Sumeet Banerji & The Shroomscapes Series

By examining our world from the viewpoint of a Portobello Mushroom, Sumeet Banerji's Shroomscapes strives to challenge how we see and interpret beauty.

Each photograph begins with Sumeet zooming in on his fungal subjects, giving the viewer a new awareness of its structure and design.

Using only a cylindrical pinhole camera with 120mm film, Sumeet produces his images using a 2 hour exposure time. The result – beautiful, detailed photographs that leave you wanting more.

. . .

After spending the summer working on Shroomscapes during his residency at Dickerman Prints, Sumeet sat down with us to chat about photography, pinhole cameras, life, and mushrooms.

To experience Sumeet's work, please join us on Thursday, September 28, 2017, at Dickerman Prints Gallery for an opening night reception for The Residents. (RSVP HERE)

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DICKERMAN PRINTS GALLERYHow did you get started in photography?

SUMEET BANERJI: "As a child, I practiced drawing in an obsessive way. I was a little nuts. I felt it was foundational to establishing a visual language, like if I could learn how to draw, I would be able to speak through pictures. Drawing trains you how to communicate where things are in space. It makes you understand how to make something look large or small. When you study drawing, you are really learning how the human brain processes the visual field.

Drawing was my start in photography. I think that my photographic work now is often a deliberate manipulation of the perceived scale and viewpoints of things. These trends in my photographs are in large part due to my drawing practice."

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DPG: What does photography mean to you?

SB: "For me, it’s a kind of puzzle, a way to challenge the mind. You have to be able to look at a three dimensional visual field and have an intuition about how it is going to flatten visually. 

Using a pinhole camera with film, the way I shot the Shroomscapes, there was no viewfinder so I couldn’t see what I was doing at all. I calculated and visualized what I could–after that it was a complete mystery until I developed the film." 

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DPGWhat has your biggest challenge been as a photographer?

SB: "I want people to come back to my pictures many times and always find new things. That’s the basic aim: to make a picture that doesn’t lose its impact over time. I’ve found the best way to do this is through my editing process.

Often, I won't look at the pictures I've taken for a long time, creating the possibility of an emotional disconnection. It has to feel like someone else’s work before I can be objective. In the case of The Shroomscapes, I didn’t look at them for five years. If I look at work I’ve made after a long time and still feel an emotional connection to it, I put it out."
 

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DPGWith your shroomscape series- what was your process with the pinhole camera? What were some of the challenges of this project for you?

SB"The Shroomscapes are made with extremely low tech items. There is no post processing/manipulation. The prints show exactly what was captured on film. The images were made with a cylindrical box (pinhole camera), a portobello mushroom and 120mm film. The warping (in this case straightening) effect is from how the film was wound. The pinhole camera was put right inside the portobello mushroom, within an inch of the stalk so there was very little light. The film had to be exposed for two to three hours. 

It is a photographic take on the very old tradition of still life painting. The long exposures made it like oil painting where the image could be manipulated slowly and deliberately.

There is an essay called 'In Praise of Shadows' by the novelist Junichiro Tanizaki that talks about the beauty of shadows and dark spaces. I wanted to capture an image that was in almost total darkness, showing us something from the real world that we can only see through the photographic process–darkness and shadows.

The images that resulted were tonally delicate. Small shifts and inconsistencies in the printing dramatically change the impact of the images. Gabriel, Seth and Garnell at the studio were able to bring the pictures to life in the real world in a very special way."

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DPG: What is the future of this body of work?

SB: "I want to expand the series, take more Shroomscapes. Possibly a survey of different species of mushrooms taken with pinhole cameras. I also want to create a series of Cabbagescapes, Avocadoscapes, and maybe even Flowerscapes."

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DPGDo you have any new projects you’d like to tell us about?

SB: "I am starting to release my pictures in a series of volumes. It's going to be a collection of my photographic work in books with small pigment prints inserted into the books. It's a good way to see and own all the work in physical form.


Volume 1 contains four series (including the Shroomscapes) with essays and is coming out this month."

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To see more of Sumeet Banerji's work and for contact information, please visit his website.

Igniting A Revolution: An interview with Kelly Johnson

For fifteen years, Kelly Johnson has been documenting progressive movements. 

