Posts Tagged ‘straight photography’

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.

Golden Decade Shows at Laguna Art Museum and Minnesota Street Project

February 22nd, 2017

Current Golden Decade Exhibits and Book Events

Smith Andersen North Gallery

Laguna Art Museum

Minnesota Street Project

San Francisco Art Institute

Bankhead Theater Gallery

The Golden Decade, San Francisco, Ansel Adams, Minor White and the California School of Fine Arts History

Piers, Waterfront, San Francisco, California, 1948 by Philip Hyde. An original vintage contact silver print of this photograph was the first to sell at the first Golden Decade Show in 2010 at Smith Andersen North, attended by over 500 people. (Click on image to see large.)

Art historians, critics, gallerists, curators and museum staff have taken to calling the 10 years after World War II, 1945-1955, The Golden Decade of photography on the West Coast and elsewhere around the nation. Not only did the arts bustle and surge with energy and popularity in San Francisco and elsewhere on the West Coast during this period, but a new department of photography founded by Ansel Adams would in time have world-wide influence as it helped to transform photography into art.

The photography department at the California School of Fine Arts, renamed the San Francisco Art Institute in 1961, was the first College level art program to teach creative photography as a full-time profession. At the recommendation of Beaumont Newhall, who had earlier co-founded with Ansel Adams the first museum photography department at the Museum of Modern Art in New York City, Ansel Adams hired and transplanted Minor White from Princeton to San Francisco to lead instruction at the new photography program at CSFA. Read the never before published Philip Hyde notes on a number of Minor White’s lectures including the famous one on Space Analysis, the notes from the Space Analysis Lecture start a short portion of a series of blog posts based on Philip Hyde’s notes.

Minor White in turn invited to guest lecture some of the most influential photographers at the time including Dorothea Lange, Imogen Cunningham, Lisette Model, Nancy and Beaumont Newhall, Homer Page, Alma Lavenson and Bill Quandt. The early classes at the school also took field trips down to Carmel to visit the studio of Edward Weston, now considered by many the father of modern photography. Students also photographed with Edward Weston in the field at nearby Point Lobos State Natural Reserve.

Ansel Adams taught a number of classes beginning in 1945. By 1946, Ansel Adams offered the first full-time Summer Session. Philip Hyde first attended the school and Minor White first assisted in this class. By the Fall of 1946, Minor White took over teaching and by the Fall of 1947 Philip Hyde began the full-time program, which ran three years through 1950. Read more on “The Early Days of Ansel Adams’ Photography Program.” Eavesdrop on a conversation with “Philip Hyde and Benjamen Chinn talking about Ansel Adams’ Photography Department.” Discover why “The California School of Fine Arts Makes Art History.”

In subsequent years, students from the Golden Decade period put on a number of retrospective exhibitions, most of them located at the school, renamed the San Francisco Art Institute.

Contemporary Interest and Events

Interest in the photography of both students and teachers from the Golden Decade era stepped up significantly when Stephanie Comer, Deborah Klochko and Jeff Gunderson began interviewing and researching their 2006 book, “The Moment of Seeing: Minor White at the California School of Fine Art.” During the lead up to their book release, in December 2005, four months before Philip Hyde passed on, David Leland Hyde took his father to a reunion lunch in San Francisco organized by Ken and Victoria Whyte Ball. At the reunion lunch classmates who had not seen each other in many years, sometimes as long as 50 years or more, exchanged stories, signed each other’s prints, helped identify people in photographs, and talked of the years since photography school and the unforgettable times during photography school.

Victoria Whyte Ball is the daughter of Don Whyte, one of Philip Hyde’s classmates. After the reunion lunch, Ken and Victoria Whyte Ball began to help Bill Heick, Ira Latour and Cameron Macauley edit and complete their long-planned and only partly written book called “The Golden Decade: Photography at the California School of Fine Art 1945-1955.” The Golden Decade would be another retrospective volume, already many years in the making, though told more from the students’ perspective. All three of the original authors lived to see a self-published version of this book come out in 2010 in conjunction with a gallery show at Smith Andersen North in San Anselmo, Marin County, California. Over 500 people attended the Golden Decade show opening and a Philip Hyde vintage print of “Piers, Waterfront, San Francisco” was the first to sell. The show was extended for an extra month to include a new closing reception and book signing.

From 2010 to 2015, there were more Golden Decade Group Exhibits and a number of shows by the individual photographers at Smith Andersen North and elsewhere. At Mumm Winery in Napa, California, the holders of a large permanent collection of original Ansel Adams prints, Mumm Napa put on a Golden Decade show in February 2014. Stefan Kirkeby, gallery owner of Smith Andersen North, who had taken a special interest in representing and helping Golden Decade photographers, put on exhibitions of photographic prints by Golden Decade artists Benjamen Chinn, Ruth-Marion Baruch and Pirkle Jones, Leonard Zielaskiewicz, Charles Wong, Paul Caponigro, Philip Hyde and John Upton. The widely acclaimed and attended Smith Andersen North show This Land Is Our Land: Philip Hyde and the American Wilderness, put together by Stefan Kirkeby and David Leland Hyde, enjoyed a turnout larger than any other show at the gallery besides the 2010 Golden Decade show.

Redesigned New Golden Decade Book Published by Steidl

During this five-year period, Ken and Victoria Whyte Ball searched for a publisher for the Golden Decade. Finally in 2015, the internationally respected premier photography book publisher Gerhard Steidl of Göttingen, Germany, decided to publish a redesigned version of the Golden Decade book. Steidl published the book in April and shipped it to the US in May of 2016.

Book signings kicked off in the US at the famous Strand bookstore in New York City on Saturday, October 29. The Strand, one of the world’s most prominent English language bookstores, was established in 1927 and claims to contain 18 miles of books. From then on Steidl has kept Ken and Victoria Whyte Ball busy doing book signing events. Other Golden Decade photographers who are still alive, with us and have also attended and signed books at some signings include John Upton, Gerald Ratto, David Johnson, Stan Zrnich, Charles Wong, Stephen Goldstein and Zoe Lowenthal.

Following the book signing at the Strand in New York, the next major Golden Decade event was an opening and book signing at Smith Andersen North for Golden Decade photographer Gerald Ratto. Gerald Ratto’s photography exhibit was on view from November 12 thru December 23, 2016. Many Golden Decade fans bought books and had them signed at this gallery opening.

Golden Decade Gallery and Museum Shows

In case anyone missed this show and signing, an official Golden Decade Exhibition sponsored by Smith Andersen North and Casemore Kirkeby, housed at the Minnesota Street Project in San Francisco, opened February 4 and will run until February 28, 2017. At the opening for this Minnesota Street Project show, Stefan Kirkeby, owner of Smith Andersen North and co-owner of Casemore Kirkeby, made introductory remarks and introduced Jeff Gunderson, San Francisco Art Institute Librarian and Archivist and contributor to The Moment of Seeing. After Jeff Gunderson spoke, Jack Fulton, photographer and retired SFAI professor, talked further about the history of the photography program.

Also opening this month, on February 19, a Golden Decade museum show will run through May 29, 2017 at the Laguna Art Museum. Founded in 1918, the Laguna Art Museum is the premier museum of California Art created by California artists.

On March 1, 2017 back at the photography program campus at the San Francisco Art Institute, there will be another Golden Decade book signing and presentation. Specifics on the two shows currently up and ongoing and the upcoming signing at SFAI are listed below.

The Golden Decade Exhibit
February 4 thru 28, 2017
Smith Andersen North—Casemore Kirkeby
Minnesota Street Project
1275 Minnesota Street
San Francisco, California 94107
415-851-9808

The Golden Decade: Photography at the California School of Fine Arts, 1945-1955
February 19 thru May 29, 2017
Laguna Art Museum
307 Cliff Drive
Laguna Beach, California 92651
949-494-8971

The Golden Decade Book Signing and Panel Discussion
A Conversation with Ken and Victoria Whyte Ball, Jeff Gunderson, Stefan Kirkeby and Golden Decade Photographers John Upton, Stephen Goldstine, David Johnson, Charles Wong, Gerald Ratto and Stan Zrnich.
6 pm, March 1, 2017
San Francisco Art Institute
800 Chestnut Street
San Francisco, California 94133
415-771-7020

