Posts Tagged ‘Nikon D90’

Best Photographs of 2014

December 18th, 2014

2014 The Year In Review

The Year 2014 was one of my most prolific since I started photographing 39 years ago when my father, American wilderness photographer Philip Hyde, gave me a Pentax K1000.. For a summary of my adventurous childhood with Dad and Mom and some of my other experience, read, “About David Leland Hyde.” I have been prolific with words as usual. Including that My feature article, “The Art of Vision: Learn to Connect with the Landscape Like the Great Masters Ansel Adams, Minor White, Philip Hyde and Others,” appeared in Outdoor Photographer magazine in the March print issue and on the website under locations. Many top photographers and experts praised my article highly. Read their insight in my blog post announcing the feature story, “The Art of Vision: Outdoor Photographer Magazine Article By David Leland Hyde.”

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

My two portfolios reside on philiphyde.com for now. However, I am just beginning to build what will be my own website. To see more David Leland Hyde photography, see the blog posts, “Best Photographs of 2013,” “My 12 ‘Greatest Hits’ Of 2012,” “Best Photos of 2011,” and “My Favorite Photos Of 2010.” To find out more about limited edition archival prints see the popular blog post, “David Leland Hyde Archival Prints Pre-Launch.”

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Season’s Greetings! Holiday Gift Certificates Give Long-Term Value

December 16th, 2014

Merry Christmas! Feliz Navidad! Joyeux Noël!

Happy Winter Solstice! Happy Hanukkah!

Prospero Año Nuevo! Happy New Year!

(This Post Sticks To The Top. Regular Blog Posts Begin Below.)

Gift Certificates Receive 20% Off On Archival Prints!

Send a <<contact request>> for the 20% Savings.

Gift Certificates 20% Off Until January 5, 2015

A Portion Of All Proceeds Go To Clean Energy Research And Other Conservation And Environmental Causes.

Holiday Gift Certificates Provide A Lifetime Of Value And Enjoyment

With the global influence of Walmart and other supersized retailers, small town local products and even art, all now exhibit minimal craftsmanship, made as cheaply as possible. At Philip Hyde Photography, for 70 years we have worked hard and made significant investments in delivering the best possible quality in our archival prints, just as Dad did with his vintage color dye transfer and Cibachrome prints and darkroom black and white prints. Even the Philip Hyde Craters of the Moon Greeting Cards are made by Museum Graphics, founded by Virginia and Ansel Adams. Museum Graphics set the standard for quality in offset, lithograph and other types of printing for many decades. For more about these beautiful greeting cards see the blog post, “Craters Of The Moon Collector’s Greeting Cards.”

Give the gift of long-term value: give a Gift Certificate for a Philip Hyde authorized archival print or a David Leland Hyde archival print. Any purchase of a gift certificate will receive 20 percent off the regular print price listed under each image on the main website at PhilipHyde.com. To acquire a gift certificate, ask questions about the gift certificates or any offerings mentioned here, or just to say hi, send us a message through our Contact Form. For more details on all that goes into making a Philip Hyde authorized archival print see the blog post, “About Archival Digital Prints.”

Or give to the worthy cause of teenager outdoor programs by acquiring Mountain Circle Running With The Bears Fundraising Postcards of David Leland Hyde photograph, “Mt. Hough And Cottonwoods Across Indian Valley.” For more information on this opportunity to give a long-term gift to youth see the blog post, “Running With The Bears Marathon Postcards Fundraiser.”

Gift Certificates 20% Off Thru January 5, 2014!

Action Steps: 1. Don’t miss it. Acquire one or more Gift Certificates today. See our Contact Form. 2. Also be sure to give someone a hug and a kiss under the Mistletoe this holiday season.

Art, Earth And Ethics 2

July 24th, 2014

Art, Earth And Ethics, Part Two

Climate Change, Big Oil, Politics, Walmart, God, Religion, St. Francis, John Muir And Leave No Trace

(Continued From the blog post, “Art, Earth And Ethics 1.”)

Recreational development is a job not of building roads into lovely country, but of building receptivity into the still unlovely human mind. – Aldo Leopold
Whiz Burgers, San Francisco, California, Custom, copyright 2010 David Leland Hyde.

Whiz Burgers, San Francisco, California, Custom, copyright 2010 David Leland Hyde.

(See the photograph large here in David Leland Hyde Portfolio One.)

Many people today would rather not discuss environmental issues. The environment is a subject that reminds people of thoughts and emotions they are often trying to forget. Bringing up such topics, some consider as taboo and as deadly to conversation as discussing politics or religion.

Along the same lines, when people are faced with, and allow to sink in a bit, some of the scientifically established facts of climate change, they respond with a wide range emotions: denial, rage, fear, grieving, indifference, resignation and others. If we do discuss climate change, it is with a dispassionate distance, as though it is not a matter of survival, of the life and death of our species, but something mildly in need of our intellectual attention and problem solving abilities, like an algebra equation. Some believe that an excessively hot planet with temperatures continuing to rise is something we can learn to live with. Meanwhile, many of the most credible sources say that just slight changes will bring about ongoing natural catastrophe, which in turn will readily destroy our economic system and our way of life.

Much of this can be debated indefinitely and is, but my intent in mentioning it here to begin with is to emphasize that these are serious, grown up problems that must be reckoned with, not forgotten about or avoided indefinitely. Each of us must start now to act in ways that have less environmental impact. We have to take responsibility and make changes ourselves, individually, regardless of what the US Congress, our president, or other world governments and corporations do. Regularly I see political slogans that say we need to keep Big Oil from causing climate change. True, we do need to stop subsidizing Big Oil, but we also need to remember they are in the business and we are all their customers. If we do not believe in their product, we need to gradually decrease our use of it, in all of its forms.

Climate Change through the refinement and distribution of fossil fuels is what Big Oil does for a living. It is what they have done for a living for a long time. Yet we must remember that it is the actual burning of the fossil fuels that is changing the climate. We are doing the burning. Meanwhile, we are asking them to change businesses, when we ourselves will not even change jobs to use less gasoline, or to do work that itself is more earth friendly. We will not change homes, change cars, or change other products we buy and use, yet we ask Big Oil to change the core of its livelihood. The picture will not change until we change. Major seed changes have almost always come from the people, from the bottom up, not from the top down. Top down management has brought us the world we have now, which is a calamitous train wreck about to happen. It would be easier to get off the train if it were moving more slowly, but as the train continues to gain momentum, we will begin to realize that jumping from the train is a better option than staying aboard. As a whole, the civilized world has doubled its energy use since 1980. This is a monumental trend in the wrong direction.

