Doug Remien

After I expose an image on traditional photographic film, the original is then scanned with a high resolution drum scanner. Next, I create a master digital file utilizing Photoshop within a PC environment. As with an optical darkroom, the digital darkroom allows me to crop, burn, dodge, and color balance, albeit with two significant advantages—precision and repeatability. Traditional darkroom concerns such as color shift, crossover, and contrast can be greatly reduced through the use of sophisticated photographic imaging software. Burning and dodging, an inexact science at best can now be done one pixel at a time before my eyes. Once the image is completed to my liking, it’s printed as an Utlrachrome pigment print from my Epson 9600 large format printer. (Ultrachrome pigments are chosen for their broad color gamut and their resistance to fading of over 100 years.) While on location, the images are captured with one of three cameras: Pentax 67 II, Fujinon GX617, and Wisner Field 8×10. (In layman terms the Pentax exposes a transparency four times larger than 35mm, while the 8×10 is 53 times larger!)