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Process
 Range
of Light black and white photographs are classic,
traditionally produced gelatin silver prints (GSP). Each photograph
is optically enlarged onto expensive double or triple weight,
fiber-based photographic papers of light sensitive silver-rich
emulsions to a desired size. Manipulation of projected light
during the enlarging process (i.e., dodging and burning) is done
separately on each print to even out tonalities and bring out
the maximum brilliance of the GSP. These manipulations of light,
together with the initial light exposure reflects the hand of
the artist unique to each and every print. Prints are washed
to current archival standards and toned in selenium for maximum
image stability (or occasionally other toners for effect). Each
print is dry-mounted onto white 4-ply (mural sizes may be mounted
on 8-ply), 100% cotton, acid-free, neutral pH, buffered museum
board. A dramatic white 8-ply beveled-window of 100% cotton,
acid-free, neutral pH, buffered museum board floats the print
for final presentation of the photograph.
Range of Light color photographs are
in the main, produced by what is generally known throughout the
industry as a hybrid process. Images are recorded onto
traditional photographic films with traditional medium and large
format cameras (as opposed to digital). The resulting transparencies
and negatives are then scanned digitally to extremely high resolution.
Photographic papers are exposed with LED or laser light sources
using red, blue, and green light directed by the scan and processed
chemically to give a print which surpasses optically-enlarged
color prints in color fidelity and visual clarity. Prints are
then hinge-mounted using acid-free archival linen tape onto white
acid-free foam core board and finally overmatted with dramatic
white 8-ply, 100% cotton, acid-free, neutral pH, museum board
beveled-windows to complete presentation.
Limited Editions
Each image from a single negative is limited to 100 prints
total. This includes any and all sizes printed to allow maximum
flexibility in terms of size.
Sizes
Range of Light photographs are available in
standard aspect ratio (4:5) in sizes of 11"X14",
16"X20", and 20"X24" and mural sizes* of
24"X30" and 30"X40". Selected photographs
are also available in a widescreen (horizontal) or tallscreen
(vertical) aspect ratio (3:5), or panoramic (aspect ratio
of 1:2), in sizes of 8.5"X11", 12"X20", 14.5"X24",
and mural sizes* of 18"X30" and 24"X40".
Sizes are based on the initial size of the unprocessed paper.
The actual size of the print is typically one-half to one inch
less than the listed size in each dimension to allow for trimming
of the paper to final size, and occasionally more to accommodate
differing negative aspect ratios.
* At the discretion of the artist and on request.
Provenance
Every signed Range of Light print is identified
as to title, date, size, negative number, and edition number
either on the back of the mat (dry-mounts) or the back of the
print itself (hinge-mounts).
Care
A signed, limited edition Range of Light photograph
is a one-of-a-kind irreplaceable work of art. It must be protected
from possible injury and the elements (and is best presented)
by placing it in a suitable frame under appropriate glazing,
away from direct sunlight. Matted and unframed prints come in
a minimally protective, non-archival, polyethylene bag which
should not be used for long term storage. Use cotton gloves
when handling prints, and always only by the edges to avoid fingerprint
damage to both print and mat. Fine prints may have minor imperfections
and variances characteristic of any handmade artistic endeavor.
Prints are permanently attached to the mounts in a dry-mounting
process - and should remain so indefinitely. In the unlikely
event that the print becomes detached from the mounting board
do not attempt to reattach with adhesive or by any other means.
Take the mounted print to a qualified art restorer or photo technician
for reattachment. A properly handled and displayed Range
of Light GSP should last for generations.
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