From the climate movement, to Black Lives Matter, the fight to increase minimum wage, Kelly Johnson aims to show humans healing the sick systems and institutions we ourselves created.

We recently sat down with Kelly to discuss her time as an artist-in-residence at Dickerman Prints, as well as her thoughts on photography, life, and the revolution. To experience Kelly's work, please join us for the opening night reception of The Residents.

Thursday, September 28, 2017
6:00 - 9:00pm
RSVP HERE


DICKERMAN PRINTS GALLERY: What portfolio or project are you currently working on during your residency at Dickerman Prints?

KELLY JOHNSON: "I am working on a project called Direct Action, depicting activists working for various issues by stopping business as usual."

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DPg: Can you tell us one of your favorite stories from your life as a photographer?

KJ"One of my favorite times I experienced as an activist/documentary photographer was my time at #Occupy SF. I slept in a tent in downtown SF for 3 months and built relationships with activists all over the bay."

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DPgI’m sure, like most of us, you have a point in time where photography caught a hold of you. When did you become a photographer in earnest?

KJ"As a child I moved 18 times by the time I was 18 so I was always saying goodbye to friends and family so I was always taking photos. When I was 21 I started working at a lab and getting shooting gigs and started my own business and one day I realized omg I’m a photographer. I was 25 at the time and have been shooting professionally ever since."

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DPg: Out of your movement portfolio, do you have one in particular that was your favorite to shoot?

KJ: "The bay bridge image is my most popular and famous image and I was very honored to be invited to that action. I will say I was so excited that I did not shoot that much that day so I was lucky to get such an iconic image."

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DPG: You do abstract painting as well. Which medium do you prefer and why? 

KJ"My abstract work is photoshop collage of images that I do various things to in photoshop. I have worked in oils and acrylic with collage but photoshop is so fun and unlimited."

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DPGDo you have any suggestions for those who want to get involved with shooting movements?

KJ"The reason I document the progressive movement is because it is the single most important movement in human history. The life and health of the species is resting on the success or failure of the humans who stand up to save us all. If we fail we are done here. So my advice is care."

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DPG: Any new projects that you have in the works? 

KJ"After being in the bay for 5 years now, I have decided to restart my portrait business here in the bay. I am very interested in working with local artists and doing editorial portraits that are interesting and unique, that the artist and I build in collaboration. I have already started working with a couple artists but have yet to start shooting."

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To see more of Kelly Johnson's work and for contact information, please visit her website.

 

 

 

 

 

An Interview with Jordan Reznick

Meet Jordan Reznick (pronoun: they) — photographer, scholar, activist, educator, and artist-in-residence at Dickerman Prints.

Jordan's passion is photographing communities of people with whom they are intimate: exploring both the agency and vulnerability of their subjects.

Jordan Reznick's Queer Babes series — which is the centerpiece of their residency at Dickerman Prints — was recently exhibited at Aperture Foundation in New York and Romer Young Gallery in San Francisco, as well as being honored with a feature in Vice i-D Magazine.

Some of Jordan's other work includes a series documenting a cooperative community in Oregon — where they lived — and an in-depth exploration of their immediate and extended family.

Jordan received a BFA in Photography from New York University, and an MFA in Photography and an MA in Visual & Critical Studies from California College of the Arts. Currently, Jordan is a PhD Candidate in Visual Studies at UC Santa Cruz.

To experience Jordan's work, please join us on Thursday, September 28, 2017, at Dickerman Prints Gallery for an opening night reception for The Residents. (RSVP HERE)


Dickerman prints gallery: WHEN DID YOU GET STARTED WITH PHOTOGRAPHY?

Jordan Reznick: "My father was a photographer. I grew up admiring his strange photographs and smelling darkroom chemicals. He taught me to use a manual camera when I was ten. I’ve been photographing ever since. "

Oriah twists (2011), from We Wish That We All Have a Wonderful Life

Oriah twists (2011), from We Wish That We All Have a Wonderful Life


DPG: WHAT'S YOUR FAVORITE KIND OF PHOTOGRAPHY TO TAKE AND WHY? (EX. PORTRAITS, LANDSCAPES, ETC )

JR: "I take photographs of people. For years I avoided photographing people because of the power relationship involved and my own discomfort with the interaction—I’m pretty shy. However, over the years, I realized that all of my favorite photographs are photographs of people. In a photograph you can stare at some one in the face at length in a way you rarely can in person. Photographs of people captivate me in a way that landscapes never do. 

