Posts Tagged ‘Twitter’

Photography, Spam, Social Media and My Letter 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.

My Most ‘Unique’ Photograph Of Yosemite Valley

April 1st, 2015

My Most Amazing Photo of Yosemite Yet

Tunnel View, Yosemite Valley, Yosemite National Park, Sierra Nevada, California

Always. Do. Your. Home. Work…?

Tunnel View, Yosemite Valley, Yosemite National Park, Sierra Nevada, California. Objects appear by special licensing permission from far out friends of Steven Spielberg.

Tunnel View, Yosemite Valley, Yosemite National Park, Sierra Nevada, California. Sky objects appear by special licensing permission from far out friends of Steven Spielberg. (Click on the image to see large.)

        For many months I have been researching Yosemite National Park photo locations on Flickr, Instagram, 500px, Pinterest, Twitter, LinkedIn, The Luminous Landscape, Outdoor Photographer Locations, and how can I forget: Facebook. Then I consulted my photographer’s ephemeris, the Weather Channel, my neighbor who works at NOAA, astrological charts, astronomical charts, phases of the moon, sunspot activity reports, the Gregorian Calendar, the Hebrew Calendar, the Mayan Calendar, Dreamspell, a number of online games, Netflix, YouTube, HBO, Showtime, TV Guide, the Outdoor Channel, the Discovery Channel, Oprah, The Ansel Adams Gallery Blog, Michael Frye’s Blog, various Yosemite web cams, the Ghost of Ansel, the Yosemite Tour Bus Schedule, Bill Clinton’s speaking schedule, the Sierra Ski Report, the Central Coast surf report, literally hundreds of guidebooks, pamphlets, brochures, every hotel and motel and a few dive bars, taverns, bathroom walls and small funky convenience stores within 150 miles, searching for inspiration in Yosemite.

I wanted quintessential Yosemite, but yet my own take on this hallowed place. I input all of this data into a new photographer’s analytics program that I got at Home Depot, or was it Toys ‘R’ Us? Anyway, this is an amazing program. It crunched all this data and then tracked down the almost exact location through shared camera GPS coordinates.

The Sound of A Million Shutters Clicking

I drove seven long hours to capture this amazing Yosemite Valley perspective that is destined to be a centerpiece of my Portfolio One. Just when I thought I was the only person who might have thought of capturing this unique vantage point, I was disappointed to find that hundreds of photographers were already there snapping away. The sound of electronic digital shutters clicking was like a thousand tiny tornadoes. At first I was dumbfounded and even sat down to cry. To think that my unique location had already been discovered. There was a lineup of photographers, shoulder to shoulder, camera bag to camera bag, stretching throughout the parking lot, down into the brush, into the woods and way up the hill as far as I could see, all facing the same direction, all with tripods interlocked.

Finally after a good gnashing, howling and trembling sob, I stood up and felt a little better, resigned to make the most of the situation. I jogged down to the lineup in slow motion and imagined triumphant music and a TV crew tracking me. Esteemed photographer Ken Cravillion was there, a voice of good humor and reason. He offered me his spot between two other “photographers.” I set up my camera and took only One Shot, just as a famous muscle man from Australia has taught.

“I freakin’ nailed it,” I yelled at the top of my lungs with gusto and glee.

Secret Systems and Special Gear Make a Photographer…?

At that moment, way up behind me in the crowd I saw my friend Jim Sabiston from New York City.

“New York City,” I exclaimed when he drew near. “You must have some of the same secret systems and special gear that I do. I can tell that is what has made you an extraordinary photographer. I wonder if that is how all these amazing master professionals knew to photograph here too.” We proceeded to compare notes as I wrapped up my exposure. It turns out he looked up some of the same materials and has many of the same sources.

“Golly-wiz,” I said, “We can’t let this information get out. Pretty soon all the photographs made with these secret toys, ahem, tools, will look the same.” I would not want to spoil the incredible uniqueness already developing online among people who snap photos, post regularly and read each other’s materials exclusively, rarely, if ever, reading a classic novel or setting foot in a museum.

Now that I had my One Shot, I gave my spot in the lineup to Jim. I told him that I couldn’t wait to compare my photograph to his, not visually or aesthetically, but socially, to see which one would get more likes on Facebook. We are in competition because competition is, of course, the name of the game in photography, especially competition for recognition, not necessarily for quality. Quality is sort of an afterthought. What matters are “likes,” retweets, pins and reposts. Nonetheless, even though we are in competition, because it is amazing, I highly recommend checking out Jim’s photograph on his blog.

Ghost In The Machine

It was not until I opened my photograph in Photoshop Camera Raw that I noticed that something very unusual had indeed happened after all. At first these flying objects that I could not identify in the sky were very faint. Yet, after I applied my layers, presets, plugins, knockoffs and knockouts, I found the objects were much clearer. I still am not sure what they are. They look like something from Star Wars or Star Trek, but as some people have pointed out, all three of them are the same size, even though they are each a different clarity and brightness. Something is shooting a beam off into space toward the upper left of the image. I am not sure if this has anything to do with the objects, or The Arcanum, or with Bridalveil Falls lined up with it in synchronicity on the right, but this beam is clearly there in the image and even in some other images I saw taken at the same time. If the objects are indeed flying, people have pointed out that the perspective is wrong for them to be behind one another coming toward us. I am amazed some people have even made comments like, “The sky is all messy in that spot. It looks like you Photoshopped those objects into your photograph.” Can you believe it? I was flabbergasted. I tried to explain that it might be due to the beaming in process. Skeptics.

My own theory is that at the decisive moment of capture, each object was in the process of beaming in from somewhere else. This explains the differences in appearance. Also, if you look closely and squint your eyes, you too may see the objects becoming even clearer before your very eyes. They have been getting clearer in the photograph gradually all along. I am not sure how to explain this phenomenon. The objects seem to be beaming into the photograph just as they beamed into reality. I did not see the objects at the time of exposure, nor did anyone else that I noticed, though there was that one pet woodchuck that was freaking out quite a bit there in the parking lot at Tunnel View. I have asked around and as far as I know, nobody else captured these objects on their digital SD Cards or film. It remains a mystery. I suppose the case of the unidentified flying objects is one that cannot be over-thought or over-explained as is the practice with everything else in photography.

Happy April 1!

Earth Day 2012 Review: Are Social Media Earth Friendly?

April 22nd, 2012

Happy Earth Day

Spent Earth Day Outdoors And Twittered About It Later

BUT, Is That Earth Friendly?

Would activism, volunteering or something else be more Earth friendly?

(Read last year’s Earth Day Blog Post, “Earth Day Celebration Of Ardis And Philip Hyde And Canyonlands.”)

You can now enjoy following Philip Hyde Photo on Twitter.

Twitter Address: @PhilipHydePhoto

Beyond the tweets I twittered, our Earth Day included a hike along Indian Creek, or “The River,” as locals call it because it is the largest part of the Feather River. My friend Nancy’s daughter of seven and her friend, the daughter of a neighbor, made water channels and pools in the same beach sand the neighbor and I dug in when we were the two girl’s age almost 40 years ago. We hiked the rugged, rocky river shore back to the house where the girls did handstands and cartwheels on the lawn while I Twittered about our activities. Then we planted herb starts: Sweet Basil, Marjoram, Parsley, Caraway, Mint and Chamomile. Meanwhile, in the last few days, Daffodils, Lupines and a few other early bloomers had blanketed the garden. We cut Daffodils and Lupines for bouquets the girls took home. There’s nothing like the smell of Lupines or Daffodils in the early Spring.

Twitter asks the question, “What are you doing now?”

A few tweets:

Happy Earthday. Some day everyone will be green, but isn’t it ironic that by then might be too late. A little too ironic…

Earth Day. Friend Nancy is coming over w/her 2 kids. We will dust off the Solar Oven for kids to see in action baking a cake.

Hiking, outdoors, maybe photos, probably just enjoy Earth Day. Enjoy the Earth. Do you enjoy the outdoors?

Children dug in the beach sand at the river high in snow melt. We sat in the shade of Alders just starting to leaf. Watching next generation

What did you do for Earth Day? What do you think of social media? Is there any overlap? Please share your opinion…

Philip Hyde Photo Now On Twitter

April 18th, 2012

Philip Hyde Photo Is Now On Twitter

Username:
@PhilipHydePhoto

Please tell your friends…

Please send me a tweet so I can follow you…

Hope you enjoy following us…

Here’s my first three tweets:

Love is. Assoc of Ansel Adams was color pioneer Philip Hyde. 1st Tweet. Do you think Photoshop killed straight photography?

Love is now. Ansel Adams’ assoc color pioneer Philip Hyde. Gandhi: would he say peaceful environmental revolution?

Love One Another. Pioneer landscape photog Philip Hyde. Is a Photoshopped image “real”?

Are you on Twitter? Why or why not?

Happy Thanksgiving!

