Posts Tagged ‘fine art digital prints’

Four New Philip Hyde Authorized Releases From Slickrock With Edward Abbey

November 14th, 2014

Philip Hyde And Edward Abbey First Meet In The Remote Wilderness Of Canyonlands Near Spanish Bottom–Ardis Hyde’s Travel Log

The purpose of the now classic book, Slickrock: Endangered Canyons of the Southwest by Edward Abbey and Philip Hyde was to help in the conservation efforts to expand Canyonlands National Park and to aid in developing wilderness or national park protection for the Escalante River Canyons. Below read about the section of the project where Philip Hyde photographed the Escalante River and Ernie’s Country in Capitol Reef National Park and The Maze, Canyonlands National Park for Slickrock.

Also Below Are New Release Archival Prints From Slickrock: Endangered Canyons of the Southwest… 

Now On Sale For A Limited Time: Archival Chromogenic Lightjet And Digital Prints Of Four Iconic Philip Hyde Large Format Film Photographs

For more information about New Release Prints Pricing, Sale Specials and Time Limits see the blog post, “New Release Pricing,” For more about the archival prints and materials see the blog post, “About Archival Fine Art Digital Prints.” Also, to learn about special features of only the two largest sizes limited editions see the blog post, “Why Photography Galleries And Collectors Like Limited Editions.”

1951-1973 Slickrock Projects and Travels

1951   Dinosaur National Monument, Monument Valley, Canyon De Chelly, Canyonlands & others

1955   Glen Canyon, Grand Canyon, Dinosaur N. M., Canyon De Chelly, Canyonlands & others

1958-1997   Glen Canyon, Grand Canyon, Cataract Canyon, Colorado, Green, Yampa, San Juan, Delores, Rio Grande River Trips

1963   Canyon de Chelly, Monument Valley, Canyonlands, Capitol Reef, Grand Canyon, Hopi Villages & others.

1967   Navajo Res, Rainbow Bridge, Hole In The Rock, The Maze, Canyonlands, others.

1968   Escalante River Canyons and Tributaries, Canyonlands

1970   Coyote Gulch, Escalante River Canyons & Tributaries, Canyonlands

 

Stevens Arch, Escalante River, now Grand Staircase Escalante Natonal Monument, from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1970. Made on backcountry backpack into Coyote Gulch.

Stevens Arch, Escalante River, now Grand Staircase Escalante Natonal Monument, from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1970. Made on backcountry backpack into Coyote Gulch.

(See the photograph large, “Steven’s Arch, Escalante River, Utah.”)

One of the world’s most widely published stock landscape photographers Tom Till said my father, pioneer landscape photographer Philip Hyde, was one of the first to photograph some areas of the Maze and the Needles, Canyonlands National Park and Waterpocket Fold in Capitol Reef National Park.

Dad’s main purpose for exploring and artfully documenting these locations in the 1950s, 1960s and 1970s was to splash them in newly introduced color across the revolutionary new coffee table size Sierra Club Exhibit Format Series. These first landscape photography books, exploding in popularity were bringing the message of conservation to a widening audience. In the 1950s with the defense of Dinosaur National Monument against the building of two dams that would have flooded 96 out of the 104 river miles in Dinosaur, the Sierra Club had decided to advocate new wilderness beyond the borders of California and the Sierra.

Dad’s Spring 1970 itinerary primarily to photograph for the book Slickrock: Endangered Canyons of the Southwest with Edward Abbey, called for an extravagant 71 travel days, but there was only time for 50 days of travel with my mother Ardis and me in the GMC Pickup and Avion Camper. Beginning April 15, we started with 11 days in Nevada photographing Tonopah, Pahrump Valley, Red Rock Canyon, Henderson, Lake Mead, Valley of Fire and US Highway 93 north to Panaca, Nevada.

On the 12th day, we crossed into Utah to Bryce Canyon National Park, on to Escalante and out the Hole In The Rock Road. On the night of April 21, we camped at Willow Tanks. In the morning we parked at the junction of Hurricane Wash and Coyote Gulch where we began our backpack into Coyote Gulch. The three of us walked in just past Icicle Springs the first night, over eight miles. My Mother wrote in her travel log that at age five I hiked most of the distance, about five miles, but grew tired near the end having made too many side trips to investigate distractions. The horse packer from Escalante took me the rest of the way to camp on horseback.

We backpacked for five days in Coyote Gulch with the support of a horse packer from Escalante. For more on our backpack and camp at Icicle Springs see the online blog post version of my future book introduction, “58 Years In The Wilderness, Intro 1.”

