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Making a Fine Art Photography Print: Anza-Borrego Desert State Park

Making a Fine Art Photography Print: Anza-Borrego Desert State Park
View on YouTube to see full HD

If you've spent any time around me or browsing through my blog, you know what a fan I am of printing your work. Digital sharing just isn't enough for me. It feels great to share your work on Instagram and to see your photos on a beautiful HD screen, but really, it doesn't hold a candle to getting a big ol' print made and hanging it on the wall. I think it's about the tangibility of it. A print is substantial, but a digital file seems to dissolve into the ether before anyone can get a real good look at it.

That's why I've been trying to get more prints made. But having recently gone through some storage to find a bunch of old prints, I've decided to be more selective about what images I print. See, these old prints I found...I couldn't care less about them now. But the funny thing is I remember how proud of them I was at the time.

You may be thinking, "Well this is why you shouldn't print. You'll eventually get over it anyway. Might as well not spend the money and just stick to digital sharing."

Valid point, but I see it a different way. The thing about those old prints is they all had one thing in common: They were heavy on the "epic" factor. I mean they were your typical super-saturated, wide-angle, maximum epic-ness type of landscape photos that are so prevalent in digital photography today. You know, those landscape photos that are supposed to make you go "Woah! That's soooo pretty! Can I get that for my desktop wallpaper?" The Peter Lik type stuff.

Much of my portfolio is in this style of photography because, to be honest, it's an easy way to "wow" people. Bright colors and epic scenes are impressive. But my more recent work has taken a turn for the more subtle, the more abstract. I've gradually moved away from those colorful scenes towards simpler color palettes and more simplistic compositions. Kind of like an oil painting more than a digital photo.

I've moved towards this more subtle style for a few reasons, the main one being that the super-epic colorful stuff doesn't seem to go well with most décor. I may be oversimplifying it, but when I look at my own home and when I study the interior design work of some of the best, I notice that subtle color palettes (especially earth tones) and subtle contrast tend to reign supreme. Unless it's a millionaire playboy's penthouse suite in 1989, I just don't think the vibrant colors are a good fit for most spaces.

That's why I couldn't care less about the old prints I found in storage. They eventually ended up in storage all for the same reason - they were too "in-your-face" to hang on my walls. Good wall art should mesh with the other décor in the room, not overpower it. It's no different for fine art photography. There are other things involved in a room - furniture, tables, wall paint, carpet, decorations - all these things need to jive together to create one nice unifying look. That's what successful interior design is about.

I designed this new piece with that in mind. The image is from Anza-Borrego Desert State Park on a solo camping trip I took a little while back (read about that trip here). When I took the picture I specifically had this goal in mind of staying away from that epic look with the super saturated colors. I chose Kodak Portra 160 film to render the image in a more muted color palette with softer contrast. Then, when designing the framed piece, I opted for a very simple float frame with a ¼" gap and some gorgeous wood grain. The piece screams simplicity and clean lines...just what I like to see in my own home.

Fine Art Photography Wall Art

Nick Carver with one of his Fine Art Photography Prints

As you'll see in the video at top, the image is from a 6x17 negative I scanned on my Epson V750 scanner using Silverfast software and it was printed by Pro Photo Connection in Irvine (check them out here) on Fuji Pearl paper. The print isn't inkjet (you know how I hate inkjet) but is instead a wet process C-type print for superior color, sharpness, and clarity.

I also had Pro Photo mount the print on ¾" gator board and laminate it with a luster lamination. This is an awesome presentation style I discovered with the help of the good folks at Pro Photo and I'm this close to trademarking it because I love it so much! The luster lamination takes the gloss out of the pearl paper which makes the print much easier to see but it still maintains that pearlescent glow. The lamination also makes glass unnecessary because the laminate protects the prints from most common sources of damage. No glass means no reflections, no light transmission loss, and a lot less weight. You really gotta see this in person to appreciate the look, but needless to say, I'm happy with it.

This piece will soon be on display and for sale in an art festival next Spring. So far the reaction has been excellent from those I've shown it to. And I have to say, it feels way better seeing this thing 72-inches-wide on my wall than on a 3-inch smartphone screen.

So get out there and make some prints!