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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Minor White–Philip Hyde Letters

May 4th, 2012 · History of Photography

Correspondence Between Philip Hyde And His Mentor And Teacher Minor White

Philip Hyde first studied under Ansel Adams in the 1946 Summer Session at the California School of Fine Arts, now the San Francisco Art Institute. That Summer Session was also the first time Minor White attended a class taught by Ansel Adams. Minor White sat in on a few classes of the Summer Session and began to interact with Ansel Adams’ students. Ansel Adams observing how Minor White coached and worked with some of the students quickly phased Minor White into teaching. Minor White had already come highly recommended to Ansel Adams by Nancy and Beaumont Newhall, who knew Minor White from Columbia University and Minor White’s involvement with the influential circle of photographers in New York City that centered around Alfred Stieglitz. By the end of the Summer Session Ansel Adams had decided to turn the lead teaching role in the new Photography Department over to Minor White because Ansel Adams had just received a Guggenheim Fellowship to photograph the national parks.

At first the students attending the full-time program in the Fall of 1946 protested that they had chosen the school to study with Ansel Adams, as the California School of Fine Arts had advertised. However, as they began to hear what Minor White had to say and learn what he had to teach, they began to come around to appreciating Minor White in his own right. They also benefited from the added interest of having Ansel Adams drop in on class from time to time and debate with Minor White on their differing approaches to photography.

After attending the 1946 Summer Session, due to a mix-up with Philip Hyde’s application paperwork, he could not start in the first full-time class in the Fall of 1946. Minor White suggested to Philip Hyde that he use his G. I. Bill funding and attend classes at UC Berkeley during the year he would be waiting to start in the second full-time class at CSFA in the Fall of 1947. At UC Berkeley, Philip Hyde ran across a young lady he had met at a New Year’s party right after his December 1945 honorable discharge from the Army Air Corp of World War II. The young lady named Ardis King and Philip Hyde took a few classes together at UC Berkeley including a calligraphy and painting class from the famous Japanese painter Chiura Obata. Ardis King and Philip Hyde married in June 1947 and Philip Hyde started photography school that Fall. (Read more about the courses and their content in the series of blog posts starting with th blog post, “Photography’s Golden Era 6.” See also the blog post, “The Golden Decade: Photography At The California School Of Fine Arts.”)

Philip Hyde finished the three-year photography program in the Spring of 1950. After his graduation, he stayed in contact through correspondence and visits with Minor White, Ansel Adams and Edward Weston, Philip Hyde’s three primary mentors. Much later, beginning in 1970, Philip Hyde became one of only three California School of Fine Arts photography students who Ansel Adams invited to teach side-by-side with him in his prestigious and renowned photography workshops in Yosemite National Park and Carmel. The other two students from CSFA that taught with Ansel Adams were John Upton and Pirkle Jones. The files of correspondence after 1950 between Ansel Adams and Philip Hyde fill three large folders nearly two inches thick each. The letters between Edward Weston and Philip Hyde numbered less than a dozen because of Edward Weston’s failing health. Minor White and Philip Hyde had a more extensive correspondence, numbering somewhere between 20 and 30 letters each. To read the actual letters between Minor White and Philip Hyde please refer to the series of blog posts beginning with, “Minor White Letters 1.” Enjoy.


The Moment of Seeing: Minor White at the California School of Fine Arts by Stephanie Comer, Deborah Klochko and Jeff Gunderson

Ansel Adams: An Autobiography by Ansel Adams

Ansel Adams: A Biography by Mary Street Alinder

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New Philip Hyde Video

November 17th, 2011 · Special Announcements

Philip Hyde from Lumière on Vimeo.

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Guy Tal Interviews David Leland Hyde

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

Adobe Wall Detail, Taos, New Mexico, copyright 2009 by David Leland Hyde.

(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 for more info.”  –Stephen Trimble

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Lumiere Gallery Fall Exhibitions: Photography As Propaganda

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.

Great Overhang, Moqui Canyon, Glen Canyon, Utah, copyright 1964 Philip Hyde. After the gates of Glen Canyon Dam had closed and "Lake" Powell was filling. Prominent In Lumiere Gallery's Fall exhibition, "Messages From The Wilderness."

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
Lumiere Gallery
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
Atlanta, GA

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 for the latest information.

See Philip Hyde’s Lumiere Gallery Artist Page.

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Scott Nichols Gallery Summer Show 2011

July 20th, 2011 · Exhibitions and Other Events

The Scott Nichols Gallery Presents


Piers And Waterfront, San Francisco, copyright 1948 Philip Hyde. Digital Reproduction of a Vintage Print.

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
Fourth Floor
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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Pioneer Landscape Photographer Philip Hyde Now Represented By Peter Fetterman Gallery

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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Hal Gould And Camera Obscura: 50 Years Of Photography Advocacy

April 30th, 2011 · Exhibitions and Other Events

A Tribute And The End Of An Era For The Colorado Art Scene And American Photography

Hal Gould In The Camera Obscura Gallery, 2002, by Kurt Edward Fishback.

After nearly 50 years of educating and inspiring the public about photography and helping photographers develop their careers, Hal Gould and his staff have closed the renowned Camera Obscura Gallery of Denver, Colorado.

