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Friday
Aug262016

Moab Master Named Platinum Medalist at International Photographic Competition

  

Jim LaSala is honored by peers and jurors for high-quality photography.
Flemington, NJ– Jim LaSala was named a Platinum Medalist during Professional Photographers of America's 2016 International Photographic Competition. LaSala's work will be on display at the Henry B. Gonzalez Convention Center in San Antonio, Texas, Jan. 8-10, 2017. This International Photographic Exhibit is held in conjunction with Imaging USA, an annual convention and expo for professional photographers. 
 

A panel of 46 eminent jurors from across the United States selected the top photographs from nearly 5,700 total submitted entries at Gwinnett Technical College in Georgia. Judged against a standard of excellence, just over 2,428 images were selected for the General Collection and 1,007 were selected for the esteemed Loan Collection—the best of the best. The Loan Collection images will all be published in the much-anticipated "Loan Collection" book and over 200 selected General Collection images will be published in the "Showcase" book by Marathon Press. 

The level of the award is determined by how many of those four images receive the highest possible honor: acceptance into the PPA Loan Collection, which is displayed at photographic exhibitions, conventions and other photography events. LaSala was named a Platinum Medalist, meaning that three of his merited images entered the PPA Loan Collection. In 2016, he was one of only 61 Platinum photographers of the Year.   

About PPA:  Professional Photographers of America (PPA) is the largest international nonprofit association created by professional photographers, for professional photographers. Almost as long-lived as photography itself, PPA's roots date back to 1869. It assists nearly 30,000 members through protection, education and resources for their continued success. See how PPA helps photographers Be More at PPA.com.  

www.jimlasala.com

jim@jimlasala.com 

 

Monday
Aug152016

Why Print?

by Les Picker

I've read two articles within the past several months that each makes a strong case for photographic prints, arguing that they are more important and more meaningful than ever. With digital photography and storage media having won the day, most non-photographers would consider that laughable, but give me a few paragraphs to build my case. 

In one of the articles the author makes a paradigm-shifting point, for me anyway. Nowadays we store all our imagery on electronic media. Wonderful, right? But how many of us started in the age of floppy disks? Were are those disks now? I actually saved my first novel on one of them (thank heavens it never saw the light of day... and never will!). But even if I found that disk, where am I going to find a player that can even read it? Now think of CDs. Like most of you, I stored thousands of images on them before DVDs rendered CDs obsolete. The point here is that technology moves at a relentless pace and at some point obsolescence becomes a real issue. I can't even count the number of photographers I know who have piles of CDs with, in practical terms, irretrievable images on them, whether due to obsolescence or to the number of hoops and amount of hard work needed to access them. 

Then there is the issue of the compatibility of those older storage technologies with newer and ever-updated operating systems. Put them all together and you have impending disaster for image preservation and retrieval. 

# The case for Prints 

As I say during the introduction to my print workshops, if there is one unchanging aspect of photography, it is the primacy of fine art prints to judge one's work. From Matthew Brady's photojournalism during the Civil War, through artists like Edward Weston, Henri Cartier-Bresson, Ansel Adams and Dorothea Lange, to our modern masters, the photographic print has always been the yardstick by which great photography is measured. 

Want another fresh perspective on electronic imagery versus the photographic art print? Ever watch someone flip through a collection of electronic images stored on an iPad, smart phone, laptop or desktop? It can make one suffer from vertigo! Each image gets maybe two seconds, click, next one, click, click, click. 

Now, walk into a gallery or museum exhibit or private home with fine art photographic prints on the walls. You stop, you stare, you discern the subtle shading, the contrast, the tonality of the print, the drama and emotionality of the image, the lusciousness of the paper. It is an entirely different viewing experience, almost reverential. It's like the difference between a Big Mac and dinner in a fine gourmet restaurant. Sometimes a Big Mac fits the bill, but for lasting memories I'll take gourmet. 

To reinforce that, I was at the AIPAD convention last year and watched as collectors snapped up original Ansel Adams and Dorothea Lange prints at $50,000 a pop and up. Those prints are still as perfect and enduring as the day those artists pulled them out of the developer. With today's printers, archival inks and fine art archival papers, prints should last two hundred or more years, if properly mounted behind glass. 

As a printmaker I found these discussions to be enlightening and encouraging. My print workshops usually sell out quickly, so there are obviously other photographers who agree with my outlook. Long live the fine art photographic print!

