Fine Art Photography Collector's Resource

A Resource for Collectors of Fine Art Photography, The Landscape Photography Of Philip Hyde And His Colleagues

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New Steidl Golden Decade Book Sells Out First Print Run

March 13th, 2018 · Special Announcements

New Steidl Golden Decade Book Sells Out First Print Run

With 2016-2017 Golden Decade Book Signing Events and Exhibits at the famous Strand bookstore in New York City, Smith Andersen North Gallery in Marin County, Laguna Art Museum, Minnesota Street Project in San Francisco by Casemore and Kirkeby, the San Francisco Art Institute and the Bankhead Theater Gallery at the Livermore Valley Performing Arts Center, the Steidl book redesign of The Golden Decade: Photography at the California School of Fine Arts 1945-1955 has sold out the first print run of 2,400 and will go into a second printing.

Winter Forest Near Badger Pass, Yosemite National Park, Sierra Nevada Mountains, California, 1949 by Philip Hyde. Featured in The Range of Light” (1992) by Philip Hyde with Selections From the Writings of John Muir and in “The Golden Decade: Photography at the California School of Fine Arts 1945-1955” (2010 and 2016).

In collaboration with publisher Gerhard Steidl of Göttingen, Germany, Golden Decade book editors Ken Ball and Victoria Whyte Ball, along with the seven living Golden Decade photographers John Upton, Gerald Ratto, David Johnson, Stan Zrnich, Charles Wong, Stephen Goldstein and Zoe Lowenthal, arranged events and signed books all over California and in several other states beginning at the iconic Strand bookstore in New York City on October 29, 2016. To read a book review and summary of The Golden Decade see the blog post, “The New Golden Decade by Steidl Book Review.” To learn the background of the Golden Decade name, more about the authors, the publisher and the art school then called the California School of Fine Arts, later renamed the San Francisco Art Institute, the instructors and a full list of the photography students whose work appears in the book, read the blog post, “The Golden Decade Book to be Published by Gerhard Steidl.”

After New York, the Golden Decade came home to San Francisco, which was made possible through the City’s newest, most innovative contemporary art complex at the Minnesota Street Project. At the Minnesota Street Project, museum installation expert and gallerist Stefan Kirkeby of Smith Andersen North Gallery had co-founded the Casemore Kirkeby Gallery for contemporary photography with Julie Casemore. Soon after, Stefan Kirkeby having hosted Golden Decade shows at Smith Andersen North Gallery, helped Ken and Victoria Whyte Ball arrange for a special Golden Decade exhibition in its own separate space at the Minnesota Street Project.

Meanwhile, Golden Decade photographer John Upton made arrangements with the Laguna Art Museum for a Golden Decade show to run from February through May, 2017. On March 1, 2017, at the San Francisco Art Institute, Ken and Victoria Whyte Ball, Jeff Gunderson, Stefan Kirkeby and Golden Decade photographers John Upton, Stephen Goldstine, David Johnson, Charles Wong, Gerald Ratto and Stan Zrnich led a panel discussion. For more about other Golden Decade events and the photography program, the first of its kind in the world, founded by Ansel Adams with lead instruction by Minor White with help from luminaries Edward Weston, Dorothea Lange, Imogen Cunningham, Lisette Model and others, see the blog post, “Golden Decade Shows at Laguna Art Museum and Minnesota Street Project.”

Interest in the Golden Decade has remained high ever since the first contemporary group show in 2010, when a self-published version of the book came out. For more about the overwhelming success of that first show of the new millennium, see the blog post, “Over 500 People Attend the Golden Decade Show.” Stay tuned for announcements about new exhibitions currently in the works for upcoming years.

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Philip Hyde in Photography and America’s National Parks Exhibition–Programs and Lectures

June 6th, 2016 · Exhibitions and Other Events

Photography and America’s National Parks Exhibition at George Eastman Museum

Programs and Lectures

Dune at Granite Falls, Grand Canyon National Park, Arizona, copyright 1956 by Philip Hyde. Color version featured in Time and the River Flowing: Grand Canyon, the 1964 book that helped galvanize worldwide opposition to two proposed dams in the Grand Canyon. This photograph will be featured in Photography in America’s National Parks and is part of the George Eastman Museum permanent collection.

Dune at Granite Falls, Grand Canyon National Park, Arizona, copyright 1956 by Philip Hyde. Color version featured in Time and the River Flowing: Grand Canyon, the 1964 book that helped galvanize worldwide opposition to two proposed dams in the Grand Canyon. This photograph will be featured in Photography in America’s National Parks and is part of the George Eastman Museum permanent collection. (Click on image to see larger.)

George Eastman, founder of the Eastman Kodak Company, popularized photography and earned two stars on the Hollywood Walk of Fame for the invention of roll film. Eastman also invented the roll film holder, developed the dry plate technology that simplified the mechanics of photography and created bromide paper, which became a standard in the industry. Eastman’s transparent film enabled Thomas Edison to perfect the kinetoscope, the forerunner of the motion picture.

Eastman established a $200,000,000 industry and devoted most of his life to philanthropy. His gifts made the University of Rochester and MIT into first tier schools. His donations were the largest of the 1920s in support of the education of African-Americans. He established dental clinics for children around the globe and founded the medical and dental school at the University of Rochester. He organized community music instruction and concerts. He built the Eastman Theater, still one of the most eloquent concert halls in the U.S.

