Comments on: The Legend Of Dye Transfer Printing, Interrupted 2

By: Black And White Prints, Collectors And Philip Hyde

Black And White Prints, Collectors And Philip Hyde — Tue, 01 Mar 2011 21:12:16 +0000

[...] 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 [...]

By: Philip Hyde At Home In The Wilds 1 » Landscape Photography Blogger

Philip Hyde At Home In The Wilds 1 » Landscape Photography Blogger — Tue, 20 Jul 2010 15:53:06 +0000

[...] color prints. (See the blog posts, “The Legend Of Dye Transfer Printing 1,” and “The Legend of Dye Transfer Printing 2.”) Together with his wife and son, Philip Hyde lives far up in the Sierra Nevada Mountains, [...]

By: The Legend of Dye Transfer Printing, Interrupted 1 » Landscape Photography Blogger

Thu, 03 Jun 2010 02:12:38 +0000

[...] CONTINUED IN THE BLOG POST, “The Legend of Dye Transfer Printing, Interrupted 2“ [...]

By: David Leland Hyde

David Leland Hyde — Tue, 01 Jun 2010 02:51:52 +0000

Hi Sharon, thank you for your comment. That is one that everyone seems to like. There is nothing like the color in a good dye transfer print, but the archival fine art digital prints of that image are magnificent too, and even better in some ways.

By: Sharon Van Lieu

Sharon Van Lieu — Tue, 01 Jun 2010 02:38:18 +0000

That is a gorgeous shot, David. Love the composition. And I enjoyed reading about the printing process used.

Sharon

By: David Leland Hyde

David Leland Hyde — Tue, 01 Jun 2010 01:00:38 +0000

Hi PJ, it is a good question that I have answered parts of in various blog posts but by asking, you have given me the opportunity to consolidate here. Information about the various types of prints are on the main website at http://www.philiphyde.com/ under INFO. To read more see also the blog posts, “Memories of Finally Working With Dad” (in popular posts), “New Philip Hyde Releases At Mountain Light Gallery Exhibition” (in the “Collectors’ Information” category) and “The Legend of Dye Transfer Printing, Interrupted 1.” (Linked to at the top of this blog post.) Dad quit printing Dye Transfer as it phased out in the early 1990s. I was living in Los Angeles and then Santa Fe, New Mexico at the time and only visited my parents a few times a year. I left home at age 15 in 1980 to go to college prep boarding school because my local high school was terrible educationally and in most other ways. In my early teens I was generally in a rebellious phase and not much interested in anything to do with my parents. However, when I was a young boy I did spend many hours in the darkroom with my father while he made black and white prints. He used to get on my case for blasting rock and roll but he would blare big band jazz and sing very loud as he worked. I remember the whole black and white printing process, but would need a refresher on the technical details. Dad also showed me the dye transfer printing process a number of times, but it was much more complicated and technical. It took him years to perfect and was very meticulous, detailed and difficult to get right. I don’t think any of us except for the very technically savvy could easily make a dye transfer print. The blog post “The Legend of Dye Transfer Printing, Interrupted 1″ brings across how difficult the process is and why it was such a legend. Scott Nichols Gallery has a few Philip Hyde dye transfer prints available but so far is the only place you can get them. The exhibitions generally will contain an original Philip Hyde print or several but generally they are made up of the special edition archival fine art digital prints made by Carr Clifton. In the post “New Philip Hyde Releases At Mountain Light Gallery Exhibition,” I go into depth about what we do to make the archival digital prints, from drum scanning to restoration to matching the way Dad printed. Dad’s original film is usually badly beaten up because his photographs were widely published. Can you believe he used to send his original transparencies out to publishers? A good number of them did get lost or damaged. Besides, now the earlier Kodak E-6 and especially the E-3 film is color shifting significantly and would be impossible to print from using traditional processes.

By: pj finn

pj finn — Tue, 01 Jun 2010 00:35:31 +0000

You’ve maybe answered this before and I never saw it, but did you ever work with your dad and learn how to make these prints, and do you still use the process for making exhibition prints of his work?

By: David Leland Hyde

David Leland Hyde — Mon, 31 May 2010 22:48:26 +0000

Hi Derrick, thank you for visiting again. The Delores River Canyon is very beautiful if you visit in the right season when the river is flowing well or when the Fall color is on exhibition. I went on a river trip with my parents and a friend of theirs, “Life” photographer Joe Munroe, who was also a river guide and photographed Sierra Club Board Meetings. I wish you could see the 24X30 print of “Aspens, Delores River Canyon” that I have here in Dad’s studio right now. Talk about a wow. It will definitely cause the future owner to feel like he or she is sitting there whenever they wish.

By: Derrick

Derrick — Mon, 31 May 2010 22:20:36 +0000

I could have sat in that spot for hours and not been bored.

By: David Leland Hyde

David Leland Hyde — Mon, 31 May 2010 17:23:23 +0000

Hi Derrick, thank you for the comment. That is one of his most admired photographs.