Posts Tagged ‘The Minarets’

Plumas Arts Reinvents The Capitol Club In Quincy, California

June 29th, 2012

Announcing The Grand Opening Of The Capitol Arts Gallery

525 Main Street Across From The County Courthouse
Quincy, California   95971
530-283-3402

Opening Reception 5:00-7:00 pm June 29, 2012

Group Exhibition June 29, 2012 Through August 22, 2012

Mount Hough, Arlington Ridge And Cottonwoods Across Indian Valley, Plumas County, Northern Sierra Nevada, California, copyright 2009 by David Leland Hyde. A 16X24 archival print of this photograph will participate in the Capitol Arts Center Grand Opening Show. The Plumas Arts Grand Opening Group Exhibition is the first time David Leland Hyde’s photography has been exhibited in a “brick and mortar” venue. David Leland Hyde was born in Plumas County. He is the son of pioneer landscape photographer Philip Hyde, who lived in Plumas County for 56 years. Philip Hyde was one of the founders of the Plumas County Museum. He hired the architect of the Plumas County Museum and was active in local community affairs including being a member of the nationally acclaimed Quincy Library Group that created a bridge between environmentalists and timber interests. For more on Philip Hyde click on his name in the main text.

(See the photograph large: “Mount Hough Across Indian Valley.”)

For more information about the current Lumiere Gallery group show in Atlanta, Georgia, see the blog post, “Lumiere Gallery Presents: Designed By Nature.”

The history of art, local Plumas County artists, Plumas Arts and the history of watering holes, bars, taverns, drinking establishments, clubs and historic saloons converged last year and will culminate in a new Grand Opening of the Capitol Art Gallery at 525 Main Street in downtown Quincy, California, the county seat of Plumas county.

The historic two-story Capitol Saloon, established in 1873 by Andrew “Doc” Hall, thrived for over a century and a quarter before falling on hard times in recent years. The Capitol Club, as it was later called, stood vacant until the 25-year-old Quincy, California based art association, Plumas Arts, bought the building outright for $70,500 in September 2011 and paid its back taxes, reinventing the premises as The Capitol Art Gallery.

The Capitol Arts Gallery opened on May 4, 2011 with a rare local exhibition by internationally recognized landscape photographer Carr Clifton. The Grand Opening of the Capitol Arts Gallery and opening reception will be this evening, Friday, June 29, 2012 from 5:00 to 7:00 pm. Carr Clifton’s opening reception and the gala Grand Opening this evening may be the most colorful and captivating events in the long history of “The Cap” besides “A spectacular shoot-out that occurred in front of the saloon in February 1886, resulting in the death of one man and the ostracizing of the other,” historically recounted by Las Plumas of the Plumas County Museum Association, which pioneer landscape photographer Philip Hyde helped found.

Philip Hyde and his son David Leland Hyde will be just two of more than 35 local artists, whose art will appear in the Grand Opening Exhibition. Philip Hyde’s “Cathedral In The Desert,” that American Photo Magazine named one of the top 100 photographs of the 20th century will be in the show as well as “The Minarets,” that Ansel Adams said he liked better than his own photograph of the Minarets, as well as “Misty Morning, Indian Creek” and “Spanish Creek” will appear in the show. David Leland Hyde’s “Grasses, Clouds Reflected, Tuolumne Meadows, Yosemite National Park, California” and “Mount Hough, Arlington Ridge And Cottonwoods Across Indian Valley” will also hang in the exhibition. When asked which artists might be of interest to a national and international audience, Plumas Arts’ Executive Director for over 25 years, Roxanne Valladao replied, “They all are. It’s not fair for me to say which artists are more important or more interesting than the others. The show represents all of our members that wanted to be in the show.” Indeed the Plumas Arts membership is “diverse and talented,” reported the Feather River Bulletin and Indian Valley Record. “The exhibition will feature two dimensional and three dimensional fine art and artisan creations in wood, basketry, pottery and jewelry… Plumas Arts will also use the evening to offer recognition to the generous individuals and groups that offered financial and volunteer support… All who made a financial donation of $100 or more or offered volunteer labor will be given a fine art print of Indian Creek by late local artist bob Pfenning.”

