R. Mac Holbert is the co-founder of Nash Editions. Widely regarded as the world\u2019s first digital printmaking studio focusing solely on photography, Nash Editions has established an international reputation for fine art photographic digital output. Conceived in 1989, and opening its doors in 1991, Nash Editions celebrates its 14th anniversary this year.<\/p>\n
Prior to Nash Editions, Mr. Holbert was the Tour Manager for such music groups as Crosby, Stills & Nash, Peter, Paul & Mary and Carole King. He has long been active in the environmental movement helping to produce benefits for the Cousteau Society, Greenpeace, the Algalita Foundation and others.<\/p>\n
Mr. Holbert has lectured extensively and conducted workshops on digital output, digital imaging\/scanning and fine art printing on the IRIS and Epson large format printers. He is a Beta tester for Epson America, Adobe and other software and hardware manufacturers.<\/p>\n
Mr. Holbert\u2019s clients have included William Claxton, Robert Heinecken, Stephen Shore, David Hockney, Douglas Kirkland, Eric Fischl, Danny Lyon, Pedro Meyer, Joyce Neimanas, Olivia Parker, and Maggie Taylor.<\/p>\n
He is the recipient of numerous awards including the 2007 Lifetime Achievement Award \u2013 Digital Imaging Marketing Association and the 2000 Computerworld Smithsonian Medal for his pioneering work in digital printmaking.<\/p>\n<\/div>\n
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JPC <\/strong>When you find yourself in the position of facilitating the realization of someone else\u2019s vision, it helps to know your own. (Run with it. Agree. Disagree. Elaborate.)<\/p>\nMH <\/strong>#1 I\u2019m assuming that vision here refers not only to a set of visual aesthetics but also to a personal intellectual and emotional perspective. The foundation of a successful collaborative experience is a strong understanding of all the elements involved in the concept of vision. A powerful visualization provides everyone in the process with a common artistic framework that helps to provide form to an often abstract pursuit. My personal vision has been profoundly influenced by the experience of working with the tools I\u2019ve chosen to express my own work and I feel it is the responsibility of the printmaker to use that knowledge to inform the \u201cvision\u201d of any collaborative effort. It\u2019s a delicate balance to inform without usurping intent. A strong sense of personal vision provides a \u201clingua franca\u201d for artistic communication.<\/p>\n#2. Successful printmaking involves a \u201cconversation\u201d between the artist and the printmaker. The lack of appropriate \u201cvocabulary\u201d on the part of either participant can severely impede a truly collaborative experience. The very process of developing and refining one\u2019s personal vision helps to create this artistic \u201clingua franca\u201d. One of the most common problems we deal with at Nash Editions is a lack of clarity of vision on the part of many clients. It\u2019s to be expected as many of our clients are new to the digital approach. We usually suggest to new clients that they take one or two images through the entire process prior to attempting a large-scale effort. In this way, the client can incorporate the specifics of the process into a refinement of their \u201cvision\u201d.<\/p>\n
JPC <\/strong>How does working with other artist\u2019s to facilitate their visions impact the development of your own? I imagine there are times when it\u2019s challenging to see through someone else\u2019s eyes, yet also stimulating. And I imagine that having to see with so many different eyes might present challenges in developing your own singular vision.<\/p>\nMH <\/strong>#1. Anything that expands one\u2019s visual vocabulary enhances one\u2019s vision. I don\u2019t find this input to be a distraction as I have a strongly ingrained aesthetic framework that supports a personal artistic vision that welcomes continued refinement. One of the most rewarding aspects of artistic collaboration is the acknowledgement and the enhancement of my own artistic insight.<\/p>\nJPC <\/strong>I know my background in painting has had a tremendous impact on my visual development and so the way that I see and create photographic images. Your background in other arts, particularly sculpture has obviously had a tremendous impact on your visual development and photography as well. You often speak of \u201csculpting\u201d an image to enhance the appearance of three dimensions in a two dimensional medium.<\/p>\nMH <\/strong>#1. Having a background in sculpture has predisposed my eye to search for dimension in my prints. I approach most images with an eye to optimize tonal and color relationships with the specific purpose of creating a faux three-dimensional viewing experience for the observer. Printmaking is, by definition, two-dimensional. The very process of defining an image with ink on paper can diminish tonal and color separation and contribute to the \u201cflatness\u201d of an image. I\u2019ve learned many imaging \u201ctricks\u201d that provide visual queues for the observer as to foreground, background and relative position to both. For instance, in the \u201creal\u201d world objects in the foreground appear more saturated than those in the background. A subtle reduction of saturation in the background along with a subtle enhancement of foreground saturation forces the observer to more strongly sense the foreground and push back the background which the brain translates into \u201cdepth\u201d.<\/p>\nJPC <\/strong>There\u2019s a subtle surrealism in your work. How would you describe your brand of surrealism?