Xiomaro | Art Studio

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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.

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.

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:

experience with various software programs

understanding different lighting environments

exercising a critical eye for variables in color and contrast

knowledge of the behavior of inks

discernment of how different papers enhance image qualities

respect for archival integrity

the discipline of consistent machine maintenance

This detailed precision has resulted in my prints being exhibited at:

Harvard University

Long Island Museum

Fruitlands Museum

Fraunces Tavern Museum

many other high profile venues for fine art

Here's a summary of the many steps I take to create your print.

1. The Printing Process

Calibration

I begin by calibrating my reference monitor to ensure that the print is a faithful representation of the color and contrast of my original photograph.

Paper Selection and Inspection

I then choose photographic paper from a variety of premium sheets I have in stock that will best show off the qualities of the particular image.

Although they are of exceptional quality, I inspect and brush the sheets under powerful lighting to make sure that they are free of dust, scratches, curls, or other manufacturing imperfections.

State-of-the-Art Printing

My master digital file is then printed utilizing professional imaging technologies such as MicroPiezo® AMC® print heads. With 1,440 nozzles, the print heads fire ink droplets from a nine-color set of UltraChrome HD archival pigment ink cartridges, which represent a new benchmark of photographic clarity, optical density, and vibrancy.

These droplets can be as small as 3.5 picoliters (a picoliter is one trillionth of a liter), so the image resolution is extraordinarily high. To ensure image accuracy, I run a diagnostic – before initiating the printing – to check that the heads are clean and in alignment.

For some offerings, similar technologies are employed with different printers, ink types, and fewer cartridges to produce impressive results at affordable prices.

2. The Post-Printing Process

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.

3. White Glove Handling

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.

All content on all pages of this website is © Xiomaro All Rights Reserved.
Any image or any portion thereof may not be reproduced or used in any manner whatsoever without my express written permission. Violators will, and have been, prosecuted to the fullest extent of the law. Xiomaro logo by Azul Burger. Photos of Xiomaro by Barbara Cittadino.



Home Prints Books Bio Gallery TV Now Blog Contact



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.





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.

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:

experience with various software programs understanding different lighting environments exercising a critical eye for variables in color and contrast knowledge of the behavior of inks discernment of how different papers enhance image qualities respect for archival integrity the discipline of consistent machine maintenance
This detailed precision has resulted in my prints being exhibited at:

Harvard University Long Island Museum Fruitlands Museum Fraunces Tavern Museum many other high profile venues for fine art





Here's a summary of the many steps I take to create your print.

1. The Printing Process

Calibration I begin by calibrating my reference monitor to ensure that the print is a faithful representation of the color and contrast of my original photograph. Paper Selection and Inspection I then choose photographic paper from a variety of premium sheets I have in stock that will best show off the qualities of the particular image. Although they are of exceptional quality, I inspect and brush the sheets under powerful lighting to make sure that they are free of dust, scratches, curls, or other manufacturing imperfections. State-of-the-Art Printing My master digital file is then printed utilizing professional imaging technologies such as MicroPiezo® AMC® print heads. With 1,440 nozzles, the print heads fire ink droplets from a nine-color set of UltraChrome HD archival pigment ink cartridges, which represent a new benchmark of photographic clarity, optical density, and vibrancy. These droplets can be as small as 3.5 picoliters (a picoliter is one trillionth of a liter), so the image resolution is extraordinarily high. To ensure image accuracy, I run a diagnostic – before initiating the printing – to check that the heads are clean and in alignment. For some offerings, similar technologies are employed with different printers, ink types, and fewer cartridges to produce impressive results at affordable prices.

2. The Post-Printing Process

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.

3. White Glove Handling

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.




All content on all pages of this website is © Xiomaro All Rights Reserved. Any image or any portion thereof may not be reproduced or used in any manner whatsoever without my express written permission. Violators will, and have been, prosecuted to the fullest extent of the law. Xiomaro logo by Azul Burger. Photos of Xiomaro by Barbara Cittadino.