The Golden Decade Art Exhibition at the Bankhead Theater Gallery
March 4 thru May 1, 2017
Book signing March 10 at 6:30-8:30 pm
Bankhead Theater
Livermore Valley Performing Arts Center
2400 First Street
Livermore, CA 94551
925-373-6800

Favorite Photographs of 2016

January 2nd, 2017

David Leland Hyde’s Personal Favorite Photographs of 2016

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Blog Project Posts From Years Past:

My Favorite Photographs of 2015

Best Photographs of 2014

Best Photographs of 2013

My 12 “Greatest Hits” of 2012

Best Photos of 2011

My Favorite Photos of 2010

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.

Master of Platinum: Interview of Dick Arentz for Outdoor Photographer Magazine

August 9th, 2016

Master of Platinum and Palladium: An Outdoor Photographer Magazine Interview with Fine-Art Photographer, Innovator and Printer Dick Arentz

Cover of August Issue of Outdoor Photographer magazine.

Cover of August Issue of Outdoor Photographer magazine.

The August 2016 Outdoor Photographer Special Issue of the magazine print version features David Leland Hyde’s interview of Dick Arentz, an acclaimed large format photographer, workshop co-leader with Philip Hyde and expert platinum and palladium printer. Now the article, Master of Platinum, is available online.

The Arizona Arts and Humanities Commission honored Arentz as one of the most significant artists in the state. He helped Phil Davis develop the companion volume to Ansel Adams’ Zone System called Beyond the Zone System. He also has been researching 19th century techniques, testing, leading workshops and defining Platinum and Palladium printing for 43 years. His book, Platinum and Palladium Printing, is known in online forums and industry magazines as the quintessential book on the subject.

For those who are not familiar with this complex and difficult photographic black and white printmaking process, Arentz gave me a simplified summary himself:

In Platinum printing, as in most non-silver processes, an intense ultraviolet light must be passed though the negative to expose the paper coating. Because this is a higher intensity of light than is possible to project from an enlarger, the process requires contact. Before the ground breaking digital work of Dan Burkholder, there were basically two choices for the making of a negative: in-camera, or photo-mechanical enlargement by projecting the image on multiple stages of duplicating film. Later on, it became possible to use a service bureau to have a negative made using their image-setting equipment. Now, of course, using Burkholder’s method, many times with refinements added by others, a suitable negative can be made using an ink-jet printer.

As for the coating on the paper, the platinum process is one of many that depend on the reduction of a metallic salt to a pure metal. Instead of silver, which is most commonly used, platinum and/or its sister metal palladium make a high quality reproduction. Those with bit of background in photographic history know that in the nineteenth century, silver compounds were coating on paper as well. At the turn of the century, when commercially prepared silver gelatin paper became available, commercial platinum/palladium paper followed. However, pre-prepared platinum/palladium paper went out of production after World War I, though a packaged palladium paper was briefly available in the 1990s.

Arentz is known for his subtle, yet vivid and luminescent black and white photography presented through platinum and palladium prints and fine art photography books. His books are profound personal statements of his unique vision. Besides Platinum and Palladium Printing, Second Edition (2004), Arentz has published Four Corners Country (1986) with introduction by Philip Hyde, The American Southwest (1987), Outside the Mainstream (1990), British Isles (2002) and Italy Through a Different Lens (2009).

For more about his development as a photographer and lead technician of his printing medium, and for his words of wisdom about projects, making subjects fresh and capturing unusual perspectives seek out the Black and White Special Issue of Outdoor Photographer in print and on newsstands and in bookstores now. It can often be found at Barnes & Noble and some Safeways. The August Black and White Special Issue is also loaded with many other excellent articles on black and white photography. An online version of the article is now available at Master of Platinum. If you want the print version, pick up your copy soon because special issues sometimes sell out early.

Heartland 4 – Nebraska – Little Ruins on the Prairie

July 19th, 2016

A Drive Through The Heartland 4

Nebraska – Little Ruins on the Prairie

Midwestern Stories of Rust, Decay, Blight and Collapse

Keith Round Barn Under Tornado Sky, North Platte, Nebraska, 2015 by David Leland Hyde.

