The Process

I make no pretensions about my work, although the words used to describe some of the processes used are just that -- pretentious. The equipment and supplies I use are top of the line -- various Nikon and Canon cameras and lenses; ultra high resolution Epson and Hewlett-Packard printers, museum quality archival media including canvas, state of the art inks guaranteed to last 200 years (but who’s going to be around to test that claim?). The buzzword of the moment for a photograph made in this manner is giclee print, and they are hanging in some of the finest museums in the world and can command prices in the high five figures.

The word giclee is an invented term from the French verb giclee, meaning "to squirt, to spray." It is pronounced "zhee-clay," and is used to describe the process of making fine art prints from a digital source using ink-jet printing.

The cameras, computers, software and printers are routinely upgraded or replaced as evolving technology demands.

The final result of using all of these tools, however, depends on how they are used together, and if the final image is not just a picture, but something beyond that -- an image that incorporates imagination and vision, it has become art.  Often there is no improving upon nature, but sometimes a mirror image of nature is not the intended effect.

The eclectic mix of subjects here includes images that are true to themselves and images that served just as a foundation to be developed into something else.

So, with highly detailed original images, we move through color, exposure and contrast checking and correction, do any required cropping, check image size and resolution, eliminate any unintended imperfections and then go through the whole process again. Many computer programs automate many of these tasks, but we do it manually. Automatic programs can be wrong.

If we intend to manipulate the image, we then try the myriad techniques the computer offers us. No image is treated in the same way as any other image -- each is unique and lends itself to unique treatment. This can take hours, and even days, and involve countless comparisons.

Finally we consign the image to the printing process. No image is printed for a customer until it is ordered. We prefer to print on canvas for the most artistic effect, but this is not to everyone’s liking and it is more expensive than other methods. For sharp, crisp prints that may exhibit more vivid colors a high gloss paper is suggested. For something with a bit more warmth there are luster and velvet papers.

We do not frame the photographs. Framing is a decorative art itself, and choices of frames can be highly personal. While we prefer simple black or gold frames, we leave the choice to you. If your image is printed on high quality photo paper, the framing process should include dry-mounting on backer board, preferably a high density foam. The photograph also should be matted. There are many choices here but a neutral gray hardly ever is wrong. The photograph also should be behind glass, preferably glass that protects it from the effects of the sun. Any good framing shop can do this.

Prints on canvas are another matter. They should be stretched and then mounted into a frame without matting.

All of our images are sprayed with a protective coating.

One last caution, for longer life and more enjoyment, do not display the artwork in direct sunlight.

That’s it: high quality equipment and materials, individual handling of each image for impact, effect and vision, individual printing of each print on choices of high quality media and no rush on production.

Oh, there are two other things: A person has to find the original picture, and has to love doing this. We strive hard to find the pictures, and we do love working with them. We hope you love the end results.