ABOUT THE PRINTS
"Time to Leave" - available in sizes from 16x20" up to 40x50"
I believe it is important to have control of the entire process from capture to print.
Over the years I have been dissatisfied with many lab and printing house services. Slowly I began to acquire all the necessary equipment to manage each step on my own. A lot of education, combined with plenty of trial and error, supplied me with the freedom to tweak and refine to taste. From time to time I still challenge my efforts, striving to make any necessary adjustments if it means a better result for me and my clients.
It all begins with a strong image on film. If I don't like it I won't print it. There is no fixing it later in the computer. My goal is to create faithful prints that resemble the original film as closely as possible. I try to control the inherent differences between films, scanners, printers and papers by building a closed-loop, colour-calibrated workflow.
I'm happy to share my images with you and would be privileged to have my work included in your home or office.
Print Types
My images are available as archival pigment ink prints on Hahnemühle FineArt Baryta paper or Hahnemühle Goya Canvas. Each print is carefully inspected for any flaws, then signed, numbered and dated on the back with a graphite pencil.
FineArt Baryta Prints
• 100% a-Cellulose
• 325 gsm for a weighty, tactile feel
• white high gloss
• three-dimensional quality and depth
• clearly visible, exquisite felt structure
• Deep blacks, lifelike colour and extremely high sharpness
• meets or exceeds highest archival standards in fine art printing
• acid and lignin-free
Baryta prints are rolled and shipped in a tube. I do not offer framing services as the glass is fragile and heavy. It is best to work with a local framer to consider options that best reflect the print and your tastes. I recommend a simple white mat and dark frame with museum glass to really show off the qualities of the photo.
Goya Canvas Prints
• Poly-Cotton
• 340 gsm exhibition quality
• natural white satin finish
• no artificial optical brighteners added that can yellow a print with time
• canvas texture adds rich depth in addition to great colour and sharpness
• meets or exceeds highest archival standards in fine art printing
• acid and lignin-free
Canvas prints come mounted, ready to hang. I personally stretch each canvas onto warp-free, kiln-dried basswood bars with a 7/8" profile (30x40" and larger prints will use the thicker 1.5" profile). A light and sturdy combination. The image is presented in full and not compromised by image wrap. Canvas has the option of being framed in a float frame for even more personalization.
Please allow up to 4-6 weeks for production and delivery of your print.
Edition Notes
Photography by its nature is a reproducible art. As such I feel that limited editions lend a false value to a print that really only benefits the photographer and prevailing market conditions, driving up prices while providing a misleading sense of scarcity.
Limited editions, historically, is a concept borrowed from other artistic endeavours, such as fine art printmaking, where making copies slowly degrades the original block carving as the edition runs out. It's also based on the premise that all the prints for the edition are made around the same time. In this sense earlier editions are more prized and of higher quality than later ones.
Photography juxtaposes this method since it can always be improved and made better with little to no degradation of the original negative or digital file. To put it another way, the mechanical processes involved from negative to print does not contribute heavily to the degradation of the original as it does with true limited edition works. However, you are still getting an original fine art print made by the experienced hand of the photographer. Basically, no other photographer or lab will make the print the same way I make my prints. We all have our own influences, technical preferences, and artistic motives when crafting a print, no matter the technology used.
Numbered editions on the other hand benefit the buyer, creating more affordable art, while allowing the photographer the freedom to improve each successive image with new materials, techniques and learned skills. You grow as an artist, so why shouldn't the buyer profit from that too? Thus, numbered editions generally become more prized in later editions. Technically all prints are considered limited as photographers (like everyone else) get older and have a limited time on this earth. We are all living, breathing, walking, thinking, talking, limited edition human beings.
I want you to buy my work because you like it and not because you can sell it at a later date for 4x what you paid. As nice as that would be, there are other investment strategies that compound faster than my work!
For more detailed information on the topic please check out this excellent article written for LensWork magazine by Brooks Jensen: