Posts Tagged ‘New Mexico’

Ardis Hyde’s Garden 1: Digging Stumps, Beginner’s Luck and Mom’s Green Thumb

November 5th, 2020

Gardening From the Sierra Nevada to the Sangre de Cristo Mountains and Back

What Ardis Hyde Left Behind

Fall Color, Japanese Maples and Other Ornamental Trees, Ardis Hyde’s Garden, 2017 by David Leland Hyde. (To view large click image.)

My mother, Ardis Hyde, was a self-trained naturalist, botanist, kindergarten teacher, neighborhood garden buying club organizer, Audubon birder, food preserver, cook and green thumb gardening enthusiast, teacher and networker.

She not only grew a bountiful vegetable garden every year, she and my father, pioneer conservation Photographer Philip Hyde, left to me here surrounding our home called Rough Rock, an ornamental tree and shrub garden including Forsythia, Butterfly Bushes, Lilac, Snowball and many others. Her a 120-foot-long rock-wall-edged raised bed flower garden still blooms every year from February to October. I also inherited her three plum trees, an apple orchard with four apple trees, a raspberry patch, parsley, sage, lavender, chives, rhubarb, Indian Rhubarb, oregano, a few volunteer strawberry plants, concord grapes, green grapes, a mountain stream fed lawn, and a garden shed full of garden tools, pots, peat moss, hummus, and other supplies. Now almost two decades after her passing, her Clematis bush still blooms bright white in the fall, followed by a dazzling array of fall leaf color displayed by Japanese Maples, Big Leaf Maples, several types of dogwood, aspens and of course the native California Black Oaks.

Growing Up Digging Out Stumps and Hauling Manure

When I was a boy starting at about age 11, one of my main jobs in her garden was to dig out stumps the old fashioned way by hand using a pick, shovel, mattock, various sizes of hoes, crowbars and often one or two Come-Alongs at the end just for good measure. Read more about various influence that got me started in gardening: Living the Good Life 5: Agricultural Influences.

My other garden job was to go to various ranches nearby in Indian Valley or American Valley and clean out horse stalls, or piles of old manure, hay, sand or dirt and shovel and pitchfork them into our old ‘52 Chevy pickup that Dad originally bought from Brett Weston. Read more about Mom and Dad’s road trips and adventures in our old Chevy truck before it was old in this blog series starting with Covered Wagon Journal 1.

When I was about 10, Mom helped me organize and plant my own little garden about seven feet square. I am still looking through Mom’s Home Logs to try to find her description of us making that garden together. I will update this post or write another in this series when I find it.

Beginner’s Luck in New Mexico With Help From Mom, a Good Neighbor and Kokopelli

After my own first garden, I continued to help Mom with her gardening, but never grew another plot myself until almost two decades later. In 1995 not far from my place near Pecos, New Mexico, my friend and neighbor Michael Kaczor, an expert gardener, had an impressive extra large yard full of plants of all kinds and more quality produce than I had ever seen. He had sunflowers 15 feet tall, zucchini two feet long and strawberry plants with berries nearly as big as apples. After watching him cultivate hundreds of pounds of produce a year, with his encouragement, I decided to try to raise my own harvest.

We had an abundance of sunshine at that latitude in “The Land of Enchantment.” With the Southwest sun as a given, many times Michael emphasized that soil was the most important factor in gardening success. One day he stopped by my place and after walking around my yard for about three minutes he said, “You have even better soil than I did before I started.” I was lucky to live about 100 feet from a small stream in a meadow. “You are right in the bottomland,” he exclaimed. “You really need to grow a garden here and see what happens.”

He taught me a number of other key gardening secrets and tricks that I will go into in posts to come in this series as I share more about that garden and why it was an example of massive beginner’s luck, mainly due to circumstances, location, hard work, good advice, a little luck and the good medicine brought to me by living where the natives had lived and thrived. Not to mention that there was an ancient, unmarked Native American, possibly even Anasazi burial grounds several hundred yards away and the previous owner’s metal sculpture of the mythic humpbacked flute player fertility deity Kokopelli left on site.

From Butterflies to an Interview With Mom and a Caretaker’s Garden For My Father and Me in 2003

During that time I also consulted my mother often about various details of gardening. One time I was visiting my parents back home at Rough Rock in the Sierra Nevada Mountains of far Northeastern California and I got an idea to write an article about butterfly gardening, which was one of my mother’s specialties. She agreed to sit down with me and do an interview on tape about how to attract butterflies with various flowering plants. It turned out to be a delightful audio track of us discussing her favorite subject, but we wandered around over so many diverse subjects, I did not get enough about butterflies to write an article. She passed on only about six months later. I probably could have read up on butterfly gardening enough to at least write a short piece, but it all suddenly felt very personal and raw. Even though the article was a loss, the interview was one of my gains of a lifetime. It still inspires me as a delightful keepsake that I play from time to time to remember her by. Looking back, I wish I had made a whole cabinet full of tapes of her. Read more about how my parents were part of the 1950s Back to the Land Movement: Living the Good Life 2: From City to Mountain Paradise.

Between my mother’s talents and skills and those from New Mexico, I longed to get back into horticulture again myself. However, it was not until 2003, when I moved back home to Rough Rock in the Northern Sierra Nevada Mountains to be the primary caregiver and cook for my father, that I had a chance to resurrect Ardis Hyde’s Garden. It took a lot of time and work, which took me away from the critical task of watching over my 80 plus year old Dad, who had lost his eyesight to Macular Degeneration not long before. He was pretty down after losing the two loves of his life: photography and mom. He kept saying he was ready to die and wanted to wander out into the woods to do so like the Native Americans used to do. However, he did manage to stick around for four years, which were the most challenging, yet rewarding years of my life. Raising a garden at the same time was difficult, but I’m glad I did it at least that one year because it was not until 17 years later, this spring in 2020 that I replanted the raised beds I had built in 2003. In upcoming blog posts in this series, I will share my latest gardening adventures with the idea of helping people learn and remember with me, not just about gardening, but also about putting food by, storing, preserving and rebuilding the rest of my parents’ system for food independence, health resilience, self-reliance and harmony with nature. For more on self-reliance, see the blog article, Living The Good Life 3: The Change of Seasons, Self-Reliance, Money and Freedom. The kind of skills largely forgotten or overlooked in our contemporary culture. Knowledge that we and the planet are in great need of now for survival and long-term abundance. For more on how to survive the next 20 years: Art, Earth and Ethics 1 – The Abuse of Nature and Our Future.

