November 17th, 2011 · Special Announcements
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October 30th, 2011 · Special Announcements
Guy Tal Interviews David Leland Hyde On Representing Philip Hyde, Sierra Club Books, Leland Hyde And Art School In Paris, Photography School With Ansel Adams, Edward Weston, Minor White, The Alternate Path To Fame, Conservation And Photography, Writing About Photography, The Roots Of Creativity, Learning From Dad Or Not?, How Philip Hyde’s Compositions Influenced A Generation Of Photographers, And Much More
(See the photograph large: go to “Adobe Wall Detail, Taos, New Mexico.”)
One of the top photography bloggers writing today recently interviewed David Leland Hyde on his blog: Guy Tal Photography Journal. For a comprehensive journey into the lives of three generations of the Hyde family, the roots of their creativity and their unique impact on the Art of the West, see Guy Tal’s blog post, “Interview With David Leland Hyde.”
This interview provides insight into the concerns of landscape photographers working today, while tying today’s work to the past and the beginnings of the modern environmental movement and photography of the natural scene. The reader discovers a new understanding of how the masters and pioneers of the past paved the way for the accomplishments in landscape photography today.
“Thank you both for this rare and intimate look into one of the greats of American landscape photography.” –Russ Bishop
“Best interview I’ve read in quite some time. Thank you, both, very much.” —Scott Bacon
“David: Excellent ‘interview.’ You really have digested a lot of stuff in the past few years, and you present it well. You have captured your folks in a good manner and for a few moments they were very present for me. Nice feeling. Keep the book coming.” —Chris Brown
“Very deep and thorough interview. This is great.” —Richard Wong
“Thanks for a great interview, Guy–and thanks to David for his candor and willingness to share his thoughts and family history with all of us.” —Robin Black
“Thanks for a fascinating journey. When my sons and I lived in Indian Valley, we socialized on occasion with the Hydes. I answered affirmatively if anyone asked did I know the Hydes … Reading this has given after-the-fact substance to that affirmation. I’ve done a lot of catching up in this interview.” –Ron Schmidt
“I still have my copy of Slickrock, purchased back in 1971. The Hyde exhibit at the Camera Obscura gallery in Denver last year was superb. At that time, I was amazed to find that so few photographers recognized Philip’s name. I’m glad to see David’s continuing effort in placing his father’s contributions in context. Excellent interview, Guy.” –Bill Pelzmann
“Interesting and ironic to read this fine interview just as I’ve returned from speaking at the California University of Pennsylvania, where our photo exhibit “Lasting Light: 125 Years of Grand Canyon Photography” is on tour from the Smithsonian. Both the exhibit and my book of the same name feature Philip Hyde–and so on Tuesday I was telling hundreds of middle-schoolers from northern Appalachia about Philip Hyde’s commitment to help save the Grand Canyon with pictures. See http://www.stephentrimble.net/projects/lasting-light/ for more info.” –Stephen Trimble
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September 29th, 2011 · Exhibitions and Other Events
Lumiere Gallery Presents:
Photography As Propaganda
“Photography abstracts real time and space…compressing what really happened into a metaphor with its own message.”
Two Exhibitions – Fall 2011
Politics and the Utopian Dream
September 24 – November 12, 2011
Messages From The Wilderness
November 12 – December 23, 2011
For more information about the exhibitions see Lumiere Gallery What’s New.
Politics and the Utopian Dream
September 24 – November 12, 2011
Photography’s ability to abstract time and space provides a potent vehicle with which to communicate a point of view. Whether migrating a nation to a utopian social and economic order or framing public policy debates, the power of the photographic image was used effectively in the 20th Century by both totalitarian and democratic leaders. This exhibition illustrates its power to inform and influence. It reminds us of the future impact potential of imagery to amplify ideas using an array of new electronic technologies.
Including photography by: Boris Ignatovich, Dorothea Lange, Yevgeny Khaldei, Arnold Newman, Ivan Shagin, John Gutmann, Alexandr Ustinov, Rondal Partridge, Max Alpert & Georgi Zelma.
