible and encouraging more and more people to go on trips and wilderness outings. Conservationists are not keeping it to themselves.

When I was growing up I tried, sometimes in vain, to lure my friends into the mountains by citing John Muir’s invitation, “To climb the mountains and get their glad tidings.” Muir published his invitation widely, and since my earliest pilgrimages, my work has consistently proclaimed to all who would look and listen, the beauty and joy of life close to nature. Nature enthusiasts’ advocacy and willingness to share with anyone is widely confirmed by the heavy and growing use of natural areas in all parts of the country. Many of these early friends, now in their middle age, are today joining the young to walk the old trails. If I had been an elitist wanting to keep it to myself, I would have been better off to never publish any photographs, or write a line in praise of nature, and admonish my mountain friends to refrain likewise.

Invariably, those who make the “elitist” charge are unwittingly speaking of themselves, for without exception, the nature they would make available to all is a nature plundered and maimed after the extraction of something translated into material wealth. These practical industrialists would convince us that we should choose the forest of a Weyerhaeuser ad over the real thing, or a dug out pit in raw earth filled with poisoned water and called a lake, rather than a natural mountain meadow. These are the economic elitists of the country working in the realm where the dollar is king, and there are no reservations for any lesser loyalties. Buckminster Fuller called them “The Last of the Great Pirates.” Fortunately for Earth and its other inhabitants this breed is dying out, and being replaced by those more responsible who can better read the signs of the times.

Landscape Photography Blogger Call to Action for Wilderness Public Lands:

Currently a long list of national monuments are under review of their status as national monuments and for possible sale, oil drilling, coal mining and other exploitative one-time uses rather than the ongoing lower impact, more profitable, more enduring and fun tourism use by we the owners. The US Department of interior has released the following list of Antiquities Act Monuments under review and announced a formal public comment period starting May 12. Be sure to make your voice heard and your plea made, either short or long, in favor of keeping our national heritage as it is: Interior Department List and First Ever Formal Comment Period.

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.

Enduring Images: Interview of Jack Dykinga for Outdoor Photographer Magazine

September 15th, 2016

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

Including Previously Unpublished Interview Sections and Materials

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hyde: Like Ansel talked about with the experience?

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

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

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

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

Book Review: Picturing America’s National Parks

September 1st, 2016

Book Review: Picturing America’s National Parks by George Eastman Museum Assistant Curator Jamie M. Allen

Cover of "Picturing America's National Parks" by Jamie M. Allen (2016).

Cover of “Picturing America’s National Parks” by Jamie M. Allen (2016). (Click on Image to See Larger.)

Landscape Photography Classics and Much More

To accompany the George Eastman Museum exhibition, Photography and America’s National Parks, the Eastman Museum and Aperture Foundation teamed up to publish assistant curator Jamie M. Allen’s new comprehensive book on the history of photography in our nation’s parks called Picturing America’s National Parks.

The George Eastman show, made up of the work of more than 50 photographers from all eras in the history of photography, includes landscape photography greats such as Ansel Adams, Alvin Langdon Coburn, Imogen Cunningham, John K. Hillers, Philip Hyde, William Henry Jackson, the Kolb Brothers, Eadweard J. Muybridge, Eliot Porter, Bradford Washburn, Carleton E. Watkins, Edward Weston and Minor White, as well as a good number of other renowned photographers who also happened to make exposures in the National Parks such as George Eastman, Andreas Feininger, Lee Friedlander, Johan Hagemeyer, Martin Parr, Stephen Shore, Garry Winogrand and others. The exhibition has also turned out to be one of the most popular and prominent museum shows of the year.

You See It “Everywhere”

As such, during the run of the exhibit from June 4 – October 2, 2016, Photography and America’s National Parks has enjoyed significant publicity, while the book, Picturing America’s National Parks, already has attracted even greater press exposure. The exhibition or the book or both were introduced or reviewed in Antiques Magazine, Outdoor Photographer magazine, the Los Angeles Times, Aperture, Real Clear Life, the Rochesteriat, the Nature Conservancy magazine, the Rochester City Newspaper, Smithsonian Magazine, the Wall Street Journal, Fortune Magazine, Museum of Photographic Arts, Visit Rochester, The Atlantic, Tween Tribune, Artsy, Outside Magazine, AnOther magazine, Mother Jones magazine, USA Today, Yahoo News, Slate, Audubon magazine, Artbook, Travel & Leisure magazine, Pop Photo, and many others. The book can be found online to purchase, borrow or to read more reviews at Amazon.com, Aperture Foundation, Target.com, Bookshop.com, eBay, Google Play, Library Resource Finder, Sweet, Abelardo Morell, Schaumburg Library, Crystal Bridges Museum of American Art bookshop, Worldcat, Fraser Muggeridge Studio, Loot, LibraryThing, Lenscratch, Photolucida, ALA Booklist, Beyond Words, PDN Online and many, many others too deep in Google search results to track down.