November 24th, 2011

Pumpkin, Melting Snow Patterns On Deck, Northern Sierra Nevada, California, copyright 2011 by David Leland Hyde. Nikon D90.

Dear Pilgrims and Natives, the Turkey is a little slim this year, but we all still have much that deserves gratitude. Every day, even in the darkest of times, each of us can find something for which we are grateful. This Thanksgiving I am grateful for good neighbors, good friends, a good guitar or two or three strummed or picked around a warm wood stove with a glass of wine and more food than anyone needs. I am also grateful for Lumiere Gallery and the Messages From The Wilderness Show. I am grateful for all other photography galleries and venues that have hosted exhibitions of Dad’s photographs in the last few years, as well as each of the photography galleries that now represent my father’s pioneering conservation landscapes in the form of vintage black and white prints, archival digital prints, dye transfer prints and Cibachrome prints. I am also thankful to the following bloggers and websites for either Tweeting, Twittering, Re-tweeting, putting on Google+, on Facebook, embedding in their website or photoblog, or otherwise linking to or mentioning the ALL NEW PHILIP HYDE SHORT VIDEO. Dad would be shocked, humbled, amazed, and when he got used to the idea, happy to see his photographs shown around the world. Thank you to each and every one of you from the bottom of my heart…

Note: Those names below in blue are links as customary. Those in black that are not links I either could not find again or they were buried in a long list of shares. Topsy and some other social media search sites are currently having technical difficulties. Even the Holy Grail, Google Search, does not seem to crawl all tweets and shares, even on its own platform Google+. Also, as I am not yet a participant of some of the social media, not all searches are available to me. If you are one of those listed below and would like your name linked to your share or post of the video, please send me the link in the contact form above or in an e-mail. Same goes for those who I have accidentally omitted from the list and deserve my apologies.

Jim M. Goldstein

William Neill

Sharon and Dirk Van Lieu

Robert Rodriguez, Jr.

Guy Tal

Art Wolfe

PJ Finn

Richard Wong

Stephen Gingold

G. Dan Mitchell

Steve Sieren

Seung Kye Lee

Dan Baumbach

Greg Russell

Michael Frye

Paul Dickenson

Michael E. Gordon

Jim Sabiston

Carl Donohue

Q.T. Luong

Russ Bishop

Sven Seebeck

Michael R. Reynolds

John Paul Caponigro

Paul Colangelo

Sean Arbabi

Buzztail

Atlanta Celebrates Photography

Alltop

Creative Live

F8 Daily

Networked Blogs

World Panorama Stock

Fox News Travel Section

Newsodrome

Technorati

Shootplex

Photo Life Magazine

Photogravity

New School of Photography

Gaia Gallery

Byte Photo

Orlando Photography

Travelscenics

Mitrasites

James Hunt

On Social Media and the New iPad

January 29th, 2010

Photographers have all heard many pros and cons and I am in the resistant crowd, but am reading up. You will eventually see Philip Hyde Photography and Landscape Photography Blogger on Twitter, Facebook and the other major social media. Hopefully Dad will not be rolling over and will understand it is a new era. I have seen some blog posts and comments around about Apple’s much-hyped new iPad tablet that came out today. The iPad is somewhere between an iPhone and a laptop. I respect and admire Steven Jobs for being highly innovative and leading his company to explosive sales and growth off the charts while everyone else is grumbling about the recession. Besides, to me he is like Luke Skywalker fighting against the evil Windows Empire. The iPad is probably a good device for people who use an iphone a lot. In The Magic of Thinking Big, David Schwartz said that in history whenever there has been a major technology change, it is those who embrace it that become the “haves” and those who do not that become the “have nots.” I have been doing what I can to implement and learn all of the new media and technology of the internet online world.

However, I doubt that sitting in front of computers and other screens most of the day and poking away at small hand-held gadgets every extra moment will improve the quality of my life. What about family, friends, and yes, listening to the birds or the river, and actually having some quiet time to think and clear the mind? Will we become a society of all-brain and no intuition or awareness, knee-jerk, one-liner spewing know-it-all’s? Has anyone done any studies of the health consequences of staring at various screens all day and letting our limbs atrophy? Besides, the more I learn about the internet, the more I notice a tendency toward a disconnect with the real people I know in my life that are not so into it. In 1951, my father, pioneer landscape photographer Philip Hyde, left San Francisco to live in the mountains so that he could get “their glad tidings.” He made a large monetary sacrifice but his life became much richer in all the ways that matter. I suppose everyone needs to determine for him or herself what her limits will be, when ‘enough’ has arrived.