Monday, March 21, 2011

Say 'YES' and Help Victims of the Japanese Earthquake & Tsunami

YES - 10X10" Piezo Print


I have announced in my previous post that 'YES' has received 1st place in the 'Past' category of the International Photography Awards 'One Shot: The Landscape' competition. I am grateful to have received this award and want to give something back.

Through April 15, I am offering limited edition prints of 'YES' to help victims of the Japan Earthquake and Pacific Tsunami. All proceeds will go to the American Red Cross.

I am offering the following prints:
10X10" Prints - Limited Edition of 50 - $100 ea.
7X7" Prints - Non-Editioned - $60 ea.


Prints are made by myself on Hahnemuhle Museum Etching, 350 gsm fine art paper, using Piezography carbon based inks. 10X10" prints are archivally mounted on 16X20" Alpharag Solid Core museum board and 7X7" prints are mounted on 11X14" pH Neutral Crescent Whitecore Papermat. Prints are signed and editioned in pencil below the image and behind the mat window.

Payments can be made in U.S. Dollars via PayPal to jeff.gaydash@gmail.com. If you would like to donate directly, please provide me proof of your donation and I will arrange delivery of your print.

This is a great opportunity to support people who urgently need our help and get your hands on an award-winning photograph! Thank you in advance for your support.

Tuesday, March 15, 2011

'YES' Receives 1st Place in IPA's 'One Shot: The Landscape' Competition


I am proud to announce that my photograph 'YES' has received 1st place in the 'Past' category of the International Photography Awards 'One Shot: The Landscape' competition.

Two other images I entered, 'X02STRL' and 'Edgewater: Study I' were selected for the 'Top 25 Selection.'

International Photography Awards: www.photoawards.com
View video on Vimeo: One Shot: The Landscape Winners

Sunday, February 13, 2011

Photographing Along The River Rouge: Detroit's Industrial Mecca

Zug Island
Being a Detroit-based photographer, I have always been attracted to the architectural and industrial subjects the city has to offer. While studying photography at Detroit's Center for Creative Studies in the early 90's I spent much of my time documenting Detroit's historical churches for a project called "The Threatened Legacy." I also often found myself in and around the heavily industrialized River Rouge area which is famous for Henry Ford's Rouge Complex.

When The Rouge was built in the 1920's it was the largest integrated industrial complex in the world. Most of it was designed by Albert Kahn, known as the "Architect of Detroit" and was studied by such notable artists and photographers as Diego Rivera, Charles Scheeler and Michael Kenna. The River Rouge area also has several other large industrial complexes including Marathon's oil refinery and the U.S. Steel mill on Zug Island, located at the mouth of the River Rouge where it empties into the Detroit River.

Rouge Remnants: Study II
In the early 90's I photographed all over this area and I don't recall ever running into any trouble with security. I definitely don't condone trespassing, but I do remember driving onto the grounds of a cement factory and making photographs with a large format view camera while workers drove around me with heavy equipment not seeming to care one bit. I also remember driving on to Zug Island, which requires you to cross a dual purpose bridge for vehicles and rail cars. Due to the very large "Photography Prohibited" signs at the entrance to the facility, I opted to forgo the tripod and large format camera, instead sneaking shots out my drivers side window with my SLR. I don't even remember any presence of a security station and was able to drive around a fairly significant portion of the island.

My main subject these days is primarily shooting long exposure water scapes of The Great Lakes. When I can't find the time to get to the lakes, I have recently found myself revisiting the heavily industrialized River Rouge area, which is conveniently very close to my place of work in Dearborn. Things seem to have dramatically changed in the post 911 era. I have found it difficult and sometimes impossible to access most of the areas of The Rouge that I would like to photograph.

