Learn about why Jim LaSala prints his photographs and uses Moab Paper for his fine art prints. "I printed this image on juniper which has tremendous color latitude and brought out the color exactly the way I had seen." Jim LaSala specializes in Fine Art Photography, Portraiture and Street Documentary.
©Harold Davis. All rights reserved.
Entrada Rag is the superb, acid-free paper that put the Moab Paper brand on the map some fifteen years ago. So as a Moab Master I was honored to be asked to evaluate and test Moab Entrada Rag Textured, the first addition ever to the Entrada Rag line, during the pre-production stage for the paper. It’s great news for photographers and artists that Moab Entrada Rag Textured is now generally available.
Like the original Entrada Rag Bright and Entrada Rag Natural papers, Entrada Rag Textured is of course acid-free. Also like Entrada Rag Natural, it is a 100% cotton paper that is somewhat warm-toned. This is a very thick sheet (300gsm) with a great sense of “hand” that is entirely OBA free, and (like the original Entrada Rag Natural) boasts an extraordinary tonal and dynamic range for a matte paper. Note that Entrada Rag Textured is single-sided, as opposed to Entrada Rag Bright and Natural, which come both in single-sided or double-sided versions. The tonality of Entrada Rag Textured is much like the creamy feeling of Entrada Rag Natural, rather than the very bright white of Entrada Rag Bright.
As you might expect, the primary difference between Entrada Rag Textured and the original Entrada Rag Natural is, of course, the texture of the surface. But what you have here is an elegant, refined texture---not an over-the-top "watercolor" paper.
Just as the warm-toning of the Entrada Rag Natural paper is subtle, the texture that Entrada Rag Textured presents is also subtle. Photographs printed on Entrada Rag Textured will look like art, and the finished print will be a delight to handle as well as to look at. In other words, Entrada Rag Textured charts a middle "Goldilocks" course: textured, but not too textured. It is a paper that is indeed "just right", and makes the image look great, not a paper that is so "too-too" that the presentation becomes about the paper rather than the photo.
Of course, like any high-end specialty paper designed for modern photographic printing, Entrada Rag Textured is not one size fits all. It works better with some kinds of images than others. To get a sense of the kinds of images that really "marry" well with Entrada Rag Textured, and to learn what this paper does best, we made numerous test prints in my studio using my large format printer.
One thing I found is that this is a paper that really works well as part of the print presentation. In other words, I would never print right up to the bleed-line (edge) with Entrada Rag Textured. It makes much more visual sense to allow the paper to show around your image---and to strongly consider the imposition and spacing of the print on the paper as an integral part of printing-making with Entrada Rag Textured. Showing an inch or two (and sometimes more!) of Entrada Rag Textured around the borders of any image enhances the art print and gallery effect of this paper.
The combination of a moderate warm tone, refined texture, and high dynamic range is a pretty spectacular set of characteristics for any paper, and helps to make Entrada Rag Textured a winner that is appropriate for a wide range of images. Of course, it is not, never will be, and should not be used like you would use a more glossy photo paper (glossy papers with a more "photographic" finish of course have a great place of their own in the world). So in my experience, the images that work best with Entrada Rag Textured are artful, and intended as art (as opposed to, for example, journalistic-style imagery).
With monochromatic imagery, I would strongly consider toned or somewhat old-fashioned photos (as opposed to "straight" black and white) for Entrada Rag Textured.
With color imagery, I get great results essentially across the gamut of landscape photography, particularly in imagery where the real strength is in separation of mid-tones. My personal preference on Entrada Rag Textured is for color imagery that has elements that echo antiquity, and so lie in the cross-roads between modernism and older traditions of printmaking and art.
There’s no doubt in my mind that Entrada Textured Rag has become one of my "go-to" printmaking substrates. Combining high quality reproduction with a sensitive and sensuous surface that is entirely fiber, I expect to be making prints with Entrada Rag Textured for a long time to come.
(Left) The rendering of the structure underneath the Art Deco Yaquina Bay Bridge in Oregon is a good fit for Entrada Rag Textured: the paper shows and holds details, even in the areas that are almost black. The paper handles ink well and doesn’t overload, even in very dark areas. © Harold Davis
May 20th and 21st 2017
A two-day workshop offered by Moab Master Photographer Les Picker and Master Printer Robert Boyer.