Fascinating, Well-Written and Leavened With Significant Detail

Like her pre-show introductory article in Antiques magazine, assistant Curator Jamie M. Allen’s main essay in the book is well written, smooth flowing and easy to read, yet packed with interesting history of both the national parks and early photography in them. The rest of the book displays the photographs with titles and an accompanying text for each of the featured photographers, interspersed with several paragraphs at a time on various historically relevant points such as the invention of the mass produced Kodak camera, the increase in availability of the automobile, the development of photomechanical and photolithographic postcards for sale at park concessions, 18-by-60-foot Colorama photo advertisements for the national parks, caretakers in the national parks and the National Park Service’s social media campaign #findyourpark.

Interspersed with the images from each major contributor at approximately every 16 pages, a timeline page provides the reader with significant dates in the history of photography and the history of the national parks. These timeline pages are loaded with fascinating tidbits that enrich the reading experience of the book. Despite many details included, the timelines present history in general, broad strokes. There are significant points of history, especially of the parks that are not detailed, but this would require a much larger, more difficult to read book.

A Popular Populist Approach

Ms. Jamie M. Allen approaches her subject from a populist perspective, which is somewhat unusual for a museum curator. More than one of the reviews of Picturing America’s National Parks said it was a comprehensive history of photography in the national parks. This is partly true, depending on the definitions of these terms. On a more close reading though, I would say that this volume is not necessarily the history of fine art photography or landscape photography in the national parks, but it could more accurately be described as the history of all photography in the national parks, or a history of cameras and images of any kind from any source made in the national parks.

This populist view of photography in the national parks puts significant emphasis on the various ways that photographs have helped to establish, preserve, depict and popularize the national parks. Allen observes that the history of the national parks is inextricably intertwined with the history of photography. After reading this inspiring book, I would go beyond saying that photography helped popularize the national parks to say that apparently the national parks helped popularize photography. In the development of the West, Allen points out that images produced on location at several of the most popular parks such as the Grand Canyon, Yellowstone and Yosemite became a hot commodity. A cottage industry in photograph sales developed with photographers establishing small shops where tourists could purchase various types of photographic reproductions of the scenery they had enjoyed during their visit and in some cases purchase photos of themselves in the scenery.

Intertwining Histories of National Parks and Photography

The development of postcards, the snapshot camera and many other aspects of photography that were popular rather than professional, were a large part of the story of the intertwining histories. In addition these aspects make a more interesting read than a mere compilation of the great photographers who have depicted the national parks. Because some of the professionals have been left out, the collection of photographs represented acts less as a survey of those famous for photographing the parks and more as a compilation of famous people and ordinary people who also made images in the national parks.

Both the exhibition and the book tie all of this history into current trends by bringing to light the masses of images and selfies made each day and shared hourly on social media. However, Allen and the Eastman Museum go beyond the mere mention of this phenomenon, to incorporating it as an activity at the exhibit. In the entryway to the show a photograph of the Grand Canyon containing a life-sized figure of George Eastman standing on the rim gives visitors to the show an opportunity to make a selfie with Mr. Eastman and the Grand Canyon in the background to take home, share on social media and discuss the exhibit with friends online. This feature and the encouragement of phone snapshots in the museum makes the visitor experience more fun while portraying the museum as cool and up to date in their delivery of history, not to mention making the show and the museum extremely popular, as well as the objects of considerable buzz.

Strengths and Weaknesses

Allen and her team are to be commended for their fanning of the media flames through her appearance on local TV and the comprehensive development of publicity across the country, but also in their exhaustive and colossal volume of research necessary for such a project. As excellent as done, their research was not necessarily perfect, or perhaps for sake of simplicity and accessibility they chose to leave some information out. For example: the timeline for the 1960s is missing the introduction of color to photography books. Though the timelines are a small part of the overall book presentation, this was a major breakthrough for the parks, for photography and for the fortunes of Kodak because it caused a huge spike in the popularity of color film. It also was part of what led to the popularization of the coffee table photography book, which changed the face of the photography industry and paved the way for more photographers to make a living in the medium.

In the timelines, there is also no mention of the Sierra Club Exhibit Format Series, which during the 1960s, especially in the Western U.S., but also all over the world, greatly advanced the momentum of the movement to conserve more public lands and to further popularize the national parks themselves. The timeline entry for 1963 mentioned that David Brower and Eliot Porter published several books on the parks, but the mention of popular books by Philip Hyde in the Exhibit Format Series, who is represented in the Eastman Museum collection, also is omitted. David Brower called Philip Hyde his go-to photographer because he produced the images for many books that made or protected national parks just in the 1960s alone, such as The Last Redwoods (1963), Time and the River Flowing: Grand Canyon (1964), The Wild Cascades: Forgotten Parkland (1965), Not Man Apart (1965) Navajo Wildlands (1967), The Grand Colorado (1969) and even more volumes in the 1970s.

Philip Hyde’s book, Island In Time: The Point Reyes Peninsula (1962) was the first book to ever raise funds to purchase land to make a national park service unit, Point Reyes National Seashore. It was also published the same year as Eliot Porter’s In Wildness Is the Preservation of the World, (also not mentioned in Picturing America’s National Parks) in 1962, giving both books the shared title of the first major book projects published in color.

