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QuietWorks Image Galleries:



Spring & Summer


Moving Impressions



Manipulated SX-70 Polaroids

External Gallery Links


The Ansel Adams Gallery

Sun To Moon Gallery


Image Capture:
Keith and Annette use a combination of cameras to create their images, including:

- Toyo 4" X 5" with 65mm, 90mm, 210mm Schneider and a 360mm Nikon lenses, a standard sheet film back as well as a Calumet 6cm x 9cm roll film holder.
- Pentax 67 equipped with 45mm, 90mm, 135mm and 300mm lenses.
- Nikon FE and F3 35mm film cameras with 24mm, 28mm, 35mm, 50mm, 75-150mm, 70-210mm, 70-300mm lenses
- Canon 35mm digital SLR camers (xTi, T2i, 5D Mark II) and 10-20mm, 17-40mm, 28-135mm, 50mm, 100mm, 70-300mm lenses
- Polaroid 680SE camera with Time Zero film for "manipulated Polaroid" images.

Digital Prints from Transparencies:
To create digital enlargements, the original transparency is scanned and imported as a digital file into an Apple MacIntosh computer with a calibrated monitor.
Adobe Lightroom 4 and Photoshop CS6 are used to digitally apply traditional photographic techniques such as spotting out dust and flaws, dodging, burning and making adjustments to the contrast and tonality of the image to faithfully recreate the scene.
Proof prints are created in studio for evaluatation prior to output with either a Lightjet 5000 on photographic paper or an EPSON 9800 with Ultrachrome™ K3 inks. Depending on the format used to capture the image, the raw scan file size of each image is between 100 megabytes and 1.5 gigabytes.

Image Printing:
Through the years, Annette and Keith have used a variety of methods to produce their prints, from developing relationships with traditional photographic labs, to printing their own work. The following summarizes some of the methods employed over the years. Current image printing is done with an Epson 9800.


Digital Prints from Manipulated Polaroids:
The process of manipulating Polaroid Time Zero film as it developed has been popular since very soon after the SX-70 camera was introduced in the late 1970s. This is the film that, once exposed, is summarily ejected from the front of the camera automatically and then develops in full view.(Polaroid stopped manufacturing the film in 2006, but Keith stockpiled a supply that he is slowly working his way through). As it is developing, it is possible to poke, prod, score, and mix the emulsion, with delightful results. Images that start out as literal representations can be “manipulated” to the point where they resemble impressionistic paintings. What is relatively new is the ability to easily englarge the original 3" x 3" print with scanners and large format printers.

Once the photo has been created, Keith works on the emulsion as it develops. When he has finished his manipulations, then, like the “traditional” image, the print is scanned at high resolution on a flatbed scanner, imported into Photoshop where Keith digitally applies traditional photographic techniques such as dodging and burning, and made adjustments in color and tone before output with the Epson 9800. The enlargements are often printed on Textured Fine Art photo paper which has the pebbled surface of water color paper, to accentuate the illustrative quality of the image and blur the lines between photography and painting.

Annette and Keith were taught to scan with a Linocolor TANGO drum scanner through the generosity of digital pioneer and nature photographer Bill Atkinson. Annette and Keith now use the talents of West Coast Imaging in Oakhurst for TANGO scans, and any in-house scans are done wet-mounted with a NIKON 8000 dedicated film scanner or an EPSON V750 flatbed scanner.

Ultrachrome™ Prints:
One of the most exciting developments in digital imaging is the maturation of inkjet technology originally pioneered by IRIS. Output from these printers are also known as "Giclees". The term "Giclee" was coined by a digital color printing service provider and is supposedly a derivative of French verb "gicler" which means "to squirt," as in the spraying of ink.

The current generation of printers have all of the advantages of the IRIS inkjet technology-subtle hues--a wide color gamut and the ability to print on a variety of substrates--without the problems. In particular, modern inkjets have stable pigment ink sets that have a projected lifespan of nearly double the most popular color photographic processes. *

Annette and Keith's earliest inkjets were output on Arches Coldpress watercolor paper with a Colorspan printer at The Lightroom in Emeryville. The images selected for that media already had a painterly appearance to begin with, and the use of textured media only enhances this appearance, blurring the lines between a photograph and a painting.

In late 2002, Annette and Keith acquired their own EPSON 9600 printer, which, with Ultrachrome(TM) inks was considered to have one of the broadest color gamuts of any printer. The ink and paper combination also has a life expectancy of 75 years, as rated by Wilhelm Imaging Research and represents one of the most stable mediums available.That printer was replaced with two, an Epson 4800 and an Epson 9800, both which feature the K3 inkset for deeper blacks. The technology permits Annette and Keith to explore a variety of printing surfaces such as fabrics, smooth and textured rag papers or plastic.

Lightjet 5000 Prints:
One of the most popular of the digital photographic output devices among fine art photographers, the LightJet 5000 uses red, green and blue lasers to expose the image onto long-life photographic paper (FujiColor Crystal Archive). The paper, which comes on a 48" wide roll, moves in microscopic increments as the lasers expose the emulsion. Once exposed, the paper is then processed with traditional chemistry. Color saturation, image sharpness and tonal quality are exceptional. QuietWorks had their Lightjet prints produced at Calypso Imaging in Santa Clara, and later Santa Cruz, California, where the printer was profiled by digital guru Bill Atkinson

Ilfochrome Prints:
Prior to the advent of digital imaging, Annette and Keith had their conventional photographic prints created by Rob Reiter at The Lightroom with an enlarger, Ilfochrome paper and chemistry.

The Ilfochrome Classic (formerly known as Cibachrome) printing process for making color prints from positive transparencies is known for its brilliant color saturation and high image sharpness, properties inherent in the AZO dyes used in the dye bleach process.

Ilfochromes prepared by Rob for Annette and Keith were prepared in a conventional darkroom with conventional dodging (darkening of a local area), burning (lightening an area) and contrast masks to bring out details, all techniques that software aims to replicate in the digital environment. Ilfochromes are one the most archival of the analog printing processes (such as Type R and Type C) under normal viewing conditions and dark storage.

All of the prints offered by Annette and Keith are best displayed in indirect light, the optimum being natural light or under warm tungsten spotlighting (up to 75 watts.) Protecting the prints from humidity and direct light will increase their longevity.

Expected Display Life:
Accelerated light fading tests conducted by Wilhelm Imaging Research predict a display life for the various printing processes as follows:
EPSON Ultrachrome™: 75 years
Lightjet 5000 Prints (FujiColor Crystal Archive Paper): 71 years
Ilfochrome: 29 years
Ektacolor (not offered by Annette or Keith): 16 years for current.
These tests are based on standard indoor display conditions of 450 lux of glass-filtered fluorescent light for 12 hours per day.

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