Posts Tagged ‘Zabriski Point’

Official New Release: Sierra Portfolio

May 29th, 2013

Announcing David Leland Hyde’s All New Sierra Portfolio

“The Sierra should be called, not the Nevada or Snowy Range, but the Range of Light… the most divinely beautiful of all mountain chains I have ever seen.” –John Muir

New Sierra Portfolio By David Leland Hyde On PhilipHyde.com

Half Dome From Mirror Lake Trail, Winter, Yosemite National Park, Sierra, California, copyright 2010 David Leland Hyde.

Half Dome From Mirror Lake Trail, Winter, Yosemite National Park, Sierra, California, copyright 2010 David Leland Hyde.

John Muir wandered and celebrated the Sierra for more than a decade inspiring thousands of artists and lovers of wilderness to “climb the mountains and get their good tidings.” My father, American landscape photographer Philip Hyde, was one artist so inspired. His last book, published in 1992 and titled, “The Range of Light,” featured quotes from John Muir to go with his color, as well as black and white photographs.

When Dad was 16 he first visited the Sierra and labeled his map of Yosemite National Park, “Home.” Twelve years later in 1950 he and my mother moved to the mountains in the Northern Sierra. Another 15 years later a doctor friend helped them give birth to me at home in the wilderness of the Sierra. I grew up in the woods along Indian Creek and have been “haunted by waters” like Norman Maclean ever since. The Sierra could also be called the “range of shimmering water” as it is more abundant in rivers, lakes and streams than any other mountain range.

The house I was born in is situated on an ancient granite rockslide that originated from Grizzly Peak. The peak itself is not visible from our home directly below the mountain. We see Grizzly Ridge, rising precipitously up 4,000 feet to 7,600 feet elevation, from Indian Creek at 3,600 feet elevation just below the house. Nonetheless, this northern end of the Sierra is mild, softly rounded and much lower than the high Sierra of Yosemite, Kings Canyon and the John Muir Trail.

As a child of the mountains, they raised me just as much as my parents. My mother knew I would learn many of life’s most important lessons by wandering around in the woods, fishing and hiking along Indian Creek, Spanish Creek, Greenhorn Creek, Ward Creek, Red Clover Creek, Montgomery Creek, Lights Creek, Hinchman Creek, Peters Creek and many of the other streams of Plumas County and the Feather River region.

These local names are telltale signs of my focus on local photography for the last four years since I forged into digital photography; and for many years before that while carrying a film camera off and on, sometimes going whole decades without a camera too. Here I learned to walk, talk, run, swim, fish, ice skate, drive in the snow, jump off of big rocks into deep waters and all the fun a boy could ask for without any need of television, video games, cell phones or portable computers.

I understand the need, in some cases, for landscape photographers to travel. During his more than 60-year career, Dad traveled an average of 99 days out of every year. Yet even Dad’s travels were almost exclusively regionally limited to the Western United States, primarily in Arizona and Utah canyons and California mountains. Is it necessary that all photographers go to Machu Picchu, the Eiffel Tower, the Great Wall of China, or even Mesa Arch in Canyonlands, Tunnel View in Yosemite Park, or Zabriski Point in Death Valley National Park? Sometimes photographers traveling to Iceland might help save the ice sheet, photographers traveling to far northern British Columbia might save a vast wilderness like the Sacred Headwaters. However, generally, I feel more and more that I am a proponent of photographic bioregionalism. In other words, bloom where you’re planted. Considering that Edward Weston said he could look at his boot and find a great photograph, amazing images are everywhere, if the photographer looks, or rather sees closely enough. There is no need to travel great distances to find beauty. It can be found right in the backyard as locally focused well-known photographers like William Neill, Michael Frye, Gary Crabbe, Richard Wong and Guy Tal prove over and over, day in, day out.

I was born in the Sierra, here is where I live and here is where I photograph. This new portfolio is a collection of a small slice of my personal expression through the lens, very often one single rudimentary lens, a Costco special Nikon 18-55 mm that came in a kit with my Nikon D90, a Nikon 55-200 lens, a camera case, an SD card and camera manual. Sure, some day I hope to break out Dad’s large format Deardorff view cameras and his two medium format Rollei SL66 film cameras to try out some black and white film, but for now, I’ll stick to the easy to use and versatile Nikon D90. I am lucky to have Dad’s nearly indestructible Bogen #3028 tripod with handy pads on the legs for comfortable carrying over the shoulder for long distances or while free rock climbing with one hand down into some canyon in these fair mountains of home.

