Posts Tagged ‘Black and White Magazine’

Why Photography Galleries, Curators And Collectors Like Limited Editions

March 12th, 2013

Important Announcement: Philip Hyde Authorized Archival Prints, Largest Sizes Converted To Limited Editions

Misty Morning, Indian Creek, Northern Sierra Nevada Mountains, California, 1983 by Philip Hyde. The original color transparency went missing and this image has not been printed or published for over 20 years. With the digital age it can again be printed. West Coast Imaging produced the new file from a scan by their Creo CCD Flatbed Scanner of a Philip Hyde original dye transfer print.

Misty Morning, Indian Creek, Northern Sierra Nevada, California, 1983 by Philip Hyde. Because the original color transparency was missing, this image has not been printed or published for over 25 years. With the digital age it can again be printed. West Coast Imaging produced the new file from a scan by their Creo CCD Flatbed Scanner of a Philip Hyde original dye transfer print. This is another Philip Hyde photograph that is close to selling 10 prints, at which point it will go up in value $100 in all sizes. Because this photograph is not available as a 32X40 print, the limited edition is only available in the 24X30 size.

(See the photograph large: “Misty Morning, Indian Creek, Northern Sierra Nevada, California.”)

After much research and deliberation, I have decided to take the advice of many photographers, photography gallery owners, collectors, museum curators, archive collection managers, appraisers, connoisseurs, critics and nearly every other established expert in the art of photography that I have spoken with: to change the largest Philip Hyde authorized archival lightjet or digital prints to limited editions of 50.

That’s right, you read correctly, from now on the two largest sizes, 24X30 and 32X40 Philip Hyde archival lightjet or digital prints will be offered in limited editions of only 50 prints from either size of each image. Not 50 24X30’s plus 50 32X40’s, but 50 prints total in either size. The remaining Philip Hyde archival print sizes: 8X10, 11X14, 16X20 and 20X24 will still be offered in an open numbered edition called the Philip Hyde authorized “Special Edition.”

In my research I found that only photographers were against limited editions and only a minority of photographers at that. One talented and prominent photographer and writer, who I agree with on many other subjects, Guy Tal, has even gone so far as to suggest that limited edition prints are unethical because he believes they manipulate the market, creating a false scarcity and an “inflated value.” His reasoning is that “manufacturing scarcity” through limiting editions goes against the goals of artists “to inspire, to share, to make accessible, to celebrate and other noble causes often associated with photography of natural things.” He proposes that “artificial scarcity” is not the same as “real scarcity.” If you read his blog post, “The Ethics of Limited Editions,” you may understand why he looks at it this way. The comments on his blog post are many and diverse. In my observation, some photographers who dislike limited editions look at it mainly from their own perspective and not that of the collector or even casual print buyer. For primarily this reason, these photographers overlook the real benefits of limited editions.

Who Brought Limited Editions To Landscape Photography?

Is it not ironic then, that it was Ansel Adams and later Galen Rowell, who did the most to popularize both landscape photography and limited editions in the genre? Some landscape photographers who do not like limited editions claim that Ansel Adams did not produce limited edition. This may be true of the prints he made himself, but his Special Edition prints made in his darkroom by an assistant and other editions were limited. Some early well-known landscape photographers also invented the now ethically questionable practice of size specific limited editions. They would offer 16X20 prints of a certain image as a limited edition of say 200. Once the edition of 200 sold out, they would then offer a limited edition of 15X18 prints of the same image. Fear and mistrust of these types of limited editions are what caused collectors to be wary of limited editions of digital prints when they were first introduced. When digital prints originally began to appear, Photography galleries and collectors believed that it was easier to make digital prints than traditional color or black and white prints. They feared that photographers would break their own self-imposed edition limits, or work around the limits by issuing different sizes or implementing some other ploy.

Certainly limited editions of 250, 500 or more than 1,000 are mirages. Print runs of this size only create the perception and carry the name of “limited editions.” They are not truly limited because few nature or landscape photographers will ever sell that many of one image out of their many prints offered.