However, because of the power relationship involved and the politics of representation, I choose to only photograph people with whom I am intimate or have a shared sense of vulnerability. I want my images to be honest and vulnerable, and I also want my subjects to feel that they have power over how they’re represented."

Rhae, San Francisco, California (2017), from Queer Babes

Rhae, San Francisco, California (2017), from Queer Babes


DPG: WHAT PROJECT(S) ARE YOU WORKING ON DURING YOUR RESIDENCY AT DICKERMAN PRINTS?

JR: "I’m working on the Queer Babes project. It’s a portrait series that explores the complexity of gender identity and beauty within the queer and trans community today."

Christiaan, Rosemead, California (2016), from Queer Babes

Christiaan, Rosemead, California (2016), from Queer Babes


DPG: FOR YOUR QUEER BABES SERIES, DID YOU HAVE A PERSONAL CONNECTION TO THOSE YOU TOOK PHOTOGRAPHS OF? OR WERE THEY STRANGERS? IF YOU KNEW THEM, DID YOU COME UP WITH IDEAS BEFOREHAND OF HOW YOU WANTED TO SHOOT EACH INDIVIDUAL OR PERHAPS YOU COLLABORATED WITH THE MODEL?

JR: "I began the project by photographing my friends and lovers, but since then the project has expanded to include new people I meet and people that I had not met until approaching them about the project. Many people that I did not know before, I now count as my friends. I feel really lucky in that way. 

I photograph each person in or around their home when possible. I don’t plan the photograph beforehand, but try out several settings once I arrive for the shoot. There is sometimes a sort of collaboration about outfits and backgrounds, but it really depends on the person. Every shoot is an entirely different experience. Sometimes making photographs is only a small fraction of what we do."

Eric, San Francisco, California (2016), from Queer Babes

Eric, San Francisco, California (2016), from Queer Babes


DPG: WAS WE WISH THAT WE ALL HAVE A WONDERFUL LIFE SHOT IN A PARTICULAR PLACE? CAN YOU EXPLAIN A LITTLE BIT MORE ABOUT THIS PROJECT? 

JR: "We Wish That We All Have a Wonderful Life is a project exploring my family. I photographed my immediate and extended family in different parts of the country, exploring what it was like to photograph while experiencing shared vulnerability with my photographic subjects. I photograph from a place that is embedded within my relationships with my subjects rather than as an outside observer. "

Mom's orange tree (2012), from We Wish That We All Have a Wonderful Life

Mom's orange tree (2012), from We Wish That We All Have a Wonderful Life


DPG: LAST BUT NOT LEAST, DO YOU HAVE ANY NEW PROJECTS YOU'D LIKE TO TELL US ABOUT?

JR: "I am working on developing a new project and all that I will say about it is that it’s pornographic, dirty, and fun." 


To see more of Jordan Reznick's work and for contact information, please visit their website.

The Power of Self-Representation: Deirdre Visser and Skywatchers

Dickerman Prints is grateful for the opportunity to have collaborated with the Skywatchers project - a multi-disciplinary endeavor that brings to light the complex interaction of social, political and economic forces in San Francisco’s Tenderloin neighborhood.

After printing a series of self-portraits for a recent Skywatchers exhibition, we had the pleasure of chatting with Deirdre Visser - Director of Community Engagement for Skywatchers, local Bay Area educator and curator at the California Institute of Integral Studies (CIIS). Her latest project, "I am a Skywatcher, Too," communicates the stories of different subjects through self portraits.

To make the project as approachable as possible, Deirdre kept her setup simple — a white sheet in the corner of the Luggage Story Gallery and a digital camera on a tripod. 

After helping set the proper exposure, Deirdre would hand off the remote control shutter release and let her subjects become the photographer. Then, once they had created a collection of images, Deirdre would show them the photos and let them choose their favorites for printing.

Deirdre Visser with the self portrait series 

Deirdre Visser with the self portrait series 


What does this project ultimately mean to you personally and how exactly did you get involved? 