Executive Director Roxanne Valladao said that 36 people so far have donated their time and 57 people have donated money to the “Place of Our Own” fund that became the Capitol Arts Gallery. The California Arts Council article on Plumas Arts said that after decades of saving, sacrificing and fundraising, Plumas Arts was in the fortuitous position to take advantage of a foreclosure auction to purchase the Capitol Club. Donations paid for the bulk of renovations while dozens of volunteers cleaned, dumped trash, demolished walls, replaced rotted floors and walls, painted, polished and redesigned the space into a beautiful contemporary art gallery space that still retains the charm of the historical building as well. Organizations such as the California Arts Council, the Plumas County Board of Supervisors, Feather River College, Pacific Gas & Electric, High Sierra Music Foundation and a number of other local and state organizations contributed funding or expertise to the project. A gorgeous wood floor installation that would have cost tens of thousands of dollars came together under the efforts of Feather River College Students in Free Enterprise, also known as S.I.F.E., with a LOWE’s foundation grant.

As said in the California Arts Council organ ArtWorks, “For a rural arts council in one of the most economically challenged, least populated (Plumas County’s population is 20,000), and geographically isolated counties in the state, the notion of owning such a part of local history might seem part of a dreamscape.” However, local artists have earned this dream. Artists in Plumas County who support Plumas Arts range in experience, schooling, expertise, recognition and fame, but they all have actively participated in the development of the arts in Quincy and in the entire county. Plumas Arts members hail from the Plumas County communities of Quincy, Portola, Greenville, Chester, Taylorsville, Crescent Mills, Canyon Dam, Hamilton Branch, Westwood, Graeagle, Blairsden, Loyalton, Belden, Bucks Lake, Meadow Valley, Cromberg, Johnsville, Lake Almanor, Tobin, Twain and others. The Capitol Art Gallery is now open Wednesday through Friday 11:00 am to 5:30 pm and Saturday from 10:00 am to 2:00 pm.

David Brower: Photographer And Environmentalist 1

January 15th, 2011

In Honor Of The One Year Anniversary Of The Launch Of Landscape Photography Blogger…

David Brower: Photographer, Filmmaker And

Father Of Modern Environmentalism Part One

Storm Over The Minarets, Yosemite Sierra High Trip, now the Ansel Adams Wilderness, High Sierra Nevada, California, 1950 by Philip Hyde. One of Philip Hyde's signature images that came from the 1950 Summer High Trip that started and ended in Tuolumne Meadows and explored the North side of Yosemite National Park and the Ritter Range in the Ansel Adams Wilderness.

(See the photograph full screen Click Here.)

David Brower, an excellent photographer and filmmaker in his own right, did more to help popularize and show the political power of landscape photography than any other single person in the 20th Century.

In light of this, in the year 2000 the North American Nature Photography Association at its national convention honored both Philip Hyde and David Brower with lifetime achievement awards. David Brower, as the first Executive Director of the Sierra Club and leader of its most ambitious conservation campaigns, was in large part responsible for helping to establish Philip Hyde as a leading landscape photographer, along with many others including Ansel Adams and Eliot Porter.

Life Magazine called David Brower the “Number one working conservationist.” The New York Times said he was, “The most effective conservation activist in the world…” The Los Angeles Times said he was, “…America’s most charismatic conservationist.” David Brower dropped out of U. C. Berkeley his sophomore year, yet he holds nine honorary degrees. David Brower changed the course of history and the way we view wilderness and the environment, yet today his accomplishments are not particularly well-known. Even though he was nominated three times for the Nobel Peace prize, he is seldom credited for his impact on activism world-wide. Why? Who was this enigmatic figure?

David Brower: High Sierra First Ascents Climber

Born in 1912 and raised in Berkeley, California, David Brower first started climbing boulders in the Sierra Nevada on a car trip to Lake Tahoe at age six. He went on to become a renowned mountaineer of the Sierra Nevada and far beyond. As a young man he was nearly killed by a loose rock while climbing in the Palisades area of the High Sierra. He met legendary mountaineer Norman Clyde, who gave him climbing lessons. Not surprisingly, it was a climber friend, Hervey Voge, who first introduced him to the Sierra Club in 1933.

