jeliza
Location
Seattle, WA, United States
Quick Blurb
Jeliza works with photographic, digital and mixed-media tools, and is a great lover of handmade books and photo narratives.
Interests
art history, alternative photographic processes, pinhole, cyanotypes, fashion, science fiction, space opera, drawing, painting, organic gardening, weddings, feminism, photo album, wedding album
Skills and Techniques
photography, photoshop, photoillustration, mixed-media, encaustic, collage, charcoal, ink & brush
Find me online @:
http://www.jeliza.net/ http://www.alacartealbums.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.
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 Pentax SLR. 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.
For my mixed media, I primarily work with encaustics, beeswax, charcoal, sumi ink, and gouache.
Most art prints are done in my studio, on an Epson 3880 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.
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 Pentax SLR. 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.
For my mixed media, I primarily work with encaustics, beeswax, charcoal, sumi ink, and gouache.
Most art prints are done in my studio, on an Epson 3880 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.
