A Quote by John Sexton

A photographer needs to be a good editor of negatives and prints! In fact, most of the prints I make are for my eyes only, and they are no good. I find the single most valuable tool in the darkroom is my trash can - that's where most of my prints end up.
I find the single most valuable tool in my darkroom is my trash can
Most of my work involves slowing down rather than speeding up. I prefer to look at prints than scans, and I prefer to look at original silver prints rather than digital prints. I prefer to look at fewer images, but spend time with those individual images.
I would begin by collecting lithographs and etchings. It's a way of coming in and benefiting from real quality art. Even younger artists make wonderful prints. Prints can become very valuable. That's how I began collecting.
I first met Michael Angel when he came to my office with a box of prints and asked me whether I thought he should make dresses from the prints.
My affinity for beef extends into my home life, so you'll notice canvas prints of cows, a cowhide rug and prints of Smithfield meat market.
As a filmmaker, you complete a film you have spent years obsessively making, and you know the release prints will never look quite the same; prints get scratched and dirty.
Matte digital prints are gorgeous, don't you agree? But the glossy digital prints, I just can't stand that paper.
I have control over every single frame on Blu-ray. If I want a scene bluer, I get that scene bluer. Originally, there was some fluctuation with the prints. If you made a thousand, or a few thousand prints, there is no control over any of that. But now I can make a master using the digital process.
There is - you know, there's receipts for rented cars and license plates and guns and hand prints and palm prints and fingerprints. You know, I want to wait until I'm in a court.
I love floral prints for little girls, and I love mixing prints.
Wearing a bold print gets harder as you get older. Its safer to stick to subtle prints or block colours. I have always found prints quite tricky. My daughter Carly, who is on the design team at Stella McCartney, is obsessed with them.
Wearing a bold print gets harder as you get older. It's safer to stick to subtle prints or block colours. I have always found prints quite tricky. My daughter Carly, who is on the design team at Stella McCartney, is obsessed with them.
The thing that was most interesting to me was getting my first prints back from the printer and realizing photography doesn't end with the click of a button, it starts there. Printing is so exciting.
I encourage people to play around, mix proportions, textures, seasons and prints, and to find what makes them feel their most comfortable and expressive.
Prints can absolutely be investment pieces. I've seen prints from my collections from five years ago on the street now. It's totally possible. If the colors don't age and if the fabric is beautiful, then of course people should wear it year after year.
I have no little insight into the feelings of furniture, and treat books and prints with a reasonable consideration. How some people use their pictures, for instance, is a mystery to me; very revolting all the same--portraits obliged to face each other for ever--prints put together in portfolios.
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