Critical Infrastructure I
The Marathon Oil Refinery is currently undergoing a $2.2 billion heavy oil project and some of the structures they are constructing on site have really caught my eye. On a lunch break one day I decided to head out and take some shots. I parked my car in the street and headed down the sidewalk towards a tower they are building, looking for the best angle to shoot from. I chose a place on the sidewalk across the street from the site and set up my tripod and camera. Within a minute or so a security truck pulled up and asked if I was taking pictures. It seemed pretty obvious to me that I was, standing there with a camera on a tripod. Trying to be somewhat cordial, I said that I had no idea what that structure was they were building across the street, but it certainly was very interesting. He immediately responded, "That there is Critical Infrastructure!" At the time I had no idea what that meant, so I just responded saying, "OK, thanks! Just going to be taking some pictures of it." He drove off and pulled into a driveway just behind me and watched me make my exposures. After all, I was on a public sidewalk so I figured I have every right to be doing what I was doing. When I was done I packed up and started heading back to my car. The security vehicle slowly followed me to my vehicle and as I was putting my gear away, I noticed he was taking down my license plate number.

Back at my desk at work, I decided to find out more about what Critical Infrastructure is. According to The U.S. Department of Homeland Security website, Critical Infrastructure is defines as:

"…the assets, systems, and networks, whether physical or virtual, so vital to the United States that their incapacitation or destruction would have a debilitating effect on security, national economic security, public health or safety, or any combination thereof."

Refinery
Some sectors that are considered Critical Infrastructure are electricity, oil and gas production facilities, transportation systems, emergency systems, communications, financial systems, agriculture and food, and even national monuments.

Each time I returned to the River Rouge area to take photographs, I was almost immediately approached by Homeland Security. Not knowing my full rights, I was careful not to trespass on private property. While photographing the Marathon construction project again, I was told that I was not allowed to take photographs of the Marathon facility. I kindly stated that I was under the assumption that I had every right to take photographs from a public sidewalk. He seemed to stumble a bit but then said that although he can't do anything to force me to leave, Marathon Oil really does not want photographs taken of their facility and asked that he would prefer that I moved on. By that time I had already taken the exposures I wanted so I decided to honor his request. While I was packing up I noticed my license plate number was being recorded again.

On another outing, I went to a city park on the Detroit riverfront and had to register with a Homeland Security officer to enter the park. My driver's license and vehicle information was recorded. At this point I really was starting to wonder if I was going to be flagged as some sort of risk to our national security.

Critical Infrastructure II
Things got worse one night when I was making some night exposures on a dark street. A security vehicle drove by, turned around and then stopped just down the street. I kept on taking exposures, watching out of the corner of my eye, as two more security vehicles approached. Suddenly I was surrounded by three Homeland Security vehicles on a dark street in Detroit with nobody else in sight. One of the security officers then pulled up right in front of me and aggressively said that I could not take pictures here. I responded that I was on a public street and have every right to take photos from where I was standing. He immediately shined his flashlight directly in my face and told me not to get smart with him and that if I did not leave he would call the police to have me removed. I told him to go ahead and call the police and that really pissed him off. He didn't call the police but started really yelling at me telling me not to get smart with him. I was getting a bit nervous by his reaction at this point so decided not to aggravate him any further and headed back to my car. I very slowly packed up my gear and then got in my car but did not drive away. The three security vehicles did not move. I wanted to just keep sitting there to see what they would do but eventually decided there was no point in staying any longer.

Rouge Remnants: Study I
After my late night confrontation, I decided to stay away from the oil refinery for a while and found myself on the banks of The River Rouge across from Zug Island. I made a few exposures and was there quite a while before I heard someone approaching. It was a Homeland Security officer dressed in combat boots, flak jacket and carrying a sidearm. He asked if I was aware that I wasn't allowed to be taking photographs from this location. I played dumb and told him I thought I was on public property, which was actually true. He was a really nice guy and said that he personally understands why people want to photograph here, that what he sees around him make him want to take pictures, but that this is an international port and photography is prohibited. He asked me to delete the photos I had taken from my memory card and he needed to confirm that they were deleted. I asked him what would happen if I denied his request. He told me that he is required to file a police report for all situations like this and that it would be noted on the police report that I did not cooperate. Again, I decided to comply with his request and deleted the photos. He asked me to show him that they were deleted so I looped through the remaining shots of my kids that were still on my memory card. The agent was a real nice guy so I took the opportunity to ask him all kinds of questions, which he was happy to answer. When I got home I used data recovery software and was able to recover all the images I deleted from my memory card.