"I got involved in the Tenderloin about 5 years ago through Anne Bluethenthal's Skywatchers program, an awesome multidisciplinary performance project in which neighborhood residents — particularly folks who live in Community Housing Partnership sites — work collaboratively with professional artists to create works that draw on the histories and concerns of the residents. Anne is a colleague and a dear friend, and Artistic Director of ABD Productions/Skywatchers. I started coming to Skywatcher events as the official photographer and as I got more involved in the program, I started helping with strategic planning and organizational development, but all of those processes are rooted in the Skywatcher community.

Two years ago I did a portrait project with Skywatcher participants, but in that case — though they chose their favorites, and wrote accompanying text pieces about what it means to be seen, and what passersby don't see — it was me making the photographs. It was always clear that the next step was to create the structure in which they would make self-portraits.

While I feel very much a part of this community in some ways, and love the collaborative work we do and the relationships we build, I don't have to daily confront the very deep challenges of the neighborhood."

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How did you get people to participate?

"Over three weeks before Christmas and Hanukkah, I opened up the space at Ellis and Leavenworth and invited neighbors to come make a portrait. We gave them an 8x10 print, and promised that all would be represented in a late January exhibition. 

I often headed out onto the streets of Ellis and Leavenworth, asking people to come into the gallery and take a photo ... welcoming anyone that wanted to participate. I also set up the same sheet, camera, and tripod scenario for the gallery's holiday party - and that inspired a few group portraits that became apart of the series."

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What kind of post work was done?

"Hardly any, if at all. Most of the time, I would send the images off to Seth Dickerman and let him work his magic with the images. " -Deirdre Visser

"This was a wonderful project to print.  These are very moving self portraits by people who do not normally have the means or wherewithal to have their portraits made at all. I was happy to use my skills to print these portraits with the care and attention which they deserve. I wanted them all to be heroes!" -Seth Dickerman, Photographic Printer 

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Besides Rita, is there anyone else you built a special connection with in particular? Or, did you become close with all your subjects? 

"I have an especially close relationship with Rita because I was in a position to help her navigate the health system at a crucial juncture in her life. It was a very intimate time over many months, as medical advocacy can be. While I love and respect many of the other Skywatcher ensemble members, Rita and I are a special case."


Do you believe that this project brings positive light to a community that is often ignored and associated with negative affiliations? ( ex. the Tenderloin is referred to as one of the roughest areas of SF )

"Folks who hold power in our society are much more able to control their own representation; my desire is to create the framework for everyone to have an opportunity to represent themselves. For this project I stood out on the sidewalk and invited neighbors to make a self-portrait in a very simple studio setting I created. Everyone got an 8x10, and through Seth's generosity, many participants got larger proof prints as well.

The Tenderloin is many things, and sometimes what's lost in the telling by those who don't live there is our shared humanity. I hope that viewers can see that in these images."


Do you have plans to continue this line of work or do you have another community building project in mind for the future?

"I don't yet have the next thing in mind, but I think we've started something that I'd like to build on. I also think there's room to consider a book project with these portraits, perhaps accompanied by their writing.

Next up on my plate with Skywatchers is a leadership training project which I am working with Anne and the Skywatcher team to design and implement. The intention is that participants increasingly take control of the program planning."

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More About Skywatchers: 

"More than five years ago Anne Bluethenthal and ABD Productions (ABD) initiated the Skywatchers project in collaboration with Community Housing Partnership (CHP) in order to engage formerly homeless residents of the Tenderloin in high quality creative experiences that illuminate their lives and stories.

The CHP residents, too often reduced to statistical data, become storytellers, co-creators, performers, and audience members—working in close collaboration with ABD dancers and associated artists.  The connectivity intrinsic to creative collaboration is helping participants build trust in each other, and nurturing the desire for self-efficacy.

The humanizing impact of sharing one’s own story, both to be heard and to see that story in a broader social context, creates the space for participating residents to imagine and manifest change."

Special Thanks to Darryl Smith at The Luggage Store for generously sharing the 509 Ellis space for both the shoot and the exhibition.

Printing Music's Biggest Legends at Dickerman Prints

As one of rock ‘n’ roll’s preeminent photographers, Ethan Russell chronicled the everyday life of music’s most iconic faces: both on stage and off.

Keith Richards Exits “The Starship” 1972 US Tour. Photograph by Ethan Russell Copyright: © Ethan Russell

Keith Richards Exits “The Starship” 1972 US Tour.

