Exhibit – Holbert and Steinhardt in Seattle

Last night presenters at the Epson Print Academy (Caponigro, Gorman, Holbert, Resnicki, Schewe) attended a gallery opening in downtown Seattle at the Benham Gallery showcasing images by members of their own ranks – Mac Holbert and Dan Steinhardt. Also on display were works by Robert Wade and Esther Sirotnik. Also in attendance was permanence expert Henry Wilhelm. Not surprisingly, the gallery talk quickly moved from early inspirations to a spirited discussion of process and permanence. “Giclee is meaningless!” “Archival is meaningless and no longer used by the ISO!” “C prints are no longer considered for collection by the Getty! They fade too fast!” “Color is now permanent!” You’ve got to see and hear it to believe it. What’s worse than being in a room with an expert? Being in a room with ten experts. Seriously though, it’s always interesting.
Mac Holbert described what it was like to leverage his 18 years of experience printing other people’s work when printing his own work several years ago for his first exhibit and more recently for this follow up. Dan Steinhardt also made interesting comments about why he chose to ask Mac Holbert to print for him. After a lifetime in photography, first as a photographer, then as a marketing expert for both Kodak and Epson, and recently in the last 5 years becoming more active in making his own images, he still decided to have an expert make the finest possible prints from his images. It’s an interesting decision that every photographer faces. Do you make your own prints? Do you have the time and knowledge base to do this? Or do you enlist master printmakers to make prints for you – a time honored tradition both within and without photography. Do you have the financial resources to enlist them and are you willing to engage in a collaborative process? There’s no right answer. It’s an individual decision. And you may make different decisions at for different projects and at different times in your life.
Mac also shared a story about his work. In the image above, he saw the Bible and the little girl when he made the exposure. But he didn’t see the ironic 666 written on the box in pencil until he made the print. So often, new things come to light when you make prints of your images.
The exhibit Placement of Place is on display from January 7 to February 14.
Find out more about Mac Holbert here.
Find out about the Benham Gallery here.
Improve your printing skills at the Epson Print Academy.
Learn to make master prints in my workshops.

NVIDIA Speak Visual Show

In 2009 NVIDIA will host The Speak Visual Show, featuring massive projections on buildings across the globe and simultaneously broadcast online. All types of artwork are being accepted.
You can enter online. Look at the rights granted before you enter. To my mind the usage is too open ended. That’s why I haven’t entered. And I’ve told them so. Maybe the terms will change.
In the meantime, the concept is fascinating and the event should be too.
Check out the Speak Visual Show here.

Paul Caponigro – HMCP

“The Hallmark Museum of Contemporary Photography is privileged to exhibit a special group of Paul Caponigro’s photographs chosen by HMCP’s Director, Paul Turnbull, from Mr. Caponigro’s voluminous archives. Entitled, “Select Photographs: 1956 thru 2005″, the seventy-five silver gelatin prints can be seen in the museum’s Gallery 52 and Gallery 56 facilities, on the corner of 2nd Street and Avenue A, downtown Turners Falls, Massachusetts. The exhibition will hang from September 25 through December 14, 2008. The opening reception is on Saturday, October 11, 2008, from 1-5 pm with lecture at 7 pm.” Read More

On Press – Banding

We’ve been finishing the last prints for my annual open studio exhibit where I unveil New Work from 2008 for the first time. We ran into subtle banding in a few prints. So how do we trouble shoot it?
First check the file at 100% screen magnification. If it’s in the file add a touch of noise. If you need to use more noise than you’d like, use Noiseware afterwards.
Second check the printer. Is the data transfer fast enough? (Don’t perform other calculation intensive operations while printing. Close other programs if necessary. Make sure your cable connection isn’t too slow or too long.) Are the heads aligned? Are you sure it’s banding and not nozzle clog? (Nozzle clogs are tiny light lines. Banding is dark lines, often thick with soft edges.) Are you printing at high speed? (Try printing it slower.)
Third, as a last resort, rotate the image 90 degrees and try printing it again. Huh? Right! Many of my files are particularly difficult to print – semi-neutral fields with very smooth gradations. These types of images display incompatibilities with printer drivers and their screening frequencies that just don’t happen in most images. It has to do with screening frequencies. Why does rotation help? I don’t have an explanation for it. But it works.
Hopefully all of this will help you with your prints.
Get information on my Annual Exhibit here.
Check my blog for the most up to date information on the event.
Check out my blog during the event to see video of my new installation events.
Check out my Gallery to see more images.
Check out my Gallery during and after the exhibit to see new images.
Check out my workshops series The Fine Digital Print here.