After his death, the state of New York converted the George Eastman House into the second museum in the world to exhibit photography after the Museum of Modern Art in New York City. The George Eastman Museum was also the second museum in the world to collect and archive motion pictures. The George Eastman Museum has developed one of the world’s largest photography collections with a total of several million objects, including over 450,000 photographs from the beginnings of the medium in 1839 to the present. The collection also includes more than 28,000 motion pictures, one of the leading libraries of cinema and photography books, as well as an extensive archive of George Eastman’s documents and memorabilia. Each year now the museum presents at least ten curated exhibitions. However, in the early days of the museum exhibitions were much less frequent.

While Beaumont Newhall was head curator and Minor White was an assistant curator in 1957 the George Eastman Museum hosted a solo exhibition of 25 black and white prints by Philip Hyde. George Eastman Museum purchased three of Hyde’s silver gelatin prints for its permanent collection.

In 2010, David Leland Hyde, Philip Hyde’s son and executor of his estate, contacted the previous curator of the George Eastman Museum to inquire as to the status of the three black and white prints in the museum collection and gather more information from the museum records about the 1957 show. The museum did not have the prints on display or online, but they did exist in the archives.

Now in 2016, to celebrate the 100th Anniversary of the National Park Service, the George Eastman Museum is hosting an exhibition called Photography and America’s National Parks that includes the photography of the early pioneers, the famous modernists and many contemporary photographers. For a list of all of the photographers in the show see Philip Hyde in Photography and America’s National Parks Exhibition at the George Eastman Museum.

To compliment the show, the museum has co-published with Aperture, Picturing America’s National Parks with introductory essay by curator Jamie M. Allen.

David Leland Hyde wrote about the exhibition for the June Special National Parks Issue of Outdoor Photographer magazine. David Leland Hyde also wrote a special feature article about Philip Hyde’s role in the conservation campaigns that helped make more national parks and wilderness than any other photographer. Pick up a copy soon as special issues of Outdoor Photographer are known to sell out.

Lectures, Artist Talks and Special Events


A special preview party for the Photography and America’s National Parks exhibition will be held at the museum on Friday, June 3, from 7 to 9 p.m. Curator Jamie M. Allen will provide an overview of the exhibition, and guests will enjoy access to the galleries, cash bar, light refreshments, and live music. Free to museum members. Tickets: $15, $10 for students with student ID. Reservations are encouraged at (585) 234-6064.


The museum is offering a variety of lectures. Topics include a travelogue of Yellowstone, the history of Kodak Picture Spots, and how the staff prepared the works for display in the exhibition. Talks by photographers John Pfahl, Willie Osterman, and Sean McFarland offer the opportunity to learn about the works on view from the artists themselves. All of these programs are free to members and included with museum admission.

Saturday, June 4, 2 p.m. Artist’s Talk: John Pfahl Buffalo-based photographer John Pfahl explores our relationship to the landscape as framed with the photographic lens. Book signing to follow. Generously sponsored by Dawn Lipson.

Saturday, July 9, 2 p.m. Wish You Were Here—Special Edition: Yellowstone Travelogue with Tom Tischer Wish You Were Here photography lecture series sponsor Tom Tischer will share a slideshow of photographs from his travels to Yellowstone National Park.

Saturday, July 23, 12 p.m. Focus 45: Framing America’s National Parks Emily Phoenix, the museum’s chief object preparator, will discuss framing photographic objects in Photography and America’s National Parks.

Thursday, August 25, 4 p.m. Artist’s Talk: Willie Osterman Willie Osterman, photographer and professor in the photographic arts department at RIT, will join associate curator Jamie M. Allen for a gallery talk about his work. Generously sponsored by Dawn Lipson.

Saturday, August 27, 12 p.m. Focus 45: Kodak Picture Spots and the Perfect Picture Leslie K. Brown will discuss the history of these iconic signs, from their use as roadside markers in the 1920s to their installation in national parks, world’s fairs, and theme parks.

Thursday, September 22, 6 p.m. Wish You Were Here: Sean McFarland Sean McFarland will discuss his work, which explores the relationships between history, photography, and the representation of landscape. Exhibitions open until 8 p.m. Free for students w/ ID. Generously sponsored by museum member Thomas N. Tischer.


Sunday, July 31, 2 p.m. Music in the American Wild This new music initiative honors the centennial of the National Park Service. Seven performers and eleven composers—all affiliated with Eastman School of Music—have come together to bring works inspired by the national parks to communities across the country. Under the leadership of flutist Emlyn Johnson, Music in the American Wild will premiere these works on a summer 2016 tour including performances at Mammoth Cave, Great Smoky Mountains, Shenandoah, and Mount Rainier National Parks, as well as the Smithsonian American Art Museum (Washington DC) and the Eastman Museum. FREE admission to concert. Museum admission on July 31: $10 (adults & seniors).


Throughout July and August, the Dryden Theatre is screening films shot in national parks and national forests. Widely diverse stylistically and thematically—from Howard Hawks’s The Big Sky to Spielberg’s Close Encounters of the Third Kind—the ten films in the series celebrate the beauty and the wildness of these lands which refuse to be tamed even by the mighty hands of Hollywood. Tickets: $8 general, $6 members, $4 students. * Dryden Kids screenings free for 17 & under.