In 1934, David Brower and Hervey Voge set out on a 10 week climbing trip in the high Sierra from Onion Valley to Tuolumne Meadows. They scaled 62 peaks and made 32 first ascents. In 1939 David Brower and a number of friends, some of whom also were Sierra Club leaders, climbed Shiprock. The previous 12 attempts to climb the volcanic column had failed.

David Brower Invites Philip Hyde To Photograph Sierra Club High Trip

David Brower led Sierra Club High Trips and managed the whole program from 1947 to 1954. Ardis and Philip Hyde met David Brower in Tuolumne Meadows in 1948 when he came through leading a Sierra Club trip. Ansel Adams later more officially introduced David Brower and Philip Hyde and David Brower asked Philip Hyde to join him for a Sierra Club High Trip in the Summer of 1950. That was the High Trip that Philip Hyde made his photograph of “Minarets From Tarn Above Lake Ediza, Sierra Nevada” that Ansel Adams said he liked better than his own. It was also the Summer of “Split Boulder Near Lake Ediza, Sierra Nevada” that saw major exhibitions including the famous San Francisco “Perceptions” show of Group f.64. Several other Philip Hyde signature photographs were born that summer, “Glacial Pavement, Lodgepole Pine, Sierra Nevada” “Storm Over The Minarets, Sierra Nevada” and a number of Tuolumne Meadows.

At the time David Brower was the editor of the University of California Press and had edited the Sierra Club Annual since 1946. The 1951 Sierra Club Annual gave Philip Hyde his first publishing credit with a signature of 12 of his black and white photographs of the High Sierra Nevada from the 1950 Summer High Trip.

The Sierra Club Sends Philip Hyde On The First Photography Assignment For An Environmental Cause

Richard Leonard and David Brower sent Philip Hyde to Dinosaur National Monument in 1951. In 1952 David Brower became the first Executive Director of the Sierra Club. Within one year he had convinced the reluctant Sierra Club Board to expand the scope of the Sierra Club from a California focused defender of the Sierra, to a national, or at least regional organization with battles and interests in Oregon, Washington, Utah, Colorado, Wyoming and expanding to the East Coast. David Brower pushed for the first book produced for an environmental cause, This Is Dinosaur: Echo Park Country And It’s Magic Rivers.

This Is Dinosaur eventually landed on every desk in Congress and other Washington leaders with the goal of convincing them it was a place too beautiful to destroy. The two dams proposed in Dinosaur would flood 97 out of 106 river miles inside the national monument. David Brower and a growing coalition in the Sierra Club and outside made up of various environmental groups, developed to defend this invasion of the National Park System.

David Brower and the coalition of environmental groups behind him took the position that as long as Glen Canyon Dam would be built anyway, building the dam higher would result in a reservoir that would hold enough extra water to exceed the capacity of both of the proposed Dinosaur National Monument dams. A higher Glen Canyon Dam would thus render the Dinosaur dams unnecessary. David Brower proved in Congressional testimony, using 9th Grade math not only that the higher Glen Canyon Dam would store more water, but that it would also evaporate less additional water. At the time time few people outside of the locals had ever seen Glen Canyon.

David Brower, Ansel Adams And Nancy Newhall Launch Conservation Photography History

In 1960, David Brower, Ansel Adams and Nancy Newhall made a significant contribution to photography of the natural scene or landscape photography as it is now called. They re-invented and popularized the large coffee table photography book. This Is The American Earth with text by Nancy Newhall and photographs by Ansel Adams and some of his friends including Philip Hyde, was a song to nature writ large. America embraced This Is The American Earth and others in the Sierra Club Books Exhibit Format Series.

Another major advance came to photography in 1962, also brought to you by David Brower. He introduced color to landscape photography through Philip Hyde and Eliot Porter and the Sierra Club Books Exhibit Format Series in 1962, the same year Rachel Carson published Silent Spring. Eliot Porter illustrated the gorgeous and artistic In Wildness Is The Preservation Of The Earth with quotes by Henry David Thoreau. Philip Hyde illustrated Island In Time: Point Reyes Peninsula, more of a rushed documentary project to help make Point Reyes National Seashore.