Drylands: The Deserts of North America 4

February 12th, 2020

Excerpts From The Text And Photographs of Drylands: The Deserts of North America by Philip Hyde, Part Four

Continued from the blog post, “Drylands: The Deserts Of North America 3.”

 

Chinle Shales, Chinle Formation, Circle Cliffs, Vermillion Cliffs National Monument, Utah, 1982 by Philip Hyde from Drylands: The Deserts of North America.

Drylands: The Deserts of North America with photographs and text by Philip Hyde came out of nearly 60 years of exploring and defending western North American wilderness with special emphasis on the five deserts of the continent. Yolla Bolly Press, which also packaged Mountain Light by Galen Rowell and other well-known landscape photography titles, recently donated its archive to Stanford University, where Drylands can be visited. Drylands is now out of print, but can be found at various online booksellers including here at the Amazon used booksellers.

The previous blog article in this series, “Drylands: The Deserts Of North America 2,” tells the story of the making of the book. The first blog post, “Drylands: The Deserts Of North America 1,” contained the beginning of the first chapter of the text of Drylands itself, while “Drylands: The Deserts Of North America 3,” continued the text up to the beginning of this post.

 

For the purposes of this book, the larger desert area of the North American continent is divided into five major regions, the general locations and boundaries of which are described below in the order in which they appear in the book.

The Painted Desert Occupies the drier, southerly portions of what geologists refer to as the Plateau Province, the region from the western edge of the Rocky Mountains to the eastern edge of the Great Basin, extending from southern Wyoming to northern Arizona, and including portions of southwestern Colorado and northwestern New Mexico. It is characterized by plateaus and deep canyons made up primarily of sedimentary rocks lying horizontally. The flora and fauna of the Painted Desert are most like those of the Great Basin Desert, and, in fact, some biologists believe the Painted Desert should be considered only a southeastern extension of the Great Basin. However, the Painted Desert cannot be considered hydrologically a part of the Great Basin. One of the major river systems of the West, the Colorado, drains nearly all of the Painted Desert area to the sea. Nor is there much similarity between the landforms of the Painted Desert and those of the Great Basin. With this book’s emphasis on the individual characteristics of each area of desert and the focus on the landscape in each, it is important to make those distinctions.

For the same reasons, I am including as parts of the Painted Desert two areas often left out of it or sometimes included in the Great Basin: Dinosaur National Monument and Grand Canyon National Park, both of which have, for our purposes, closer affinities to the Painted Desert.

The Great Basin Desert is the northernmost and largest of the areas in the North American desert. A large part of it is contiguous with the Great Basin, which, as its name implies, is a region closed hydrologically, that is, with no exterior drainage to the sea. The Great Basin Desert occupies most of Nevada; the western part of Utah to the Wasatch Front; small parts of Wyoming, Idaho and Oregon; and several small border areas of eastern California. Because of its northern location, it has great extremes of climate. The large family of cactuses found in most deserts is nearly absent. It is sometimes called the Sagebrush Desert. The characteristic terrain of the Great Basin Desert consists largely of mountain “islands” surrounded by large valleys without exterior drainage. Many of these basins contain extensive dry-lake bottoms, or playas, and a few hold remnant lakes that are descendants of once vast lakes of the Pleistocene period.

The Mojave Desert adjoins the western side of the Great Basin Desert to the south. It occupies east-central and much of southern California and extends through southern Nevada as far as Utah. The high desert in the northern part of this region gives way in the south to drier, lower, more open country. The Mojave is enclosed on the west and south by mountains, and on the east shades into the Painted Desert along part of the latter’s western boundary. Geologists draw its northern boundary along the Garlock Fault, which runs across most of the Mojave in a general west-to-east direction. For our purposes, however, Edmund Jaeger’s boundary, well north of Death Valley, is more suitable. Like the Great Basin Desert, the Mojave is part of what geologists refer to as the Basin and Range Province. Its terrain is made up of closed basins without exterior drainage.

The Sonoran Desert is perhaps most notable for its variety of xerophilic (adopted to sparse moisture) plants. Flatter, drier, and lower in elevation than its northern desert neighbors, it is named for, and covers much of, the Mexican state of Sonora. It also includes southwestern Arizona, extreme southern California, and nearly all of the Baja California peninsula.

The Chihuahuan Desert is named for the Mexican state of Chihuahua, and nearly three-quarters of it lies in Mexico. It includes a third of Chihuahua, parts of the states of Coahuila, Durango, a bit of Nuevo León, and a small area in Zacatecas. It also extends across the international boundary into westernmost Texas and southern New Mexico. The Chihuahuan Desert is the driest and most open of ther North American deserts, though like the others it includes many mountain ranges. It lies on a great intermountain plateau between Mexico’s two major mountain ranges, the Sierra Madre Occidental and the Sierra Madre Oriental. Except for the area drained by the Rio Grande and its major tributary, the Río Conchos, the large basins of the Chihuahuan are without drainage.

Continued in the blog post, “Drylands: The Deserts of North America 5.”

Do you prefer the desert, mountains, plains, forest or seashore? What is your favorite desert?

Announcing New David Leland Hyde Website – Hyde Fine Art

December 1st, 2016

Pleased to Present a New Home for My Own Photography…

Hyde Fine Art

Economic, environmental and social evolution through fine art photography of the urban, rural and natural landscape…

http://www.hydefineart.com/

Please visit and give me your opinion… are there any typos or aspects you don’t like?

Indian Creek Below Indian Valley, Sierra Nevada Mountains, California, 2009, by David Leland Hyde, Nikon D90. Prints of this photograph have outsold all other David Leland Hyde prints and Philip Hyde prints since 2009.

Dad gave me my first camera at age 10. At that time in the mid 1970s, my father conservation photographer Philip Hyde’s career, western outdoor recreation and the modern environmental movement were reaching new heights. Dad’s book Slickrock with Edward Abbey was also selling well, especially in California, the Southwest Desert and the Colorado Plateau states. Visit David Leland Hyde CV for more about what I was doing during this era.