Transmission Grid
Although I sometimes feel more like a terrorist than I photographer, I have learned quite a bit from these experiences with Homeland Security. First and foremost play by the rules and stay on public property. These guys mean business and I can't imagine what kind of legal trouble you may get into if you are actually trespassing on property that is being guarded by Homeland Security. Second, try to be as polite and honest with them as you can. This has been difficult for me at times but feel as though it is the best approach. You aren't going to get any further with them by getting aggressive with them, it will only piss them off and not get you any more time to photograph. Remember, these guys are only doing their job. Also, keep a second memory card on hand for a quick swap if needed, and find yourself some really good data recovery software.

Tuesday, September 7, 2010

Exposure.Detroit Photography Exhibit


I am honored to have been selected to show some work in the next Exposure.Detroit photography exhibit. The show opening is September 18th at the Bean & Leaf Cafe in Royal Oak, Michigan from 7-10pm. In addition to my exhibition prints, I will have a limited quantity of smaller 11X14 matted prints for only $40 each/two for $60 during the exhibition opening only. Hope to see you there.

Tuesday, July 27, 2010

Digital Monochromatic Printing With Piezography

This article was originally written for and published at www.bwvision.com and can be seen here in it's entirety...

Zen Benches

My passion for B&W photography began years ago in a high school darkroom. The first time I watched my print magically appear in the developer tray I was hooked.  I was captivated by the chemical process before me and felt an immediate sense of empowerment and knew endless creative opportunities awaited.

Solitude
I ended up majoring in photography in college and studied the work of master photographers Minor White, Alfred Stieglitz, Edward Weston, Paul Strand and Imogen Cunningham, among others.  I gained an appreciation not only for the photographs they made but also for the craftsmanship of their prints.  The image tonality, paper surface and archival properties were an object of art in themselves. My appreciation for the fine art print led me to start shooting with large format view cameras and contact printing on silver and platinum-based papers.

Opposing Forces
In the early to mid 1990’s, digital photographic imaging was still in its infancy and I embraced the new technologies with open arms.  I was fascinated by the unbelievable control that was suddenly possible. A digital workflow consists of making the exposure (or exposures), post-processing using image editing software, then most often exporting the image to an online portfolio or website. While the internet has become an invaluable medium for sharing your work with others all over the world, sadly it seems that the fine art photographic print has lost its place as an integral part of the digital photographic process.

So what is one to do when it’s time to print your digital B&W masterpieces? It seems most photographers send their images off to a printing service while others who are a bit more ambitious make prints themselves on photo inkjet printers. An inkjet printer seems like a great choice at first but it uses color inks that give B&W photos strange color casts (a phenomenon called metamerism) when viewed under various lighting conditions.  Color inks also contain dyes that inevitably lead to faded and color shifted prints.

Architektura I
Some of the latest photo inkjet printers incorporate B&W print modes, such as Epson’s ABW (advanced black and white) mode utilizing Ultrachrome K3 technology which uses three shades of black inks. Since it has only three black inks, Epson’s print driver also uses the color inks to resolve finer image detail. Although there have been great advancements in printer and ink technology in recent years, in my opinion an out-of-the box inkjet printer cannot match the quality of a traditional darkroom print.

Anyone who is passionate about B&W photography should question the results that can be achieved by printing monochromatic images on a system designed for color printing.
 
I explored many options but wasn’t able to find a digital equivalent to traditional fine art B&W darkroom printing. For a while I was creating digital negatives then contact printing them on platinum paper.

Pier Study III
Then I came across Piezography, a printing system which replaces the standard inks in an Epson or other supported printer with six or seven (depending on printer) individual shades of monochromatic ink. Piezography inks contain carbon-based pigments and when printed on archival papers achieve historical image longevity. Piezography exceeds the limitations of Epson printers and to my knowledge is the highest-standard B&W printing system available.

Piezography inksets are available in Neutral, Warm Neutral, Sepia, Selenium, and Special Edition for creating split-tone prints.  It’s also possible to formulate your own custom inkset by mixing and blending inks of different tones.  You can also achieve various results by using different papers; using neutral inks on a warmer toned paper will yield a warmer toned print. There are virtually limitless combinations to explore.