Plunge Pool, Tributary To Coyote Gulch, now Grand Staircase Escalante National Monument, original version from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1978.

Plunge Pool, Tributary To Coyote Gulch, now Grand Staircase Escalante National Monument, original version from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1978.

(See the photograph large, “Plunge Pool, Tributary to Coyote Gulch, Utah.”)

Contained in this blog post are four new releases of numbered archival prints. Two of the photographs were made on the 1970 Coyote Gulch backpack, “Steven’s Arch, Escalante River” and “Plunge Pool, Tributary To Coyote Gulch.” The third photograph Dad made a few days after the backpack in Capitol Reef National Park, “Canyon in Waterpocket Fold.” The fourth photograph, “Wingate Boulders In The Narrows,” Dad made in 1968 while hiking the Escalante River. See the previous blog post, “The Making Of Reflection Pool, Escalante River Side Canyon.”

I will share here a few choice excerpts of my mother’s travel log of our Coyote Gulch backpack and the four wheel drive trip in Waterpocket Fold, but they were only the beginning of our travels. Before we wound our way safely home, we also visited the Circle Cliffs, the Henry Mountains, spent six days with Art and A. C. Ekker by jeep and Wagoneer in Ernie’s Country, the Fins, Doll House, Spanish Trail, Candlestick and other areas of Canyonlands National Park.

We drove to Hite, Lands End Plateau, Hanksville, then Dad photographed for three days in northern Canyonlands, three days in Arches, two days at Hatch Point, two days at Harts Point, six days in the Needles, Canyonlands, two days at Cottonwood Creek Road near the headwaters of Lavender Canyon. By June 5 we had spent several days in Bullfrog and headed back through Nevada home to northern California.

Types of Sandstone Formations Photographed by Philip Hyde, Spring 1970

Mesa Verde—Tarantula Mesa
Mancos Shale—Blue Gate—Swap Mesa
Emery Sandstone
Dakota Sandstone—Cedar Mountain
Bentonite—Big Thompson Mesa
Salt Wash Sandstone
Summerville—thin bed
Curtis Sandstone—Cathedrals
Entrada Sandstone
Carmel, Gypsum Limestone, Sandstone
Navajo Crossbed
Kayenta
Wingate—Circle Cliffs
Chinle—Painted Base of Circle Cliffs
Shinarump
Moenkopi, Simbad Limestone, Chert
Kaibab Limestone
Coconino or Cutter Sandstone—White Rim, Organ Rock Tongue, Cedar Mesa
Hermosa Mesa

Wingate Boulders, Angular Shadows, Escalante River Narrows, now Grand Staircase Escalante National Monument, from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1968. from Slickrock with Edward Abbey.

Wingate Boulders, Angular Shadows, Escalante River Narrows, now Grand Staircase Escalante National Monument, from Slickrock with Edward Abbey, Canyons, Utah, copyright Philip Hyde 1968. from Slickrock with Edward Abbey.

(See the photograph large, “Wingate Boulders, Escalante River Narrows, Utah.”

Lower Coyote Gulch is Wingate Sandstone and upper Coyote Gulch is Kayenta Formation where Hurricane Wash comes in having cut down through the Navajo Formation from Willow Tanks on the Hole in the Rock Road. The Wingate and Kayenta sing every note on the Earth color rainbow from red to yellow and deep into browns and blacks with some streaks of iridescent blue desert varnish from water seep mineral deposits.

On Thursday April 13, 1970, Ardis Hyde wrote:

Cloudless sky, cool enough but air warming up decidedly. Left camp at 9 am to head downstream with a goal of Icicle Springs tonight. Our feet were wet immediately. The ferryboat theme of carrying David over the deeper crossings began. He was a better hiker today, enjoying the interest of canyon, stream and foliage. Packer Reeves Baker from Escalante caught up with us and showed us some moqui steps, lichen covered, next to a dead cow with a calf skeleton along side. We heard the canyon wren song with only the soft water under it.

We camped with mom cooking dried add-water dinners over open flames with a #10 pound can and a small grill. Breakfast was muesli, a raw mix of dried fruit, rolled oats, nuts and coconut. One day we had omelets. Lunch was cracker sandwiches. I played in the water, Dad photographed. The sun was hot, but the canyon shade and water were cool to cold. In the days following we trekked along or in Coyote Gulch to its mouth at the Escalante River. There we hiked up and around the corner to a good view of Stevens Arch on the trail up and over the bench above the Escalante River. Dad photographed the arch and photographed Mom and me in front of the arch.