Nearly all of my photographs are single exposure, single image capture, though now that I’m learning to blend, I usually make at least two, sometimes three exposures of most high contrast photographs. The only photograph in this new Sierra Portfolio that is a blend is #3 “Oaks, Grizzly Ridge, Fall.” It is not a blend for contrast, but for the purpose of lightening the California Black Oaks and shifting color temperature of part of the image and not another. Many of these Sierra Nevada photographs involve very little Photoshop work at all, except where obvious. Color saturation was rarely increased with the saturation slider. I usually only increase saturation as a byproduct of working with the curves to attain the look of the original scene. People who don’t use Photoshop and claim their images are more pure because they for the most part use their RAW file, are generally producing images that are less true to life than those who use Photoshop because the RAW file rarely match any scene the way it looked originally. For more on this and related subjects see also the blog post, “David Leland Hyde’s Portfolio One Revisions And New Releases.” Please keep in mind that I create these photographs in limited editions of only 100. When they’re gone, they’re gone. Enjoy browsing: Sierra Portfolio… and please share which you like best…

(Originally posted for soft release May 29, 2013.)

David Leland Hyde’s Portfolio One Revisions And New Photographs

April 5th, 2013

Many New Releases Added And Others Revised In My Portfolio On PhilipHyde.com

Cypress Trees, Point Arena Odd Fellows Cemetery, Mendocino Pacific Ocean Coast, California, copyright 2012 David Leland Hyde.

Cypress Trees, Point Arena Odd Fellows Cemetery, Mendocino Pacific Ocean Coast, California, copyright 2012 David Leland Hyde.

Besides several images from the blog post, “My 12 ‘Greatest Hits’ Of 2012,” now on display large on PhilipHyde.com, many other newly released DLH images are now on view and a number of previously released photographs are now revised and updated. See the David Leland Hyde Portfolio at the end of 16 Philip Hyde Portfolios on the Philip Hyde Photography website and acquire a fine art archival lightjet chromogenic print out of a limited edition of only 100.

For those who are not familiar with the term chromogenic, the simple definition is that such prints are not inkjet digital prints, but form the image on photographic paper through exposing the paper with light in a photographic process as opposed to using a digital print making ink set to color the paper. For more on digital prints versus chromogenic prints, see the blog posts, “Photography Galleries, Collectors, Appraisers And Digital Prints,” and “Why Photography Galleries, Curators And Collectors Like Limited Editions.”

Mesas, Boulders, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

Mesas, Boulders, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

In this blog post, I will share a little about the making of a few of the newly released photographs now in the revised portfolio. In the blog posts, “Northern California Beaches: Misty Sonoma Coast” and “Actor, Photographer, Apple Farmer And 1960s Activist Nicholas King’s Memorial,” I included a few of the landscape photographs from the Sonoma County Pacific Ocean Coast and the Mendocino County Pacific Ocean Coast. Some of these California beaches and rocky cliffs can now be seen in the revised portfolio. One image that did not appear in “My 12 ‘greatest hits’ of 2012,” from my Sonoma and Mendocino Coasts trip, that now appears in my portfolio is “Cypress Trees, Point Arena Odd Fellows Cemetery.” Also, a photograph from 2009 of Utah called, “Mesas, Boulders, San Rafael Swell,” that I posted with my guest blog post on Greg Russell’s Alpenglow Images, “Make Your Own Tripod Tracks,” has itself also been revised and added to the remade portfolio gallery.

Sandstone Boulders Against The Sky, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

Sandstone Boulders Against The Sky, San Rafael Swell, Utah, copyright 2009 David Leland Hyde.

On the same trip through Utah in 2009, I also made the vertical, “Sandstone Boulders Against The Sky.” This photograph was one of many I made that morning. I left Boulder, Colorado the evening before and spent the night just past the Green River crossing where Interstate 70 climbs up onto the Colorado Plateau. It was a bitter cold winter night with blowing snow and howling gale force winds. In the morning my Ford Van was caked with frozen snow, ice and road grime. I stopped there to sleep only for a few hours in the middle of the night and woke up just as the light began to dawn on the snowy landscape. The desert lands of Southern Utah came to live with new definition and beauty in the fresh snow. In the early morning my hands, nose and other extremities felt like they would surely get frost bite, but I persisted to photograph all morning. By late morning the snow was beginning to melt off in the surprisingly warm sun, a welcome contrast to the cold of the night before. As the snow melted, intricate and visually fascinating snow patterns were left against the red rock sandstone background. Also, the light softened and became more diffuse as high clouds moved back in.  The sandstone boulders appeared in many of my photographs, but this image in particular also captured the sky and the light.

