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The Printing Process
The prints are made in
my darkroom using the conventional silver based process, which
is quickly becoming a thing of the past due to the popularity
of digital techniques. I use only the highest quality papers
and spend an enormous amount of time perfecting each print.
The batch of prints I make in one session will be nearly identical;
however, I may decide on a different interpretation of the image
the next time I print it. Only the best processing solutions,
some of which I mix myself from scratch, are used. The prints
are thoroughly fixed, toned and washed to commonly accepted
archival standards.
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Signing & Numbering
Each print is signed
on the front. In addition, I stamp the back with my stamp and
number each piece individually:
Framing
As of July 2006, I am
no longer offering framed prints for sale on the web. I found
that, since everything that leaves my shop must be perfect,
I was spending way too much time framing, instead of making
photographs. Framed prints are available at gallery shows and
by special arrangement.
I like the thin profile
Neilsen aluminum frames in silver or black. They are elegant,
strong, and simple to assemble. A good source for these frames
is Lumiere.
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Mounting & Matting
Each print is trimmed
to its final size and mounted on a sheet of 4-ply museum board
by the dry mount method. This is the best way to make sure the
print will stay absolutely flat.
I then cut a window mat
from the same board material. I prefer to cut the window larger
than the print so that the edges of the print are visible. This
creates an impression of more depth; a richer feel than the
faster and easier method of covering the edges. The window mat
is attached to the bottom board using removeable archival tape
along the top edge, like a hinge, so the mat can be easily replaced
if it gets damaged.
Finally, a sheet of 1/4"
archival foamcore board is attached to the back. This provides
support and helps protect against airborne contaminants. The
print is ready to be framed.
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