We also ventured down the Escalante River to a few side canyons. The water in the river was much colder. Mom ferried me across the few river crossings, but when we returned to go back up Coyote Gulch, I ran and played in the stream, now making all the crossings on my own.

 April 29, Layover Icicle Springs

We hiked toward Jug Handle arch and the sun at 9 am. Icicle Springs doesn’t get sun until noon and then only filtered through trees. We climbed up through the thicket and past wall seeps to get to the ledge under the arch to see the remains of the storage bins. Some small ones, one large one and one in between we didn’t notice at first because it was still intact with rock cover and blended in with the back of the canyon wall in perfect camouflage. We scrambled up into Hamblin Arch itself. Philip made lots of pictures in both places. Then we headed downstream to the Waterfall and a stop for lunch on large boulder in the middle of the stream. Philip left us and carried the Baby Deardorff back down Coyote Gulch for more images. David and I bee-lined for camp as the weather worsened threatening rain with much colder wind. Philip came into camp not long before dark. He said he had some cloud trouble but got the photograph he was after.

After a rainy layover at Icicle Springs, we hiked out of Coyote Gulch and gratefully reached our gray GMC Utility Body Pickup and Avion Camper that carried us on to the Henry Mountains and eventually to a rendezvous at Hite with Art and his son A. C. Ekker, horse pack and jeep guides, cowboys, ranchers, horse whisperers and wilderness connoisseurs. The Ekkers would take us into Ernie’s Country in the Waterpocket Fold of Capitol Reef National Park.

Canyon In Waterpocket Fold, Capitol Reef National Park, From Slickrock With Edward Abbey, Made On Backcountry Trip With Art And A.C. Ekker, Canyons Utah, copyright Philip Hyde, 1970.

Canyon In Waterpocket Fold, Capitol Reef National Park, From Slickrock With Edward Abbey, Made On Backcountry Trip With Art And A.C. Ekker, Canyons Utah, copyright Philip Hyde, 1970.

(See the photograph large, “Canyon In Waterpocket Fold, Capitol Reef National Park, Utah.”

At first we continued in our Camper, leaving Hite Marina, with Ark Ekker and Jay in the Jeep Wagoneer and A.C. Ekker in his GMC 4×4 Pickup. We crossed a cattle guard and followed a dirt track on a high cliff contouring around to the head of Rock Canyon. We crossed Andy Miller Flats with Man in the Rock, or the Sewing Machine, in the distance. At about four and a half miles from pavement the group passes shearing corrals for sheep. At about Cove Canyon we passed two men on horses, one of them a sheep man Art knew with his camp nearby.

The next morning Art cooked bacon, eggs and toast in the dutch ovens over an open juniper fire. Dad photographed old names carved in the rock under a nearby overhang. Soon we came to a good view high over the South Hatch drainage. Nearby it joins the North Hatch Canyon and empties into the Dirty Devil River. The group made many stops for Dad and sometimes others to make photographs.

At one stop I hiked up above the Chinle rounded hills to the chunky rock formations on top. We finally came to a place to park our Camper in a large dip that would hide it. Soon the Hydes moved to the Wagoneer, but David’s car seat rode in A.C.’s shotgun seat in his GMC 4×4 truck for later riding. To start with I rode in the far back of the Wagoneer with the gear. My mother wrote that I slept during the roughest, hard jarring part of the road.

Nine miles beyond where we left the camper, we could already see the thin sandstone Finns rising above the near horizon. Dad photographed the many rock formations in all directions.

When we came out to the Wall Overlook into the Maze, we looked for a camp. Philip was already running for pictures. Art drove over to a ledge of Slickrock on the Finns side of the Lizard for camp. Philip photographed madly around the Wall down into the Maze, around the Lizard, Chocolate Drops, Elaterite Butte, Ekker Butte, Cleopatra’s Chair all in plain view. We made an exposed camp, but no wind and the view glorious. Art and I made Dutch oven steak and fried potatoes for dinner. We kept Philip’s warm until he quit working. David and A.C. climbed to the top of Lizard Rock. David went to bed and we stayed up around the fire a while.

From Lizard Rock we passed pinnacles of sandstone on up toward the La Sal Mountains. We drove along the Cedar Mesa rim and then into the Finns. While descending, on a high opposing canyon wall we saw an arch. We hiked to other arches. One time they went out on a ridge to an arch.

A.C. got right down under the arch and paced it at 100 feet wide by 75 feet high. Huge distinct muffin shaped rock form right behind the arch on the east end. Hence A.C.’s name for it: Muffin Arch.