Outstanding Image Choice and the Making of an Evergreen Title

I like Allen’s image choices for the sections on Ansel Adams, Edward Weston, Minor White and many of the others because she used photographs we don’t often see from these well-known masters. Adams as usual gets a huge amount of credit for his work in the national parks, most of which is well-deserved. However, also as usual, Adams gets credit for some of the accomplishments of other photographers such as the help in conservation and formation of national parks, which Adams did do some and quite effectively, but not more than or even at the same level as photographers such as Philip Hyde and Eliot Porter, who essentially took over the Sierra Club Books from Ansel Adams after they transitioned to color. The description under Ansel Adams carried on at length about conservation and the national parks, whereas the Philip Hyde description mentioned it only briefly, especially in light of his much greater volume of work on wilderness and national park protection campaigns. When I asked Allen about the difference, she said that originally her text included much more about Philip Hyde’s work in preserving national parks, but that her editors cut some of it. Apparently editors need educating as well about the figures behind major conservation efforts.

To illustrate this point and to show an example of how the descriptions were presented, here is the entry for Ansel Adams:

Ansel Adams‘ (American, 1902-1984) lifelong passion for the national parks began in 1916 when, at the age of 14, he read James Mason Hutching’s 496-page book In the Heart of the Sierras (1886) and convinced his parents to take him on vacation to Yosemite Valley. Equipped with a No. 1 Brownie camera that his parents had given him, Adams took his first images of Yosemite that year. Soon after, he became involved with the Sierra Club, starting as the custodian for the club’s headquarters in Yosemite and later leading tours and participating in trips to the Yosemite High Country. He was eventually elected to the board of directors and lobbied for additional areas to be set aside as national parks and monuments. By the 1930s, Adams’ photographic work had become well known, and in 1941 he was invited to participate in a project to photograph all the national parks. Organized by the Secretary of Interior, the initiative was abruptly cancelled when the United States entered World War II. Adams continued the project independently, supported by a series of Guggenheim Fellowships. His images of the parks have come to represent the grandeur of the American landscape, conjuring a sense of pride for American viewers in both the land itself and the preservation of these spaces through the National Park Service. Adams’ photographs have also had broad international appeal, establishing the national parks as globally recognizable icons.

Compare that to the entry for Philip Hyde, which is also excellent, but not as thorough:

In 1946, Philip Hyde (American 1921-2006) became one of the first students to attend the newly formed photography program at the California School of Fine Arts (now the San Francisco Art Institute). Here he studied under Edward Weston, Minor White, Imogen Cunningham, Dorothea Lange, and many other influential photographers of the time. After graduating, Hyde served as the official photographer of the Sierra Club High Trip during the summer of 1950, thus beginning his long relationship with the organization. His involvement with the club blossomed into relationships with other groups, including the Wilderness Society and the National Audubon Society. Hyde’s photographic work was used to advocate for and realize the preservation of places such as the Grand Canyon. While he photographed the characteristic vantages of many national parks, his images also show atypical views, such as a sand dune at the Grand Canyon.

Regardless, even with some omissions, Picturing America’s National Parks is destined to be a staple of bookstores, libraries, schools and universities for many years to come. I like the accessibility of the approach, the innovative layout and the depth of information presented in an easy to digest format. I like the cover art, but don’t particularly like the no dust-jacket cover. However, this keeps the costs down also adding to accessibility. Besides, this type of jacketless cover will likely prove ideal when the book is used as a textbook. It certainly ought to be mandatory reading for anyone studying photography, the national parks or any related outdoor curriculum.

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

June 9th, 2016

Outdoor Photographer June National Parks Centennial Special Issue

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

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

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

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

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

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

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

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

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

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

Photography and America’s National Parks at the George Eastman Museum

May 26th, 2016

Photography and America’s National Parks Exhibition at the George Eastman Museum

June 4 – October 2, 2016

Exhibition Preview Friday June 3, 2016, 7 – 9 pm

Featuring William Henry Jackson, Carleton E. Watkins, Ansel Adams, Edward Weston, Philip Hyde and Contemporary Photographers

Dune at Granite Falls, Grand Canyon National Park, Arizona, copyright 1956 by Philip Hyde from Time and the River Flowing: Grand Canyon. This photograph will be featured in Photography in America's National Parks and is part of the George Eastman Museum permanent collection.

Dune at Granite Falls, Grand Canyon National Park, Arizona, copyright 1956 by Philip Hyde. Color version featured in Time and the River Flowing: Grand Canyon, the 1964 book that helped galvanize worldwide opposition to two proposed dams in the Grand Canyon. This photograph will be featured in Photography in America’s National Parks and is part of the George Eastman Museum permanent collection. (Click on image to see larger.)

American entrepreneur George Eastman founded the Eastman Kodak Company and popularized photography through the mass production of film and the cameras he manufactured. While a number of entertainers and recording artists have more than one star in different categories on the Hollywood Walk of Fame, Eastman is the only honoree with two stars in the same category for the same achievement, the invention of roll film.