What Photography Gallery Owners And Collectors Like

I remember a conversation I had with Terry Etherton, an esteemed photography dealer and owner of the Etherton Gallery in Tucson, Arizona. I asked his opinion whether I ought to offer my father’s photographer authorized archival digital prints in limited editions or not. I explained that the current numbered Special Edition was not a limited edition, but would be limited by its pricing structure. That is, each time 10 prints sell in each image, that image goes up $100 in all sizes. For example, we have already sold more than 10 prints of “Virginia Creeper, Northern Sierra.” It is priced at $275 for an 8X10, $425 for 11X14, $575 for 16X20 and so on rather than the regular pricing of the rest of Dad’s photographs of $175 for 8X10, $325 for 11X14, $475 for 16X20, etc. After “Virginia Creeper” has sold 100 prints, the 8X10s will sell for $1175, the 11X14s will sell for $1325, the 16X20s will be $1475 and so on. Terry Etherton said that was OK, but limited editions would be simpler. I said that if I did switch to limited editions, I would probably limit them to perhaps 75, 100 or even as much as 200. He said, “I was thinking maybe 25 or 50. Collectors want something rare.” Most of the other photography galleries whose owners I talked to concurred with Mr. Etherton.

Collectors not only like, but purposely seek out vintage prints and even modern photographs that are printed in limited editions or are rare for some other reason. Photography galleries, museum curators and archivists like limited editions too. Why? Very simply, because whenever there is less of anything valuable, the less of it there is, the more valuable it becomes. This is not “manufactured” or “artificial” and even if it were, whenever there is less quantity, regardless of the reason or the cause, there is more value. Collectors want to have the satisfaction of knowing that what they have is something unique or nearly unique. They want to pay more to obtain art that they know will not be mass-produced. It is no more complicated or psychologically involved than that.

Black And White Magazine On Digital Print Values

Lorraine Anne Davis MA, MFA, a fine art photography appraiser since 1984 and columnist for Black and White Magazine, has managed, curated or consulted with many of the world’s most significant photography collections including the Paul Strand Archive. She wrote an article in the April 2009, Issue 66 of Black and White Magazine titled, “Concerning Digital Reprints.” Her article explained that digital prints are becoming more accepted and collectible, but that “posthumous” digital reprints of an artist who mainly printed with other processes are ubiquitous, but sometimes questionable in appraisal value. Indeed, according to Davis, the intent of the artist or the print maker is what determines value. For more about her article see the Fine Art Photography Collectors Resource Blog post called, “Photography Galleries, Collectors, Appraisers And Digital Prints.”

Having learned to print from Ansel Adams, Edward Weston and Minor White, my father produced his own fine art gelatin silver prints, dye transfer prints from color film and later Cibachrome color prints. He had Wally McGalliard in Los Angeles print all of his large exhibition prints using a C-print process. In 1998, master landscape photographer Carr Clifton restored two of Dad’s photographs. From then on Dad authorized Carr Clifton to print for him. Wally McGalliard retired around the same time and Carr Clifton’s new archival digital prints became the preferred printing process for Philip Hyde Photography. When Dad was making his own prints from color film, he only made 2-8 prints of each image. Thus, I no longer have many prints left of many of his most well known photographs. We expanded the line of digital prints offered mainly to Dad’s top images that have nearly or completely sold out and those that have been damaged in some way. Peter Fetterman, the number one photography dealer in Southern California, said producing any digital prints at all might confuse the market, but I imagine “the market” would rather be confused than not able to obtain any of Dad’s best photographs at all.

Are All Digital Prints Equal?

