prints. Also, the durability is amazing. The metal is archival and I don’t have to put glass in front of it.
PDN: What do you find the most beneficial about
your relationship with Blazing Editions and
RF: They’ve perfected the use of applying metal to various surfaces. And we’re able to experiment together
with new media. Now we’re experimenting with printing Polaroid SX-70s on metal—they’re able to put it
together so there’s matte paper on the outside and
glossy metal in the center so it has the feel of SX-70s.
PDN: What body of work are you most excited
RF: Deterioration Series: A Collaboration with Time is
a project that I’m about to release that’s really special
to me. I noticed film I had taken in the 1970s were
stored in non-archival plastic sleeves and had started
to deteriorate. They were from my classic fashion series with supermodels of the time. I was upset when
I first noticed what was happening, and I returned to
revisit them from time to time. Then, I noticed a perfect natural effect that had happened. At that point,
I scanned the transparencies, resulting in new life in
the works themselves, all-natural, organic images; no
Photoshop, just a collaboration with time.
This is the most important project to date for me
and I’m bringing it to life on a gloss metal that ChromaLuxe is producing for the series. 21st Editions is
also publishing a large-format book of the project, and
they chose to use one of the images in the book as a
dye-sublimation print—to me this confirmed the credibility of a metal print being accepted into the fine-art
photography world. They worked with Alan Blazer of
Blazing Editions to produce the dye-sublimation print.
PDN: What advice would you give to emerging
RF: When you get a commercial assignment, shoot
the same way you would for your personal work. For
example, the image of running horses—which we
just printed mural-sized on metal—was taken while
on a fashion assignment in the South of France for
Marshall Field’s. We were on a private ranch and the
wranglers and wild horses were running behind us. I
was shooting models and then I picked up my other
camera and shot the horses. It’s been a big gallery
seller for a number of years. Walk around and observe—it’s about making a graphic composition out
of something that people walk by everyday and don’t
see. Keep shooting your passion. n
Learn more about ChromaLuxe at chromaluxe.com.
OPPOSITE PAGE: “Pretty in Pink” fashion editorial
THIS PAGE: (clockwork from top left) “Seeing Montana,”
from Farber’s book on nude photography; “Deterioration
055,” from his latest gallery series; “Running Horses,”
shot while on a fashion shoot in the South of France.