IMAGE CAPTURE

In the field, I alternate between an 8 x 10 field camera and a Phase One IQ4 technical camera, achieving an extraordinary image quality that provides an armature on which the content rests. This technology allows the images to be reproduced at the largest size the available paper and substrates, while maintaining the highest possible quality.

At every stage of my process I apply the utmost attention to detail and technique, but it is important to note that this precision is not the goal of the work. I believe such levels of refinement allow the materiality of the image and marks of its making to recede into the background enabling a more direct relationship to the content contained within the frame. The confluence of my instinctive personal vision coupled with my commitment to precision produces subtle, ethereal, evocative images that become not merely objects on a wall, but elemental contributions to the atmosphere of the interior.

PRINTING

I print all the work in my studio in Yonkers, NY. Before I had my own space, I worked closely with My Own Color Lab in Manhattan and Griffin Editions in Brooklyn. Both relationships were invaluable as their expertise helped me develop and hone my skills such that I could confidently produce the work on my own. 

Using the highest quality pigment printing technology and fine art fiber-based paper by Hahnemuhle, I can print up to 63.5 inches on the short dimension, and as long as needed. In the case of clients requesting larger works, there are two strategies, one involving printing using Griffin Editions' Digital Chromogenic Printer which can reach up to 71 inches on the short dimension, or, for even larger pieces, I can make prints with discrete seams to achieve nearly any size up to the maximum dimensions the mounting substrate allows. 

For sizes larger than 63.5 inches on the short dimension, I have now begun to work with Colorcenter NYC using cutting edge UV-Printing technology. This new process still uses inkjet, but the ink is composed of pigment suspended in a photopolymer that cures at specific UV wavelengths (typically 395nm, as in our case). The ink jets in the same manner as any other inkjet process, as with water-based, or solvent-based inks, but because of the near-instant curing with UV light it can be applied to almost any surface. Also since it is cured by UV light it has a natural UV resistance, so it doesn’t require any special treatment for protection from light, and, depending on the makeup of the inks they can be exceptionally resistant to scratching or very flexible.

In the case of my particular application, I work closely with a master printer to create a formula to mimic the look of a fine art inkjet paper, which requires attention to a delicate and intricate combination of a white ink base layer, then color layer, then varnish overprint.

MOUNTING AND FRAMING

After a meticulous optimization and proofing process in my studio, I entrust my prints to expert mounters to ready them for framing. Each print is mounted using a pressure-sensitive technique with museum-grade archival adhesives and substrates, always utilizing Dibond, the premier quality substrate.

In collaboration with industry-leading mounters and framers, I ensure each frame perfectly showcases and preserves my art. These skilled craftsmen share my commitment to precision and attention to detail. Although less expensive alternatives may appear adequate at first glance, the superior quality of my chosen methods is apparent even to the untrained eye and stands the test of time.

With nearly two decades of experience collaborating with esteemed professionals in New York, the San Francisco Bay Area, and Los Angeles, these teams share my commitment to quality. This close collaboration ensures that the finished artwork meets the high standards I demand and that my clients have come to expect.