Friday, July 15, 8 p.m. Zabriskie Point (Michelangelo Antonioni, 1970)

Wednesday, July 20, 8 p.m. The Big Sky (Howard Hawks, 1952)

Sunday, July 24, 2 p.m. * Shane (George Stevens, 1953)

Wednesday, July 27, 8 p.m. Jeremiah Johnson (Sydney Pollack, 1972)

Sunday, August 7, 2 p.m. * Close Encounters of the Third Kind (Steven Spielberg, 1977)

Saturday, August 13, 8 p.m. Easy Rider (Dennis Hopper, 1969)

Saturday, August 20, 8 p.m. The Thing (John Carpenter, 1982)

Sunday, August 21, 2 p.m. * E.T. the Extra-Terrestrial (Steven Spielberg, 1982)

Friday, August 26, 8 p.m. Dances with Wolves (Kevin Costner, 1999)

Wednesday, August 31, 8 p.m. Starship Troopers (Paul Verhoeven, 1997)


Published in partnership with Aperture, this book traces the relationship between photography and the national parks and features stunning photographs of America’s most beloved landscapes. An informative essay from exhibition curator Jamie M. Allen describes the role of photography in promoting America’s national heritage, land conservation, and wildlife preservation. This book is available for $50 ($45 members) in the Eastman Museum Store or online at


George Eastman Museum
Los Angeles Times
Philanthropy Round Table Hall of Fame
Antiques, The Magazine

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Philip Hyde in “Ansel Adams: Before and After” at the Booth Museum

December 15th, 2015 · Exhibitions and Other Events

Ansel Adams: Before and After

75 Ansel Adams Prints + Group Exhibition at the Booth Western Art Museum

The Booth Western Art Museum charged $10 per person for the opening and it SOLD OUT with 400 people.

Aspens, San Miguel River, San Juan Rockies, Colorado, 1974 by Philip Hyde. Courtesy of Lumiere Gallery.

Aspens, San Miguel River, San Juan Rocky Mountains, Colorado, 1974 copyright Philip Hyde Photography. Courtesy of Lumiere Gallery.

The second largest museum in Georgia, the Booth Western Art Museum, affiliated with the Smithsonian Institute and Smithsonian Museums in Washington D.C., presents a precedent setting exhibition of Ansel Adams photographs with the photographs of those who influenced and were influenced by him. For more details about the show contents, the accompanying lectures, events and the influence of Ansel Adams, Philip Hyde and other prominent names from the beginnings of Modernism see the Landscape Photography Blogger blog post, “Philip Hyde in ‘Ansel Adams: Before and After’ at the Booth Western Art Museum.”

November 14 – April 3, 2016

The Booth Western Art Museum
501 Museum Drive
Cartersville, Georgia  30120

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SFO Museum Exhibits Philip Hyde: Mountains And Deserts

March 2nd, 2015 · Exhibitions and Other Events

SFO Museum, San Francisco International Airport, Exhibits “Philip Hyde: Mountains And Deserts”

Snow On Cinders And Cinder Cone, Nevada, copyright 1962 Philip Hyde. Publicity photograph for the 2015 SFO Museum exhibit, "Philip Hyde: Mountains And Deserts."

Snow On Cinders And Cinder Cone, Nevada, copyright 1962 Philip Hyde. Publicity photograph for the 2015 SFO Museum exhibit, “Philip Hyde: Mountains And Deserts.”

On recommendation by gallerist and museum exhibition installer Stefan Kirkeby, Ramekon O’Arwisters, curator of exhibitions at the SFO Museum, San Francisco International Airport, invited me to help him curate an exhibition of photographs by my father, American wilderness photographer Philip Hyde. The SFO Museum is the only accredited museum in an airport. The museum puts on over 40 shows a year in the four airport terminals at SFO.

Like Kirkeby’s gallery Smith Andersen North, the SFO Museum has also already shown the work of a few other Golden Decade photographers including William Heick, Benjamen Chinn, Pirkle Jones, and Stan Zrnich. For more information about the Golden Decade read the blog post, “The Golden Decade: Photography At The California School Of Fine Arts.”

The Philip Hyde show includes a mixture of original darkroom vintage silver gelatin prints and authorized archival chromogenic prints for a total of 12 matted and framed prints, all 16 X 20 in size. Besides the Golden Decade photographers, the SFO Museum has exhibit some of the biggest names in fine art photography such as Edward S. Curtis, Linda Connor, Michael Kenna, Fred Lyon, Russell Lee, Fan Ho, Sean McFarland, Art Rogers, Barbara Morgan, John Sexton, Chris McCaw, Imogen Cunningham, Wynn Bullock, Olivia Parker and others. See the complete show online, “Philip Hyde: Mountains And Deserts.”

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This Land Is Our Land: Philip Hyde And The American Wilderness At Smith Andersen North Gallery

January 24th, 2014 · Special Announcements

This Land Is Our Land: Philip Hyde And The American Wilderness

Smith Andersen North Gallery
San Anselmo, Marin County, California

January 25 – March 1, 2014

Opening Reception: January 25, 6 – 9 pm

Grand Canyon From Point Imperial, Grand Canyon National Park, Arizona, copyright 1964 Philip Hyde.

Grand Canyon From Point Imperial, Grand Canyon National Park, Arizona, copyright 1964 Philip Hyde.