<\/p>\nMH <\/strong>#1. I jokingly refer to my slant on the world as \u201cso realism\u201d. Surrealism has many definitions but the one that best fits my work is, \u201ccharacterized by incongruous juxtapositions.\u201d I search out aspects of everyday experience that, in my eye, stand out from everything else. I look for the ironic, the humorous. I find that much of \u201ctraditional\u201d fine art photography takes itself too seriously and in many cases demands an educated intellectual framework to fully appreciate. I\u2019m more interested in what\u2019s in the heart- what the viewer \u201cfeels\u201d about incongruity.<\/p>\nJPC <\/strong>Cartier Bresson considered himself a surrealist. Is there something inherently surreal about photography?<\/p>\nMH <\/strong>There is something inherently surreal about our world in general. I recently saw the Magritte at the Los Angeles County Museum. I enjoyed the show immensely. The ironic thing was that the most surreal images I saw were the people viewing the show. I really missed my camera that night. At one point I rounded a corner and was confronted with a 4\u2019 tall museum guard wearing a bowler hat talking to a 4\u2019 6\u201d elderly woman wearing a bright orange flowing, flowered dress with a bright yellow floppy hat. Behind them, making them appear even smaller than they were was a 20\u2019 tall female mannequin wearing a bright red dress. WOW!<\/p>\nJPC <\/strong>I love the control of digital printmaking. Because the image is uncoupled from media it is extremely versatile. Artist\u2019s now have unparalleled control over their palette. An image can be realized in any palette \u2013 high or low key, high or low contrast, highly saturated or neutral. To use the full potential inherent in this an artist has to learn to see with new eyes and do some experimentation to experience the possibilities. What have you found to be most stimulating in your explorations of light?<\/p>\nMH <\/strong>I was never a fan of the high contrast B&W aesthetic. The subtleties of light have always caught my eye. For me, being able to work with a full range of grayscale values is the most exciting aspect of digital imaging. Eighteen years of digital imaging has profoundly influenced the way I look at my world. When working in the wet darkroom one tends to incorporate the limitations of the process into their vision. Knowing that capturing and expressing extreme shadow and highlight information is digitally possible. I now fully consider those elements when I frame a shot. The range of possibilities has increased and that has expanded my vision. High dynamic range image and infinite focus
\ncapture will further enhance our vision.<\/p>\nJPC <\/strong>I love the versatility of digital printmaking. Because the image is uncoupled from media it can be realized on multiple media, sometimes simultaneously. We can now print any image on a variety of substrates, from canvas to rice paper to metal to transparent Mylar. To access the full potential of this unparalleled freedom of expression requires exposure and experimentation. What are some of the new possibilities that you find to be most compelling?<\/p>\nMH <\/strong>The versatility of digital output is indeed one of the most compelling features. We\u2019ve printed on just about anything that would feed through the machine. I personally love using the digital output as part of the process in creating a mixed media piece. I am currently working on a project that that involves producing digital negatives for creating final images on steel plates.\u00a0 Another possibility I\u2019ve wanted to explore is making lenticular prints to capture multiple frames and bring new meaning to the phrase \u201cthe decisive moment\u201d.<\/p>\nJPC <\/strong>There\u2019s been a lot of dialog in the industry about reproducing the look and feel of analog materials; today we\u2019ve met and in many cases exceeded the analog standards. You and I both like to highlight that equal attention should be paid to exploring the aesthetic characteristics that are possible as a result of dealing with new media. Is this dialog more difficult to have because the possibilities are so vast? How would you recommend beginning to approach it?<\/p>\nMH <\/strong>The first year we opened to the public (1991) I was contacted by a representative of a major photographic museum asking if we would be interested in producing a show that would focus on digital emulations of traditional printing processes. I responded that our focus at Nash Editions was more on the exploration of new substrates and new aesthetics. Trying to re-create a \u201clook\u201d that another process already does so well seemed to be an exercise in futility. Learning from the past is great but holding on just for the sake of comfort stifles artistic growth.<\/p>\nJPC <\/strong>Let\u2019s play the game we often play together \u2013 exploring possibilities. Technology has always evolved. Printmaking has evolved with it. What advances do you think we\u2019ll see in the near future?<\/p>\nHere\u2019s a beginning. Self-calibrating and self-profiling devices (from input to output). More sophisticated separation and ink limit controls. An expanded array and use of print coatings, such as varnishes. Metallic inks. A continued reduction in scale limits. Increased durability, including easily cleaned prints.<\/p>\n