Besides inventing roll film, Eastman also invented the roll film holder, developed dry plate technology that simplified the mechanics of photography and bromide paper, which became a standard in the industry. Eastman’s transparent film enabled Thomas Edison to perfect the kinetoscope, a box that allowed one individual at a time to view films through a small viewer window, the forerunner of the present motion picture.

Eastman, after establishing a $200,000,000 industry, devoted most of his life to philanthropy. He pioneered sick pay, disability compensation, pensions and hospital benefits. He first distributed extra funds to employees doing a good job, one of the world’s first corporate bonuses. In the last decade of the 19th Century and in the first two of the 20th, he gave away more in wealth than anyone else besides John D. Rockefeller and Andrew Carnegie.

His gifts made the University of Rochester and MIT into first tier schools. He was the largest supporter of the education of African-Americans in the 1920s, donating to colleges like Tuskegee, Hampton, Howard and Meharry. He established dental clinics for children around the globe and founded the medical and dental school at the University of Rochester. He organized community music instruction, funded music education programs and concerts and built the Eastman Theater, still one of the largest and most eloquent concert halls in the country.

After his death in 1932, his 35,000 square foot home became part of the university, but proved too large for the president’s residence, as he had specified. In 1947, the state of New York chartered the George Eastman House as a non-profit museum of photography. After the Museum of Modern Art in New York City, the George Eastman Museum became the second museum in the world to have a photography department and also the second museum in the world to have a film department.

The George Eastman Museum went on to develop one of the largest photography collections in the world including cinema art and photographic and cinematic technology, for a total of several million objects including over 450,000 photographs dating from the introduction of the medium in 1839 to the present. The collection also includes more than 28,000 motion picture films, one of the leading libraries of books related to photography and cinema and extensive holdings of documents and other objects related to George Eastman. Each year now the museum presents at least ten curated exhibitions. However, in the early days of the museum, shows were not as frequent.

In 1957, when Beaumont Newhall was head curator and Minor White was an assistant curator, the George Eastman Museum hosted a solo exhibition of the black and white prints of a new leading nature photographer and prolific user of Kodak paper and large format sheet film, Philip Hyde. The show consisted of 25 silver gelatin prints, three of which were purchased for the George Eastman House permanent collection.

Now in 2016, to celebrate the 100th Anniversary of the founding of the National Park Service, the George Eastman Museum presents Photography and America’s National Parks, an “exhibition exploring the role of photography in the development of the parks and in shaping our perception and understanding of these landscapes.”

From the early pioneers such as Alvin Langdon Coburn, Frank Jay Haynes, William Henry Jackson, the Kolb Brothers, Eadweard Muybridge and Carleton Watkins to the modernists including Ansel Adams, Edward Weston and Philip Hyde to contemporary photographers such as Marion Balanger, Binh Danh, Sean McFarland, Sharon Harper, Mark Klett, Abelardo Morell, David Benjamin Sherry and Byron Wolfe, exhibition curator Jamie M. Allen drew primarily from the George Eastman Museum collection to illuminate the history of the most significant national parks from the 1860s to the present. The exhibition also includes works on loan that broaden and deepen the presentation, as well as George Eastman’s travel albums from his trips to national parks.

To compliment the exhibition, the museum is co-publishing a book with Aperture titled, Picturing America’s National Parks, with introductory essay by Jamie M. Allen discussing the relationship between the parks and photography, available in June from the museum store and online at Eastman.org/store.

Curator Jamie M. Allen wrote an informed and well-written article about the history of photography in the national parks for the March/April issue of Antiques, The Magazine. David Leland Hyde also wrote about the exhibition for the June issue of Outdoor Photographer magazine. The same June national parks special issue of Outdoor Photographer, is graced by a cover photograph by Carr Clifton, protégé of Philip Hyde, and a special feature article by David Leland Hyde about Philip Hyde’s role in conservation campaigns that helped establish or expand more national parks and wilderness lands than any other photographer. The June special issue of Outdoor Photographer will be on newsstands this Tuesday. For more information see the Exhibition Preview. To find out about related events throughout the summer go to Philip Hyde in Photography and America’s National Parks Exhibition–Programs and Lectures at Fine Art Photography Collector’s Resource.

George Eastman Museum
900 East Avenue
Rochester, NY   14607
585-271-3361

Sources:

George Eastman Museum
Los Angeles Times
Hollywood Walk of Fame
Wikipedia
Kodak.com
Biography.com
Philanthropy Round Table Hall of Fame
Antiques, The Magazine
Outdoor Photographer magazine

San Francisco Art Institute Photography History 17

May 12th, 2016

On the Fall Program, Student Supplies and Lab Schedule

Lecture by Ansel Adams

Philip Hyde’s 1947 Class Notes Notes

California School Of Fine Arts, Now The San Francisco Art Institute

Photography Program Founded By Ansel Adams, Minor White Lead Instructor

(Continued from the blog post San Francisco Art Institute Photography History 16.)

Winter Forest Near Badger Pass, Yosemite National Park, High Sierra, California,

Winter Forest Near Badger Pass, Yosemite National Park, High Sierra, California, copyright 1949 by Philip Hyde from the Golden Decade book.