Most of it stems from short-term thinking, our own, as a people, and that of our leaders. The primary business of politicians on both the left and right is to kick the can down the road. As I listen to NPR or Democracy Now, I hear on a regular basis, politicians from California, or from the US, or from other countries, in the process of passing laws that set standards to be reached by a certain future year, usually 10 or 20 years from now. What is to stop the next batch of politicians in office from kicking the can farther down the road? Nothing. Which is why this kind of do-nothing, but appear-to-be-doing-something politics continues. We as a people rarely stop and say, “Hey, wait a minute, that law is not real. It is just a dog and pony show for the Television evening news.”

Examples of short-term thinking are abundant. When it comes to art, people would rather fill their homes with lots of cheap junk that will wind up in a landfill, than save and gather their resources to acquire a few quality pieces of artwork with provenance that will last and go up in value as a real asset to be sold at a profit or passed on to heirs. We have this same Walmart mentality about many items. We would rather buy a cheaper bike for $250 and have to buy a whole new one every four or five years, than save up and spend $800-$1000 on a bike that will last the rest of our lives. Even the $800 bike will no longer last a lifetime because planned obsolescence and lack of durability are built into the manufacturing system. Cheap is what people want, or is it?

Much of this comes down to education and how people are raised. Some parents teach their children to be racists, to hate people of other religions, or conversely, to be tolerant of all religions, to have empathy and appreciation for the diversity of cultures and myriad ways of living and worshipping on this planet. Some children rebel against whatever they are taught anyway, but Culture, environmental awareness, tolerance, open-mindedness or lack thereof are all teachings or programming, as are values, art, ethics and religion, which is man made. It’s all the same God, but some people try to claim that they have a different God, or that if you approach God any other way than by their approach, you are doomed and damned. I can see why some people don’t believe in God at all. Many others object to using the term, “God.” I certainly don’t believe in an angry, vengeful, insecure, spiteful God, the God forced down throats by Puritans and other fundamentalist extremists.

The early environmentalists and naturalists, sometimes called transcendentalists, such as Henry David Thoreau, Walt Whitman, Ralph Waldo Emerson and others from the 1800s, believed God was in nature. This is also what Saint Francis of Assisi taught much earlier in the 13th Century. There is much debate as to when environmentalism started, though it could be argued that St. Francis was the first environmentalist. Moving forward into the 19th and 20th Century, one of John Muir’s main purposes for getting out into nature as often as possible, much like St. Francis, was to get closer to God and through immersion in the “works” of God, to have a spiritual, transcendent experience. A belief in God is not required to live a good life, but we must be careful of Godlessness and a lack of responsibility based on lack of faith in anything. Lack of faith in anything often blocks transcendent experience, which is part of what maintains our belief in existence and meaning in it. A belief in karma, what comes around goes around, or religious morality, even the threat of punishment has helped guide people toward fulfilling, thoughtful, sensitive and generous lives. It has kept people from living without regard for fellows or surroundings. When Friedrich Nietzsche said God is dead in the 1800s and people began to give up religion en masse, they no longer had an ethical basis for decisions or actions. People did not espouse any concept of consequences like the karmic law of cause and effect, which western civilization found in the East during that same time, but did not widely accept until much later. With religions often operating at the extremes and religious leaders acting in materialistic or perverted hypocritical ways, outdoor organizations, in many cases, actually now serve the purpose of educating people about God, Goddess, Great Spirit, Allah, Yahweh, All That Is, whatever you want to call It.

John Muir founded the Sierra Club in 1892. The Sierra Club’s primary purpose was to educate people about how to live and take recreation in harmony with nature. The Sierra Club initiated the idea of national forest preserves that became our national forests. The early Sierra Club defended and helped maintain the sanctity of our national parks. In the 1960s and 1970s, the Sierra Club, Wilderness Society, Boy Scouts of America and other groups began to talk about the concept of minimal impact that later became Leave No Trace, which is a sort of environmental Golden Rule, or outdoor law of karma. The US Forest Service, Bureau of Land Management and National Park Service cooperatively produced a pamphlet in 1987 titled, “Leave No Trace Land Ethics.” In 1990, the Forest Service in conjunction with the National Outdoor Leadership School established a national education program of Leave No Trace, to work with the Forest Service instructions for motorized recreation called Tread Lightly. Low impact education is now offered through the Leave No Trace non-profit group and many other organizations all over the world.

The basic summary of Leave No Trace is formalized into seven principles:

  1. Plan Ahead and Prepare
  2. Travel and Camp on Durable Surfaces
  3. Dispose of Waste Properly
  4. Leave What You Find
  5. Minimize Campfire Impacts
  6. Respect Wildlife
  7. Be Considerate of Other Visitors

Visit LNT.org for an expanded explanation of each principle.

The Leave No Trace principles could even be extrapolated into a business philosophy, a way to create true sustainability on earth. If we could operate industries such as mining and logging using long-term Leave No Trace principles, this would accomplish sustainability, in fact, not just in name. Most sustainability advocates are working too gradually, offering proposals that make industry just slightly greener in baby steps, rather than rethinking from the ground up. Again, just like the issues with Big Oil, and in our own private lives, these changes are often easier said than made, but we need to step up the pace, if the changes are to do any good, or stave off the destruction that is already under way.

More on Leave No Trace, how children and grownups learn ethics, or not, and how to live responsibly, in future blog posts in this series…

(Continued in the blog post, “Art, Earth And Ethics 3.”)

References:

Walking Softly in the Wilderness: The Sierra Club Guide to Backpackingby John Hart

The Sierra Club Wilderness Handbook edited by David Brower

The National Outdoor Leadership School’s Wilderness Guide by Mark Harvey

Leave No Trace: A Guide to the New Wilderness Etiquette by Annette McGivney

Wikipedia Leave No Trace Entry

The Life of St. Francis of Assisi by St. Bonaventure

Dinosaur National Monument 2013, Part Two

April 2nd, 2014

Dinosaur National Monument 2013

Part Two: Across The Misty Ranching Highlands

Jones Creek In Jones Hole, Dinosaur National Monument, Utah, copyright 2013 by David Leland Hyde.

Jones Creek In Jones Hole, Dinosaur National Monument, Utah, copyright 2013 by David Leland Hyde. Archival Chromogenic Prints Available.

 Arrival In Vernal, Departure For Dinosaur

(Continued from the blog post, “Dinosaur National Monument 2013, Part One.”)

Even with sporadic rain and spring virgas dotting the horizon, the high open mountain passes of Rocky Mountain National Park, shining with stark beauty, already felt dry like the deserts of the interior and Western side of Colorado. Coming from the drizzle of a wet summer on the Colorado Front Range in Boulder, the high desert plains north and west of Steamboat Springs were warm and welcoming with the smell of sage and sun cracked earth all the way to Vernal, Utah.