These archival lightjet or digital prints are very different from most digital prints. First of all they are made from high resolution Tango drum scans of large format 4X5, 5X7 or 8X10 color film. The resulting raw file is 800 MG to 6 Gigs in size and contains far more detail and a much wider range and depth of color than any digital camera capture today. A good analogy is why music lovers like vinyl LP records better than CDs. Analog sound is fuller, richer, more melodious and less metallic sounding because the sound curve is smooth, containing a continuous breakdown of all the sound, whereas the digital sound curve, when magnified, is a stairstep of sound with little pieces of the sound missing all along the “curve.” Tango drum Scans of large format original color film transparencies contain a much smoother color curve and much more of the colors in the continuum. Because of this, at first a drum scan comes out appearing dull in color, also due to adjusting the settings to obtain as much detail from the highlights and shadows as possible. The huge raw file must then be “developed” or “post-processed” in Photoshop by a seasoned restoration expert to most effectively match the way my father printed the image.

Carr Clifton’s expert Photoshop work is expensive and time consuming for both of us as we print a proof, change the digital file, print another proof and change the digital image again. Also, since many of Dad’s original color film transparencies and black and white film negatives are beaten up with scratches, pock marks, fading and all sorts of other damage due to age and being sent out to publishers so often, a great deal of restoration and cleanup work is necessary as each image gets printed larger and larger. The archival digital prints Carr Clifton and I have made are not considered posthumous prints because Dad authorized them eight years before his death in 2006 and two years before he lost his eyesight in 2000. Also, they are not technically even digital prints any more at all because they are now printed on a lightjet printer. The lightjet printing process does not produce the image on the paper with 11 inks the way the fine art digital printing process does, the lightjet process is actually a chromogenic or full color spectrum, photographic process whereby the paper is exposed with light much like the old darkroom printing processes. This produces a richer, even more full-spectrum color emulsion with better definition and contrast, even more like an analog vintage print. Lightjet prints are also more environmentally friendly not using toxic inks and wasting less paper and ink due to fewer printing mistakes. Some tests claim inkjet digital prints will outlast lightjet prints, but some tests claim lightjet prints will outlast digital prints. Either way, lightjet prints on Fuji Crystal Archive paper when placed side-by-side with digital prints win hands down in their aesthetic appeal, print consistency and print quality.

What A Professional Appraiser, Some Photography Dealers And A Few Museum Curators Said

I contacted Lorraine Anne Davis in December 2009 and wrote that I enjoyed her informative article in Black and White Magazine. I also explained what Carr Clifton and I were doing and how we had enjoyed compliments from top photography galleries and major museums including the Oakland Museum and San Francisco Museum of Modern Art, whose head photography curators had seen the archival digital prints. I told her that I planned at some point to write about the subject and would she offer her expert opinion on what we were doing, even without seeing the prints. I explained that I wished to overcome the stigma sometimes attached to heirs making prints and be sure to bring out the archival digital prints in such a way that they would be accepted, respected, collected and go up in value.

I quote her reply in full:

I am afraid I am too busy to answer in depth. Just limit the editions and it doesn’t matter what the process is. Not any more – but collectors want to think what they have is “rare” –

You can make large editions of small prints and very limited of larger prints –

Blind stamp or holograph to protect originality –

A certificate or sticker of authenticity can be reproduced by anyone – certificates of authenticity are often issued with fakes – appraisers don’t even consider them, they are the easiest things to fake. It’s somewhat of a joke, actually – and It isn’t necessary of you keep track of the editions.

Unless your father’s work starts selling for over 100,000 per print, no one is going to make fakes –

Man Ray, Peter Beard, Hine and 19th C dags have some fakes – but Hine and Man Ray printers had the negs –and were selling very high

