When we changed from shooting film to capturing digital images, we described the action with a new word. The reality is our goal remains the same: to fill the frame with interesting content. Pre-2000 my images were shot with Kodak or Ilford film, 35 mm and medium format (6 x 6). Vintage prints are Silver Gelatin Prints, those B&W darkroom prints printed by the artist, close to the time of the photo shoot. Current work with those negatives involves scanning and printing digitally. Other than for the rare artist who uses the traditional darkroom, all printing is done digitally.
B & W Infrared film scan: Photos were taken using Kodak infrared technical film. Kodak manufactured this film for aerial photography, where it was useful mapping roadways. Foliage would turn white, thereby revealing the desired features. I experimented with the film, for the dream-like foliage and dramatic dark skies. In 2012 I began scanning the film, and aided by Photoshop, with a stylus and tablet, I began digitally hand-painting portions of the images. The same technique I am now applying to color images. Digital Capture: The biggest thing that happened when digital occurred was that we were no longer limited by the format of our film, or the color or B&W emulsions. By stitching multiple frames in Photoshop, panoramas became more prevalent in my work. With outstretch arms at my side, with digital, I can now embrace the entire width of the landscape.
Digital Manipulation: Composite imagery and creating the perfect reality is possible with Photoshop. Not a fan of the word manipulation, lets just call it Improving on Reality.
Digital B&W: Digital capture is done in color since it records the most information. Later the image is transformed to greyscale, and often some degree of color is digitally painted back to all or a portion of the image. Or not. There is an array of photographic papers that replicate the look of darkroom B&W without the environmental consequences. Having been in the darkroom, I still remember the look.
MEDIA: (IN STUDIO)
I print my images in my studio on an Epson 9880 printer using Ultrachrome K3 pigments. Ultrachrome pigments used in my Epson wide format printer, provide lightfastness for up to 108 years for color and 200 years for black and white.
I use a choice of papers, canvas and waterproof media to achieve the look desired for the image and intended usage. As in the darkroom, there are warm and cool papers, smooth papers and textured. The following is a listing of pigment prints on various media.
PHOTO RAG PAPER: Photo rag paper is 100% cotton, acid free, fine art paper. I chose this particular paper for it’s white base.
HOT PRESS NATURAL PHOTO PAPER: Photo rag paper is 100% cotton, acid free, fine art paper. This particular paper has a warm tone.
HOT PRESS BRIGHT PHOTO PAPER: Photo rag paper is 100% cotton, acid free, fine art paper. This particular paper has a white tone.
SOMERSET VELVET PHOTO PAPER: Photo rag paper is 100% cotton, acid free, fine art paper. I choose this paper for it’s velvet-like texture and weight.
MATTE CANVAS: Canvas is used for images whose intended use is as a stretched canvas. I prefer matte surface for these canvas. A spray laminate acrylic coating is applied to protect the canvas from ultraviolet light.
METALLIC PAPER: The metallic surface was my aesthetic choice for luminosity of the subject.
WATERCOLOR PAPER: The unique texture of this paper resembles traditional watercolor, and it produces vibrant color and deep blacks.
MATTE PAPER: This paper produces bright white tones and smooth surface prints. It produces true color and expressive black and whites. This paper is used for Artist Proofs.
ARTIST’S PAPER WITH HAND APPLIED EMULSION: Through experimentation, I am combining traditional fine art, water color papers with hand applied emulsions that are compatible with inkjet pigment printers. These are the first of the series of images. Each image is unique. They have hand-torn deckled edges beneath the matted frames.
ALUMINUM: What is so exciting in this era of all digital, there are an endless array of media, or substrates, that can be used to print images onto. WHITE GLOSS OR MATTE: A white coating is applied to the metal, so the image appears as if it would on white paper, with a glossy, glass like finish or a more subtle non-reflective finish. CLEAR MATTE: A transparent coating is applied to the metal, so that white areas in the image come through as brushed metal, with a non glare, non-reflective finish.
LIGHTJET GLOSS OR METALLIC PRINT, MUSEUM MOUNT: Lightjet prints are made using a laser light projected on Fuji crystal archive photographic paper, which produces a very precise and clear image. The print is then face mounted to clear plexiglass, and backed with sintra. It is float mounted by affixing an aluminum mounting frame and french cleat. These photographs are noted for the sense of depth the process provides.
PHOTO PRINTED ON FABRIC: Dye sublimation printers produce a print, whose ink is deeply infused into the chosen substrate, in this case triple white fabric, allowing the final product to be washed, ironed, steamed, folded and exposed to the elements without a trace of lost image quality. It can be made into wall hangings, Roman shades or pillows.