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In the early 2000's and after I retired, I discovered the giclee printing process in a small gallery in Skagway, Alaska. I also discovered Adobe Photoshop and slide scanners and digital cameras. 

My work began as simple printing, but soon evolved into complex abstract derivatives of selected images and then into multiple layered images. But the vast majority of my images still begin with a rendition of a natural setting or image. My work reflects the pulsing colors, shadows, light movement that I acquired in my stage lighting and set ­­mountain photography.I want my images to dance, continually unfold, and reveal hidden nuances. I want my colors unusual juxta-positions to not only bathe but seduce the viewer.

So now my work is the accidental result of wanting to print some of my 15,000 images taken during my mountaineering experiences. These images come mainly from my mountaineering experiences in the U.S., Alaska, Canada, Peru, Bolivia, Russian Siberia, and Tajikistan as well as from my garden tours throughout the United States. More recently I have purchased several digital cameras which have replaced my 35mm cameras.

Using Adobe Photoshop CS4, I deliberately manipulate the image to achieve movement, texture, color, shadow play, and the illusion of three-dimensional depth – all resulting in what I term “derivative” abstract work.

I generally work on a several images that have potential for my art. Occasionally I layer one or more images for texturing. During the work process that might require several weeks, I nearly double the number of images from which I might eventually cull more than three-quarters. Along the way I might begin printing several to observe their artistic effect.I then leave the resulting images and return to them during the next several work sessions. I might tweak each a bit, discard another, and perhaps add another layer for effect.

 When I feel that the image has the desired effect, I print it on canvas or textured fine art paper and ready only one of any image for framing. My work is giclee printed on Epson supplied acid-free papers and canvas using an Epson 7600 printer that employs Ultra Chrome inks.My canvas and textured fine art prints are each produced in a certified limited edition of ONE which is framed. Proofs for image control are done on acid-free matte papers that I sell as unframed signed proofs usually in limited editions of 3-8 prints each. I frequently discard entire projects.

Along the way I begin producing up to four wood frames at a time for the images I expect to print – a shop process for which I purchase raw oak stock that I rip, plane, route, and miter for assembly. My textured fine art prints are metal framed under cut matte paper.

David Harrison