Sorry to be so brief

All my articles will be posted on my web site in the next weeks -

Happy Holidays – Lorraine

In my reply I of course thanked her and said, “This is quite a bit of information actually and very generous of you to advise.” Based on her guidance and much other research and conversations with people like Richard Gadd, previous Director of the Monterey Museum of Art, currently Director of the Weston Gallery in Carmel; Sandra S. Phillips, Senior Curator of Photography, San Francisco Museum of Modern Art; Michael and Jeanne Adams of the Ansel Adams Gallery; Hal Gould and Loretta Young-Gautier of Camera Obscura Gallery in Denver; Andrew Smith and John Boland of Santa Fe; Scott Nichols and Susan Friedwald of San Francisco; Stefan Kirkeby of Smith Andersen North in San Anselmo, California; Robert Yellowlees and Tony Casadonte of Lumiere Gallery and the High Museum of Art in Atlanta; Drew Johnson Curator of Photography and Visual Culture at the Oakland Museum and many others, I have decided to make the changes mentioned above to the two largest sizes of my father’s archival lightjet and digital prints. Dad’s 24X30 and 32X40 archival lightjet and digital prints will from now on be produced in limited editions of 50 prints per image.

The Results And Bottom Line

For the remainder of this year of 2013 or whenever one image sells more than five prints, these limited edition prints from color film originals will be PRICED THE SAME AS THEY ARE NOW! That is, prints in LIMITED EDITIONS of only 50 will remain the same price until they either sell five prints or until December 31, 2013. After that they will go up an average of $200 in each size (see the chart below for details.) This represents a 15 percent savings.

Prices Now            Unmatted/Unframed                      Matted                         Matted & Framed

24X30                                      925                                    1050                                    1175

32X40                                    1175                                    1325                                    1475

 

Prices After            Unmatted/Unframed                     Matted                         Matted & Framed

24X30                                    1100                                    1225                                    1350

32X40                                    1300                                    1450                                    1600

For more information on Philip Hyde archival lightjet and digital prints from color film see: “About Fuji Crystal Archive Chromogenic Fine Art Prints,” as well as the blog post mentioned above called, “Photography Galleries, Collectors, Appraisers And Digital Prints.”

What do you think? Are we on the right track? Would it be wise to keep the editions the same as they are now? Print a completely open edition with no numbering? Produce the entire line of prints as limited editions?

Color Magazine Feature Out Now

January 4th, 2011

Cirios Silhouettes At Sundown, Baja California, Mexico, 1984 by Philip Hyde. This photograph appears on the title page of the March 2011, Issue 12 of Color Magazine, along with 14 other photographs in the feature article.

March Issue #12 Of Color Magazine Featuring Philip Hyde In Stores Now

At home I have three file safe drawers full of clippings of articles either by or about my father master landscape photographer Philip Hyde. The article files start in 1947 and keep going right past Dad’s passing in 2006, up to the present.

A recent issue of Outdoor Photographer contained a well-written feature about Point Reyes by Sean Arbabi that mentions Dad’s photography there, along with that of Ansel Adams, Brett Weston and other great landscape masters. The piece even mentioned that my father’s photographs helped to make Point Reyes a National Seashore. That was one of the better articles.

A few of the articles in my file safes about Dad are excellent. Some even from the very best magazines are riddled with inaccuracies and misconceptions. The majority are essentially mediocre in that they don’t dig very deep or say much that hasn’t been said before. The majority of writers just don’t make those one or two extra phone calls that turn the article into a multi-source story with more dimension. This is mainly because publishers don’t pay writers much for their submissions any more. With this backdrop, imagine the unfortunate freelance writer, David Best, also a photographer in his own right and known as Panoramaman, writing me and telling me he wants me to review his rough draft for his feature on Philip Hyde for Color Magazine.

Color Magazine is one of the most respected photography magazines today, especially for collectors of fine art photography, along with Black and White Magazine, both published by Ross Periodicals. All along Color Magazine planned to do a feature article on Philip Hyde, but they did not want it to follow too soon after their article on Eliot Porter.

David Best interviewed me over a year ago. I thought he asked excellent questions in the interview. It went very well. Then he sent me his article. I warned him I would beat him up on the details. To my pleasant surprise his draft did a wonderful job of capturing the essence of Dad’s love of nature, while also presenting the story of his landscape photography career in a quality, smooth-flowing narrative that showed a fine dexterity with words. I did beat him up to make sure the facts were straight. I’m not sure he was very happy about it, but I went on to also give a hard time to the friendly, conscientious editor John Lavine to get the facts correct too. He said David Best took it all in stride. Regardless, between David Best’s superlative prose and the layout and photograph selection by John Lavine, in my opinion the final article is one of the best ever written about Dad, which is saying a great deal considering there are 63 years of articles in my file drawers.