Photograph by Ethan Russell
Copyright: © Ethan Russell

 

Ethan Russell's Career as a Rock & Roll Photographer

During a storied five-decade career, Russell photographed Janis Joplin, Eric Clapton, Paul Simon, k.d. lang, Audioslave, The Doors, John Lennon and Yoko Ono, to name a few. He also is the only artist to shoot album covers for The Beatles, The Rolling Stones and The Who.

Astonishingly, much of Russell’s music photography went unseen for nearly 30 years. Only recently have these historic images been dusted off, scanned, restored and printed.

Long removed from his darkroom days, Russell now prints his iconic images at Dickerman Prints: a custom photo lab in San Francisco. By fusing digital technology with traditional darkroom techniques, the lab creates timeless prints on extraordinarily elegant papers.

 
John Lennon and Yoko Ono “Cat” Photograph by Ethan Russell Copyright: © Yoko Ono. All rights reserved. Used with permission

John Lennon and Yoko Ono “Cat”

Photograph by Ethan Russell
Copyright: © Yoko Ono. All rights reserved. Used with permission

Linda Ronstadt. “Hasten Down the Wind.” Malibu 1975. Photograph by Ethan Russell.         Copyright: © Ethan Russell

Linda Ronstadt. “Hasten Down the Wind.” Malibu 1975.

Photograph by Ethan Russell.        
Copyright: © Ethan Russell

 

Creating Timeless Photographic Prints With Seth Dickerman

Recently, Ethan Russell and Seth Dickerman sat down for an interview with Rangefinder Magazine. What follows is an excerpt from the article.

"Back in the days when Russell lived in England, he worked with a lab run by a father and son who did traditional gelatin silver prints. Years later when he moved back to San Francisco, he couldn’t find a local printer who could match the quality of their analog work. “It was always a struggle,” Russel recalls. Whenever he needed a print, he flew down to Los Angeles. Then, in 2011, he was introduced to Dickerman Prints, a full-service San Francisco lab founded in 1996 by Seth Dickerman, that had switched to digital process in 2007.

“I was nervous about it,” Russell says of trying digital prints. The first piece Dickerman produced for him was a 30x40” print of Keith Richards in rehearsal, a memorable shot. Richards was beyond pleased with the result. “As soon as I saw it,” he says, “I decided I could move away from analog printing.” He’s worked with Dickerman exclusively ever since.

“We work together, but Seth has a determination and patience that I sometimes lack,” Russell admits. 

Russell is in the lab with Dickerman at least once a week, if not more. Depending on demand, Dickerman Prints may produce a single 8x10-inch print for a collector in a week, or up to 60 images for an exhibition.

“Seth will take an image and make it better. He understands the direct relationship between the digital file and the paper.”
 
Gabriel Agiular, Garnell Boyd, Seth Dickerman and Ethan Russell (left to right) 

Gabriel Agiular, Garnell Boyd, Seth Dickerman and Ethan Russell (left to right) 

 

Choosing the Perfect Paper for Ethan Russell's Rock Legends Photography

While preparing for a recent, Russell wanted something other than his typical framed or mounted prints. The weight of Entrada Rag Bright allowed his large-format photographs to be hung using magnets, while ensuring the print would not ripple when exposed to the elements.

This simple and elegant solution left the prints uncovered, allowing the viewer to truly appreciate the stunning images without distraction.

After seeing the results, Russell is excited to continue using Entrada Rag Bright for future shows. He especially loves how the paper brings out the best in both color and black and white photographs. The Beatles would certainly have approved!

Click here to see more of Ethan Russell's work.

 
Ethan Russell's photography - printed on Entrada Rag Bright and on display at the 501 Gallery in Sherwood Park, Canada

Ethan Russell's photography - printed on Entrada Rag Bright and on display at the 501 Gallery in Sherwood Park, Canada

The Rangefinder article on Ethan's career and his collaboration with Seth Dickerman - as seen in the January 2017 issues

The Rangefinder article on Ethan's career and his collaboration with Seth Dickerman - as seen in the January 2017 issues

Daily Life at a Photo Printing Lab - a behind the scenes tour

ever wonder what it's like to work at a photo lab? 

From helping people create art to editing photos, scanning film, chatting about a print and catching a whiff of darkroom chemistry, there's always something new going on.

Now, go behind the scenes and explore daily life at Dickerman Prints - a modern photo lab in San Francisco.

