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Every step and each material is aimed at creating a fine print that
is the highest quality achievable today.
Materials - Everything is archival (acid free)
| Film |
Fuji Velvia transparency film (ISO 50)
- high color saturation, extremely low grain, incredible color range
and high
contrast. This film has been described
as a "legend" in its own time. Looking at a medium or large
format Velvia transparency is magical in the way that it pulls
you in with depth and clarity. Fuji Velvia is the highest quality
color transparency film available in
the world
today. |
| Paper |
Ilfochrome™ Classic (previously known as Cibachrome™) -
high color saturation, extremely low grain, incredible color range
and
high
contrast. Because
of these attributes, Ilfochrome paper is a perfect match for Fuji
Velvia film. Ilfochrome
has been in use for almost 30 years and is proven as an archival
color print medium. The dyes in this paper are extremely stable and
will not fade under normal
conditions. Ilfochrome is the highest quality color
photographic paper available in the world today. |
| Mounting Materials |
The prints are mounted onto an aluminum substrate
(mounting board). Aluminum is not common for the application described
here - but not altogether unheard of as a medium for mounting photographs.
It
has the following
qualities
that make it particularly attractive for my prints. It:
> is completely archival (neutral PH)
> is extremely smooth (especially after sanding)
> is extremely durable
> will not absorb water
The mounting adhesive is 100% archival
and is roll mounted (for maximum adhesion). The roll mounting process
is done "cold". No heat is used in this process as heat
is damaging to Ilfochromes protective
outer
layer.
Cold-roll mounting for Ilfochrome prints and mounting them onto
an aluminum substrate is the best way to mount photographs
(detect a trend here). |
| Framing and Presentation |
Many choices are available.
I prefer stained hardwoods or woods that are plastic laminated.
Mats are always archival. I prefer linen-lined mat boards as they
are less reflective and provide great depth.
Clear acrylic (Plexiglas™) is used to protect the image
in the frame. In case of an accidental drop, acrylic will not
shatter and damage
the
print.
The dust cover on the back of the print is Tyvek™. It is extremely
durable and completely archival. |
Equipment
I use a professional panoramic view camera
that produces a film image that is approximately 2.5 x 7 inches.
Process
Once an image is captured and deemed useable, it
is sent to an internationally recognized Master Printer. Here
it is further evaluated and tested prior to any final prints. Once
proofs
are accepted,
prints are made using a completely analog process, in a dark room. This
level of experience required to produce the best quality Ilfochrome print
is enormous and is the result of decades of experience in this medium.
With digital becoming the predominant format in the world today, this
capability and skill is becoming more and more uncommon.
When prints are ready,
they are mounted to the aluminum substrate by another skilled expert.
The extreme high-gloss
of
the
Ilfochrome print means that handling during mounting is critically
important. Only someone with years of experience in this area has the
capability
to successfully mount a 20 x 60 inch Ilfochrome print. Mounted prints are then signed, numbered and
recorded, matted, framed, sealed and ready for delivery!
Final Word
I hope you enjoy the images you see on this web site. The large format
prints they represent have significant visual impact.
When
people
experience these prints for the first time it is not uncommon to hear
comments like: "Is that a real photograph?" And, "I've
never seen anything like that!" Its not that the image looks unreal,
its more that the image looks closer to real life than anything
most people have ever seen in a recorded image.
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