Register here. Limited to four participants.
Learn the art of self-critique. Create a hand-made, cloth-covered, boxed portfolio showcasing ten of your finest images, offered in an elegant, state-of-the-art presentation and designed to advance your photographic goals.
Top Ten Takeaways From This Workshop
- Two-on-one consultation with two experienced, successful, professional photographers to help you curate and edit your work
- Assistance selecting and post-processing your best images
- Fresh perspectives on your own work and how to make effective editorial decisions
- Learn numerous strategies for dealing with your own editorial process
- A weekend of considered dialog with other serious artists
- Develop contacts for editorial assistance going forward
- Experience the value of outside editorial input on your work
- How the editorial process can shape your art
- Ten archival prints professionally printed on Moab fine art papers, using state-of-the-art Canon printers.
- Distinctive, cloth-covered portfolio box, hand crafted in the USA
One of the hardest things to do as a photographer is edit down your work to a cohesive collection of the best and most fitting images, whether it be to support a single theme, single project or the best representations of your work.
What serious photographer does not realize he or she needs to have a professional portfolio to show friends, potential clients, judges at juried shows, or to peruse for their own enjoyment?
In fact, a professionally curated portfolio is essential for success as a serious photographer. Images come alive when carefully selected, meticulously edited and printed on fine art, archival paper. Viewers appreciate the look and feel of museum quality prints.
Yet, in our experience we have found that the majority of photographers either do not have a portfolio to showcase their art, or the one they use is actually detrimental to their success. Unfortunately, photographic portfolios are often poorly planned, poorly curated, and even more poorly executed.
If you are a serious photographer, here is a chance for you to walk home with a beautifully hand-crafted, hand-printed, and carefully curated fine art portfolio that will show off your work to the highest standard in the industry today.
A panel of 46 eminent jurors from across the United States selected the top photographs from nearly 5,700 total submitted entries at Gwinnett Technical College in Georgia. Judged against a standard of excellence, just over 2,428 images were selected for the General Collection and 1,007 were selected for the esteemed Loan Collection—the best of the best. The Loan Collection images will all be published in the much-anticipated "Loan Collection" book and over 200 selected General Collection images will be published in the "Showcase" book by Marathon Press.
The level of the award is determined by how many of those four images receive the highest possible honor: acceptance into the PPA Loan Collection, which is displayed at photographic exhibitions, conventions and other photography events. LaSala was named a Platinum Medalist, meaning that three of his merited images entered the PPA Loan Collection. In 2016, he was one of only 61 Platinum photographers of the Year.
About PPA: Professional Photographers of America (PPA) is the largest international nonprofit association created by professional photographers, for professional photographers. Almost as long-lived as photography itself, PPA's roots date back to 1869. It assists nearly 30,000 members through protection, education and resources for their continued success. See how PPA helps photographers Be More at PPA.com.
The purpose of the Global Arctic Awards - 2015 contest is to show the magnificence of the diverse North and Arctic world through the photo art. The contestants works will represent the beautiful variety of the North nature and wildlife, depict the peculiarities of the “icy” world of the Arctic, and narrate unforgettable photo stories about the culture, life and centuries-old customs of the North minorities . Through the prism of photographic lenses the coldest, deeply frozen Earth regions, covered with ice and snow, will appear in a new perspective.
"This morning I awoke to the very exciting news that I have won the grand prize of the 2015 Global Arctic Photographer of the Year award. Winning the Global Arctic Photographer of the Year award is a huge thrill and honour for me; the incredibly high standard of photographic work being produced in Europe is very intimidating and I am deeply humbled to have had my work chosen from a pool of such amazing photographs and amazing photographers. In total I took out five medals across the different categories including Gold, Silver and the FLAP Special award in two categories as well as the overall Grand Prize of 2015 Global Arctic Photographer of the Year. As an added bonus, I am told that I am the first photographer outside of Norway to win this award."
Congratulations to Joshua Holko who just wrapped up with 2014 Australian Professional Photography Awards with four entries on Somerset Museum Rag and all scored coveted Silver with Distinction Awards.
Widely regarded by many as the toughest photographic competition in the world today, APPA remains one of the few world wide competitions where the finished ‘print’ is judged (in the vast majority of categories) by a panel of professional photographers who are each considered experts in their chosen specialities.
