Comments on: About Archival Fine Art Digital Prints

By: 50 Percent Off Sale On Select Archival Digital Prints » Landscape Photography Blogger

Fri, 12 Aug 2011 14:52:58 +0000

[...] Most of the images mentioned below only have 1-2 prints left in the size mentioned. Please keep checking this post as sale items will change. Matted prints come with 4-ply archival hinge mats and 4-ply archival board backing. For more on why Philip Hyde’s authorized archival fine art digital prints from large format film originals are the best in the world see the blog post, “About Archival Fine Art Digital Prints.” [...]

By: Hal Gould And Camera Obscura: 50 Years Of Photography Advocacy

Hal Gould And Camera Obscura: 50 Years Of Photography Advocacy — Mon, 02 May 2011 22:35:57 +0000

[...] and white prints, original dye transfer and Cibachrome color prints and photographer authorized archival digital prints made by Carr [...]

By: Black And White Prints, Collectors And Philip Hyde

Black And White Prints, Collectors And Philip Hyde — Tue, 01 Mar 2011 21:31:29 +0000

[...] 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.” [...]

By: Tenth Digital Print Of “Virginia Creeper” SOLD » Landscape Photography Blogger

Tue, 14 Sep 2010 21:36:41 +0000

[...] under the tab INFO and About Archival Fine Art Digital Prints or see the blog post, “About Archival Fine Art Digital Prints” that contains similar [...]

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

Limited Edition New Release: Rainbow Bridge From The Upstream Side (Color) — Tue, 10 Aug 2010 06:40:28 +0000

[...] 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.” [...]

By: New Releases Now At Special Introductory Pricing » Landscape Photography Blogger

Thu, 29 Jul 2010 00:09:30 +0000

[...] age, scanning, processing and making archival fine art digital prints see the blog post, “About Archival Fine Art Digital Prints,” and the blog post, “New Philip Hyde Releases At Mountain Light Gallery [...]

By: David Leland Hyde

David Leland Hyde — Tue, 20 Jul 2010 22:38:30 +0000

Post Script to the previous comment. Richard just told me about various photographers who also raise the price every time 20-25 prints sell or so, including a photographer named Rodney Lough who “once had a rant on his website saying he didn’t believe in limited edition and that sort of pricing because it was ‘artificial pricing’ in his words. Once he started to sell a lot then he changed his tune.” I wrote Richard back that limited editions are the way collectors and galleries like it because then the work is rare and has more perceived value and better chance of hold and increasing in value. Mr. Lough probably changed his tune not just because he was selling more, but because he found out more about what serious art buyers look for. We all have to make a living. Some try to make a killing, which is not necessary. I have a very large hole to climb out of that I have put into this project. When I am selling a lot, I will take a fair salary, but most of the income will go toward preserving the original film, which will cost hundreds of thousands to do right. Besides, to me the price raises are much more about the prestige and recognition of the work than about making more money. the price raises will limit the number of prints produced and sold and make the work more exclusive. I need to get Dad’s photography up there playing with the big boys and girls if only so that the major art people take notice and get involved. Having the work in the best photography galleries in the country already is a big step in the right direction. Getting more of the major collectors and private dealers trading the work on the secondary market and donating it to the major museums will accomplish the ultimate goal of solidifying the work in the halls of immortality, assuring it will perpetuate down through the ages, which is exactly what people who knew Dad want, the people who are now familiar with the work want and everyone who acquires the prints will be happy to see.

By: David Leland Hyde

David Leland Hyde — Tue, 20 Jul 2010 22:19:17 +0000

Hi Richard, thank you. That is one of, if not the best comment yet on this blog. I also just replied to your e-mail. What you have said above is a great way to put it and a good way to look at it. Even if the monetary value never rises, you will have a keepsake that is special in time, unique to one little period in history, a history that will hopefully some day, God willing, be much more widely known to later generations and those to come, much as it was in late 1940s through the 1980s. As you have seen in person both at the Santa Monica and Mountain Light gallery exhibitions, these prints are breathtaking, magnificent and knock-your-socks-off awesome in person.

By: Richard Wong

Richard Wong — Tue, 20 Jul 2010 22:08:31 +0000

Hey David. I’m considering purchasing Cathedral in the Desert because the photo has such historical significance, I don’t want to one day go back and kick myself like someone would for not having bought Moonrise over Hernandez or some other famous print for $200 back in the day. I’ll be in touch shortly.

By: iPhoto | Digital Definition for Photographers

iPhoto | Digital Definition for Photographers — Mon, 19 Jul 2010 14:02:27 +0000

iPhoto | Digital Definition for Photographers…

iPhoto.org is launched! Free web photo album online for my photos sharing. Tutorials of light and large format photography on the net….