Opening Reception: Saturday September 24, 2011
5:30 pm – 8:30 pm
425 Peachtree Hills Avenue, Building 5, Suite 29B
Atlanta, GA 30305 404-261-6100
Powerful Meanings In Photography
Lecture: Wednesday September 21, 2011 7:00 pm
Dr. Anthony Bannon, Director, George Eastman House
Hill Auditorium, High Museum of Art
Messages From The Wilderness
November 12 – December 23, 2011
This exhibition features works deploying the visual power of photography to communicate an understanding and appreciation of the great American wilderness. These photographers have captured the beauty and form of nature…using pictorialism, abstraction and unusual lighting effect to communicate a story or to stimulate the viewer’s innate imagination. Their work has often provided the foundation for major conservation movements.
Including photography by: Philip Hyde, Robert Glenn Ketchum, Ansel Adams, Edward Weston, Brett Weston, Bradford Washington & Al Weber.
Compliments the Atlanta History Center’s exhibition:
Nature’s Beloved Son: Rediscovering John Muir’s Botanical Legacy
October 13 – December 4, 2011
Gallery Talks: Schedule to be announced – check www.lumieregallery.net for the latest information.
See Philip Hyde’s Lumiere Gallery Artist Page.
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July 20th, 2011 · Exhibitions and Other Events
The Scott Nichols Gallery Presents
THE SUMMER SHOW 2011
The Scott Nichols Gallery is proud to present The Summer Show, a selection of photographs from the gallery’s collection. The exhibition features vintage and contemporary photographs by Ansel Adams, Ruth Bernhard, Francis Bruguiere, Wynn Bullock, Ron Church, Imogen Cunningham. Monica Denevan, Rolfe Horn, Philip Hyde, Mona Kuhn, Dorothea Lange, Joel Leivick, Rondal Partridge, Michael Rauner, Peter Stackpole, George Tice, Brett Weston, Edward Weston, Don Worth and others.
Scott Nichols Gallery
49 Geary Street
San Francisco, CA 94108
The Scott Nichols Gallery is located near Union Square in downtown San Francisco on Geary Street, between Kearny and Grant Avenues.
The San Francisco Museum of Modern Art and the Yerba Buena Center for Contemporary Art are within walking distance.
Tuesday through Saturday 11am to 5:30pm
Closed Sunday and Monday
Also available by appointment
About Scott Nichols Gallery
The Scott Nichols Gallery is a fine art photography gallery located in downtown San Francisco. The gallery shows a combination of established, up and coming and contemporary photographers.
Scott Nichols, a Southern California native, has been a private dealer since 1980. He is considered one of the experts on Group f.64 and Brett Weston. The gallery opened in 1992 and houses one of the largest private collections of Brett Weston photographs as well as an extensive inventory of photographs by classic California photographers such as Ansel Adams, Edward Weston, Dorothea Lange, Imogen Cunningham, Ruth Bernhard, Wynn Bullock, and William Garnett.
Though the gallery is located in the upscale gallery district of the Union Square area, Scott Nichols has a very casual and friendly style. This is not the typical white walled gallery affair. The Scott Nichols Gallery is a member of the Association of International Photography Art Dealers (AIPAD).
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May 18th, 2011 · Galleries For Philip Hyde
Southern California’s Number One Photography Dealer And AIPAD Member, Peter Fetterman Gallery Of Santa Monica, California, Is Now Representing The Pioneer Fine Art Landscape Photography Of Philip Hyde
(Read More –> –> Here on Landscape Photography Blogger.)
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February 28th, 2011 · My Journey In Collecting
About Philip Hyde Vintage Black and White Prints, Cibachrome, Dye Transfer and Archival Digital Prints and What I Have Learned From Collectors
Ansel Adams did more than any other photographer to establish photography as a fine art. His own international renown later in life and the increasing value of his original black and white prints made him one of the leaders in the emerging market for fine art photography for sale in photography galleries and auction houses.
In the new book Ansel Adams in the National Parks: Photographs from America’s Wild Places, Richard B. Woodward wrote an enlightening essay called, “Ansel Adams and the Preservation of Wilderness.” In this essay, Richard B. Woodward said, “The select but not inconsiderable number of photographers lucky enough to earn a living today from sales of their prints have Adams to thank for proving this could be done.” For a review of Ansel Adams In The National Parks see the blog post, “Monday Blog Blog: Ansel Adams In The National Parks.”
As a result of the still expanding and escalating market for vintage black and white photographs, most serious collectors of fine art photography are interested primarily in black and white prints more than 40 years old, over and above color prints or other types of photographs.
