Fine Art Prints
About my work

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The Mountains

 

The Sea

 

Resonance

 

Cencellada

 

Sayago

 

Valdeón Woods

 

Other Works

 

About my work

 

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All the photographic works that are shown on this website have been made from start to finish by myself, from the exposure of the scene on photographic film and the development of the negative, to the final silver gelatin print. The images that can be seen in the different galleries have been digitized from the final photographic print, not from the negative, so they are a true image of the original work.

The camera

I mainly work with medium and large format analog cameras. Some series, like Cencellada, are made with a Hasselblad 500C/M and Carl Zeiss lenses. This medium format camera takes 12 square format (6x6) exposures per film roll, allowing me great freedom when working.

 

For those scenes with a lot of detail, which need to be exposed as accurately as possible, I use a 4x5'' large format camera made by Keith Canham in the United States. This camera, in addition to the inherent quality of a larger negative, allows me to fine-tune the focus and geometry of the scene. Many of the latest mountain photos I have taken with this camera. As for the optics, I usually use different focal lengths depending on the scene, but mainly 90, 115, 150, 210 and 300 mm lenses, all of them of great sharpness and quality.

The negative

A good negative is the basis for a good photographic print. Depending on the contrast of the exposed scene, the film used and how it was exposed, it is necessary to make modifications in the development process so that the negative has an optimal quality. This is the reason why I always develop my own film. This allows me to know the characteristics that I want to enhance during development so that they emerge in the final print.

The print

For the negative printing I use different photochemical papers from Ilford and Foma manufacturers, all of them baryta fiber based. I usually choose glossy papers, since they produce much deeper and richer shadows than papers with silk or matte finishes, and with a neutral tone.

Conservation treatment

After printing, I immerse the photographic prints in a bath of selenium toner, which gives them a tone that ranges from neutral gray to a light purple or warm tone. This selenium toning, followed by intensive washing in running water for at least one hour, gives to the print a high resistance to color change and yellowing, which will last for more than one hundred years.

Flattening

Once dry, photographic prints are flattening in a heat press, at 110ºC (230ºF) for a few minutes, to keep them completely flat. This is necessary because fiber paper tends to curl during drying, making it difficult to handle later.

 

Spot retouching of the photographic print

With the prints already perfectly flat, I retouch the small imperfections with a brush (mostly small specks of dust projected from the negative), using different water-soluble dyes to adjust to the tone of the print. This delicate process requires great skill and practice, and can take up to several hours. After a correct spot retouching, the print reaches a very high degree of perfection. A good retouch is one that is impossible to appreciate, not even using a magnifying lens.

Dry mount

Once the spot retouching is finished, the margins are cut in bleed, and the photographic print is dry mounted on an acid-free, museum-quality mat board, 1.5 mm thick and in a natural white color. For this operation, the heat press is used again, placing a sheet of acid-free thermal adhesive between the photographic print and the support. To protect it from the front, another mat board with the same characteristics, but 2.5 mm thick, is added, to which the window that will show the image has previously been cut out.

The limited edition

With the work already finished, and before framing, I sign in pencil on the front of the mat board, under the lower right corner of the print. Under the lower left corner I write down the numbering of the series (1/30, 2/30, 3/30, ...). All my photographic prints are limited edition, which is extended depending on the size of the work. These are as follows:

  • Silver gelatin prints of 18x22 and 22x18 cm (7x8.6 in), in a limited edition of 50 copies.

  • Silver gelatin prints of 35x28 and 28x35 cm (13.8x11 in), in a limited edition of 30 copies.

  • Silver gelatin prints of 26x26 cm (10.2x10.2 in), in a limited edition of 30 copies.

  • Silver gelatin prints of 45x56 and 56x45 cm (22x17.7 in), in a limited edition of 10 copies.

Each work is delivered to the client with a certificate of authenticity, which indicates the title and year in which the photograph was taken, as well as the format and number that corresponds to it within the limited edition series. This certificate also describes the type of paper used and the toning made to the print. Finally, I add the current date and sign and emboss the document.

