SOLD. Dressed and Undressed. From the book of Tableaux Vivants by Tony Ward. 2001. Private Collector Philadelphia
Collecting Fine Art Photography
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The history of collecting fine art photography is a fascinating journey that intertwines technological innovation, artistic evolution, and shifting cultural perceptions. While photography itself was invented in the early 19th century, it took decades for it to be recognized as a legitimate art form worthy of collection. Initially, photography was seen primarily as a scientific tool or a means of documentation, but over time, its artistic potential became undeniable, paving the way for its inclusion in the world of fine art.
In the mid-19th century, pioneers like William Henry Fox Talbot and Julia Margaret Cameron began experimenting with photography as a medium for artistic expression. Cameron, in particular, was known for her evocative portraits that mimicked the aesthetic of painted canvases. However, it wasn’t until the late 19th and early 20th centuries that photography began to gain traction in the art world. The Pictorialist movement, led by photographers such as Alfred Stieglitz and Edward Steichen, sought to elevate photography to the status of painting by emphasizing soft focus, dramatic lighting, and compositional techniques reminiscent of traditional art. Stieglitz’s New York gallery, 291, became a pivotal space for showcasing photography alongside other fine arts, helping to legitimize the medium.
The early 20th century also saw the rise of modernist photography, with artists like Man Ray and László Moholy-Nagy pushing the boundaries of the medium through experimental techniques. These innovations caught the attention of collectors, who began to see photography as a dynamic and collectible art form. By the mid-20th century, institutions like the Museum of Modern Art (MoMA) in New York established dedicated photography departments, further cementing its place in the art world.
The 1970s marked a turning point for the market of fine art photography. As interest in contemporary art grew, so did the demand for photographic works. Auctions dedicated to photography began to emerge, and prices for iconic images by artists like Ansel Adams, Diane Arbus, and Henri Cartier-Bresson soared. Collectors were drawn to the medium’s ability to capture historical moments, evoke emotion, and challenge perceptions.
Today, fine art photography is a thriving segment of the art market, with collectors seeking both vintage prints and contemporary works. The advent of digital photography has further expanded the possibilities for artistic expression, attracting a new generation of photographers and collectors alike. From its humble beginnings as a scientific curiosity to its current status as a respected art form, the history of collecting fine art photography reflects the enduring power of the medium to captivate and inspire.
SOLD. Erin’s Feet. 1993. From the book of Obsessions by Tony Ward. Private collector Philadelphia
I’ve been wondering about two things ever since the spring of 2016 when Donald Trump began winning primaries and getting all sorts of weird media attention. First off, were the Republican Party and its voters really willing to accept responsibility for the direction that guy wanted to push them? And, secondly, how much would the art world step up as a reaction to what Trump and his ilk seemed to want to do to our country?
Obviously, that first question has been answered. But the second one is still up in the air. How exactly are creative people going to respond using their talents, especially now, halfway into the third decade of this century?
During Trump’s first term, the only real potent work going out to the edge of our culture seemed to me that from the world of comedians and comic wannabes. Lots of late-night TV joking, social media memes, and talking head cable news folks getting goofy. Many of us kept laughing as best we could, waiting until normal life could start up again, especially once Covid-19 made things so difficult.
It’s clear now, with this second term, that we’re in a different moment historically. Attempting to obliterate major American institutions and remake our national economy in order to create ever more tax cuts for the wealthy is not something to joke about. To those of us who have worked with and in government agencies professionally (I had many roles as an analyst, planner, and administrator for nearly 30 years) the idea that public servants would be reviled as members of a so-called “deep state” (a fictional propaganda concept), is extremely sad, frustrating, and maddening. There’s little question, too, that we are only at the beginning of a four-year debacle of incompetence and unnecessary cruelty.
So, I wonder how painters, songwriters, photographers, designers, writers, choreographers, sculptors, filmmakers and other committed, professional artists see what’s going on. We are watching a level of hostile disregard for virtually everything that made our country an endlessly enthralling place to live and create for at least the last 160 years. Glimmers of imaginative rebellion and poetic opposition have begun to pop up, but when is it going to become a tidal wave or a movement? For that matter, when are audiences and fans going to stop wanting to bear witness to cute kitchen dancing and funny pet tricks in favor of honest questions about dishonest propaganda and dishonoring what it means to be a member of our diverse and complicated society?
All of this is deeply frustrating on so many levels. Where does one start? I don’t see politics in my work. I see common sense and concern for the lives of my fellow citizens. I believe in peace, love, community, independence, laughing, looking people in the eyes, being honest, and working hard not to be angry or hateful towards others, trying to understand not judge. That’s all seeping into my stories these days—from novels to flash fiction. I can only assume a similar approach will be true of other artists over the next few years.