In 1963, Hal Gould co-founded the non-profit Colorado Photographic Art Center at 1301 Bannock Street in Denver, Colorado. The Colorado Photographic Art Center was one of the first galleries to exhibit photography exclusively. A total of 132 charter members and 200 regular members joined, officers were elected and Hal Gould became Executive Director with a salary of $1.00/year. Members hammered and painted a new interior and hung the first exhibition with Mathew Brady’s Civil War prints made by Ansco Corp. from recently discovered unpublished glass plates.

Ivan Dmitri was guest speaker at a fundraising banquet. He donated original photographs by Norman Cousins, Philippe Halsman, Ansel Adams, Ken Heyman, Walter Chappell and Bert Stern to begin what would become Camera Obscura’s permanent collection, one of the most diverse and extensive in a private gallery. Hal Gould explained in the January 2011 Camera Obscura Newsletter that the Colorado Photographic Art Center started 12 years before photography was first shown in a full-fledged fine art gallery—Richard Avedon’s “Chicago Seven” at New York City’s Marlborough Gallery in 1975. The Richard Avedon exhibition was a breakthrough for photography and a boon to the Colorado Photographic Art Center.

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, the Colorado Photographic Art Center sold some prints to help pay the rent and salary for the gallery attendant. However, for a non-profit this began to create a conflict of interest. One of the Colorado Photographic Art Center’s board members asked Hal Gould, “Why do you keep showing all these people we never heard of? We want to exhibit our own photographs and those of local photographers.” The Colorado Photographic Art Center board then voted in a motion that prevented Hal Gould from selling prints. Hal Gould resigned from the Colorado Photographic Art Center and opened Camera Obscura Gallery at 1309 Bannock Street in Denver, Colorado.

On June 7, 1980, over 300 people attended Hal Gould’s first Camera Obscura exhibition: “Birds In Flight” by landscape photographer Eliot Porter. In the months and years following, Hal Gould exhibited many of the greats of photography including Howard Bond, Ruth Bernhard, Judy Dater, Robert Capa, and at some point as part of a touring group show, pioneer landscape photographer Philip Hyde. For some years Camera Obscura was not able to hire any help and relied on volunteers for survival. Interns from the University of Colorado Denver, Denver University, Colorado State University, Art Institute of Colorado, Metro State, Red Rocks Community College and others helped develop Camera Obscura Gallery. Many volunteers worked with Hal Gould for decades including Loretta Young-Gautier, who started as a volunteer 18 years ago and quickly became indispensable and moved into a full-time paid position as Associate Director of Camera Obscura, working closely with Hal Gould as assistant curator, book buyer and editor of the Camera Obscura newsletter called “Photography in the Fine Arts.”

Hal Gould made many contributions to photography during his long leadership in Denver, Colorado. Camera Obscura was a center for photography education as curators and collectors received mentoring from Hal Gould. Hal Gould and his staff impacted and educated all of Colorado on the difference between pretty postcards and fine art photography. He also was one of the founders of AIPAD, the Association of International Photography Art Dealers, now the leading international organization of top photography galleries for the perpetuation of quality, integrity and photography advocacy.

One of the last exhibitions at Camera Obscura Gallery was “Philip Hyde’s Mountain Landscapes” in the Fall of 2010. This unique exhibition showcased Philip Hyde’s vintage black and white prints, original dye transfer and Cibachrome color prints and photographer authorized archival digital prints made by Carr Clifton.

Both Hal Gould and Loretta Young-Gautier are accomplished photographers in their own right having each exhibited in many prestigious venues and published in major magazines. The last exhibition at Camera Obscura Gallery featured Hal Gould’s life’s work and a retrospective by Loretta Young-Gautier. In the exhibition, a sampling of Hal Gould’s photography including portraits, nudes, landscapes, abstracts and travel pictures. Hal Gould’s sensitive eye for people and unusual subject matter make his work a delight. Loretta Young-Gautier’s photography is more experimental and other worldly. She often combines many exposures, working both with the traditional film darkroom silver print process and with digital print methods. Her often metaphysical and surrealistic compositions defy categorization but sometimes represent a Western theme incorporating horses, or pieces of clouds, etheric lighting, the moon in various phases and waterfalls at night. The psychological and spiritual implications and unusual symbolism draw the viewer into her work. One of the reasons for wrapping up the Camera Obscura experience at this time is for each of these two photographers to pursue their own work and for Hal Gould to write his memoirs.

Today, April 30, 2011, Camera Obscura hosted an open house as a final farewell to friends, patrons and volunteers. Hal Gould at age 90 was the vortex of the crowd as he has been at photography openings for almost 50 years. The table in the gallery offered a wide variety of hors d’oeuvres while the wine flowed and Hal Gould’s famous champagne punch added sparkle to the event. Tears filled many an eye at certain points during the celebration, but there was also a spirit of hope, relief and new possibilities as those close to Camera Obscura looked forward to other projects. It was indeed the end of an era for photography in Colorado and the West and the whole world. Long live Hal Gould and his team and may his generosity and advocacy for photography often be emulated and never forgotten.


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Black And White Prints, Collectors And Philip Hyde

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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Lumiere Gallery Now Representing Philip Hyde

January 31st, 2011 · Galleries For Philip Hyde

Mt. Denali, Reflection Pond, Denali National Park, Alaska, 1971 by Philip Hyde. From "Alaska: The Great Land" the Sierra Club book that helped expand Denali National Park and other Alaskan wilderness. This photograph was one that Lumiere Gallery displayed prominently in the Lumiere Gallery Holiday Collection.

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. 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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An Illustrated View Of Yosemite

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

Scott Nichols Gallery

49 Geary Street

San Francisco, California   94108


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