Lester Picker Fine Art Photography

Wednesday
Jul272016

Making Your Own Floating Frames

by Les Picker

In our small-group, intensive fine art print workshops, I get asked a lot about framing options. My associate and I are believers in traditional framing, both for its elegance and for the fact that it enhances and does not compete with the image itself. We prefer our traditional prints to be set in matte black frames with white double- or triple-mats (such as Rising Museum Boards). Art collectors and our most discerning clients typically choose this option.

Enter Canvas Prints

But, what about canvas prints? This print option has become highly popular, both for its cost benefit for consumers as well as its wide range of display options. Of course, there is always the standard canvas display option of wrapping the print over wood braces and hanging it as a clean, simple work of art, and we do occasionally sell canvas images with that treatment. However, a few years ago we began offering our clients a framed canvas option which is generally known as a "floating frame" or "open frame".

There are many variations on the floating frame theme, but I’d like to offer those of you new to the game an idea of how to construct floating frames yourself easily and inexpensively. Once you get the hang of it, you’ll find yourself developing spinoffs unique to your photography. In fact, we now offer several floating frame options, including one for traditional fine art paper prints.  Their less formal presentation is appealing to some clients.

Open frames refer to the fact that the image is not enclosed in glass or Plexiglas. Open frames also typically include a "gutter" between the canvas (or print) and the frame edge. When we first offered this open frame option, we were charged around $300 and up for a 30" x 40" frame. Now we make our own open frames in-shop for under $75, not including labor. However, once you get some experience, it should not take more than an hour or two to create a floating frame. The rest of this article is a how-to, illustrating how we create these open frames.

Stick It To Me

The key to holding down expenses is to order the framing pieces in bulk. These frame "sticks" are available from a variety of vendors and in different lengths. A careful Internet search will show you vendors near you so that you can save even more on shipping charges.

We generally buy three stick sizes corresponding to the thickness of the canvas wraps, namely .75, 1.25 and 1.75 inches. Smaller canvases would get the .75" open frames, while larger pieces get the 1.75" frames. I typically order several hundred feet at a time of mixed sizes in ten-foot lengths.

Floating frame sticks are different from standard framing sticks that you would use for prints behind glass. They do not have an inner lip to hold the glass (see ILLUSTRATION #1). They are also typically free of adornments on the frame edge facing the viewer.

Illustration #1

Also, floating frame sticks do not have a completely open back, like traditional framing sticks. Instead they include a wide "platform" that is needed for the back of the canvas frame to rest against and adhere to, whether with glue or screws.

Measure Twice… Cut Once 

The old carpenter’s maxim - measure twice and cut once - applies here. I’ll assume that you have already wrapped your canvas over a suitable frame. Depending on the thickness of the frame (.75”, 1.25" or 1.75"), assemble the appropriate thickness framing sticks. If the sticks are not painted, now is the time to do that.

I prefer to use a primer spray as a first coat, and then spray on two light coats of flat black paint. With the proper setup, this process should take 10-15 minutes for each coat for a frame that is 30" x 40". Depending on the specific brand, most paints need several hours between coats, so I sandwich the job between other chores. Be sure to wear gloves, eye protection and a breathing mask.

Once your sticks are completely dry (allow 24 hours), carefully measure the length and width of your wrapped canvas, not the dimensions of the original wood frame that the canvas is wrapped around. That is so that you incorporate that little bit extra material that is required due to the thickness of the canvas wrap itself. You want to ensure a snug fit.

For simplicity purposes, let’s assume that you have a 24" x 36" finished piece, canvas wrap included (you should first coat the canvas with a protectant). This means you will need two sticks at 24" length and two at 36" - to the **inside** dimension (see ILLUSTRATION #2). You will need to cut the pieces to allow for the 45-degree miter corner cuts to extend out from your measurements. Please note that the open frame sticks have three levels to them. The wrapped canvas will rest on the flat backing platform. So you want the inside dimensions to be measured at the second step, as indicated by the arrow in illustration #2.

 Illustration #2

Using an electric or hand miter saw, carefully cut the first miter at 45 degrees, making sure that the sticks are oriented properly (see ILLUSTRATION #3). Once that is done, remeasure the stick to get an exact measurement to the **inside** of the miter on the opposite end of the stick so that it equals precisely 24" or 36". This ensures that your mitered corners will be exact.  If you are using an electric miter saw, I recommend using an 80-tooth blade for clean cuts. With a hand miter saw, use one with as fine teeth as possible. Sand lightly as needed. With all the miters done, you are ready to begin assembly.