Philip Hyde defended the Western American wilderness with a camera for nearly 60 years, working with the National Audubon Society, Wilderness Society, Sierra Club, and other environmental organizations. He studied at the California School of Fine Arts, now the San Francisco Art Institute, in Ansel Adams’ ground breaking photography program with Minor White as lead instructor and Edward Weston as field mentor. Imogen Cunningham, Dorothea Lange, Lisette Model and other notable West Coast photographers were guest lecturers. This training gave Philip Hyde a solid creative foundation for evolving into one of America’s most respected landscape photographers.

Philip Hyde’s photographs helped protect the Grand Canyon, Point Reyes National Seashore, Redwood National Park, North Cascades National Park, Canyonlands, Big Sur, the Wind River Range, Sequoia National Park and many other national treasures included in  more wilderness campaigns than protected by any other photographer of his time. It all began when David Brower and Richard Leonard of the Sierra Club sent Philip Hyde on the first assignment ever for an environmental cause to Dinosaur National Monument where the canyons of the Yampa and Green Rivers were threatened by two proposed dams.

David Brower called Philip Hyde his “go-to photographer,” because when the Sierra Club needed to look closer or show the public an area’s natural beauty, Philip Hyde, young, eager and hungry, dropped everything and traveled across the West capturing sensitive lands on film, thereby becoming one of the primary illustrators of the Sierra Club Exhibit Format Series. The Sierra Club Books Series, originally conceived by Ansel Adams, Nancy Newhall and David Brower, became the public face of the fledgling modern environmental movement during the 1950s and 1960s.

Color photography became an important feature of the Sierra Club Books when color reproduction quality improved enough that David Brower and the Sierra Club publications committee encouraged Philip Hyde and Eliot Porter to envision their book projects in color to more powerfully amplify environmental campaigns. Philip Hyde and Eliot Porter were responsible for establishing color landscape photography as an art in its own right.  Philip Hyde’s compositions inspired a generation of photographers, both directly and indirectly, and his techniques are still emulated in current landscape photography today.

Philip Hyde’s images have appeared in more than 80 books and over 100 other publications, including Aperture, the New York Times, Life, National Geographic, Fortune, and Newsweek. Not only did Philip Hyde receive many awards and honors throughout his career, his photographs were shown in major museums and galleries nationwide, including the Smithsonian Institution and the Metropolitan Museum of Art.

David Leland Hyde, Philip Hyde’s son, will speak at the Smith Andersen North opening reception on January 25. David Leland Hyde is an accomplished photographer in his own right, a photo historian and ambassador of his father’s photography to the world’s best galleries, museums and collectors.

For more details see the blog post, “Major Northern California Philip Hyde Exhibition.”

This Land Is Our Land: Philip Hyde And The Wilderness West

January 25 – March 1, 2014

Opening Reception January 25, 6 – 9 pm

Presentation At 7 pm

Smith Andersen North Gallery
20 Greenfield Avenue
San Anselmo CA 94960
415 455 9733

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New Release: Rainbow Bridge From The Upstream Side (Color)

June 20th, 2013 · Special Announcements

New Release: Rainbow Bridge From The Upstream Side (Color)

“Rainbow Bridge From The Upstream Side, Now Rainbow Bridge National Monument, Utah, (Color) 1965” from the Sierra Club Exhibit Format Series book, “Navajo Wildlands: As Long As The Rivers Shall Run” by Stephen C. Jett and Philip Hyde.

Rainbow Bridge From The Upstream Side, Now Rainbow Bridge National Monument, Utah, (Color) 1965 by Philip Hyde.

The Special Edition Archival Fine Art Digital Prints made by David Leland Hyde and Carr Clifton, a 30-year friend and protege of Philip Hyde, are rare and limited in a unique way. They are limited through pricing. The regular prices only apply to the first 10 prints of each photograph. Each time 10 prints sell of each image, that particular photograph goes up $100 in all sizes. For more specifics on pricing and further information about the unique archival fine art digital prints see the blog post, “About Archival Fine Art Digital Prints.”

Philip Hyde Photography is proud to present an archival fine art digital print of “Rainbow Bridge From The Upstream Side, Now Rainbow Bridge National Monument, Utah, (Color) 1965.” To read more about the making of this vintage photograph go to the blog post, “The Making Of Rainbow Bridge From The Upstream Side.” This photograph was never printed by Philip Hyde himself. Therefore, this release of archival digital prints enables collectors to have this historically important photograph for the first time. When first released in August 2010, this photograph came out as a limited edition. Now that all Philip Hyde authorized archival digital prints are made in limited editions in the two largest sizes, 24X30 and 32X40, this photograph is also available as a limited edition in the 24X30 size only and as a numbered special edition in all other sizes. This photograph is not available as a 32X40 print.

First published on August 9, 2010, which would have been Ardis Hyde’s 85th birthday.

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Photography Galleries, Collectors, Appraisers And Digital Prints

March 12th, 2013 · Collecting How-To

Background On Lorraine Anne Davis Of Black And White Magazine And Her Article On Digital Prints

Lorraine Anne Davis MA, MFA, a fine art photography appraiser doing business as Archive & Collection Management, LLC, with offices in Los Angeles, Santa Fe, Houston and New York has been appraising photographs and photography collections since 1984. She writes feature articles and two regular columns on appraising photographs for Black and White Magazine: For Collectors of Fine Art Photography and has contributed to many academic publications. She studied under Amy Conger, PhD and Peter Bunnell at Princeton. She printed for the Chicago Albumen Works and worked as Bernice Abbott’s printer and archivist. She also was the assistant director of the Paul Strand Archive, a curator for Galerie zur Stockeregg in Zurich, Switzerland and the Pfeifer Collection also in Zurich. She is a fully Accredited Specialist of Photography in the Appraisers Association of America and carries a Uniform Standards of Professional Appraisal Practice (USPAP) certificate as set by the Appraisal Foundation in Washington, D.C. She has signed and adheres to the AAA’s Code of Ethics. She is available for lectures and workshops on appraising, preservation of photographs and collection management for collectors and institutions.