My camera was a simple Pentax K1000 35 mm film camera. It was all-manual with no automatic settings. Dad gave me a good foundation for learning photography by teaching me basic camera operations and how to understand the relationships between aperture, shutter speed and film speed. I liked making photographs well enough. I made quite a few images on a number of different trips, but while growing up, to me photography was always Dad’s specialty. He had it covered and I had other interests. As a result, I went whole decades without ever making a photograph. I used my camera in high school a few times, but for school sports I needed a camera that could shoot on partial or full auto at many frames a second.

On a photographic trip with Mom and Dad, I made some good photographs in Yellowstone National Park, on the way home to California from my boarding school graduation from Principia Upper School near St. Louis, Missouri. On that trip, Dad and I photographed a number of national parks together.

In college at the University of New Mexico I tried to photograph the Albuquerque music scene and published a few decent images, but most turned out blurry or dark. One time I went to Arkansas for Spring Break and all of my photographs came out too dark because I used the wrong ASA shutter speed setting.

More than another decade later, after Dad passed on, I spent a great deal of time looking through his collection and talking to photography experts about what to do with his lifetime of work. While immersed in talking about images and selecting images with some of the best editors in the industry, my eye began to develop like never before. I started seeing photographs everywhere I looked outside of the studio: on drives, on walks, in unexpected places and in obvious places. I did some asking around about digital cameras and got a bit of guidance. One day in 2009, I just walked into Costco and bought a Nikon D90 kit with two lenses, a camera bag and an SD card. One photographer told me that it would make a good pro-consumer package to get me started. To see some of my early images and how I chose photographs for early versions of my portfolio, see David Leland Hyde’s Portfolio One Revisions and New Photographs.

My enthusiasm and diligence for making images grew in leaps and bounds. I have now made over 70,000 images since 2009. In the process learned quite a bit about Photoshop, but have just scratched the surface of what is possible with software, by choice keeping my workflow as simple as possible. I have made and plan to make more experimental work, but by far the majority of my images, certainly all but a few of my landscapes are single image capture, with only a few blends ever, no HDR, minimal masks, and only very small objects removed or altered in detailed retouching.

I use Photoshop for much the same purposes and to a similar extent that film photographers have traditionally used the darkroom. I do some dodging and burning, a.k.a., lightening and darkening. I increase saturation and vibrance in small doses and make minor layer and curve adjustments, much the way Dad used to balance the color when he handmade color dye transfer and Cibachrome prints. For more on how I work with images and the capture counts for each year, visit Best Photographs of 2014 and Favorite Photographs of 2015.

For an early version of my Artist Statement go to David Leland Hyde Archival Prints Pre-Launch. I plan to revise and update this statement some in the near future. Stay tuned for my blog project post in the next few weeks of my Favorite Images of 2016. In the meantime, please visit http://www.hydefineart.com/ and let me know what you think of it. Please let me know if there are any navigation problems, typos or anything else you don’t like. Enjoy browsing the various portfolios and watch for the new additions I am adding every week. Currently the site has just a few dozen images on it, but I plan to post at least 10,000 or more images in the coming months and years.

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.

A Drive Through The Heartland 1

July 23rd, 2015

Journey Into The Heart of America

Old Tractor, Tall Grass Field and Edge of Thundercloud Near Oroville, California, copyright 2015 David Leland Hyde.

Old Tractor, Tall Grass Field and Edge of Thundercloud Near Oroville, California, copyright 2015 David Leland Hyde. (Click on image to see large.)

When I was a boy, I played in a local barn quite often. Godar’s Barn had a rope swing. Ed Godar smiled and greeted us kids most of the time, but he would get grumpy if he heard us much or if we rough housed. He said to strictly stay off the hay stacked in his barn. However, with the rope swing right there and him not around the barn much, it was extremely tempting to climb way up on the top of the stacked hay and leap off into mid air on the rope swing, which made for a much more exciting ride.

I have always loved barns and started photographing them for no particular reason in 2009. Recently I provided photographs to help in the Feather River Land Trust campaign to raise funds to preserve the Olsen Barn in Chester, California. More on the Olsen Barn in the blog post, “Save The Historic Olsen Barn: Campaign by Feather River Land Trust.”

From Plumas County in the Sierra Nevada of Northeastern California, I branched out and started photographing barns all over California. Recently, because of a wedding in Michigan, I decided to drive to the Midwest and photograph all the famous and historical barns of the Great Plains and Midwest. My journey of 8,000 miles through the Heartland of America: the Midwest and part of the South, United States, will celebrate architecture and land. I plan to photograph historical barns and farms, cityscapes, landscapes, covered bridges, old mills, wildlife refuges, waterfalls, urban blight, rural decay and perhaps even a shipwreck and more, though barns and their culture will be the main focus.

Highway Interchange at Wick's Corners Near Oroville, California, copyright 2015 David Leland Hyde.

Highway Interchange at Wicks Corners Near Oroville, California, copyright 2015 David Leland Hyde.

My friend Topher, short for Christopher, instigated this trip. Topher and I have been friends for almost 20 years. We were friends for a number of years in Albuquerque during my 30s when I finally went back to school to finish my bachelor’s degree. After I graduated from UNM, I moved to Massachusetts. Around the same time he moved back to Michigan, from where he came originally.

“I’ve been having a good time in Albuquerque,” Topher said. “But, I’ve been having the same good time in Albuquerque.” He was a traveling bus tour guide not inclined to stay put long. Out of the group of us who hung out together in Albuquerque, Topher was the least likely to get married. It was a fairly wild group. To our surprise, Topher did stay put in Michigan and lo and behold, here 15 years later he called early this year to say he will marry Kori July 30, just before the only blue moon in 2015.

Driving up to the West Coast of Michigan for the wedding will allow me to continue the barn photography project I began in California. I will do a study of the famous round barns of the Midwest, horse barns, feed barns, hay barns, milking barns and the tobacco barns of the South, as well as farm houses and other ranch buildings.

Metal Barn, Corn Field and Water Tank Near Kirkville, California, copyright 2015 by David Leland Hyde.

Metal Barn, Corn Field and Water Tank Near Kirkville, California, copyright 2015 by David Leland Hyde.

I will visit many sites I discovered through the National Register of Historic Places. I plan to photograph barns, state capitols and other structures in California, Nevada, Utah, Wyoming, Colorado, Nebraska, Iowa, Wisconsin, Michigan, Illinois, Indiana, Ohio, Kentucky, Tennessee, Arkansas, Texas, New Mexico and Arizona.