MH <\/strong>Better, faster, cheaper. That seems to be the way technology progresses. The digital printing world has advanced a lot in 20 years. We now can produce prints that, in most cases, are more permanent than the most permanent traditional photographic processes, we can print cleaner with less chemical pollution, we can print on a greater variety of substrates and, perhaps most importantly \u2013 we can print with an unprecedented control over out images. The area of near-future developments I see happening are in ink and paper manufacturing and seamless color management.<\/p>\nToday\u2019s papers all suffer from a common flaw \u2013 surface durability. Today\u2019s inks are formulated with substances that necessitate aggressive paper coatings to compensate for excessive dot gain. The coating sits on the surface and is vulnerable to physical damage. I expect to see new developments in both ink and paper technology that will allow for less fragile output.<\/p>\n
Modern color management is far from modern. It is unnecessarily complicated and lacks a meaningful standard. I would expect that future digital capture and output devices will implement seamless, non-intrusive, cross platform, color management.<\/p>\n
JPC <\/strong>Without considerations of time and practicality, what new possibilities would you like to see?<\/p>\nHere\u2019s the beginning of my list. Three dimensional substrates or substrates that can conform seamlessly to three dimensional structures. Refractive polymers. Light emitting substrates. An evolution in the quality of projected imagery. A reduction in the separation between moving and still images.<\/p>\n
MH <\/strong>I would like to see a physical substrate that you would allow one to \u201cprogram\u201d the texture and color. Imagine a video screen that you could control the surface quality and the shape of the substrate. Texture could be customized to more perfectly integrate with the imagery. Light emitting substrates of unimaginable resolution would allow artist unprecedented ability to express the their vision. Neural cameras could capture imagery at any point along the input pathway \u2013 at point of capture to imagery transmuted by experience and emotion.<\/p>\nJPC <\/strong>Some proponents of digital technology deemphasize the production of physical things (prints, posters, books, etc) and emphasize purely electronic forms of expression (experienced through displays or projections). I haven\u2019t seen a reduction in the interest of physical things but there are new forms of expression that are quite compelling. For instance, many of my images (soon to be all) and the things that have been written about them (by others and by myself) are instantaneously accessible to any one with a connection to the world wide web. People can even download portable slideshows of my work from my website. And soon, sound. This changes goals in reproduction and publication. Has this impacted you as an artist? Has it impacted you as a business?<\/p>\nMH <\/strong>I don\u2019t believe that thousands of years of interacting with physical objects are going to change overnight.\u00a0 Electronic imagery doesn\u2019t seem to have the same sense of ownership. That is perhaps more the fault of the obtrusive technology involved in current video expression. As technology advances and the process takes more of a back seat to the art perhaps more expressive electronic tools will supplant the traditional artistic mediums. But I think the physical object will always remain an important aspect of artistic expression. I remember when Kodak introduced Photo CD in 1992 with the expectation that it would become a popular consumer product. They saw a world where families and friends would share images on their television screens. Beyond the minor but important technical obstacles, the lack of intimacy and \u201cpreciousness\u201d experienced with an image on screen was lacking and Photo CD failed miserably in the consumer marketplace. It\u2019s easier to have an intimate memory experience with something you can hold in your hand. A video screen is too abstract.<\/p>\nJPC <\/strong>There are many myths and misperceptions regarding the production of fine art prints.<\/p>\nMyth. An artist\u2019s prints are better if he or she produces them. Another myth follows, an artist is only truly great if he or she produces his or her own prints. Cartier-Bresson was a great artist, yet he rarely if ever produced his own prints. In fact, some say his prints are best only when he worked with a master printer.<\/p>\n
Tell me when you think it\u2019s most beneficial to work with a master printer, like yourself.<\/p>\n
MH <\/strong>Collaboration: The act of working together through reflective listening and genuine articulation of ideas, in a partnership of mutual respect and diversity<\/em>. Collaborating with a printmaker does not preclude a true expression of the individual\u2019s vision. In most cases it serves to enhance. A good printmaker does not impose upon the art but rather informs it. The fact that I have personally worked with literally thousands of client over the years provides me with a versatility of experience that it would impossible to acquire working only on one\u2019s own body of work.<\/p>\nJPC <\/strong>Myth. Digital printing eliminates the performance aspect of printmaking. Are printing conditions really that stable? Doesn\u2019t media evolve rapidly? (New substrates every month, new software every year and a half, new inksets every three years.) Isn\u2019t the digital file indefinitely modifiable? I find that as both technology and my vision evolve so does my work, to the point that it\u2019s challenging to maintain a comprehensive current archive of my work. Print on demand is not just a possibility in some ways it\u2019s become a necessity.
