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April, 2005 Table of Contents
One of the greatest joys in photography is to discover the unexpected and capture its essence in a photograph. Have you ever gone out to photograph a particular subject and in the process of finding the subject, you suddenly or accidentally come across a totally unexpected and perhaps more compelling subject? I have and the emotional aspect of such a discovery can be quite stimulating.
During a fall outing to explore the scenic beauty of the North Shore of Lake Superior my attention was focused on the beautiful blue sky, the colorful leaves, and the waves hitting the lake shore. I spent several hours photographing various aspects of these elements, mostly without success. After considerable photographic and physical effort my body, mind, and camera began to slow down. Strolling along the shore I came upon a cabin which had been closed for the season. I first walked in front of the cabin, noting the typical views of the front porch and the lake. Then I decided to walk around the back of the cabin, primarily to get a closer look of some colorful tree leaves.
On the back side of the cabin I discovered a dingy little window. My curiosity got the better of me and I was able to peer in the window. My off-handed glimpse revealed the summer delights of this cabin. Inside, there was a table along with several summer lawn chairs, a small portable TV, a beautiful view out the front door and bay window of Lake Superior. When I photographed this scene through the back window, I also captured a partial reflection off the glass of the woods behind the cabin. In this surprising and unexpected image, I captured a nostalgic view of summer on the Lake. It illustrates my old adage that in order to discover anything, you have to let it discover you.
Don Z. Back to top
This is a series of articles about my philosophy and approach to photographic printmaking. The following articles are currently scheduled for this series:
The Digital Darkroom and Getting Started
Managing Color and Color Management
Ink Jet Prints and Fading
The B&W Darkroom; Obsolete or Absolutely Fun?
Introduction:
One of the reasons I photograph is because I love the photographic print. To me my images are not real until I can hold them in my hands, or stand back and admire them hanging on my studio wall. It is this love of the print that has driven me to the use of large format cameras. Currently my format of choice is a 6x12 cm film back on a 4x5 field camera. In the past I have worked with a wide range of camera formats including; 35mm SLR and rangefinder cameras, twin lens 6x6 box cameras, 6x7 and 6x4.5 rangefinder cameras, 6x7, 6x6, and 6x4.5 SLR cameras, 4x5 and 8x10 view cameras, in a never ending search for reproduction of the finest detail in a social or natural landscape.
Before making my living behind the camera I made it in the darkroom. I worked for 10 years in the photofinishing industry, first as a B&W custom printer, then as Color custom printer, and finally as a Sales Representative for ProColor, at the time, the largest Custom Photofinishing processor in the Midwest.
Professionally I have printed B&W images, color RA4 C-print process, and the Cibachrome direct positive process.
These experiences gave me basic printmaking skills and shaped my approach to printmaking utilizing the newer digital printmaking technologies.
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Over the past four years in my professional and artistic work I have transitioned from conventional printmaking techniques to incorporating digital printmaking processes. I will outline here my digital darkroom configuration and why I have set it up in this manner.
Image Capture: Most of my images are captured on conventional film. While I have purchased a digital SLR it has limited use in my professional work and therefore is only used occasionally. As I stated in my introduction much of my work is done on medium or large format film.
Scanning: Because I work with a variety of medium and large formats (as well as 35mm) one scanner is not sufficient for my needs. I use both the Nikon Coolscan V, and the latest Epson 4990 Photo flat-bed scanner. For 35mm the Nikon Coolscan series are the industry standard. The quality of scans is unsurpassed by any other scanner in the same price range. I selected the Coolscan V over the Coolscan 5000 because my use of 35mm is limited and the difference in image quality between the two scanners is limited. The Coolscan V is about $700, the Coolscan 5000 is about $1100. For medium and large format scanning the best value for the dollar is the Epson Perfection 4990 Photo flat-bed scanner. The color, resolution, and quality of the scan rivals scanners that cost much more (it retails for about $450.) In its price range there are few choices and the Epson is top in quality. To get a better scanner you are looking at about $7000 plus.
Processing Images: I use PC computers; I have 5 workstations networked in my computer lab. I use PC computers because they are considerably cheaper than Macintosh computers. The type of computer makes absolutely no difference in the quality of the final print. Yes Macs can process the files a little faster, but for the cost difference between 5 PC computers and 5 Macs I will spend a little time waiting for my PC processor.
Software: I use Adobe Photoshop CS image editing software. For scanning I use the Nikon software for the Coolscan V, and the Epson software for the Epson 4990. I occasionally use Adobe PageMaker for layout purposes. For print software I use the standard print drivers that come with the Epson printers. Otherwise I use no other software programs. I will discuss my reasons for this in depth in the next segment in this series (Managing Color and Color Management.)
Output: I use Epson Stylus Photo Ink Jet printers. I have the following models; 1280, 2200, and the 7600. I will probably add the 4000 to my darkroom sometime this summer. With the exception of the 1280 these printers are equipped with the Epson Ultrachrome Inks. The Epson printers are the industry standard. The reasons for this are; image quality, longevity, and wide format printing capability. You may hear some people claim that Epson printers don't have the color saturation or image quality that some other printers are capable of--that is bunk. They simply don't know how to prep their images to achieve the look they are after. The Epson Ultrachrome Inks are unsurpassed in longevity; I will discuss this in depth in the 3rd article in this series (Ink Jet prints and Fading.) Although HP has recently come out with a 24inch wide printer Epson has three printers on the market for wide format printing the 4000 at 17 inches, the 7600 at 24 inches and the 9600 at 44 inches. If your images hold up, why not make them big?
John G.
Next Issue; Managing Color and Color Management or debunking the myth that you need to spend hundreds or thousands of dollars on RIP software, Color Management, Calibration Units, and other solutions in a box.
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The Pasque flower is among the first flowers to grace our northern climate. They bloom in early spring, usually around the Easter season. They are sometimes called Goslings because of their soft gray appearance. These Pasque flowers were photographed at the Kellogg/Weaver Dunes Scientific and Natural Area near Wabasha Minnesota. To get there Take Hwy 61 headed south from the Twin Cities, in Kellogg take County Rd 84, 4.3 miles southeast to the signs on the left side of the road. The nearby town of Wabasha is a booming little town with plentiful services. There are several great restaurants in town including very good Mexican, and Asian restaurants; the Eagles Nest has good sandwiches and great coffee. And while you are in town check out the Cliffs bookstore, make sure to give Nancy the proprietor a hug from me (best to ask first.)
The Tech Stuff:
Shot with Fuji Velvia 50 film, Canon EOS 1N, 90mm Tameron Macro lens. Shutter-speed and aperture not recorded. Bogen 3221 with 3038 Bogen head.
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As the writing of this newsletter both the Spring Wildflowers and Waterfalls and Minnesota Road Trip Workshops are half full. We have plenty of room in the Wild Orchid Weekend and Printmaking workshops, as well as the remaining Art of Seeing, and Spring and Fall Two-Day workshops. If you have any questions about these workshops feel free to call us at (218) 834-0756.
Good Light And Good Shooting!
John, Don, and Randy Back to top
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