Posts Tagged ‘Tucson Mountains’

Book Review: A Photographer’s Life by Jack Dykinga

July 30th, 2019

Book Review of Jack Dykinga’s “A Photographer’s Life: A Journey From Pulitzer Prize Winning Photojournalist to Celebrated Nature Photographer”

How Jack Dykinga Changed

Cover of “A Photographer’s Life” by Jack Dykinga.

From time to time, we hear of a near death experience dramatically changing a life. The NDE may instigate profound insights, strengthen intuition or lead to stardom through development of a previously undiscovered skill. Jack Dykinga, before his hospital death and return, already had the tenacity, good fortune and talent to win a Pulitzer Prize in Photojournalism, leave the newsroom and jump into nature photography, become an admired workshop leader, and co-found two of the most acclaimed organizations for outdoor photographers: the International League of Conservation Photographers and the North American Nature Photography Association.

Dykinga had also previously covered Civil Rights in the tumultuous 1960s, climbed Mt. Rainier in lethal whiteout conditions, photographed wildlife and remote wilderness all over the world and been handed a large check to explore his home Sonoran Desert. In his new autobiography and retrospective with hundreds of his best photographs: A Photographer’s Life: A Journey From Pulitzer Prize Winning Photojournalist to Celebrated Nature Photographer, Jack Dykinga described life as “a series of portals where we enter one way and emerge totally transformed.” He had been changed a number of times. He had “done it all” in his field. There was not much else to be gleaned from a near death experience, or was there?

Lying in the St. Joseph’s Hospital transplant surgery unit after transferring from the Mayo Clinic Emergency Room, in the aftermath of a race against time for a lung transplant while going in and out of consciousness, Dykinga reflected on his life before these complications. “I had always been competitive” and “eager to earn and accept accolades that reinforced my ego.” Having lived with fierce independence, he observed that his fragile life was completely dependent on others. He had been leading a photo trip in the Grand Canyon when his lungs gave out. His wife, daughter and other family had put their own needs on hold to look after him. While in the hospital, an army of medical professionals, doctors, assistants, nurse practitioners, nurses, pharmacists, X-ray techs, lab techs, physical therapists and cleaning staff all had a hand in making sure he stayed alive.

This sense of gratitude and appreciation extended out to the people who filled all of his days: the muses, guides and mentors who sometimes subtly, sometimes suddenly changed his point of view and made him the man he had become. He realized that his creativity incorporated many people’s influences and that the changes others brought about in his life were often reflected in the images he made.

A Propitious Start in Photojournalism and the Transition to Color Landscape Photography

At 20 Dykinga became the youngest staff photographer at the Chicago Tribune. From then through today, in my opinion he has been one of the best at juxtaposing light and dark. Perhaps Carr Clifton, William Neill, Charles Cramer, Lewis Kemper and only a few other landscape photographers do light and dark as well.

The color landscapes in A Photographer’s Life sing and zip with strong shapes and color. I feel some are high on the list of best landscape photographs ever made. That said, I would recommend that anyone taking the study of photography seriously not miss the book’s text for any reason. It may be one of the best for learning how to learn the art.

Beginning with his high school interest in photography, Dykinga shows us his world through his mentors and advisors. The book is a string of fascinating glimpses into who helped Dykinga accomplish so much. His senior year in high school he won the National Newspaper Snapshot Award, sponsored by Look Magazine, National Geographic and the Chicago Daily News. This encouraged him to deepen his pursuit photography. After his battles with dyslexia in high school, St. Procopius College, a small Benedictine all-male school took an interest in Dykinga and inspired in him “excitement in learning.” Their attentive approach to teaching was “exactly what I needed,” Dykinga wrote. He soon made the Dean’s List and started his newspaper career.

“Contract Buyers League, Chicago, Illinois,” 1970 by Jack Dykinga.

