| Technical Information |
| Photographs 16x20 and larger are all printed in limited editions and are signed and numbered
by Zeny. Zeny uses a Hasselblad 500C with an 80 mm and 250 mm Zeiss lenses, a Hasselblad SWC
with a 38 mm lens, a Pentax Spotmatic with a 35 mm and 150 mm lenses, a Nikon FM2 and a Nikon N2000 with a
Nikon 28-105 mm Zoom lens for the majority of the exhibited photographs. In most cases Kodak professional negative film is used and the resulting images are printed on Fujicolor Crystal Archive and Ilford fiber-based papers. All of the photos that Zeny prints are printed using Kodak chemistry, Chromega & Bessler enlargers and a Kreonite Processor. All of the images that Zeny displayes were taken using film. None of Zeny's photos were taken with a digital camera and none of the images have been digitally enhanced or manipulated in any way. |
| The Process |
| I have personally hand printed 99% of the enlarged color photographs in my display in a traditional color darkroom. My negative is put into a carrier and placed in a Chromega enlarger. The image from the negative is projected down onto an easel corresponding to the print size desired. The image on the easel is positioned and cropped according to how the final print will appear. Adjustments are made in the filter pack according to the specific negative and the enlarger used...starting with previous notational information I have written on the negative envelope. The timer for light exposure is set depending upon the negative density and its distance from the easel and the first test strip is projected onto the photographic paper surface which is placed on the easel. I normally make 2 test exposures on the same test strip to save time and paper. At this time, any dodging or burning in is employed, if necessary. However, very little, if any, is normally needed with my negatives. The test paper is placed into the Kreonite processor where it will be developed, fixed, washed and dried. After about seven minutes, the test print comes out of the processor and into the light room. It is evaluated in daylight and compared to the proof print on file...then the process is repeated with any needed adjustments until exactly the right density, color balance and proper cropping is achieved. Since paper emulsions vary from batch to batch in the manufacturing process and inevitable chemical and temperature differences occur from one printing session to another...perhaps six months or more apart... and older negative stock is often very difficult to print; as many as 5-10 or more test prints may be needed to produce the perfect final photographic print. When the test print is perfect, the Fujicolor Crystal Archive Paper of the desired size is put into an easel then exposed and placed into the processor. Seven minutes later the final exhibition quality, fine art photographic print exits the processing machine. Later, I closely examine each print and, if necessary, hand spot each print for minute dust spots with a 000 sable spotting brush using permanent dyes. I must match the color corresponding to the area needing the final touches. Of course, an infinite number of color and density combinations is possible at this stage. The print is now ready to mat or frame and sign and number. 11x14 and larger prints are sprayed with a lacquer that protects them from ultra violet light, dust and moisture. |
| The Studio Collection |
| The Studio Collection of finely crafted color photographs were taken by me and printed in a traditional darkroom by hand. These photographs were printed between the last decades of the Twentieth Century and 2015 in the darkroom in Palm Desert, California. Each individual print has undergone the meticulous, time-consuming and demanding twelve stage process before it is ready for presentation to the discerning viewer. I have personally printed the majority of prints in the Studio Collection extant today. Each Fine Art Photograph is hand-signed, numbered, titled and its location noted by me at the bottom or back of each print in the Studio Collection. The edition is limited to just 150 prints...sizes 16x20 and larger, inclusive. When the end of the edition is reached, 15 A/P prints are then produced and so noted. All information is carefully preserved and regularly recorded in one of my "Edition Numbers" books. There are very few of the Studio Collection photographs of an individual image left for the discriminating collector to acquire…usually just one or two. When they’re gone, they’re gone. All of my Fine Art, Limited-Edition Photographs are darkroom printed without any digital manipulation or enhancement. A variety of Kodak and Fuji films have been used and the finished prints are all printed on FujiColor Crystal Archive photographic paper insuring a long-lasting life. The presentation backing in this collection is acid-free. The camera, lens, film type, chemistry and paper have been carefully chosen by me to achieve the unique photographic vision in the finished photograph you hold. Darkroom printing is at the end of its era and these limited-edition photographic prints are becoming rarer as time goes by. Please enjoy these, very limited, individual works of art now or consider placing them proudly in your own home or work environment and take pleasure in them for many years to come. You will want to pass on these heritage works of art to future generations. Inquiries to acquire all or a significant portion of the limited number of remaining prints in the Studio Collection will be considered. |