Couldn't agree more... I operate under the assumption that my digital archives, including source files, are finite. Who even knows what a camera will look like in 50 years. It may be implanted in our heads between our eyes. I don't know. But I figure my files after I'm gone will most likely not survive long term, no matter what. My archival paper prints, though, could possibly last hundreds of years, just sitting in a box. Imagine being a collector running across even a mundane, paper-based photograph, printed from a digital file in 2020, 200 years from now. Look no further than the community of analog snapshot collectors today to get a feeling for how that kind of discovery might resonate.
I mostly shoot parts, textures, not whole scenes, and work on composites. I also am not in love with traditional framing. A few years ago I decided what I'd loved nearly all my life was, books. I settled on the accordion book form. I print variously long composites on 17" matte roll papers. The paper has to bend well without flaking/breaking. They're layered, scrim, glue, matboard inside. Fabric on the back, + loops so they can be hung on walls, or placed on tables. I like that they zigzag in and out. Visual information is not revealed all at once. The view changes as you walk past them. It's taken forever to experiment and get more comfortable with materials and the form. I keep thinking I'm almost there! Less expensive than framing - but more time consuming.
Sounds fantastic would love to see some of your presentation. You know we've taken a special liking to Awagami papers. Some of those may suit your taste in making accordion books. Also, stay tuned for the brief monthly wrap up I'll be posting in the next couple days, there's an artist you may find interesting in her methods of presentation.
I did order sample papers from Awagami some time ago. They are lovely - but there were issues with color profiles. I think maybe the kozo paper that Moab sells might be made by Awagami. I love Awagami newsletter. I'll look at my samples again, but the texture of the kozo is a bit assertive for what I'm doing. Sometimes decorative papers with inset fibers or petals are better on their own. I began with Hahnemuhle Torchon, because I loved its texture. It folded well, but it's pretty stiff - a bear to muscle into shape. Now I'm working with Moab Lasal - which I like, and folds well, but has OBAs, and is a brighter white than I like. Entrada Natural is a good soft white - but it doesn't fold as well. After the new year I will have some time to search some more. I'm looking forward to it.
I enjoy printing my own images primarily for display in my home. I give some as gifts and occasionally sell images. However, my primary goal is for my own enjoyment. I purchase sample packs to try different papers. I want to print the best image I can.
I agree wholeheartedly with your points, Les, particularly the first and the last. Since participation in the Portfolio Development workshop with you and Bob and subsequently printing for a small gallery exhibition, I have come to recognize that printing has changed my approach to photography. Increasingly I look at a scene and ask "would I ever consider printing this?" Even if I answer "doubtful" and still take the photo, the thought process leads me to think more carefully about the composition. To the last point you make, printing has led me to think more carefully about how to lead the observers eye and highlight the focus of the image through judicious editing. Thanks for another of your always useful perspectives.
Thanks, Tom. Your description of how printing has affected your decision-making during capture is spot on for me and, I hope, for many in our community.
Right now the only printing I do is on the monochrome office printer once the managers are gone home for the day.
I like to experiment with cheap papers like standard lined paper, graph paper and office paper. I have actually come to love printing on lined paper and then making little zines in duotangs. There is something about it that I just love and offers a completely different feel to my images I would have never known existed if I hadn't tried.
I can't wait to get a printer of my own and start experimenting with all kinds of papers and processes!
I have found that a type of paper or printing technique can really change everything about an image or a whole body of work.
I'm assuming Lester is related to Fred Picker. Greatly relied on his book "The Fine Print" starting out in darkroom days. I now print digitally for my own fun and have had several local exhibitions of pictures made of events of local interest. I have archival binders with pictures on 16 x 20 and 11 x 17 papers, some of which have been displayed but many more not. I guess I just want to leave a bit of a record of where I have travelled and what I have seen, through these prints. No idea who might view them in the future. Displaying big prints gets expensive for proper framing. Any thoughts on inexpensive, temporary "framing" will be appreciated.