Keith Round Barn Under Tornado Sky, North Platte, Nebraska, 2015 by David Leland Hyde. (Click image to see larger.)

(Continued from the blog post, “Heartland 3 – Starke Round Barn, Red Cloud, Nebraska.“)

European settlers continued to pour into New England, Southern and newer states in the young American republic in the 1800s. German and Scandinavian farmers from Pennsylvania preceded most other original colonial states in the move to the first frontier, which we now know as the Midwest. They bumped west in wagons, by horse and later by train in search of good farming land.

Good farmland they found in the Midwest, with plenty of rain and the ideal climate for a plentiful yield, despite cold unproductive winters. The soil was also rich West of the Mississippi, but when the woodland and grassy fields gave way to dry grass and sage prairie West of the 100th Meridian in the Dakotas, Nebraska, Oklahoma, Kansas and Eastern Colorado, the rain ran out. The rain ran out in fact, but not in wishful thinking. Land boosters successfully sold potential new homesteaders on the confabulation that rain follows the plow. Miraculously, it did for almost half a century, a period later discovered to have been abnormally wet.

Interior, Burned House, Franklin, Nebraska, 2015 by David Leland Hyde.

Interior, Burned House, Franklin, Nebraska, 2015 by David Leland Hyde. (Click image to see larger.)

This century the water chickens have come home to roost. Water is growing scarcer and scarcer in the most westerly portions of the Midwest. Changes in farming technology have also taken a toll on the small farmer. With the rise of big, centralized agriculture, small rural farming towns are losing population all over the country. This affects even more communities in the Midwest because of the proportionally larger number of towns supported by farming.

We have all seen in the national media about urban blight in Detroit, Chicago and other Rust Belt cities, but decay is rampant in urban areas nationwide, as well as in rural areas and small towns in Iowa, Illinois, Michigan, Ohio, Wisconsin, Minnesota, South Dakota, Indiana and Nebraska. Those last two states: Indiana and Nebraska suffered most in the Midwest. Both states are full of boarded up small towns, abandoned farms and even whole villages that no longer exist, as in no buildings and little sign of occupation on the land. This trend has been under way for 30 or even 50 years, but has been most acute in the last 10.

Defunct Texaco Service Station, Riverton, Nebraska, 2015 by David Leland Hyde.

Defunct Texaco Service Station, Riverton, Nebraska, 2015 by David Leland Hyde. (Click image to see larger.)

In the town of North Platte, Nebraska I first noticed the trend most. According to the National Register of Historic Places and several other guidebooks, at least four round barns supposedly exist in the city of North Platte. Interstate 80 runs through the newer part of North Platte, the Union Pacific Railroad runs through the older part of town and the entire city is situated between the South Platte and North Platte Rivers near the confluence. Despite its location on the traffic lanes from several eras, in the west-central part of Nebraska and the west-central part of the U.S., North Platte has at least partially fallen on hard times. Though new buildings are still popping up downtown, older homes and stores farther out are sinking into disrepair and falling down.

Abandoned Buildings and Pepsi Vending Machine, Inavale, Nebraska, 2015 by David Leland Hyde.

Abandoned Buildings and Pepsi Vending Machine, Inavale, Nebraska, 2015 by David Leland Hyde. (Click image to see larger.)

Out of the four round barns in the city of 25,000 population, only one still stood when I was there in 2015: The Keith Round Barn. It was overgrown with dark windows blocked or boarded up from inside and a roof with sections open to the sky. I could not approach the barn or get within 50 yards of it because it stood in back of a farmhouse in the process of being rebuilt, with a cable that blocked the only open space passage to the barn.

Occasional tornadoes and the regular blasting wind, extreme winters and broiling-humid summers wreak great havoc on houses and farm structures, especially on roofs in the Midwest. Many other towns had receded much more than North Platte. The smaller towns in the south-central part of Nebraska such as Macon, Franklin, Riverton, Inavale and others were either partially or almost completely abandoned. In Franklin I stopped to photograph a home that had burned several years before, but remained standing in its burned out state.

Abandoned Farm Near Fairbury, Nebraska, 2015 by David Leland Hyde.

Abandoned Farm Near Fairbury, Nebraska, 2015 by David Leland Hyde. (Click image to see larger.)

The towns of Riverton and Inavale were particularly hard hit by changes in farm sizes, methods and fortunes that have contributed to bleak periods in the local economy. Farther east on US Highway 136, not far from Fairbury, I found an entire farm abandoned. The barn hung by two walls as the other two walls were about to fall, the windmill spun in the wind drawing no water, the outbuildings were gloomy, dark and rotting into the ground, the main farm house with the roof nearly collapsed had one wing crushed to the ground and everything had been overgrown with hemp, kudzu, tall grass and willows. The only living beings still around were grazing cows and one bull that I had a standoff with I will share later. Even Beatrice, Nebraska, which for the most part was well painted and in good repair, when I was there included many boarded up homes and businesses.

Northwest Perspective, Western Barn With Sheds, Abandoned Barn Near Fairbury, Nebraska, 2015 by David Leland Hyde.

Northwest Perspective, Western Barn With Sheds, Abandoned Barn Near Fairbury, Nebraska, 2015 by David Leland Hyde. (Click image to see larger.)

Any country is only as strong as its heart. If this view of the Heartland is any indication, our society is in deep trouble. Yet, I also found much reason for hope in the Heartland. Detroit and other rustbelt cities are rebounding, each at a different pace. Detroit is not only rebuilding its auto industry, it is also diversifying industries. Artists have taken to inhabiting and painting up inexpensive neighborhoods and currently the Motor City pulses with an art renaissance. More on Detroit in future blog posts in this series and in my nonfiction book-length narrative with working title, “A Drive Through The Heartland.”

(Continued in the next blog post, “Heartland 5 – Elijah Filey – Barn Builder, Mason and Founder of Filey, Nebraska.”)

Happy 4th of July: Watson’s Walking “G” Summer Family Camp

July 4th, 2016

Family Camp Weekend at Watson’s Walking “G”

People Photographs: Memories of Independence Day, July 4

In the United States of America, we celebrate Independence Day in the heat of summer. The heat causes thirst, which is quenched with alcoholic beverages more often than not. July 4 is the “fun” holiday. For a quality American 4th of July, also mix in hours and days of sunbathing slathered in tanning oil at the old swimming hole, complete with cool mountain stream swims.

Yet, when you are with old friends, the perfect holiday is not as much about the beach, sun or water as the conversations. This blog post is more personal than usual, but this is not the first time I have made such a post, especially on a major holiday. Different from what I typically write for this blog, it is an indication of one aspect of blog posts to come in the future.

Near the home where I grew up and now live again, at places like Indian Falls or Spanish Falls, giant rocks tower above deep river pools and make for good jumps, somersaults, dives, flips, gainers and belly-flops into Indian Creek or Spanish Creek. Here in Plumas County, we prepare for a 4th of July trip to our woodland beaches and creeks by getting overheated at the High Sierra Music Festival in Quincy, or at the 4th of July Parade and Taylorsville Silver Buckle Rodeo.

On other days around July 4th, for fun we go fishing, camp out in a tent or under the stars, eat rainbow trout for dinner, or crayfish, BBQ steak, chicken, baby back ribs, roasted bell peppers, BBQ Corn in the husk, salads, dips, chips, watermelon, sandwiches or pizza. Later after badminton, basketball, gin – rummy and gin – tonic, hearts, dingbat, zip line, horseshoes, bicycles, steal the sticks and rarely showers, we drive three miles to the Grange Hall, which has a bouncing wood dance floor. We dance like Mick Jagger at the cowboy two-step dance. Still later we venture out on a moonlit four wheel drive tour of Grizzly Ridge or Mount Hough. Anything for pure craziness with hilarity while following our bliss.