Philip Hyde was the only professional full-time exclusively landscape photographer who learned black and white printing directly from Ansel Adams, Minor White, Edward Weston, Imogen Cunningham and the other seminal teachers in Ansel Adams’ photography program at the California School of Fine Arts, now the San Francisco Art Institute.
A collector I met in Marin County, California at Smith Andersen North Gallery said, “I have digital prints in my collection. I am not adverse to buying digital prints, but I would not buy digital prints of photography from this era.” By “this era” he was referring to Golden Decade era photography. The Golden Decade refers to the first 10 years of Ansel Adams’ photography department at the California School of Fine Arts now the San Francisco Art Institute. A forthcoming book on the era called The Golden Decade: Photography at the California School of Fine Arts, 1945-55 contains photographs of the students of the school during that time.
From this statement, it appears that this collector was not aware that besides being a master of both black and white photography and black and white darkroom printing, and being a star pupil and favorite student of lead instructor Minor White and Ansel Adams, and exhibiting with his Group f64 mentors, Philip Hyde also went on to become known as the primary photographer, along with Eliot Porter, who introduced color to landscape photography.
Philip Hyde photographed in black and white into the early 1980s. The majority of his output in black and white prints came between 1948 and the mid 1970s. He first began photographing in color in the High Sierra Minarets Wilderness and Yosemite National Park in 1942. He took the only color class at the California School of Fine Arts in 1949, photographing in color around California and as far afield as Death Valley National Park. Some of his most famous color photographs that helped create Redwood National Park, saved the Grand Canyon and Dinosaur National Monument from dams, helped establish Point Reyes National Seashore, North Cascades National Park and many others were made in the early 1960s.
In 1959 the Sierra Club launched the groundbreaking Exhibit Format Series, which popularized the coffee table photography book. The series began with This is the American Earth with foreward by David Brower, text by Nancy Newhall and photographs by Ansel Adams with a select few other photographers including Philip Hyde. In 1962, the Sierra Club Exhibit Format Series introduced color to two volumes, increasing their impact and sales. The year 1962 was significant to the fledgling modern environmental movement and to photography. It was the year Rachel Carson published Silent Spring. It was also the year that Eliot Porter’s In Wildness Is the Preservation of the World came out, as well as Philip Hyde’s Island In Time: The Point Reyes Peninsula. Eliot Porter’s beautiful well-planned art book became a bestseller and outsold all of the other Exhibit Format Series including This Is The American Earth. Island In Time was more of a documentary project that was rushed through to help raise funds to buy the ranch land of Point Reyes before developers could build houses on it and ruin its possibilities as a national seashore.
Beginning in the 1960s and into the 1970s, Philip Hyde often exposed a black and white negative and a color transparency of the same scene from the same tripod holes. While he made nearly as many color images as black and white all along, he did not begin a transition away from black and white and into color primarily until he was inspired by more often photographing the subtle desert colors of the Southwestern U.S. The transition gathered steam when he discovered Dye Transfer printing. For more on the history and evolution of Dye Transfer printing see the blog posts, “The Legend Of Dye Transfer Printing, Interrupted 1,” “The Legend Of Dye Transfer Printing, Interrupted 2” and “Images Of The Southwest Portfolio Foreward By Philip Hyde.” Dye Transfer was a complex and technically demanding process, but Philip Hyde was one of the relatively few major full-time photographers who perfected the art. When Dye Transfer was discontinued, Philip Hyde took up Cibachrome printing. He was lead instructor for the color printing workshop for a number of years in the late 1970s and early 1980s at the Ansel Adams Gallery and through many other prestigious workshop organizations.
Having a long, prolific nearly 60 year photography career has its pluses and minuses. By the time Philip Hyde developed as a Cibachrome printer, his early color transparencies made with Kodak Ektacolor E-3 and E-6 film were color-shifting, fading, streaking, developing blotches, and generally turning pink-orange-magenta. He was unable to make color prints of many of his most well-known images. Fast forward to the 1970s. Carr Clifton, a neighbor of Philip Hyde’s, at age 16 expressed interest in photography. Carr Clifton’s mother brought him over to Philip Hyde’s home and introduced them. Philip Hyde advised Carr Clifton on cameras and going to photography school and became a lifetime mentor. Carr Clifton is now a renowned landscape photographer in his own right. In 1998, Carr Clifton restored two of Philip Hyde’s most well-known images from the Exhibit Format Series book Navajo Wildlands. “Stormlight, Canyon De Chelly” and “Horse And Cottonwoods At The Mouth Of Canyon De Chelly” both had been damaged by the Sierra Club’s publisher Barnes Press. They both had pink fingerprints throughout the sky. In the digital era, these flaws that had taken these two images out of circulation were healed and Carr Clifton began making archival fine art digital prints. Philip Hyde signed a number of the archival digital prints, it is believed to be five, before his passing away in 2006. Besides the two images from Navajo Wildlands, a number of other photographs that could in no way be printed before, are now printed in limited numbers as archival digital prints. For more about these other photographs and how they were printed and more on the archival digital printing process see the blog post, “About Archival Fine Art Digital Prints.”