We keep hearing the media talk about “bubbles” and “silos” and “different realities.” Artists have always known about those things. The arts can be an antidote to politics by waking up honest and meaningful emotion on deep levels for each single one of us 340 million people. Even if the only thing we accomplish is to remind people that we’re all in this together, we’ll have made a big contribution to a better future for our grandchildren and their children.
Wag The Potus. Artwork by Thomcat23, Copyright 2025
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David Biddle is a Philadelphia-based writer whose new novel, Sound Effect Infinity, is available at all the obvious places online. He can be reached through his website: https://davidbiddle.net
Couture fashion, the pinnacle of sartorial craftsmanship, has long been a symbol of luxury, artistry, and innovation. Originating in 19th-century Paris, couture—French for “sewing” or “dressmaking”—represents the creation of exclusive, custom-fitted garments that are as much works of art as they are clothing. Its history is a fascinating reflection of cultural shifts, technological advancements, and the enduring allure of haute craftsmanship.
The birth of couture is often credited to Charles Frederick Worth, an English designer who established the first haute couture house in Paris in 1858. Worth revolutionized fashion by presenting seasonal collections on live models, a practice that laid the foundation for modern fashion shows. His designs, characterized by opulent fabrics and intricate detailing, catered to elite clients, including Empress Eugénie of France. By the early 20th century, couture houses like Chanel, Dior, and Balenciaga had emerged, each leaving an indelible mark on the industry. Coco Chanel liberated women from corsets with her timeless, minimalist designs, while Christian Dior’s “New Look” of 1947 reintroduced femininity with voluminous skirts and nipped-in waists.
The mid-20th century saw couture flourish as a global symbol of prestige. However, the rise of ready-to-wear fashion in the 1960s and 1970s challenged its dominance. Despite this, couture endured, adapting to modern tastes while maintaining its commitment to craftsmanship. Today, couture remains a playground for creativity, with designers pushing boundaries to create garments that are both wearable and visionary.
Contemporary couture is defined by a blend of tradition and innovation, with international designers leading the charge. Iris van Herpen, a Dutch designer, is renowned for her futuristic creations that merge technology and craftsmanship, often using 3D printing and unconventional materials. In India, Rahul Mishra combines traditional embroidery techniques with modern silhouettes, celebrating his heritage while appealing to a global audience. Meanwhile, Guo Pei, the Chinese designer behind Rihanna’s iconic yellow Met Gala gown, creates breathtaking pieces that blend Eastern and Western influences, often featuring intricate hand-embroidery and luxurious fabrics.
In the Middle East, Zuhair Murad and Elie Saab have become synonymous with red-carpet glamour, crafting ethereal gowns adorned with crystals and lace. Their designs have graced celebrities and royalty, solidifying their status as global couture powerhouses.
Couture fashion continues to evolve, embracing sustainability and inclusivity while staying true to its roots. It remains a testament to the enduring power of creativity, proving that in a world of fast fashion, true artistry will always have a place. As contemporary designers like scarf designer KVaughn redefine what couture can be, they ensure its legacy as the ultimate expression of elegance and innovation.
Gina Iannece. Vixen. Photo: Tony Ward, Copyright 2025
Text by Gina Ianneci, Copyright 2025
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Model: Gina Iannece
Photographer: Tony Ward
Creative Director: KVaughn
Hair & Makeup: Michael Connor
Lighting Grip: Anthony Colagreco
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Meeting The Moment. A Career in Fashion
In Tony Ward’s “Heroines and Vixens” photo series, I resonate with the duality of strength and allure that defines these women. As someone who has navigated the dynamic world of fashion, I try to embody the resilience and determination of a heroine, while also embracing the bold, confident spirit of a vixen. This series beautifully captures the multifaceted nature of women, reflecting both the power and grace that I strive to bring to my professional and personal life.
My fashion career started in wholesale operations and sales for Nomination Jewelry in the 2001 at the height of their composable charm bracelets popularity in North America.
Next, I had the pleasure of working for the iconic sisters Tish and Snooky, the creators and owners of alternate beauty brand Manic Panic NYC. While managing global sales for key accounts, I traveled to London and
Germany to represent the brand. I also personally negotiated a deal for placement in Sephora stores in the United States.
Because of my success at Manic, I was offered a new position, I went from Punk Rock to Polo. Shifting to a more corporate environment at Jones Apparel Group, working on sales for Oxen Workwear and as the assistant to the VP of Design for Polo Jeans Co, was licensed to Jones at the time. Polo Jeans Co was bought back by Ralph Lauren, and I stayed with the brand transitioning into merchandising. I helped create and launch the brand Denim and Supply by Ralph Lauen, managing men and women’s denim apparel and accessories.
The immense popularity of Denim and Supply led to the end of another Ralph Lauren brand Rugby which ended up leading to layoffs. I lost my job. This is the first time I was laid off and I was devastated. I had developed a love of denim while at Ralph. The different fabrications, weaving and wash techniques, I love all of that. So, I was targeting new roles in denim merchandising and this took me to Giorgio Armani.