“Dawn, American River From Fair Oaks Bluffs,” I made in 2012 from another Uncle, Clint King’s home the morning of his memorial service. I got up about a half hour before sunrise to be able to catch the sunrise and the mist on the American River. Fair Oaks is a beautiful bedroom suburb town on the outskirts of Sacramento. My Uncle Clint was a self-made man who did very well. I will write a future blog tribute to him as I did for my Uncle Nick King. The tribute will also contain more images of the event and related subjects.

After my Uncle Clint’s memorial celebration in November 2012, I drove to Livermore to see the Golden Decade Legacy Show at Figurehead Gallery that included my father’s vintage and authorized archival prints, Ansel Adams prints, Minor White prints and the black and white photography of other students of theirs from the California School of Fine Arts, now the San Francisco Art Institute. After viewing the exhibition, I attempted to photograph at the Livermore Gravel Pits as Dad did in 1949. However, due to liability, they would only let me photograph on a day where the office foreman could accompany me. I tried to sneak some photos, but an upper level manager drove over and yelled obscenities at me.

Manly Beacon, Badlands And Panamint Range, Death Valley National Park, Mojave Desert, California, copyright 2009 David Leland Hyde.

Manly Beacon, Badlands And Panamint Range, Death Valley National Park, Mojave Desert, California, copyright 2009 David Leland Hyde.

I drove from there down to photograph some architecture of the restored old homes in downtown Pleasanton, California. However, still craving more gritty fare, I also stopped under the freeway to photograph graffiti and street art. On the way home through Stockton, I also exited in downtown there, but did not find much I wanted to photograph until I found my way to the Deep Water Port of Stockton. Again, I ran into management that would not allow photographs without contacting the corporate office and coming back another day. One of the homeland security guards told me how to drive around to the other side of the San Joaquin River and photograph the Port of Stockton from a distance. This is how I made the photograph, “Port of Stockton” that also appears in the updated portfolio.

In 2009 in Death Valley National Park, I first came across the phenomena of photographers overrunning an iconic landscape. I descended into Death Valley during the evening magic hour, made some images near Panamint Springs and a few other stops on the way down to Stovepipe Wells and the Mesquite Flats Sand Dunes. I hit the sand running in the Twilight hour. The dunes were heavily beaten with footprints, as I suppose there had not been any windstorms recently. Still, I managed to make a number of good images including some of the classic tallest dune there at Mesquite Flats with some Amargosa Range mountains in the background. I was satisfied, short on time and the campground and all lodging was full. I moved on to the Furnace Creek area and parked for the night in my Van in the hotel parking lot.

Two Horses With Live Oak, "Inveration," Sierra Foothills Near Dunlap, California, copyright 2009 David Leland Hyde.

Two Horses With Live Oak, “Inveration,” Sierra Foothills Near Dunlap, California, copyright 2009 David Leland Hyde.

The next morning I woke up in the dark and headed out to Zabriski Point. I was amazed to find that even an hour before sunrise, the parking lot already had around 10 vehicles in it. I took the paved road width trail up to Zabriski Point proper and found close to a dozen photographers already set up waiting for the sun to come up. I stopped briefly in the paved stone-encircled corral where more cattle were gathering by the minute to photograph the sunrise cliché.

I walked back toward the parking lot, but saw a small dirt trail taking off for the ridge that angled toward Manly Beacon. I took this trail and the crowd of gathering photographers soon faded into the distance. I followed the dirt trail along the ridge top marveling at the vast open space of the Badlands and how not one photographer could be seen in the entire Death Valley landscape, except in the small confines of one paved trail overlook. I made a few photographs of Manly Beacon, an icon, by any definition, though captured from an angle that only a few take the time to see because it requires a little extra walking. The irony is that the sunrise all those other photographers were waiting for never happened. The sun never came up and never came out. it remained cloudy, as you can see in my photograph. I thought about how my Dad would most probably have hiked way down into the Badlands with his large format view camera, miles from the parking lot, lost amidst the bare earth of the erosion landforms. I remembered being teased in school for being different. At that moment  in the Death Valley landscape, all I felt was gratitude for my upbringing. My parents taught me not only to think “outside the box,” but more importantly to live outside the box… and as Robert Frost said, “That has made all the difference.”

Urban Railroad Ultra Fine, Reno, Nevada, copyright 2009 David Leland Hyde.

Urban Railroad Ultra Fine, Reno, Nevada, copyright 2009 David Leland Hyde.

On that note I introduce “Two Horses With Live Oak, ‘Inveration,’ Sierra Foothills Near Dunlap, California,” and “Urban Railroad, Ultra Fine, Reno, Nevada.” These two 2009 photographs are what I call Photoshop experimental photography art. “Inveration” is a made up word to describe my Photoshop process for that image.

Please share: what do you think of these experiments and the other images? Do you live outside the box and away from the herd?