Gelatin Silver Prints (limited editions of 100)
I develop film by traditional methods and make enlarged prints in my darkroom
using Variable Contrast papers. To enhance archival properties I tone either
with selenium or split-tone with sepia / selenium to achieve different tones
between highlights and shadow areas of the print.
Palladium Prints (limited editions
Palladium prints require a negative as large as the print, exposed by
UV light on special fine art paper which is hand-coated with a solution
of palladium salt and sensitizer. My prints of 4x5, 5x7, or 8x10 inches
are contact printed directly from negatives exposed in large format
view cameras. I make larger prints from these same negatives (as well
as 6x7 cm, or 35 mm negatives) by first scanning the negatives on a
high resolution drum scanner and then creating the larger negative
(up to 16x20 inches) on an Epson Stylus Pro 4000 printer using transparency
film. Alternately, some of my larger negatives are created on an imagesetter
by an outside service bureau.
Carbon Pigment Prints
Technology advances in digital photography over the past several years
now allow prints to be made on high quality inkjet printers that equal
traditional photographic prints in appearance and archival properties.
For some images my carbon pigment inkjet prints exceed what I can achieve
with either gelatin silver or palladium.
I scan the film negatives developed in my darkroom at high resolution
on a drum scanner. I then convert the digital files into prints using
an Epson Stylus Pro 4000 with carbon pigment inks and fine art papers
specially formulated for fine art printing. These inks are projected
to have a lifetime exceeding 200 years.
I use only off-white “archival” mat board to mount and mat
my photographs and acid-free tape for hinges or corner mounting. Gelatin
Silver images are dry mounted and Palladium or Carbon Pigment prints
are corner taped.
For framing I use either a graphite metal frame for neutral or “cool” prints,
or a hardwood frame stained dark brown-black for the warm toned prints.
I use Plexiglas in front of the print and acid-free foamcore to provide
some rigidity and protection on the back. “Museum glass” can
be substituted for Plexiglas at an additional cost; its advantages are
the removal of some of the green tint inherent in normal glass and a
coating which reduces glare.