Dad climbed with his large format view camera over another ridge to photograph down into the Colorado River drainage. The rest of the next few days they spent winding in and out of canyons. Sometimes they would stop the cars and we would venture on foot, sometimes we would stop and camp or eat, but Dad was always photographing.

We saw a man standing at the rim of the Spanish Trail. Soon Philip came into camp having stayed making photographs in the canyon. A.C., who had gone over a ridge to pick up David and I, brought us into camp. Philip said he talked to the man on the rim. The man had said he was of Ken Sleight’s river party and walked up from Spanish Bottom. He said Edward Abbey was coming up too. Philip was getting more film and Art went with him to the wash to meet up with the man again. While I was preparing dinner, Philip, Ed Abbey and a girl named Ingrid appeared. They had a cup of coffee with us and then headed back down the trail. Philip will also be making a planned meeting with Abbey in Moab on May 25.

Here my mother’s travel log described another viewpoint of the Philip Hyde – Edward Abbey spontaneous meeting in the wilderness of Canyonlands. For the detailed story of their first encounter see the book Slickrock: Endangered Canyons of the Southwest or the blog post, “Keynote Speech At Escalante Canyons Art Festival.”

For more information about New Release Prints Pricing see the blog post, “New Release Pricing,” For more about the archival prints and materials see the blog post, “About Archival Fine Art Digital Prints.” Also, to learn about special features of only the two largest sizes limited editions see the blog post, “Why Photography Galleries And Collectors Like Limited Editions.”

Have you ever photographed any unusual rock forms? Ever been to Canyonlands or walked on the sandstone of the Southwest?

eBook Review: Creative Processing Techniques In Nature Photography By Guy Tal

August 7th, 2013

Review Of Guy Tal’s Creative Processing Techniques In Nature Photography

“In art, the hand can never execute anything higher than the heart can imagine.” – Ralph Waldo Emerson

“The goal is to produce images that uniquely represent the photographer’s vision and possess meanings beyond the literal visual elements they portray.” – Guy Tal

Cover, Creative Processing Techniques In Nature Photography By Guy Tal.

Cover, Creative Processing Techniques In Nature Photography By Guy Tal. Click On The Image To Read More…

In Guy Tal’s ebook, Creative Processing Techniques In Nature Photography, he assures the reader that digital image processing can be a much richer introspective and creative experience than can possibly be provided by formulas or rote routines to “achieve such trivial goals as more vibrant colors or gimmicky visual effects.”

In the introduction to Creative Processing Techniques, Guy Tal wrote, “The digital studio at your fingertips is every bit the fertile bed for creative expression as any field technique…” He refers to the process of visualization discussed in his ebook, Creative Landscape Photography, and explains how decisions in the “studio” give the photographer a wide spectrum of possibilities and control for attaining the “visualized end result.”

Guy clearly favors creative post-processing over using presets or leaving image files the way the camera captured them. He also makes a good case that the answer to the question, ‘How much is too much?’ is best left up to each photographer’s own discretion and intended use of the image. He argues that the creative photographer’s purpose is to go beyond a mere documentary recording of subjects. However, he urges us to remember, “We chose the medium of nature photography because we were moved by the beauty of natural phenomena, and we may not want to venture too far from our source of inspiration.”

From Basics To Advanced Techniques

From the basics of monitor calibration, definitions of bits, 8-bit versus 16-bit, RGB, CMYK, color channels, RAW files, JPEGs, TIFFs, GIFs, conversions, Bayer patterns, Digital Negative or DNG files, clipping of highlight or shadow detail, file storage, compression, Tiff versus PSD and other image file formats, pixels, PPI, DPI, the International Color Consortium or ICC Profiles, color space or gamut, monitor and printer profiling or calibration using a colorimeter, target images, hue, saturation, “dodging” and “burning,” .icc, .icm, Perceptual and Relative Colorimetric rendering intents, sRGB, Adobe RGB, Kodak’s ProPhoto RGB,  pixilation, and why images do not look the same online as they do when made into archival fine art digital prints, all the way through the process of creating and working on digital master files, Guy Tal guides us with smooth, clear and thoughtful precision. Not only are you rarely confused by Guy’s explanations, but at the end of each chapter to assure even better understanding of the ideas presented, we find short, fun exercises and self-quizes about various points in the text.

