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Sony A7RII Photos: Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens: Fine Art Galleries and Creating High-End Fine Art Prints on Fuji Crystal Supergloss Metallic Facemounted to Acrylic! Dr. Elliot McGucken Fine Art
I had fun visiting Prolab Digital by the LAX ariport to witness the creation of a fine art print for the band the Who's Charity Auction! :) I was always curious how the face-mounted! prints were made! :)
Not so long ago, I was honored with an invitation to donate one of my fine art prints to The Who's charity auction benefitting Teen Cancer.
Well, I hope my art is able to help a bit! It's quite an honor.
Given the cause, I decided to go big and print a 40"x60" museum-quality, fine art rendition of a fortuitous Malibu sunset recently photographed with the new 42 mp Sony A7RII! Please find the photograph of the sunset here:
www.flickr.com/photos/herosjourneymythology45surf/2020220...
As a physicist who worked on CMOS photosensors and an artificial retina for the blind, I have always been fascinated by the amazing evolution of digital cameras and sensors, and that interest recently carried over into the art and science of printing fine art photography. What makes an optimal fine art print? I visited Prolab Digital to ask some questions while documenting the creation of the museum-quality archival print. This also tied into a book I am working on, which is a beauty-driven approach to photography. Every element of photography, from camera and lens selection, to settings and composition, to computers and software, to printing, can be seen as an answer to the simple question, "How do I best capture and share beauty?"
Fine art photography can be broken down into three basic stages, all dictated by beauty--capturing beauty's light, bending and shaping beauty's light, and liberating the beauty's light in a fine art print. The first stage centers about the optimal capture of beauty's light out in the field via the blending of optimal compositions, sensors, settings, and glass. The second part consists of bending and shaping the beauty's light in post--in software such as Lightroom or Photoshop. And the third part consists of liberating the light in the finest manner possible via a combination of printing and mounting on the materials most capable of projecting the original beauty's light--the light that began in the landscape, passed on though the camera's sensor and then through a computer and software, and now travels forth from the wall of a gallery or museum.
For the finest rendition, we choose to print on Fuji Crystal Archival paper--either the metallic or super-gloss which makes the light pop. Both papers have tiny metallic crystals of silver halide which reflect the light in a manner that makes a print look backlit, thusly bringing it to life with a magical glow. The light literally emanates from the scenic landscape, just as it did when first captured in the field. Fuji describes their line of "crystal" papers:
"Fujicolor Crystal Archive Paper is a silver halide color paper, designed exclusively to produce high-image-quality color prints on both analogue and digital printers. This paper incorporates latest silver halide emulsion technology, coupler technology and layer design technology to deliver enhanced color reproduction, white purity, image stability and handling of the photo."
The print is then face-mounted to a sheet of 1/8" or 1/4" acrylic UV resistant acrylic via an adhesive. Not only does this thin layer of plexiglass serve to capture and liberate a gallery's high-end lighting fixtures in a way that brings the landscape to life, but it also serves to protect the print. While scratches on acrylic can be buffed out, once an aluminum print is scratched or damaged, it is very hard (if not impossible) to repair. The resistance to UV rays keeps the print from fading.
To further enhance the experience, we use acrylic with an anti-reflective coating, known to the industry as "P99 non-glare plexiglass." This equivalent to the "museum glass" used in more traditional framed and matted prints, is well-worth the premium, as it cuts down on the glare from ambient light and reflections from the environment. Without the reflective coating, the viewer of the art will see their own reflection, or reflections of the lights and windows in the room. When we go to a gallery or museum and cast our gaze upon a seascape, we want to see the art, and not a reflection of ourselves! :)
The physics of anti-reflective coatings consists of applying thin layers of film to the glass's surface with a thickness chosen in proportion to the wavelengths of visible light, so that when the light reflects, the wavelengths of the incoming and outgoing wave match up in opposition, and thus cancel one-another, thereby "disappearing" the reflection. This is not easy to do, but we photographers always pay premium for lenses and filters coated with the anti-reflective coatings, so as to optimize the capture of beauty's light. And thus it makes sense to mount a print to glass with anti-reflective coatings, so as to liberate the beauty's light in an optimal manner.