Joshua Holko chose to enter the Science, Wildlife and Wild Place category because this category has very rigid rules on image manipulation that are consistent with his own ethics for minimalist post production techniques.
Not only did Joshua Holko enter the APPA awards, but he also participated as a judge for the first time. You can watch the judging of his photographs here.
Congratulations to Karen Dobia as well who took this ‘homage to Polar explorers’ photograph of me earlier this year. The photograph scored a highly coveted Gold Award in the Illustrative category. We are proud to say this was also printed on Somerset Museum Rag.
Master photographer Harold Davis is well-known for his often imitated—but seldom equaled—digital images of luscious transparent and translucent flowers.
In this Maine Media 5-day workshop offering, Harold Davis shows the techniques he pioneered to create his floral masterpieces. Arrangement, composition, photography, and post-production will all be covered, as will Harold's special techniques for shooting on a light box. In addition, several sessions will explore field floral photography, and alternative techniques related to the studio photography of flowers. Harold will also show his spectacular botanical prints in the context of a discussion of the best way to create prints of floral imagery.
Don’t miss this rare opportunity to enhance your floral photography by learning from Harold Davis, the best-selling author of award-winning Photographing Flowers: Exploring Macro Worlds with Harold Davis.
Topics covered in this workshop:
- Understanding transparency and translucency
- Introduction to floral arrangement and composition
- Botanical art in the digital era
- Shooting florals in the field
- Creative field techniques
- Best practices in macro photography
- Shooting flowers on a dark background
- Shooting on a light box
- Understanding high-key post-production
- Working with Photoshop layers
- High-key HDR
- LAB color effects
- Backgrounds and textures
- Preparing to make floral pigment prints
- Implementing one’s own vision
Workshop participants will be given the opportunity to compose, photograph and post-process their own transparent floral images from beginning-to-end during the workshop. Field and studio sessions will demonstrate creative techniques across the gamut of different kinds of flower photography, and allow plenty of time for individual image making. The emphasis of this workshop will be to support each participant, enabling their own unique vision and helping them to become the best flower photographer they can be.
Moab Master, Michael Soluri, is thrilled that his photograph of the New Horizons probe (back in 2005 before launch) was chosen for Kenneth Chang’s front page story in Sunday’s (July 19) print edition of the New York Times, along with the WIRED and Smithsonian Magazine.
9-1/2 years and 3 billions miles later, the New Horizons spacecraft sent back close up images of Pluto. Michael Soluri has been documenting the mission since 2005 photographing the scientists, flight controllers and engineers to learn about the people involved in the process of discovering our solar system.
"I have always been struggling to find the humanity in space exploration, on Earth and above," says Soluri. "I brought my sons down to the Air and Space Museum in 1984 or 1985. I took them in, and there was an exact replica of the Viking lander [sent to Mars in 1975]. So we're looking at it, and there's this big robot and I'm seeing all this text, and something's puzzling me: I didn't see the picture of the person who made it possible. And I held on to that for like 20 years."
-Michael Soluri (Smithsonian.com)
Michael Soluri and the team at Moab is looking forward to seeing these photographs in PRINT!
A Show To Celebrate The First Four Decades Of Scott Barrow's Life In Photography
Saturday, June 27th from 5pm-7pm
The show will run through Labor Day
The NEW gallery for the summer of 2015
is right across from his current one at
26 Housatonic Street in Lenox, MA
Scott has been embracing beautiful light and finding photographs for forty years and he is just getting started. The show will evolve as he prints new work and explores his archive so please visit often.
Nicole Crowder from the Washington Post wrote a facinating article including an interview with Moab Master, Michael Soluri about his experience with "Infinite Worlds". On April 11, Smithsonian Associates will present a seminar at the Hirshhorn Museum as part of the 25th anniversary of the Hubble Telescope featuring four individuals who played key roles in Service Mission SM4.
In Sight: Was there ever a moment during this whole process when you stepped back and reflected on the magnitude of what you were documenting?