In the April 2009, Issue 66 of Black and White Magazine, Lorraine Anne Davis wrote an article for her column titled, “Concerning Digital Reprints.” In the article, Davis wrote that there is no longer any argument against the legitimacy of digital prints in general, but there is still a question regarding digital “’reprints’ by photographer’s estates or of public domain images whose negatives were created to be rendered in traditional analog processes.” She mentioned that Imogen Cunningham’s Estate, the Ansel Adams Gallery and Edward S. Curtis’ public domain image printers were producing digital prints. She made the argument that these digital prints were not only of little value themselves, but that they were undermining the value of the “original” hand-made prints by the artists themselves.

The Effect Of Digital Prints On Value Of “Original” Prints By Ansel Adams, Imogen Cunningham And Edward S. Curtis

While I have much respect for Davis and for those who admire her, which are numerous in the industry, not to mention that she has been helpful to me; in this case, based on considerable evidence, I disagree with part of what she wrote and agree with part of it too. In the case of the Ansel Adams Trust, the production and sales of their “digital replicas” that are high quality digital photographs of Ansel Adams’ prints, have had zero negative impact on the value of Ansel Adams’ hand-made darkroom silver gelatin prints. In fact, the digital prints and their promotion has brought more attention to Ansel Adams’ work and allowed for a wider economic diversity of buyers and gallery patrons. Since it is difficult to find some Ansel Adams prints, the digital prints also make more of the images readily available.

Scott Nichols of the Scott Nichols Gallery in San Francisco, who also happens to have the largest private collection of Brett Weston prints in the world, said that Imogen Cunningham’s heirs “flooded the market with cheap digital prints” and this devalued her collectible “original” prints. Certainly I have heard from a number of sources that Imogen Cunningham’s heirs have made a number of mistakes in representing her, but I imagine they are sincere in trying to do right by her work, which can be proven by the reality that they corrected course and changed the way they are offering the digital prints. Imogen Cunningham digital prints are no longer available through Pottery Barn and other online discount art retailers. Meanwhile, black and white prints by Imogen Cunningham herself have retained and gone up in value during the recent downturn. They are still very strong in the market and may have been strengthened by all the publicity over the modern digital prints. As they say in journalism school, “All publicity, even bad publicity is good publicity.”

As for Edward S. Curtis’ digital prints, Davis herself said:

…In the case of Edward Curtis’ “original” digital prints, made from scans of original photogravures, there are so many vintage, original photogravures available of his work that to purchase a digital facsimile is similar to purchasing a facsimile of the American Constitution when one visits Philadelphia as a tourist. The facsimiles produced for wall decoration might be pleasant enough, but anyone who collects photographs, even on a small scale, can for the same amount of money buy an original work of art.

In other words, Edward S. Curtis’ vintage photogravures are already so common and worth so little that digital prints were equal to them in value when they were first issued. In this case, obviously the digital prints do not devalue the “original” prints. If anything, the issue of the digital prints may spark more sales of the photogravures.

How Are Digital Prints Valued? Are They Collectible?

Davis goes on to delineate one aspect of print value:

The value of a photographic print is affected by the type of print it is, whether it is an “original” executed directly by the artist, or under the artist’s supervision, or it is one, two or more generations removed from the original.

One evening at an opening at Smith Andersen North Gallery, Stefan Kirkeby introduced me to a collector interested in vintage black and white prints from photographers like my father who were students of Ansel Adams and Minor White in the first 10 years, now called the Golden Decade, of the revolutionary professional creative photography program at the California School of Fine Arts, now the San Francisco Art Institute. This collector said that he did have digital prints in his collection, but that he did not want digital prints of that era. I don’t blame him for not wanting digital prints from that era when he could afford vintage darkroom silver prints. However, what he did not realize is that unlike many of the other Golden Decade photographers, my father, pioneer landscape photographer Philip Hyde’s renown was not limited only to the time period when he was making black and white prints as an apprentice to Ansel Adams and Minor White. Ansel Adams had more students than any other photographer in history. Yet Dad is known for being one of only three of Ansel Adams’ thousands of students who Ansel Adams invited to teach side-by-side with him in his Ansel Adams Workshops in Yosemite Valley. Dad is also known for participating in more environmental campaigns than any other photographer, making many national parks and more wilderness than any other photographer, being the primary contributor to the Sierra Club Exhibit Format Series that popularized the coffee table photography book, and perhaps most pertinent to this discussion, Dad is known, along with Eliot Porter for having introduced color to landscape photography.

