TECHNICAL NOTES
Image Capture
All of my images have been captured using Canon digital cameras and lenses. From December, 2003 to January of 2005, I used a five megapixel Canon S-50. Then I began shooting an 8.2 MP Canon 20 D with three Canon lenses (EFS 10-22mm USM, EFS 17-85mm IS USM, and 70-200mm L IS USM). In 2006, I discontinued using the 17-85mm lens (it fell in a creek with me) and acquired and EFS 24-70mm L USM lens. In 2010, I began using a 21.7 megapixel Canon 5D and added a Canon EFS 17-40mm L USM lens. My habit is to shoot in Raw format manually setting the aperture and speed. My purpose in shooting in Raw format is to capture the maximum amount of information for use in the photographic image. My workflow involves using rather large digital files (sometimes in the 300-500 MP range) during processing in order to improve resolution so I can print sharp and relatively large.
Image Processing
My workflow begins by downloading my raw images into Photoshop Lightroom (3) where I organize, catalog, rate and make initial adjustments. Typical adjustments include exposure, clarity, vibrance, saturation, tone curve, and lens correction. If necessary I also crop and remove spots. To prepare images for final processing and printing they are imported into Photoshop (CS 5) where layering and compositing is accomplished (high dynamic range and panoramic photo assemblage), and final sizing toning, spotting and sharpening is done. All images are sent to printers from Photoshop. Core tools that I am currently using for processing my images are an HP HPE-170t computer (8GB Ram), a NEC MultiSync LCD 2690WUXi2 monitor, and a Gretag Macbeth Eye-One monitor calibrator.
Printing
I have invested a considerable amount of time and energy in learning digital printing. This turns out to be an iterative process of mastering computerized processing tools (Lightroom and Photoshop), printers and printer settings, print profiles, papers, and a calibrated monitor. The quality of the prints I can make teaches me a great deal about how to better capture images as I use my camera, lenses and tripod which helps improve processing and printing.
Up to late 2010, I printed on an Epson Stylus Pro 4000 (17" paper path; 8 colors) using Epson UltraChrome inks. I am presently using an Epson Stylus Pro 3880 (17" paper path; 9 colors) using an UltraChrome K3 with vivid magenta ink set. For larger prints I now print on a Canon IPF Image Prograf 6300 (24" paper path) which uses a 12 color Lucia EX ink set. To date all prints have been made on Epson professional papers—Premium Luster, Premium Semi Matte, and Enhanced Matte (now Ultra Premium Presentation Paper: Matte)—I have found that I often prefer Enhanced Matte for the painterly quality that results. When I print, I use the appropriate Epson profiles and print at the highest resolution available (either 1440 or 2880 dpi). According to research done by Henry Wilhelm Imaging Research, Inc., prints made using Epson UltraChrome inks and the papers I use should be fade and color cast resistant from 67 to 76 years (depending on exact paper type) if framed under glass/acrylic and kept out of direct sunlight. My habit is to triple spray my prints with Premier Art Print Shield (a U.V., water resistant lacquer). Additional preliminary research by Wilhelm indicates that the use of Premier Art Print Shield significantly prolongs print life even more. To summarize, all of my prints have been made using professional level ink jet printers using state of the art pigmented inks and professional level print papers.
Matting and Framing
When I started this “new career” I had in mind making photographic presentations that could hang on a wall and I could say, “I made that!” To fully accomplish this I have learned how to mat and frame my photographs. The mats are museum quality 100% cotton rag/acid free/buffered four ply board. All mounting and hinging tapes are archival quality and I have recently begun using acid free foam core and archival backing paper. I size and cut my own mats on a Fletcher 2100 Professional mat cutter. In the framing process, the matted photograph is taped to a 1/8 inch thick clear acrylic light to form an airtight package. This package is then fixed in the frame using framer’s points and a paper backing and mounting hardware and wire are attached. All frames are made to order using quality woods and finishes. Some of my frames I have hand-made.