Thursday, June 16, 2015, with the evening light, my photographic journey to the heartland of the country began in the Great Central Valley, the heart of California, near the small agricultural and lumbering town of Oroville. I saw an old tractor juxtaposed with contemporary billboards in a big open field under a half clear, half stormy sky. Also, I stopped to photograph the barns and the interchange at Wicks Corners where California State Highway 70 and 149 merge. I have wanted to photograph this group of barns on two adjacent ranches for years. A few days later, I photographed metal barns near Knights Landing and Kirkville, California. I also photographed a red barn and white shed near Gridley.

Julie, Her Granddaughter and Her Horse Barn, Wick's Corners Near Oroville, California, copyright 2015 David Leland Hyde.

Julie, Her Granddaughter and Her Horse Barn, Wicks Corners Near Oroville, California, copyright 2015 David Leland Hyde.

At Wicks Corners, Julie and her granddaughter came out to say hello and talk for a bit. On her small ranch she previously had many animals, but is now down to one Quarter Horse, six dogs, one cat, four goldfish and one magpie that talks. She raised her two daughters on the ranch and now they bring their granddaughters to visit.

My goal on this journey is not only to photograph barns, but the settings of the barns—the ranches, farms, homesteads, people, animals, freeways, dirt roads, blue highways, back roads and campgrounds. The only thing missing on my travels is that I don’t have a dog named Charley, but you never know what might happen by the time it’s all over. Check back here and stay tuned for more on my adventures. I will post more updates here, at least weekly, hopefully more often and tweet my travel progress from the heartland of California across the deserts of Nevada and Utah, the Rocky Mountains and into the Heartland of America.

Follow my travels on Twitter at @PhilipHydePhoto

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

New Releases: Philip Hyde Signature Desert Landscapes

April 9th, 2015

New Releases: The History Behind Philip Hyde Desert Icons

Archival Chromogenic Prints from Large Format Film

Evening Light On West Mitten Butte, Monument Valley Navajo Tribal Park, Utah-Arizona, copyright 1963 Philip Hyde. From Navajo Wildlands in the Sierra Club Exhibit Format Series. (Click on the image to see it large.)

Evening Light On West Mitten Butte, Monument Valley Navajo Tribal Park, Utah-Arizona, copyright 1963 Philip Hyde. From Navajo Wildlands in the Sierra Club Exhibit Format Series. (Click on the image to see it large.)

Philip Hyde began photographing the desert Southwest with large format film in 1951. At that time, he used primarily black and white film, but did expose some large format color transparencies too. The Sierra Club book, This Is Dinosaur: Echo Park and It’s Magic Rivers, with introduction, one chapter and editing by Pulitzer Prize winning novelist Wallace Stegner, included as many color plates as black and white, but editor, journalist, conservationist, pilot and river guide Martin Litton also made nearly as large a share of these images in the book as Hyde. To read more about the making of This Is Dinosaur see the blog post series, “The Battle Over Dinosaur: Birth of Modern Environmentalism.” To read more about Martin Litton see the blog post series, “Martin Litton: David Brower’s Conservation Conscience.”

While on his way back and forth from his Northern Sierra home in California to Dinosaur National Monument, Philip Hyde explored and photographed much of Nevada, Utah, Arizona and parts of New Mexico. For more on his early travels in the deserts of North America, see the blog post series, “Toward a Sense of Place,” and the blog post, “Images of the Southwest Portfolio Foreword by Philip Hyde.” Below is the history of three Philip Hyde signature desert photographs that both exemplify his style of photography and inspired two generations of photographers.

Based on the photograph locations in Hyde’s Sierra Club Books Exhibit Format Series volumes Navajo Wildlands: As long As The Rivers Shall Run (1967) and Slickrock: Endangered Canyons of the Southwest (1973) with Edward Abbey and in other Hyde books for Sunset and the prominent travel and natural history magazines of the day, large format film photographer Tom Till said that Hyde was the first to photograph areas of The Maze District of Canyonlands National Park and Waterpocket Fold in Capitol Reef National Park. Large format photographer David Muench, who was 15 years younger than Hyde, a little later was also the first to photograph some iconic desert landscapes.

Evening Light on West Mitten Butte, Monument Valley

Possibly one of the most emulated American classics of all-time, Philip Hyde’s 1963 “Evening Light on West Mitten Butte, Monument Valley,” came into the public eye just as the quality of color printing in books developed enough for such books to become popular. “Evening Light on West Mitten Butte” enjoyed much recognition when it first appeared in the Exhibit Format Series book, Navajo Wildlands in 1967. Since 1967, hundreds of thousands of similar photographs have been made and many published of this view of Monument Valley. Navajo Wildlands helped the Navajo Nation, now more correctly called by their own name Diné Nation, to form seven Navajo Tribal Parks to preserve some areas of the reservation for all generations.

Ripples on Kelso Dunes, Mojave Desert

Ripples on Kelso Dunes, Mojave Desert, California, copyright 1987 Philip Hyde. From Drylands: The Deserts of North America.

Ripples on Kelso Dunes, Mojave Desert, California (Drylands Crop) copyright 1987 Philip Hyde. From Drylands: The Deserts of North America. (Click on the image to see it large.)

Two other Philip Hyde desert landscape icons have been emulated much since their creation, but they were neither the first, nor even early in the evolution of similar images, merely the most widely known and observed for inspiration. Ridges and ripples on sand dunes had been famously photographed by Brett Weston, Edward Weston, Ansel Adams and many others well before Philip Hyde made the color photograph, “Ripples on Kelso Dunes, Mojave Desert, California” in 1987. Hyde’s photograph perhaps was early in relation to all color images of this type of scene. Regardless, it was not until after “Ripples on Kelso Dunes” appeared in Drylands: The Deserts of North America that close up images of ripples on sand dunes flooded the photography market. Hyde’s original photograph was an unusual vertical that showed the ripples on the sand dunes in the foreground with the ripples fading into the distance at the horizon. Yolla Bolly Press, the packagers of Drylands, who also packaged Galen Rowell’s Mountain Light: In Search of the Dynamic Landscape, convinced Hyde to crop “Ripples on Kelso Dunes” to a horizontal for the front pages of Drylands. This version only showing the bottom half of the original vertical, the close up part of the image, became popular for its abstract qualities. Many still today find the Drylands crop of “Ripples on Kelso Dunes” a stronger image than the original vertical.

Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument

The second signature desert landscape that Hyde made as late as 1982 was “Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument, Utah.” This photograph also graced the pages of Drylands. Photography historians have found earlier photographs with vague similarity to this image, but it was not until after 1987 that similar images showed up in numerous magazines and other publications and now on the internet on various websites of photographers of the American Southwest.

Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument, Utah, copyright 1982 Philip Hyde. From Drylands: The Deserts of North America.

Chinle Shales, Circle Cliffs, Vermillion Cliffs National Monument, Utah, copyright 1982 Philip Hyde. From Drylands: The Deserts of North America. (Click on the image to see it large.)

So what? What is the point of researching who came first and who came later? This kind of tracking is not necessarily done for further recognition in and of itself, but it does serve to further establish and educate scholars, art historians and the public in this regard: it is important for determining the influence of an artist like Philip Hyde on his medium. Influence has a great deal to do with the perception of the significance of the life’s work of any artist and how his or her work is positioned in the historical record. These three photographs play a consequential role in the history of photography, particularly of landscape photography and photography of the Western US and Colorado Plateau. Similar photographs of a location do not necessarily emulation make, but in Hyde’s case, many of the who’s who of nature photography today acknowledge having been influence by his work.

Philip Hyde made six or fewer original dye transfer or Cibachrome hand made color prints of each of these four images. Only three original dye transfer prints remain of “Havasu Falls,” two of “Chinle Shales” and none of “Evening Light, West Mitten Butte” or “Ripples on Kelso Dunes.” Please consider acquiring our new archival chromogenic prints of these images, produced in a special numbered open edition, while they are at a special introductory price for a limited time. For more about new release pricing, see the blog post, “New Releases Now at Special Introductory Pricing.” For more information about the difference between archival digital prints and archival chromogenic prints, see the blog post, “About Archival Fine Art Digital Prints.” To purchase prints, see the images large and read more descriptions see the New Releases Portfolio on the Philip Hyde Photography website.

Have you ever seen photographs similar to any of these three?

Drylands: The Deserts Of North America 3

August 26th, 2014

Excerpts From The Text And Photographs of Drylands: The Deserts of North America by Philip Hyde, Part Three

Continued from the blog post, “Drylands: The Deserts Of North America 2.”

Capitol Reef from Cohab Canyon, Capital Reef National Park, Utah, 1978, by Philip Hyde. Nationally exhibited and first published in "Drylands: The Deserts of North America" by Philip Hyde. A stronger, more majestic photograph than a similar earlier image published in "Slickrock: The Canyon Country of Southeast Utah" with Edward Abbey.

Capitol Reef from Cohab Canyon, Capitol Reef National Park, Utah, 1978, by Philip Hyde. Nationally exhibited and first published in “Drylands: The Deserts of North America” by Philip Hyde. A stronger, more majestic photograph than a similar earlier image published in “Slickrock: The Canyon Country of Southeast Utah” with Edward Abbey.

Drylands: The Deserts of North America with photographs and text by Philip Hyde, developed out of nearly 60 years of exploring and defending western North American wilderness, with special emphasis on the five deserts of the continent. Yolla Bolly Press, which also packaged Mountain Light by Galen Rowell and other foundational landscape photography titles, recently donated its archive to Stanford University, where Drylands and its production can be viewed. Drylands is now out of print, but can be found at various online booksellers including Amazon under “Drylands: The Deserts of North America by Philip Hyde,” or “Drylands Philip Hyde.”

The previous blog article in this series, “Drylands: The Deserts Of North America 2,” tells the story of the making of the book. The first blog post, “Drylands: The Deserts Of North America 1,” contained the beginning of the first chapter of the text of Drylands itself. We continue now where that blog post left off…

 

Passing through vast expanses of land that appear to be nearly bereft of any living thing, I wonder at the sight of a small plant braving the harsh environment. Its difficult circumstances do not evoke sympathy; I wonder that the plant grows in spite of difficulties, that it conserves what little moisture it gets and responds to the slightest moisture by blooming exuberantly.

Still another delight feeds the photographer within: the light. Desert light is crystalline and brilliant, making deep shadows and sparkling highlights. This is at least partly a result of the scarcity of moisture in the air—and, until recently, the scarcity of humans and their activities. When there were fewer people, the light everywhere must have had the clear quality that is still to be seen in some of the more remote quarters of the North American deserts.

As a mountain lover, I especially appreciate a characteristic that our deserts share with most of the country from the Rockies west: the deserts of North America are uncommonly mountainous. The two snowiest mountain chains in the country, the Sierra Nevada and the Cascades border the northernmost deserts on the windward sides. Scattered throughout all of the deserts are a large number of lesser mountain ranges that cast their own rain shadows on the adjacent areas. Some of these lesser ranges are high enough and wet enough to support forests on their upper slopes. Rising high above the parched plains and valleys below, they may be snow capped in winter, like the higher ones to the west. The White Mountains, Toiyabe, Snake, Ruby, and other ranges in Nevada, along with the high plateaus of Utah and Arizona and the Sierra Madre in Mexico, create their own microclimates: islands of plenty surrounded by desert.

Nowhere in the world is there as much diversity of desert weather as there is in western North America. In western Oregon, California, and Nevada precipitation occurs mostly in winter, in summer only rarely. In the eastern and southern parts of the Mexican deserts, summer is the rainy season. Where rainfall records are available for desert locations, they show radical irregularity. Downpours may occur at random intervals and locations, sometimes exceeding the year’s average in a few minutes or hours. In some places droughts can last several years, with no rainfall at all. The North American deserts are second to none for intensity of summer heat, but the dryness of the air makes the heat more bearable. Death Valley can be as hot on a summer day as any place on earth, while at higher elevations a sweater may be necessary when the sun sets and the air cools.

The great diversity of the vast desert landscape of North America suggests natural divisions that coincide with most scientific classifications. But the actual boundaries of these divisions are not so easy to draw within those of the larger desert region. In most cases, one desert shades into another, so boundaries must be somewhat arbitrary and indefinite, as are all attempts by humans to circumscribe nature. As I write this I think of Sir Francis Bacon saying: “Nature is a labyrinth in which the very haste you move with may make you lose your way.”

Continued in the blog post, “Drylands: The Deserts of North America 4.”

Which is your favorite desert?