Assembling the Frame

Before you start permanently assembling the frame, first take some of that black paint (or whatever color you painted the sticks) and dab some about 1/4 inch in along each mitered corner (see ILLUSTRATION #4). This will prevent any unpainted edges from showing if your frame is a bit off a perfect 45-degree angle. You can even use a black permanent marker, as shown here, but in that case use two coats.

Once the frame is completely dry, spread a thin layer of wood glue on each mitered corner and fit the pieces together loosely to ensure that the fit is good (see ILLUSTRATIONS # 5 and 6). Wipe off any excess immediately.

There are alternate ways to actually fasten the pieces together permanently. Our preferred method is to use a simple hand-operated machine available from many suppliers. This machine holds two corners tightly together to create a perfect joint. While they are being held in place by the machine, you pull down on a handle, which forces a corrugated metal wedge into the back side of the frame (see ILLUSTRATION #7 and 8). That wedge keeps the corners tight. When the glue dries you will have a joint that is more permanent than the wood itself.

There are times when we use glue and a nail gun to permanently adhere the corners, especially with smaller pieces. In any case, pick a method you like and stick with it until you become thoroughly familiar with it.

Other Uses For Floating Frames

Illustration Elephant 1Floating frames can also be used with traditional fine art paper. This open-faced display is increasingly popular (see ILLUSTRATION-ELEPHANT-1). In this case the print is first mounted on rigid Gatorboard and the entire board mounted on the frame with glue. One word of caution: make sure to first double spray the print with Moab Desert Varnish or equivalent, since the print is exposed directly to air and fingerprints (see ILLUSTRATION #9).  That double coating also gives some degree of UV protection. We love this presentation with a textured paper, such as the Moab Moenkopi line.Illustration #9

We have also developed an enlarged version of the open frame for areas where a super-large print is desired. We simply enlarge the border by using flat black mat board, as in the image of the Kalahari lion I photographed in South Africa (ILLUSTRATION # 10 and 11).

Finesse and Display

We like to finesse the final product by covering the back of the frame with a thick brown paper. We cut the paper 1/8" short on each side and then glue it to the frame. That gives the back a clean, professional look (see ILLUSTRATION #12) and protects against dust and insect damage. 

Once the entire presentation dries, you can insert metal eye hooks and wire to the frame for hanging (see ILLUSTRATION #12). I prefer to pre-drill the holes for the hooks to prevent splitting.

Our clients love the open frame display option, particularly young people just beginning to invest in fine art photographic prints. 

Why not give this display option a try? I think you’ll be pleased with the results, as will those viewing your artwork.

 

About the Author

Les Picker is a professional photographer with credits in National Geographic publications and dozens of others. He is a Moab Master and was awarded the prestigious Canada Northern Lights Award for Best Travel Photography. Les offers photo tours throughout the world. His fine art print workshops are sponsored by Moab 

Wednesday
Jul202016

Paper Curl and (those dreaded) Print Head Strikes

Written by Les Picker
Photography by Robert Boyer
 

Fine art printing today is far easier than even a decade ago. Still, newbies have a slew of things to think about as they climb the learning curve and gain experience. Color management, paper selection, printer dialogues, you name it and it's another item on the way to fine art printing mastery.

But how many of us think about the importance of flat paper? What does one do when fine art cut-sheet paper curls? Here I'm talking about curls that happen in boxes of sheet paper, not the curling that happens at the end of a roll of fine art roll paper (that's a separate discussion… stay tuned). This may sound like a trivial matter if you are new to printing, but when your print heads start striking those curled sheet edges, you'll be seeing dollar signs - big ones - popping up.

As a Moab Master, I thought I'd do a quick scan of some of my fellow Moab Masters to see how they handle keeping cut sheet paper flat. I also wanted to hear from the folks at Moab on how they take paper curl into consideration at the paper design and manufacturing stages.

Some Background

“What some people may not realize is that all paper is initially produced on a roll,” explains Marc Schotland, VP, Marketing for Legion Paper. “The curl is caused by the natural formation of the fibers pressed against the core of the roll.”

Once these jumbo rolls are produced, they are sent off to be coated. When the paper is coated, an anti-curl back-coat is applied to counteract the coated/printed side. These now-coated jumbo rolls are then sent off to be converted into sheets and mini-rolls (those 17”, 24” 44”, etc…).

