My panoramas are shot with a Widepan 617 medium format film camera, which creates 6 x 17cm film transparencies. Fuji Velvia is my film of choice for it's remarkable colour saturation and it's fine grain, which gives nice sharp detail.
I also use a 21 megapixel Canon 5D Mark 2 Digital SLR camera, with a selection of professional quality 'L' series Canon lenses. All digital panoramas are created from seven vertical shots stitched with state of the art software for totally seamless joining. The resulting images are of very high resolution (over 100 megapixels) and make wonderful large prints with high levels of detail.
I shoot as RAW files for maximum quality and process images using Adobe Lightroom and Photoshop.
I use photographic filters such as graduated neutral density filters to obtain the best possible exposure in the field.
My Widepan 617, which shoots panoramas onto 6 x 17cm strips of medium format film.
Print only orders within Australia include free delivery.
International print only orders are charged at a rate of AU$20 for 40 inch or smaller, and AU$40 for prints larger than 40 inches.
All panoramas are limited to a run of 200 prints. Prints are produced with a black border around the image and are named, signed and numbered along the lower edge.
Panoramas are available in a choice of two printing formats.
1. Fujiflex Crystal Archive.
FujiFlex is a high-quality archival printing material for producing vivid color super glossy color enlargements. FujiFlex has excellent smoothness and flatness which produces prints with superb gloss and great clarity. Properly mounted and framed, a Fujiflex print is a treasured item you'll be able to pass down to your grandkids.
2. Fine Art cotton rag paper.
This is a heavy weight printing material made from 100% cotton fibre. These papers give virtually no surface reflections, and reproduce great depth of colour and detail, making for a very immersive print quality. Used for hundreds of years, cotton rag papers are proven to be an extremely stable medium, and when used with archival printing inks, will produce extremely long lasting prints.
Framing and Handling Notes
Please be aware of special handling and framing requirements of Fujiflex. Prints should be handled as little as possible, if at all, before framing. Use clean cotton gloves and avoid touching the print surface. Only unroll your print on a large, flat surface to avoid creases.
Because of the ultra smooth and glossy nature of this material, prints need careful mounting to a smooth substrate typically using special adhesives and a roller press. Improperly mounted prints will exhibit an unpleasant 'orange peel' surface effect which will detract greatly from the appearance and value of the print. Unmounted prints will show a waviness when light is reflected off their surface. Only use a framer who is experienced in the handling and mounting of Fujiflex prints, or order your print fully framed.
My Fujiflex prints are created and mounted by Created For Life, a world class company owned by photography master, Ken Duncan. I receive the print fully mounted to Medium Density Fibreboard, or for an optional extra charge, aluminium sheet, then I personally frame it. This extra process accounts for the higher cost of a framed Fujiflex print, but I can guarantee that it will look superb for many years to come. When framed to a high standard and displayed under quality lighting, the amazing look of a good photograph printed on Fujiflex has to be seen to be believed.
2. Cotton Rag
Because of it's heavy, firm nature, and lack of surface reflectivity, cotton rag papers can be successfully framed without mounting to a substrate. They should however be made as flat as possible before framing, as they tend to stay 'rolled' when removed from their tube. Before framing, I will gently 'reverse roll' the print then sandwich it between two pieces of foam board which are larger than the print. A large number of books and magazines are then placed on top and then left to press for up to a week. It's a good idea to give it another 'reverse roll' after a couple of days, and always leave the protective cellophane over the surface of the print during the entire process, as the matte surface will mark easily, especially noticeable in black areas. Once nice and flat, the print can hinge mounted in the frame, fully preserving the integrity of the print.