Printing Process
IntroductionThank you for visiting Defining Exposures. I hope you enjoy perusing the many wonderful moments I have experienced. With my photographs, I try to reveal and preserve a glimpse of the essence of a scene or subject – what I refer to as Defining Exposures. This page details the procedures I employ to ensure quality and fidelity throughout their reproduction.
Outline (click below if you wish to skip ahead to a specific topic): 1. Initial Image Capture
Each image begins with an emotional-aesthetic attraction to the “substance, shape, texture, and the relationship of tonal values” of a scene, the first step of visualization according to Ansel Adams. These inimitable situations present the opportunity to create defining exposures that reveal and preserve a glimpse of the essence of a scene or subject.
As a photographer, my ability to create and share defining exposures initially depends on two things. The first is achieving what Henri Cartier-Bresson referred to as “a precise organization of forms which give that event its proper expression.” The second is completing Ansel Adams’ visualization process by foreseeing what the final print will look like by means of merging each component of the photographic process into a single coherent function.
The information necessary for realizing the defining exposure in its final printed form is captured with either a 35mm film camera or full frame 35mm digital camera. The broad range of perspectives available with 35mm provides greater creative control in achieving the precise organization of forms that is paramount in giving an event its proper expression. Additionally, the nimbleness of 35mm is beneficial in attempts to organize the forms of moving subjects and much appreciated when traveling on foot to remote locations.
2. Image Workflow
Although I used to work up my prints in a chemical darkroom, I continually seek out the best methods and materials that enable me to accurately share the emotional-aesthetic experience of the original scene. Selected film images are now converted to high-resolution digital image files using state of the art scanners and associated procedures that extract all available visual and color information.
A precisely calibrated workflow ensues to correct film artifacts, anomalies, and scratches transferred to the image file, to insure image fidelity, and to prepare the image file for printing. During this process, fine adjustments, analogous to those previously accomplished in a traditional chemical darkroom such as exposure, contrast, color balance, and dodging and burning, are employed to ensure the values of the image file reflect the emotional-aesthetic experience of the original scene. For example, to assist in making these adjustments I use a compact slide viewer incorporating a color corrected light source to view the original slide and the scanned image file simultaneously. When combined with meticulous color management and calibration procedures this enables me to precisely match the colors recorded from the original scene.
3. Image Integrity
The finer control and more accurate color management afforded by new digital technologies are not without controversy. In particular, it is now much easier to create contrived and potentially disingenuous images. Although digital art is a viable art form with many extremely talented practitioners, manipulated images that could be mistaken for authentic photographs need to be clearly disclosed as such. You can rest assured that my images represent authentic situations. All of the information used to create each defining exposure is present in the initial image capture. For example, any moon, bird, rainbow, or sky was really there in the original scene. It was not inserted by double exposure or digital composite technique.
However there are two scenarios in which, with full disclosure, I will composite images for the purpose of creating a defining exposure. In both instances, the combining of images is to overcome the inability of photographic equipment to convey the authentic scene I was witnessing, not to enhance it with extraneous elements. The first scenario simply involves replicating a panoramic view by necessity of stitching together multiple images. The second scenario is when the luminance of the original scene, although easily rendered by the human eye, far exceeds that of the recording medium. It is then necessary to combine multiple exposures, typically for the shadows, midtones, and highlights, of the same scene to accurately portray what I saw with my eyes.
Lastly, although they don’t often present ideal photographic opportunities, moments shared with wild animals in their natural habitat are to be revered. To preserve the stature of such encounters, any photo of a captive or domesticated animal will be fully disclosed as such.
4. Printing
The printing of each defining exposure is accomplished using archival-pigmented inks on resin-coated paper. As a result of recent technological advances, these prints yield the ultimate fidelity in color, a full range of values, clear delineation of form and texture, outstanding sharpness, as well as a traditional look and feel. However unlike traditional optically enlarged prints, they do not suffer an inherent loss of color and contrast with increased enlargement. In fact, these pigmented inks and associated papers have evolved to the point that they now arguably produce the best prints ever. I have even forsaken the Cymbolic Sciences LightJet 5000 digital enlarger on Fujicolor Crystal Archive paper in favor of their expansive color gamut and longer display life.
According to Wilhelm Imaging Research, the prints I offer, UltraChrome K3 pigmented inks on Premium Luster photo paper, are estimated to last 165 years before noticeable fading when displayed with UV protection. That compares to 49 years for LightJet 5000 prints on Fujicolor Crystal Archive paper, 33 years for Ilfochrome Classic prints, and only 14 years for traditional chromogenic color prints on Ektachrome Radiance paper.
5. Matting and Framing
Prints up to 20” x 30” can be matted and framed by Defining Exposures prior to shipping. For larger sizes the shipping costs become prohibitive and it is best to purchase just the print and have it professionally matted and framed locally. Defining Exposures can matt and frame these larger sizes for local delivery, Santa Cruz or Santa Clara Counties, with a flat $30 delivery charge regardless of size or quantity.
Only archival materials are utilized for mounting and matting. Mat dimensions, listed for each image size, are chosen to balance the amount of white space surrounding the print. Mounted prints are centered from left to right but often shifted subtly upward if it suits the visual impact of the print. Overmats are cut slightly larger than the print to create an attractive border that preserves the intended composition by ensuring none of the image is concealed. This border also provides a small space outside the image where each print is unobtrusively signed in the lower right with an archival pen.
In addition to being signed, each print also comes with two certificates of authenticity made from archival adhesive stickers. Each certificate lists the Image Title, Image ID, Print Number, Edition Type, and the date the print was made. The first certificate is to be affixed to the back of the mount/mat board. The second is for display or for affixing to the frame backing.
I utilize a matte black metal frame as the standard frame. These slim edged frames provide a base reference black that compliments rather than distracts from the image. Their simple neutral styling is also well suited to most decors. Different frame styles are available at discount pricing from a local professional or you can order an individual or matted print and have it framed locally.
Standard glass is utilized with upgrades upon request at additional cost. Standard glass blocks about 45-50% of Ultra Violet light and is suitable for most indoor situations. However if the print is to be displayed in a location exposed to natural light or if preservation is a concern, an upgrade to conservation glass, which blocks around 97% of Ultra Violet light, would be warranted. Additionally, other specialty glass is available at additional cost to accommodate difficult display settings such as excessive glare.
Except for very large prints where weight or safety is a concern, I generally discourage the use of Plexiglas because it is prone to scratching, warping, and the build up of static charges that can cause the matted print to bow out and become damaged as a result of contact with the Plexiglas.
For more details about print sizes, matting, and framing options please see the Ordering Information Page.
6. Ordering
For more information on how to order prints including details on my money back guarantee visit the Ordering Information page.