Most of the archival lightjet and digital prints we make are of the most prominent color images that are nearly out of stock or sold out now because Dad made so few dye transfer and Cibachrome prints of them to begin with. He made in nearly all cases only 2-8 prints of each image. The other archival lightjet and digital prints we make are of Dad’s damaged or age-faded original color film transparencies. A relatively few of our digital prints are made from the black and white negatives, in fact nearly all of the black and white digital prints are made from scans not of the negatives, but of Dad’s prints. I would not suggest to the collector to acquire archival lightjet or digital prints instead of vintage prints, but rather to consider them whenever the “original” color prints are no longer available. For the lovers of darkroom silver gelatin prints, we plan to come out with modern black and white prints of some of Dad’s photographs too, those of which we have no more prints available.

Provenance Of Philip Hyde Archival Lightjet And Digital Prints

Our color archival lightjet and digital prints are made by master landscape photographer Carr Clifton, who has been a photographer now for more than 35 years and a digital printer for over 15 years. His mother introduced him to my father when he was a young teenager before he even had a camera. He had made a number of home movies but told his mother that he thought he would rather be a still nature photographer. He received advice on a starter camera, photography school and other aspects of getting started from Dad and this began a life-long mentor relationship and friendship.

The Sierra Club’s printer, Barnes Press, in 1966 had damaged two of Dad’s original color film transparencies from the Exhibit Format Series Book, Navajo Wildlands. Someone at Barnes Press had mishandled the transparencies with their bare hands and put fingerprints in the sky of the photographs, “Horse at the Mouth of Canyon de Chelly” and “Stormlight, Canyon de Chelly,” two of Dad’s most important images. Starting in 1998, using Photoshop, Carr Clifton restored the sky and removed the fingerprints. He then made large, detailed, sharp as any ever, digital prints of the two photographs. My father was blown away. Marveling at the new technology, he authorized Carr Clifton to print digital prints eight years before his death in 2006 and two years before he lost his eyesight in 2000. Dad even signed at least five, maybe a few more of the digital prints. Since they were authorized and overseen by Dad, just as Lorraine Anne Davis mentioned in her article, our archival lightjet and digital prints cannot be considered posthumous prints, but have collector value as photographer authorized prints. Having Carr Clifton and myself printing my father’s photographs is comparable to the printing of Edward Weston’s prints by Brett Weston and Cole Weston.

For more on our process, intent and the provenance of our archival lightjet and digital prints, see the blog post on Landscape Photography Blogger called, “Why Photography Galleries, Curators And Collectors Like Limited Editions.”

Why and How Intent Impacts Print Value

In her article Davis quotes Richard Benson’s writing about his 2009 exhibition at the Museum of Modern Art in New York called The Printed Picture:

When a picture is skillfully made drawing or painting, its meaning surely derives to a huge degree from the intention of its maker. But when a picture is a reproduction of a drawing or a painting, the case is very different, because the form and therefore the meaning of this second generation picture are then heavily influenced by the technology used to produce the reproduction… When the picture-making system is photography, though, everything becomes muddled, because even in original work—photographs taken out in the world—the mind of the maker has to share the driver’s seat with the form of the picture as it is shaped by the technology of photography. And when a photograph is reproduced, things get more difficult, because such reproductions can only be made by re-photographing the photograph. It then becomes very hard to tell whether the person doing the reproduction or the technology itself might be in charge.

While this may be somewhat Orwellian in perspective, it certainly describes much of what is happening with not only digital photography today, but with Photoshop and other post-processing computer technology. Meanwhile, Davis goes on to clarify her position:

As an appraiser, I feel it is safe to say that high-end, artist-made or controlled reproductions will maintain their relative value as compared to the originals. However, one should be aware that when purchasing reproductions of a photograph, no matter what technology was used, that the intent will influence the value.

To this end, we have worked extremely hard and spent tens of thousands of dollars to be sure to apply my father’s aesthetics to our printing process and to match how he printed his dye transfer and Cibachrome prints as closely as we can when we are “developing” or “post-processing” in Photoshop the archival high resolution drum scans of Dad’s original color film transparencies to be made into either archival lightjet prints or archival digital prints. For more on our intent, our process and what steps we have taken to cause Philip Hyde archival prints to go up in value and increase attractiveness over time for collectors see the blog post also mentioned above, “Why Photography Galleries, Curators And Collectors Like Limited Editions.”

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The History of Collecting Photography 1

November 29th, 2012 · History of Photography

Of All Art Forms, Photography Has Proven One Of The Most Profitable And Satisfying To Collect…

The art of collecting photography has followed the medium in an upward climb in popularity throughout its existence. But how did photography collecting begin? Who were the first collectors? What were the first photographs collected?

In The History of Photography, Beaumont Newhall presented various refinements of the history of daguerreotypes and some of the trends in their collecting demand. As far back as 1842, a Paris daguerreotypist’s studio was so popular that people often waited their turn for an hour or more to have their daguerreotype made. Furthermore, Newhall wrote:

Of all the countries, America adopted the daguerreotype with the most enthusiasm, and excelled in its practice. After the first attempts by Morse and Draper to take portraits, the Frenchman Francois Gouraud brought to America daguerreotypes taken by Daguerre and by himself which he exhibited in New York, Boston, and Prividence, RI, during the winter of 1839-1840. He gave demonstrations to packed audiences and sold apparatus; from him Americans learned Daguerre’s technique. Within a few years there were “Daguerreian Galleries” in leading American cities, and traveling daguerreotypists visited outlying communities.

