FINE ART PRINTS - HOME - OFFICE - HOSPITALITY
RED REEDS & STORM, BISHOP, CA. 2002
THE CAPTURE PROCESS
I PHOTOGRAPH IN A STRAIGHTFORWARD MANNER, USING ONE CAMERA AND 2 LENSES. PRESENTING AN ACCURATE REPRESENTATION OF THE SUBJECT BEFORE ME IS CENTRAL TO MY PHILOSOPHICAL APPROACH. IT IS A MINIMALIST APPROACH BASED ON THE IDEA THAT I CANNOT IMPROVE ON WHAT MOTHER NATURE OFFERS. STRONG SEEING AND UNIQUE POINTS OF VIEW, SUBJECT SELECTION, AND APPROPRIATE LIGHT ARE MY CHIEF CONCERNS. I'M STILL GUIDED BY THE
'WOW, LOOK AT THAT " REACTION TO WHAT I FIND,, JUST AS I WAS WHEN I FIRST BEGAN PHOTOGRAPHING.
CAPTURE THEN IS A SIMPLE MECHANICAL OPERATION USING A HASSELBLAD MEDIUM FORMAT DIGITAL CAMERA. ITS NATURAL COLOR SCIENCE PRODUCES THE MOST REALISTIC COLORS I HAVE FOUND IN A DIGITAL CAMERA. ITS LENSES THE FINEST MADE. I NEVER USE FILTERS OF ANY KIND. IF THE SCENE NEEDS GRADUATED FILTERS TO CAPTURE THE ENTIRE SCENE, I JUST PASS ON BY. ONCE CAPTURED THE PHOTOGRAPH IS DEVELOPED WITH MINIMAL CORRECTIONS. MY GOAL IS TO GO STRAIGHT FROM THE CAMERA TO THE PRINT WITH THE LEAST INTERFERENCE ON MY PART, A TRUE MINIMALIST APPROACH. MY CURRENT TECHNIQUE ALLOWS ME TO GET VERY CLOSE TO THIS IDEAL !
I THINK THE VIEWER EXPECTS BELIEVABILITY IN A PHOTOGRAPH, ONE OF ITS GREATEST STRENGTHS. TODAY WITH THE CONCERN OVER AI AND OTHER PHOTOSHOP MANIPULATION OF A SCENE, THAT BELIEVABILITY HAS BECOME QUESTIONABLE AND RIGHTLY SO. WE AS PHOTOGRAPHERS, I BELIEVE, ARE RESPONSIBLE FOR THE VERACITY OF OUR PHOTOGRAPHS AND SHOULD WE VERE TOO FAR FROM THAT BASIC CHARACTERISTIC, WE RISK INTRUDING INTO THE REALM OF THE PAINTER.
FINE ART PRINTMAKING
FROM MY FIRST PHOTOGRAPHY TRAINING IN FINE ART SCHOOL , A FINE ART PHOTOGRAPHIC PRINT WAS THE ULTIMATE GOAL. MUSEUM STANDARDS FOR PRINTING AND DISPLAY WERE TAUGHT AND REQUIRED. TODAY THE FINE ART PRINT IS THE END GOAL OF MY PHOTOGRAPHY. THERE IS NOTHING QUITE LIKE A BEAUTIFULLY CRAFTED PHOTOGRAPH. ONE THAT WILL PROVIDE YEARS OF VIEWING PLEASURE.
I PRODUCE ALL OF MY PRINTS ON A STATE OF THE ART EPSON LARGE FORMAT PRINTER USING EPSONS ULTRACHROME HD PIGMENT INKS KNOWN FOR THEIR VIBRANT COLOR, BEAUTIFUL GRAYS AND BLACKS, AND ULTIMATE LONGEVITY.
TO ACHIEVE THE MOST LONGEVITY IN A PRINT ALSO REQUIRES THE USE OF THE FINEST PAPERS. MY PAPER OF CHOICE THEN IS CANSON INFINITY PLANTINE PHOTO RAG, A 100% COTTON RAG PAPER. COTTON RAG IS THE ULTIMATE PAPER FOR PHOTOGRAPHERS AND ARTISTS AND IS THE GOLD STANDARD FOR COLLECTORS AND MUSEUM DISPLAY. THIS PAPER IS MADE IN ANNONAY FRANCE AT CANSON'S FAMOUS MILL, WHICH HAS BEEN MAKING PAPERS FOR ARTIST SUCH AS DEVINCI, PICASSO, AND VAN GOGH SINCE 1557. CANSON 100 % RAG PAPER CONTAINS NO COMMERCIAL LINENS, OR FABRICS, THAT ARE TYPICALLY USED IN LESSER PAPERS LABELED ALPHA CELLULOSE. WHILE A LITTLE MORE EXPENSIVE THIS PAPER WILL PRODUCE PRINTS THAT CAN LAST OVER 250 YEARS IN COLOR, AND 450 PLUS YEARS IN BLACK AND WHITE..( WILHELM IMAGING RESEARCH ). THIS PAPER CONTAINS NO OPTICAL BRIGHTENERS, IS PH BALANCED, HAS A HEAVY WEIGHT OF 316 GRAMS, AND IS VERY WATER RESISTANT.