Guy Tal suggests that as you process an image, you may change your mind as to how you will finish it. Your pre-visualized goal when you made the photograph can be refined and reconsidered along the way in a process Guy calls Dynamic Visualization. The way Guy Tal presents global and local adjustments had me anticipating the development of my next photograph in the digital darkroom. I became inspired by the possibilities as I began to see the process through new eyes from what I did previously. I realized that by employing Guy Tal’s workflow, I caught his vision and enthusiasm for image refinement, while at the same time I came into a deeper understanding of my own approach to creative landscape photography.

Unconventional Self-Awareness In Photography

Guy Tal is photographically self-aware and by example he teaches the reader to be more self-aware of his or her own creative process. Guy’s wisdom is often unconventional. For example, one of his image captions reads:

Do not assume that just because something is technically deficient, it should always be corrected. For example, the image on the right contains areas of both over-exposed highlights and under-exposed shadows. Still, I found these perfectly acceptable and decided not to correct them. In fact, it is likely that if I had corrected them (e.g., by blending multiple exposures), the result would have looked decidedly unnatural.

In the film era, under and over exposed areas in photographs were common, even with the use of the zone system. It was only with the advent of digital and especially High Dynamic Range or HDR that striving for detail in all areas of photographs became the norm. In this sense, Guy Tal’s experience in large format film photography serves him well as to what is worth spending time adjusting. Along the same lines, Guy provides good guidance as to what to adjust and what not to adjust in RAW conversion, as well as what to adjust minimally to avoid detail loss and fringe artifacts.

Guy Tal also bucks another trend in the digital darkroom. He points out that high contrast, more color saturated images often make a stronger first impression but may have less “’staying power’ if bold color is all they have to offer.” He writes, “…nuanced and subtle images often invite closer inspection and result in a more extended, contemplative viewing experience.” In this spirit Guy tells us how to use the various controls in Adobe Photoshop and Adobe Lightroom. Not only does he provide a clear description of each tool and how it works, but he also explains various situations where one tool works better than another and shows us how the results differ.

Photoshop Setup And Tool Optimization

From giving recommendations for how to arrange your tools for easy access in Adobe Photoshop, to how best to apply each tool and adjustment, Guy shows you the best practices and set up to make Photoshop easier to use. My impression is that with Guy’s technical background, he has a better understanding how and why each tool in Photoshop works the way it does, than many of the most prominent photographers in the field. Reading Guy’s ebook clarified some ambiguities and showed me better technique than what I have learned by observing or talking to many other photographers working in Photoshop. For example, I had learned that in using “Levels” to find the white and black point in an image that it is necessary to bring the corresponding sliders into the histogram slightly. However, Guy recommends bringing the sliders to where they are either just touching the histogram or even just outside the histogram, not touching it at all. Guy explains succinctly why this is a better approach.

In this extensive ebook Guy also discusses layer blending and how to combine the highlight detail from one image with the shadow detail of another, a process many refer to as High Dynamic Range or HDR. With Guy’s specific and complete directions, I performed my first blending of two versions of an image. How exciting: I have hard drives filled with bracketed images waiting for this moment. As can be expected, much more can be learned and realized by applying each exercise to your own images. I had a sense of anticipation and accomplishment in the learning by running my own images through each process and exercise that Guy outlines.

Global And Local Adjustments And A Different Way To Dodge And Burn

Besides philosophy and global adjustments, Guy also touches briefly on a number of local adjustments including Cloning and Spot Removal. This helps to round out the reading experience, but other books or tutorials may be necessary for more detail. I like the way Guy moves on to expand on more advanced methods such as Layer Masking and various uses for these layer masks. Most of Guy’s explanations are clear and thorough, but in some instances, he summarized a bit too much in my opinion, shortening the explanation of certain steps when he might have included more specifics without taking too much more space and reader time. Nonetheless, no one book could ever cover all features and tools in Photoshop. Anyone can Google the step-by-step functions of whatever basic tools Guy leaves out. Guy warns us against attachment to any particular tools or methods, but shares the importance of developing a strong working approach to visualizing and finding gaps between what we envision and what we have so far attained. Meanwhile, Guy’s explanation of non-destructive Dodging and Burning is comprehensive and extremely helpful for improved image editing, as are most of his other process explanations.

Before reading Creative Processing Techniques, I had a fair understanding of many of the controls in Photoshop, but some of the time I was just guessing as to how to obtain what I wanted in my images. Afterwards, I now have much more control and am more able to directly obtain what I intend in my photographs. Guy wrote by e-mail that it is better to learn good workflow and processing methods from the beginning rather than trying to unlearn bad habits later. With the reading of Guy’s ebook, I feel I have caught the best wave to take me all the way into the shore of happy image making.