Below is the next in a series of excerpts from the only known existing complete student lecture notes from the photography program at the California School of Fine Arts, now the San Francisco Art Institute. During the “Golden Decade” while Minor White was lead instructor, beginning in the Ansel Adams Summer Session 1946, Philip Hyde kept a detailed record of class presentations.

A new book, Golden Decade: Photography at the California School of Fine Arts 1945-1955 by William Heick, Ira Latour, Ken Ball and Victoria Ball will be published June 2016 by Steidl of Germany with a small text contribution by David Leland Hyde and photographs by Philip Hyde, his classmates and other students during the era.

For the California School of Fine Arts Summer Session 1946, Ansel Adams brought in Minor White from Columbia University on recommendation from Beaumont and Nancy Newhall. In the 1946 Summer Session Minor White quickly proved himself as a coach of the young students and as a guest lecturer. Within a few weeks Ansel Adams felt confident enough in Minor White’s teaching abilities to leave him in charge of the class and set out on the road to photograph the national parks for his recently awarded Guggenheim Fellowship.

Today, the San Francisco Art Institute still has one of the world’s most cutting edge photography departments, however, in 1945-1955, the first ten years of the program made history as Minor White brought in Imogen Cunningham, Lisette Model, Dorothea Lange, and many other luminaries to guest lecture. Each semester Minor White also took the students on numerous field trips, the highlight of which was a visit to Wildcat Hill in Carmel to discuss the art and craft of photography, look at prints by Edward Weston and photograph with him out on Point Lobos State Natural Reserve.

Ansel Adams first taught the Summer Session in 1945. In the summer of 1946, Minor White joined him as a teacher and at the same time, Philip Hyde joined them as an early student. Due to an office paperwork error, Philip Hyde did not start in the first full-time class in 1946, but started in the second full-time class in the Fall of 1947. The extra year on the waiting list did not go to waste, however as Philip Hyde also used his G. I. Bill Veteran’s education benefits at U. C. Berkeley to take a number of art and design courses, including classes by the famous Japanese-American painter Chiura Obata. By this lecture in August 1947, Hyde had just been married to Ardis King in June of 1947, whom he met at a New Year’s party in San Francisco at the end of 1945 and got to know in the year at U. C. Berkeley before he attended the full-time photography program in the Fall of 1947. Philip Hyde’s notes quoted below are from a lecture where Ansel Adams outlined the Summer Session and Fall Full-Time 1947 program courses, lab schedule and supplies needed.

Philip Hyde’s Lecture Notes—August, 1947

Each student will be in a conference group for attending museum and lecture events.

Program – August 18-22

Monday

Morning            Introduction
Afternoon         Design, Society and Artist with Ernest Mundt [School Director]

Tuesday

Morning            Lecture—Minor White
Afternoon          Lecture—Ansel Adams

Wednesday

Morning             Lecture—Minor White
Afternoon          Design, Society and Artist

Thursday

Morning             Lecture, Field Trip—Minor White
Afternoon           Lab

Friday

Morning              Lab
Afternoon           Design, Society and Artist

Lab Schedule Summer and Fall

[1st Year Student = 1; 2nd Year Student = 2]

Time                      Mon.           Tues.         Wed.       Thurs.      Fri.          Sat.

9 am – 12 noon         2                  2                  1                2               1               open

1 pm – 4 pm              2                  1                  2                1               2              open

4 pm – 7 pm              1                  1                  1                1               1

7 pm – 10 pm            1                  1                open            1               open

Also for 1st Year Students – Darkroom #6 – Mondays 4 pm – 7 pm, Fridays 9 am – 12 noon

Supplies for Student Purchase

  • Isopan Cut Film
  • Super XX Cut Film
  • 1 pound of Metol
  • 1 lb. Hydroquinone
  • 4 oz. Amidol
  • 4 oz.
  • 1 lb. Glacial Acetic Acid
  • 1 gallon of Acid Hypo
  • Gross 8X10 Dry Mount Tissue
  • 1 lb. Kodalk
  • 1 qt. Kodak Selenium Toner
  • 8X10 Printing Paper Contrasts—1, 2, 3 Cykora #2, Glossy #3
  • 1 Exposure Record
  • 1 Eastman Spotting Colors
  • Photo Course Worksheets
  • Spotting Brushes
  • Glassine Envelopes
  • Mount Boards

 

Interesting how many large format film photography supplies are now replaced by electronics and computers… Any thoughts on traditional processes, darkroom printing, art schools or another aspect of these notes?

(Continued in the blog post San Francisco Art Institute Photography History 18.)

Celebrating Wilderness By William Neill

March 30th, 2016

Celebrating Wilderness by William Neill

Reposted Today in Honor of the 10th Anniversary of the Passing of my Father, Philip Hyde.

Written by William Neill for the July 2006 Issue of Outdoor Photographer. Read more at OutdoorPhotographer.com and visit WilliamNeill.com or William Neill’s Photography Blog at WilliamNeill.com/blog/. This article was originally posted to Landscape Photography Blogger as my first guest post. I am grateful to Dad’s good friend master photographer William Neill for sharing it with the world again through Landscape Photography Blogger. Coincidentally, just a few days before I originally posted this Bill Neill tribute, Guy Tal wrote a tribute on his own blog journal to William Neill called, “Inspiration: William Neill’s Yosemite Volume One.”