Most of the fun in Taylorsville happens at a private Family Camp next door to my house that carries on all hours of the day and night. The Watson’s Walking “G” Camp for over 40 years was a boys and girls recreational Summer Camp, but in the first 16 years after the official camp ended, the more informal Family Camp took over for one long weekend a year. The last time, Family Camp included around 140 guests tent camping and celebrating the 4th of July. Of the 140 people involved, about 95 were children. Family Camp at times has resembled either an amusement park, a quiet resort, a riot, or all three, depending on the moment. The following photographs may begin to portray some of what can happen…

…At Summer Camp when people let go of having a dream and step into dreamtime…

Many thanks to Robert and Brenda Watson for their hospitality, love and care for all at Summer Family Camp. Thanks also to all those who allowed me to make their photograph. I’ve progressed significantly since 2009 and appreciate having the opportunities to develop.

Apitizers, July 4, Watson's Walking "G" Camp, Summer Family Camp, Plumas County, Northern Sierra Nevada, 2009 by David Leland Hyde.

Appetizers, July 4, Watson’s Walking “G” Camp, Summer Family Camp, Plumas County, Northern Sierra Nevada, 2009 by David Leland Hyde. (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

 

 

 

Historical Practice of Tent Camping, Watson's Walking "G" Camp, Summer Family Camp by David Leland Hyde.

Historical Practice of Tent Camping, Watson’s Walking “G” Camp, Summer Family Camp, July 4 by David Leland Hyde Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Is It Morning Already? Family Camp, July 4, Northern Sierra, California by David Leland Hyde.

Is It Morning Already? Family Camp, July 4, Northern Sierra, California by David Leland Hyde. (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Customary Walking and Smiling at Walking "G" Camp on July 4th, Northern Sierra, California by David Leland Hyde.

Customary Walking and Smiling at Walking “G” Camp on July 4th, Northern Sierra, California by David Leland Hyde. (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Badminton Bliss, Family Camp, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde.

Badminton Bliss, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde. (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

 

 

 

Young Uncle Sam, Family Camp, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde.

Young Uncle Sam, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde. (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Professional Crayfish Hunters, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde. (Click on Image to See Larger.)

Salty Crayfish Hunters, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde. (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Welles and Brando, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde.

Welles and Brando, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Wrecking Uncle Sam With A Ping Pong Ball, July 4, Family Camp, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde. (To See Larger Click on Image.)

Wrecking Uncle Sam With A Ping Pong Ball, July 4, Family Camp, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde. (To See Larger Click on Image.)

 

 

 

 

 

 

 

 

Burford's Swimming Hole, July 4, Family Camp, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde. (To See Larger Click on Image.)

Burford’s Swimming Hole, July 4, Family Camp, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde. (To See Larger Click on Image.)

 

 

 

 

 

 

 

 

Beach Hangout, Burford's Swimming Hole, July 4, Family Camp, Northern Sierra, California by David Leland Hyde. (To See Larger Click on Image.)

Beach Hangout, Burford’s Swimming Hole, July 4, Family Camp, Northern Sierra, California by David Leland Hyde. (To See Larger Click on Image.)

 

 

 

 

 

 

 

 

Young Boy Still Fishing After Suddenly Outgrowing Vest, July 4, Family Camp, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde. (To See Larger Click on Image.)

Young Boy Still Fishing After Suddenly Outgrowing Vest, July 4, Family Camp, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde. (To See Larger Click on Image.)

 

 

 

 

 

 

 

 

 

 

 

Tough Women of the Woods, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Tough Women of the Woods, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

 

 

 

Cowboy Taking Break From Tavern Indian Wars, July 4, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Cowboy Taking Break From Tavern Indian Wars, July 4, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Wandering Australian Cowboy From The Outback, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Wandering Australian Cowboy From The Outback, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Maestro of the Bistro, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Maestro of the Bistro, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

 

 

 

Mom's Hands Shrivel After Peeling 1000 Ears of Corn, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Mom’s Hands Shrivel After Shucking 1000 Ears of Corn, but luckily her sister can peel at least 2000, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Parade Clowns Planning to Smuggle Margaritas Into Mexico, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Parade Clowns Planning to Smuggle Margaritas Into Mexico, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Tattooed Biker, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Tattooed Biker, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Family Camp Crazy Chaos Before Dinner, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Family Camp Crazy Chaos Before Dinner, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Pitchfork Carrying Carnivorous Chef and Wicked Meat Feast, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Pitchfork Carrying Chef and Santa Maria Style BBQ Feast, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Bar-B-Que Awe, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Bar-B-Que Awe, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Chair Photo Sobriety Test, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Chair Photo Sobriety Test, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

