Image © Cate Scaglione, Ballerina. Processing by Jonathan Penney.

I started out in high school, 40+ years ago, but my focus (pun intended) shifted soon after to darkroom printmaking. In 1990, I started a company providing custom B&W printmaking; in 2001, we switched over to digital, and currently offer creative editing and Giclee printmaking on fine art papers to professional photographers all over the country.

Initially I was fascinated by the photographic process; how physics, optics and chemistry all come together to capture a slice of time and preserve that moment forever. Later, I began to see the artistic possibilities for creating imagery.

The transition over to digital was just as tumultuous for me as with everyone at the time. The new workflow was fraught with new, unique pain-points and difficulties. As a printmaker it was frustrating at times; the early equipment was expensive, slow and unreliable and image editing software had very limited capabilities. Luckily, within 2 years, I was making better prints than I ever did in the darkroom; improved software afforded greater possibilities in creative imaging.

My personal style tends toward dark, dramatic and brooding; more toward an illustrative look. I love to produce imagery that blurs the line between photography and classical art. The use of programs such as Exposure and Snap Art, along with my own texture layers, are critical to achieving the look.

Image © Linda Long. Processing by Jonathan Penney

Basic Steps

There are several critical elements to producing compelling images. My approach to the editing and printmaking process is to first identify the story. My edits always focus on providing a clear distinction between subject and background, making use of local contrast, density, color and sharpness. Secondly, I look to bring the subject “forward” and let the background “recede,” providing a dimensionality in an otherwise 2 dimensional image.  I like to think of it as “sculpting” the image. Thirdly, I make use of creative treatments such as filters and textures that help to tell the story with style and impact. Lastly, it is important to choose printmaking and finishing options that support the story in it’s final presentation as a print that is hung on a wall or assembled in an album.

Image © Aaron Gil. Processing by Jonathan Penney

Issues

I do get problematic files from photographers periodically. When I do, they usually fall into one of three categories: low resolution, improper exposure and blur/shake. These all respond well to a treatment using texture overlays and a detail plugin; by moving toward a more graphic or illustrative look, the problems are minimized.  Snap Art 4 performs miracles with these types of images.

Image © Roger Mathis, New Orleans. Processing by Jonathan Penney

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Jonathan really does produce amazing edits. The images are completely transformed into a piece of art that we can all appreciate. Jonathan is working on tutorials that demo his workflows using Alien Skin products. He has more plans up his printmaker sleeve, too. Stay tuned!