His long background in photojournalism contributed to making Dykinga a good storyteller. He moves fluidly and with brevity through each story of his fascinating life carrying a camera on the streets of Chicago during the upheavals of the 1960s. Reading his text you get a visceral sense of his gut-wrenching failures and his uplifting successes. The pressure, chaos and competition that Dykinga learned to excel in during in the 1960s, led him to take on landscape photography with a stronger will and diligence than most ever apply to the genre.

From covering the race riots in Chicago to earning a Pulitzer Prize by exposing the conditions in mental hospitals, to climbing 14,411 Mt. Rainier in Washington in a whiteout with extra low temperatures and high winds, Dykinga weaves his tale and shares his accompanying master works.

He began at the Chicago Tribune as the youngest staff photographer ever. At the Tribune he quickly learned the pluses and minuses of large and medium format because the paper had a rule that required either 4×5 or 2 ¼ cameras. He spent nights chasing crime and civil rights demonstrations. When the Tribune editors came down on him and heated arguments ensued for using a 35mm camera at night, he moved over to the Chicago Sun times whose editors supported his use of the smaller cameras. Switching papers was a potentially risky move when he was supporting a young wife and looking to start a family. However, it soon proved to be a successful new direction, as his work continued to improve and shine. His 35mm cameras were “unobtrusive, versatile and portable. With their fast lenses and high ISO, I could photograph in available light, which was essential to record the news without the extraneous distraction of a flash.”

Dykinga’s mentor at the Chicago Sun Times, Ralph “Frosty” Frost brought in many new gifted image makers that complimented an already talented staff. Dykinga learned from, collaborated with and competed against these associates and their rivals at the three other newspapers in town. They were young, tenacious and willing to do anything for a story. Sometimes they had to, as in one instance Dykinga describes of how he and a newsroom buddy photographed and then outran a rock and brick throwing mob when the two photo reporters became separated from police protection.

An Earlier Profound Brush With Death and Nature

“Boojum Silhouetted at Sunset, Baja California, Mexico” by Jack Dykinga.

Chuck Scott taught Dykinga a great deal from afar as his competition back at the Tribune, but he in time hired Dykinga to return and join him back at the paper where the young photojournalist had started. By then Dykinga worked on in-depth features including one out of town project that he pitched, to attend the Rainier Mountaineering School in Washington himself, train and climb the mountain himself. Once on the slopes of Rainer, he and his party came face to face with life-threatening weather. Dykinga explains in his text that it was hard to get anyone to understand later, but the experience on the remote cascade peak changed him forever. He had a first-hand encounter with the “profundity and power of nature.”

Dykinga’s interest in wilderness only deepened after his time on Mt. Rainier. He took a leave of absence from photojournalism. One excursion he made during this time took him to Tucson, Arizona, where his wife was meanwhile also looking to go to graduate school. At this point in A Photographer’s Life, Dykinga placed a 12-page section of his black and white newspaper images from the riots, protests and tumult on the streets of Chicago, not to mention a number of photographs from the series exposing the conditions in mental hospitals that earned him the Pulitzer Prize. Some people might see this group of black and white city images as out of place right after the telling of the Mt. Rainier story. However, in my view, it further drives home the point in stark reality that there was something to get away from in Chicago, as well as something to escape to in the West. It makes for good contrast and counterpoint.

“I Want to Be Like Philip Hyde”

Around this time, Dykinga read a Backpacker Article about the lifestyle and approach to photography of Philip Hyde. This sealed his decision to leave Chicago and move to Tucson, although at the time he was still committed to photojournalism. He began to see the masses of images going by as much the same. Meanwhile, “…visual reporting on the environment was non-existent…” Hyde was paving the way and establishing the need at various markets.

I began to feel that the health of the planet was the most important issue of our time. With Adams and Hyde’s works as my guide… I came to see the rate of destruction of wild places as a forecast of our extinction.

At first the plan was to visit Tucson for his leave of absence, but as soon as Dykinga discovered that he could work at the Arizona Daily Star, leaving Chicago permanently became a realistic possibility. He shares with us how his move seemed to fall into place. His hope and expectations were high that he could get into conservation photography and thus live and travel more closely aligned with nature the way Hyde did. Eventually he would meet and become friends and travel with Hyde. Hyde was the “closest thing I had to a mentor in nature photography.”