To each series must be added, in addition, two more print copies, called Author's Proofs, and numbered as follows: AP 1/2 and AP 2/2. These prints are reserved for the author and his use in his personal portfolio and in some exhibitions. These author's prouf prints, under no circumstances, will be put up for sale.

The final framing

Finally, and if the client's desire is to display the work on the wall, the photographic print is framed. On a regular basis, and due to its elegance and classicism, I usually use solid wood frames with molding of 2 cm wide by 4 cm deep, in an open-pore matte black finish. However, the work can be framed to suit the client, with moldings in other tones of wood and materials, such as aluminum. A glass is placed on the front that will protect the photographic print from the possible aggressions of UV rays and other environmental agents. The entire framing process is carried out with the greatest rigor to guarantee the perfect conservation of the work throughout the years.

The sale of the work

 

The purchase of any of the photographic prints can be made through this same online store. On the page dedicated to each work you can see selection of images, a description and the sizes and limited series in which it can be purchased. The numbering that print occupies within the series cannot be known at the time of purchase, unless it is specified in the product description, and only in the case of being one of the last works for sale. If you want to know the number of the work before your purchase, you can contact me via email info@eduardoalmeida.es, and I will gladly answer you. Since the works are carried out one by one on request, in no case may a work be purchased with a different numbering than the consecutive one in the series.

The pay

 

For payment, you can use a credit or debit card or the secure payment method of PayPal. If you want to make the payment by bank transfer or another method, you must contact me via email info@eduardoalmeida.es, and we will find a solution. Once you have made the payment, if the work is in stock, we will proceed to prepare the shipment to the address you have provided. In the event that the work is not in stock, the creation process lasts around 15 days from the date of purchase. In any case, you will be notified via email with the approximate delivery date.

The Billing

 

You will receive a copy of your order invoice by email at the time of shipment. All the prices that can be seen in this online store include 21% VAT corresponding to the Spanish peninsular territory.

The shipment

 

Shipments are made to virtually anywhere in the world. Most countries are registered in the purchase form, and shipping costs will automatically be added to the purchase price. In the case of not finding your country in the list, please contact me to give you a quote for the shipping costs: info@eduardoalmeida.es.

 

Shipping transit time may vary depending on the destination country. Within the Spanish mainland and Portugal, shipments are made in 24/48 h. For countries within the European Union, transit times usually vary between 3 and 5 days. For the rest of the countries, depending on the distance, the transit time may vary between 5 and 15 days.

 

A meticulous protective packaging of the works is carried out, but even so, all shipments travel insured. It is necessary to review the merchandise within 24 hours of receipt. If when you receive the package you find that there is damage to the packaging, or when you open it you see that the work has arrived with some breakage or damage, you must notify me as soon as possible via email, sending me photographs of the damage and the delivery note: info@eduardoalmeida.es. Once the damages have been claimed, a new work will be sent. If it is not possible to do so, or if you wish, the total value of your purchase will be refunded in the same way that the payment was made.

Conservation of the silver gelatin print

 

From my personal point of view, the purpose of any photographic copy is to be enjoyed and admired, for which the best thing is to hang it on the wall. The ideal place is one that receives enough light to appreciate every detail, and at the same time, safe from direct sunlight. Likewise, the environment must have a humidity percentage within normal limits (between 40% and 60%), since excessively dry or humid environments can affect the durability of the work. It is also advisable to keep the work away from fumes, vapors, splashes, heat sources, excessive dust or grease (I do not recommend keeping the work in small kitchens or bathrooms), as this greatly influences its conservation.

 

For those collectors who normally keep the work, the ideal is to do it flat to avoid deformation. Likewise, they should do it in a piece of furniture that keeps it in a cool and dry environment.

 

By following these tips and with a little common sense, you will be able to enjoy my works for decades like the first day.