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About the Photograph
In 1969 the original image for the logo, a nude photograph of Clyde's wife, was photographed with a 4" x 5" camera. Recently, Clyde scanned the negative, cleaned it up, and created a new negative for printing in the darkroom.
The image is 8 inches in diameter. Each photograph is hand-printed in the darkroom on Ilford Multigrade Art 300 Paper, a traditional silver gelatin black and white paper known for its textured matte surface with a subtle eggshell sheen. It has a cool paper base with a warm image tone that differs from the Ilford Baryta fiber-based papers that Clyde typically uses. Each print is selenium toned to meet archival standards.
After printing, it is hinged mounted, matted to 14" x 12", and personally signed and numbered by Clyde.
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Making the Print
In 1971, Clyde collaborated with Peter Gates and Richard Pucillo to establish a new corporation, Eye Encounter, specializing in selling framed photographic images for wall décor. The name reflected the essence of encountering the photographic image with one's eye. After deciding on the name, the next challenge was to design a fitting logo. Clyde envisioned a logo resembling an eye, but traditional approaches like photographing eyeballs didn't yield satisfying results.
He decided to take a more creative approach, aiming for a somewhat abstract eye for the logo. This led to the birth of the image used for the Eye Encounter logo.
How he Created the Eye Encounter Logo:
Materials Used:
• Masonite (30" circle) • Plywood (20" square) • Negative (image of his wife) • Enlarger
The process involved placing the 20" plywood on the enlarger's baseboard. The 30" masonite was cut into a circle, painted white, and divided into 32 spaces with lines. Clyde loosely nailed the masonite to the plywood, allowing him to turn it while he exposed the image. Starting with the nude image in the center, he strategically placed the model's feet over a nail to create a dark center, resembling the iris of an eye. Using a foot switch for each individual exposure, he dodged the outskirts of the image with his hands, revealing only the nude. With each exposure, he turned the masonite to the next marker, resulting in 32 repeated images. The proximity of these images created a dark, iris-like effect.
Before printing the second image on the paper for the outside ring, he adjusted the size and repeated the process, ensuring his hands consistently covered the smaller image in the center. Perfecting this intricate image required approximately 9-12 iterations, emphasizing the dedication and precision involved in its creation.
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Book Details
Large hardcover book
Bound in elegant black Bonded Leather and enhanced with foil titling on the spine, emobossed title on the cover. The painting on Clyde is inlayed into the book's cover. Book measures 16” x 14”
Each book is accompanied by a numbered and signed 8 inch Silver Gelatin photograph, handprinted in the darkroom, safely nestled inside a black leather bonded folio. The photograph is hinge mounted and matted.
Both the book and print folio are enclosed in a black leather bonded clamshell case, accentuated with elegant foil titling
176 glossy pages
119 black and white photographs
Thirteen double page spreads
Includes a Photo Journal Index with stories about each black and white photographs and a timeline of Clyde's life
Copyright Window of the Eye, Inc. 2024
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About the Cover Art
Oil painting titled "Clyde Butcher, Photographer of the Everglades" ©2010 by Nicholas Petrucci. The book’s cover image was created as part of the collection called Guardians of the Everglades, which includes life-size oil paintings of individuals credited with using their leadership skills to effect positive change in the Florida Everglades. Petrucci’s collection started with Clyde’s image in 2010, and his likeness accompanies other preservationists such as Franklin Adams and Nathaniel Reed. Petrucci’s collection is ongoing and currently includes eleven individuals in total.
Clyde’s DedicationI dedicate this book with the deepest gratitude and love to my wife, Niki. From the moment we crossed paths, I recognized Niki as my soulmate. Our shared aspiration for a life beyond the ordinary brought us together. Niki embraced the unconventional path and encouraged me when I decided to leave my architectural career and pursue my dream of becoming a photographer. During the challenging early days, as financial uncertainties loomed, she stood by my side, securing a job, setting aside her art, and caring for our children, allowing me the time and space to develop as an artist. Over the years, we have become inseparable companions, navigating every twist and turn together. The photographs I create are not solely my own; Niki is an integral part of each image. To Niki, my muse and partner, this book is a tribute to the indelible mark you’ve left on both my life and my art.
Praise for Clyde“Clyde’s images are like jewels of treasured moments. Butcher waits patiently for the right light to transform the land. Much like the work of his kindred spirit, Ansel Adams, Butcher cares for his subjects, and it shows in how he can reach the viewer’s heart, imagination, and spirit engendering the ‘one world’ philosophy he has promoted—one world to care for and appreciate beyond the urban sprawl.” -Brian Byrn, Curator of Exhibitions & Education, Midwest Museum of American Art, Elkhart, Indiana
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