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  • the source of our inspiration




    premium, archival fine art inkjet papers wrapped in the intimacy of a rural culture

  • juniper baryta rag


    our best reviewed and most award-winning paper yet

  • MOAB MASTERS

    Photo: Andy Biggs

    "All my portfolios are printed on Entrada. It's necessary that each print stands alone as a piece of art, and it's because of Entrada's weight and feel that my portfolio stands out from the rest."

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Wednesday
Jun082016

Glazer's Photofest 2016

 

Glazer's Photofest hours are Sat. June 11th from 10am-6pm and Sun. June 12th from 11am-5pm. 

Visit the Moab Paper booth for paper advice, questions and to get your free print! 

All workshops and photowalks are free on a first come first serve basis and pre-registration is not required.

"At Glazer’s we believe that photography is more inspiring when shared. It’s more than just posting an image to social media, sharing means stepping out from behind our viewfinders and computer screens to truly engage with others that share our passions. Every day we have the opportunity to work with our customers, vendors and friends. We have the privilege of meeting the interesting personalities, hearing each unique story, and of course seeing the stunning work you all create. But too rarely in today’s world do each of you have the same opportunity to come together as a community.

Now in its 7th year, Photofest continues to exceed our wildest expectations. It has become so much more than great deals and sneak peeks. Now the free classes, workshops, photowalks and demonstrations we organize have a larger purpose. It gives us all—professionals, enthusiasts and weekend warriors alike—a chance reconnect not only to our work, but to each other.

A photograph captures a moment that is fleeting, but the relationships we build along the way endure. Thank you for being a part of it."

Monday
Jun062016

In Search of Great Men

A train journey in 2011 from his hometown in North Carolina to Virginia, inspired fine art photographer McNair Evans to explore contemporary America through the country's passenger rail system. For over three years, Evans has embarked on biannual two-week long Amtrak trips, what the artist calls a "public artist residency," using the time to meet and converse with fellow passengers, record their stories and photograph the people and the landscape.

Presented for the very first time by the San Francisco Arts Commission Galleries, Evans' epic project, In Search of Great Men, combines compelling original photography and first-person, passenger-written journals that capture the unique cross-section of train travelers, offering the viewer a poignant and empathetic view of their lives. The images are printed on Juniper Baryta Rag 305.

View exhibition details.

How did you choose Juniper for your gallery?

For years I had worked with the Moab Colorado Fiber Satin, which is an excellent paper. Legion Paper’s printing expert Evan Parker and I had been discussing the papers performance and suggested that given the warm, moody quality of my photographs, that I might like Juniper.

How did the Juniper paper portray your artwork/ personal style?

Juniper produces a rich black point while holding detail in the shadows much like a traditional C-print. This, along with the papers warmer stock, help me produce images with depth and rich colors in the darker print tones.

Who did the printing for the exhibition? Which printer did they use?

I do all my all own printing, and always have. Many people think that Inkjet printing, because it is computerized, is automatic. This couldn’t be further from the truth. With the introduction of such control comes the responsibility of precision of vision. Because of the sheer volume of the show, San Francisco’s Rayko Photo Center dedicated a brand new Epson 7890 and studio space to my printing. I’m generally most productive in the evenings and night time, so would print until about 3 Am, and then literally sleep beneath the Epson.

Any advice for other exhibitors choosing a paper for their gallery?

When choosing an exhibition quality paper, it’s helpful to consider the visual characteristics of your imagery. Do most of your picture occupy the highlights? Are there regularly large areas of shadows? Does your vision run cool, or are there more warmer tones. Understanding the pallet of your project or work will help you pick a paper the performs well in those specific areas. 

Friday
May272016

Mike Dee hand embelleshed silver print

Tuesday
May242016

Imaging Resource: Caffeine Priority 

'Moab's photo paper makes for powerful prints'

Read more from Imaging Resource.

Entrada Rag Natural 300

"As far as cotton fine art papers are concerned, this is a very good paper. When used with theEpson P800 it produces high-contrast prints with saturated colors and good sharpness."

 

Juniper Baryta Rag 305

"I've been fortunate to test a variety of baryta (barium sulfate) fiber paper recently, including some from both Epson and Hahnemühle and the Moab Juniper Baryta stands up quite well against them both. The Juniper Baryta Rag offers a similar subtle texture and excellent dynamic range. Colors are rich and vibrant and fine details are rendered well. When you're looking for premium paper, feel is important too and the Juniper Baryta paper feels like it's ready for an exhibition." 

Monday
Apr042016

Out of Sight- Out of Mind

As technology becomes more advanced and the digital world expands, our printing should, too. Print empowers visual thinkers to share their inspiration through a tactile and long lasting experience with the ability to discover refined detail. Surrounded by a wide range of papers, photographers are given the opportunity to explore their creative abilities and discover their artistry. 


