The Printed Image
My Print Ethos
I believe art should be seen and shared and I do not believe in photography editioning. There is no original in photography except for the negative or digital file. There is no original in the sense that a painting is an original. The idea of editioning stems from printmaking, where the block physically wears down over time, decreasing the detail of each subsequent press. Photography has never been like that. The negative is never touched and therefore the photographic print can be endlessly printed. It's called a print for a reason, not an impression, a pressing or light painting. With this in mind, editioning becomes a business decision, a way to introduce scarcity and increase perceived value and that to me is ugly. The price of my work is based on me, as an artist. I do not edition or number my prints. Freeing myself from the confines of editioning also frees my creative. I am no longer locked in to one print size or technique and am left open to experiment with paper surfaces, sizes or anything else that interests me as an artist.
The Print Technicals
Mats are not available for 20”x40” sized prints.
Black & White Prints
My black and white images are printed in my studio using an advanced black ink system called Piezography. Because I print them when they are ordered, turn around time for my BW prints is a bit longer than for my color prints. The 9 cartridges in my Epson printer are replaced with 9 black ink carts, each carrying a different shade of black carbon selenium ink. This range of black shades enables the print to have a tonal range and detail fidelity that far exceeds other glicee' processes as well as traditional silver printing. The results are absolutely stunning. As soon as I tried this process in my studio I was hooked and haven’t looked back. If you want to know more about the technique, please check out the source material at piezography.com
My color images are printed using the Glicee’ method on a 300gsm heavy weight matte acid free paper. I've printed my color work on all kinds of surfaces, from thin glossy to metal and my favorite is consistently a heavy weight matte surfaced paper. Unlike a black and white print where the deep blacks look muddy on a matte paper, because they lose gloss differential, a color print glows and the heavier paper adds a beautiful texture that further enhances the overall effect. My wide view images have an angle of view similar to what the eye sees and when printed large feel immersive, like you’re standing on the edge looking out onto the same landscape. The sense of depth and feeling is stunning to see in person.