Family Camp Laughter and Friendship, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Family Camp Laughter and Friendship, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

July 4 Dinner Was So Late We Thought It Was Breakfast, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

July 4 Dinner Was So Late We Thought It Was Breakfast, Family Camp, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

The Only Moment of Quiet Reflection, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

The Only Moment of Quiet Reflection, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

 

 

 

 

 

 

 

 

Spreading Rumors and Gossip, Family Camp, July 4, Watson's Walking "G" Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

Spreading Rumors and Gossip, Family Camp, July 4, Watson’s Walking “G” Summer Camp, Northern Sierra, California by David Leland Hyde (Click on Image to See Larger.)

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.)

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

Heartland 3 – Starke Round Barn, Red Cloud, Nebraska

October 9th, 2015

Risk and Ruin at the Starke Round Barn, Red Cloud, Webster County, Nebraska

A Drive Through The Heartland, Part Three

Front Entrance and Second Floor of the Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde. (Click image to see larger.)

Front Entrance and Second Floor of the Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click image to see larger.)

(Continued from the blog post, “A Drive Through The Heartland 2.”)

Largest of It’s Type in the World

For their time, for any time, many Midwest barns were engineering marvels, especially the large round barns. Round barns do not have any European antecedents like other barn designs. They are entirely an American creation and an important part of American architectural history. Round barns are also the most rare. Less than one fifth of one percent of all barns in the US are round barns.

One of the most impressive designs and largest in the world of its type, the Starke Round Barn near Red Cloud, Nebraska holds together without any nails or pegs, entirely by the weight and balance of the building and the beams of the structure. However, the design of the Starke Round Barn is not the only interesting aspect of its history.

Conrad Starke and Sons Amassed a Fortune in Milwaukee

Interior of Second or Main Floor and Inner Silo, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde. (Click on image to see large.)

Interior of Second or Main Floor and Inner Silo, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click on image to see large.)

The Starke Round Barn story rises and falls with the fortunes of the owners. The builders of the Starke Round Barn, the four Starke brothers, came to Nebraska from Milwaukee, Wisconsin just after the turn of the century. The Starke family had been in engineering and building for many years, constructing ships on the Great Lakes.

Starke family members at the time were known to have attended elite Milwaukee society parties, having amassed a fortune and political influence through various enterprises. They owned shipping companies, tugboat lines and other businesses on Lake Michigan and the other Great Lakes.

The Starke Round Barn Historic Site explains that around 1880, Conrad Starke, Sr. and his wife Veronica purchased 400 acres of land in Webster County, Nebraska in the Republican River Valley near what is now Red Cloud. Veronica’s brothers, Gottleib and John Christian Rasser had homesteaded in the area in 1870 after serving in the Civil War.

Old Farm Equipment Inside Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde. (Click on image to see large.)

Old Farm Equipment Inside Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click on image to see large.)

Conrad Jr., Ernest, Bill and Christopher Starke Build An Engineering Marvel Round Barn

Still living in Milwaukee in 1902, Conrad Starke Sr., the mastermind behind the greatest portion of the Starke fortune, gave his four sons Conrad, Ernest, Bill and Christopher funding and supplies to go to Nebraska to live at the Starke property near Red Cloud. In addition to other building materials for a barn and other projects, the Starkes shipped gigantic 12” by 12” timbers from the Great Lakes to Nebraska. The Starke Round Barn took the Starke brothers two years to complete.

