the printing process

the printing process

a form of magic.

Both by nature and by training a traditional photographer, while I have embraced photography’s move to the digital realm, all the images you see are as seen and felt. Unmanipulated except for traditional darkroom style techniques to adjust tonality, color and exposure, almost all are also uncropped, full frame images.
They are printed with pigment inks onto premium watercolor paper. Print life expectancy is 110 years for prints framed under glass.
Capturing the image occurs in an instant, prints do not come so quickly. They are where I spend the bulk of the time in the photographic process. When I first saw a print appear from the darkness under the red safelights of a darkroom, I knew it was a form of magic.
Though I may sometimes miss the soft glow of the safelights and gentle flow of water as it washes over prints - the unique capabilities digital printing offers makes up for it.
Printing is different now, a light room rather than a darkroom, but the requirements are the same. You have to be present with the image - to let it speak to you and to be willing to spend whatever time is required, to go through perhaps dozens of variations (which may become artist proofs) before a final version speaks to me. I like to say it has to sing. This creates a master image file from which the final prints are made.
It's still a form of magic - I'm still excited as the prints appear from the printer. High end printing monitors, densitometers and printer profiles all help, but in the end the final print is a result of everything possible I can bring to it.

Medium - Pigment ink print from a Canon ipf6300
Substrate - Epson archival matte paper (hot press watercolor)

Sirolo, Italy

Sirolo, Italy - 2006

  • The two most engaging powers of a photograph are to make new things familiar and familiar things new.

    William Thackeray

    author