New Tribute to Philip Hyde by Outdoor Photographer

The current editor of Outdoor Photographer, Wes Pitts, today also wrote a must-read tribute to Dad, “Remembering Philip Hyde, Visionary Landscape Photographer and Conservationist.”

Celebrating Wilderness by William Neill

Sunset From Mt. Hoffman, Yosemite National Park, California, 2006 by William Neill.

On March 30, 2006, Philip Hyde passed away at the age of 84.  The community of photographers and nature lovers lost a true friend and pioneer. (See the June 2006 issue of Outdoor Photographer, A Voice for the Wild).  I count myself as being very blessed for having known him.

 

Many years before meeting Philip back in the early 1980s, I discovered his work in the Sierra Club’s famous “Exhibit-Format Series” of books.  His images opened my eyes, along with those of thousands of other photographers and wilderness enthusiasts, to the beautiful and endangered landscapes he had explored.  He helped us see the great potential use landscape photographs could have for environmental protection.  Philip’s images spoke to me quietly yet forcefully of wild nature’s value, and showed me the impact hard work, dedication and selflessness can have.

Philip’s sphere of influence has expanded outward far and wide, quietly and profoundly.  Hyde was the workhorse for the Sierra Club book series, providing images for nearly every battle of theirs in the 1960s and 1970s.  When David Brower, the director of the Club and creator of the book series, needed images to help preserve an endangered landscape, Philip and camera went to work.  Books in which his photographs are instrumental include The Last Redwoods, Slickrock, Island in Time: The Point Reyes Peninsula, Time and The River Flowing, Navajo Wildlands, The Wild Cascades: Forgotten Wildlands, and This Is Dinosaur: Echo Park Country and Its Magic Rivers.

I have little doubt that every published nature photographer of my generation has been inspired by Philip’s efforts.  The large number of photographers, professional or not, working today to use their imagery to help preserve wild places, both locally and on national issues, owe Philip a great debt.

When I looked at those Sierra Club books as a college student, my wildest dream was to use my images in such books and other forums to further the cause of conservation, and to make photographs for a living.  The success of the Sierra Club books not only gave a great boost to its own membership, but also showed publishers that such books had commercial value, thus spawning the publication of thousands of books modeled after them.  The resulting nature book industry allowed many photographers to develop careers, and brought to light many issues of preservation.  Even those not familiar with the full extent of Hyde’s accomplishments can trace their roots to his efforts.

Beyond his environmental contributions, Hyde has earned an honored place for his art.  His photographs have a quality of serene reality.  His choice of camera is a 4×5 for revealing the landscape in sharp detail.  The color is not amplified.  The light he preferred was understated, and he did not favor the “magic hour” that seduces most of us.  He has a disdain for the redundant sunset motif.  He chose Ektachrome film, over Kodachrome or Fujichrome, for its more neutral reproduction of nature’s colors.  In similar fashion, Philip’s compositions and use of lenses are simple and direct.  Rarely do you see a photograph where camera position or lens exaggerates any aspect of a landscape.

Commenting on his evolution from being a black and white photographer to predominantly using color, Philip wrote in his book The Range of Light, “Black-and-white lends itself to manipulation that can dramatize a subject.  Color tends to record what is seen, so it is no coincidence that I use color for that purpose.  I don’t feel nature needs to be dramatized: it is dramatic enough! …Color photographs that…rely too much on the shock value of color alone will not sustain interest.”

Philip’s approach, which seems at first to show the landscape in ordinary descriptive terms, is his attempt to make us realize nature’s profound beauty is always there for us to see, not just during a monumental performance of light or color.  There is selflessness to this approach.  In his images, his own importance recedes in the face of nature’s beauty and need for protection.  He once wrote to me, “There is no limit to what a man can do so long as he does not care who gets the credit.”

Many years ago, I hiked up Mt. Hoffman in Yosemite.  I walked slowly upward, alone in my thoughts. I carried all my 4×5 gear to the summit, planning to photograph the sunset and then hike down in the twilight.  At the top, the views of Yosemite’s wilderness stretch out all around.  There was virtually no sign of human life below.  The sunset light warmed the surrounding peaks, and the Sierra Nevada displayed why it is called The Range of Light!  The serenity I felt was powerful.

Thanks to far-sighted pioneers, this rare form of sanctuary exists for millions to enjoy.  The initial preservation of Yosemite by President Lincoln in 1864 and subsequent the formation of the National Park System, the inspiring words and energetic crusading of John Muir, the monumental photographs of Yosemite by Ansel Adams have all contributed to the cause of wilderness preservation.