To order click this link: Creative Processing Techniques. Also, a two volume bundle discount is available when you purchase Guy Tal’s Creative Processing Techniques with Creative B&W Processing Techniques.

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?

Monday Blog Blog: Review Of ‘Light And Land’ by Michael Frye

October 31st, 2011

Monday Blog Blog: Review Of Light And Land: Landscapes In the Digital Darkroom By Michael Frye

Light And Land E-Book Promotional Image.

(What in the world is Monday Blog Blog? See the blog post, “Monday Blog Blog Celebration.”)

Michael Frye’s articulate, yet casual writing style in Light And Land: Landscapes In The Digital Darkroom, easily conveyed ideas to me that perhaps had seemed more complicated or even intimidating before. Right from the start I felt relaxed as though he would take me through a challenging journey safely. For example:

In this book I’ll take you step-by-step through each decision as I process five different images in Adobe Photoshop Lightroom. You’ll see my workflow in action, and I’ll explain why I use particular techniques in a particular order. But more importantly, you’ll come to understand the aesthetic judgments behind each decision… you’ll gain insights about how to convey your own unique vision, and how to squeeze every ounce of beauty, emotion, and inspiration out of your photographs…. While I use Lightroom for these examples, the basic principles apply to any software. Learning how to make good decisions and find the right balance is more important than learning any particular tool or technique.

“OK, I’m in,” I said to myself. “I can do this.” Michael Frye then rolled right into Highlight and Shadow Detail, Black Points and White Points, Workflow, Curves, Tools, Default Settings, Finding Direction and other sections in the natural flow of his work on digital images. These sections, besides explaining technical concepts in non-technical terms, made the process seem simple, but not too simple. Many photography how-to books wax long on technique, but Michael Frye showed me what to do with the techniques to create images that bring out my own vision. He also told me how to best apply each technique depending on what I intend to accomplish in each photograph. In my view, this makes Michael Frye an above average teacher. No wonder he teaches workshops through the Ansel Adams Gallery. No wonder he is the author of the traditional paper paged book Digital Landscape Photography: In the Footsteps of Ansel Adams and the Masters. Michael Frye knows what he is doing regarding the unique considerations in landscape photography post processing. In his e-book, Light And Land: Landscapes In The Digital Darkroom, he also sprinkled in his own wit and wisdom for landscape photography in general:

…In some other photography genres the photographer is often concerned with only one subject. Landscape photography frequently requires blending many different ingredients in a harmonious way.

Or:

…Landscape photography is all about communicating the mood of a particular place at a particular time.

Or:

Ultimately it doesn’t matter whether you prefer using Curves or some other tool, what default settings you start with, or even what software you use. The goal is to make the image communicate something, and there are many ways to accomplish that. Knowing what you want to say is more important than using a particular procedure.

At the top of Michael Frye’s section on Workflow, he listed for us readers in order the various steps he takes in Adobe Photoshop Lightroom. Then he elaborated on each one. He showed how he goes about each step in a sort of “real time” demonstration on his landscape photographs.

He explained that “in a book of this size it’s impossible to describe every nuance and keyboard shortcut in Lightroom.” Then he went on to recommend the two books I already have on Lightroom, but have never read, how handy is that? Plus Michael Frye recommended one more book on Lightroom by David DuChemin called Vision & Voice: Refining Your Vision in Adobe Photoshop Lightroom. The other two books I have are Martin Evening’s The Adobe Photoshop Lightroom 3 Book: The Complete Guide for Photographers and D65’s Lightroom Workbook: Workflow, Not Workslow in Lightroom 3 by Seth Resnick and Jamie Spritzer.

Having watched master landscape photographer Carr Clifton work with curves since 2008, but having only minimally tried it myself, I found Michael Frye’s explanation of curves to be the easiest to understand of any I have read. To check out the Photoshop and Lightroom resources I have either studied or gathered and not yet studied, see the blog posts, “Monday Blog Blog: Photoshop For Pros” and “Monday Blog Blog: Lewis Kemper.”

What I liked about Michael Frye’s style of presentation in Light And Land: Landscapes In The Digital Darkroom was that he urged the reader to think and make decisions. He asked many questions that put me into action in processing images along with him and starting in on my own. His sections called “Evaluation” in Light and Land and on his “In The Moment: A Landscape Photography Blog” have encouraged and inspired us students of landscape photography to jump right in and get involved.

