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Contact me if you'd like to buy prints. The New York Times described my photography “as artworks rather than as mundane documentation,” which present “an unorthodox look” with a “focus on striking details.” The color photographs are rich, with many of them having dramatic contrasts of light and shadow that create a stark ethereal quality. The black-and-white photographs, however, are often gritty and candid. Many photographs also evoke the mysterious and invite exploration. Objects and meanings are not revealed by one glance. Sometimes, tight compositions reveal iterative patterns to provoke new ways of seeing at the intersection of realism and abstraction. |
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All White Glove Prints™ are made, signed, and dated by me personally in the studio. No part of the process is outsourced to commercial printers or to assistants. And I do wear white cotton archival gloves while handling the prints to keep them pristine. |
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Producing a high quality print involves a great deal of meticulous and methodical care and attention. Over 10 years of experience have gone into mastering this process. This includes: | |
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This detailed precision has resulted in my prints being exhibited at: |
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Here's a summary of the many steps I take to create your print. | |
1. The Printing Process |
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Calibration |
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2. The Post-Printing Process |
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Resting and Inspection Although the photograph is dry to the touch upon exiting the printer, some paper types need to be set aside to "rest" in a controlled environment. This gives time for the water in the inks to fully evaporate and results in the final color and contrast becoming set. The print is then inspected under neutral lighting (i.e., a color temperature of 5,000 Kelvin) and compared with the master digital file from the calibrated reference monitor. In the unlikely event I am not satisfied with the result, corrective notes are made, the print is shredded, and the process begins again. ![]() 24-Hour Curing For some paper types, the final stage is for the approved print to undergo at least a 24-hour "curing" period under ink-receptive paper to absorb the solvents since they evaporate at a slower rate than the water. This step is vital to prevent the solvent gases from later being trapped inside your frame and leaving a residue on the glass. |
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3. White Glove Handling |
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Paper and Print Handling During the entirety of the printing and post-printing processes, I wear white cotton archival gloves to handle the photographic papers and the prints. This prevents oils and other elements from soiling the image. Signing and Packaging Using Japanese archival Pigma ink, I sign my name in a discreet location on the print. I then package the print in a glassine bag to prevent scratching. The glassine is acid free, lignin free, and of archival quality. This means you can safely keep the print stored inside until you are ready to have it framed. The print is sent to you in a rigid mailer made of sturdy 26 point paperboard. |
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