After arriving indestructible at Randy Fullbright’s house at 4:00 am, I followed his previous instructions for where to catch a few hours of sleep. After waiting as long as he could, Randy woke me up somewhere between 7:00 and 8:00 am, and I found I was no longer indestructible. Indeed, with the night’s caffeine worn off, I was bone tired. Not only did I have very little sleep that night, I had just spent two weeks with minimal sleep moving all of my belongings. Weariness finally caught up with me here, in Vernal, the very morning I was supposed to rise to the occasion for a long hike in Dinosaur National Monument.

Well, I couldn’t exactly drive all that way, show up on Mr. Fullbright’s doorstep and then try to explain why I was too tired to go, especially with excitement in the air and him already well into his coffee that was making him increasingly indestructible by the minute, not that he wasn’t tough as nails even in his sleep. Everything I began to say about being tired sounded like a feeble excuse on the way out. So, I abandoned that line for the time being. Somewhere in the back of my mind, I must have reasoned that there might be opportunities for complaining later, but fortunately that would prove not to be the case.

Just then it was all about gathering my hiking boots, socks, camera gear, day pack and other items for our outing that seemed determined to rock on whether my body was ready or not. Randy and I had been talking on the phone about exploring Dinosaur for weeks, if not months, and the day had arrived. It was overcast so far. We wrestled our gear into Randy’s Ford 4×4 pickup, made lunches, reshuffled my cooler and other food into a cool place in the house and jumped in the truck ready to rumble.

The Approach: Diamond Mountain Road

Dinosaur lies east of Vernal. You can take the road to the Dinosaur Quarry on the Utah side before you get back into Colorado, or take Highway 40 across the Colorado border, turning left on the Harper’s Corner Road near the park headquarters and Colorado side visitor’s center, or enter the national monument on dirt roads that cross the prairie ranch lands just east of Vernal. We took Diamond Mountain Road. It jarred us around here and there with a few rough spots, but generally was smooth graded gravel that turned to pothole-riddled pavement in the national monument. Diamond Mountain Road meandered through dry washes and over low mesas that melted together as one open mesa top and faded into the mist in the distance. The sun nearly broke through in a few places, but mainly the clouds kept the sage-dotted sparsely grass-covered earth draped in mystery.

This land stage is battleground not only to the interests of Dinosaur National Monument, wealthy ranchers, developers, speculators and miners in a new energy boom. It is a battleground for idealists wishing to grow wealthy as Vernal develops as a mecca for fracking and other dirty mining approaches. Some special interests believe the only obstacle to Vernal’s rise to economic stardom and wealth would be Dinosaur becoming a national park and thereby imposing higher air quality standards on the area, limiting industrialization. Tourism interests and others on the other side of the issue believe the opposite. They argue that it is exactly Dinosaur’s conversion to national park status that would bring more new prosperity to the region than any other short-lived or even long-lived mineral or oil and gas extraction boom.

Randy and I had discussed many of these issues in the weeks and months leading up to my arrival in the area. Randy had also told me stories about photographing many of the remote and little known parts of Dinosaur, some that my father, pioneer wilderness photographer Philip Hyde had also photographed in 1951-1955, many that he had not. Randy spoke of places like Island Park, Echo Park, The Chairs, Jones Hole, Harper’s Corner, Mantle’s Ranch, Old Roundtop, Split Mountain, Whirlpool Canyon, Gates of Ladore, Hell’s Canyon, Yampa Bench, Rainbow Park, Douglas Mountain, Blue Mountain, Cub Creek, Deer Lodge Park and many others in the canyons of the Yampa and Green Rivers. For more on remote places to photograph see the blog series beginning with, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 1.”

Many Ranchers And Other Groups Are Against Dinosaur Becoming A National Park

“Many of the ranchers, who also happen to be old friends of mine, are against Dinosaur becoming a national park,” Fullbright said. “They are afraid that they will lose their rights to grazing on the national monument if it becomes a national park.” This has happened over time in several national parks of the west. In Canyonlands, for example, grazing rights and leases were written to run out after 100 years. Randy said that in contrast the National Park Service in Dinosaur would be willing to offer grazing rights in perpetuity. “It wouldn’t be that hard for the National Park Service to give each of the old ranching families a grandfather clause for running livestock as long as their blood lines last, but they don’t trust that.”

Later, after I returned home to Northeastern California, Randy suggested I contact Dan Johnson, Dinosaur’s Chief Interpretive Ranger, to hear more about the potential for a change in Dinosaur’s park status. More on the issues involved in the next blog post in this series…

As we crossed the high plateaus approaching the canyons of the Green River, the signs of grazing were apparent and an occasional lonely fence angled off into the distance to join others. The mood of austerity was accentuated by washed out skies, white mists and lands colored by a limited palette of grays and beiges. Even in these drab conditions, the desolate wind-swept near-raw land had a presence and nature that only brought joy rather than loneliness to the heart of long-time desert travelers and dwellers like Randy Fullbright and me. The ceiling began to lift as we drove. By the time we came up over a hill and could look down on the fish hatchery and see ahead the impressive 10-15 mile long escarpment of Diamond Mountain. The skies remained gray overhead, but we could see as far as the land allowed in every direction.

I made a few photographs before we plunged down toward Diamond Gulch on the road that began to wind sharply with the contours of the hillsides. We stopped once again before a longer stop for more photographs where the road turned to parallel Diamond Mountain. At that spot, the views up at the eroded sculpting of the strata of Diamond Mountain in subtle reds, oranges, tans and beiges, were well worth photographing.

Randy drove us on down just a little ways to the Fish Hatchery, where we parked, talked to the park ranger for a while, then hoisted day packs and set off down the fishing trail into Jones Hole along Jones Creek. More on the story of our hike, some of it’s highlights and surprises,  conservation photography, spiritual experiences in nature and more in the next blog post.

(Continued in the blog post, “Dinosaur National Monument 2013, Part Three.”)

Are you a desert lover? Why?

Best Photographs Of 2013

December 23rd, 2013

Best David Leland Hyde Photographs Of 2013

The Year In Review…

Willow, Alder, Indian Creek, Fresh Snow, Plumas County, Northern Sierra, California, copyright 2013 David Leland Hyde.

Willow, Alder, Indian Creek, Fresh Snow, Plumas County, Northern Sierra, California, copyright 2013 David Leland Hyde.

Near the end of 2012, as I began to wrap up my new Sierra Portfolio, my mind sauntered off on a trail toward crafting a black and white portfolio. Since 2009, every so often I have made images that I thought might convert well to black and white. However, starting in late 2012, after I made a new image folder and began thinking about black and white art, more and more black and white subjects seemed to shown up in my life. (To see any of the photographs larger see my, “Portfolio One,” or “Sierra Portfolio.”

Sundown, Lake Almanor, California, copyright 2013 David Leland Hyde.

Sundown, Lake Almanor, California, copyright 2013 David Leland Hyde.