Newhall described a number of improvements Americans made  to the process and how having a portrait made and collecting portraits became popular:

By 1853 there were 86 portrait galleries in New York City. Each American city and most of the larger towns boasted of several daguerrean galleries apiece, many of which were magnificently fitted out. Daguerreotypists vied with one another for the priviledge of making portraits of the famous. One of the largest collections wqas formed by Matthew B. Brady, a leather-case maker who opened a daguerreotype gallery in New York in 1944, and began to collect a Gallery of Illustrious Americans. It must not be assumed that all of the portraits in the collection were actually made by Brady. For years he had three galleries – two in New York and one in Washington – and employed many “operators,” as cameramen were called. He also constantly acquired, by purchase or exchange, portraits made in other galleries.

The popularity of the daguerreotype would not last long. Processes more adaptable to duplication with less danger of damage replaced fragile daguerreotypes. The rival paper process soon was perfected enough to allow the public to buy one print for the price of a dozen daguerreotypes.

Photography appraiser Penelope Dixon wrote in her essay, A Short History of Photograph Collecting that “collecting of photographs was practically simultaneous with the invention of photography.” For example, she said, “P. and D. Colnaghi, a well-established art gallery in London, sold photographs as early as the 1850s.” People exchanged and collected images of themselves, their friends and particularly their favorite celebrities. Travel photography was also an early collectible according to Dixon:

The very wealthy would set off on long excursions, “the grand tour”, and instead of taking their own photographs [the cumbersome and complicated equipment precluded this] they would purchase photographs of each place they visited, later putting them into large albums. An English gentleman’s album of the 1860s might include photographs by William Notman of Canada, Charles Clifford of Spain, Carlo Ponti and Fratelli Alinari of Italy and Felix Bonfils or A. Beato the Middle East. Many photographs were published in albums in the 19th century, presumably to be sold to institutions or wealthy private collectors. Photographic auctions also had their beginnings in the mid 19th century. The first auction of photographs took place in London in 1854. The first auction in America was a century later, The Marshall Sale, held by Swann Galleries in 1952.

Even though the US was a century behind on hosting auctions and connoisseurs on both continents still debated “photography as art,” by the early 20th century photographs had become firmly established as a collectible. American galleries were not as far behind as the auction houses. Alfred Stieglitz displayed photography in his various galleries next to the work of modern artists in New York from 1905 until his death in 1946. Others besides Stieglitz such as Julian Levy, ran a gallery in New York from 1931 to 1949 and introduced many photographers and others to collecting. From a few galleries in New York, London, Paris and other cities, we now find hundreds of galleries worldwide with large collector followings.

Museums began to establish ever larger collections, soon growing much bigger than the collections of private collectors. The world’s first photography museum, George Eastman House in Rochester, New York opened to the public in 1949 as an independent non-profit museum. It originally combined the landmark Colonial Revival mansion and gardens that George Eastman, the founder of Eastman Kodak Company, called home from 1905 to 1932. Now the museum is a National Historic Landmark and George Eastman is considered the father of modern photography and motion picture film. Having had the additions of entire archives, corporate collections and artist’s lifetime portfolios, the collection is now the largest in the world at over 400,000 photographs and negatives, as well as an extensive variety of rare motion pictures and ephemera. George Eastman House holds the largest collection of daguerreotypes or French plates outside France. The collection also includes original prints by William Henry Fox, inventor of the calotype process, other largest collections of rare calotype portrait pioneers such as D. O. Hill and Robert Adamson and other portrait studies by Julia Margaret Cameron, the French Masters including Gustave Le Gray and Henri Le Sacq, an extensive European topgraphical collection, and major photographic documents from the American Civil War, Alexander Garddner’s Photographic Sketchbook of the War and George N. Barnard’s Photographic Views of Sherman’s Campaign, as well as examples of Western expeditionary and landscape photographs by William Henry Jackson, Tomothy O’Sullivan, Carleton Watkins, Eadweard Muybridge and many others including modernist masters such as Ansel Adams and Philip Hyde.

The Metropolitan Museum of Art in New York City houses a photography department of over 25,000 treasures spanning the history of the medium from the 1830s to the present. The Metropolitan Museum of Art began collecting photographs in 1928, when Alfred Stieglitz, made the first of several significant gifts. In addition to his own photography, Stieglitz’ donations comprised the best collection of artists of the Photo Secession, the circle of Pictorialists originally shown at his gallery, including a rich set of master prints by Edward Steichen and other highlights including the work of F. Holland Day, Adolph de Meyer, Gertrude Kasebier, Paul Strand and Clarence White. The Met’s holdings include several other important collections including the Ford Motor collection with works by Berenice Abbott, Brassai, Walker Evans, Andre Kertesz, Laszlo Moholy-Nagy, and Man Ray. The Rubel Collection acquired in 1997 features superb examples of British photography from the first three decades of the mediums history. The Gilman Paper Company Collection acquired in 2005 was the world’s finest collection of photographs in private hands. It consists of over 8,500 holdings in early French, British and American photography as well as masterpieces from the turn-of-the-century and modernist periods. Many other major names and collections have come to reside under the Met’s roof such as the personal archive of Walker Evans, acquired in 1994, and the personal mid-century collection of photographer Diane Arbus, promised in 2007.