Exhibit – New Work / Annual Open Studio

You’re invited! My Annual Open Studio Exhibit (in my gallery/studio in Cushing, Maine) of New Work from 2008 is open for one weekend only – August 2-3 from 10 a.m. to 5 p.m. I’ll discuss my work daily at 2 p.m, sign books at 3 p.m, and post content online at 6 p.m. This is the best time to see and purchase new work as introductory prices are available for a limited time only. (Thereafter, private viewings for print purchases will scheduled by appointment only.)
This summer’s event simultaneously presents two galleries of work – one highlighting bold color and the other highlighting drawn forms. These new images are my most painterly to date. Upstairs, bright, bold colors exude a lush sensuality, producing an almost physical sensation while evoking strong emotional responses. These new additions to several of my most popular series simply glow. Downstairs, spaciously atmospheric compositions are filled with subtle iridescent whites, grays, and blacks. New work from the series Refraction reveals an evolution in my recent explorations into incorporating drawn elements with photographs.  If photographs are light drawings, these are also drawings of light. Simultaneously representational and abstract, this daring new work contains a powerful energy that transports the viewer.
During the exhibition, video documenting my recent related explorations with environmental performance art can be seen in the studio and here on this blog.
And don’t forget to see the Two Generations (father and son) exhibit at the Maine Media Workshops.
You can see two exhibits in one day!
Get information on my Annual Exhibit here.
Check my blog for the most up to date information on the event.
Check out my blog during the event to see video of my new installations.
Check out my Gallery to see more images.
Check out my Gallery during and after the exhibit to see new images.
Contact us here for print purchases.

Exhibit – Two Generations at MMW

Father and son exhibit together in a special exhibit – Two Generations (Paul Caponigro and John Paul Caponigro) at the Maine Media Workshops. The exhibit runs from July 26 to August 22. Saturday, July 26 from 4-6 pm is the opening and at 7 pm I’ll present a lecture. The following day we’ll run a special workshop (all proceeds benefit scholarships for aspiring photographers at MMW); with a visit to and demonstration in our personal studios – first in my father’s studio (analog) and then in my studio (digital).
Two Generations was first exhibited in 1995 at the Center for Maine Contemporary Art in Rockport, Maine. Following that, it’s traveled to many museums and galleries including the George Eastman House in Rochester, NY. It’s been several years since its last showing. Now, it’s been updated with new work and it’s coming to Maine Media Workshop’s Union Hall in Rockport, Maine. The prints are drawn from my personal collection. There are over 50 prints (silver gelatin and pigmented ink) representing classic highlights from our careers as master printers.
Our work is at once very similar and very different.
Our processes are entirely different. My father remains one of the premiere masters of 20th century technology while I’ve become one of the leading pioneers in 21st century technology. I work primarily in color, my father works primarily in black and white – though we both work with the other palette on a more limited basis.
On a more soulful note, our work is very similar. We both share intense interests in nature and spirituality. Our primary impulses are essentially mystical and poetic. Our themes and our stances towards nature and art are closely allied.
This show is actually somewhat nostalgic for me. At the age of 19, I had my very first group exhibit at The Workshops with my father, George Tice, and Eliot Porter.
Want to hear what happens when father and son share scotch?
Read our father son conversation here (first published in View Camera magazine in 1995).
Check my Calendar for other upcoming events.
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