I joined that A/X Armani Exchange during a new transformative period for the brand. At the time ,ownership was split between Giorgio Armani corporation and Presidio.The creative team was attempting to change the brand direction away from the overly embellished “Jersey Shore Vibes.” I was responsible for merchandising, buying and sales for women’s denim and woven’s and was a part of the team that helped to elevate the assortment and brand back to its 90’s aesthetic.
Unfortunately, this was short lived, and I was laid off again when Armani decided to buy out Presidio as they shifted the merchandising roles to the Italy team. While at A/X, I was responsible for buying and I could see
Ecom taking over retail. Feeling like I wanted a change of direction I started to seek roles in ecommerce, I took an in-between job and eventually landed an opportunity in digital back at Ralph Lauren.
It was a contract freelance position to cover a six-month maternity leave, but I would end up being hired and stayed with the company for four years. There were merchandising aspects to the job, but the primary responsibilities were to manage digital assets to be used for sales and marketing for the Chaps brand. The role grew to include managing operations and Ecom account management. I played a key role in launching Chaps brand apparel accessories and home goods on Amazon, the first RL brand to sell via the platform.
Gina Iannece. Heroine. Photo: Tony Ward, Copyright 2025
We reached 2020 and were hit with the Covid 19 Pandemic. Retail stores were shutting their doors. The entire Chaps team in all departments were placed on furlough except me and maybe five others. I continued to manage Ecom accounts and create new content, still traveling to various offices in NY and NJ. I found ways to work with the photo
studio and still adhere to health restrictions. I kept the hustle going. Then one day, I was invited to an MS Teams meeting with the entire team and informed that Ralph had sold Chaps, resulting in immediate layoffs. I was asked to stay until spring 2021.
My most recent position was with Randa Apparel and Accessories. RAA is a private family owned company that has been in business for over one hundred years. They hold licenses for many top brands and produce mostly small leather goods like belts and wallets. I managed operations and sales for their Ecom accounts and marketplace/DTC. I joined as they were starting to move into women’s accessories and facilitated highly successful brand launches for Calvin Klein, Cole Haan, Levis, Sam Edleman and Tommy Hilfiger.
But I knew what was coming in 2024, when Randa announced that they would be acquiring Totes and Isotoner. The inevitable restructuring happened, and I was a part of the layoffs. It happened right around the winter holidays when hiring is slower or on hold. So, I began my new job search, started networking, and taking online classes. And I said yes to this chance to be in front of the camera for the first time.
As for this opportunity to be photographed by the TWS team, even though I sought it out, I was not prepared when Tony Ward asked me to contribute to this project, but I am so happy that I did it.I decided to meet the moment, and everything just seemed to align perfectly. I started sharing wardrobe ideas with the creative team and Tony shared the background which I absolutely love. Kvaughn had a vision for silver and Anthony Colagreco found the armor that I ended up wearing. It was giving synchronicity vibes.
The weeks leading up to the shoot were about collaborative preparation. The day of the shoot I was nervous but that quickly turned to excitement by the time Michael Connor finished with me in the makeup chair.Everyone was professional and encouraging. The studio space was incredible – bright with beautiful wood floors and white walls covered in photos. It felt like being in an RL showroom. The energy was infectious and I felt seen and heard in the room. This experience was one of the best of my life. I will cherish the memories, images, and the shoes that Kvaughn sourced and gifted to me forever. A week after this photo shoot, I accepted a job offer and am excited to start a new position soon.
Gina Iannece. Photo: Tony Ward, Copyright 2025
About The Author:
Gina Iannece is 48 years old, living in New York. She is a decades long Tony Ward Studio fan and first time contributor to this webzine.
Tony Ward Studio located at 361-63 Cadwalader Avenue, Elkins Park, Pa. 19027 is available for day rental. The space is suitable for strobe, continuous and available light photography. The rate to use the facilities is $50.00 per hour with a one hour minimum. Photographers are required to bring their primary gear: that would include cameras, tripods, lighting equipment and backgrounds. The studio can provide additional equipment support if needed including; light stands, background supports, grip equipment, super salon studio stand, extension cords etc.
Amenities include off street parking, private model dressing room, client lounge, prop shop with tools, full service kitchen and dining facilities. Tony Ward Studio also offers creative services, art direction, in house hair & makeup artists on an as needed basis. Additional fees will apply for all creative support services, including Tony Ward private photography classes, consultations, portfolio reviews and tutorials. Tony Ward is a world famous photographer and former instructor at the University of Pennsylvania. The first international book release on his photography Obsessions was published by Edition Stemmle, Zurich, Switzerland in 1998 to critical acclaim.
To schedule studio time: contact Tony Ward at 267-475-0828 or email Tony@TonyWard.com for queries.
Client LoungeFull Service KitchenDressing RoomTony Ward. Self Portrait With Available Light.
