In taking photographs, and then making prints from them, I try to capture, and then represent as best I can, some measure of what I saw, felt and experienced when I was there taking the picture. Within the reality that in rendering the images as photographic prints choices (on exposure, contrast, tone, sharpness, among others) always need to be made, I try to keep the prints (and my web images) as “true” to the subject as I can. Which for me means minimal manipulation of the colors I think I actually saw and nothing being added to or subtracted from the image (except for removing dust spots, scratches or artifacts). In the past I shot Kodachrome and made Cibachrome (aka Ilfochrome) prints. But times have changed. I now have ultra-high quality drum scans made from my older Kodachrome slides to create digital files, while my newer images are digitally recorded from the start. After doing the necessary “polishing” to the digital files to get the images where I want them to be, I work with a lab I trust to get them printed -- using traditional light-sensitive photo papers, exposed in a Chromira printer using an LED light source, and then processed in RA-4 chemistry. Because it is real photo paper, prints have the tactile look and feel of a traditional photograph. My paper of choice* is now Fuji SuperGloss, which has incredibly deep and rich colors and outstanding archival longevity (and much of the look of Ilfochrome/Cibachrome).

Matting (if you chose to have me do it) is done using archival, only a very slightly warm-white, 4-ply overmat, hinge mounted to an archival foam core backer.

*If you prefer, it’s possible to have prints made on other papers or mediums of your choice (other light sensitive photo papers [such as matte or “metallic” papers], various light-sensitive ink-jet papers, inkjet fine art papers, or inkjet canvases). Refer to “Purchasing” for details on how to contact me -- to get prices and/or order prints made on any alternate paper/medium.