Soluri: Oh yes. It amazed me that all of this was made in the United States. I’m realizing that these astronauts and crew members really care about what they’re doing. They care about their precision the same way I care about mine as a photographer. There is that sense of duty and dedication. Science is happening on its own through engineering. I think sometimes the country forgets that. I’m from upstate New York, and I would go to these small towns and fireman’s festivals sometimes and look for that sense of what is America. In the images of these people and astronauts who worked on the Hubble telescope project, that’s a piece of Americana within their world. This is their work world, and this is the culture of American space flight. This book represents what was and what would be. The telescope cannot be repaired mechanically. The Hubble works, but the human touch is what was needed."
Read more on the Washington Post webpage.
"To make photographic art, it’s not essential to print your own images. But to experience your full creative potential, you may want to – especially when you can easily order so many different types of Moab Paper and other top brands of inkjet photo papers from Freedom Paper.
For example, renowned photographer-artist-author-teacher Harold Davis can’t imagine letting someone else print his images. Printing is how he fully realizes the image he envisions before he even snaps the camera shutter or opens Photoshop.
Harold Davis signs the first copy of his fine-art portfolio, Botanique. The portfolio blends contemporary photography and printing techniques with old-world bookmaking methods. Photo courtesy of Harold Davis.
After experimenting with many different papers, he became a fan of Moab paper and was named a Moab Master in 2012. He prints some of his HDR (High Dynamic Range) images on Moab Slickrock Metallic inkjet paper and has created floral images such as “Peonies mon amour” on the Unryu paper that is part of Moab’s collection of Japanese Washi papers.
In addition to making individual prints, Harold Davis and his wife, graphic designer Phyllis Davis, have collaborated on a series of limited edition, handmade portfolio books. Their first book project, Botanique, was a Kickstarter-funded project that featured 21 original botanical art prints on archival vellum, Moab Moenkopi Unryu Washi, Moenkopi Kozo Washi, Moab Slickrock Metallic Pearl, and Colorado Fibergloss photographic paper. Each book was hand-cut and bound by hand. The book includes three panoramic-sized prints as foldouts and ships with a signed 9 x 12 inch print of Harold Davis’ popular image, “Red Peonies.”
The floral images in “Botanique” show what’s possible with the digital workflow and backlighting technique Harold Davis invented to create luminous translucent imagery. For the portfolio pages, Davis chose the Moab inkjet or art paper that best matched the boldness or delicacy of the image. Photo: ©Harold Davis
Harold and Phyllis are currently working on his next limited edition portfolio, “A Modern Pilgrimage: Kumano Kodo.” This collection will feature a series of 13 images including a 9 x 26 inch panorama printed on a 16 ½ foot long roll of Moab Moenkopi kozo washi. The paper will be folded and placed in a signed cover that is itself a mountain panorama of Japan.
Pages for the Kumano Kodo portfolio are printed on the roll and hand trimmed, scored, signed, and bound. Photo: ©Harold Davis
“One of the most important things a printmaker can do is match the surface of the paper with the image,” says Davis. “Some images go well with some papers, and look terrible on others.” He acknowledges that it takes a fair amount of trial and error to discover the right paper for your images. But this experimentation is integral to your ability to develop a body of work that is yours alone.
For the Star Magnolia spread in “Botanique,” Harold Davis chose Moab Moenkopi Unryu Washi paper. Photo: ©Harold Davis
In a post on his blog entitled, “Making the Artisanal Inkjet Print,” Davis notes that prints created using a high-end inkjet printer go by a variety of names, including: inkjet print, pigment print, giclée, and piezo print. Like many art gallerists and collectors, Davis favors the term “pigment print.”
He attributes the widespread confusion of terminology to the incredible diversity of uses of inkjet technology: “You can buy inkjet prints at Costco, where they are honestly labeled. You can buy the somewhat pretentiously named giclee prints from companies that reproduce art. Or you can collect one-off artisanal pigment prints from a solo artist like me who makes the prints one at a time in his studio.”
While Costco, giclée printmakers, and solo artists may all use the same make and model of wide-format inkjet photo printer, the difference between a mass-produced decorative print and an artisanal inkjet print is about much more than what printer was used. Harold points out that three photographers can use the exact same cameras and produce results that are vastly different in artistic style and technical quality. Solo artists who own wide-format printers tend to craft artisanal prints one at a time and fuss over every detail.
