Film Stock: When Michael uses film, it is Fuji Velvia stock, usually a 64 or 100 speed. In the 4x5 Rembrandt bellows camera, it's Kodak TMax 100 sheets. Michael uses digital technology more frequently these days, and uses Canon 5D cameras with Carl Zeiss or Canon prime lenses.
Michael has a personal darkroom to develop film and make prints from negatives. Black and White prints are on Ilford paper, with the exception of one box of 5x7 Kodak paper from 1991 that Michael found when he was cleaning out his father's darkroom. In 2016, Michael used that 25 year old paper to produce contact prints off of a number of 4x5 negatives. These prints are for sale exclusively and while they last at juried fine art festivals.
Color rints are processed on Fuji Professional Archival Paper to accurately reproduce the original colors and maintain the life of the print.
Canvas Gallery Wraps are printed with premium inks and sprayed with UV protection. They may be cleaned with a damp cloth.
Metal prints are created using a dye sublimation process where the image becomes part of the metal. They may be cleaned with a cloth and windex or other cleaning agent. Direct sunlight may be damaging to any image printed on metal.
Limited Editions: Most of the images featured on the Website are in editions ranging from 42 to 500, with a select few with an edition of 1,000. These counts are for the total number of prints in all sizes and all canvases 11x14 and larger. An edition of 1,000 might have 200 30x40 gallery wraps, 400 36x48 archival prints, 300 20x30 prints, and 100 16x20 prints for the entire run. Once an image is sold out, prints are only available on the secondary market from other collectors or fine art galleries and dealers. No additional prints are made from the negative or digital file. Limited Edition Prints might be used in books of Michael's collected work or similar themes.
Michael mattes prints on acid-free Crescent mattes using a reversible archival hinge method that preserves the original collector print. Should you choose to remove a print from its original matting, be careful not to touch the print. Many black and white images are dry-mounted to the acid free pH neutral backing board.
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