 

Come visit our beautiful, light-filled lab space in the South of Market (SOMA) district.

Come visit our beautiful, light-filled lab space in the South of Market (SOMA) district.

Here's what our print shop looks like from across the street. We are conveniently located at 1141 Howard Street in San Francisco. We've got plenty of street parking! 

Here's what our print shop looks like from across the street. We are conveniently located at 1141 Howard Street in San Francisco.

We've got plenty of street parking! 

 

PHOTOGRAPHY, HISTORY, ESPRESSO & MORE

 

In addition to being a photo lab, Dickerman Prints is a gallery, coffee shop (complimentary, of course!), photographic history museum and an inviting place to learn how to create the best prints possible.

Start off your visit with a cup of organic espresso or tea in our communal area.

Take some time to enjoy the fine art photography displayed on our walls.  

Chat about the latest trends in photography ... or peruse 70 years of photographic magazines.

Then, finally, settle down in your own calibrated workstation to edit and print your photographs using our DIY service.

 

YUP! WE STILL PROCESS FILM

 

Part of being "your darkroom for the digital age" means that we still provide traditional C-41 film processing in both color and black & white. Each roll of film is individually developed with fresh chemistry, ensuring that your precious film gets the very best ... every time. 

That trusty ol' clock has been timing down film processing for decades.

That trusty ol' clock has been timing down film processing for decades.

 

This is our Wing-Lynch C-41 film processor

Reel of films are hand-processed in small batches, using only clean and fresh chemistry.

Reel of films are hand-processed in small batches, using only clean and fresh chemistry.

 

HI-RES SCANNING

 

Our wide range of scanning options are the perfect way to breath new life into an old image! From film to slides, existing prints, flat art and even large paintings, our expert staff is ready to create high-quality digital files from your analogue originals.

 

IMACON SCANNING                       FLATBED SCANNING               DURST SIGMA PLUS SCANNING

                                    HEIDELBERG DRUM SCANNING        LARGE FLAT ART REPRODUCTION  

Gabriel prepares to scan a roll of film in our Durst Sigma Plus scanner.

Gabriel prepares to scan a roll of film in our Durst Sigma Plus scanner.

 

CUSTOM & DIY C-PRINTING

 

USING THE WORLD'S BEST PHOTOGRAPHIC PRINTER! 

Our world-class Polielettronica Laserlab "Polie" digital C-printer is the best of both worlds — using digital technology to emulate the darkroom process ... in under 8 minutes! 

First, red green and blue lasers activate the photographic paper, which embeds your image into the very fibers of the paper. Next, your print travels through a traditional bath of darkroom chemistry and a high-powered dryer.

Finally, your beautiful new print drops into a wooden tray — dry, ready to hang and of the highest possible quality. 

Should you want to manage the process yourself, our DIY service allows you to use the Polie to your heart's content. Or, if you would rather give us a file and let us work our magic, we also offer custom printing services.

PolielettronicaLaserlab
 

ARCHIVAL PIGMENT PRINTING

 

Whether you want to go BIG or just want a wider selection of papers, our custom Archival Pigment Printing is the way to go.

Sometimes called Giclée or inkjet printing, our Epson 11880 printer represents the state of the art in pigment printing. It’s 64-inch wide paper path allows the creation of prints up to 64×96 or larger.

Additionally, our expert staff will ensure your image is optimized for the paper of your choice ... and that you're completely happy with your print.

 

THE PERFECT PAPER FOR YOUR PRINT

We offer a carefully selected set of archival papers and canvas designed to provide the very highest quality across a variety of finishes and textures: perfect for fine art and commercial applications.

Not sure what paper might suit your image best? Let us help! 

Our Epson Stylus Pro 11880 inkjet printer

Our Epson Stylus Pro 11880 inkjet printer

 

Whether it be a DIY print, custom print, or a pigment print, our team loves to help customers achieve the best possible print.

Here's Gabriel working with a customer to get the colors in her image just right.

 

 
 

WE LOVE OUR CUSTOMERS!

 

One of the most rewarding parts of working for a fine art photo lab is seeing all the wonderful images that come out of our printers! There's always something new ... and we love seeing the smile that comes across someone's face when they first see their new print.