Michael Frye powerfully wound up Light And Land by advising us to go to galleries and museums and look at the finished product: fine art digital prints. He said not just to look at them but to ask yourself his many evaluation questions:

When viewing prints, look at the contrast. How much of the photograph is pure white? How much pure black? Is the print dramatic or understated? Notice the color balance and saturation. With black-and-white prints, check for slight color tints.

To bring home his e-book coaching Michael Frye in Light And Land quoted Ansel Adams, one of the world’s greatest fine art print makers of all time:

The difference between a very good print and a fine print is quite subtle and difficult, if not impossible, to describe in words. There is a feeling of satisfaction in the presence of a fine print—and uneasiness with a print that falls short of optimum quality.

The only aspect of Light And Land I don’t like is that it is too short. I would like to learn much more and have Michael Frye go into greater depth in many of the areas of his coaching in this e-book. Fortunately, Light And Land is priced at what David DuChemin termed the “outrageously low price” of only $5.00. If you look around some you may even find a coupon to purchase the e-book for $4.00. I recommend that each of you who takes the digital printing of landscape photography seriously not wait any longer: buy the book now. Michael Frye will show you how to make that subtle difference, referred to by Ansel Adams, in your fine art digital prints. To order go to Light And Land: Landscapes In The Digital Darkroom.

Monday Blog Blog: Greg Boyer

May 16th, 2011

Monday Blog Blog: Greg Boyer Photography

Raised on ranches as a boy and now living in Bishop, California in the shadow of the Eastern Sierra Nevada, Greg Boyer first became serious about photography in the early 1970s. He first began making landscape photographs at age 12 when his father gave him an Argus C3. In 1960, a trip to Yosemite National Park helped spark his creative inspiration. By the time he reached age 13, he had been to 18 states.

Moonrise Over Mono Lake, Eastern Sierra Nevada, California, copyright 2008 by Greg Boyer.

(View the photograph larger Click Here.)

(What in the world is Monday Blog Blog? To find out more read the blog post, “Monday Blog Blog Celebration.”)

Greg Boyer’s father was in the Army Air Corp which became the US Air Force. He later became a safety engineer for a the U.S. government and in the Missile Industry. The family began ranching in California and then moved to Idaho north of Boise along the Payette River. Greg Boyer worked on his father’s ranch while also photographing and hiking the mountains and back country of Idaho.

In the mid 1970s and early 1980s, Greg Boyer worked as a well driller and did construction work building irrigation pumping plants along the Sacramento river in California. At the zenith of Greg Boyer’s early photography life, he recently explained, he dove in more deeply and then faded after a camera catastrophe and other life changes:

I was about the same age as Galen Rowell. He was in all the magazines. He was an outdoor hero. I was doing mountain climbing and some of the same things he was but on a smaller scale. I was always an explorer as a kid. The last year I was very serious about photography was 1975 when I was photographing on the Middle Fork of the Salmon River in Idaho, a wild and wooly place. I was using a Nikon F2. I had a 500 mm lens on and I was getting ready to change the focusing screen. I set the camera down and it fell off the rock perch I set it on at the edge of a deep gorge. I was rummaging in my camera bag trying to find the focusing screen and all I heard was the first clunk of my camera bouncing several times down in the ravine. I turned around and the camera was gone. On the second bounce I saw the body go one direction and the lens go the other. Soon after that my ex wife and I moved back to California in 1975. I was drilling wells and the work was demanding. I didn’t have the time to devote to photography that I wanted to. I was raising a family. I still made snapshots of my kids and family vacations.

Greg Boyer worked for Campbell Soup for 14 years as a maintenance planner. When an opportunity to go back to school came, he took it. He attended UC Davis in Multi-Media Design, where he learned about video production and Photoshop, which he had originally started to learn in 1992. He worked in Video Production from 1997 to 2005. Around that time the video business began to change. The video company he worked for and many others were casualties.

In 2004 Greg Boyer bought a Nikon D2X digital camera. With his extensive knowledge of Photoshop, he also began digital printing. Thus began a whole new experience with photography:

With digital photography I found out how to express the way I saw a scene. I couldn’t do that with film. Digital landscape photography was everything film photography could have been to me but that I never had with film. I never had the tools to do what I really wanted to do until digital came along.  It’s the immediacy of the digital image. You can see right away what you have. You can look at the image and at the histogram and then do something different if it doesn’t work. In the film era you didn’t know what you had until you had the rolls processed. Then you might never make it back to the same place, or you had to get back there in the same conditions.