At times like this, when a great person in our field or our life is lost, we might wonder who could ever replace them?  It is an important time to stop and remember the impact each one of us can have.  John Muir saw threats to the wildness of Yosemite, and fought to preserve it.  Ansel Adams felt deeply moved by the beauty of Yosemite and the Sierra that Muir helped preserve, and used his photographs to fight further for wilderness preservation.  Philip Hyde, learning from the example of Muir, Adams and David Brower, worked tirelessly to photograph threatened landscapes. Many photographers have followed Hyde’s example.  As a ripple expanding outward in a circle, more will follow those who have followed him.  We must all acknowledge our mentors, and I am proud to count Philip Hyde as one of mine.  We honor their legacy by following their example.  Let the circle be unbroken. — William Neill

I am interested primarily in what Emerson called “the integrity of natural objects.”  They express wholeness and individuality, and it is this sense of place that is the foundation of my work.  My life in photography has been taken up in exploring natural places for their beauty and uniqueness.  It has been a labor of love, and nature has provided me the perfect object. — Philip Hyde

William Neill’s Note:  The North American Nature Photography Association offers a grant in honor of Philip Hyde.  See http://www.nanpafoundation.org/hyde_grant.html for more info and for applications.

______________________

To sign up for newsletter updates, including info about his BetterPhoto.com online workshops, please see William Neill’s web page at WilliamNeill.com. For more about wilderness see the blog post, “Wallace Stegner: The Wilderness Idea.” For the story on how I learned more about my father’s work see the blog post, “Memories Of Finally Working With Dad.”

Originally posted August 26, 2010

Philip Hyde in “Ansel Adams: Before and After” at the Booth Western Art Museum

December 15th, 2015

Ansel Adams Before and After

Exhibition at the Booth Western Art Museum

Over 400 People Attended the SOLD OUT Opening Reception…

Aspens, San Miguel River, San Juan Rockies, Colorado, 1974 by Philip Hyde. One of the images Lumiere is showing as part of the Lumiere Holiday Collection. The other two Philip Hyde photographs shown as part of the online exhibition are "Virginia Creeper, Northern Sierra Nevada, California, 1977" and "Mt. Denali, Reflection Pond, Denali National Park, Alaska, 1971."

Aspens, San Miguel River, San Juan Rockies, Colorado, 1974 by Philip Hyde. Courtesy of Lumiere Gallery.

In 2010, the second largest museum in Georgia, the Booth Western Art Museum, hosted an exhibition called Ansel Adams: A Legacy. This show attained a new milestone in attendance and helped the Booth establish creative photography as an important part of its future with the associated creation of the Booth Photography Guild.

The Booth Western Art Museum, affiliated with the Smithsonian Institute Museums in Washington DC, now presents a new exhibition, Ansel Adams: Before and After, which has already set new precedents in several ways. The outside marketing and publicity by photographers, galleries and other associates for Ansel Adams: Before and After was dark for the first 30 days. The Booth wanted to see how its own community would respond to museum originated outreach.

From the show text:

Exhibition Opening Reception and Lecture SOLD OUT!
On Saturday, November 14, 2015, over 400 people sat in awe of Dr. Michael Adams, son of legendary photographer, Ansel Adams, as he gave the keynote speech for the opening of Ansel Adams: Before and After. Many of the attendees had the opportunity to hear from contemporary photographers Cara Weston and Bob Kolbrener, who are both highlighted in the exhibition.

The Booth Western Art Museum sold $10.00 tickets to the show opening and could not fit any more people into the facility. The Booth written materials also refer to Ansel Adams as the most recognized name in photography. Ansel Adams is not only the most recognized name in photography, but the most recognized western photographer in Georgia and other southern and eastern states. The new Booth show is helping to change that though because besides exhibiting more than 25 original photographs by Ansel Adams, the more than 100 total works in the show “represent 24 photographers who influenced Ansel Adams, worked at the same time as his peers, or are contemporary artists and professional image makers who have been influenced by his legacy.”

The Influence of Ansel Adams

Ansel Adam’s influence on the entire medium of photography continues to show up in imagery today. Furthermore, those who worked with him cite him as one of their most significant influences. Having co-founded with Beaumont Newhall the world’s first photography department in a major museum at the Museum of Modern Art in New York City and having founded the first photography department in an art school to teach creative photography as a full-time profession at the California School of Fine Art, now the San Francisco Art Institute, Ansel Adams with more students than any other photographer in history, has influenced photography more than any other single photographer.

The exhibition also shows how photographers influenced by Ansel Adams, such as Philip Hyde, have influenced others. Ansel Adams was a teacher of teachers. “Aspens, San Miguel River, Rocky Mountains, Colorado” by Philip Hyde shows Ansel Adams’ influence, while “Spot Lit Trees II, Yosemite, California” by Robert Weingarten is reminiscent of Philip Hyde’s aspen image. Considering that Philip Hyde led some of the earliest color Ansel Adams Workshops and Robert Weingarten participated as a student and a teacher in his own right with the Ansel Adams Workshops, these and other influences had plenty of fertile opportunities to develop.

