"A Bridge to Nowhere," San Francisco, 2017
In September, 2017, I will have a special show at Gallery Los Olivos.
This will include the first showing of large, limited edition (10 per image) canvas prints of recent images.
For information on Gallery Los Olivos, click here.
In general, B&W prints are available in a number of sizes from 8x10 up to 44" wide (9800). All are printed with a dedicated B&W, carbon pigment inkset of my own design). I do not sell color prints.
Large canvas prints will be limited to 10 per image on canvas. This does not affect the separate limits on other media, such as Arches watercolor paper.
Arches (and other un-coated) watercolor full sheet prints are also limited to 10 per image.
Both the canvas and Arches prints, combined, all images included, are limited to a one per week production. It is my intention to never become a large volume printer. All of my prints are made individually, as needed.
Generally, I think the "limited edition" approach has to be approached cautiously for the type of photography and printing that I do. Images evolve and change with time, as my then-current preferences for the look of a print change, as do the technology and materials I use to make the print. As such, my approach to this issue is sometimes a bit different than those who are making copies of a painting. I try to balance the limited quantity with the ability of the image to evolve (and my life expectancy, of course).
Note that Ansel Adams sold open edition prints -- massive numbers, often printed by assistants. His most famous images improved as he refined his printing techniques and as materials improved. Stopping the evolution of an image is a big mistake for photographers who are also printers pushing the limits of the medium. "Moonrise, Hernandez, New Mexico" is Mr. Adams' most famous example of how prints can evolve.
Arches prints - "Carbon on Cotton": I consider my most archival print technology to be carbon pigments on Arches Hot Press (uncoated) watercolor paper. Note that I often print on the back side of the arches for a more interesting texture and better durability. This paper is not inkjet paper, but the finest cotton-based watercolor paper. With no coating to crack or flake off, it is expected to have a much longer life than coated inkjet papers. Carbon pigments are also not standard inkjet pigments. They are much more lightfast than any major commercial printing system. This "carbon on cotton" medium, with the inkset and workflow being developed by me, establishes a benchmark of archival imaging and is a rather unique printing technology that I am proud to have pioneered. As noted above, I have imposed a lifetime limit on all such images. I will never produce more than one full sheet carbon on Arches print per week. This limit also applies to large canvas prints, but for a different reason -- their size.
With respect to all limited edition prints, see the terms of these editions from the Print Information labels (sometimes referred to by painters as "Certificates of Authenticity") on the back of the prints. The basic terms also noted on labels.
Carbon pigment on Arches prints I make for others using their files/images are not included in any of these limits.
Inkjet paper prints - Unless otherwise stated, prints are sold on an open edition basis. Most of these are the 11x14 prints noted above, but some are of other sizes. As with all of my fine art prints, however, I make one print at a time, as needed. Thus the overall number of prints I make will never be very high.
Canvas prints - At the current time I am only producing what I call "artist's proofs." These are numbered sequentially, all images included. These are simply prints being made to perfect the techniques I will use for the final prints. See my note, above, regarding my current expectations regarding large canvas prints that will be introduced in September 2017.
As noted above, I currently work in several somewhat distinct media, with the core theme being to push the envelope in B&W photography. As a former darkroom worker who often mixed his own developers, the B&W inkset development work I did came rather naturally. (A brother who was a chemist in the carbon field didn't hurt.)
At www.PaulRoark.com/BW-Info/ I cover or link to numerous current as well as older inksets and workflows that I have used in the past. MIS Associates (inksupply.com) continues to sell many of the older inksets that I developed; all such work by me has been on an open-source, royalty-free basis. (I just made and continue to make what I want and have allowed all to use my formulas and profiles as they saw fit.) Of particular interest to B&W printers who want the best for the least, the generic dilution base formulas for diluting pigment inks is also linked to this page. These allow creative printers to make their own unique and very cost effective inksets.
In addition to the B&W inksets, I'm currently very interested to achieving the spectral response of my favorite old B&W film -- Kodak Technical Pan. This extended red response appears to be available via digital camera cover glasses aimed at astrophotography.
A Catalog of the images on display (in a smart-phone friendly format) is here.
I currently am scheduled to have another such show in September of 2017. There I will probably feature large canvas prints.
The October, 2010 issue of "Cowboys & Indians" magazine also has a short article about me. See it here.
The first of my 100% carbon inksets, sold by MIS Associates, is written up in Shutterbug magazine. The article is on line here. My carbon printing information page is here
I use several Red River Paper products and beta test some of their papers. They have a short blurb about my work here.
The December 2013 "Shutterbug" magazine, in the Digital Help column regarding inks suggested, "visiting a black-and-white expert's website, www.PaulRoark.com."
View the Artists Guild website for more information.
Thank you for visiting my humble website.
Solvang, CA, USA
All Photographs -- Copyright 1980-2016 Paul Roark -- All Rights Reserved