An explanation of some of the processes and tools I use.


Discovered by Sir John Herschel in 1842, the cyanotype is one of the earliest photographic print processes. A substrate, typically paper, is coated with a light-sensitive solution of ferric ammonium citrate and potassium ferricyanide. The sensitized paper is then put in contact with a film negative, exposed to the sun or other source of UV light, and washed to clear any unexposed areas. Variations to the standard wash can vary contrast, and toners can alter color.

Pigment Ink Print
The pigment ink print, sometimes referred to as an “archival inkjet print” or “giclée print” (a term I reserve for reproductions of non-photographic art using this process), is considered the modern standard. It is made by an inkjet printer utilizing inks that incorporate finely ground colored pigments in a liquid medium. Pigment inks have been shown through accelerated aging to have a lifespan of 100+ years when stored under ideal conditions.

Silver Gelatin Print
The traditional black-and-white print as we know it is a paper substrate coated with an emulsion of light-sensitive silver salts and gelatin. The image is formed by contact printing or enlarging a negative image onto the paper and running the paper through a development process.