About my work
All the photographic works displayed on this website have been created entirely by myself, from exposing the scene on photographic film and developing the negative, to the final printing on silver gelatin paper. In this process, no digital technology or manipulation is used, following the artisanal guidelines of the so-called straight photography. The images that can be seen in the various galleries have been digitized from the final photographic print, not from the negative, making them true representations of the original work.
The camera
I mainly work with analog cameras in medium format and large format. Some series, like Cencellada, are captured with a Hasselblad 500C/M and Carl Zeiss lenses. This medium format camera produces 12 square format (6x6) exposures per roll of film, allowing me great freedom in my work.
For scenes with a high level of detail that require the utmost precision, I use a large format camera of 4x5'' manufactured by Keith Canham in the United States. Apart from the inherent quality of a larger negative, this camera allows for precise adjustments of focus and scene geometry. Many of the recent mountain photographs have been captured with this camera. As for optics, I typically use different focal lengths depending on the scene, but mainly lenses of 90, 115, 150, 210, and 300 mm, all of them offering high sharpness and quality.
K. B. Canham DLC45 4x5 in large format camera
The negative
A good negative is the foundation of a good photographic print. Depending on the contrast of the exposed scene, the film used, and how it was exposed, modifications are necessary in the development process to ensure the negative has optimal quality. This is why I always develop the film myself. This allows me to know the characteristics I want to enhance during development to bring them out in the final print.
4x5 in negatives on a light table
The print
For printing the negative, I use various photosensitive papers from Ilford and Foma, all fiber-based and barite-coated, mainly in neutral tone (bromide). I usually prefer glossy finish papers as they produce much deeper and richer shadows than papers with silk or matte finishes.
Conservation treatment
After printing, the photographic prints undergo a selenium toning bath, giving them a tone ranging from neutral gray to a slight purple or warm tone. This selenium toning, followed by an intensive wash of the print in running water for at least one hour, gives them high resistance to color change and yellowing, which will last for more than a hundred years.
Conservation selenium tonning of a print
Flattening
Once dry, the photographic prints are pressed in a heat press at 110°C for a few minutes to keep them completely flat. This is necessary because fiber-based paper tends to curl during drying, making subsequent handling difficult.
Spot retouching of the print
With the prints already perfectly flat, I retouch minor imperfections with a brush (mostly small dust specks projected from the negative), using different water-soluble dyes to match the tone of the print. This delicate process requires great skill and practice and can take several hours. After proper retouching, the print achieves a very high degree of perfection. A good retouching is one that is impossible to detect, even using a magnifying glass.
Spot retouching process of a print
Dry mounting
Once retouching is complete, the margins are trimmed flush, and the photographic print is dry-mounted on an acid-free, museum-quality passepartout, 1.5 mm thick, and in a natural white color. For this operation, the heat press is used again, placing an acid-free thermal adhesive sheet between the photographic print and the support. To protect it from the front, another passepartout of the same characteristics, but 2.5 mm thick, with a window cut out to display the image, is added.
Photographic print dry-mounted, numbered, and signed
Limited edition
With the work finished, and before framing, I sign with a pencil on the front of the passepartout, under the bottom right corner of the photograph. Under the bottom left corner, I note the series numbering (1/30, 2/30, 3/30, ...). All my photographic prints are limited editions, which are extended depending on the size of the work. Currently, they are as follows:
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Silver gelatin prints of 18x22 and 22x18 cm (7x8.6 in), in a limited edition of 50 prints.
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Silver gelatin prints of 35x28 and 28x35 cm (13.8x11 in), in a limited edition of 30 prints.
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Silver gelatin prints of 26x26 cm (10.2x10.2 in), in a limited edition of 30 prints.
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Silver gelatin prints of 45x56 and 56x45 cm (22x17.7 in), in a limited edition of 10 prints.
