Heinz Danzberger Photography – Notes to the Visual Art and Print Work
At this time in my work, I am very focused on detail quality and very large size archival pigment print work, exploring the limits of the new technology with unique fine art print results. My photography style and print work go hand in hand, resulting in amazing prints coming to life on a good wall in variable sizes. The recent oversize work it is not quite possible to show the extreme resolution and print qualities I have been pursuing in a thumbnail, or screen image at the low screen resolution of 72 dpi, those pieces need to be experienced close up and personal to see the amazing fine art print qualities. On request – I can ship you a small crop sample of any larger work if you can not make it to our location. In my work flow everything is planned and made to specs with high resolution and rich tonalities in mind.
Awhile back, I had the fortune to turn a corner at Pier 24 in San Francisco and end up in a room full of Richard Learoyd’s and Hendrik Kerstens’ large size works and believe me there is no computer screen image that could hold these amazing works, or even indicate the actual visual arts experience in front of those works. In photography today there are two world’s in place, the fast pace image suitable, fitted and created for mass digital display and the traditional image process as part of a large size hard copy / print goal.
Also let me note that archival pigment ink work today exists in many facets and levels of quality and a good deal of confusion, foremost the economically push button print industry with a Kinko’s like copy shop mission, fast mass products for the general market, just like silver gelatin work in the last century was mostly mass and mechanical production, with a few masters taking it to an art form in itself, all X zones of it, if you will. Still this tool can be used by skilled hands with some amazing returns in fine control of the image’s appearance for incredible result with outstanding archival qualities and print qualities, I have not yet been able to max it out for my purposes. Coming out of the darkroom and on to the computer for the print work is a major jump forward in my craft and that’s what is all about the best possible print work on a fine wall! Pieces like Quarry No 1, or Eichen could not be achieved in a darkroom process, due to size and fine controls required to achieve such a work.
The work shown under Recent Photography shows images taken with an elaborate camera technique to capture immense optically created data for an oversize print, resulting in 1-2 GB image files. My work flow favors to create massive high resolution data captures, often sketching a piece at first and setting up a full blown shoot to gather the maximum data quality for large size images and the option to downsize for print. I am not a fan of enlarging interpolation, as it adds nothing to the IQ in the end. My general use of PS is in a darkroom type finishing style, filtering effects, B&W conversion, creating the final appearance of a print, while it’s image content has been created at exposure and in camera! At this juncture in my work, my happy place is to be found in creating rock solid sizable photographs, large format work, high resolution projects and then finish it all out with a creative approach to pigment printing.
These files can be printed for orders at any custom size and easily up to 60″x XXX” on the small side for oversize high resolution print work. Art work to dominate a fine and sizable room in their unique qualities. The present bottlenecks in this process, aside from elaborate field work, comparable to large format camera work, are the limits in computer space and PS file sizes. I have not yet been able to push the print technology to a point of not responding favorably to good data to create astounding work, amazing large size print work!
The print work for Traditional Photography, are few samples of my earlier work, simple MF negatives with altered fine grain film exposures and push/pull work to create the complete image within the negative itself, often using Pan-X or FP4 by Ilford, mostly ISO 100/125 type fine grain film. The few pieces I could save on my journey, these pieces are straight up copy negatives, reprinted in archival pigment work, copied from silver gelatin prints at their native size.
Most of the Art and Print Work offered is customizable in size, media and finish ( open editions ) and made to order, often it would be recommendable to consider print and frame color tones to match a specific room decor and color, to gain the most of a fine display. I can’t see much of a gain in using any automated shopping cart function, but wish to offer you a personal shopping experience by chatting with me about any interest and we can define together how to create a work of art for your home. All the way to the installation, if you desire my help in that matter, especially in the San Francisco – Portland corridor. The work is done in house, by myself, signed, dated on print face with a print certificate and print number en verso.
For such sizable pigment displays it is always a good idea to have one spot light available to light the piece in any room, recommending a 40 -50W Halogen spot light for example, a touch of good light brings these pieces to a most impressive impression on the viewer. Even if it only hits the center of the art work, it does not have to illuminate the whole frame for best results. For oversize framed work it is best to avoid placing the work on a north facing wall with a south facing wall with sunlit windows causing reflections. Rooms with controlled lighting and es and west facing wall displays result in a better viewing pleasure by eliminating strong light reflections on the glass.