An Angel Investor, the Sonoran Desert and the Making of Grand Staircase-Escalante National Monument

“Sycamore Leaves in Cave Creek, Chiricahua Mountains, Arizona” by Jack Dykinga.

The Arizona Daily Star turned out to be more than an interim step though as Dykinga set about rebuilding the photo department. He gathered an all-star staff, most of the members of which later went on to leadership roles at major publications. In time, however, he saw more and more the limitations and biases inherent in newspapers, which are advertising funded and driven. Around the time he became most disillusioned with journalism, Ginger Harmon, the manager of a remote Nature Conservancy preserve in the mountains east of Tucson, offered him a way out by funding him to travel and photograph the area for the creation of his dream book, The Sonoran Desert, published in 1992 by Abrams, New York.

Seeking flower and cactus images for the book, Dykinga ran across Park Ranger Caroline Wilson, daughter of Bates Wilson who was instrumental in the formation of Arches National Park and the protection of other national park lands in the Southwest US. When Caroline Wilson introduced Jack Dykinga to Philip Hyde, they hit it off right away, having first sampled Mexican food together and later traveling and photographing wilderness in Arizona, Baja and Mainland Mexico together and with other photographers of note including Tom Bell and others.

Phil had a quiet grace and understated humor. He was a great listener. Here was a man who didn’t need to brag or posture. Phil was a legend. His advocacy for the land, combined with a more subtle approach to making images made him special.

Dykinga’s stories capture the essence of Hyde “to a ‘T’.” Both with and without Hyde, Dykinga continued to travel the arid lands of the Southwest working on additional projects. Abrams committed to produce two more books: Stone Canyons of the Colorado Plateau (1996) and Desert: The Mojave and Death Valley (1999). Dykinga has a total of seven books to his credit overall to date. His traveling companion, writer and collaborator from Arizona Highways, Chuck Bowden, wrote the texts in the Edward Abbey tradition. He and Dykinga modeled their work together on these volumes after the famous Sierra Club Exhibit Format Series, initiated by Ansel Adams, Nancy Newhall and David Brower in the 1960s and 1970s, for which Eliot Porter and Philip Hyde became the primary illustrators when the books transitioned to color photography.

We were following a tried and true environmentalist’s tactic, initiated by David Brower, to produce the Sierra Club’s powerful large format series that documented an area while calling for its protection.

They even got Robert Redford to write an introduction to Stone Canyons of the Colorado Plateau. Stone Canyons struck a chord with Bruce Babbitt, Secretary of Interior and former Arizona governor, Harold M. Ickes, Bill Clinton’s Deputy Chief of Staff, whose father, Harold L. Ickes had originally proposed Escalante National Park before World War II, and with President Clinton himself. Culminating many years of work by other conservationists beginning with the Sierra Club publication of Slickrock (1973) by Edward Abbey and Philip Hyde, President Clinton established Grand Staircase-Escalante National Monument on his last day in office in 1996.

Emotion, Psyche, Art, Photography and Landscape

“Saguaro Cactus, Sonoran Desert National Monument, South Maricopa Mountains Wilderness, Arizona” by Jack Dykinga.

While recounting Dykinga’s life events, A Photographer’s Life lays bare the real world lessons they taught him. For anyone who loves the West, or loves the natural scene anywhere for that matter, A Photographer’s Life packs a lot more than technique or the how-to’s into it’s pages as Dykinga lays open his soul, cuts deep into his own psyche and dissects his own emotional makeup for our benefit. This is rare in a large format photography book, or any other kind of book today.

Dykinga not only organizes the book to give tribute to those who helped him develop, he mentions these influences as they came to mind while image making. Besides his chapters on each significant mentor, he sprinkles in sections on the making of various photographs. At one point in the text when he describes photographing the details of an agave plant and visually compressing the scene “to emphasize the contrasting colors,” he speaks of “walking on a trail blazed by Philip Hyde.” His reflections are on “…moments when passing bits of advice reemerge years later in the work we create.”