How Modernism Began in Photography

Curators and art critics have called Edward Weston the father of modern photography. As co-founder of Group f64 with Ansel Adams, Imogen Cunningham and Dorothea Lange, also part of the current Booth exhibit Ansel Adams: Before and After, Edward Weston and Ansel Adams were the spiritual leaders of the group whose members found themselves all moving away from pictorialism around the same time in the early 1930s. In the early part of the 20th Century, photographers practicing pictorialism using various techniques in lighting and soft focus and other effects to make photographs look like paintings with the intent that photography would be accepted as art and shown in museums and galleries.

With the striking example of the clean, crisp, sharp focused throughout, naturally lit images of Paul Strand, Alfred Stieglitz vocally abandoned pictorialism and embraced realism. He had the financial resources and influence in the arts to support like-minded photographers like those in Group f64 in California. Group f64, Stieglitz and Strand pioneered the modernist aesthetic in photography. Nature, natural objects, simple nudes, scenes of everyday life and people portrayed as they were found became the subjects and these were given space to breathe in compositions. Photography trailed behind some of the other arts in transitioning to modernism, but Encyclopedia Britannica defines well the rise of this revolution in the arts overall:

Modernism in the arts is a radical break with the past and the concurrent search for new forms of expression. Modernism fostered a period of experimentation in the arts from the 19th to the mid-20th Century, particularly in the years following World War I. In an era characterized by industrialization, rapid social change, and advances in science and the social sciences, Modernists felt a growing alienation incompatible with Victorian morality, optimism, and convention. New ideas in psychology, philosophy and political theory kindled a search for new modes of expression.

Photographs on Display in the Show

Ansel Adams: Before and After progresses chronologically through the work of Paul Strand, Alfred Stieglitz, Group f64, then later contemporaries and early protégés of Ansel Adams such as Brett Weston, Cole Weston, Philip Hyde, Pirkle Jones, Al Weber, Bob Kolbrener and Brett Weston’s daughter Cara Weston, who knew Ansel Adams growing up. Finally, contemporary photographers in the show who were influenced by Ansel Adams include Robert Weingarten, Julieanne Kost, Rex Naden, Robert Glenn Ketchum, Peter Essick, John Mariana, Jay Dusard, Tim Barnwell and others. The exhibition contains two to four photographs by each photographer.

The three photographs in the show by Philip Hyde are “Aspens, San Miguel River, Rocky Mountains, Colorado,” “Great Overhang, Moqui Canyon, Glen Canyon, Utah” and “Marble Gorge, Grand Canyon National Park, Arizona,” all by courtesy of Lumiere Gallery. Philip Hyde made “Great Overhang, Moqui Canyon” in 1964, the year Glen Canyon Dam began to back up “Lake” Powell. “Marble Gorge, Grand Canyon” appeared in the book Navajo Wildlands in the Sierra Club Exhibit Format Series, started by Ansel Adams, Nancy Newhall and David Brower, that popularized the coffee table photography book. This series more than any other photography books, exhibited the new look of modernism in photography and helped in the campaigns to make many of America’s national parks.

Welcome to the Booth Western Art Museum

The Booth Western Art Museum is the ideal venue for Ansel Adams: Before and After, offering plenty of space for such an overwhelmingly popular show and accompanying series of lectures. Besides the SOLD OUT Opening Reception and Lecture, on Saturday January 9, 2016, the Booth will host a Workshop and Evening Lecture with  on how Ansel Adams might have used Photoshop. On Saturday, January 23, 2016, contemporary photographers featured in the exhibition will participate in a Symposium with Scholars. Details of the four sessions of this event are below.

The Booth Western Art Museum, opened in August 2003, is the only museum of its kind in the Southeast. With its 120,000 square foot building, The Booth houses the largest permanent exhibition space for Western American art in the country. Permanent galleries include: American West Gallery, Cowboy Gallery, Face of the West, Heading West, The Modern West, Sagebrush Ranch, James and Carolyn Millar Presidential Gallery, War is Hell, and a two-story Sculpture Court. There is also a Temporary Exhibition Gallery, a Special Exhibition Gallery and the Bergman Theatre Lobby Gallery, as well as two theaters, a café, a ballroom, museum store, a reference library and one of only two glass elevators in the country with historical balance weights.

Ongoing Related Events and Activities

Exhibition Opening Reception and Lecture SOLD OUT! (Over 400 people attended.)
Saturday, November 14, 2015
Dr. Michael Adams, son of Ansel Adams

Workshop and Evening Lecture
Saturday, January 9, 2016
Ms. Julieanne Kost, Adobe Systems, Inc.

Symposium with Scholars and Photographers in the Exhibition
Saturday, January 23, 2016

Opening Session: The People Behind the Pictures
Bob Yellowlees, moderator and Meg Partridge, photography scholar and filmmaker

Second Session: Archiving Americana a Face at a Time
Seth Hopkins, moderator, photographers Jay Dusard and Tim Barnwell

Third Session: Landscape Photography and Public Policy
Seth Hopkins with photographers Bob Kolbrener, Peter Essick and Robert Glenn Ketchum

Fourth Session: Photography in the 21st Century
Bob Yellowlees with photographers Rex Naden and John Mariana

The Booth Western Art Museum
501 Museum Drive
Cartersville, Georgia  30120
770-387-1300
www.boothmuseum.org