Occasionally I like to provide updates on Maine photographers, particularly those that are friends or clients of Nickelson Editions, my fine art digital printmaking business. The summer is nearing its end and things in the Maine photographic community will start picking up again as fall approaches. Jumping ahead, though, two NE clients have beautiful calendars coming out for 2012 – Lynn Karlin’s Maine Gardens 2012 and Stacey Cramp’s Great Maine Food 2012. Both are lovely and Stacey’s calendar is already gracing our kitchen wall. You can find both online and at local bookstores.
NE client Peter Ralston moved his brand new gallery all the way from 25 Main Street to 23 Main Street in Rockport harbor. Congratulations to Peter on the new, larger space!
Robert Moran continues to have his work everywhere – for the months of September and October he has a solo show (entitled “Vertigo & Transport”) scheduled at the Dogfish Cafe on Free Street in Portland, with an opening reception September 2nd. In the same months he will also be showing at Vermont PhotoPlace Gallery’s “SEEING MYSELF, SEEING OTHERS – The Art of the Portrait” show in Middlebury, VT. And last but not least, congratulations to Bob also for being selected for an award in Color Magazine’s (ok, now B&W and Color Magazine) most recent Color Portfolio contest (on newstands now). The work looks great in the magazine and is well worth seeking out if you don’t subscribe.
And speaking of B&W + Color Magazine, congratulations are also in order to NE client Arla Patch, who was awarded a Spotlight Award in the recent Color Portfolio issue and who will be featured in the coming months in an article.
NE client Sarah Szwajkos was als0 selected for the Vermont PhotoPlace Gallery (in addition to Bob Moran) – you can see her image online at their website.
Nickelson Editions client T. Allen Lawson has a solo exhibition entitled “Growth Rings” upcoming at Ten High Street Gallery in Camden. The show runs from August 12th through September 10th with an opening reception on August 12th from 5-7 pm. You can read a bit more about Tim’s work (specifically, the one pictured above) in this excellent post by Ten High Street’s John Ames.
Tim is also part of the current Farnsworth exhibition “Four in Maine: Drawings”, which runs until September 11th. The Farnsworth is also hosting a panel with the artists at 5:30 pm on August 3rd.
Reproductions of some of Tim’s paintings are available, and the more recent ones are printed on Hahnemuhle Museum Etching.
Recently I worked with Terry Hire in launching his new photography website, which you can find here. The site includes hundreds of images each taken with Terry’s keen eye for detail and abstraction in the world around us – I can highly recommend going to check out his fine art work in particular.
As part of Nickelson Editions, I now offer affordable website design for photographers and other artists using templates designed exclusively for artists. I emphasize clean and simple designs and utilize Photoshelter and WordPress platforms. Terry’s site utilizes Photoshelter (as does my own). A sample WordPress site I recently created is that of the Maine Photo Alliance (a WordPress site). If you are interested, please contact me with any questions or for an estimate specific to your needs.
Congratulations to Robert Moran and his selection into the Poetry of Shadows exhibition hosted by the Vermont PhotoPlace Gallery! You can see all the work online and the actual physical exhibition runs from August 16th until September 10th. As with all of their shows, it was highly competitive – only 40 were accepted for the gallery show out of over 1000 submission.
This body of work is printed by Nickelson Editions for Robert using Epson Exhibition Fiber paper.
And in other news, one of Ann Krumrein’s images will be included in the Frozen in Time show at Lewiston’s Gallery 5. The current exhibit, The Art of Abstract, has been extended until March 19th (two of my pieces are in this show), and the Frozen in Time show goes from March 25th until June 4th. Congrats, Ann – it is a gorgeous image!
I was also very pleased to hear that my friend Sarah Szwajkos was accepted in to the UMMA show with two of her absolutely beautiful photographs from her “Personal Space” series. You can see much more of this work at her website. Congratulations, Sarah!
Many black & white photographers are familiar with Lenswork magazine, the excellent fine art black & white magazine that is known for its superb quality of printing. Founder Brooks Jensen has started a number of promising blogs associated with the magazine, and I wanted to highlight two recent postings that might be of interest to many fine art photographers and printers.
One thing Lenswork is also known for is its consistent warm, brown look for its black & white imagery. Lenswork uses a duotone printing process and Brooks has an interesting discussion of why they use such a process instead of a more traditional quadtone CMYK printer on his new blog. Many people have tried to replicate that look (which originates from the duotone printing process and their choice of inks) but Brooks has posted his own personal attempt to do so in a format suitable for both Lightroom and Photoshop at the bottom of that article. I tried out the Photoshop version (a Black & White adjustment layer that you ‘load’ as part of a new adjustment layer) and I’d say it is a pretty close match, as you can see in the image below:
I don’t think that one should blindly follow the settings of others, but this should be a good starting point if you are a fan of the tone of Lenswork. Each printer and paper will also have an impact on any final printed images, and to use this particular conversion you will have to print the image as a color image using Photoshop.
If you use an Epson printer with its Advanced Black & White mode (which I find to be superior to printing a black & white image, even toned, as a color image), you can also use Brooks’ ABW settings as a starting point for your own printing. I haven’t tried to print using these settings but I look forward to testing them out. Achieving a satisfying tone and color on a fine art digital black & white print is often difficult to achieve, but the tools to do so are quite powerful (and complex) and having a good starting point for the look you are trying to achieve can result in significant savings in time, ink, and paper.