It’s not just the inks alone that offer such excellent results. The real power behind Piezography printing lies in the software. With Piezography the standard Epson printer driver which controls CMYK inks can no longer be used. The creators of Piezography have created media profiles that control ink output for different printer, ink and paper combinations. These media profiles are provided free of charge with Roy Harrington’s $50 shareware application Quad Tone RIP. If desired you can also have a custom profile designed for your individual printing setup.

Zen Benches - Piezography Print
Piezography’s seven shades of black ink (compared to Epson’s three) in conjunction with the media profiles enables the printer to print at a much higher dithering frequency (dots are much closer together) than Epson’s ABW mode. The resulting images have unmatched resolution and are capable of producing a tonal range that exceeds what is possible with silver or platinum-based darkroom prints. I am currently making 10″X10″ prints on Hahnemuhle Photo Rag paper from a 12.3MP DSLR and they look as good as (and in most cases better than) contact prints I have made in a darkroom from an 8X10 view camera. The resolution is contact print quality and the highlight and shadow detail is phenomenal.

I have experimented with other B&W inksets such as MIS Ultratone with a fair amount of success.  MIS Ultratone2 (UT2) inks are variable-tone which allow you to alter the print tone from sepia to cool silver by adjusting the color control sliders in the Epson driver or by loading different curves to your image prior to printing.  I still believe the Piezography system is superior to anything else currently available but some of these other inksets may be worth experimenting with.

Once you have decided that you want to convert your printer to Piezography, it’s a good idea to dedicate it as a B&W only printer. Switching between color and B&W inks is generally not recommended.  It’s also a good idea to use a flushing solution to remove any residual color ink in your print heads.  It’s important to note that the Piezography system is considered a custom setup and may void your printers warranty.

Architektura I - Piezography Print
In an attempt to be more “green” Piezography inks are no longer available as individual cartridges.  They are now sold in bottles for use in refillable cartridges or a continuous ink system.  I chose to use refillable cartridges since I do not personally do enough printing to make a CIS system worthwhile.  Although it may not be as convenient, I applaud Piezography for their decision to do their part in minimizing the number of plastic ink cartridges that inevitably end up in our landfills.

It seems that pigment based inks tend to introduce more nozzle clogging problems than Epson’s stock inks so it’s essential to keep ink moving through your printer and use it as often as possible.  At a minimum, you should print a test pattern at least weekly.  If you are not going to be printing for an extended period of time, I recommend installing flush cartridges and running a few cleaning cycles before putting your printer into long term storage. I learned this the hard way and had to disassemble my printer and purge the print heads with isopropyl alcohol in order to remove some pretty stubborn clogs. Putting a few drops of ammonia based glass cleaner such as Windex on the foam cleaning pad where the print head parks will also help dissolve small clogs.


25 Cent View - Piezography Print
Unfortunately, my Epson printer model uses cartridges with “smart chips” on them that monitor ink supply levels and deter the use of non-Epson inks. I ended up purchasing a set of auto-reset chips that fool the printer into thinking that the cartridges are full every time the printer is turned on.  These are used in CIS systems and also work well with refillable cartridges. I am currently looking into a software based chip resetter that looks promising as well, although haven’t had much experience with it yet.

Working through some of these custom setup issues was a bit frustrating at times, but once I had everything worked out the results were well worth the effort.
This article is not meant to be a technical explanation of digital monochromatic printing but to share my passion for the beauty of a well crafted print and inspire those that are passionate about B&W photography to integrate high-quality monochromatic printmaking into their digital photographic workflow.

Architektura II - Piezography Print
These days I find myself hovering over my printer with the same level of excitement and anticipation as I did developing prints in the darkroom. If you are serious about making exhibition quality monochromatic prints, I suggest you take a closer look at printing with Piezography.

For further information on Piezography and digital B&W printing, see the resources below.

Resources:
www.piezography.com
www.inkjetmall.com
www.inksupply.com
www.quadtonerip.com