Flash Forward Festival Boston and the Rose F. Kennedy Greenway invite you to the Festival’s closing party. Six shipping containers featuring the work of Gregor Schmatz, Daesung Lee and David Magnusson will be on display, along with the Photoville Fence and a special New England Photographers Fence on Cross Street. We are proud sponsors and printers for the Flash Forward Festival. Check out these great local, national and international photographers featured!
Film is Not Dead
Did you know that we process Black and White Film? Paul & Liz are happy that the whole world has not gone digital. We can process 35 mm, 120, 220, 4x5, 5x7 and 8x10 sheet film!
We have a 13 tank Kreonite Dip and Dunk Black and White film Processor. We love this machine and let me tell you why. Our machine has constant agitation which leads to even & consistent film development. While alternative processes like Hand-line processing and rotary processors have very inconsistent agitation which can cause tonal variations in your film. Our Dip and Dunk minimizes handling which will prevent surface scratches which can happen on roller transport machines. Not to mention they have simple mechanics and are constructed to run 24 hours a day so they are robust machines!
Being photographers ourselves we take the utmost respect when handling your film. We meticulously handle each roll and will cut or not cut your film according to your specifications. We will accommodate special processing instructions too! #filmisnotdeadfriday
Flash Forward Festival
The countdown begins, only two days till the Flash Forward Festival begins! We are proud sponsors of the festival and we are happy to have printed some of the exhibitions (Incubator, Boston: Irish, Purity, Humanae, Futuristic Archeology, Toy Stories, While Strolling Up Larchmont & Amerikanare) not to mention the countless artists we worked with for framing. It is 10 days of exhibitions, openings and talks showcasing International and New England artists.
Check out there full schedule of events for times/date for openings all over the city!
Dates: April 24–May 3, 2015
Elizabeth Ellenwood - Boston Globe Review
WE ARE SO PROUD OF ELIZABETH ELLENWOOD!!! Our darkroom tech received a wonderful review of her show "Of Light and Line" by Boston Globe Art Critic Mark Feeney! The show is currently on exhibition at the Danforth Art Museum thru May 17th.
We have been fortunate enough to have this talented artist on our staff for 3 years now. Watching her grow as an artist and see her print work in our darkroom has been wonderful experience & process to watch.
For the full article check it out here.
Johanthan Hansen- Cuba From a Different Angle
We recently had the wonderful opportunity to print and frame Jonathan Hansen's entire exhibition! His work will be on display the Belmont Gallery of Art. The exhibition run from April 10 – May 15, 2015. There is an upcoming Gallery talk with the Artist, April 30, 7:30pm.
Jonathan Hansen is a Senior Lecturer on Social Studies and Faculty Associate, David Rockefeller Center for Latin American Studies at Harvard University, is currently working on a biography of Fidel Castro (Young Castro, to be published by Simon and Schuster). Research for the book provides frequent occasions to travel to Cuba. While on these trips, he has become inspired by Cuban people and culture, and has taken many intriguing photographs which are shown in this exhibit.
What is an Inkjet, Pigment, Iris and Giclee Print?
Question:
What is the difference between Archival Inkjet prints, Pigment Print,
Print and
prints?
Answer: Nothing! They are all the same printing process.
We call our prints Archival Inkjet prints. However, they are also known as a Giclée, Iris or Pigment prints. Giclée is just a fancy word for "spit ink". Pigment prints get there name from the archival pigment inks used. Iris prints were named after the printer used which was manufactured by Iris Graphics. Ultimately, they are all the same. Some labs or galleries like to use fancy words to charge more money or make it sound more specialized.
Image Courtesy of
Now that we have demystified the print names. What are some things you should be asking? The most important question to ask are the following.
Is this paper archival?
One of the papers we prefer is Epson Hot Press Natural. It has a smooth natural white surface with a high Dmax, beautiful tonal transitions and no optical brighteners. This paper is acid-free,
-free, 100% cotton fiber, 330gsm weight paper. They are printed on an Epson printer with "
Epson UltraChrome K3 with Vivid Magenta
" inks.
Another paper is Canson Platine Fibre Rag. It has a pure white surface with an extremely high Dmax and no optical brighteners. Internally buffered to resist gas fading. This paper is acid-free,
-free, 100% cotton fiber, 310gsm weight paper. They are printed on an Epson printer with "
Epson UltraChrome HDR
" inks.
Image courtesy of
Does the paper contain optical brighteners?
are chemical compounds that absorb light in the
and violet region (usually 340-370 nm) of the
, and re-emit light in the blue region (typically 420-470 nm). Basically, they make paper brighter in the sunlight. But over time they can degrade and this will affect the your image and makes it non-archival.
