About My Fine Art Prints
All my prints, black and white or color, are done on archival grade paper, specified to be acid-free and lignin-free. The manufacturers of my ink and paper claim print lives of up to a century under normal exhibit lighting conditions, so it is safe to say that my prints should last longer than many silver-based, “wet chemistry” prints. My mats and foam core backings are also acid-free. Direct sunlight, intense artificial light, and air pollution can threaten print longevity, so I urge my patrons to exhibit and store the print accordingly.
Paper & Ink
I previously printed black and white with an Epson 1280 using Piezography™ quad tone pigmented inks, and color with another Epson 1280 using Generations™ pigments, onto Hahnemuhle Photo Rag paper. In November 2004 I began printing with an Epson 4000 using Ultrachrome™ inks on Moab Entrada Fine Arts Natural paper.
Purchasing My Prints
All the landscape and tool photographs are available for sale to discerning patrons.
I sign and number the prints both on the mat and on the back of the print itself. Each print comes with an artist's statement to serve as a letter of authenticity. Currently, all prints are numbered in open, unlimited editions.
Sizes range from 11 by 14 inches up to 17 by 43 inches, plus mat and frame. The print is taped to the mat with archival artist’s tape, and if sold without a frame, the mat and backing are joined with PVA glue, reversible with water by a professional framer should the work ever require disassembly. Mats and backing are Bainbridge ArtCare for archival protection.
Prices vary because each image is unique. Phone or email me with a request.
Advertising and Publishing
My photographs are available in electronic format for publication, and I welcome studio or location advertising photography assignments. Phone or email me with details.
Services for Visual Artists
Photography of your fine art
My background in photographing products for advertising gives me a good grasp of the technical challenges involved in making accurate images. I do my best to make photographs that are the best possible representations of the artist’s and craftsperson’s work with sharp focus, correct shape, and faithful color.
My strobe equipment delivers consistently accurate and color-correct illumination. It is easily portable but powerful and versatile enough for studio-quality lighting. Curators need not be concerned about effects of prolonged exposure to intense, hot lights. I am happy to work on location, at the artist’s studio or at the gallery.
For fine art exhibits and high-end craft shows, I can provide 35mm slides in protective sleeves or Compact Discs. For publication in magazines or books, I can use large format film, scan the resulting transparencies and email high quality electronic files directly to the publisher.
Prints of your fine art
Many artists publish their work as signed and numbered limited edition prints. With fidelity equal to printed pieces done by offset printing but with superior stability, pigment prints can be produced in quantities that are appropriate to the artist’s needs without tying up large sums of money in inventory resulting from offset press runs. The artist can re-order as few as one print at a time.
My pigment inkjet prints, sometimes referred to as “giclées,” are ideal for such fine art prints. I use fine rag stock similar in appearance to quality watercolor paper, acid-free and lignin-free, without brightening agents.
To begin, I will need an image of the work in electronic file format. This can be a high-quality electronic image supplied by the artist, my digital (or film) photograph, or I can make a scan from a good quality previously existing transparency (or slide).
Working from that electronic file, I print out test strips of small areas of the work to judge contrast and color before doing a full print. Once we arrive at a good strip, we can then do a full size print, repeatable with a high degree of accuracy at any time in the future.
Ask me about my reasonable rates for fine artists.
