Twenty years ago, says Michael Hoppen is this short interview, the UK was a “photography desert.” If things have changed radically, it’s partly thanks to him. A former photographer himself, the South-Africa-born dealer has been one of the most vocal supporters of the medium for decades. His gallery in London's Chelsea is an international reference, representing the works of such luminaries as Daido Moriyama, Nobuyoshi Araki, Valérie Belin, and Guy Bourdin.

Hoppen is also an insatiable collector, with holdings ranging from early vintage prints to contemporary photography, scientific imagery, fashion shots, and reportage. To celebrate the 20th anniversary of the gallery, the dealer is showing 130 pieces from his collection. Here Hoppen talks to ARTINFO UK about changes in the market, the future of photography collecting, and his fascination for a quirky late 19th century “Nude Zoomorphic.”

Are there any principlesthat have governed your collecting process over the years?

Yes, I have always bought images that I have loved and especially ones that have changed my mind about something. There are so many images in the world that it is often hard to filter out what is important and what is not. However, I am acutely aware that often images that seem banal today may have huge importance in later years. Predicting tastes and looking for timeless images is always at the forefront of my mind when choosing material for the gallery or for the collection. I also look for consistency in an artist.

How do you think the photography market has evolved since you opened the gallery?

The photography market has changed out of all recognition. Twenty years ago the UK was a photography desert. There were some notable shows and exceptions, but almost no one collected photography. Now we have many British collectors and are hoping to encourage more people to consider collecting photography with this exhibition. Photographs can still be purchased for a relatively small amount of money in comparison to many other mediums.

How do you think the collection of photography will evolve?

Electronic media will continue to make advances, with pictures and video being something people will collect in greater numbers. Digital photographs shown on computer or TV screens as artworks in their own right will also be something people will gravitate towards, but I still see paper prints being the most collectable for the foreseeable future. Vintage works will also be collected in greater numbers by new collectors who will see their value increase, as this market is still in its infancy. Books and monographs are also something that people will continue to invest in — especially handmade and short-run books, which are projects and works of art in their own right. Photography does not only have to exist in a frame on the wall.

What are your favorite images from the collection, the ones you love the most or have a particular significance to you?

This is impossible to answer, as I love all of them in different ways. But I suppose what has come through working on the selection for this exhibition is that one of my favorite photographers is called “anonymous”! He/she brings no baggage with his/her images and they are consistent too!

One of my favorite anonymous works is titled ‘Nude Zoomorphic’ from the 1870s — it is one of the most bizarre and beautiful small images I have ever acquired. There is something wonderfully perfect about all the elements: from the circular shape of this small albumen print to the composition, and of course, the surreal juxtaposition of a nude and a small owl. The way in which the owl’s head lines up perfectly with the model’s face is uncanny and I am sure the owl is alive and not stuffed. The model, with her seductive long tresses and perfect elbows, resembles one of Ingres’s models. She looks through the owl at us as if the animal was a camera, her fingers poised, ready to take a picture. I am captivated by this print and fought hard to acquire it.