On the morning of January 27, 2013 I woke before daybreak. An eight-inch blanket of heavy fresh snow turned my mountain hideaway into the proverbial winter wonderland. I shifted into high gear, grabbed some food for the road and my camera gear and ran for my 1980 King Cab 4X4 Datsun Pickup, the same truck I learned to drive in the snow when it was new and I was 16 years old. My old truck and I shuffled off down the half-plowed county road looking for adventure and photographs. With the quiet of the snow I slipped quickly into the receptive state of mind described in the blog post, “Imogen Cunningham, Minor White And Their Students On The Art Of Seeing.”

Indian Rhubarb Shoots In Spanish Creek Near Quincy, California, copyright 2013 David Leland Hyde.

Indian Rhubarb Shoots In Spanish Creek Near Quincy, California, copyright 2013 David Leland Hyde.

Just as I passed the road to Carr Clifton’s house, who was out of the country in Iceland, South America or somewhere else, I looked down toward “the river,” which is what we locally call Indian Creek of Plumas County in the Northern Sierra Nevada, California.

Big Horn Sheep, Rocky Mountain National Park, Colorado, copyright 2013 David Leland Hyde.

Big Horn Sheep, Rocky Mountain National Park, Colorado, copyright 2013 David Leland Hyde.

The low slanting rays of the sun were just beginning to illuminate the water and surrounding forest in a way I had never seen before. I have driven by that spot thousands of times since age 16, sometimes noticing what the river looked like, sometimes not, eyes glued to the winding country road in all manner of weather and road conditions. Today, in a peaceful, open frame of mind, I quickly pulled over to look closer with the camera out. “Willow, Alder, Indian Creek, Fresh Snow” and an SD card full of other images seemed like the type that would make great black and white photographs, but with mist clearing to reveal a rich blue sky reflecting in Indian Creek, they make good color images too.

Storm Clouds Over Boulder III, Boulder, Colorado, copyright 2013 David Leland Hyde.

Storm Clouds Over Boulder III, Boulder, Colorado, copyright 2013 David Leland Hyde.

Even as more black and white suited subjects appeared before me in 2013, more wildly colorful scenes paraded into my vision as well. Lake Almanor, which is known for colorful sunsets, was the stage one evening for a beautiful, yet subtle pastel show. Because it had been partly cloudy in the afternoon, I expected a good sunset, but I was running late. By the time I was in position along the lakeshore, I missed the sunset, but the aftermath after sundown turned out to be even better.

Old Wall And Young Woman, Broomfield, Colorado, copyright 2013 David Leland Hyde.

Old Wall And Young Woman, Broomfield, Colorado, copyright 2013 David Leland Hyde.

In making the editing cuts on my Sierra Portfolio, It became more clear than ever that I not only loved to photograph water, but apparently the Sierra is the ideal place to do so. To read more about what John Muir called the Range of Light see the blog post, “Official New Release: Sierra Portfolio.” In Colorado, I struggled at first in the Rocky Mountains because everything seemed dry after photographing only in the Sierra for two years. I did manage to find water at Walden Ponds in Boulder County, part of the Sawhill Ponds Wildlife Preserve. Besides, it rained much more than usual in Boulder the whole summer.

Cattails, Willows, Reflections, Walden And Sawhill Ponds Wildlife Preserve, Boulder, County, Colorado, copyright 2013 David Leland Hyde.

Cattails, Willows, Reflections, Walden And Sawhill Ponds Wildlife Preserve, Boulder, County, Colorado, copyright 2013 David Leland Hyde.

The skies were spectacular with some of the wildest, apocalyptic cloud formations I have ever seen. I made many cloud photographs that I plan to make into a cloud portfolio. Days after I left Boulder, the biggest rainfall on record slammed the Rocky Mountain Front Range and huge floods swamped the cities at the base of the Rockies. Average normal rainfall for the entire month of September is a little over one inch, but during September 11-13, 2013, over 17 inches of rain fell in Boulder County, with over nine inches in one day.

Diamond Mountain And Diamond Gulch Near Fish Hatchery, Dinosaur National Monument, Utah, copyright 2013 David Leland Hyde.

Diamond Mountain And Diamond Gulch Near Fish Hatchery, Dinosaur National Monument, Utah, copyright 2013 David Leland Hyde.

One rainy afternoon when the sun was peeking in and out of the clouds causing rainbows and dramatic lighting effects, I saw an old grain tower off of a main street in Bloomfield, Colorado. When I approached the old tower building, a group of three ladies were gathered on the train tracks nearby. One lady was feverishly wielding a camera, one was holding a deflector shield and the other made sexy poses on the railroad tracks. I asked if they minded if I made a photograph or two with them as the foreground and they agreed.

Rocky Shoreline, Taylor Lake, Fall, Northern Sierra, California, copyright 2013 David Leland Hyde.

Rocky Shoreline, Taylor Lake, Fall, Northern Sierra, California, copyright 2013 David Leland Hyde.

On my way out of Boulder toward Dinosaur National Monument, I passed through Rocky Mountain National Park, where it rained in the distance forming picturesque early autumn virgas. Besides the black clouds and grayscale mountains, the highlight of my Rocky Mountain National Park visit was a sighting of big horn sheep. About seven or eight of these hoofed giants were grazing and moseying along parallel to Trail Ridge Road.

Signs all along the route say not to stop, but a long line of cars did, to watch the big horn sheep. Because I could not move forward anyway, I quickly reached over and put on my long lens, took the camera off the tripod and abandoned my car mid highway. The group of sheep followed the edge of Glacier Gorge, moving slightly away from the highway and over a knoll topped by jagged angular rock outcroppings. I saw that if I ran forward along the road and stayed low with the knoll between the flock and myself, I could sneak around the rock outcroppings and end up very close to the sheep before they could see me. Besides, up until I made this new plan, all my photographs of the herd of big horns were from behind. I needed some front view images.

Shadow Patterns, Crystal Lake And Indian Valley From Mt. Hough, Plumas County, Northern Sierra, California, copyright 2013 David Leland Hyde.

Shadow Patterns, Crystal Lake And Indian Valley From Mt. Hough, Plumas County, Northern Sierra, California, copyright 2013 David Leland Hyde.

The big male leading the group foiled my plan. As I came partly around the knoll, there he already was, quite close and not looking jovial or friendly. He was not hostile either, just looking his experienced tough old self, keeping a close eye on me. He turned several different ways, as if to pose for the camera, and then wandered on down the slope away from my prying zoom lens.

In Dinosaur National Monument, Randy Fullbright, a local artist and jeweler and gallery owner, took me into Jones Hole. For more on my adventures in Dinosaur from 2013 and other years, see the blog post series, “Dinosaur National Monument 2013.”

After being gone from my home in Northeastern California for three months when I only expected to be gone three weeks, I only had two weeks at home, then I had to rush off to the Bay Area to deliver my father’s vintage prints for the upcoming Photography Gallery show at Smith Andersen North in San Anselmo, Marin County, California. For the big exhibition, we made contemporary gelatin silver black and white prints. More announcements will come about the show and about the contemporary darkroom prints. Between darkroom printing and the making of new archival digital prints at the Smith Andersen Lab, I stayed in Marin County two weeks and missed nearly all of the fall leaf color back at home in the Sierra.

11.-DHCA-CrysL-259-13-Shadow,-Rock-And-Snow-Patterns,-Crystal-Lake-(Vert)-BW-blog

Shadow, Rock And Snow Patterns At Crystal Lake, (Vertical) California, copyright 2013 David Leland Hyde.

Once I returned, I did however make a few photography outings, one to Taylor Lake, where the rocky shoreline and fall leaf color reflections made striking subjects. The most appropriate black and white subject of the whole year turned out to be the rocks and melting snow patterns, shadow patterns and granite cliff faces at Crystal Lake earlier this month. We have had such light snowfall this year, that the road that would usually have three to four feet of snow on it by now, is still passable by four wheel drive.

I will save a more in-depth explanation about the last photograph for another blog post. In short, it is the continuation of a direction I began in 2009 because in my own photography I like to go beyond the genre of landscape photography, exploring street photography, abstract photography and experimental approaches. Also, while my father was the conservation photographer, as my work develops professionally I would like to explore social activism more than environmental activism. I also have some ideas and experience with mixed media and multi-media as well. Stay tuned…

Open Door At Blue Minnie's, San Rafael, California, copyright 2013 David Leland Hyde.

Open Door At Blue Minnie’s, San Rafael, California, copyright 2013 David Leland Hyde.

For more “Best of” see the blog posts, “My Greatest Hits Of 2012,” “Best Photos Of 2011” and “My Favorite Photos of 2010.”

Please share which images you like best and which you like least and why, if you like. It will be helpful…

Dinosaur National Monument 2013, Part One

December 5th, 2013

Dinosaur National Monument 2013

Part One: Introduction And Setting

Diamond Mountain And Diamond Gulch Near Fish Hatchery, Dinosaur National Monument, Utah, copyright 2013 David Leland Hyde. Nikon D90.

Diamond Mountain And Diamond Gulch Near Fish Hatchery, Dinosaur National Monument, Utah, copyright 2013 David Leland Hyde. Nikon D90.

Early Travels To Dinosaur

When I was a boy of about nine, I visited Dinosaur National Monument with my parents. Later, in my early teens my father, pioneer landscape photographer Philip Hyde, and I stopped through Dinosaur on the way back from a Fastwater Expeditions Sportyak trip down the Green River with famous river guide Bill Belknap.

The second short visit, I do not remember much. From that trip, besides the vivid memories of the river run, the only memory I have of the Dinosaur area is of looking down on Flaming Gorge Reservoir in Wyoming upstream on the Green River. From the earlier trip with my parents, I recall only the visitor’s center and Dinosaur Quarry on the Utah side of the Colorado-Utah border that runs through Dinosaur National Monument. This is what most travelers to Dinosaur remember too, because it is all that most travelers see. However, there is much more to Dinosaur than fossilized bones or an interpretive building. The national monument consists of over 209,000 acres of sandstone bluffs, monuments, rolling hills, outcroppings, shale, slate and the most diverse and interesting feature of all, the labyrinthine canyons of the Yampa and Green Rivers. The highlight of these canyons is an oasis called Echo Park, where the two rivers come together and the canyons open up into a small valley between 1,000-foot cliffs. In the center of Echo Park rising straight out of the rivers at the confluence is a gigantic sandstone rock fin that on the near end looks like the cut off end of a loaf of bread. This 900 foot tall sandstone loaf end is called Steamboat Rock because from the side angle it looks like a steam ship.

Stories Of Our Fathers

Steamboat Rock figured prominently in discussions I had with my father after my mother passed away in 2002. After she was gone, I left a high paying job and moved from Upstate New York back home to Northern California. I moved in with Dad in the house I grew up in to help him out because he had not only lost the first love of his life, but had also lost his eyesight two years before and thus lost the second love of his life, photography. Dad explained how Steamboat Rock had become a symbol in the 1950s and 1960s of the then fledgling modern environmental movement and its first big success in defending Dinosaur from the invasion of dam builders, who wanted to erect two dams within the national monument, thereby flooding 96 out of 104 river miles of the Yampa and Green Rivers. For more about the battle over Dinosaur as well as conservation leader David Brower and photographer Philip Hyde’s roles in it, see the blog post series, “The Battle Over Dinosaur: Birth Of Modern Environmentalism.”

We talked much about Dinosaur and I poured over the maps and photographs. The series of blog posts above I originally wrote as a chapter in a book about my father’s life that I am still interviewing people for who knew Dad. By 2005, I could not wait to get up to the remote northern border of Utah and Colorado and see the place for myself. On the way back from a visit to Boulder, Colorado, I took the road less traveled, US Highway 40, and rolled across the open desert. A description of the approach and entry into Dinosaur can be found in the blog post, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 2.” In summary, I traveled the long pothole infested paved road out to Harper’s Corner, stopping at overlooks along the way and ending with a one mile hike out on a thin slice of sandstone 2,000 feet above the Green River at Harper’s Corner, where a large portion of Dinosaur’s geology and canyons can be seen all at once. I also took a risk going into Echo Park, made a tribute to my father at Split Mountain and had all sorts of other adventures, all fueled and inspired by my first listening to Jack Kerouac’s quintessential Beat Generation novel, On the Road. Kerouac’s lyrical, poetic prose lifted me and put a lilt in my step and my writing. For more on my journey as well as Dad’s explorations of the same territory and much more in the dusty, wild past of 1951, see the blog posts, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 3” and “The Battle Over Dinosaur: Birth Of Modern Environmentalism 4.”

Randy Fullbright And A New Dinosaur Campaign

I came back from Dinosaur changed, more on that and my profound experiences in future blog posts. The sad irony is that I did not have my camera with me in 2005 to record it all. Needless to say, this irony has been poking at me ever since I bought a Nikon D90, my first digital camera, in 2009. I have been hankering to go back, but never had the chance. Enter artist, goldsmith, gallery owner, gem and fossil expert, photography collector, photographer and impromptu wilderness guide Randy Fullbright.

I first started talking to Randy Fullbright via e-mail and phone in July 2011 when he introduced himself through comments on my blog post, “The Battle Over Dinosaur: Birth Of Modern Environmentalism 9.” Ever since then we have talked from time to time about his extensive photographic explorations of Dinosaur and about my dad’s work there too. Randy has two goals: 1. To photograph all of Dinosaur, no easy feat, and 2. To help Dinosaur become a national park. To these ends he has worked tirelessly and become well acquainted with many of the park rangers and management of the monument, as well as the local politics of air quality, oil and gas exploration and drilling, mining, tourism, recreation, ranching and the boom time explosion of the population of Vernal, Utah. Randy operates Fullbright Studios in Vernal, is active in the community and knows just about anyone who is anyone in town and all over the West.

