November 19, 2008

Photographer Joseph Squillante Captures the Hudson River From Its Source to the Atlantic

By Kara Hiltz

PrinTales: Joseph Squillante Wants Dye Prints That Last as Long as Pigment Prints — and White Ink

Some subjects hold so much complexity and beauty that you can't seem to photograph them enough. Joseph Squillante has devoted his 30 years of professional photography to capturing the Hudson River, though he has also dabbled in other subjects.

Joe has exhibited his photographs during special events commemorating the Hudson River, such as the American Heritage River celebration, presided over by then New York Governor George Pataki. Beyond capturing the river's beauty, he also works to create a community of people who want to protect the Hudson River, such as Scenic Hudson and Riverkeeper. Joe and his wife Carol started the Hudson River School of Photography, which gives presentations, slide shows, workshops, lessons, and exhibitions to expand people's understanding and appreciation of the Hudson River.

Perhaps best of all, Joe's work is available to everyone regardless of budget. On his Web site, HudsonRiverPhotography.com, you can view his photos, order a collection of blank greeting cards bearing his photos (including the one above), and order original prints. We recently asked Joe about his take on printers, and also tapped his extensive knowledge on photography.

How did you get started as a photographer? In which areas do you specialize?

I started at the request of a business associate who persuaded me to photograph his brother's wedding. Backing down the aisle it dawned on me that I was earning money at something I enjoy doing and which captured my senses. Soon after that I quit my job at the bank and began assisting a still-life photographer in Manhattan.

My focus is primarily in landscape and architecture, particularly in creating fine art images of the Hudson River — my life's work for more than 30 years. I also photograph people and still-life. Enjoying photography as much as I do, I choose not to specialize but rather to be open to all creative possibilities.

What make/model of printer do you use? Do you use your printer only for proofs or also final prints?

I use two Epson 13 x 19-inch printers: 1280 & 2200.

The 1280 is a dye printer, which I use for portfolio prints, proofs, match prints for outsourcing to service bureaus when I need sizes larger than 13 x 19, and text (correspondence, billing, etc.).

The 2200 is an archival pigment printer, which I use for making exhibition quality prints. I happen to prefer the look of the dye prints over the pigment prints because of the finer detail it yields. However, I am limited in its use because the dyes are not archival.

I do still use the darkroom to make silver gelatin prints when I feel the image calls for it.

What improvements would you like to see in future printers?

I'd like to see:

1. A commercially available, dedicated black & white archival printer with cartridges of black and multiple shades of gray. And why not a white cartridge so that you would not have to be tied to the base color of the paper you select? This would enable printing on black paper.
   
   
2. A black & white printer with permanent dyes rather than pigments to drastically reduce clogging and allow for a finer spray than pigments allow. (My 1280 dye printer delivers a more subtle range of tones also allowing for better shadow detail, but unfortunately does not print for permanence.)
   
   
3. A printer that does not clog and cause wasted time, ink, and paper in cleaning cycles. Pigment printers have to be used daily to minimize clogging. This is not practical for my workflow.

Do you have a photography tip to pass along to amateur enthusiasts reading this interview?

I teach photography to a wide range of people, from children to seniors and students with special needs. I always suggest these tips to anyone who is interested in photography:

1. Think about what is most important in your life, what interests you, and make that your subject.
   
   
2. Be aware of light and how it plays on your subject. Photography is all about light. If you have a great subject with poor, uninteresting lighting, your picture will be mediocre. Conversely, an ordinary subject can be made extraordinary with proper lighting.
   
   
3. Shoot the same subject in color and in black & white. Then decide which image you respond to better. Often people shoot in color without even considering the idea of shooting in black & white. With this exercise of shooting consecutive frames of exactly the "same" subject you can decide which you like better. Color can be a facade, a barrier that keeps you from entering deeper into an image. Unless an image absolutely screams color, I prefer to go black & white.
   
   
4. Don't overshoot because it can lead to visual garbage. Especially with digital photography and the freedom from the expense of film & processing, people tend to overshoot. You need to sharpen your eye and pay attention to what really moves you and your creative imagination. Having said this, it is also important to practice, practice, practice, but pay attention to what you do and keep reference notes on what you did. Tracking your progress will serve as a catalyst for your growth and development.

About PrinTales
If every picture tells a story, then every printer must contain several bookshelves' worth. In PrinTales, we bring these stories to you by profiling people who use their printers in a creative manner. Think of it as "once upon a time" for the digital generation.

• November 19, 2008 julio

  when you look at such a sensitive Squillante photo as posted above, you rarely recognize the dedication, focus and knowledge that went into the photo.i have always enjoyed joe's photographs, now i also enjoy the welath of knowledge he brings with his images. bravo !!!!

• November 19, 2008 Camille

  Joe's work is totally memorable and significant. Keep this man in mind. He is definitely going places. Bravo!

• November 21, 2008 Bruce B. Gordon

  Besides having an incredible eye, great technique and an encyclopedic knowledge of photography, Joe is a genuinely nice man and a terrific teacher. I learned more about photography from him in 6 or 7 hours than I learned in my entire life before that...which means I wasn't paying attention previously, I guess!