Do yourself a favor and go out to the bookstore or newsstand and grab your own copy of this excellent magazine. The current issue with Philip Hyde in it is Issue 12, March 2011. It will be on retail shelves through March, but I wouldn’t wait because every time I have gone to get Color Magazine it has been sold out.

For more on the history of color landscape photography and Philip Hyde’s role in it see also the blog post, “How Color Came To Landscape Photography.” To read how color landscape photography changed after 1990, see the blog post, “Did Velvia Film Change Landscape Photography?

The Hidden Brett Weston

February 6th, 2010

Which photographers or influences inspired your interest in photography?

Philip Hyde with Edward Weston at Hill, Carmel, California, 1949, by John Rogers, a classmate of Philip Hyde's.

Philip Hyde with Edward Weston at Wildcat Hill, Carmel, California, 1948, by Al Richter, CSFA classmate of Philip Hyde. Edward Weston, who many consider "the most influential photographer of the 20th Century," lived a simple lifestyle and rarely manipulated his images in the darkroom. He produced mainly contact prints. He is listed as one of Ansel Adam's influences and credited with leading the development of Straight Photography on the West Coast.

Edward And Brett Weston In Mexico

Pioneer abstract and landscape photographer Brett Weston was the son of Edward Weston, who many say was one of the greatest photographers to ever live.  However, what most people do not know is that of the subjects both men photographed, Brett Weston did many of them first.

Chandler, Brett Weston’s older brother, wrote to Brett at home in California, while Chandler visited Edward Weston in Mexico. Chandler told Brett Weston they were having a glorious adventure south of the border. Under his dad’s lax or non-existent supervision, Chandler Weston was drinking and playing with guns and having a wild time. Brett Weston kept pressing his father to have his turn in Mexico. Finally after Brett Weston had a few run-ins with the police in California, Edward Weston gave in and the boys traded places in 1925 when Brett was 14 years old.

While in Mexico, Brett Weston made his first photographs that were more than snapshots. He printed with his dad and whiled away the days. Family photographs show the Westons relaxing with Diego Rivera and other artists. After 15 months in Mexico, Brett Weston returned to the U.S. and made his first abstract photograph, “Drive Shaft, Locomotive.”

Edward Weston Is Known For Some Subjects Brett Weston Photographed First

“People look at Edward’s photographs and say, ‘Oh Edward did the locomotive, so Brett did the locomotive,’” said Jon Burris, Director of the Brett Weston Archive. “But the fact is that Brett made his in 1927, and Edward did not make his until 1941. Sonya Noskowiak, who was an assistant of Edward’s—and who became a member of the Group f.64 (with Edward Weston)—made a similar image in 1937. But Brett was the first—and he made his when he was just 16 years old.”

Some of Edward Weston’s most acclaimed photographs of his last wife, model Charis Wilson, who passed on in November 2009 at age 95, were made in the Oceano sand dunes. Edward Weston’s photographs of sand dunes are “so prominent in the history of Twentieth Century photography, that most people believe he made them first and that Brett followed,” Burris said. “But that’s not the case. Brett began to photograph the dunes in 1932—two years before his father.”

Brett Weston also photographed a series of four surf scenes in 1939, looking down from the cliffs above Baker Beach in San Francisco. “Edward had photographed similar scenes a year or so earlier on the coast, north of San Francisco,” Scott Nichols said while talking to Black and White Magazine about his collection, the world’s largest of Brett Weston’s prints and portfolios. “Then Ansel Adams had done his famous surf series in 1940,” Scott Nichols said. “Brett’s predates Ansel’s by about a year.”