Photographers And Other Creatives Sent To Save The Grand Canyon

By 1964, again making a historical advance for photography, David Brower organized a river trip down the Colorado River through Grand Canyon National Park. With Martin Litton as river guide, filmmaker and photographer, photographer Eliot Porter, photographer Philip Hyde, writer Francois Leydet and a number of other Sierra Club board members and artists of various types, the trip promised to be creative. Martin Litton brought the group to the proposed dam sites in the Grand Canyon, to Vasey’s Paradise, to Redwall Cavern, through hair raising and often capsize causing rapids for the purpose of making a book that would be called Time and The River Flowing: Grand Canyon. The book that would be part of the campaign to stop the Grand Canyon from being dammed. David Brower remarked at the time:

The dams the U.S. Bureau of Reclamation plans to build in Marble Gorge and Bridge Canyon, within the Grand Canyon proper, would destroy not only the living river but also the unique life forms that through the ages have come to depend upon the river’s life. The major part of the canyon walls would still be there, but the pulsing heart of the place would be stopped. A chain of destructive forces would be begun in what by law was set apart as part of the National Park System, to be preserved unimpaired for all America’s future.

And needlessly. Looked at hard, these dams are nothing more than hydroelectric power devices to produce electricity and dollars from its sale to pay for projects that ought to be financed by less costly means. The dams would make no water available that is not available already. Indeed they would waste enough to supply a major city and impair the quality of the too little that is left: water already too saline is made more so by evaporation, to the peril of downstream users, especially of neighbors in Mexico. All this on a river that already has more dams than it has water to fill them.

Philip Hyde and David Brower also worked together on many other campaigns with the help of many other environmental activists. Philip Hyde made photographs for David Brower led campaigns for the Oregon and Washington Cascade Mountains, Kings Canyon, Redwood National Park, the Wind River Range, Navajo Tribal Parks, Alaska and many other smaller skirmishes. To read about one of Ardis and Philip Hyde’s travel adventures on behalf of David Brower and the Sierra Club see the blog post, “The Making Of ‘Rainbow Bridge From The Upstream Side.'” Future Blog Posts will share more stories and other points of interest of David Brower’s life and work in conservation…

The river trip through Glen Canyon on the Colorado River proved to be one of the most historically significant events that David Brower and Philip Hyde experienced together twice, once in 1962 and once in 1964 after the gates of Glen Canyon Dam closed and “Lake” Powell began to fill. To read Philip Hyde’s tribute to Glen Canyon see the blog post, “Glen Canyon Lament By Philip Hyde 1.”

References:

For Earth’s Sake: The Life and Times of David Brower by David Brower

Work in Progress by David Brower

Wikipedia article on David Brower

Wildness Within Website

The History of the Sierra Club 1892-1970 by Michael Cohen

Sierra Club: 100 Years of Protecting Nature by Tom Turner

(Continued In Another Blog Post…)

Lake Tenaya and Yosemite National Park

October 27th, 2010

Lake Tenaya, John Muir and Yosemite National Park Introduce Philip Hyde To Wilderness

All the merry dwellers of the trees and streams, and the myriad swarms of the air, called into life by the sunbeam of a summer morning, go home through death, wings folded perhaps in the last red rays of sunset of the day when they were first tried. Trees towering in the sky, braving storms, for centuries, flowers turning faces to the light for a single day or an hour, having enjoyed their share of life’s feast–all alike pass on and away under the law of death and love. Yet all are our brothers and they enjoy life as we do, share heaven’s blessings with us, die and are buried in hallowed ground, come with us out of eternity and return into eternity.  — John Muir

Early Morning, Lake Tenaya, Yosemite National Park, Sierra Nevada, California, 1975 by Philip Hyde.

(See the photograph full screen Click Here.)

Philip Hyde had a long association with Yosemite National Park, many years before meeting Ansel Adams and Virginia Best Adams of Best’s Studio in Yosemite Valley and a long association with Yosemite after meeting Ansel Adams. Philip Hyde first visited Yosemite National Park with the Boy Scouts on a 1938 Sierra Nevada high country backpack. He returned the following year with the Boy Scouts for another backpack, and nearly every year thereafter, most often with his father Leland Hyde and his brother David Lee Hyde. All the while he carried a soiled and worn copy of John of the Mountains: The Unpublished Journals of John Muir. To read more on how John Muir’s writings inspired Philip Hyde see the blog post, “New Portfolio: Yosemite And Sierra Black and White Prints.”