For longevity and durability, the print is mounted to aluminum with a metal cleat attached to the back for hanging. Sandwiched between a solid sheet of aluminum on the back and UV-resistant acrylic on the front, the print is frozen in time, and will never wrinkle nor crease.
Well, I'm working on a book on all this--the full odyssey of creating museum-quality/gallery-quality prints! :)
This is an image from my collection. Although predominantly slide scans, it includes other types of media as well. All have been collected over the past 40+ years of shooting Kodachrome and digital images, slide purchases and many years of exchanging. I was fortunate enough to trade with some of the best airliner photographers around the world.
Created in 2017, this is a curated archive that serves to share what otherwise would be kept in binders and boxes, not being enjoyed by anyone, myself included.
REGISTRATION : C-GDTD
MFR TYPE & SERIES : Convair 580 (340-31)
MSN : 28
OPERATOR : Great Lakes Airlines
AIRPORT (WHEN KNOWN) : Vancouver YVR
DATE (WHEN KNOWN) :
PHOTOGRAPHER (WHEN KNOWN) : John Kimberley
REMARKS:
created bu fernando giglado
from a 40cm square of fur paper mc with white unryu from origami shop.
the paper is a little hard to work by i like the result with the fur style
Here is a tutorial that I created in Adobe Illustrator. In the tutorial we use some Illustrator basics, as well as some warping and other effects to create this retro looking badge/banner logo design
If you would like to learn how to make this retro badge you can head over to my blog: Create a clean retro badge in Adobe Illustrator
Created with LEGO Digital Designer (LDD) and Blueprint. LDD created by the LEGO Group, Blueprint created by Nick L. (msx_80)
All my own work .
One with almost the lot and only $15.
Biggest create your own burger .
Made with 15 separate items , not 10 of each which is what someone did in America .
Kris Fairchild was on an underwater kick at the moment, so she continued to work on a new piece in that theme while waiting near her booth
to unfold our true self, to become aware of who we really are and leave our conditions behind is a big challenge we face and struggle for day by day.
Creating abstract images with help from mother nature!
Using mobile technology (iPhone 5S) to capture images of flowers. The next step consists of cropping and filtering a single image of a flower or flowers. Using a split mirror to give the abstract effect and cool designs. Some images contain multiple filters while others have no filter at all. I found the best results for multi colored images are bouquets from your local florist or market.
Created for Kreative People 'Treat This 37
www.flickr.com/groups/1752359@N21/discuss/72157644994101654/
By permission, thanks to abstractartangel77 for the source
www.flickr.com/photos/abstractartangel77/7159723071/
Created for the WPC Week 402
I created a teen bedroom scene from the eighties, they’re wearing Rainbow High clothes. Bratz accessories are strewn on the bed. I printed off some posters and they’re listening to ‘Club Tropicana’ 😘
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
More tests today. I'm learning how to control very light values. But first I did a little ink test in the upper left to see if you get green when you mix yellow and black ink. Yes, you do if you are very fast and mix them while they are still wet. I used a yellow Micron pen and a black Zig pen.
My main test was to slowly build up dilute colors. I had burnt sienna in one Kuretake Mini waterbrush and cobalt in another. I applied a wash, waited for it to dry completely, and added another. I did this four times to create four increasingly darker values. You have to be very patient, but it works. I learned this method from a book called "The Wash Method of Handling Water Colour" by Frank Forrest Frederick published in 1908. I found it for free on Archive.org
archive.org/details/washmethodofhand00freduoft
Where you can download it as a PDF, ePub, or Kindle file.
Finally I tried to get the lightest value possible with a number of colors. I used a wet round brush to pick up a little dried tube paint. I then quickly dipped the brush in water, tapped the brush against the inside of my water container (to dislodge a little water) and then made a brush mark down the dry page. This deposits very little pigment and is a good way to make beautiful, light colors. I also tried lifting some color out with a thirsty brush (in the cadmium red/lemon yellow mix), and I tried adding a little more color on top of the wet first stroke (ultramarine and cobalt - bottom left).