Glen Canyon Book Review: Resurrection By Annette McGivney With James Kay

September 25th, 2013

Book Review on the Biggest Conservation Story of All Time and New Solutions… Resurrection: Glen Canyon and a New Vision for the American West by Annette McGivney with Photographs by James Kay and Foreword by Bill McKibben (Braided River, 2009)

How We Lost Glen Canyon

Resurrection Book Cover, Photograph copyright 2009 James Kay.

Resurrection Book Cover, Lake Powell at Hite Marina, Glen Canyon National Recreation Area, Utah, Photograph copyright 2007 James Kay.

In the mid 1950s, David Brower, Executive Director of the Sierra Club, led a coalition of conservation groups in an effort to permanently banish industrial development from national park lands. The primary battle defending the sanctity of the national park system was over two dams proposed inside Dinosaur National Monument. The proposed dams in Dinosaur would have flooded 96 out of 104 river miles in the monument on the Yampa and Green Rivers.

David Brower in Congressional testimony used 9th Grade math to prove that if Glen Canyon Dam were higher, it could hold back and store more water than both proposed dams in Dinosaur. Congress removed the two dams in Dinosaur National Monument from the Colorado River Compact and passed the bill approving the construction of Glen Canyon Dam. Having never seen Glen Canyon, David Brower and many others did not know the extent or nature of the sacrifice made to protect the national park system. Looking back, especially after he floated through Glen Canyon on the Colorado River for the first time in 1958, David Brower mused that he and the coalition might have pushed on and possibly succeeded in saving Glen Canyon. (For more on David Brower see the blog post, “David Brower: Photographer and Environmentalist 1.”

Ironically, before World War II, Glen Canyon had been part of a proposed national park that would have encompassed more than two million acres spread across much of Southeastern Utah including most of what are now Grand Staircase-Escalante National Monument, Capitol Reef National Park and all of Glen Canyon. The attack on Pearl Harbor interrupted these discussions and turned the attention of Congress to preparations for war.

Drought, Distortions, Glen Canyon Dam And A New Dream Of The West

The Bureau of Reclamation closed the gates on Glen Canyon Dam in 1964, but “Lake” Powell did not reach full capacity until 1980. The reservoir water level ebbed and flowed until the last time it was full in 1996, then drew down over 100 feet by 2003 and has remained nearly half empty or more than half empty ever since. It turns out that the Colorado River flow calculations that justified the building of Glen Canyon Dam in the first place were exaggerated, as were the rainfall estimates on which expansion and development interests based the entire settlement of the Western US plains and Southwestern desert. Tree ring studies and other climate measures show that the 20th Century was one of the wettest ever in the Western US. Today’s much lower rainfall and river flow rates are more characteristic of the region, though big dam proponents are officially calling the present conditions a drought. Nonetheless, scientists project that “Lake” Powell may never be full again. Odds are that both “Lake” Mead and “Lake” Powell will both remain as they are now, roughly half full or less for the foreseeable future.

Annette McGivney, in Resurrection: Glen Canyon and a New Vision for the American West, tells the story of the loss of Glen Canyon, but more importantly the rebirth of life in the side canyons since the reservoir has subsided. Glen Canyon today is the poster child for watershed recovery for both Glen and Grand Canyon, as well as for the resilience of nature in general. McGivney’s easy-flowing text accompanies the photography of James Kay, who for more than three decades has photographed the Colorado Plateau, the seismically uplifted high desert that the Colorado River cuts through in Utah and Arizona. James Kay knows this land and these canyons. His sensitive, artistic eye finds for us the devastation that was, and the haunting, unparalleled paradise that is Glen Canyon.

McGivney and Kay explored many of the tributary canyons together for this project, either by boat, by kayak, but most often on foot, backpacking from the reservoir up canyon; or from the rims of the sandstone tablelands above, down into narrow, winding passages and rock alcoves. These slot canyons, often hundreds of feet tall and in places only a few feet wide, are already verdant with newly rooted cottonwoods, willows, and grasses, as well as teaming with wildlife just as they had been for centuries before everything drowned under the full reservoir.

Annette McGivney quotes Richard Ingebretsen, co-founder with David Brower of Glen Canyon Institute, who asked, “Why keep two reservoirs half empty?” Glen Canyon Institute, founded for the ultimate purpose of reclaiming Glen Canyon and turning it into a national park, is working on a current campaign called, “Fill Mead First.” The idea is to keep “Lake” Mead full because it supplies many cities of the Southwest with water and generates their electricity. If “Lake” Powell were then drawn down, Glen Canyon could be restored and even made into a national park. Many who saw Glen Canyon before the reservoir say that it rivaled the Grand Canyon in beauty.

Canyon Photography On Par With The Best Ever

Kayaker on Lake Powell in Reflection Canyon, Glen Canyon National Recreation Area, Utah, copyright 2006 James Kay.

Kayaker on Lake Powell in Reflection Canyon, Glen Canyon National Recreation Area, Utah, copyright 2006 James Kay.

James Kay’s photographs in Resurrection certainly provide the proof of this claim to canyon beauty. Traveling by Kayak, powerboat and most often on foot, Kay has shown us as never before, the side canyons and back alcoves of Glen Canyon reborn. His style is both effectively documentary, yet artistically strong. Kay’s experience in the canyons of the Southwest has given him not just an eye for form; he has an eye for gracefully capturing the forms of canyons. His understanding of natural light and how to use it to best portray the curves, edges, near and far, contrasts, shadows and indirect illumination of layers on layers of weather-sculpted sandstone.

Some of Kay’s compositions are simple. For example, one photograph in Resurrection depicts a massive wall of rock that juts out into “Lake” Powell like the prow of a ship. The vantage point of the image is from a boat close to water level. At the bottom of the wall that is about 200 feet tall, we see a small boat dwarfed by the immensity of stone above. The photograph is a work of beauty, while at the same time it accomplishes the practical task of dramatizing just how far the reservoir has receded from the high water line marked by a gray-tan mud stain, or “bathtub ring,” as people call it. The top half of the cliff is the beautiful red-brown of native rock, while the bottom half of the cliff is coated with ugly mud stain.

Other images give us the haunting, far away longing of luminous reflections or newly sprouted grasses, shrubs, cottonwoods and other lush greenery. Some photographs are purposely ugly, some are otherworldly and nearly abstract, while still others incorporate hikers in soaring walled narrows or show us intimate rushing water. If you love the desert and canyons, this is a book and a place different. Yet despite how unusual this place is, those who see it as nothing more than a holding tank, a cash register or a recreation area for motorized tourism, have seemingly never stopped to see it the way James Kay shares it.