Philip Hyde’s Early Black And White Landscape Photographs

Philip Hyde made a photograph in 1942 of “Shadow Creek, Minarets Wilderness, Sierra Nevada” on a backpack trip with his father and brother into the Minarets Wilderness, now the Ansel Adams Wilderness. This photograph and others made before World War II in the Sierra Nevada back country, Philip Hyde considered his first fine art quality wilderness photographs, though he did make superb photographs of some trackless wild areas of Sugar Bowl Ski Area in the winter of 1940. A few of these early 1940s photographs are on exhibition for the first time since before World War II, as part of Philip Hyde’s Mountain Landscapes at the Camera Obscura Gallery (post-War digital images from the show are on the Camera Obscura website), currently showing through November 13, 2010. For more details see also the blog post, “Vintage And Digital Prints Together In One Exhibition.”

As described in the blog post, “Photography’s Golden Era 6,” Philip Hyde first met Ansel Adams in the 1946 Summer Session of the California School of Fine Arts, now the San Francisco Art Institute, after serving in the Army Air Corp. For Summer Break 1949, between photography school courses, Ansel Adams helped Ardis and Philip Hyde land the caretakers job at the Sierra Club Parson’s Lodge and McCauley Cabin in Tuolumne Meadows, Yosemite National Park. Read more about the Hydes in Tuolumne Meadows on Philip Hyde’s Sierra Club History pages. Philip Hyde created some of his best black and white landscape photography during the Summer of 1949 and the next summer on a Sierra Club High Trip led by David Brower that started in the back country of Yosemite National Park, headed north through the Minarets Wilderness and circled back to Tuolumne Meadows. For many years Philip Hyde kept up his association and correspondence with Virginia and Ansel Adams, from time to time visiting them at their home in Carmel.

Philip Hyde Teaches At The Ansel Adams Workshops In Yosemite Valley

In 1968, Ansel Adams invited Philip Hyde to sit in on a workshop at the Ansel Adams Gallery in Yosemite Valley. Within the next few years, Philip Hyde began to teach the Ansel Adams June Workshop with Ansel Adams and eventually co-led the Color Workshop for years with William Garnett, Wally MacGalliard, Steve Crouch, David Cavagnaro and others. Philip Hyde also taught the Ansel Adams Landscape Workshop with John Sexton, Stu Levy, Joan Myers and others. The Sierra Photographic Center based in El Portal, California just outside the park, also hosted workshops in Yosemite National Park that Philip Hyde taught, as did the Yosemite Institute and the University of California Extension with such teachers as Philip Hyde, Wynn Bullock, Al Weber, Huntington Witherill, Pirkle Jones, Dave Bohn, Steve Crouch, Art Bacon, Bob Kolbrenner and others. For an introduction and list of the workshops Philip Hyde taught in other places besides Yosemite National Park, see the blog post, “Photography Workshops Taught By Philip Hyde.” In the mid 1970s Best’s Studio was renamed the Ansel Adams Gallery and Ansel’s son, Michael and his wife Jeanne Adams took over the business from his mother Virginia Best Adams. Virginia’s father, Harry Best, originally opened his “studio” to sell his paintings in a tent in 1902. The Ansel Adams Gallery Workshops continued and Philip Hyde with them into the 1980s when he made a number of his best color landscape photographs in Yosemite National Park, before or after teaching workshops, while still lugging around his 4X5 Baby Deardorff View Camera in his 60s.

Ardis And Philip Hyde’s Last Yosemite Sierra Nevada High Country Trip

Ardis and Philip Hyde made their last Sierra Nevada pack trip into the Yosemite High Country July 24 – August 3, 1991, six days before her 66th birthday and 12 days before his 70th birthday. They hiked 6.7 miles the first day from the Dog Lake Trailhead on the Vogelsang Trail to Vogelsang High Sierra Camp. Vogelsang offered “luxurious” tent deck cabins and a common building. Ardis Hyde wrote in her travel log, “Pack trains and numerous hikers going in both directions. The path is a groove but the going is easy and the altitude not noticeable at our slow pace.” They stayed at Vogelsang High Sierra Camp four nights and made side trips while Philip Hyde photographed. The flowers Ardis Hyde identified around Vogelsang were mountain pretty face, alpine hulsea, mountain jewel flower, soft arnica, Gordon’s ivesia, mountain wallflower and ball head sandwort. They also saw an adult Golden Eagle and an immature Golden Eagle. More details of this pack trip in future blog posts. The hike to Merced Lake Camp was 7.6 miles, where they also stayed four nights and then hit the trail at 6:30 am for the long “mostly up” 10 mile hike to Sunrise Camp where they camped for two nights before hiking out to Tuolumne Meadows to end their pack trip and a life-long exploration of the Sierra Nevada High Country and a love of mountain wilderness, particularly in Yosemite National Park.