Each work is delivered to the client with a certificate of authenticity, which indicates the title and year the photograph was taken, as well as the format and the corresponding number within the limited edition series. This certificate also describes the type of paper used and the toning applied to the print. Finally, I add the current date and sign and emboss the document.
Additionally, for each series, two more copies, known as author proofs, are included, numbered as follows: AP 1/2 and AP 2/2. These copies are reserved for the author and for use in their personal portfolio and in some exhibitions. These author proofs will never be offered for sale.
Certificated of authenticity with embossing stamp
Final framing
If the client desires to display the artwork on the wall, the photographic print is framed. Typically, I use solid wood frames with a 2 cm wide by 4 cm deep molding, in a matte black finish with an open pore. However, the artwork can be framed according to the client's preference, with frames in other wood tones and materials, such as aluminum. A glass is placed on the front to protect the photographic print from possible damage from UV rays, moisture, and smoke. All framing processes are carried out with the utmost care to ensure the perfect preservation of the artwork over the years.
Three finished and framed works from Resonance series
Artwork purchase
If you wish to purchase any of my photographic prints and inquire about their availability, edition, and prices, please send an email to info@eduardoalmeida.es, specifying the photograph(s) of interest and, if necessary, the country and postal code for shipping. I will respond as soon as possible with all available options, sizes, serial numbers, prices, and delivery times for the artwork of your interest.
Payment
Payment options include credit or debit card or the secure PayPal payment method. Once the artwork(s) to be acquired is decided, a link will be sent via email to facilitate the payment transaction. If you prefer to pay by bank transfer or another method, please contact me via email at info@eduardoalmeida.es, and we will find a solution.
Once payment is made, if the artwork is in stock, it will be prepared for shipping to the provided address. If the artwork is not in stock, the creation process takes 15 to 20 days from the date of purchase. In any case, you will be notified via email with an approximate delivery date.
Invoicing
You will receive a copy of the invoice for your order via email at the time of shipment. The invoice will detail the value of the artworks, shipping, and the 21% VAT corresponding to the Spanish mainland territory.
If you are an intra-community operator within the European Union and require a VAT-exempt invoice, please indicate this in the billing information.
Shipping
Shipments are made to virtually anywhere in the world. To know the shipping costs of your order, please provide the destination country and postal code to receive a quotation: info@eduardoalmeida.es.
Transit time for shipping may vary depending on the destination country. Within the mainland territories of Spain and Portugal, shipments are made within 24/48 hours. For countries within the European Union, transit times typically range from 3 to 5 days. For other countries, transit times can vary from 3 to 15 days depending on the distance.
All shipments are carefully packaged for protection, but nonetheless, all shipments are insured. It is necessary to inspect the merchandise within 24 hours of receipt. If upon receiving the package, you find damage to the packaging, or upon opening it you find that the artwork has arrived with any breakage or damage, please notify me as soon as possible via email, sending photographs of the damages and the delivery note: info@eduardoalmeida.es. Once the damages are reported, a new artwork will be sent. If it is impossible to do so, or if you prefer, the total value of your purchase will be refunded via the same payment method used for the purchase.
You will also find detailed information on returns in the Returns Policy section of this website.
Silver gelatin prints conservation
From my personal point of view, the purpose of any photographic print is to be enjoyed and admired, for which the best option is to hang it on the wall. The ideal location is one that receives enough light to appreciate every detail while being protected from direct sunlight. Likewise, the environment should have a humidity percentage within normal limits (between 40% and 60%), as excessively dry or humid environments can affect the durability of the artwork. It is also advisable to keep the artwork away from smoke, vapors, splashes, sources of heat, excessive dust, or grease (I do not recommend keeping the artwork in small kitchens or bathrooms), as these factors greatly influence its preservation.
For those collectors who typically store the artwork, it is best to keep it flat to avoid deformation. Likewise, it should be stored in furniture that maintains it in a cool and dry environment.
By following these tips and using common sense, you can enjoy my artwork for decades as if it were the first day.