 

ENSURING PERFECTION

 

We love to have fun at Dickerman Prints. We also take our work very seriously, and demand perfection from every print we produce. From start to finish, our expert staff ensure that every pixel and inch of your photograph is the best it can be.

 

Garnell carefully examines and marks up a print, before preparing the next round of edits

Garnell carefully examines and marks up a print, before preparing the next round of edits

 

DICKERMAN PRINTS GALLERY

In addition to being a photo printing lab, Dickerman Prints Gallery is dedicated to exhibiting and promoting the work of our vibrant photographic community.

With subject matter as diverse as the artists we serve, past exhibitions have featured some of San Francisco's most well-known photographers. Additionally, we regularly curate group exhibitions ... and our gallery is home to an always-rotating collection of fine art photography.

 

Interested in seeing more?

Come on by! 

 

10 Tips for Mastering Landscape Photography

Mastering landscape photography can be a lifelong pursuit.

From chasing the best light to shooting in inclement weather, dealing with crowds and lugging your prime lenses on a long hike, landscape photography is full of challenges. That said, there's no greater feeling than being surrounded by nature, pressing down the shutter and knowing you've just created a masterpiece.

Now, to help you on your next outdoor adventure, we've assembled a collection of simple yet powerful techniques to improve your landscape photography.


 

1. UNDERSTAND depth of field AND FOCUS

>> In landscape photography, focus is of paramount importance. For sweeping vistas, the simplest way to achieve sharp photos is to use a small aperture setting (such as f/8, f/16, etc ). The smaller your aperture (and larger the f/stop number), the greater your depth of field.

Here's a great overview of aperture and depth of field.


2. Work with weather

>> Sure, photographing landscapes on a bright and sunny day will produce nice and even images. However, braving the elements and shooting in inclement weather can lead to something far more striking, emotional and awe-inspiring. When preparing for your outing, make sure to scout your location beforehand and check the weather conditions in advance. Also, remember to protect your gear by packing preventive measures, such as a rain cover for your camera, cloths to wipe down your gear, extra batteries if it's cold ... and proper clothes for yourself.

Photography by Niall David  Follow Nial on Instagram - Facebook - Twitter 

Photography by Niall David 

Follow Nial on Instagram - Facebook - Twitter 


3. Tripods can be your Best Friend 

>> Most people use a tripod to prevent camera shake and ensure their photos come out sharp in low light or small aperture situations. However, for landscape photographers, "the waiting game" is another key reason to use a tripod. Basically, you'll want to find a perfect spot, put your camera on a tripod, frame your photograph ... then sit around and wait for the perfect light and moment to present itself. For extra insurance when it comes to camera stillness, consider investing in a cable or wireless shutter release.


4. Experiment with your Foreground 

>> One element that can make or break your landscape image is the foreground. When setting up your shot, consider using leading lines; or, try placing your horizon lower to capture a different and interesting perspective. Don't forget about your depth of field and remember to keep your aperture on the larger side to keep as much of your image in focus as possible. 


5. USE LEADING Lines


>> Leading lines are extremely vital when it comes to photography, as you'll want to guide your viewer’s eyes across your image. Lines can help you guide your viewer's eye to the main point of interest and  also create a  feeling of depth and scale to your image. A few examples of natural leading lines you might find would be roads, railroad tracks, streams, pathways, etc. 

Photography by Greg Goodman  Follow Greg on Instagram - Facebook 

Photography by Greg Goodman 

Follow Greg on Instagram - Facebook 


6. Don’t forget about the sky!


>> A truly great landscape photograph has a well balanced mix of beautiful sky and captivating foreground. However, Mother Nature, time constraints or happenstance may have other ideas. In those situations, don't be afraid to focus on one of the two elements and see how the other falls into place. An interesting foreground can sometimes make up for a bland sky. Conversely, many landscape photographers fill most of their frame with a beautiful sky of dark or dreamy clouds. It's amazing how many different emotions the air above can convey. Have fun and experiment.

Photography by Josh Berger Follow Jsh on Instagram - Facebook 

Photography by Josh Berger

Follow Jsh on Instagram - Facebook 


7. The Power of Movement 

>> Though landscapes are usually sought after for their peaceful, quiet and overall serene qualities, landscapes can be a perfect place to capture movement. Take a moment to look around you and observe the wind rustling through the trees, birds in flight, waves crashing over rocks and even clouds moving overhead. 


