Ilfochrome Prints
The Ilfochrome prints in Pearson's archives are now the only Ilfochromes available because these traditional photographic materials are being discontinued.
Celia Pearson made Ilfochrome (Cibachrome) prints in her darkroom for 30 years. The Ilfochrome process was not easy to manage. It tended to be high contrast, costing detail in the highlights and shadows, but over the years Pearson learned which images agreed with this process and how to bring out its remarkable luminescence. The high gloss brilliance of an Ilfochrome print can be magical. The size of her 21/4"x21/4" film transparencies (like slides but larger) is essential to the fine sharpness of the prints. It is worthy of note that Ilfochrome prints are archivally superior to any other traditional color print material.
Technical Note: Unlike other darkroom based color photographic processes in which dyes are formed from color couplers during processing (i.e., the color dyes are in the chemistry), Ilfochrome print materials utilize pure stable azo dyes that are incorporated into the emulsion layers of the printing material during manufacture. Azo dye incorporation provides excellent color saturation and superior image stability as well as maximum sharpness.
Editioning
Ilfochrome prints are offered in open editions and all prints of images created since 2004 are numbered sequentially irrespective of size.
Care
As with any art work, proper care is required to assure the longevity of these prints. When unframed the surface of an Ilfochrome print is susceptible to damage from liquids, scratching and finger prints (because of its mirror-like finish). It is essential to handle by the edges only and store under average temperature and humidity conditions.
Exposing framed Ilfochrome prints to extreme temperature changes in a short span of time (for example, leaving in a hot car) may cause condensation to form inside the glass that is likely to damage the print.
For both framed and unframed prints, it is recommended to avoid prolonged exposure to excessive humidity or direct sunlight. The use of ultraviolet (UV) protection glass or UV Plexiglas is recommended when framing. Both are readily available from professional framers.
IRIS Prints
There are newer processes, though none finer, than the IRIS technology. Not only are the results beautiful, but also the ability of digital technology to magnify an image without losing apparent sharpness is unparalleled.
Pearson soon realized that the IRIS print characteristics agreed particularly well with her photographs and was excited to be making prints as large as 30" x 30". When the process is guided by a sensitive printmaker, IRIS prints have a delicate richness. Their unusual depth is because of the sophisticated way the inks are laid on the paper in this advanced inkjet system.
Pearson has been working with talented printmaker George Holzer since 2004. Pearson and Holzer gradually take each image through a rigorous proofing process beginning with his making a very high resolution drum scan from her 21/4"x21/4" film transparency. Conversations follow over as many series of proofs as necesary until the artist is satisfied.
Although digital printing is often identified with manipulation, this is not Pearson's emphasis. Rather she is inclined to use it as a way to fine tune the image she has recorded on film.
Sizes and Editioning
IRIS prints, as a rule, are offered in limited editions. IRIS prints of the sea glass images from the book Pure SEA GLASS are an exception to this rule and are offered in open editions, numbered sequentially irrespective of size.Print sizes are dictated by the nature of each photograph. Prints generally are offered in two or three sizes. Special requests will be considered.
Care
As with any artwork, proper care is required to assure the longevity of these prints. Care is similar to that for watercolor paintings.
When unframed the surface of an IRIS print is susceptible to damage from liquids, scratching, and high humidity, so it is essential to keep these prints dry and handle them carefully.
As with any other fine artwork, it is recommended to avoid exposing framed IRIS prints to extreme temperature changes in a short span of time (for example, leaving in a hot car). This may cause condensation to form inside the glass that will almost certainly damage the print.
For both framed and unframed prints, it is also recommended to avoid prolonged exposure to excessive humidity (over 65%), and avoid exposing prints to direct sunlight. Either condition is likely to cause a color shift over time. The use of ultraviolet (UV) protection glass or UV Plexiglas is recommended when framing. Both are readily available from professional framers.