Are the inks archival?
We have two different printers which use two different types of inks.
Epson UltraChrome HDR
and
Epson UltraChrome K3 with Vivid Magenta
. They are both pigment inks with high pigment density and feature a resin coating for each particle for more stability to produce prints of an even surface and gloss and that are highly stable on a wide variety of media including fine art, specialty and plain paper. These inks can deliver twice the density of our conventional pigment inks. As a result, they reproduce a larger gamut of color and deeper blacks.
Transformation Tuesday
Restorations are an everyday event here at Panopticon Imaging. We figured we could share some of the transformations we have worked on. It always bring a smile to our faces when we can bring these old family pictures back to life. #TransformationTuesday
Yeah, You Missed It
YEAH, YOU MISSED IT! which opens next Friday features the work of Panopticon staff member Nick Schietromo! Make sure to see it before it's too late.
Mills Gallery at the Boston Center for the Arts
April 17th and 18th, 2015
Curated by Robert Moeller
Opening Reception: Friday, April 17, 6-9pm
About the Exhibition:
And perhaps, that’s the point. You missed it. This exhibition continues to explore the very temporary placement of art in both traditional and nontraditional venues. The show, part of an ongoing series, features a rotating group of both artists and curators, organized by Robert Moeller, who work together to program very brief pop-up exhibitions. These can range from informal backyard events to the embedding of new work into an existing art collection in someone’s home for an evening. This exhibition at the Mills Gallery, lasting only two days, has in its title the most likely response to questions about its brief existence: Yeah, you missed it!
Digital Printing in a Digital World
Are you a Commercial Photographer, Fine Art Photographer or Novice Photographer? Here at Panopticon Imaging we would like to make the printing process as easy as possible. When you visit our website you can upload all of your files/images directly here!
The "Upload Files" tab will transport to our Hightail account.This makes it super easy to upload numerous larger files to us!
Once we have your files we can review the paper options. We are more than happy to help you select papers. Want to stop by the office? We love visitors and we have 2 books you can look thru and feel the paper's weight and textures. Canson and Epson papers are our preference for their archival natures however, we can use any paper of your choice.
Want to print large or panoramic images? We can print up to 44 inches wide by however long your image is. We offer standard print prices along with square inch pricing to give you the most value for your image.
Want to make sure the colors or tones are spot on? We can provide test prints & strips for a small fee. Just like we did for Emil Cohen's Portraits in Provincetown series. Stop by, email or call and we are here to help with your printing needs.
Staff Intro: Paul Sneyd - Captain of the Ship
Paul Sneyd has been a Master Printer for over 35 years. His darkroom career began in 1977, when he joined Jet Commercial Photography. During the next 10 years, Paul was the sole printer for Jet's five commercial staff photographers. In 1987, Paul became the master printer for Panopticon Gallery of Photography, one of the oldest photographic galleries in the United States. He would spend the next 20 years printing for Panopticon's many reputable artists and exhibitions before becoming the owner of Panopticon Inc. in 2007.
Throughout the last 35 years, Paul has printed for and worked with many local and national photographers including : Harold Feinstein, Isa Leshko, Stanley Forman, Agnieszka Sosnowska, Paul Ickovic, Asia Kepka, Bradford Washburn & Ernest Withers, among many others.
He has produced images for and has working relationships with a large sum of New England galleries, including the Boston Public Library, Focus Gallery, Griffin Museum of Photography, Harvard Law School, Museum of Fine Arts, North River Arts Center, New Bedford Whaling Museum, Panopticon Gallery, and the South Shore Arts Center.
Paul has been happily married to his lovely wife Patty for 24 years. They have two wonderful daughters and many dogs. He is an avid fisherman, red wine drinker and all around great guy!
Lindsey Beal - Lost Art of Daguerreotypes
Rhode Island based artist, Lindsey Beal brought some of her recently created Daguerreotypes into the office for framing. She made these photographs while at a workshop at the Penland School of Crafts in North Carolina. Also, she teaches at Rhode Island College and New Hampshire Institute of Art. Daguerreotype, an alternative process, has become a lost art form due to the labor involved in creating them. The process was first created in 1839, the artist polished a sheet of silver plated copper, treats it with fumes that makes its surface light-sensitive. Then the plate is exposed in a camera.
Ms. Beal reviewing her work with owner, Paul Sneyd.
Liz framing Ms. Beal's daguerreotypes