“Quality in digital printmaking really comes down to know the quirks of the printer, understanding how to get the most out of digital workflow, how the technology is used, the vision behind the printmaking, and the care and time that is spent on each individual image,” explains Davis. “Just as much craft, skill, and artistry go into making a good artisanal digital inkjet print as ever went into a print made in the chemical darkroom.”
“If you include output file preparation, printing, and post-printing issues, an average print might take five to ten hours,” says Davis. “Sometimes I print an image 20 times until it is right and I get that one great print.”
For example, learning how to make perfect prints on specialty papers such as Moab’s Moenkopi Washi papers may require adjusting the pressure your printer exerts on the papers so they feed through the printer properly. The surface of the Slickrock Metallic paper is quite delicate and can be easily scratched. Yet the polyester content of the metallic inkjet paper makes it difficult to cut, even with the printer’s onboard cutter.
“A relatively unusual image is going to marry nicely with Slickrock Silver,” said Davis. “You have to be going for something that’s not a classic look.” Plus, you have to be aware of how the print will be lit. The colors in the image may look different when the print is viewed from different angles.
This HDR monochrome image of a workshop at the Fort Ross Historic Park takes full advantage of the qualities of Moab Slickrock Metallic Silver 300 paper. Photo: ©Harold Davis
Davis has been crafting his own art prints and art books for about 10 years, drawing upon his years of experience as a accomplished painter, commercial photographer, and author of dozens of books on technical subjects.
In the 1980s, Harold Davis spent a lot of time in darkrooms while supporting himself as a commercial photographer. He made his own color and black-and-white prints, and worked closely with lithographers. He says, “Making prints has always been a part of my story as a professional photographer.”
In the 1990s, Davis got married and left New York. He held a number of different jobs and started writing a series of computer-related books. When his publisher asked him to write a book on digital photography in 2004, Davis picked up a digital SLR for the first time and discovered that with a digital camera, Photoshop, and other software, he could combine his love of painting with his love of photography. He considers his current Photography 2.0 career vastly different from his Photography 1.0 career in the 1980s.
Harold Davis’ talent as a painter is evident in this beautifully rendered photograph of the Jamaa-el-Fnaa marketplace in Marakesh, Morocco. It was printed on Moab’s new Juniper Baryta Rag 305 paper. Photo: © Harold Davis
Harold Davis describes his current work as “Digital paintings that use photographs as the medium.” With this unique style, Davis is at the forefront of an emerging art movement in which creative photographers can do far more than capture an elusive moment in time. Thanks to Photoshop (which recently celebrated its 25th anniversary), photographic artists such as Harold Davis can now create images that depict almost any type of scene or subject they can envision in their mind’s eye.
In this multiple exposure image, Harold Davis envisions image “Hekatonkheires” the three mythical Greek gods of violent storms and hurricanes. The artisanal pigment print takes full advantage of the qualities of Moab Slickrock Metallic Pearl 360 paper. Photo: ©Harold Davis
His collectors agree that Davis is doing important work. One individual who has collected Harold Davis’ work for more than five years says he is increasingly excited about the possibilities created by Harold’s unusual and effective use of technology in support of the classical tenets of photographic art: “I would compare his work to Ansel Adams’ and Edward Weston’s work during the crucial 1930s and 1940s time frame.”
To inspire other creative souls who want to push the boundaries of what’s possible with photography today, Harold Davis conducts workshops and posts instructional webinars. Some of the photography books he has written include:
- Monochromatic HDR Photography
- Creating HDR Photos
- Photographing FlowersPhotographing Waterdrops
- Creative Black & White
- Creative Lighting
- Creative Landscapes
- Creative Close-ups
In his award-winning photography book, “The Way of the Digital Photographer,” Davis emphasizes that previsualizing an image should not only include how a shot is composed and lit but also how it will be processed in Photoshop and printed.
His next book, which Focal Press has scheduled for publication in August, 2015, is entitled “Achieving Your Potential as a Photographer.” The book’s subtitle is “A Photographer’s Creative Companion and Workbook.” The book presents an organized and cohesive plan for kickstarting creativity, and then taking the resulting work into the real world. The concepts are accompanied by a workbook with exercises you can use to put them into everyday practice.
