About My Prints

Each print is created from a photographic digital negative which acts as a master image. This means each print in an edition is virtually identical. Although the digital negatives are enhanced using a computer, all manipulations are the digital equivalents of traditional darkroom techniques to control cropping, color, and saturation. Using the computer controls allows much greater control, with much greater accuracy than traditional darkroom techniques. In the end, I control all of the creative aspects involved in my work, from the initial exposure to the final printed piece.

Archival Materials

All printing is done with professional Epson printers using archival, pigmented based inks (not dye based). The photographic papers I use are chosen for archival properties along with its ability to enhance the aesthetic quality of the actual image. The papers are 100% acid and lignin free, archival quality papers. There are many terms used for this print process: giclée prints, digital archival prints, and archival pigment prints are some of the common ones, although I describe the work as archival pigment prints. When matting and framing the photographs, again, materials are also of archival quality.

In the last few years, tremendous progress has been made in the technology of pigmented inks and archival photographic papers. Image longevity and stability now rival, and in most cases surpass more traditional photographic methods. I use materials that generally have an expected life of 100 or more years depending on how the prints are matted, framed and displayed. For the technically oriented, the Wilhelm Research Institute (see http://www.wilhelm-research.com/) has done extensive testing of various combinations of archival inks and papers.

Who has collected

Currently in the collection of the Instituto Slovacco a Roma (Slovak Institute to Rome and the Vatican), and private collections in New York City, Brooklyn, NY, Pasadena, CA, Tucson, AZ, Birmingham, AL and New Orleans, LA.

Direct purchase

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