Couldn't agree more... I operate under the assumption that my digital archives, including source files, are finite. Who even knows what a camera will look like in 50 years. It may be implanted in our heads between our eyes. I don't know. But I figure my files after I'm gone will most likely not survive long term, no matter what. My archival paper prints, though, could possibly last hundreds of years, just sitting in a box. Imagine being a collector running across even a mundane, paper-based photograph, printed from a digital file in 2020, 200 years from now. Look no further than the community of analog snapshot collectors today to get a feeling for how that kind of discovery might resonate.
I mostly shoot parts, textures, not whole scenes, and work on composites. I also am not in love with traditional framing. A few years ago I decided what I'd loved nearly all my life was, books. I settled on the accordion book form. I print variously long composites on 17" matte roll papers. The paper has to bend well without flaking/breaking. They're layered, scrim, glue, matboard inside. Fabric on the back, + loops so they can be hung on walls, or placed on tables. I like that they zigzag in and out. Visual information is not revealed all at once. The view changes as you walk past them. It's taken forever to experiment and get more comfortable with materials and the form. I keep thinking I'm almost there! Less expensive than framing - but more time consuming.
Sounds fantastic would love to see some of your presentation. You know we've taken a special liking to Awagami papers. Some of those may suit your taste in making accordion books. Also, stay tuned for the brief monthly wrap up I'll be posting in the next couple days, there's an artist you may find interesting in her methods of presentation.
I did order sample papers from Awagami some time ago. They are lovely - but there were issues with color profiles. I think maybe the kozo paper that Moab sells might be made by Awagami. I love Awagami newsletter. I'll look at my samples again, but the texture of the kozo is a bit assertive for what I'm doing. Sometimes decorative papers with inset fibers or petals are better on their own. I began with Hahnemuhle Torchon, because I loved its texture. It folded well, but it's pretty stiff - a bear to muscle into shape. Now I'm working with Moab Lasal - which I like, and folds well, but has OBAs, and is a brighter white than I like. Entrada Natural is a good soft white - but it doesn't fold as well. After the new year I will have some time to search some more. I'm looking forward to it.
I enjoy printing my own images primarily for display in my home. I give some as gifts and occasionally sell images. However, my primary goal is for my own enjoyment. I purchase sample packs to try different papers. I want to print the best image I can.
I agree wholeheartedly with your points, Les, particularly the first and the last. Since participation in the Portfolio Development workshop with you and Bob and subsequently printing for a small gallery exhibition, I have come to recognize that printing has changed my approach to photography. Increasingly I look at a scene and ask "would I ever consider printing this?" Even if I answer "doubtful" and still take the photo, the thought process leads me to think more carefully about the composition. To the last point you make, printing has led me to think more carefully about how to lead the observers eye and highlight the focus of the image through judicious editing. Thanks for another of your always useful perspectives.
Thanks, Tom. Your description of how printing has affected your decision-making during capture is spot on for me and, I hope, for many in our community.
Right now the only printing I do is on the monochrome office printer once the managers are gone home for the day.
I like to experiment with cheap papers like standard lined paper, graph paper and office paper. I have actually come to love printing on lined paper and then making little zines in duotangs. There is something about it that I just love and offers a completely different feel to my images I would have never known existed if I hadn't tried.
I can't wait to get a printer of my own and start experimenting with all kinds of papers and processes!
I have found that a type of paper or printing technique can really change everything about an image or a whole body of work.
Sounds interesting. Stay tuned for this months wrap-up you may be inspired by one of the items we ran across this month.
I'm assuming Lester is related to Fred Picker. Greatly relied on his book "The Fine Print" starting out in darkroom days. I now print digitally for my own fun and have had several local exhibitions of pictures made of events of local interest. I have archival binders with pictures on 16 x 20 and 11 x 17 papers, some of which have been displayed but many more not. I guess I just want to leave a bit of a record of where I have travelled and what I have seen, through these prints. No idea who might view them in the future. Displaying big prints gets expensive for proper framing. Any thoughts on inexpensive, temporary "framing" will be appreciated.
Best, Tim Johnston.