Lucas Gynell and Clyde Butcher

Just wanted to share a quick moment I had this past Father's Day, when I drove my son, Lucas out to my old stomping ground in The Big Cypress National Preserve, to meet famed photographer Clyde Butcher. For those of you who don't know, fresh out of college, I worked with Clyde for four years living and working a week at a time in the middle of "the swamp".

We made the trip out to Clyde's Big Cypress Gallery, as he was there signing books and doing his usually meet and greet, with his adoring fans. I hadn't seen Clyde since I made the trip out for his annual "swamp walk", a few years back. It was great seeing Clyde again, and Lukie had a ball. We saw a few alligators in the front of the gallery, and Lukie enjoyed safely played with Clyde's alligator bench in the gallery.

New look for Limited Edition Prints!

Let me start by saying, I think I have the worst hand writing in the world. People who watch me write something down always say one of two things; either "dude you write so weird" or "you write like you are left handed". I am right handed. 

In my never ending quest trying to produce the best quality product I can with my Fine Bahamian Landscapes, I have chosen to eliminate what I consider an eyesore in my previous handwritten numbering and dating system used with my Limited Edition Prints.

Previously my Limited Edition Prints of my Fine Bahamian Landscapes, once matted, were signed with archival pigment ink in the lower right-hand corner of the print, and numbered and dated in the bottom left-hand corner of the print; (i.e. 1/10 2008). I then apply my LIMITED EDITION PRINT Bio Page, which includes, biographical info, the image title, the image size, along with the edition year, edition number, and copyright date, on the back of the matt. This is a system which I adopted from the Clyde Butcher school of photography. Many fine art gelatin silver photographers/printers would argue, any or all black and white photographs should be dry mounted, matted, and then signed, with an overpriced pencil in the lower left hand corner ON the matte only. I never really subscribed to this train of thought. Signing a matte, leaves you with an unsigned photograph.

Starting in 2009, I chose to give my Limited Edition prints a make over of sorts. 

All of my Limited Edition prints are still signed with archival ink (ON the print) , if the lower right hand corner and, new for 2009 are now embossed with "Limited Edition Print" in the lower left hand corner of the print. The print which is mounted within its mat, using only corner tabs, is also numbered on the reverse side of the print in ink, and again signed.

I have viewed, read about, and debated many variations and takes on this topic, and have come to the conclusion that, aesthetically this format and practice is the most pleasing for me.

Hope you like the new look, and enjoy!

John B