Last month I applied for a place on the Artists Access to Art Colleges scheme and have been accepted by Sheffield Hallam University. It means I have access to the facilities in the new Sheffield Institute of Arts for this academic year.
It is a wonderful opportunity to do some experimental work on alternative ways of printing and showing photographs. I hope this will lead to an exhibition maybe in late 2017 or 2018.
Today I made a print on fabric, 1350mm wide by 2020mm long, of a miner I photographed in 2013. It took almost an hour to print. The print still has to be steamed to fix the dye to the fabric but from what I saw coming off the printer it looked good. More later.
Feedback from the Great Dome Art Fair included a number of requests for smaller sized prints of the B&W series “Fractured Landscapes”. Making smaller silver based prints takes as much time as the larger prints and uses almost the same amount of materials.
Trying to keep costs down is becoming crucial as the price and film and paper continues to rise sharply. There has to be another way to make good quality prints with the same archival qualities as correctly processed gelatin silver prints.
I have always said that if I make images on film then I will use conventional wet printing. I stick by that but I have decided if there is another way that produces high quality archival prints then it is worth investigating as an alternative.
This is a photograph of a trial print – it looks a million times better in reality!
Looking at the longevity of prints using pigment inks on cotton rag paper Wilhelm Imaging Research say that they will last around 100 years which is reassuring.
Having completed trials on Hahnemühle 100% cotton, smooth fine art paper I am impressed by the image quality and the neutral blacks. The aim now to produce a series designed for 250mm square frames. They will be available in September 2016.