Falling In Love With The Wilderness Of The Sierra Nevada

This life-long love affair with mountains and Yosemite National Park began for Philip Hyde in 1938 at age 16. The next year at age 17, for the second time he rode in the back of an open truck from San Francisco across California’s Great Central Valley with his Boy Scout friends, “through the foothills of the Sierra into the deep canyon of the Merced River,” as he described it in “Notes On A Life Of Photography” in “The Range of Light”:

This time we headed for Lake Tenaya over the old Tioga Road–that magnificent, unexcelled display road–narrow, twisty, bumpy, steep. We couldn’t go fast; the road’s low standard prevented it–so naturally we saw more of the country, some of the finest in the Sierra Nevada. At Tenaya we had the lake and the wonderful granite sand beach at the east end to ourselves. A camper could borrow one of the camp’s canoes, which I did one night, paddling alone out on the silent, dark lake. I remember sitting for long minutes, my head cocked back so I could see, entranced by the millions of pin-points of light–a city kid whose only views of the night sky had been through fog or haze and light-flared dense city air. That was my first brush with the immensity, silence and solitude of wilderness.

The next blog post will be number 100 for Landscape Photography Blogger. We will honor the occasion with the first part of “A Lament For Glen Canyon” by Philip Hyde, originally published in The Living Wilderness.

Cedric Wright And Philip Hyde On The 1950 Sierra Club High Trip

May 25th, 2010

Split Boulder Near Lake Ediza, Minarets Wilderness, Now The Ansel Adams Wilderness, Sierra Nevada Mountains, California, 1950 by Philip Hyde. This photograph that went on to be widely collected and published and was part of the famous Perceptions Show in San Francisco, was made on the 1950 Sierra Club High Trip with David Brower and Cedric Wright.

(See also the blog post on, “A Credo For Mountain Photographers” from the book Words of the Earth by Cedric Wright.)

In 1950, David Brower invited Philip Hyde to join the Sierra Club High Trip that David Brower led in the high country of Yosemite National Park. Cedric Wright was also on the trip as a veteran wilderness photographer to serve as high country photography mentor to the young Philip Hyde just out of photography school, who would also act as ‘official photographer.’

Even in 1950, Philip Hyde was no stranger to the Sierra Nevada High Country. He had been backpacking and exploring it since he was 16 turning 17 years old in 1938. Nor was he new to outdoor photography. During the years from 1946 through 1950 while he was enrolled in photography school at the California School of Fine Arts now the San Francisco Art Institute, Philip Hyde spent every summer in the mountains. The previous summer of 1949 Ansel Adams had helped Philip and Ardis Hyde land the caretaking job at the Sierra Club’s Parson’s Lodge in Tuolumne Meadows. The young couple, just married two years, lived in the rustic McCauley Homestead cabin all summer and scrambled all over the nearby peaks and domes. While Philip Hyde photographed, Ardis Hyde had plenty of peace and quiet to study for her teaching credential and identify birds and flowers. More about this special summer in a future blog post.

By the time Philip Hyde went on his first Sierra Club High Trip, he was seasoned by a summer in Tuolumne Meadows and 12 other summers in the High Sierra. However, as soon as he met Cedric Wright, he knew that this man had a depth of knowledge about wilderness travel and wilderness photography of which he had only dreamed. Here was the ideal teacher and companion.