Brett Weston Influenced Edward Weston Who Inspired Philip Hyde

Many people see my father landscape photographer Philip Hyde’s cactus photographs and images of trees in Glen Canyon and suggest he was influenced by Brett Weston. This may be, but Dad saw little of Brett Weston’s work before he made his own cactus images and river trips through Glen Canyon with David Brower and the Sierra Club. Dad did make photographs that exhibit Edward Weston’s influence because he and his California School of Fine Arts classmates photographed with Edward Weston on Point Lobos on a number of occasions in 1948 and 1949. Dad and his classmates also visited Edward Weston at his home on Wildcat Hill in Carmel, California where they may have seen some Brett Weston photographs. Future blog posts will detail visits to Wildcat Hill and how Dad and several others from the class, camped in tents on Edward Weston’s lawn. Edward Weston reviewed student prints and showed his own. The print viewings often led to lively discussions. For more on Edward Weston see the blog post, “Edward Weston’s Landscape Philosophy Part 1.”

Edward Weston is said to have impacted all of photography. However, with the knowledge that Brett Weston preceded his father to various locations and subject matter, it has become accepted that not only did father influence son, but son also influenced father. Edward Weston on several occasions suggested as much. Brett Weston, through his father, Edward Weston, indirectly impacted Philip Hyde’s photography, and made an even larger contribution to the entire medium than is commonly known. For the story on how Brett Weston impacted Philip Hyde and his travels by selling him his Chevy Pickup see the blog post, “Covered Wagon Journal 1.”

Which photographers or influences inspired your interest in photography? Please share your thoughts in comments…

References:
Black and White Magazine interview of Jon Burris, Issue 8.
Black and White Magazine interview of Scott Nichols, Issue 11.
Brett Weston Archive Website
Photography West Gallery Website

Photography’s Golden Era 2

February 4th, 2010

Photography’s Golden Era 2

(CONTINUED FROM BLOG POST, “Photography’s Golden Era 1“)

Are We Currently in Another Golden Era of Photography?

HEY, THAT’S NOT ART!!!!!

Volcan From South of Colima, Mexico, 1995, by Philip Hyde. A "contemporary" Philip Hyde photograph, the last time he traveled in Mexico before he lost his eyesight. This less landscape and more landscaping image will not be printed for some time. It will eventually be part of the Mexico Portfolio, that contains many architectural and travel style photographs with a more "post-modern" feel.

After the first post on Photography’s Golden Era, one of the responses has been rolling around in the back 40 of my vacuous mind. A photographer named Derrick Birdsall of “My Sight Picture” said he enjoyed the “walk back in time,” and when I asked him what else he would like to see covered on the subject he wrote: “David, as a historian (and neophyte photographer) myself, I enjoyed the perspective you shared. Gotta know where you’ve been if you want to know where you’re going. As for future topics… why would you say that the “Golden Era” was in the past? Some could argue that with all of the technology more or less readily available and affordable today that we are currently in a Golden Era today?? I’m not arguing the point, but I’d be interested to hear your views on the matter.”

Interesting questions, and put to me in an open-ended, ‘let’s see what you think’ manner. I couldn’t resist. I decided to offer my take on it here. It would be fun to hear what others think too. Are we in a new Golden Era, or in the pits of the cherries now? Here’s my response, edited again…

Hi Derrick,
Great questions. I did not label the period from 1946 to 1955 at the California School of Fine Arts when Minor White was lead instructor and the time just before that in the San Francisco Bay Area when Group f.64 formed. Photo historians and curators including Ken and Victoria Whyte Ball in their forthcoming book, The Golden Decade: Photography at the California School of Fine Arts 1945-1955 (written about in the blog post, “The Golden Decade: California School of Fine Arts Photography“) have called it the Golden Era because the energy, creativity, optimism and serious commitment of the G.I.s coming out of WW II and looking to get on with their lives, meshed with the gathering of the greatest teachers and innovators photography has ever seen. At a unique time when there had been no fine art photography before, it all came together in one place and brought forth photography that will endure “forever” if that is possible.