8. Two words - Golden Hours

>> Twice a day, the landscape is bathed with beautiful golden light ... instantly making any photograph more warm, vibrant and magical. Specifically, the "Golden Hours" are the times just after dawn and just before dusk, when the sun is still low on the horizon. The light is a perfect shade of gold, which can create many interesting elements such as shadow, silhouettes and patterns. 


9. Find your Focal Point


>> Focal points are a crucial factor when it comes to photography. Without them, your image can come off as empty, dull and lacking purpose, which tends to make viewers move on rather quickly. Think carefully about your composition and always consider the rule of thirds to make your images come alive. You focal point could range from a building or structure to an interesting rock, tree, animal, person ... sky's the limit, so go out there and get creative!


10. Have fun and Experiment!


>> Photography is about having fun, so always remember to try new ideas and concepts and get out of your comfort zone! Good luck shooting!

Why Prints Still Matter

In a world of digital media files, why does printing photographs still matter?

Whatever camera you use to make a photograph, a print is still the ultimate expression of your creative vision. Plus, they don't need power plugs to survive.

First, let's discuss the nostalgia of prints...

Forget what you've learned about the technical aspects of photography and remember why we press the shutter in the first place.

We photograph to remember ... to capture a moment in time that allows us to control both what we see and what the viewer takes away from the shot. Printing photographs allows a much more meaningful way to observe, improve and appreciate all the effort that goes into the work.

A printed photograph becomes a real object. It's something you can hold and touch, rather than an image among thousands you can see on a screen. 

 

A print will last a lifetime

One of the best parts about printing a photograph is that prints typically withstand the test of time. Most professional papers are guaranteed to last at least 100 years, and a quick Google search for "photography from the 1800s" shows that your prints will probably last even longer.

Now, compare that to digital files and think about how technology is constantly changing. Remember floppy discs? VHS cassettes? Zip Drives? Even CDs/DVD's are on their way out. Apple has been ensuring this for years, as Macbook Pros don't even come with disc drives anymore. 

With prints, you'll be able to leisurely enjoy your work for years to come ... without the worry of computer crashes, hard drive backups or rapidly changing technology. Sure, your negatives will still be digital, but at least you'll also have something tangible.

 

Prints help you grow as a photographer

Prints are also the best way to receive feedback on your work. If you are looking to improve and receive critiques on your photography, the easiest way to do so is by showing someone your prints.

Holding your printed work allows a fresh perspective where you will be able to notice different facets of your work that you might have missed before. Parts that are too dark, too light, dust, color variation...these are all things that might be overlooked on a computer screen.

Plus, a print will help you determine if you have correctly calibrated your monitor. 

 

Printing matters as a professional photographer 

As a professional and full-service photographer, there are many benefits to being able to produce high quality prints of your work. Let's explore a few reasons why:

 

CUSTOMER EXPERIENCE

Making prints for your clients shows that you care about their customer experience. Providing their images in their final polished form also shows that you are a full-service photographer, which is a rarity nowadays. 

Image a scenario where a potential client wanted to see photographs of a wedding you shot. Instead of only being able to provide images on a screen, you can dazzle them with prints that they can physically hold and appreciate. It shows you care about your work, and are willing to go the extra mile to give your client what they want. 

 

ADDITIONAL REVENUE

As a photographer, offering printed photographs gives the opportunity to make additional income instead of just making money from session fees. 

 

QUALITY CONTROL

Quality control is essential for a full-service professional photographer! When you make prints for a client, you can control the quality of the finished product ... as opposed to leaving it up to your patron to produce their own (potentially off-color and low quality) prints.

 

SUPPORTING THE ART INDUSTRY

Above all, printing your work supports the intricate web of the art industry ... much of which is still locally-owned. In addition to getting a physical print, you are supporting businesses that help artists connect with clients, expand their trade and, above all else, continue doing what we love to do. 

 

So, Why Do Prints Matter?

While the world seems to be propelling into a digital age with access to hundreds of thousands of images at a moments notice, it's important to remember what photography really stands for.

Photography is more than just a paycheck. It's the act of capturing a moment in time and preserving that memory for years to come.

When you take the time to learn how to be a professional and full-service photographer and improve your trade, you show that it's more than just about pictures, it's about loving what you do- and every client wants to see that in their photographer.