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Printing in Black and White
Traditional black and white printing goes digital.

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Glass Plate Project
Andrew McIntyre produces gallery quality A3+ prints from glass plates.

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Lee Jaffe Interview
The multi-talented Jaffe captures and displays artistic greats.

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The new coffee table book will be launched on Thursday, May 17th.

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The rebirth of Digital Printing
Software is transforming the way black and white prints are made at BowHaus.

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Herman Leonard Press Release
The Fahey/Klein Gallery is pleased to present Jazz Giants, the mural-sized photographs by Herman Leonard.

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Mark Laita Press Release
Mark Laita's Created Equal documents the diversity of American culture through carefully orchestrated portraits.

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Rocky Schenck Interview
Schenck's visual style is rooted in his personal past, family roots and the beginnings of photography itself.

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Rick Klotz Interview
Businessman blends his passion for photography, magazine publishing and clothing line with BowHaus printing software.

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IJC/OPM 2400 Support
New versions of IJC/OPM feature expanded support for Epson_s new R2400 with UltraChrome K3™ inks!

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Melvin Sokolsky Interview
Legendary fashion photographer talks about ideas, art and technology.

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Antonis Ricos Interview
The digital B&W guru reveals his secrets for using IJC/OPM, and highlights NEW Features in the Windows version.

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Nick Brandt Interview
Elegy to A Vanishing World:
the photographs of Nick Brandt

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Glen Wexler Interview
Glen Wexler talks about how digital imaging plays an integral role in his imagemaking.

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Press release for B&W PrintMaking software for OS X.

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Quadtone Prints
Black & White archival printmaking using monochrome inksets.

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Lyson Marketing Agreement
Establishes New Alliance to Develop Digital Black and White Printing Solutions.

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An Interview With Glen Wexler:

Merging Art & Technology

Glen Wexler began his photography career in 1978, while still a student, shooting an album cover for Quincy Jones Productions and A&M Records. Later that year he opened his studio in Los Angeles, specializing in conceptual photography for the recording and entertainment industries. He has since photographed nearly three hundred album covers -- handling the art direction on roughly half. Music industry clients have included Warner Bros. Records, Geffen Records, Sony Music, MCA Records, Capitol Records and PolyGram. Music projects have included Michael Jackson, Van Halen, Rush, Yes, Bob Weir, Chick Corea, Herbie Hancock, Chaka Kahn, Missing Persons, Black Sabbath, KISS and ZZ Top.

Other entertainment industry clients have included Universal Pictures, Warner Bros. Pictures, Disney, New World International, Miramax and Fox Television. Projects have included the photographic logo treatments for Universal Pictures and for the motion picture Batman Forever which received a first place trophy in the 1996 Key Art Awards.

During the mid 1980s his clientele expanded largely into advertising. Over the course of the past decade he has produced assignments for numerous national and international campaigns for accounts such as Maxell, Coca-Cola, Frito-Lay, Nabisco, Bombardier, Fila, Sega, Yamaha, Pioneer Electronics, Microsoft, Intel, Iomega, Toshiba, Dell, Philips Electronics, US West, GTE, Southwestern Bell, Panasonic, Vespa, Acura, Toyota, and Ford.

Wexler's work has also included directing music video and television commercials. Film assignments have included projects for MCA Records, Van Halen and Natural History Magazine.

While the focus of this work is photography, Wexler has extensive experience in handling projects from concept through finished production. Over half of all projects are currently assigned from outside the Los Angeles/West Coast market. Wexler's reputation for creating effective visual solutions has earned him a client base that reaches from Milan, Italy to Tokyo, Japan.

During 1987, Wexler was among the first artists to embrace digital technology. It has enabled him to efficiently produce highly complex concepts as well as subtly fine tune simple images with a level of efficiency and accuracy that almost always surpasses conventional methods. Wexler incorporates digital photographic imaging and illustration techniques as an integral part of the creative process thereby maintaining a continuity of vision throughout the entire execution of the visual. He is often consulted at a project's inception, supervises the fabrication of props, sets and miniatures, and remains involved until the image is ready for press.

Wexler was educated at Art Center College of Design. He is a past President of the Los Angeles Chapter of the Advertising Photographers of America (APA) and is currently an advisor to APA National. In addition, he chairs the APA National Digital Committee.