Definitely a good point you raise about the current day. On the internet synergy occurs, though at times it seems much less like a coming together of the greatest talents and more like dispersion in a million directions. See also the blog post, “Is Landscape Photography Thriving Or Dying.” I’m new to the forums, though my impression is that they are mainly a training ground for the accelerated honing of new photographer’s skills. Certainly the old pros are around in places too. Photography is changing faster than ever. The technology is allowing for just about anyone to make a good photograph now and then. However, does that define a Golden Era? The various directions will have to settle out a bit to find out.

Lorraine Anne Davis, in her Black and White Magazine column “Curator’s Corner” interviewed Lynne Warren, curator of the Museum of Contemporary Art in Chicago for the April 2008 issue. Lynne Warren said, “I was getting pretty cynical about the emphasis on large-scale color work, often poorly executed—it just seemed all the rage. Too many artists seemed to think they could just pick up a digital camera and shoot, knowing nothing about photography. But I’ve seen a change. Younger photographers seem to be getting very serious about their craft, and realizing that if you want a photo to look a certain way, you had better be able to consciously achieve it rather than accepting whatever comes out of your digital camera.” A lot of excellent work is out there. However, forgive me for being blunt, and I certainly don’t think this is always the case, but there are too many sunsets, sunrises, contrived drama, over-saturated colors and people following formulas they read in somebody’s 17 quick tips.

My father, master landscape photographer Philip Hyde, often quoted Minor White who said sunsets are cliché. Both Minor White and Philip Hyde, and Ansel Adams for that matter, taught that photography is more of a Zen-like practice of stilling the mind, opening the eyes and seeing deeply. There isn’t anything quick about it. Also, Dad said that in order to photograph nature, it is necessary to understand something about the subject, to spend time out there away from the iPod, iPad, iPhone, IBM, IPO, ISP, IMF, IOU and IRS.

Another issue that Lynne Warren and Lorraine Anne Davis did not even touch is the effects of Photoshop on the medium. Will the transformations of photography through digital technologies ultimately improve the quality of the best art? Hard to say this soon. Ansel Adams’ silver prints, Philip Hyde’s dye transfer prints and Christopher Burkett’s Cibachrome prints have yet to be matched by anyone printing in digital. It will be interesting to see later if the beginning of the digital era will indeed be seen as a Golden Era. This may be a settling out era. It may bring about some kind of Renaissance, but has the Renaissance already started? Hmmm, we’ll see. Because many of the big scenes have been done, now many museums are collecting mainly quirky, bizarre, experimental stuff. It may be “Golden” or it may be merely the birth of what is essentially a new medium, searching to find itself.

Much of what I also see are various ways of changing photographs to look more like paintings or some other related visual art that is not straight photography, but is more like a reincarnation of the pictorialism that held photography back from becoming its own art form. Alfred Stieglitz in New York, and the members of Group f.64 in San Francisco, set photography free with Straight Photography. Lorraine Anne Davis is also a prominent appraiser with another column in Black and White Magazine called “What’s It Worth.” In a piece about the work of Edmund Teske, she wrote, “After photography broke from Pictorialism at the beginning of the 20th Century and embraced Modernism, it soon became stuck in the trap of Straight Photography.” Many people believe that the parameters of realism hold photography back, but everyone is free to create whatever they choose. If you paint over old photographs, you move into a different art form altogether, as with many of the new directions in digital, often inspired by Photoshop. Read more on the effects and techniques of Photoshop in the blog post, “Monday Blog Blog: Photoshop For Pros.” More power to them, but they are not what Ansel Adams and Edward Weston called “pure” photography and they are more experimental than “great” at this juncture, in my opinion.

So how do you feel about the current era? Is it a new Golden Age? Or the doom of everything grand? Take a gander, what will the future hold?

(Continued in the blog post, “Photography’s Golden Era 3