Cedric Wright was a childhood friend of Ansel Adams. They met through piano playing. Both of them were in training to be concert pianists but ended up as landscape photographers. Ansel Adams wrote the forward to Cedric Wright’s book, Words of the Earth, one of the early volumes in the Sierra Club Exhibit Format Series:

His work reveals a strange and compelling beauty; it is not obscure, oblique, mechanical, or intellectual, but is the evidence of a great insight and intuitive power. It moves the spirit; then, because it is so simple and direct, it moves the mind and conscience… What is offered here is not merely a collection of nostalgic and beautiful pictures and poetic text, but a profound revelation of a most uncommon man, who, despite avalanches of problems and distractions, held fast to the essential dream. I regret there must be a date on this work, because in essence, it is timeless.

“That first 1950 High Trip in the capacity of ‘official photographer’ was a very important trip for me,” Philip Hyde said in 2004. “I look back now and still feel that the photographs I made on that trip are among some of my best. All I had to do was sleep, eat, make photographs and walk 10-12 miles from one camp to another, unless there was a layover.” The trip started in the northeast corner of Yosemite National Park and journeyed along the Sierra Crest to Tuolumne Meadows and beyond out of the national park and into the Minarets Wilderness Area that is now the Ansel Adams Wilderness. In those days the backcountry was little traveled. Philip Hyde shared more about Cedric Wright:

One of the things I remember about Cedric is that he had certain little systems because he had been on so many High Trips, maybe 20 or more. He had special ways of pitching a tarp. Sometimes he would give lessons to other people who didn’t know how. He also had a little practice of making it to the first camp early. When the first group of hikers would arrive, he would have hot tea waiting for them. Another time he had a number 10 can full of hot water and he would bathe people’s tired feet in hot water. One time we found a note from Cedric, ‘Be sure to go out and look at this view,’ and he wrote directions. Cedric took me under his wing and taught me all his intricate details. Some were a bit overboard, like shaving off the handle of his toothbrush to save weight. He was kind of a nut about saving weight, even though he did not carry much. His outfit was a little square box about 6″ X 6″ X 15 inches that contained his extra lenses and extra film. He was shooting black and white film pack. I didn’t get into film pack on that trip. I was still using 5 X 7 cut film, a single sheet film you load into a holder in a changing bag. The holder takes two sheets on each side, for a total of four. I think I carried 18 holders and several lenses on metal plates that I could interchange. I carried a 5 X 7 camera with a 5 X7 back on a big wooden Reese tripod that I still have. I thought I was going pretty light, but my outfit was a lot heavier than Cedric’s.

More about the Summer 1950 Sierra Club High Trip in a future blog post…

Son Of Environmental Photographer Interview By Richard Wong

May 5th, 2010

Richard Wong Interviews David Leland Hyde on his Field Report Blog About Philip Hyde Photography

Richard Wong asks about the business and creative side of Philip Hyde Photography and the representation of Philip Hyde in the digital age and beyond. Also a behind the scenes look at upcoming and ongoing events such as the Philip Hyde Exhibition at Mountain Light Gallery.

Read the Richard Wong Interview on the Field Report Blog Click Here.

New Philip Hyde Releases At Mountain Light Gallery Exhibition

May 4th, 2010

New Philip Hyde Photographs Never Before Seen By the Public Make A World Premier In The Exhibition At Galen Rowell’s Mountain Light Gallery

Waiting For The Train, Oaxaca Train Station, Oaxaca, Mexico, 1990 by Philip Hyde. Never before printed or published.

(See the photograph full screen Click Here.)

Philip Hyde’s “Waiting For The Train, Oaxaca Train Station, Oaxaca, Mexico” photographed in 1990 will be part of the “Pioneer Photography of Philip Hyde Exhibition at Mountain Light Gallery” in Bishop, California opening May 8 and running through August 31, 2010. (See also the announcing blog post, “Photography Of Philip Hyde At Mountain Light Gallery” and the related blog post,  “Galen Rowell, Philip Hyde And Outdoor Photographer Style.”) The people photograph, “Men of Oaxaca” breaks the pattern of the typical Philip Hyde landscape photograph. Philip Hyde made a good number of people portraits but rarely published or printed them. “Waiting For The Train, Oaxaca Train Station” is also unusual for Philip Hyde in that it was photographed with a 35 mm camera. While “Waiting For The Train” can be viewed on the Philip Hyde Website, several other new releases in the exhibition are not even on the website yet and have not been printed or published for many years or ever.