YOU CAN REST ASSURED THAT EACH PRINT I MAKE WILL MEET CURRENT MUSEUM STANDARDS IN THE INDUSTRY.
PURCHASING PRINTS
OVER THE YEARS I HAVE EXPERIMENTED WITH WHAT SIZE MY PHOTOGRAPHIC PRINTS SHOULD BE WHEN PRINTED FOR THE WALL. OTHER CONSIDERATIONS ARE WHAT IS PRACTICAL TO PRODUCE AND STORE IN MY OWN WORKSHOP. FOR PRINTS ON A WALL, HOME OR OFFICE, THE RIGHT SIZE IS IMPORTANT. I WANT MY WORK TO BE LARGE ENOUGH FOR THE VIEWER TO EXPERIENCE THE EMOTIONS AND TECHNICAL ASPECTS WHILE NOT HAVING TO STAND TOO FAR AWAY WHEN LOOKING . I LIKE THERE TO BE SOME INTIMACY WHEN VIEWING THE PHOTOGRAPH. TOO LARGE OF A PRINT CAN NEGATE THAT INTIMACY. TOO SMALL AND THE IMPACT OF THE PHOTOGRAPH, ESPECIALLY IN LANDSCAPES, CAN SUFFER. I HAVE SETTLED ON THREE SIZES AS DESCRIBED BELOW.
MY STANDARD PRINT SIZE 18 X24 INCH IMAGE ON 24 X 30 INCH PAPER. AN OPTIONAL SIZE OF 20 X 25 ON 24 X 30 IS AVAILABLE UPON REQUEST. FOR LARGER SPACES COMBINING SEVERAL OF THESE SIZES TOGETHER IS SOMETIMES A BETTER OPTION THAN ONE LARGE PRINT. I ALSO MAKE A SMALL 8X10 ON
14X16 PAPER FOR SMALLER WALLS AND FOR WALL GROUPINGS.
PRESENTATION AND PRICING
I CHOOSE NOT TO MAKE EDITIONED PRINTS, THE PRACTICE OF LIMITING THE NUMBER OF PRINTS MADE TO INCREASE PRICES FOR COLLECTORS. EDITIONED PRINTS AS USED IN THE ARTS, DO INDICATE AN EXCLUSIVITY, A PRACTICE THAT EXCLUDES MASS PRODUCTION. I HOLD THE OPPOSITE VIEW THAT PHOTOGRAPHY BENEFITS FROM MASS PRODUCTION. WITH TODAYS GLICEE PRINTING "MASS" PRODUCTION HELPS PHOT0GRAPHY (JUST AS IT DOES IN THE RECORD INDUSTRY), ALLOWING MORE PEOPLE TO ENJOY MUSIC OR PHOTOGRAPHY PRINTS AT A REASONABLE PRICE. I WOULD ALWAYS LOVE TO HAVE MORE OF MY PRINTS IN MORE HOMES , SO MORE PEOPLE CAN GET ENJOYMENT FROM THEM NOT FEWER.. MY PRINTS ARE THEN CALLED OPEN ENDED, MEANING UNLIMITED SUPPLY AS LONG AS I AM PRINTING.
EACH PRINT COMES SIGNED BY ME ABOVE MY LOGO AND THEN SHIPPED BETWEEN GLASSINE PAPER IN A HARD SHIPPING TUBE. SHIPPING IS FREE. NO SALES TAX IS APPLIED FOR OUT OF UTAH PURCHASES. IN STATE PURCHASES ADD 8.1 PERCENT STATE AND LOCAL TAXES.
PRICING: 18X24 IMAGE ON 24X30 PAPER: $850
20X25 IMAGE ON 24X30 PAPER: $1250
8X10 IMAGE ON 14X16 PAPER. $125
ONE EXCLUSIVE IMAGE: CONTACT ME
WHEN IT COMES TO FRAMING AND MOUNTING THERE ARE WIDE RANGES OF LIKES AND DISLIKES. SOME LIKE WHATS TRENDY, PREFERRING METAL, SOME LIKE WOOD, METAL, OR ACRYLIC, ETC.
THEREFORE I DO NOT OFFER ANY FRAMING OF MY PHOTOGRAPHS. PLEASE NOTE THAT IN ORDER TO MAINTAIN THE ARCHIVAL STANDARDS OF THE PRINT, THE SAME STANDARDS SHOULD BE APPLIED TO FRAMING.
ALL PHOTOGRAPHS ARE AVAILABLE FOR A REFUND IF YIU ARE NOT COMPLETELY SATISFIED. PLEASE CONTACT ME FOR MORE INFORMATION.