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Collecting by Joe - Collector’s Guide to
Vintage Sports Photos |
Know the Key Factors that Can Impact a
Photograph’s Appeal and Value
During the past several years, the market for vintage sports
photographs has changed dramatically as more collectors have been
exposed to this intriguing genre. Vintage photos offer a
combination of scarcity and aesthetic beauty and, most important,
capture a singular moment better than any other collectible type. A
photo doesn’t represent a mere era, year, day, or game. It captures
a fraction of a second, frozen in time.
As
the adage goes, a picture may be worth a thousand words, but today
it is not uncommon for an iconic photo to also be worth well over
six figures and beyond. Collectors have come to appreciate all the
appealing attributes of these once-hidden gems that are clearly
hidden no more. Items that were often viewed as complementary
pieces have now become centerpieces in some of the finest
collections in the hobby.
Unlike the trading card world, where resources are readily
available to the hobbyist, information about vintage sports photos
is limited as the market is still in its infancy compared with more
mature segments of the sports collectibles industry. It is a world
that remains relatively unexplored by the masses, which can be
viewed as an opportunity for collectors looking to expand their
horizons.
For those interested in exploring vintage sports photo collecting,
we present a hobby guide containing the key factors that can impact
demand and, ultimately, value.
Certification: Familiarize Yourself
With the Photo Type Classification System
As with other collectible fields or genres, third-party
authentication and grading services have become a critical
component in the sports photograph world. Unlike the grading system
for trading cards, however, the most vital type of certification
performed in the vintage photograph market is not an evaluation of
condition.
Instead, a method known as the Photo Type Classification
System© was created by photography experts Henry Yee and
Marshall Fogel in 2005. The system categorizes a specified photo
into one of four Types and defines that photo’s two key components:
its origin (whether the photo was made from the original negative
or a duplicate) and its vintage (when the photo was made).
Each Type within the classification system is described as
follows:
Type I: A 1st generation photograph, developed
from the original negative, during the period (within approximately
two years of when the picture was taken)
Type II: A photograph, developed from the original
negative, during the period (more than approximately two years
after the picture was taken)
Type III: A 2nd generation photograph, developed
from a duplicate negative or wire transmission, during the period
(within approximately two years of when the picture was taken)
Type IV: A 2nd generation photograph (or 3rd or
later generation), developed from a duplicate negative or wire
transmission, during a later period (more than approximately two
years after the picture was taken)
As one would expect, the most desirable photographs are of the Type
I variety because they are considered “original” in the purest
sense. A Type I photograph was developed around the time it was
taken. If all else is equal regarding the attributes of a
photograph, a Type I will consistently sell for a major premium
versus Type II through Type IV specimens. Some Type II photographs
where the image is considered iconic or historically significant
have garnered noteworthy prices, but the range of value within this
classification can be substantial since the dating of their
development can vary immensely.
There are instances where a Type I photograph of a particular image
has not yet been discovered and, as a result, an example that ranks
lower on the classification chart becomes the finest known by
default. In cases like this, the photograph has the potential to
break free of the general valuation rule, regardless of Type. This
principle applies to every segment of collecting.
Key takeaway: While Type II-Type IV photographs
can offer affordable alternatives, Type I is the classification
prized most by collectors.
Condition: Learn How “Grade” Impacts
Value
The Type classification system for photographs does not consider
condition as part of the process. That said, condition
does matter. The evaluation, however, is far less
technical than the grading approach used in the trading card
market. Generally, experienced photograph collectors are focused on
overall eye appeal, not the type of defects that have negligible
impact on the image at the center of the piece.
Aside from studio photographs made for personal consumption, most
surviving copies were used by newspapers and media outlets as
instruments to capture, illustrate and document history. To bring
everyday moments and major events to life, the typical process
required various individuals to handle the photographs. From
developers to postal workers to newsroom personnel, each photograph
embarked on its own journey, which is part of its story. In
addition to the general wear from handling, photographs often
exhibit editorial notations and crop marks and were sometimes cut
to modify their size.
Condition becomes increasingly relevant if the kind of flaws
detected detract from the visual presentation of the image. If your
eyes are drawn to the flaws from the outset, then condition becomes
a problem because your attention is being diverted away from the
image. Since most photographs are larger than trading cards, they
can be enjoyed in an entirely different way. They are collectibles,
but they are also display pieces. Due to their size and content,
they are often appreciated like other forms of art.
Consequently, defects such as corner wear or minor surface
wrinkles, the kind that could knock a trading card down into the
lower half of the grading scale, do not have anywhere near the
same, negative effect here.
Key takeaway: Condition matters only if the flaws
present distract the viewer from the artistry found within the
photograph’s edges.
