jeliza
Location
Seattle, WA, United States
Quick Blurb
Jeliza works with photography, digital and mixed-media tools
Interests
art history, history of typography, alternative photographic processes, pinhole, cyanotypes, fashion, science fiction, space opera, drawing, painting, organic gardening, native plants, weddings, rock and roll, chorus
Skills and Techniques
photography, photoshop, photoillustration, mixed-media, encaustic, collage, charcoal, ink & brush
Find me online @:
http://www.jeliza.net/jepblog/ http://www.jeliza.net http://www.alacartealbums.com http://www.JEPphoto.comGet to Know
I've been a serious photographer since being given my first SLR (a charming Ricoh Pentax 1000 knock-off) when I was 15, and despite pursuing alternate careers in Art History and Computer Science, I always came back to the camera. Eventually, I left my secure job in tech support for the degree program at Photographic Center Northwest; 3 years of nothing but honing my craft, which was an incredible experience! The professors who were the greatest influence on me at the Center were Patricia Ridenour, and Sarah Barsness.
Of course, my initial B.A. in Art History from Willamette University and graduate work in Art History at Tufts University have been invaluable in informing my sense of composition, history, and the uses of art. Since my graduation, my further photographic education has come from the occasional workshop and the mentorship of Janet Klinger, who also is kind enough to continue to be my part-time employer as I transition into the world of freelance. (I have been her studio manager, production manager, assistant, and associate photographer, at various times, since 2003.)
Photographically, I use a lot of different tools, from my trusty old Pentax 35mm, a Kodak Autographic Jr. from 1919, Holgas and a Koni-Omega Rapid, to my digital Canon or Pentax SLRs. My favorite films are Ilford Pan F and Fujichrome 100, but I'll shoot whatever I need to get the job done.
At this point I'm printing entirely digitally (except for cyanotypes and lumen prints), from film scans if necessary. Not only is there more control over the output (especially in consistency, and in dodging/burning fiddly bits that would take hours in the darkroom) but my physical print options are more archival than almost anything I can do in the chemical darkroom.
Most art prints are done in my studio, on an Epson 2200 with the Ultrachrome ink set. For some images, I work with a professional lab to create Kodak Endura, Fuji Crystal Archive or Metal-based photoprints, based on what I feel will work best for the image.
A note on terminology: I tend to call something a photograph if I didn't do anything to it I couldn't do easily in the darkroom, and a photoillustration if it isn't something I could do in the darkroom. (Admittedly, Jerry Uelsmann makes amazing photomontages in the darkroom, but if I'm going to spend that much time with complex masking and multiple negatives, I'm doing it on the computer!)
Digitally, my primary tool is Photoshop, with help from Vue Esprit. I am a member of the National Association of Photoshop Professionals.
Of course, my initial B.A. in Art History from Willamette University and graduate work in Art History at Tufts University have been invaluable in informing my sense of composition, history, and the uses of art. Since my graduation, my further photographic education has come from the occasional workshop and the mentorship of Janet Klinger, who also is kind enough to continue to be my part-time employer as I transition into the world of freelance. (I have been her studio manager, production manager, assistant, and associate photographer, at various times, since 2003.)
Photographically, I use a lot of different tools, from my trusty old Pentax 35mm, a Kodak Autographic Jr. from 1919, Holgas and a Koni-Omega Rapid, to my digital Canon or Pentax SLRs. My favorite films are Ilford Pan F and Fujichrome 100, but I'll shoot whatever I need to get the job done.
At this point I'm printing entirely digitally (except for cyanotypes and lumen prints), from film scans if necessary. Not only is there more control over the output (especially in consistency, and in dodging/burning fiddly bits that would take hours in the darkroom) but my physical print options are more archival than almost anything I can do in the chemical darkroom.
Most art prints are done in my studio, on an Epson 2200 with the Ultrachrome ink set. For some images, I work with a professional lab to create Kodak Endura, Fuji Crystal Archive or Metal-based photoprints, based on what I feel will work best for the image.
A note on terminology: I tend to call something a photograph if I didn't do anything to it I couldn't do easily in the darkroom, and a photoillustration if it isn't something I could do in the darkroom. (Admittedly, Jerry Uelsmann makes amazing photomontages in the darkroom, but if I'm going to spend that much time with complex masking and multiple negatives, I'm doing it on the computer!)
Digitally, my primary tool is Photoshop, with help from Vue Esprit. I am a member of the National Association of Photoshop Professionals.