While I spent this last summer in Boulder, Colorado for the first time again after a two year absence, I began to talk seriously about taking Randy up on his offer to take me into Dinosaur to some of the places few to no one else has photographed and locations my father photographed in the 1950s. Isn’t that a great offer? Again on my way home to Northern California, I took Highway 40, the road less traveled, and raged across the desert to Vernal, where I arrived at Randy’s house behind his gallery at 4:00 am. I did not see him until the morning when we embarked on a dirt road romping, camera carrying trip in to Dinosaur and an unforgettable hike into Jones Hole. Stay tuned for the whole story in blog posts to follow in this series, plus more about the mystical canyons, people, politics, fishing and simple freedom of Jones Creek and the Green River in Dinosaur…

(Continued in the blog post, “Dinosaur National Monument 2013, Part Two.”)

Happy Thanksgiving!

November 26th, 2013

Happy Turkey Feast Day 2013!

I want to know what sustains you from the inside when all else falls away.
I want to know if you can be alone with yourself,
And if you truly like the company you keep in the empty moments.

–From The Invitation by Oriah Mountain Dreamer

Grass Hummock, Indian Creek, Indian Valley, Plumas County, Northern Sierra, California, copyright 2013 by David Leland Hyde.

Grass Hummock, Indian Creek, Fall, Indian Valley, Plumas County, Northern Sierra, California, copyright 2013 by David Leland Hyde.

When you do not know the business of photography, it is challenging to jump right in full-time and make a living, regardless of experience in other businesses. This difficulty is eased in some ways, but ultimately more devastating in the long run, if you have some funds to start with. This tends to merely delay the necessary pain of actually having to produce, but when the funds finally do dry up, there is what seems like a long free fall before you finally learn enough to construct a net out of thin air, to save yourself from ruin.

They say you have to hit bottom before you can bounce. However, I have now proven that a person can skim along the bottom for quite some time before hitting the lowest point and bouncing. This year, for me, was the year of the bounce. Print sales are up. Business is up. Income is up. In fact, at one point early in the year I was mystified and lamenting my lack of earning power, when I began to ask around to find out what was really going on out there in the streets and with other photographers and landscape photographers. In most cases it is not very pretty, even though the images often are nothing but pretty.

I could sit here and moan about the economy like the majority of others do every day, even the very best, but it really isn’t “the economy, stupid.” It is really each of us making or breaking it daily. An interesting discovery I made not long ago was that the “economy” today is twice as big as it was in 1980. Why isn’t each of us earning twice as much? Well, because our individual incomes truly do not have all that much to do with the overall economy. In this essay, I’m going to play economic devil’s advocate.

The U. S. “Economy” alone is measured in hundreds of billions of dollars. If it goes down a few percentage points, the media spread hysteria and fright like wildfire, but if it goes up a small fraction, then we all rejoice. And what the heck is uncertainty? I thought the role of a leader is to banish uncertainty from people’s minds, but I guess we don’t have any leaders of consequence these days. The fluctuations in growth that are part of doing business affect each of us individually just about as much as we believe they do.

I am not blind to unemployment or the decline I see all around me, but to blame all of it on the idiot gamblers on Wall Street and the con artist mortgage bankers seems a bit overblown.  I know a huge number of people have been taken advantage of, lost their homes, lost their retirement funds and so on. I feel for these people and understand they are victims of the new corporate state. Toward changes, we all need to work and become activists, but what else is new? The big guys have been taking advantage of the little guys since history began. Each of us has to step to the plate and do it for ourselves despite the economy, despite unemployment, despite whatever the setbacks are of any nature.

I have discovered that if a collector wants to make an excuse not to acquire a print, he or she will find an excuse, lately it has conveniently been the economy. If you buy that excuse from someone who is more well off than you are, then you do not believe enough in art and you are not likely to sell much of it in the Soft Depression of the 21st Century. Go back and get a government job, oops, maybe that’s not such a good idea either. Nothing personal if you already work for the government. I feel for all those who were needlessly put out of work recently because of partisan politics. During the government shut down, members of Congress still collected their pay and retained all or most of their staff, while Nobel Prize winning scientists and other accomplished people were ejected. The only real security is the security each of us creates for ourselves. Henry David Thoreau called it self-reliance. This century we have to practice economic self-reliance. It is the only way we will have anything to be thankful for in the long run.

Back to landscape photography, certainly some superstars are still crushing it in the current “economy,” whatever that is, but it turns out that a lot of collectors and other print buyers are making a lot of excuses and most photographers have no decent response or plan to overcome these excuses. I certainly do not have all the answers, or even hardly any. However, I was heartened to find out when I checked around, that even though I consider my income paltry compared to the days of the late 1980s when I was making a six figure income, I am selling more prints than just about anyone else around, at least in the nature and landscape photography genre. That is something to be thankful for… and I am. Thank you Great Spirit, for the gifts you bestow. It has been a long road to get here. I still have a long way to go in many areas including time management, SEO, web development, social media, exhibiting at shows, museum relations, photography gallery development, printing my own prints and much more. My father once wrote that he had a long apprenticeship from the mountains themselves, mainly learning economics. More on the economy and selling photographic prints in future posts…

Happy Thanksgiving 2013!

What are you thankful for?

Imogen Cunningham, Minor White And Their Students On The Art Of Seeing

November 12th, 2013

Photography, Art And The Art Of Seeing

Reading Photoblogs And Networking: A New World

Photo Session, Old Tower, Broomfield, Colorado, copyright 2013 David Leland Hyde.

Photo Session, Old Tower, Broomfield, Colorado, copyright 2013 David Leland Hyde. Nikon D90.

While junk dominates the internet in many categories of photography, some of the best photography ever made is also quietly being produced and published every day. Running a photoblog and networking with other blog writers has opened a whole new world.

One blog I have grown to enjoy is Mark Graf’s Notes In The Woods. He must be one of the most innovative photographers around today. He shares tips, tidbits and techniques that keep photography interesting. Jim Goldstein also runs a good blog with a wider mix of interests, at least indirectly related to photography, including expertise in social media and internet marketing. Recently, about two months apart, both Mark Graf and Jim Goldstein wrote about the same topic. Mark Graf advised, “Always Do That 180” and Jim Goldstein published, “Pro Tip: Always Check The Views Behind You.” Multiple bloggers post about similar subjects from time to time, but it is rare enough to stand out.

