About Archival Fine Art Digital Prints

July 19th, 2010 by David Leland Hyde Leave a reply »

Archival Fine Art Digital Prints | Fine Art Photography | Print Making

For more information about NEW RELEASES see the blog post, “New Releases Now At Special Introductory Pricing.” To see the photographs go to Philip Hyde Photography.

Printing Materials And Processes

Philip Hyde archival fine art digital prints in color were printed in 2008, 2009 and the beginning of 2010 with a 13-ink Epson 9800 Inkjet printer on Premium Luster paper. The archival fine art digital prints in black and white were printed in the first half of 2009 on a 16-ink Epson 11880 Inkjet printer on Premium Luster paper and in the second half of 2009 and beyond on Crane Silver Rag paper. The color archival digital prints beginning in 2010 are now printed with a Lightjet 5000 printer on Fuji Crystal Archive paper, in which case they are not pigment prints but chromogenic prints digitally exposed with light. On occasion the color prints are also printed with the Epson 9800 on a new archival 100 percent cotton rag paper. The life of any of these prints is much longer than those of print making methods of the past. In addition, the process of translating a 4X5 or 5X7 film original transparency or negative into digital print-ready form is complicated, expensive, time consuming and expert labor intensive. The highest quality equipment and methods known are used at each step starting with drum scanning and ending with print preparation.

Fine Art Photographer And Print Maker Carr Clifton

Landscape photographer and print maker Carr Clifton has made archival fine art digital prints for Philip Hyde since 1998, eight years before Philip Hyde passed on. When Carr Clifton expressed interest in photography over 35 years ago, his mother took him to meet Philip Hyde who happened to be a neighbor. From then on Philip Hyde was a mentor and friend to Carr Clifton. Carr Clifton has become a highly respected outdoor photographer in his own right. The two landscape photographers worked on several book projects together. Also, side-by-side for many years their photographs dominated the Sierra Club Calendars that contained the work of the most famous landscape photographers of the time.

Philip Hyde authorized and signed five of the new archival fine art digital prints before he passed on. The new prints are produced by Philip Hyde’s son, David Leland Hyde and Carr Clifton. This equates with Brett Weston or Cole Weston printing Edward Weston’s photographs, as other famous photographers heirs have done. Alan Ross has made special edition Ansel Adams prints for many years. A great amount of time, effort and expense has gone into matching as close as possible the way that Philip Hyde printed the photographs. Having been around Philip Hyde for many years, both David Leland Hyde and Carr Clifton work to maintain Philip Hyde’s straight photography aesthetics of limiting color saturation and maintaining tasteful photo realism when no Philip Hyde model print is available.

Rare Philip Hyde Original Prints Often Long Sold Out

Philip Hyde original prints are very rare and most of the best images have long sold out. Also, because Philip Hyde lost his eyesight, many of his best later portraits, cityscapes, and landscape photographs were never printed. When Philip Hyde was print making himself, he produced traditional black and white silver gelatin prints, color dye-transfer prints and color Cibachrome prints. He did not print the same best images over and over like many photographers. Each time he came home from a landscape photography trip, he printed only 2 or 4 color prints from that excursion. If there was an order for more he might print as many as 2 to 4 more prints given the time, difficulty and cost of color print making. In the earlier days before his transition to color in the early to mid 1970s, the black and white prints were made in edtions of 4 or 6. On rare occasions with only a few of the images, he printed as many as 10 or 12 prints. After printing from one project, he would go on a new trip, return and print the new images from the new outing. He rarely went back and printed older images. As a result, most prints of the well-known images are now gone.

New Archival Fine Art Digital Prints Allow Collectors To Enjoy New Releases And Old Favorites Again

The new archival fine art digital prints allow collectors and fans of landscape photography to enjoy new releases and the old favorites that in many cases have not been printed or exhibited for decades. The archival fine art digital prints are limited in production by the expense and difficulty of translation from large format film to quality digital images. Each of the archival fine art digital prints are produced in special editions that are numbered. The prints of any given photograph go up in price $100 in all print sizes each time 10 prints of any size sell. For example, “Virginia Creeper” has sold nearly 10 prints and will go up in price $100 soon. Those photographs that sell higher quantities will eventually become much higher valued than the others. For example, when 200 prints of an image have sold, it will be valued at $2,000 more in all print sizes than it was to begin with and $2,000 more than prints of the other photographs. This will not only increase perceived and actual value of the prints over time, but will limit production and sales of each print and make them more attractive to collectors.

The Mission, In Part

A portion of proceeds from fine art digital print sales will fund green energy development, land conservation and other environmental causes. Philip Hyde’s prints are in permanent collections in institutions such as The Smithsonian, The Metropolitan Museum of Art, George Eastman House, Time Life Gallery, California Academy of Sciences, The International Center of Photography and The San Francisco Museum of Modern Art.


See Philip Hyde Photography for Philip Hyde Archival Fine Art Digital Prints Pricing

For print acquisitions, questions or to just say hi, please contact:
David Leland Hyde
prints [at] philiphyde [dot] com
Orders can also be placed on the Philip Hyde Photography Website through the Portfolios that contain a Shopping Cart.



  1. Richard Wong says:

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

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

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

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