When he transitioned to color landscape photography, Dykinga’s work literally and figuratively blossomed. He became known for his images of cactus and other blooming drylands plants. A Photographer’s Life includes Jack Dykinga classics such as “Saguaro Cactus in Bloom,” “Rhododendron in Redwoods,” “Boojum Silhouetted at Sunset,” “Sandhill Cranes at Dawn, Bosque del Apache,” but it also treats us to more subtle or unusual images that could not be made by anyone else.

Dykinga shows us something different from what we typically see with two images of Saguaro in the snow. His open and stark compositions with a lot of extra space around items of interest give us the emotional equivalents of the desert. Often, as in his Silhouettes of Saguaro and of Boojum in Baja, he distills the image down to its simplest elements, or photographs simple subjects to start out with. While Dykinga’s small cactus details, Baja rock outcroppings and the silhouettes show the Hyde influence, they are graphically as good or better and more eye catching. Dykinga certainly did his own version of subtle well too.

“Monument Valley, Totem, Yei Bi Chey with Tumbleweed’s Wind Pattern Foreground” by Jack Dykinga.

Perhaps one of the most unusual images of Monument Valley ever made, but simultaneously telling of the place, is Dykinga’s winter landscape near-far with the tumbleweed isolated and alone in the foreground and mist-enshrouded monuments in the distance. Now and then Dykinga presents us with a documentary image of an area, no less beautiful, but certainly rooted in place. In contrast to this and the cactus, sand and desert rock, some of Dykinga’s best work happens when he experiments with water—using various exposures and focal lengths to go toward expressionism and impressionism. All in all, A Photographer’s Life, is a review of Dykinga’s mastery and range. Budding landscape artists take heed.

Currently there is a major exhibition of Jack Dykinga’s Grand Canyon prints from June 18 to September 14, 2019 at the Etherton Gallery in Tucson, Arizona. If you are near Arizona or not, it is worth making the trip to attend: Jack Dykinga – Grand Canyon National Park, 1919 – 2019.

Book Review – Treasured Lands: A Photographic Odyssey Through America’s National Parks

April 27th, 2018

Book Review

Treasured Lands: A Photographic Odyssey Through America’s National Parks by Q. T. Luong

The Ethics of Protecting and Promoting Our National Parks

Cover of Treasured Lands: A Photographic Odyssey Through America’s National Parks by Q. T. Luong. (Click to view large.)

Americans invented National Parks and in return, National Parks and other wild lands of the new continent shaped Americans. Yet the influence of cities and automobiles has eclipsed that of the national parks in all ways except through our collective imagination and grandest vision of all that makes up an ideal civilization. We must be careful to perpetuate these fragile image ties to our wilderness past, or forever lose our identity as part of nature. Maintaining this vision will also ensure our national parks remain wilderness untrammeled. Otherwise, we lose the piece of our core selves closest to our heart.

The age-old debate still rages over whether to invite more people out to enjoy nature and thus develop a larger fan base, or keep quiet and try to stop people from increasing the wear, tear, vandalism and man-made infrastructure necessary to simultaneously maintain access and protect our national treasures.

“For every place there will always be people that want to exploit it,” my father, pioneer conservation photographer Philip Hyde said. “And, there will always be people—hopefully—that want to save it and keep it as it is. Even with the risk of inviting the crowds into paradise, better to publish your photographs and rally the troops. What’s in the frame of the photograph matters artistically, to be sure, but what’s outside the frame can destroy it.” Later in life, in the early years of the millennium, after hearing how overrun and trampled certain locations had become, Dad said he still wondered whether his books benefitted or harmed nature.

The Advantages of Large Format Film and of a Well-Written Text

Grand Teton from Schwabacher Landing, Midday, Grand Teton National Park, Wyoming by Q. T. Luong from Treasured Lands. (Click to see large.)