These blog articles, both advising to look behind you while you are photographing for additional photo opportunities, reminded me of my father, pioneer landscape photographer Philip Hyde, saying “a photographer has to look around.” Dad and other greats before him talked about looking in all directions. Mark Graf and Jim Goldstein are in good company. Their two blog posts triggered memories of my father in the field and how he approached making a photograph, as well as some advice given me by Stan Zrnich, one of Dad’s school associates under Ansel Adams and Edward Weston, while I photographed with him, and also a story about Imogen Cunningham told by one of Dad’s classmates, Benjamin Chinn.

Right after I read the blog posts I was photographing in Indian Valley in the Northern Sierra. I climbed into the bed of my Datsun 4×4 King Cab pickup, set up my Bogen tripod and pointed my Nikon D90 camera at the fresh snow on Grizzly Peak. In a few minutes, I turned around and looked behind me. Clouds were just peeling away to allow the sun to touch Indian Head Peak on the other side of the valley. I might have missed it if I hadn’t been recently reminded to look back.

How Philip Hyde Surveyed A Scene

My father would never have missed that moment of the light on Indian Head though… and he wouldn’t have to be reminded to look behind him. His overall approach to making photographs would have taken care of both. Dad’s approach was so different from how many photographers do it today. Often photographers now are in a hurry, I am no exception, though the more I photograph, the more I slow down. Photographers often must get somewhere else, or they are trying to “shoot” as many frames as they can in a certain amount of time. They may not be “allowing” or “making” photographs, but rather are “blazing” or “blasting away.”

When Dad was on the lookout for photographs, Mom and I were quiet in anticipation of the true quiet time, which began as soon as Dad pulled over and took out his Ziess wooden tripod and his 4X5 Baby Deardorff view camera, or the Hasselblad with Bogen tripod. He would say, “David, cut the chatter,” or “I can’t hear myself think,” or “Quiet on the Set.” While he was composing a photograph was one of the few times he asked me to be “seen and not heard. I remember him being in a different space mentally while in the act of making photographs. He kept a kind of intentional perimeter around the area he worked. Stepping into that circle was like walking into church: quiet and reverent. This working space was invisible but quite palpable, mainly made manifest by Dad’s attitude, emotional state and receptivity. In this enabling state of higher awareness, he missed nothing.

When he first arrived on any scene he would look in every direction many times and at every detail of the countryside around him. He would bend down and look up at a tree, crouch and look at a flower between two rocks, scramble up on top of a nearby overlooking rock, all in the interest of seeing every angle. He did some of this in his mind and some physically moving around in the area. By the time he settled in and planted his tripod, you knew he had checked all other possibilities and chosen one. There were exceptions to this longer process such as when he saw one isolated point of interest or when the light was fading or the situation was changing quickly for some other reason. In these instances Dad could move with the swiftness and efficiency of a stealth reconnaissance unit and make the image, but most of the time he did a good deal of looking around first.

Take A Walk In The Flow

The meditative state Dad adopted coincides with my experience in observing and photographing with Stan Zrnich, who also attended the California School of Fine Arts, now the San Francisco Art Institute, under Ansel Adams, Edward Weston and Minor White. Stan Zrnich and I took our cameras and went for a walk in downtown San Rafael, California one afternoon in July 2009. Stan talked about how Minor White taught his photography students to go into an altered state of heightened awareness when they photographed. That explained the roots of my father’s method. Stan’s calm mindset was evident in his tranquil facial expression and demeanor while walking around. He showed me numerous instances where I walked right by something photogenic, mainly because my mind was chattering on about what I thought I was looking for, what I wanted to accomplish that day by photographing and so on. Often in photography it is easy to get “stuck in the head” and become too analytical.

The book Flow: The Psychology of Optimal Experience by Mihaly Csikszentmihalyi shares the advantages of getting “into the zone,” also called the optimal creative state. Being in this state increases effectiveness and quality of thinking, as well as even improving the quality of life. Flow describes this creative state:

People typically feel strong, alert, in effortless control, unselfconscious, and as if they were performing at the peak of their abilities. Both the sense of time and emotional problems seem to disappear. There is an exhilarating feeling of transcendence, of breaking out of the boundaries of identity.

Flow and other sources teach photographers and other artists and creative people how to obtain this state any time on demand and how to control it, rather than merely leaving its arrival to chance. Through practice we can attain this state quickly at any time. My father described it as a state of receptivity in which he looked more closely at everything and saw objects more deeply. Not only did he see the graphic qualities of subjects and what they would look like transformed into the two-dimensional plane of the photograph, but he also saw the very nature of the subject matter more deeply as well and could thereby depict it more effectively in his art. This relaxed mindset is not complex or dependent on ceremony, it can be started quite easily through deep breathing or other methods of relaxation and available by recall the more it is practiced.

The Quiet Mind Of Seeing

This is the art of seeing in photography, pirouetting in dance, or “getting air” in ski jump competition. It is the main event in any endeavor where results improve with concentration. Photographers who are in a heightened space for seeing do not miss anything in any direction. I saw this first hand from observing Dad and Stan Zrnich, They and their comrades learned it from Minor White and Imogen Cunningham in their day. Benjamin Chinn, one of Dad’s classmates known for photographing the streets of San Francisco’s Chinatown and of Paris, France, said that the “quiet mind” was responsible for much of his success in capturing people and moving events well. He said that one of his mentors, Imogen Cunningham, had made herself available for photo walks during photography school. When Minor White arrived at the right place in the curriculum, Imogen Cunningham took the students out for one or two hour walks to show them what they would have missed… and they missed a lot at first, but as their seeing strengthened over time, their images improved and they missed less and less.

What is your experience? Do you photograph better when relaxed and focused, or sometimes better when you’re in a hurry? Do you pre-visualize and plan or allow images to appear as you wander?

Ode To Freedom by Ralph Waldo Emerson

July 3rd, 2013

Happy 4th of July, 2013!

Ralph Waldo Emerson was one of Philip Hyde’s favorite writers. His essays, though challenging, inspire and illuminate the natural world, political issues and other matters of philosophy. This poem is from his Complete Collected Works.

Sung in the Town Hall of Concord, Massachusetts July 4, 1857

Ode To Freedom by Ralph Waldo Emerson

Apetizers of Santa Maria Style Barbequed Linguisa, July 4th, 2009, Watson's Walking G Summer Family Camp, 2009 copyright David Leland Hyde. Nikon D90.

Apetizers of Santa Maria Style Barbequed Linguisa, July 4th, 2009, Watson’s Walking G Summer Family Camp, 2009 copyright David Leland Hyde. Nikon D90.

O tenderly the haughty day
Fills his blue urn with fire;
One morn is in the might heaven,
And one in our desire.

The cannon boom from town to town,
Our pulses beat not less,
The joy bells chime their tidings down,
Which children’s voices bless.

For he that flung the broad blue fold
O’er mantling land and sea,
On third part of the sky unrolled
For the banner of the free.