One release that is new to archival fine art digital prints is a 1968 photograph called, “Base of Havasu Falls, Havasupai Indian Reservation, Arizona.” Philip Hyde made only two dye transfer prints of this image that are long gone. It was never publicly exhibited as far as the records show. This will be the first gallery exhibition for this photograph. The restoration of this image was very time-consuming because the original Kodak E-3 transparency has deteriorated significantly. The raw drum scan of the original transparency had an orange-magenta caste overall with concentrated streaks, fingerprints and other blotches in the water throughout. Carr Clifton spent over 10 hours working on this one photograph. His process I will write up in another blog post, but suffice now to say that it involved a complex combination of the lasso tool, hue, saturation, color adjustment, color balance, select color, edit-fill, and several other general tools in Photoshop to get all of the flaws out and make the white water look right.

Another photograph that will appear in the Mountain Light Gallery Exhibition that Philip Hyde never printed but that was published by the Sierra Club is “Mt. Jefferson, Jefferson Wilderness Area, Oregon Cascades, Oregon” made in 1959. This photograph the Sierra Club published as a beautiful postcard in 1961. The original transparency and drum scan of it show large, dark forested areas. In the digital age, we were able to lighten the nearly black forests without changing the character of the photograph. As an archival fine art digital print this image has become more beautiful than ever. The lightening of the dark areas has brought out remarkable features in the finished print that could never have been achieved with any older printing process. Philip Hyde had a packer guide he and Ardis Hyde’s gear into the Jefferson Wilderness Area by horseback, while Ardis and Philip Hyde hiked in on foot. Philip Hyde went in to get photographs of the Jefferson Wilderness Area because it had been part of a proposed Oregon Cascades National Park that had some renewed interest in 1959 but not enough to go beyond speculation.

Pioneer Basin, Fourth Recess, John Muir Wilderness, Sierra Nevada High Country, California, 1970 by Philip Hyde. Never before printed or published.

Philip Hyde photographed “Pioneer Basin, Fourth Recess, John Muir Wilderness, Sierra Nevada High Country, California” in 1970. This beautiful photograph sat in the files and was never published or printed. In 2008 it was drum scanned and sat in digital form for another year and a half. Finally near the end of 2009, in search of more good California photographs, particularly of the High Sierra, and considering another image of Kearsarge Lake, I showed “Pioneer Basin, Fourth Recess” to Carr Clifton and he agreed that it ought to be prepared for printing. We printed an 8X10 proof that needed work. Carr Clifton is the Photoshop genius, but I sit in with him sometimes and make suggestions. We at times disagree, but that makes for good discussions and usually better results. I greatly respect him and his photography and he respects my work ethic and how dedicated I am to doing what my father would like. In the case of “Pioneer Basin, Fourth Recess” after we fixed a few technical problems and made another 8X10, it turned out beautifully. Then we printed an 11X14, Wow. We were so enthused about the image that I decided to put it in my 11X14 portfolio book that I take everywhere to show. I decided that we had to print a 16X20 and put it in the Mountain Light Gallery Exhibition. I put it on the website for a while but took it down to await a special announcement like this.

The three new releases that are not yet up on the website will remain off the website and only viewable at Mountain Light Gallery until the exhibition is over at the end of August. In addition to the four prints mentioned above that will be completely new, the exhibition will include 14 images that have never been exhibited before this Century. That makes 18 new prints that will be shown for the first time since Philip Hyde passed on.

Besides new prints, the Mountain Light Gallery Exhibition will include an original black and white silver print of Philip Hyde’s iconic “Minarets From Tarn Above Lake Ediza, Ansel Adams Wilderness, Sierra Nevada, California, 1950.” This photograph of the Minarets Ansel Adams said he liked better than his own. Also in the show will be an original color Cibachrome print of  “Ice On Continental Divide, Yoho National Park, British Columbia, Canada, 1992.” This newer Canadian Rockies image is of sheer rock peaks with forested foothills. Come see all of the new imagery.

Read a Recent Interview of this blog’s author by Richard Wong about Philip Hyde Photography Click Here.

Pioneering Photography of Philip Hyde Exhibition
May 8 Through August 31, 2010

Talk and Opening Reception May 8

Galen Rowell’s Mountain Light Gallery
106 South Main Street
Bishop, California
760-873-7700