Colorado River

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JOSEPH HOLMES
Colorado River
2000

About the Item

When this all started for me, in 1968, I really had no idea how far it could go, nor how long it would take to get there. Imagine color photographic prints being capable of the same power, finesse, sophistication and display life as any oil painting. Or even just imagine it working as well as the then current state of the art of B&W photography. Each were high bars well beyond the reach of chemical systems, but that didn't stop a few of us from trying as hard as we possibly could to make it happen. As we've slowly gained the ability to use numbers instead of chemicals, faint hope has flowered into a stunning maturity. Step by step, every issue has been addressed and arguably perfect color prints are now at least feasible, and I am frankly overwhelmed by how beautifully they turn out nearly every time that I make a print with my current systems. The fade resistance of my mainstay combinations of ink and paper has recently nearly tripled from the prior best media, to the point where it can have a useful lifespan on display which actually does rival those of the world's most precious two-dimensional artwork. I gather from the guess of one key expert that these prints may outperform many van Goghs by as much as a factor of ten. Paintings retain one big edge over nearly all photographic media: physical toughness. My favorite photographic printing media absolutely require very careful handling and good quality mounting and framing with glazing, to realize their potential of a multi-century lifespan in essentially pristine condition. Bare print display of any inkjet medium is out of the question if you want it to last more than a few years at best. There are media developing now which do allow bare print display, and I offer one of them as the last of my eight choices of presentation — dye sub on metal. This interesting process doesn't have all the nuance, fine detail, feel of a precious artifact, and so on, that the inkjet prints do, and I can't make them myself, but it's got wonderful qualities for display without glazing, matting or framing. It's permanence with respect to light-induced color change is only about a quarter that of the prints I make with pigments on the superb cotton, inkjet-coated papers but the gamut is decent, the Dmax is unbelievably good and they are still roughly 25 times more resistant to fading than an ordinary poster. In stark contrast to the inkjet prints, these are ultra-high gloss. As a practical way to enjoy one of my images in a large size for most of a lifetime on indoor display, it's a good option. Within a few years, one other medium, UV-cured printing, which is very likely capable of long-term, bare print display, and relies on pigments instead of dyes — and thus will offer about the same fade resistance of the wonderful inkjet prints — common problem of changing and/or overly high or low relative humidity, owing to the absence of gelatin. They also have better resistance to chemical assault than silver-gelatin, thanks ot the absence of the silver.

Creator:
JOSEPH HOLMES (1952)
Creation Year:
2000
Dimensions:
Height: 28 in (71.12 cm)Width: 34 in (86.36 cm)Depth: 2 in (5.08 cm)
Medium:
Lithograph
Movement & Style:
Aesthetic Movement
Period:
2010-
Condition:
Gallery Location:
Pasadena, CA
Reference Number:
1stDibs: LU40636981882