I make my editioned prints with the intention of creating the fullest original expression of what I want for each image. I sign and number each print and provide a certificate of authenticity. Unless otherwise noted, each edition will consist of no more than 30 prints, and I will make prints from an edition on-demand until that edition is closed. I will clearly mark the edition size and the print number from that edition on each print, along with my signature. The same information will be stated on the certificate of authenticity that I include with each edition print.
I will print a new edition only in the event of significant changes in my interpretation of the original image, or in a significantly different size.
Ink and Paper Types: My Artist's Edition prints are made using the highest quality archival pigment inks. The papers that I print on include 100% cotton rag fine art papers such as Hahnemuhle heavyweight Photo Rag for unmatched matte prints, Hahnemuhle Fine Art Baryta paper for deep glossy prints, and Japanese style mulberry-fiber washi papers by Moab for unique, natural texture. Please note that for each series I print on only one paper type, which is carefully selected to express my artistic intent for those images.
The alternative processes that I use in making my prints have primarily been printing-out palladium (ziatype), cyanotype, and recently, gum bichromate.
Printing-out Palladium (Ziatype) is a photographic printing process that involves the precious metal palladium in a light-sensitive solution that is hand-applied to fine art paper. First I create a digitally enlarged negative the same size as the desired printed image; I place that in contact with the coated paper and then expose it under ultraviolet light. What is distinctive about palladium/ziatype, and what drew me to begin working with it some years ago, is its beautiful tonal gradations, flexibility in achieving different color tones, great archival stability, and its ability to combine easily with other processes like cyanotype or gum bichromate.
Cyanotype is one of the earliest photographic printing processes, dating to the 1840s (the first photographic book was a book of cyanotypes, made by Anna Atkins in 1843). The cyanotype process results in an image or layer that is Prussian Blue in color, but the color may be changed greatly by bleaching and toning. I often use cyanotype as a second, complementary overprint on a ziatype, mostly to intensify the shadow values and add a bit of coolness to them without them going blue (although that can be nice, too).
Gum bichromate is also a photographic contact printing process, which is based on the light sensitivity of dichromates. Tricolor gum involves using color separation negatives to make separate layers, or “passes” which can combine to render colored images that can fall on a continuum from quite painterly or quite photographic. Gum can also be used to create monochrome images, or may be used as additional layers over prints made using other processes such as cyanotype, platinum, or palladium. I’m especially drawn to it because of its great flexibility, ability to work in interesting ways with color, and its potential for interpreting photographic images.
I make these prints in very small editions, or as unique prints. For information about the availability of original alternative process prints, please get in touch with me via this website's Contact page. High quality pigment ink reproductions of my alt-process prints are available in limited editions.
Information about availability of prints is included with the images in each gallery. If you are interested in purchasing a print, please contact me via this website's Contact page. I accept secure payment using any major credit card or via PayPal; checks and money orders by mail are also accepted (contact me for my mailing address).