Content: The Subject Is the Chief
Driver of Value
As is the case with everything else in collectibles, the item’s
link to a particular person, group or subject is often what makes
it desirable. The subject of each photograph takes center stage,
and the legends of sport usually own that stage when it comes to
market demand. The historical importance and popularity of the main
subject are what usually operate as the lure. There is typically an
enormous difference in value between a photograph of Babe Ruth and
Babe Adams, no matter who was behind the camera.
But a connection to a renowned photographer can add value to a
piece. For example, George Bain, Charles M. Conlon, Carl Horner,
and Paul Thompson are recognized in photography circles for their
work in baseball during the first half of the 20th century. Their
followings should not be overlooked, but the reality is most
photographs are not connected to well-known brands like the ones
above. Iconic status is often achieved by the image itself. The
terrific The Babe Bows Out image taken by Nat Fein in
1948, one that earned him a Pulitzer Prize, is a fitting example.
While nearly all the work associated with a photographer can
possess a certain cachet, most images earn prestige on their own
merit.
In fact, the photographers behind many iconic images are unknown
since credit often was not given to the individuals capturing the
image. The news agencies collaborated with staff photographers and
freelancers, but the names behind the camera were seldom identified
when the photos were used or printed. Trade associations and legal
protections that exist today were not available to photographers,
or enforced, during the time when most vintage images were taken.
On the other hand, the content of a photograph can always be
deciphered, which is why it is the crux of valuation.
Key takeaway: The content of every photograph is
the leading factor in value, no matter what the central figure is
doing, who captured the image or how the image was used.
Context: The Circumstances
Surrounding the Subject Are Crucial
Once the content, or subject, of the photograph is evident, the
most relevant valuation factor has been established. The
assessment, however, does not end there. Unlike trading cards,
where the market is far more defined, some degree of subjectivity
is unavoidable when it comes to deciding where one photograph ranks
versus another. Identifying photographs that might be considered
elite can be challenging because of the number of potential
variables in play, yet there is a method to determining value. This
level of complexity makes collecting photographs fascinating.
After content, the context of the photograph is what needs to be
evaluated next. In other words, what are the circumstances (or
context) surrounding the subject (or content) in the photograph?
How is the content being presented? What is the subject doing? How
is the subject being depicted or portrayed? Remember, the beauty of
a photograph is that it captures an exact moment in time. That
moment is the context collectors need to examine.
For example, if a collector is considering the purchase of a Type I
Babe Ruth photo, there are some key questions to ask about the
context of the photo even after the main subject is clear. Is Ruth
captured in uniform or in street clothes? Was the photo taken
during Ruth’s playing career or afterward? Does the image link to a
significant moment in Ruth’s life, or is the image random in
nature? Is the photo a studio-quality image that embodies the
essence of Ruth’s personality, or is the photo an in-action shot
that showcases Ruth’s skill? Was the image of Ruth used for other
purposes, such as trading card design? Is Ruth pictured by himself
or with others?
These are merely sample queries about context, but they are all
representative of the sort of questions one should ask before
buying.
Over the past few years, as with other collectibles such as trading
cards and tickets, photos tied to an athlete’s first appearance,
rookie year or early career have become extraordinarily
desirable.
Key takeaway: The context of the photograph is the
fuel behind the valuation fire created by the subject.
Clarity and Contrast: The Eye Appeal
of the Image Acts as the Draw
If you appreciate fine art of any kind, then you are already
familiar with this principle. This is especially true when it comes
to abstract art and the effect it can have on the viewer.
Photography is an art form. Just like the work of a painter or
sculptor, a photographer’s creation can draw you in by the mere
sight of it. You need not know the artist’s name, when the photo
was created or how it was accomplished. You simply know that it is
pleasing to the eye in a way that might be hard to describe.
Furthermore, what your eyes are processing is also being processed
internally, which can lead to an emotional response to the
piece.
The eye-appeal principle is universal in the collectibles world,
but its relevance increases depending on the type of item. Since
photos are often large enough to be used as display pieces, this is
a subject of extreme importance. In fact, the sheer size of the
photograph can enhance its potency as a display piece. The
combination of two key attributes, the clarity and contrast of the
image, can create the kind of visual allure that pulls a person in.
Much of the time, a strong showing of one without the other is not
enough to create the optimal aesthetic.
Think of clarity like one would view registration in the trading
card world. The sharper the image, the greater the detail, the more
pleasing the photograph becomes. If an image is crystal clear, it
can transport the viewer to that exact moment like a time machine.
Contrast, on the other hand, is best described as how the central
image pops or stands out in the shot. Great contrast requires
separation between the foreground and background.
Sometimes, excellent contrast or a lack thereof is created when the
photograph is born, a simple product of what is contained in the
original image. Other times, contrast is affected at the point of
development, which is why not every printed copy looks the same.
Mishaps such as overexposure can create inconsistency in strike
quality.
Key takeaway: If a photograph exhibits superb
clarity and contrast, it can bring the legends of the past back to
life.
Whether you are in search of the iconic figures who capture our
imaginations or the special moments that helped shape sports
history, we hope this guide proves useful on your collecting
journey.
Happy Heritage Hunting,
Joe Orlando
Executive Vice President, Heritage Sports |
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Contact Your Heritage Rep Now! Now Accepting
Consignments for June Showcase Auction |
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Chris Ivy
Director of Sports Auctions
at 800 872-6467 ext.
1319
or email at
CIvy@HA.com
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Derek Grady
Exec VP of Sports Auction
at 800 872-6467 ext.
1975
or email at
DerekG@HA.com
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Joe Orlando
Exec VP of Sports Auction
at 800 872-6467 ext.
1799
or email at
JoeO@HA.com
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Rob Rosen
VP of Sports Auctions
at 800 872-6467 ext.
1767
or email at
RRosen@HA.com
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Dan Imler
VP of Sports Auctions
at 800 872-6467 ext.
1787
or email at
DanI@HA.com
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Lee Iskowitz
VP of Sports Auctions
at 800 872-6467 ext.
1601
or email at
Leei@HA.com
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Chris Nerat
Consignment Director - Sports
at 800 872-6467 ext.
1615
or email at
ChrisN@HA.com
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Tony Giese
Consignment Director - Sports
at 800 872-6467 ext.
1997
or email at
TonyG@HA.com
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Jason Simmons
Consignment Director - Sports
at 800 872-6467 ext.
1652
or email at
JasonS@HA.com
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Jason Simonds
Consignment Director - Sports (New York)
at 800 872-6467 ext.
3002
or email at
JSimonds@HA.com
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Jonathan Fuld
Consignment Director - Sports (Chicago)
at 800 872-6467 ext.
3405
or email at
JonathanF@HA.com
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Peter Calderon
Consignment Director - Sports
at 800 872-6467 ext.
1789
or email at
PeterC@HA.com
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Website Tips: Sign Up to Automatically Receive
Text Message Alerts |
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You can now receive text message alerts automatically
regarding lots you have bid on, tracked or consigned, instead of
having to opt-in to alerts on a lot by lot basis. If you are opted
in to "SMS Outbid and other Bidding Alerts", you'll now receive
alerts prior to the live session starting and for each of those
lots in that auction when it's about to be up for auction in the
live session (maximum one reminder per hour). We'll also text you
when a Signature and Showcase auction is opening for live bidding
that matches your categories of interest.
We're also introducing a new text message alert when auctions first
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not opted in to email Auction Reminders, we invite you to sign up
for them in My Profile.
Manage your communication preferences and opt in, or out, of any of
these message by visiting My Profile.
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Sunday Internet Sports Auction Highlights |
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HA.com/Sports is the place to
be every Sunday night for collectors of fine sports memorabilia and
trading cards.
Over 100 lots will close to initial bidding at 10:00 PM CT.
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Please Note: The Extended
Bidding timeframe for the Sunday Internet Sports Collectibles
Auctions will be 5 minutes (previous 30 minutes). Catalog Auctions
are not affected, and remain at 30 minutes. |
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This Week in Heritage Sports Social Media |
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For Fans Who
Watched ‘Watchmen,’ a Chance to Own Wardrobe, Props and Sets From
the Emmy®-Winning HBO® Original
Series
Following its 2019 debut on HBO, Damon Lindelof's nine-episode
Watchmen garnered 26 Primetime Emmy® Awards nominations
and 11 wins, among them a statue for Outstanding Limited Series. It
also retains its rightful place high on some critics' lists of the
greatest TV shows of all
time. At last, fans of Watchmen can now own a piece of it: On
April 5, Heritage Screenbid, in conjunction
with HBO, will auction nearly 300 items from the acclaimed
series, from its heroes' costumes and screen-used props to
pieces of the sets, including the extraordinarily detailed
center console, steering wheel and bucket seats from the
reconstructed Owlship that took flight in the series' first
episode. With its working toggles and buttons, the center
console looks like it was yanked from a working spaceship. But the
yellow timepiece in its center is one of the most defining
characteristics of Watchmen in any iteration: the Doomsday clock.
Tick tock, tick tock.
"When HBO told us they were ready to release assets, I jumped on
the first flight to their storage facility," says Jax Strobel,
Heritage Screenbid's Managing Director. "I can't begin to describe
the schoolboy excitement I experienced digging through boxes and
pallets of costumes, props and set dressing."
Lindelof famously called his Watchmen a "remixed" version of Alan
Moore and Dave Gibbons' 1985 landmark comic book. Yes, some squids fall from the
sky, there are masked vigilantes with dubious intentions, and
there's a naked blue god named Doctor Manhattan. But Lindelof
bravely ventured far outside the safety of the comic-page panel and
was celebrated for "writing buried racial trauma, from slavery to
lynching, back into comic-book mythology," as Emily Nussbaum wrote in
The New Yorker.
Read the full press release
here.
More information about Entertainment Memorabilia
Auctions
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