Museums and galleries both exhibited photography along side paintings and other art forms, but few exhibited photography only in the early days. It was not until 1963 that Hal Gould co-founded the non-profit Colorado Photographic Art Center in Denver, Colorado. The Colorado Photographic Art Center was one of the first galleries to exhibit photography exclusively. Hal Gould wrote that he began exhibiting the photography of the masters of the medium such as Imogen Cunningham, August Sanders, Philippe Halsman, Yosuf Karsh and others. As the market for photographic prints grew and the Colorado Photographic Art Center board voted not to sell prints, Hal Gould started the Camera Obscura Gallery, which has remained in business for over 50 years selling the work of prominent photographers to collectors. Philip Hyde participated in one of Hal Gould’s early exhibitions and was honored by Hal Gould as one of his last solo shows at Camera Obscura in 2010 just before the gallery closed with Hal Gould at age 90. Read more about Camera Obscura in the blog post, “Hal Gould And Camera Obscura: 50 Years Of Photography Advocacy.”

In The Photograph Collector’s Guide, Lee D. Witkin described how when he first opened Witkin Gallery in New York City in 1969 experts in the art field warned him, “There was little hope of a gallery making it… Six months, one year at most, was as long as I could expect to last—because no one collected photographs.” Lee D. Witkin wrote:

What I did have, however, along with the instincts of a professional, were the passions of a collector. Collecting (and every collector knows the symptoms) means seeking, desiring, wanting, yearning for, coveting, having to have…and–as soon as possible—acquiring, possessing, hugging to the bosom, and savoring with all the joys and prides of ownership. It is impossible to explain to someone who is not consumed by such passions why the purchase of a special painting, book or photograph takes priority over a trip to Europe, a new pair of shoes, or a gold inlay. We all know collecting art is not a pursuit basic for survival. However, it is an exquisite involvement with aesthetic achievements—a kind of mingling with the gods…. Photography is still relatively untapped. Many masterworks and gentler minor works have yet to be discovered and appreciated. A solid base for collecting and for future interest has been established not only by the serious activity of major museums and individuals, but also by educational programs. Many beginning collectors ask, “What should I collect?” My advice always has been and always will be: Collect what you like and trust your instincts. The good fortune of a young woman who years ago bought on instinct what is now a highly valued Imogen Cunningham print illustrates what I mean. She tells me whenever we meet, “I love my Cunningham—every day.

For more in-depth advice on collecting from Lee D. Witkin and The Photograph Collector’s Guide see the blog post, “The Experts On Starting A Photography Collection 1.” In addition, the blog post to come, “The Experts On Starting A Photography Collection 2” and others will examine pricing, rarity, types of editions, more collecting pointers, other methods for getting started and a list of resources and books for the collector. See also the blog post, “Photography And Art Dealers Rebound In 2010.”


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Golden Decade Photographers: The Legacy of Ansel Adams & Minor White

October 26th, 2012 · Exhibitions and Other Events, Galleries For Philip Hyde

Figurehead Gallery Presents:

The Legacy Of Ansel Adams And Minor White

Reception:  Sunday, November 4, 2012, 1-4 pm

Exhibit:  November 1-December 1, 2012


Buckskin Gulch, Paria River Canyon, Vermillion Cliffs Wilderness, Utah, copyright 1969 Philip Hyde. Baby Deardorff 4X5 large format view camera. Buckskin Gulch is the featured image on the announcement for The Legacy of Ansel Adams and Minor White show.

The Figurehead Gallery in Downtown Livermore is pleased to present an exhibit of photographs of the first students of the Photography Department at the California School of Fine Arts, now the San Francisco Art Institute. Founded by Ansel Adams, directed by Minor White, and staffed by such luminaries as Ansel Adams, Imogen Cunningham, Dorothea Lange, Lisette Model, and Edward Weston, the first photography department in the US to teach creative photography as a full-time profession began in 1945 at the California School of Fine Art, now the San Francisco Art Institute. The importance of the school and its influence, not only on West Coast Photography but on photography as a whole, has been far-reaching, lasting well into the 21st century. For more information see the blog post, “Figurehead Gallery Group Show: The Legacy of Ansel Adams & Minor White.”

The Figurehead Gallery
Old Theater Mall
2222 2nd Street, Suites 20 & 21
Livermore, CA 94550

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Lumiere Gallery Presents: Designed By Nature

July 10th, 2012 · Exhibitions and Other Events

Designed By Nature Exhibition

Lumiere Gallery
The Galleries of Peachtree Hills
425 Peachtree Hills Ave Building 5 Suite 29B
Atlanta, GA 30305

Group Exhibition: June 15, 2012 – August 18, 2012

Photographs by Wynn Bullock, Philip Hyde, Robert Glenn Ketchum, Bob Kolbrenner, Al Weber, Peter Essick, Tom Murphy and Robert Weingarten, and sculpture by David Hayes.

Dogwood, Sequoia Redwood Trees, Sequoia National Park, Sierra Nevada, California, copyright 1974 by Philip Hyde. An archival digital print of this photograph will hang with three other Philip Hyde prints in the group show.

“Everything that moves is a flow system. One that generate shape and structure in order to facilitate movement across a landscape filled with resistance. Flow systems have two basic properties… current that is flowing and the design through which it flows.” –From the book Design In Nature by Adrian Bejan and J. Peder Zane Rivers, lightning, trees and the human body all have a like architecture… >>read more>>

Lumiere Gallery Hours:
Tuesday – Thursday by appointment
Friday – Saturday 10 am – 4 pm Eastern

View information about the current exhibition showing at Plumas Arts’ Capitol Arts Center in the blog post, “Plumas Arts Reinvents The Capitol Club In Quincy, California.”

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