\nWe\u2019ve both had to spend a great deal of time educating artists, collectors, and manufacturers. Tell me a little about your experiences in this arena.<\/p>\nMH <\/strong>From the day we opened our doors to the public we realized that education was going to be as an important aspect of our business as mastering the technology. We\u2019ve always believed that the digital revolution is truly a revolution: a relatively sudden and absolutely drastic change.<\/em> When I started this journey I took very seriously the idea of revolution. For any movement to successfully institute change one needs to educate the uninitiated. In comparison to other revolutions in the arts, like the advent of photography in early 19th century, the acceptance of digital tools has happened relatively quickly. In the early nineties there was an organized resistance to digital that has almost completely disappeared today. Pockets of discontent still exist, especially in the fine art photography world where traditionally processed images have so long represented \u201cquality\u201d. Many traditionalists cannot see beyond what they consider to be the \u201cgold standard\u201d \u2013 the air-dried silver print. I have always appreciated the beauty of a well-crafted silver print but if you judge a digital print by how closely it reproduces the look of silver print your eliminating the possibility of appreciating new visual experiences.<\/p>\nWe began public displays of our prints prior to our public opening. We always answered questions about the process and took advantage of every possibility to let the art world know about the wonders of these new tools. In the 18 years we\u2019ve been in business Nash Editions has been featured in over 300 print articles and close to 100 Web articles. I personally began teaching workshops in 1995 and have presented numerous classes for everyone from the Getty Research Center, the Boston Museum of Fine Art, The Museum of Photographic Arts in San Diego, the Los Angeles County Museum, The Friends of Photography in San Francisco, The School of Visual arts in New York, the International Center for Photography, Santa Fe Workshops, Anderson Ranch Arts Center, the Butler Museum of American Art to name a few. I have also led workshops for California state college photography instructors and numerous public and private elementary schools. In the past year I have expanded my workshops into Mexico, Spain and China.<\/p>\n
JPC <\/strong>Do you have other favorite myths you\u2019d like to add to the list or to unravel?<\/p>\nMH <\/strong>Well, one that I have seen in print too many times and have heard from the mouths of those that should know better is, \u201cNow anybody with a digital camera and a copy of Photoshop can call themselves fine art photographers.\u201d Art has never been about the tools. What\u2019s interesting is what\u2019s behind the lens, not what\u2019s in front of it. I had a client several years ago who had a show of his images and was approached by a friend who remarked, \u201cYour images are beautiful. You must have a wonderful camera!\u201d Later that evening the same friend hosted a dinner. During the first course my client remarked to the host, \u201cThis dinner is spectacular! You must have a wonderful stove!\u201d<\/p>\nJPC <\/strong>Tell me about the production of your recent book \u2013 (insert exact title). What\u2019s the final product? How was it made? How has the journey impacted your personal vision?<\/p>\nMH <\/strong>Our book is titled, Nash Editions: Photography and the Art of Digital Printing.<\/span> It\u2019s been an interesting journey of over three years. There are a plethora of excellent books \u201cabout\u201d digital photography and digital printmaking. I realized several years ago how much time I\u2019ve spent over the years talking about process. In all that time the \u201cart\u201d seemed to always take a backseat. There has been a steady but diminishing resistance to digital that tends to direct the visual experience toward a discussion on the relative merits of digital \u2013vs- traditional methods. I wanted to tell the story of our studio because I felt that it was an important one since it\u2019s bound to repeat itself in the future as technology continues to refine and alter the tools as well as our aesthetics. What I really wanted to do was to celebrate digitally produced art. I wanted to share the wealth of images that adventurous artistic souls have produced with these new tools. There are over 175 color and B&W images that illustrate the range of artistic possibilities. Both Graham and I are very excited by what our clients have created and are proud to have been involved in the process of realizing their visions on paper.<\/p>\nJPC <\/strong>What words of advice would you offer to artist\u2019s exploring the possibilities of the digital world?<\/p>\nMH <\/strong>Digital only resembles traditional photography in that one is capturing and expressing light. Leave behind the restrictions of the old technology. I see too many photographers grasping onto the past and in doing so limiting the possibilities of expression. We need to confront the new tools on their own strengths and weaknesses and learn to use them to their fullest extent.<\/p>\n<\/div>\n <\/p>\n
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Read More Photographers On Photography Conversations.<\/strong><\/a><\/span><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row row_type=”row” type=”full_width” text_align=”left” video=”” css_animation=””][vc_column offset=”vc_col-lg-offset-2 vc_col-lg-8″][vc_column_text] . R Mac Holbert Learn more about Nash Editions R. Mac Holbert is the co-founder of Nash Editions. Widely regarded as the world\u2019s first digital printmaking studio focusing solely on photography, Nash Editions has established…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":38787,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"spay_email":""},"folder":[4186],"yoast_head":"\n
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