“Obviously, the paper closest to the core will exhibit the most persistent curl memory,” Schotland continues. “But those sheets from the roll flatten over time as they are laid out on a flat surface so that the fibers will 'relax’ and modify their formation to match the flat surface”.

The problem arises when paper is kept unsealed in extreme humid conditions or fluctuating temperatures. The fibers will change formation again, sometimes even buckling if enough moisture gets into the paper.

Notes From the Real World

As a working pro myself, our studio sometimes experiences cut-sheet paper curl. We tend to go through our paper stock fairly quickly, between prints for clients and our fine art printing workshops, which minimizes the chance of curl.

Although we try to follow preventive measures to reduce curl, we're not always perfect. My assistant or I will leave a box opened overnight, or we will take out 10 sheets, only print five and then find the rest, slightly curled, two weeks later!

"In my experience, curl seems to happen with glossy and luster papers more than matte finished papers," says Jim Graham (www.jimgrahamphotography.com), a Moab Master and well-known East coast master photographer. I would agree with Jim. I have yet to have an issue with curl in matte papers even though they, too, are coated. But whatever the paper type, sheet curl can be frustrating, especially when you are under pressure to get a print done."

An Ounce of Prevention…

Based on this foray into paper curling in the box, here are some suggestions from my fellow Moab Masters, and from Moab itself, for how to keep paper flat.

“Always store paper horizontally, not vertically,” suggests Evan Parker, Moab Support Specialist.

Keep paper in the original plastic bag, in the original box. In our studio we also tape the plastic bag to seal it from the elements when not in use.

If you cannot remove the curl, use the platen gap settings on your printer to widen the gap between print heads and paper.

“Store your paper in a humidity-stable environment, out of direct sunlight, and away from heat or a/c registers,” Parker also suggests.

On some of our larger cut sheet papers, 13“x 19” and above, I also add a handy desiccator tin to the box or bag that the paper is stored in (available online). When the desiccator captures all the humidity it can, just pop it in a 300-degree oven for 3 hours (a toaster oven works great!).

… And a Pound of Cure

Even the best preventive program sometimes fails. What do the pros do when that happens?

“If it's just minor curl, I simply will invert the paper in the box and let its own weight flatten it,” Jim Graham tells us. “If it's a major curling issue I'll sandwich the paper, wrapped in archival paper, between books. And let the pressure of the books and their weight flatten out the curl.”

Moab's Evan Parker suggests we let the sheet sit out in our printing environment for 30–60 minutes to see if an environmental adjustment resolves the curl.

In our studio we'll try gently reversing the curl with cotton-gloved hands, so as to prevent oils from our hands from contaminating the paper. On occasion I use a tissue-paper covered empty paper tube to get the job done. Gentle is the operative word here.

“I load each sheet individually into the printer with the flattest edge going down into the printer first,” explains Harold Davis (www.digitalfieldguide.com), a Moab Master from the West coast. “If the printhead seems to be striking one of the side edges of the paper, I'm not beyond opening up the printer door, which stops the printhead in its tracks, and gently smoothing the paper down. Then I'll close the print door, and printing will resume automatically.”

Still, no matter the printing challenge, we all know the value, and classic beauty, of the printed image. Moab Master Harold Davis summed it up best: “Sure, paper curl is a fact of life. But there's nothing like making hand-crafted, artisanal prints for satisfaction with one's work. Even though it is a digital world, you still make prints one-by-one, with one-off attention to sheet curl and many other issues.”

Les Picker is a Moab Master from Maryland. You can follow Les' blogs from his website: www.lesterpickerphoto.com

Monday
Jul112016

Achieving Your Potential As A Photographer

This workshop is for every photographer who wants to draw their line in the sand to become the best photographer and artist they can be. Using the exercises he developed for his highly-acclaimed Achieving Your Potential As a Photographer: A Photographer’s Creative Companion and Workbook, Harold Davis will work in a supportive group environment with each participant to help them discover their unique photographic potential.

The workshop will include group and individual exercises and assignments. There will be guided field sessions, and work in the classroom. Technical and practical skills and topics will be covered.

Each participant will come away from the workshop with real-world skills, an enhanced sense of their own creative strengths, and a detailed roadmap for how to best achieve their own creative potential. Besides learning a new way to view their own work, and the ability to benchmark goals for future progress, participants can expect to create a personalized workbook that will continue to help them reach these goals long after the workshop has ended.

This is a workshop intended for participants of all levels. It’s never too late to hone your skills, and to unleash the powerful and positive creative forces that are waiting to be discovered within each of us.

Register here.

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