When Harold Davis was selected as a Moab Master, Marc Schotland, vice president of marketing and global development for Legion Paper said, “Harold is a renowned photographer, artist and author who offers a unique vision and voice to the Moab Masters program. Harold’s meticulous printing skills are present in every print he produces, and we’re thrilled that he chooses Moab as the paper to support his images.”
Freedom Paper is proud to offer an excellent selection of Moab paper and Moab Chinle archival boxes and portfolios for protecting and presenting your work. We also sell a sampler pack that includes 2 sheets of 16 different types of Moab photo and art papers.
We encourage all photographers to continue to experiment and see what’s possible with Photography 2.0."
Enjoy an exclusive after-hours program at the National Air and Space Museum's newest exhibition:Outside the Spacecraft. Immerse yourself in the gallery's artifacts and artwork through creative activities and one-on-one conversations with the exhibition curator, featured artist, and an astronaut—all while indulging in cocktails and hors d'oeuvres inspired by the exhibition.
While most of us will never wear a spacesuit to repair the Space Station or use a tether to stay attached to a spacecraft, this rather unnatural line of work inspires and fascinates us. Join exhibition curator Jennifer Levasseur, art photographer and author Michael Soluri, and a very special guest, NASA associate administrator for science and former astronaut John Grunsfeld, to hear musings on their work, and experience the rich visuals created from it. Witness how reflections within the artwork can change our experience of it and set off on a challenge to find those reflections. Discover more about living and working in space with our Education team, and do not miss the opportunity to get into gear for your spacewalk photo op.
Tickets: $35, cost of admission includes a light food and beverage reception.
All discounted tickets have sold out. A limited number of regular tickets are still available.
"What is fine art? How do we distinguish works of fine art from other photographic pursuits? It’s a muddled issue at best. These days, there is no end to the stunning and artfully constructed photography work to be seen in print, online, or in galleries. Many of these photos captivate us with their beauty, and inspire us with ingenuity, imagination and their craftsmanship. Regardless of how narrow our particular area of photographic interest, arresting examples can be found by typing a few key words into your computer’s search engine. The level and range of creativity and originality has never been higher."
Moab is proud to have John Stanmeyer join the Moab Master team.
Working regularly for National Geographic Magazine, was on contract with Time Magazine for over 10 years and photographing for numerous other global publications, Stanmeyer has been the recipient of numerous honors including the prestigious Robert Capa award, named Magazine Photographer of the Year, awarded numerous World Press, Picture of the Year and NPPA awards and in 2008 received the National Magazine Award for this in-depth essay on the global Malaria epidemic.
Having printed for years my work in exhibitions at galleries and museums around the world, no other paper renders more beautifully and effortlessly than Moab Exhibition Luster 300. I am elated to have embraced with passion and purpose all my printing to paper that presents humanity as I had borne witness to
Join us for a reception and gallery talk with Michael Zide, “Not Just Another Pretty Picture”, a visual presentation about making more pow- erful landscape photographs and developing your personal vision. Michael will speak about the thinking and technique that went into making many of his stunning landscape photographs.
A fine art landscape photographer and educator, Michael Zide has created a body of work that has been featured both internationally and in galleries from New York City to Los Angeles. A member of Moab fine art paper Master Photographers Program and contributing writer for the Manfrotto School of Xcellence, his landscape images are in museum, corporate and private collections.
Michael Zide’s work is currently on exhibit in the Baystate Arts Alive
Gallery, Daly 3, MRI Connector. Refreshments served. FREE!
Congratulations to Moab Master, Joshua Holko, for winning the 2014 Travel Photographer of the Year award in the Wild and Vibrant category after a two month journey in South Georgia Island, Patagonia and Antartica. Joshua Holko used Somerset Museum Rag for his prints.
"Travel photographer of the Year is one of the few remaining competitions that still judge the printed image and it is a massive thrill and honour to have won the Single Shot Wild and Vibrant Category with one of my Polar Bear photographs from Svalbard in the Arctic.
The winning photograph has subsequently been featured by the UK Daily Mail, National Geographic Itlay, The Guardian, The UK Telegraph, the German news website Spiegel Online and more. Winning Travel Photographer of the Year in the Wild and Vibrant Category has topped off for me what has been a truly incredible year in the competition arena. The standards in these competitions are incredibly high and it an immense honour to win the category."