If this best in class large format book, Treasured Lands: A Photographic Odyssey Through America’s National Parks, with text and photography by Quang-Tuan Luong were a film, it would win multiple Academy Awards as one of the best efforts ever for recruiting new national park fans and encouraging old fans to renew themselves through new visits. My impression is that Mr. Luong accomplished such a masterpiece through sheer will, discipline and diligence.

When you open Treasured Lands for the first time you revel in the sublime realism and beauty that can only be achieved by large format film or a $40,000 digital camera rendered through the subtle, well-balanced color palette of a well reproduced photography book. To be fair, Tuan Luong informed me that the photographs in the book were not all made with a large format camera. Nonetheless, they all exhibit large format acumen by the photographer and they all have an unmistakeable large format aesthetic, portraying the full spectrum of nature, rather than nature dressed up only on her best day.

To accompany this colossal collection of effective and moving illustrations, Q. T. Luong wrote a text that flows and delivers just as well as the images. His punchy prose keeps your interest. It is loaded with facts, but not everyday facts, novel, captivating facts, figures and surprising observations that give you the feeling of having smartly and efficiently obtained the essence of each place. Just starting at page one and turning a few pages to the contents showing all the parks, I felt like I had already embarked on an adventure. I was learning, absorbing and celebrating our national heritage. I held in my hands all the parks in one monster volume.

Art, Propaganda and Photograph Location Disclosure

Cannonball and Badlands at Night, Theodore Roosevelt National Park, North Dakota by Q. T. Luong from Treasured Lands. (Click to see Large.)

But is it art? Critics and others might ask. I would say the book itself is a work of art, the photographs are mainly documentary but contain artistic elements, some of them more than others. Some art critics might say the book is propaganda. They might perceive it as a kind of glorified guide book because Luong provides specific directions to each of his compositions in each park. Some art connoisseurs, gallerists and museum curators consider any art that is not solely for the sake of art itself is propaganda. This traces back to critics John Szarkowski and Nancy Newhall, as instigated by Ansel Adams and Beaumont Newhall around the time they co-founded the first museum photography department at the Museum of Modern Art in New York. Ansel Adams in workshops and his student and teaching associate Philip Hyde in a number of places, both in writing and in interviews spoke against giving directions to image locations. Both photography mentors felt the practice inhibited student resourcefulness and creativity, as well as hobbling the development of individual vision. I usually tend to agree with Dad and Ansel and believe these details are a flaw in Treasured Lands.

However, times have changed and photography in many cases is self-taught or no longer taught with the same rigor. Many photographers today find location specifics an asset and have praised Treasured Lands most of all for this reason. Either way, still today the best guidebooks offer suggestions and ideas, but do not give exact specifics. Nonetheless, even for purists like me, Luong somehow gets away with providing specific directions because the sheer scope of his undertaking and achievement force us to take him seriously as more than a mere tour guide. To go with the directions, I would have liked to see an outdoor ethics statement, or the Leave No Trace Principles. However, between the photographs and text, Luong portrays and describes these natural places with such reverence and admiration that his readers will hopefully take on at least some of his tone and outlook, which will hopefully cause them to treat our amazing national treasures with respect.

With new adventures on every page turn, my resistance to location disclosure fell away almost immediately under the sheer power of what I was seeing and reading. Unfortunately, I did find the maps a bit hard to read due to their tiny type font. However, I enjoyed reading how to reach a smattering of the photo locations. Meanwhile for the most part I became caught up in reading other content, which while obviously extensive and geologically rich, came accessibly served up in one to two page bytes. These are rewarding and satisfying because each section acts in part like a mini-tour of the park it covers. The text is well thought out, well-organized, captivating, diverse and packed with actionable instructions and tips to make your travels more enjoyable and photographically productive.

The Many Reasons Treasured Lands Is Not Propaganda

Haleakala Crater from White Hill, Midday, Haleakala National Park, Hawaii by Q. T. Luong from Treasured Lands. (Click to see Large.)