The Desert, Progress, Jobs, Money And Other Myths

Despite US Bureau of Reclamation and pro-development rhetoric, the only two justifiable reasons Glen Canyon Dam was ever necessary, and remotely remains necessary, were the Politics surrounding the agreement between the seven Western states that share the water; and the Income from recreation on “Lake” Powell. The viability of Hydropower generation has nearly run out with low water levels often not providing enough gravity water drop to turn the turbines at sufficient speed. Besides, the 1992 Grand Canyon Protection Act no longer allows the fluctuation of water levels caused by increased dam releases during peak power usage.

Politically in relation to water use, the three Upper Colorado River Basin states: Utah, Colorado and Wyoming, for good reason mistrust the four lower basin states: California, Nevada, Arizona and New Mexico. The lower basin states have all along taken more than their share of Colorado River water. Glen Canyon Dam provides a physical obstruction by which the upper states can regulate the flow to the lower states and keep them from taking more than their allotment, if and when the upper states catch up with the lower states in their land development and thirst for water.

Even though the desert does not inherently provide the water to support the building of industry and commercial buildings, suburbs, golf courses, and abundant water features, the seven Western states of the Colorado River system have been in a race to develop as fast as they can to be sure they obtain as much Colorado River water as possible in relation to the neighboring states. John Wesley Powell, whom the reservoir was named after, warned against developing the West beyond its water capacity. He recommended a number of water saving approaches that have been implemented by a few wise communities, but ignored by most.

Indeed, McGivney reminds us that the cities of the desert tend to flaunt the image of the manufactured oasis. The Phoenix Convention and Visitors Bureau in 2005 adopted the slogan, “The Desert is a Myth.” A July hike in any direction beyond the edge of a Phoenix suburb like Anthem, for instance, and it becomes readily apparent that the desert is real and it is the lush golf courses that perhaps are already, or soon will be a mirage. Land development in the West has achieved similar temporary high profits and blindness to long-term consequences as recent Wall Street derivative speculation and the banking system near meltdown.

Nonetheless, it is less the cities that would run dry without “Lake” Powell than the farming of water-intensive crops like alfalfa, hay and cotton, grown not to supply market demand, but to take advantage of government subsidies and tax breaks. Dams are portrayed as symbolizing progress and economic growth, but special interests are the primary benefactors. In Utah, for example, mining, ranching and industrial agriculture represent less than 3% of the economy, but they use 85% of Utah’s water. Even though industrial agriculture comprises a decreasing portion of the Western economy, the industry is one of the largest contributors to political campaigns. Thus, even though dam projects, expanded water pipelines and other water infrastructure will not sustain society long-term, these outdated public works continue to garner support of those in political power.

A Dying Motor Tourism Industry And The Future

Cathedral In The Desert, Glen Canyon, Utah, copyright 1964 Philip Hyde. Named one of the top 100 photographs of the 20th Century.

Cathedral In The Desert, Glen Canyon, Utah, copyright 1964 Philip Hyde. Named one of the top 100 photographs of the 20th Century. James Kay used this photograph side-by-side with his own like this in the book Resurrection too.

Cathedral in the Desert, Glen Canyon National Recreation Area, copyright 2005 James Kay. Water level of Lake Powell near the lowest point.

Cathedral in the Desert, Glen Canyon National Recreation Area, copyright 2005 James Kay. Water level of Lake Powell near the lowest point, with the Cathedral almost fully recovered as only a few feet of water were left in the bottom.

The motorized brand of tourism that thrived on “Lake” Powell in the 1980s and 1990s, has generated significant income for concessionaires and boat operators, who also provide proportionally large support to politicians and boost the local economy. In 1992, Glen Canyon National Recreation Area hosted a record 3.5 million visitors, nearly as many at this peak as visited the Grand Canyon. Yet today with the shrinkage of the “lake” area, the closure of two out of five of the marinas and high gasoline prices area hotel stays and other tourism has dropped by 40 percent. Nearby national parks such as the Grand Canyon and Zion each increased visitation in the last decade. Indeed, the economy is playing a major role in the dying of motorized tourism nearly everywhere. Less disposable income, especially among the upper-middle class and upper class has led to less motorized lake recreation. In the past many high earning tourists have spent discretionary money on Jet Skis, Houseboat shares and other expensive water toys, but in the last 10 years public lands hiking and camping has grown, while motor boating has decreased significantly. Local jobs in Page, Arizona and elsewhere around “Lake” Powell have depended almost entirely on motor tourism. Most local people, including the Native Americans in the area, want to prolong a dying industry to maintain their livelihoods. While denying that their way of life is dying, they are likely missing the opportunities and shift in perspective that could bring them a far more sustainable, Earth-friendly and perhaps most importantly, a more permanent security.

McGivney’s “Step-by-step guide to saving Glen Canyon and then, perhaps the world” offers the kind of forward thinking solutions that thought leaders have begun to discuss in recent years. While these innovative resolutions will become requirements, rather than options in the near future, as a civilization we have a big leap to negotiate before we are ready to leave our self-serving short-term approaches behind and move into a mindset that is more conducive to sustaining our society and all life on Earth. This is perhaps the text’s only flaw, or perhaps it is more of a challenge: the leap from where our watershed management and environmental stewardship are now to where they need to be to sustain life in the Southwest and on Earth long range may be too big. Are we up to the task? Perhaps an even better question is: can we learn to cooperate with, listen to, find new ways to meet the needs of and educate those who have a vested interest in business as it has been for far too long?

For more on Glen Canyon and Philip Hyde’s photography of the lost paradise see the blog posts, “Glen Canyon Portfolio 1,” or “Glen Canyon Lament By Philip Hyde 1.”

Drylands: The Deserts Of North America 2

January 15th, 2013

Excerpts From The Text And Photographs of Drylands: The Deserts of North America by Philip Hyde, Part Two

Continued from where the Drylands book text began in the blog post, “Drylands: The Deserts Of North America 1.”

Where Drylands Began

 

Lava, Flowers, Craters Of The Moon National Monument, Idaho, copyright 1983 by Philip Hyde.

Lava, Flowers, Craters Of The Moon National Monument, Idaho, copyright 1983 by Philip Hyde. From the book Drylands: The Deserts of North America.