The print work is done in the latest ink generation HDR UltraChrome by Epson with outstanding archival qualities of over 100 years under normal room display, most of the work is done on a fine art archival mat paper.
We ship prints and smaller frames direct to you, larger and oversize pieces we will consider delivery and installation in the CA and OR region for a Per Diem fee of $ 135-175, as they cannot reasonably be shipped with the glass at the larger sizes.
Also our larger recycled barn wood frames can be shipped as a kit, pre-cut for easy assembly by any carpenter or framer and come with instructions to finish such a frame at your destination!
The work is offered as Limited or Open Edition. Limited Editions are defined in size and number, Open Edition work is signed, dated and numbered and available in variable sizes, I prefer Open Editions these days due to the flexibility in print sizes, print editions will increase in pricing at about each 10 print sold and generally are to be kept under 100 issues per pricing regulation – we do not work in mass and mechanized print editions!
Perhaps this little pixel peep at 50% size of image file will give you a little insight on the print qualities employed in my work – showing an area of about 5×4″ and you can see the qualities of the good old MF lens, a fine softness in any out of focus area or bokeh and plenty sharp where it matters, simply a wonderful rendition :
My work has evolved from the old days – schlepping a couple of Pentax 6×7 s through the outdoors, lots of schlepping and lots of outdoors. The old clunky medium format camera is still my all time favorite, still setting it’s lenses onto newer digital bodies, among other quality glass from my collection. Nowadays, sensors are pretty fancied out and deliver solid captures, the creative difference in images for me depends on the choice of glass for any project in mind, the lens is the decisive factor regarding Image Quality in these days and a proper formalization of lens quality and sensor size/quality is a most important tool in my pursuit of fine art today, as a traditional photographer with one hand on modern tools.
To elaborate a little, I am not working in the strict Club “f64″ mind set either, it is the mixture of solid sharpness and an appealing softness in an image that has my attention. Each image has it’s very own perfect display size, pending of technical qualities and creative intend, from a very small 5×7″ to a 60×120” print, the implied technique and liveliness of an image can be supported by finding the most productive print size for the work, other than silver gelatin sheet work this technology has liberated this photographer from so many industrial pre-sets of the past century and I am truly enjoying the conflux of many technologies for the purpose of creating outstanding work.
Perhaps the biggest difference to my younger years in this craft, now with this multitude of photographic tool sets and print options at hand, is that I can not limit myself to the dictate and pre-sets build by a manufacturer, engineer and designers of camera format choices as the driving force regarding my final print work. E.g. 35mm format or even MF, it does not deliver the IQ I am seeking for the modern print, those were other days and circumstances. Even a 4×5 or larger sheet film capture does not translate in the scanning process to what I am seeking on resolution. For example as Barnard designed his fabled Leica, existing film stock of 24x35mm was available to develop his camera around those pre-sets and revolutionized photography as it was know in those days, but today….. would I choose my excellent Pentax LX 35mm in the pursuit of a 40×80″ print work, definitely not, it is an inadequate mismatch for a good modern print, unless such a mismatch serves an imaging purpose in a deliberately overblown print.
In my present day work, I am still very fascinated about what I can achieved in archival pigment print especially with the latest in Epson print and ink technology – due to my previous work with Studio Liink I have become quite experienced in the matter and technology, to express myself with traditional photography and such amazing print work in resolution, tonalities and finished art sizes is to this day most astounding to me…….and will keep my fascination a little longer, as I am setting out to create a larger landscape project in this particular technique. Some other day it might be a good time then to combine more alternative print techniques for other works, it is the great gift in our time, that photography print techniques have been liberated from the small bandwidth of chemical lab work and one can mix and match many techniques, all the way to a digital contact negative of larger sizes and platinum hand drawn print work.
Again – these are THE DAYS TO BE A PHOTOGRAPHER & PRINT MAKER!