We asked Moab Master, Hernan Rodriguez, why print is important to him. His story says it all... 

We often forget what we no longer see. This is such a true and valuable statement in our industry. An industry, because of social advancement, tends to be quick to gratify the needs of their clients. This largely is due to the various outlets available in getting anyone to see an image or any content for that matter, and immediately. This brings a great deal of value to what many people no longer consider the “norm” – and that is a good old fashion print. What’s old is new and what new is old, but the value of a tangible print, still holds a great deal of value. It reminds me of the so many times I hear in the news, of families caught in a situation where they loose their home in a fire. The common responses you often hear is, “Everything is replaceable, but we are happy we saved our photos and albums.

A print is a testament of being at a particular place at a specific moment in time. You see this of iconic images that are displayed in museums and important places, or printed and reprinted in magazines, which are a constant reminder of a moment in history. Without these pictures, we would most likely forget. Even with the incredible digital advancement we have at our disposal, It would be very difficult to display any other media other than a print. As photographers we are blessed to provide those memories to any human being, and a print, whether an album or a wall portrait, should be the culmination of a joint cause. This can be a wedding, a family portrait or even a printed catalog.

My purpose for prints might be completely different than many other photographers, but it serves the same purpose. It’s to entice the emotions. It gratifies us as photographers when we show that print to a client and get reactions of jubilation. It tells us we are doing a good job. The approach to many photographers and “the print” comes from the standpoint of a direct sell. What I mean by that is that they sell prints for profit. It is our craft and we are allowed to do that. My perspective is the complete opposite. In my early career as a photographer, I started as a high school senior photographer. That kept me in business selling prints for well over six years. I had around 400 senior portrait sessions a season, and the purchase rate was very high. It was a very important moment of their lives you shared, and you were there to document it. Many also purchased wall portraits on custom paper, which they still remind me to this day, almost twenty years later.

These days I specialize in commercial and celebrity portraiture. Printing portraits still serves as an integral part in my business, but for different reasons. Before, in which prints were my product supported by my photography, now I am the product and the prints support my brand. Most of my revenue now is generated in the portrait session I provide for my clients. I am hired by publicists, art directors, or celebrities, which may be for advertising and commercial purposes, or creating specifically crafted sets and scenarios for actors, athletes or clients in the music industry. I use prints now to establish and maintain great public relations with many of my clients. The print in their home is also a constant reminder of your brand, and that brand is your experience and skills, which is the reason you were hired in the first place. Your print keeps you in sight and in their mind. A couple of days after the session, I will meet with my client, and that is when I provide a print of my favorite image in the session. This most of the time is the one they choose for marketing purposes.

Years ago I was working with one of the top talent agents in Latin America. We had a photography session for the lead singer of the Gipsy Kings, which was to be used for an upcoming album. The day after the shoot, I printed a few images on  11x17 Lasal photo paper for my client, which was the image used for the back cover of the CD. I also got one signed from the artist to frame in our studio for posterity.

Most of my work is cinematic in style and is done with extensive lighting. It is bold and rich in colors. It is very difficult to show this on a small iPad, and for the viewer to appreciate the full impact, I have created a physical album. This album has served me well in business. I have used it for prospecting new accounts, and people can appreciate all the detail and nuances of my work. I also teach around the world, so it is always greatly appreciated by the attendees. Without having prints, I truly believe my business would not have flourished to the same capacity as it has with printed pieces.

I remember one time I was invited to photograph Muhammad Ali’s 70th birthday with Evander Holyfield. The venue was at a makeshift boxing ring at the MGM Grand. I was there as Holyfield’s personal photographer to cover him, and when Ali’s people saw I had a camera, his security approached me to confiscate my camera. Apparently there was a “No Camera” zone where I was. I yelled at Holyfield to come help me, as he quickly came down to pull me from the roped area and escorted me up to the ring. There I found myself next to Ali and Neil Armstrong. “I’m amongst the greats”, I thought to myself. Just then, Holyfield carried Ali out of his wheelchair, as he walked around the ring, and I was there to capture such an amazing moment in time, free of any other photographers, thanks to Ali’s security. No pun intended, or maybe.

Where would this moment be without a print to document and share? A month after, I printed and mounted this image on Entrada Rag Bright 13x19 to give to Holyfield. It turned out beautiful. And when I talk about the power of a print, there I find Holyfield with Mike Tyson’s manager and publicist. They see the print and are impacted by the moment. Not only did they share this moment, but they also saw the quality of my work, which started negotiations for shooting Mike Tyson. Everybody wants to be like that person in the picture. We are privileged as photographers to provide that opportunity. 

 -Hernan Rodriguez

www.hernanphotography.com 

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