(View the photograph large: “Lava, Flowers, Craters Of The Moon National Monument, Idaho.”)

Yolla Bolly Press, the same book packager and agent who put together Galen Rowell’s famous book, Mountain Light: In Search of the Dynamic Landscape, collaborated with my father, pioneer color landscape photographer Philip Hyde, to select images and plan the concept for what became one of Dad’s most important books: Drylands: The Deserts of North America. Drylands, with photographs and text by Philip Hyde, introduction and notes on plants and animals of the North American deserts by renowned award-winning naturalist David Rains Wallace and drawings of desert plants and animals by Vincent Lopez was the culmination of Dad’s “wandering in the desert” as he put it, quoting the New Testament. Recently, Yolla Bolly Press donated its archive to Stanford University, which will be the home of Drylands in perpetuity.

In the next blog post in this series, “Drylands: The Deserts Of North America 3,” we will get back into Dad’s text, but first, I will start at the beginning and share some important insider background to round out the story. Also, I will give you a preview of what is to come by presenting the dust cover jacket flap blurbs below.

After he had been the primary illustrator of dozens of books, Harcourt, Brace Jovanovich blew Dad’s mind by sending him his only advance ever on a book: a check for $50,000, which is large for a photography book. HBJ then released Drylands: The Deserts of North America in 1987. Reviewers from several major newspapers reviewed Drylands, but the only major review reproduced online today is in the Los Angeles Times. After Drylands received the following review from Library Journal, libraries across the nation purchased the large format book for their collections.

In this beautiful exposition of the five deserts of North America, Hyde’s photographs capture the desolate and sometimes haunting beauty of the desert landscape. Hyde has been exploring the desert for over 30 years and his love for the land is obvious. Unfortunately, his essays here are rather slight compared with the photographs. There is, however, an enlightening introduction by David Rains Wallace about evolutionary mysteries the desert presents. Libraries that can afford this book will not be disappointed by its quality.

By Randy Dykhuis, Grand Rapids Public Library, Michigan.

Copyright 1987 Reed Business Information, Inc.

When I looked up Drylands on WorldCat, I was surprised to find that dozens of university, state and municipal libraries in most states have a copy of the book, including Harvard, Yale, Cornell and even Cambridge in the UK. Many libraries in the UK, Germany, Switzerland, Australia, and New Zealand have copies of Dad’s classic color film desert tribute as well.

The Dust Jacket Flaps

Distinguished photographer Philip Hyde and award-winning writer David Rains Wallace pool their talents here, in this dazzling book depicting in words, photographs, and drawings the many faces of the deserts of North America. What emerges is an unforgettable portrait of harsh yet lovely lands with diverse animals and plants and landforms.

Philip Hyde has been photographing the deserts of the North American West since 1951. Drylands reveals 95 full-color brilliant image of the five major deserts:

PAINTED DESERT with soaring cliffs, deep canyons—including the Grand Canyon—and varicolored hills

GREAT BASIN DESERT with climatic extremes and long, parallel mountain chains and mountain “islands” surrounded by dry flatland

MOJAVE DESERT with many-armed Joshua trees and the vast, empty expanse of Death Valley

SONORAN DESERT with high mountains and oversized trees and cactuses—including the saguaro, which grows to spectacular heights

CHIHUAHUAN DESERT with two great rivers, the Rio Grande and the Rio Conchos, yet with the driest country.

Hyde’s superb photographs are complemented by luminous descriptions of geographical and geological features and by journal vignettes of his encounters with the drylands.

In his introductory essay, David Raines Wallace looks at the deserts in time: the evolutionary past, the evolutionary future, and today. In his notes, Wallace provides a valuable guide to the characteristic features and habitats of desert plants (ocotillo, paloverde, desert evening primrose) and animals (the sidewinder, mountain lion, kangaroo rat), illustrated by Vincent Perez’s striking line drawings. The book also includes six relief maps.

Drylands is designed and produced in the grand tradition of fine art books. It gives continuing pleasure to those who delight in the splendors of the desert.

PHILIP HYDE’S landscape photographs have been exhibited nationwide. He is represented in several major photograph collections, and his work has appeared in books and magazines. He has written and collaborated on many books on the American West.

DAVID RAINS WALLACE has been writing about nature and conservation for almost ten years. He is the author of six books including The Klamath Knot, for which he was awarded the John Burroughs Medal for natural history writing in 1984.

Continued in the blog post, “Drylands: The Deserts of North America 3.”

What are your experiences in the desert? What does the desert mean to you?

Happy Thanksgiving!

November 21st, 2012

Happy Holidays 2012…

Dried Native Corn Bundle, Adobe Wall, Santa Fe, New Mexico, copyright 2009 by David Leland Hyde. Nikon D90.

Outside the wind roars and the rain drums on the roof and the decks. Inside I sit in the warmth of the stove, cozy, listening to the fire hum with the wind outside and watching the flames dance through the glazed stove door casting a faint glow that flickers around the room.

Today it was dark and gloomy, lonely and a bit sad here. The seasons march on into the night, into winter and into the past. The past that hovers just beneath the surface, that still holds a candle for the future. A past enriched by love and laughter. We were wandering in the wilderness with open hearts. The people we were, are only here in memory now. Yet perhaps they are still here in some other form, they must be. They feel very close, yet very far away.

Tomorrow, the rain will stop, the weather report promised. The sun will come out. Everything will glisten wet, fresh and clean, washed by time and the weather. I do not have to become addicted to technology to believe in the future. The future will be here, whether I believe in it or not. Will I be here? If I am here, in what form will I appear? Will I be like the rain? Will I change into the wind and roar over the mountains and down the canyons? Will I sweep out to sea and not come back until I blow out the lights in New York City? Perhaps.

Perhaps I will be changed by the sun. I will grow soft and kiss a new baby’s cheek. I will sit by the stove in the firelight and play the guitar with my friends. I will bring a salad and an offering to the Thanksgiving feast. I will give thanks for the many blessings I have. I will think about the Pilgrims and what they went through to find their rock. I will share with the native people and not take advantage of their generosity this time. I will celebrate my culture and many other cultures without bending them to a colorless mix of media, advertising and globalization. I will stay small and happy by the fire, happy in my local ways, eating well, close to the land, warm while I know I am ready for the storm. I don’t fear the rain or the water because I am their brother. I am the wind. I am Giving Thanks.