The men are rip of Saxon kind
To build an equal state,
To take the statute from the mind
And make of duty fate.

United States! The ages plead,
Present and Past in under-song,
Go put your creed into your deed,
Nor speak with double tongue.

For sea and land don’t understand,
Nor skies without a frown
See rights for which the one hand fights
By the other cloven down.

Be just at home; the write your scroll
Of honor o’er the sea,
And bid the broad Atlantic roll,
A ferry of the free.

And henceforth there shall be no chain,
Save underneath the sea
The wires shall murmur through the main
Sweet songs of liberty.

The conscious stars accord above,
The waters wild below,
And under, through the cable wove,
Her fiery errands go.

For He that worketh high and wise,
Nor pauses in his plan,
Will take the sun out of the skies
Ere freedom out of man.

Ansel Adams On What A Mountain Means

June 13th, 2013

An Excerpt And Commentary On Ansel Adams’ Short Essay, “What Can A Mountain Mean?”

Last Light On Mt. Hough, Plumas County, Northern Sierra Nevada, California, copyright 2009 David Leland Hyde.

Last Light On Mt. Hough, Plumas County, Northern Sierra Nevada, California, copyright 2009 David Leland Hyde. Nikon D90.

(See the photograph large: “Last Light On Mt. Hough, Indian Valley, Northern Sierra, California.”)

Within a few years of John Muir’s founding of the Sierra Club in 1892, charter members formed a committee to oversee the writing, compiling and production of a Sierra Club Handbook. The handbook went to all new members as an overall orientation, an introduction to outdoor etiquette and a guide to Sierra Club philosophy. Half a century later, David Brower became the editor of the handbooks, as well as the Sierra Club’s first Executive Director. The 1957 edition of the Sierra Club Handbook included on its Editorial Committee such renowned environmental leaders as Ansel Adams, William E. Colby, Charlotte E. Mauk, Harriet T. Parsons and Blanche Stallings.

David Brower wrote in the introduction:

America’s resources of scenery that we explore and enjoy today are not set aside through accident. National Parks and forests, state and county redwood groves and beaches, wilderness areas and primeval regions—these are not now open to free public enjoyment just through happenstance, just because the country is so big and its resources so limitless that no one has yet got around to fencing them in. These areas, to which millions go each year for escape, exercise, or rest, are available only because people have fought for them. We who enjoy the mountains today owe a debt to generations of those now gone, or now no longer able to be fully active, who have thought in terms of long-range public use and enjoyment rather than immediate development and exploitation.

The Handbook told the reader the story of the Sierra Club, educated about the Sierra Club’s conservation role, provided information on mountaineering, wilderness outings, Sierra Club lodges and lands, winter sports, administration of the Club, trails, the human need for tranquility, the library, scientific background, new films, how to contribute, folklore, directors, chairmen and honorary members, publications, Sierra Club Books, periodicals and the Sierra Club by-laws, but the highlight of the handbook was a signature of 16 glossy black and white photographs by Ansel Adams. The series included such famous plates as Moon Over Half Dome, White House Ruin, Yosemite Valley From Valley View, Old Faithful and The Grand Tetons from Oxbow Bend. The irony is that these locations have now become like treasure map stops on checklists kept by some of today’s landscape photographers.

Accompanying his photographs, and equally as moving, Ansel Adams wrote a brief essay titled, “What Can A Mountain Mean?” This short plea for people to look more deeply at nature applies today even more than when written. The following is an excerpt:

We are seeking a closer contact and deeper understanding of the natural scene in both its vast and delicate aspects. Our ultimate function was never the mere making of maps and the collation of physical data; rather it was to interpret the assembled facts in terms of enjoyment and spiritual experience, and to assist others to seek and comprehend the heart of nature. After all, in the strictly materialistic sense, a mountain is simply an object of inanimate stone garnished with vegetation. It can be measured, weighed, climbed, and even removed or destroyed. Gravity, weather, geologic processes determine its form and the flow of the rivers at its base. These streams posses potential water power, provide irrigation, and contain fish. The timber on the slopes may be salable, and on the surface and inside of the mountain valuable minerals may be found and mined. Obviously the corpus and the spirit of the mountain are two very different entities. A mountain provides an impressive symbol of the wonder and beauty of the natural world, of contact with the primal purities of nature, of the cleanliness and the emotional stimulus of the realities of the earth.

At the time Ansel Adams wrote his short introduction to accompany his photographs in the Sierra Club Handbook, the term ‘landscape photography’ had not yet come into common use. Ansel Adams and his associates called the outdoor photographer who photographed wilderness, a ‘photographer of the natural scene.’ Whatever term you use to describe photography of the landscape, flora and fauna; today many practitioners of it, including myself at times, approach it more like those who are making maps or collecting data, rather than with the intent to impart joy or share a transcendent experience stemming from a more developed connection with the land.

While the internet is a superb tool for showing, viewing and critiquing landscape photography, it sometimes encourages the photographic sport of trophy hunting. Some online photographers objectify nature like pornography and subliminally sexual advertising objectify women and sometimes men. If one photographer has a photograph of a Grizzly Bear, the Aurora Borealis, Antelope Canyon or another trophy that others also have, then we feel we must bring home similar big game to hang on the wall and join the icon club. In contrast, to create photographs with meaning and make a contribution to the art, we must examine our motives. Are we purely profit or recognition-driven? Are we grabbing and bagging moments rather than living them? Are we carving notches in our camera cases? Or are we embracing nature; studying, living and breathing our subjects? Are we getting to know the places we portray, or are we defacing rock art, trampling flowers, stomping on and digging up the mountain, like destructive miners only interested in a payoff?

Until a photographer experiences and imparts the intrinsic values of a natural scene, he or she will not obtain the same long-term satisfaction with his or her images. There is nothing wrong with photographing an icon from time to time, but if they dominate a portfolio, it may be time to re-evaluate. Perhaps the commoditization of landscape photography will continue. Maybe digital photography will be more of an industry than an art, but why be part of the problem? Why not set your own sail, calibrate your own gyroscope by what fulfills you from the inside? Each person sends out a ripple effect. The world needs more sensitivity to nature, not more objectifying of natural subjects. In fact, this adjustment in perspective, this shift in vision, may be exactly what can save us. Photography is much more powerful than many realize. Through it the vision of an entire society is examined, determined and cast. What version of society will we choose? Will future generations see us the way we wish to be seen? What kind of civilization and what kind of people are we?

Relevant Blog Posts:

The Trophy Shot – A Nature And Landscape Photographer’s Dilemma by Gary Crabbe

A Big Light Night – Are You Too Old for Trophy Hunting Photography? by Darwin Wiggett

Aboutness by Guy Tal

What do you think? What is your opinion about exploitation versus inspiration?