Processes

NOTE: Due to excessive targeting by spam bots my mailing list and sales list are currently closed. 
My general newsletter has now been discontinued and replaced with a smaller private collectors group, for occasional exclusive discounted print offers.
To be included in this group please contact me directly through Facebook or Messenger here

Traditional silver printing:

All prints are hand-made in the traditional darkroom by Tim Rudman, using silver gelatin papers processed to the highest current archival standards.
Prints are toned using archival toners based on selenium, gold and sulphur ('sepia')  for both aesthetic effects and improved archival permanence.
Prints toned with non-archival toners, based on iron, copper, titanium and vanadium are therfore not routinely offered for sale, but enquiries  for these prints are welcome.

Lith printing:

Not to be confused with lithography or with the use of high contrast graphic arts film, Lith prints are also made from conventional negative material exposed onto Black & White silver gelatin papers, but using specialised developer and technique. This process is a flexible, creative and interpretive one, but also time consuming and can be fickle. Results can vary greatly with technique and with the paper's emulsion, each having its own distinctive properties. Many papers suited to this process are no longer made and  prints made on these papers will now only be available in very small numbers until deep frozen stocks have been exhausted or have deteriorated. Lith prints on current materials have their own distinctive and different look.

Toning:

Neutral and cold tone Black & White images are toned for greater permanence and tonal enrichment (deeper blacks and enhanced luminosity) and generally with minimal colour shift. Warm tone and other coloured images are toned for interpretive reasons of mood, atmosphere, depth or abstraction. Lith prints, which are naturally 'coloured', are toned for the same reasons to produce either subtle or major colour shifts as well as for archival permanence.

Film stock:

Both conventional panchromatic and infra-red silver-based film is used in various formats. Infra-red film also records light wavelengths in the near  infra-red part of the spectrum that are invisible to the human eye. This produces imagery that appears surreal to us and these negatives are especially suitable for the delicate interpretations that are achievable with lith printing.

Editions

Open edition prints:

Note: Some open edition lith prints on vintage discontinued papers are very restricted in number.
All silver gelatin prints are personally hand-made and toned as described above ('Processes'). Printed on 16 x 12 and 20 x 16 inch paper they are presented signed on the front and signed and detailed on verso and accompanied by a certificate of authenticity.
Mounting is available as described below.

Limited edition prints:  

Selected images are available as 16 x 12 & 20 x 16 inch prints in limited editions of just 25 with up to 5 artist's proofs. These prints are available either in archival sleeves ready for matting, or window matted with archival board to 20 x 16 &  24 x 20 inches, or larger if required. Many low numbers are still available.

Special editions: 

Occasional special limited editions may be made in smaller sizes. These silver gelatin prints are hand printed and toned to the same exacting standards as the larger prints. They offer a unique opportunity to collect or to give exquisite fine prints by an established master of the medium at more affordable prices. Special editions are only available directly from the photographer. Details will be announced on this website or directly to my print collectors group.

Pre-release disounted offers: 

New images are occasionally offered in small numbers as time-limited pre-release offers to my private collectors group. To join this group contact me with details through messenger via Facebook here
These offers are open to all, but are primarily designed to assist early would-be collectors. They offer very substantial discounts on typical prices.

Mounting options:

Where included and unless otherwise requested, mounted prints are mounted with archival corners and edge holders or archival tape hinges onto a 1400 micron conservation back board and over matted with a hinged window matt of 1400 or 2000 micron conservation board. This allows easy removal if the mount becomes damaged or is replaced for any reason. Dry mounting is available if preferred.

All prints are accompanied by a certificate of authenticity and advice concerning safe storage and framing.

Prints are signed below the image in pencil or archival, acid-free, paper-safe carbon ink, depending on the print surface. Prints are signed and detailed in pencil on verso.

Taking care of your print

Pricing

The following prices are guides only and include all toning and other post-processing treatments.

Prices of limited edition prints will rise in tiers.

Variation in price may occur between prints and with format and in some cases with specialised discontinued paper availability.

Shipping is not included.

Mounting and overmatting is available on request.