In late 2005, Greg Boyer was diagnosed with Emphysema. When he told his son, his son said, “Well, you better quit wasting time.” After thinking about it, Greg Boyer realized his son was right. He decided to change his lifestyle and do what he really loved, which meant getting back in touch with nature and taking up photography again. Soon afterwards he moved to Bishop, California to be near the Sierra Nevada in a small-town atmosphere and clean air. Greg Boyer described his experience of connecting with nature and the philosophy behind it:

Krishnamurti was an influence on the way I look at what I’m doing in landscape photography. I go out and get absorbed by my surroundings. When I’m out taking photographs it is a spiritual experience of that moment in time and space when it is all yours. You are it and it is you. Krishnamurti wrote about seeing and not categorizing. His philosophy was that by defining something you separate yourself from it. He gave me a new way of being out and connected to nature. Civilization’s mistake is in separating from the natural world.

In the Eastern Sierra Nevada Greg Boyer now goes backpacking at least twice a year. He still carries 50-60 pounds of gear on backpacks including cameras and lenses. Greg Boyer said he is ‘living the dream,’ but he is glad he doesn’t have to rely on photography for a living in today’s conditions. He has the freedom to pursue landscape photography as he likes:

I’m enjoying life and having a good time. This is the way life was meant to be. I’m blessed to be doing what I love in a beautiful place. At Campbell Soup some people had been working there for 35-40 years and hated every minute of it. I feel bad for people who are stuck doing something they have no idea they can get out of. Many people are not doing what they love to do. I like sharing what I’m doing in photography. I like the interaction with other photographers in the photo blogosphere. Besides, I live a few blocks from Galen Rowell’s Mountain Light Gallery.

Take a close look at Greg Boyer Photography and his blog, which offer an inspirational perspective on landscape photography. His blog posts about Photoshop and other post-processing tools and techniques provide an experienced presentation of simple and advanced methods.

The Santa Monica Experience

April 28th, 2010

Billboard And Sign, Pacific Coast Highway, Pacific Palisades, California, 2009 by David Leland Hyde, Nikon D90 hand held.

People have asked me to give a little tasty taste of what I photograph, ponder and write about while I’m on the road on the way to a Philip Hyde exhibition opening, or while I’m lugging around framed prints.

I did write something called “The Santa Monica Experience,” that I sent as an e-mail to my list of friends of Philip Hyde Photography on November 7, 2009. I wrote it at a friend’s beautiful house, not even close to the largest in the neighborhood, but way above my status. I wrote the e-mail sitting in my friend’s guest suite looking out at the swimming pool, lawns, orange trees, lemon trees, and several other fruit trees while the smell of exotic flowers filled the air. I was visiting Pacific Palisades, between Santa Monica and Malibu on the Pacific Coast Highway, in my Dad’s tan 1984 Ford Van, with a dent on the right side and the paint peeling off, parked in the driveway. I had just returned from leaving 30 framed archival fine art digital prints at Santa Monica College for the upcoming exhibition.

Wow, SUNSHINE! I love L. A….

Not a drip of smog, blue skies, warm days, scantily-fashionably clad beautiful people everywhere…

Beach, Santa Monica, California, 2009 by David Leland Hyde, Nikon D90 hand held.

…The speed limit is 45 on the Pacific Coast Highway in Santa Monica and I’m doing 60. Mercedes, BMW’s, Porsches blasting past me like I’m standing still. The last mad race of a race madly running like lemmings into the sun… On the radio of the convertible Mustang ahead of me, Madonna scintillating, “You might be my lucky star…” The girl in the white Saab looks at me, like, “You have a lot of nerve to drive that old jalopy van along here and look at me.”

The van is a quiet tan from an era gone by, but not lost at Santa Monica College. They teach cutting edge digital photography and old fashioned darkroom black and white print making. It is the only college in the United States that still teaches Ilfochrome printing. Santa Monica College has millions of dollars in photography equipment. In the new and high tech business building on the second floor there’s this beautiful gallery space with top quality lighting, completely straight white bare walls, where the work of a quiet man who loved nature will hang for an instant in time. And this quiet show starts tonight. It is the “Road Less Traveled…”

Come see…
Tonight is the night.
Santa Monica College.
It will be good for your soul…
Love,
David Leland Hyde
Philip Hyde Photography
Fine Art For Earth’s Sake Since 1942

http://www.philiphyde.com/

This time the show will be at Mountain Light Gallery. A different show. Come see. It will be good for your soul…

And, maybe somewhere along the way, in Reno, Carson City, Mono Lake, Mammoth, Bishop, Lone Pine, Alabama Hills, maybe Death Valley National Park, maybe even Yosemite National Park, I will write another experience. There is always plenty to write about and photograph on the road…