As the Starke brothers erected the barn, they did not use nails or pegs like other barns of the time. The citation for the Starke Round Barn in the National Register of Historic Places describes the construction and how the building holds together through tension, weight and balance:

The Starke barn is not polyhedronal, a type more common in Nebraska, but a true round barn. It is three stories tall and 130 feet in diameter. The central silo, of brick and mortar construction, is 28 feet in diameter and 65 feet in height, with a total volume of 40,000 cubic feet. The roof is a gable and of low pitch, required by the barn’s great circumference. The construction method is a combination of balloon framing and heavy timber supports. The entire three level vertical and horizontal support frame is of massive 12 X 12 timbers, which are held together by compressive and balancing tensile forces rather than by nails or pegs, which would be useless as fasteners under the thousands of tons the building was designed to hold. The barn was originally covered with horizontal siding. In the early 1960s, the original wood siding was covered over with corrugated iron sheets… With the exception of this minor alteration, the barn still stands today virtually unaltered since its construction.

Back Downhill Side of the Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde 2015. (Click image to see large.)

Back Downhill Side of the Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click image to see large.)

With the full three stories, the barn contains over 40,000 square feet of floor space. Other large round barns may have one level that is larger in diameter, but other levels are smaller. This is the case with the Central Wisconsin State Fairgrounds Round Barn in Marshfield, Wisconsin. The Wisconsin State Fairgrounds Barn is considered the largest round barn in the US.

The Thriving Starke Dairy Farm

The Starke Round Barn with extensive room on all three floors, originally supported a large dairy operation. The third top level, or loft, provided hay storage. The middle second floor, accessed directly from the front of the barn with a triple-wide driveway and doors, housed farm machinery, wagons, buggies and other conveyances, tools and equipment. The bottom ground floor stabled horses in one section and cows in another. Nearly half of the bottom floor extended into the hillside, while the remaining majority of the ground floor had windows around it. The milking area was on the window side of the basement floor. There were also windows on the main second floor originally, but many of these were covered in 1960 when the metal siding was installed.

Milking Area, Interior, First Floor or Basement, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click image to see large.)

Milking Area, Interior, First Floor or Basement, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click image to see large.)

The Starke brothers enjoyed a successful farm for nearly 20 years. However, they also overspent on farm supplies, luxuries and lavish parties. Novelist Willa Cather may have attended one of the parties, speculated the current owner of the Starke Round Barn, Liz Rasser, a relative of the Starkes, in Nebraska Rural Living. Red Cloud was the childhood home of Willa Cather. In one of Willa Cather’s short stories, “The Bohemian Girl,” the main character attended a barn dance to celebrate the completion of the largest barn in the state. Willa Cather’s father, Charles, who owned a real estate, insurance and loan office in Red Cloud, signed some of the surviving historic papers of the Starke barn. The Starke brothers were popular in the area and known by most.

“Everyone wanted to come out and work for them because they would just go sit under a shade tree and drink out of a cider jug all afternoon,” Rasser said. In 1915, the Starke brothers started the dairy operation, with approximately 75 stanchions for milking on the lower level of the barn. In 1922, the Starkes had Nebraska’s best producing cow for milk and butter.

Tools, Chair, Window, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015.

Tools, Chair, Window, Starke Round Barn Near Red Cloud, Nebraska, Midwest #Heartland United States by David Leland Hyde, 2015. (Click image to see large.)

The barn has made it through two tornadoes and been missed by nearby fires, but tragedy struck the Starke brothers when their dairy herd contracted tuberculosis and nearly all died in the early 1920s. Debts had been mounting. Two of the Starke brothers left town and both died of heart attacks. The remaining two brothers moved to town, but lost the barn and the whole farm to a foreclosure sale on the steps of the Webster County Courthouse in 1929.

Walter and Will Rasser, nephews of Conrad Sr. and Veronica Rasser Starke, purchased the Starke farm in fateful 1929. Percy, Liz and son Cal, the current owners, are descendent from the original Rassers who bought the farm. The Rassers today give tours of the barn and hold special events and historical activities on the grounds.

The Rassers are actively raising funds to further restore the barn. Through various grants they were able to replace the gigantic roof and more maintenance is needed. To donate or get involved with the Starke Round Barn go to The Starke Round Barn Historic Site.

(Continued in the next blog post in the series, “Heartland 4 – Nebraska – Little Ruins on the Prairie.”)

Additional References:

Starke Round Barn Family History

Visit Nebraska: Starke Round Barn

Red Cloud Attractions: Starke Round Barn

Heritage Highway, US 136, Pioneer History

Milwaukee Waterways: Conrad Starke