When Philip Hyde was black and white printing himself in the darkroom, or making dye transfer or Cibachrome prints, he was a very prolific printer. He made a large numbers of prints, but only a few of each image. In both black and white, as well as color, Philip Hyde printed only 2, 4, or 6 and on more rare occasions as many as 8 or 10 prints of each photograph. Because of this rarity of prints of each photograph, most of his best images are long sold out. The digital era also allows prints to be made of the images that have sold out. Carr Clifton and myself, Philip Hyde’s son, work very hard to match or come as close as we can to printing the digital prints the way Philip Hyde printed. When a high resolution drum scan is made of a 4X5 color transparency, the resulting digital file is large, anywhere from 350 MB up to 3.0 GB. The quality of this digital file blows away any image made by digital capture to date. The colors are richer, the tones finer, the detail far superior in both shadows and highlights. This leads to far superior prints. In fact in the history of photography, it was primarily the full-time working photographers who scanned their large format transparencies for a number of years before they switched to digital capture. This narrow time band represents a short era, the prints from which may in time become some of the most sought after in collecting. We are now making some of the best prints ever made in the history of photography.
Nonetheless, for now, Collectors have taught me that the majority are looking for vintage black and white prints. This is wonderful, great news to me. I am gradually bringing the vintage black and white prints out on the market over the next several years. A significant selection of vintage prints are already available at select galleries and displayed on the Philip Hyde Photography Website. When it comes to very high quality original vintage black and white silver prints, Dad was one of the best printers ever. Ansel Adams possibly has more collectors than any other photographer. It is a natural progression for any collector of Ansel Adams to follow by collecting vintage prints by Philip Hyde.
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January 31st, 2011 · Galleries For Philip Hyde
Landscape and aerial photographer Al Weber has been known as a teacher and inspiration to photographers for many years. He taught at the Ansel Adams Gallery Workshops and the Ansel Adams Workshops for over 30 years, for the University of California Santa Cruz Extension and for many other organizations including his own Victor School in Victor, Colorado. He also organized a photographer’s annual gathering called The Rendezvous. Through teaching and through running into each other in the field in places such as Mono Lake or somewhere else on the East side of the Sierra Nevada, Al Weber and my father pioneer landscape photographer Philip Hyde made acquaintance and became friends for many years.
Al Weber today and for many years has lived in Carmel Highlands within a few miles of where Virginia and Ansel Adams used to live and within miles of Edward Weston’s home, now Gina and Kim Weston’s home at Wildcat Hill. He has been a tremendous help and resource to me in developing Philip Hyde Photography, and the same to thousands of other aspiring photographers. His advice about galleries and museums has always been astute and accurate. For a number of years now he has been talking about a new gallery in Atlanta called Lumiere Gallery. Al Weber has given Lumiere Gallery raving reviews. At one point he said that Bob Yellowlees, the gallery owner was looking for new Western landscape photographers to represent. I had intended to follow up right away when Al Weber talked about it, but was inundated, as usual, with other work. By the time I did get around to following up this Fall 2010, Bob Yellowlees told me they already represented many other landscape photographers. I sent him out a sample of Philip Hyde prints anyway. Bob Yellowlees and I agreed to give it a trial run and see how it would go.