Regardless, I have other reasons not to dismiss Treasured Lands as mere propaganda. At face value, rather than feeling commercially viable at all, Treasured Lands feels so heavy in weight, so chock full of striking imagery and so bulging with smart information that once you have it in your hands you feel that you have made a great deal to have it for under $100. The publisher’s retail is $65 for an autographed copy from TreasuredLandsBooks.com. Currently you can even get it for as little as $44.19 with free shipping from Amazon.

Large two-page evening panoramas sprinkled across the pages bring the parks depicted into vivid awareness while taking us partially into abstraction with the extreme light and shadows of dusk. Sweeping vistas throughout the book give a sense of place and overwhelm us with the vastness and remoteness of wilderness. Luong visited many of the parks multiple times, which translates to years of hard work, days and nights of grinding travel in all conveyances and over all manner of terrain, which also translates into daunting logistics and planning.

By no means did Q. T. Luong make the expected photographs of each or even many of the national parks. In Lassen Volcanic National Park, as one example of many, he skipped the most popular views, especially of the mountain, but with the exquisite detail and texture of large format film he captured frames that showed the character of the park just as well without being cliché. In discussions with other photographers, I found most of them said that the book has a good balance between more innovative images and what some might call “the obvious shots” that are all but required to identify certain landmarks in some parks. Besides, in the visual arts people are drawn to at least a nuance, if not a good amount of familiarity, as Atlantic editor Derek Thompson points out in his book, Hit Makers. Hits are made from images that look new, but also remind us of other images before in some way.

Some of the Best Illustrative Landscape Photographs Ever Made

Cove of Arches and Cove Arch at night. Arches National Park, Utah by Q. T. Luong from Treasured Lands. (Click to see Large.)

Speaking of hits, in some of the national parks, Luong managed to make what I consider some of the best photographs ever made of certain areas. This was true in a number of unexpected places such as in Hetch Hetchy Valley in Yosemite, where Luong shows us the only photograph I have ever seen that lives up to the early 1900s Bureau of Reclamation vision of what the reservoir would look like, as sold to the American public. Pinnacles National Park is challenging to photograph. Perhaps his many visits enabled Luong to do something extra special there by knowing the most striking compositions and capitalizing on the best possible light. In the Sierra, he photographed snow caked on Giant Sequoia trunks, but did it better than it has been done before, with more majesty and more mood. I love Luong’s photograph of Alabama Hills. It is more about the Sierra Crest and the terrain, than any gimmicky cliché pseudo-arch foreground window framing the distant peaks. Luong omits the Merced River altogether in Yosemite, except in the higher elevation roaring cascades below Vernal Falls.

The differences between documentary and art photography are blurring anyway, but Luong is perhaps one of those who push the two definitions inward toward each other. His photographs for Treasured Lands overall are documentary, but even the most representational and least creative works are artistically strong and well seen from a design perspective with luscious forms and beautiful lines. It is quite evident that Luong has studied the great works of photography and art and applied what he has observed. Documentary, almost standard issue images that essentially say, “Ok, here we are at Joshua Tree,” are the best working basis for a large book on all of the national parks. However, Luong keeps his book fresh by mixing in nighttime photographs, ridge silhouettes, a few wildly tilted horizons and other Pictorialist effects such as slow shutter speeds for silky water, movement blurs and wind blurs. Luong also puts in the extra effort and expense to provide variety in other ways by getting up in airplanes, scaling mountain peaks, climbing walls, swimming underwater, chartering various boats horses, burros and other unusual transportation. Meanwhile, he also mixes in enough expected imagery such as the lava dripping into the ocean in Hawaii, Tunnel View from Yosemite, the Teton Barn, Mt. Denali and Wonder Lake and the circular petroglyphs on Signal Hill near the Tucson Mountains in Saguaro National Park.

Realism, Hard Work, Diligence, Feedback, Revisions and Quality

Margerie Glacier from Tarr Inlet, Glacier Bay National Park, Alaska by Q. T. Luong from Treasured Lands. (Click to see Large.)