Awards and recognition of Wexler's images have been received form Communication Arts, Graphic, Photo District News, New York and Los Angles Art Director's Clubs and the Icon Awards. Wexler is profiled in the August 1999 Communication Arts Photography Annual 40.

The Interview
BH: When, and why did you begin to incorporate digital retouching into your photography?

GW: I began incorporating digital imaging as part of my image making on a regular basis beginning in 1987. I didn't begin using it as a retouching tool, but rather as a more efficient process over traditional darkroom techniques for photo composition.

BH: What are the advantages, as a photographer, of retaining control of the digital retouching and post-production process by having it performed in-studio?

GW: The advantage of in-studio image editing allows for hands on creative control until the image is ready for press. This allows me to maintain a continuity of vision from pre-production to photography to delivery of the completed image.

BH: In your opinion, what are the greatest obstacles facing photographers seeking to incorporate digital imaging into their work?

GW: The only obstacle is the individual's fear of change or learning new methods. The tools have become relatively inexpensive and the learning curve is not difficult. The playing field has been leveled. A $5,000 system today out-performs, by leaps and bounds, the million dollar system I worked on ten years ago.

BH: The question of resolution (how much vs. too much) is a constant issue for photographers seeking digital scanning and output. For your projects, what factors determine your choice of scanning and output resolution?

GW: Most of my competition for assignment work are traditional photographers. I want my product to be superior in every way. When I deliver a digital transparency, the art director will see (through a lupe) image quality and detail that appears comparable to, or exceeds, original film. I normally scan and output for a RES40 or greater 8x10 transparency. This provides an image that will have no limitations for quality reproduction in any media.

BH: You have used high resolution drum scans from the very beginning. Why do choose BowHaus Drum Scans over Photo CD and other slide scanners?

GW: It is important to me that when my original is converted to digital data that I receive all the information contained on the film. Any scanning process that results in less integrity is not of interest to me, except for low res comping or FPO uses. The high resolution RGB drum scans from BowHaus do not compromise the original image. I've always been able to depend on the quality. If information from my images is going to be altered or deleted I would much rather have the control to make those decisions during the image editing.

BH: You use both Standard and Custom Setup BowHaus Drum Scans for your projects. How do you decide which is most appropriate?

GW: The decision is made on which type of scan will provide a resolution of the image or portion of my original that will match or exceed my output resolution.

BH: Many digital retouchers, designers, and photographers deliver CMYK files to their clients as final art. Why do you deliver Digital LVT Transparencies rather than digital files?

GW: The delivery of a high resolution transparency provides a tangible representation of the image that, when viewed on a standard light box, indicates exactly what the art is intended to look like. This eliminates the concern that the digital file may appear very different from monitor to monitor, or output differently on various devices. Additionally, the transparency contains all the image data in a traditional format. This clarifies the task at prepress to "match the transparency". Additionally, CMYK specifications vary greatly depending on the size of reproduction and the type of printing process. Working from the transparency allows for conversions to CMYK to be optimized for specific printing needs by technicians that have specific color and printing expertise.

The other issue is that once the RGB color space is converted to a more limited CMYK colorspace there is typically a loss of color information. Subsequent changes within the CMYK colorspace to alter ink density specifications may continue to degrade the image quality and color fidelity.

BH: What factors determine whether you choose to output 4x5 or 8x10 LVT Digital Transparencies?

GW: I almost always output to 8x10 for assignment work given the slight reproduction advantages. The exception would be for secondary images that would never be reproduced very large. The other exception is images for my stock agency. Many of my stock submissions are 4x5 or 5x7 (two up on an 8x10). This is a budget rather than a quality decision.

BH: Digital cameras are growing in resolution and beginning to establish themselves in the consumer market. Are digital cameras a viable tool for photographers like yourself yet?

GW: I don't use digital cameras at this time. I like the look and feel of various film stocks for my work. As a practical comparison to digital capture, film is less expensive, higher resolution, and the data is recorded directly to an archival medium.

Glen Wexler Studio, Inc.
736 North Highland Avenue
Los Angeles, CA 90038
Phone: 323.465.0268 Fax: 323.469.8676

All images © 1999 Glen Wexler Studio, Inc. Images or text may not be copied or reproduced without a written licensing agreement.

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