A number of fortuitous events fell into place that have more or less convinced Lumiere Gallery to continue to represent my father’s photography. Tony Casadonte, gallery manager is a joy to work with and generally both sides are quite happy with the liaison so far. Besides Al Weber’s glowing recommendation, there were other facts about Lumiere Gallery that make it attractive to me, based on my business model for the development of Philip Hyde Photography. One of Lumiere Gallery’s main objectives is to marry the past with the future. They have various plans and methods to interconnect the collectors of old black and white photographs, vintage and much earlier, to the internet, and to the High Museum of Art in Atlanta and other venues that interest collectors. This development of the internet as the primary way of reaching, educating and developing classic collectors is highly attractive to me because of my strong online influence through my blogs, both Fine Art Photography Collector’s Resource and Landscape Photography Blogger a.k.a. Blog.PhilipHyde.com. Read more about Lumiere in the blog post, “Lumiere Gallery Holiday Collection.” Our missions and visions overlap. One of the most exciting features to me and to collectors in general is that Lumiere Gallery sponsors lectures on collecting through the High Museum that they also put online for easy access. These lectures can be found through Lumiere Gallery’s Partner’s Page.
Lumiere Gallery has an excellent selection of Philip Hyde authorized archival fine art digital prints both color and black and white, as well as original vintage black and white prints. Lumiere Gallery will continue to drive innovation through online partnerships and lectures and cutting edge presentation of vintage and older photographs in a luxurious setting. Take a virtual gallery tour of Lumiere here. Robert Yellowlees, former board member of Aperture Foundation, Atlanta’s High Museum of Art and the Woodruff Arts Center, has been a collector himself for 35 years and he knows what collectors like. Atlanta is the perfect city to locate an innovative, yet classically oriented gallery. Atlanta is one of just a few cities that celebrate photography to the extent it does. For 12 years Atlanta has held a city-wide event called Atlanta Celebrates Photography. The Atlanta Celebrates Photography website explains, “Each October, Atlanta is transformed by over 150 photo-related exhibitions and events, including a core of Atlanta Celebrates Photography programs hosted by a diverse network of venues across the Atlanta metro area.” The events held during the 2010 festival are listed in the Atlanta Celebrates Photography Festival Guide (pdf). The backbone of Atlanta Celebrates Photography’s annual festival are its programs, nearly all of which are free and open to the public. Programs include a photography auction, Atlanta Celebrates Photography Collaborations, the Film Series, Greenhouse, Knowledge Series, Lecture Series, My Atlanta, Public Art Program, Portfolio Review and Walk, Spotlight Series and many others. Thank you, Lumiere Gallery and thank you, Atlanta.
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December 1st, 2010 · Exhibitions and Other Events
Scott Nichols Gallery presents “An Illustrated View Of Yosemite National Park”
In light of all the recent and ongoing controversy over the Ansel Adams negatives and who made them, Scott Nichols has curated a diverse, yet in some ways similar combination of photographic visions of Yosemite National Park.
An Illustrated View Of Yosemite is a group show featuring photographs by Ansel Adams and Earl Brooks. The exhibition also includes vintage prints by Paul Caponigro, Judy Dater, Philip Hyde, William Henry Jackson, Eadweard Muybridge, Alan Ross, John Sexton, Isaac Tabor, Brett Weston, Edward Weston, Carleton Watkins and others…
November 4 – December 31, 2010
49 Geary Street
San Francisco, California 94108
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November 16th, 2010 · Exhibitions and Other Events
Rare Philip Hyde Original Black and White Vintage Prints, Original Dye Transfer Prints, Original Cibachrome Prints and Archival Fine Art Digital Prints:
Philip Hyde’s Mountain Landscapes
Camera Obscura Gallery
1309 Bannock Street, Denver, CO 80204
Across from the Denver Art Museum
October 1–November 13, 2010. EXTENDED TO November 20.
Philip Hyde, American Landscape Photographer and Conservationist, b. 1921 d. 2006
Philip Hyde’s black and white prints were first exhibited at the San Francisco Museum of Art in 1950 in a two-man show with his California School of Fine Arts classmate Bob Hollingsworth. Later his photographs were exhibited with Minor White, and with the members of Group f64 who were his photography school instructors such as Edward Weston, Ansel Adams, Dorothea Lange, Imogen Cunningham and other definers of the medium. Minor White, also curated several exhibitions of his work for major museums in the Eastern U. S. including George Eastman House and the Metropolitan Museum of Art. Philip Hyde’s color prints have also been widely exhibited and collected by major national museums. His photographs are part of over 50 permanent collections.
For a complete description of the show and more information about Philip Hyde’s Mountain Landscapes at Camera Obscura Gallery see the blog post, “Vintage And Digital Prints Together In One Show.”
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