Artistic & Technical Information
Creating these images using in-camera multiple exposure on film is a unique and challenging discipline, very different than combining them in photoshop. To successfully manage all aspects of the photograph (including composition, focus, exposure, and image layering) requires not only skill, but also some degree of chance. This combination of factors makes the process a unique collaboration with the subject, rather than something merely under my control. The final images often contain beautiful interactions, far more interesting than anything I could have completely planned. For me, this series captures a world in which the elements are simultaneously recognizable and mysterious.
I began this project in 1993, before digital photography was established. At the time my attempts to print the multiple exposure negatives in the darkroom were extremely challenging. (I was using graded Oriental Seagull paper, with a split Sepia/Selenium toning for color). Although I love traditional silver based darkroom papers, in many cases it was very difficult to capture the full range of the negatives. While I have not yet seen a digital paper that equals the quality of darkroom paper, in my opinion the benefits of digital printing far outweigh the drawbacks (in terms of the overall impact of the final print). Being able to work now in a hybrid film/digital workflow allows me to make use of the best elements of both techniques.
All photographs taken with Rolleiflex cameras and (typically) Schneider lenses. All photographs were shot on film (normally Tri-X), and all multiple exposures captured in-camera. Film negatives scanned on Nikon 9000, capturing full-frame edges. Adjustments in Photoshop, including color to replicate sepia/selenium split toning.
Printing
16" x 16" prints are made with Epson Ultrachrome K3 pigmented inks on Canson Infinity Baryta paper. Prints are full frame (capturing 100% of negative all the way to the film edge). This produces a black border around the image, which is then covered by the matt. Some people prefer to show the full frame black edge. If so, please contact me when placing your order so that I can make the necessary adjustments.
Matting
Matts are acid free 8 ply white with acid free 4 ply backing. 24" x 24" outside dimensions with 16" x 16" opening. Prints are signed and numbered in pen under the matt (covered), and then signed in pencil on the matt (visible). I hope to offer framing services in the near future, at this time I would recommend a simple black or white frame stock, 1/2" to 3/4" profile.
Edition Numbers
Edition Numbers are normally assigned automatically, using the next available number. If you desire a particular number please email, and I will try to accommodate your request.
Shipping
Free shipping in the USA via USPS Priority mail. Please email me for international rates. Print and matt ship in a plastic sleeve, inside a flat cardboard mailer box.