Another significant reason large format film was the ideal medium for this national parks project lies in how the high fidelity gives reflections, textures and details a much more interesting and realistic look. With large format, a nature photographer can go after and make ordinary objects extraordinary. The resulting photographs also work better when they contain flaws and extra grit, rather than having to be sterilized by over retouching in Photoshop. For example: I love that Luong left the house in his Zion photograph of Towers of the Virgin. Many digital photographers take it out of their images of this iconic location. The large format color is also so lush and true without any false-rendering of tones or over-saturation.

Part of what lifted up the text and images to far above average, was the amount of advice and feedback Quang-Tuan Luong asked for along the way. He was wise to get Gary Crabbe to help him edit the photographs and to get advice from many other experts at each stage in the production process. The first time Tuan and I met in San Jose, he asked me for ideas on how he could come out with yet another national parks book and make it different from any that had been done before. This was a smart question to ask about such a book and a good place to start in attracting my interest and participation. My first answer was that we do not need another book on the national parks. However, as I began to think about how Tuan opened himself up to input and ideas, I felt I had to offer more. Besides, when he asked me about making it a guidebook for photographers as well as a picture book for everyone else, I told him I did not like guidebooks. Some help I was. Yet he patiently and gently persisted in asking more questions and asking me to read some of his text. I agreed to do so, somewhat reluctantly. It took me a long time to offer much feedback, but as I began to, I saw that Tuan had put a great deal of thought and effort into the project, the text no less than the photography. As the book took shape and began to emerge from the realm of ideas, the quiet strength of what he was doing became evident. Let this be a word of caution to all aspiring creative people out there: never give up on what you love or on your big idea just because it has been done before. Do it better. Q. T. Luong certainly did and the world and the field are far richer for it. However, he did it not by force of will or ego, but through good listening. Remember that too, above all else. He also did it with kindness and generosity. My copy of Treasured Lands is the limited edition version that Tuan personally sent me. He numbered it by hand 77 of 150, signed it and wrote me a personal note. How cool is that?

A Tribute to the American Land, the Art of Place and Our National Heritage That Will Live On

Cypress trees Reflected in Cedar Creek from Canoe, Congaree National Park, South Carolina by Q. T. Luong from Treasured Lands. (Click to see Large.)

It may be due to the large format camera, or perhaps Luong and his sensibilities, or all three, regardless an outstanding sense of place permeates every page of Treasured Lands. Many are close behind, but the national park depictions deserving the most recognition in establishing place in my opinion are Cuyahoga Valley, Death Valley, Gates of the Arctic, Glacier Bay, Great Sand Dunes, Guadalupe Mountains, Haleakala and Yellowstone. In Yellowstone, Luong includes Old Faithful, Mammoth Hot Springs and a fairly unique framing of Yellowstone Falls, but also shows us many locations with which we are not familiar. In Death Valley, Luong gives us perhaps more of the usual images than in other places, but the additional images show us so much more as to render the place very well overall. Luong exhibits a certain flair for Alaska as his images in each of the parks there for the most part are both unexpected and extraordinary in the lexicon of all landscape photographs.

Q. T. Luong’s massive work consists of not so much a single unity of style, but of several style themes that run throughout the book. This cohesiveness is quite an accomplishment for a project that took so many years to complete. With all of the elements that went into making the book creating a synergy that lifts it above other work in the genre, it also transcends its minor shortcomings, or perceived structural flaws that we readers bring to it based on our own biases.

The sheer volume of work, in and of itself is impressive, but the consistent quality and exemplary execution make Treasured Lands a truly monumental achievement. Even as the son of Philip Hyde, or perhaps especially as the son of Philip Hyde, I am going to go out on a limb and say that Treasured Lands is one of the greatest large format landscape photography books ever published. It will live on and influence photographers for years and perhaps even generations to come. These statements, considering what has been accomplished in the genre before, hopefully transcend anything else I could say, or have said above, whether critical or supportive.