Why Analog in 2016?

True to our heritage, we still offer a full range of processing and printing services, both in color and in black and white. In recent years some of these services have become increasingly difficult to provide due to the limited availability of the requisite materials. Long gone are the days when we could phone in an order directly to Eastman Kodak in Rochester and have those materials needed in hand in a day or two. 

Why analog in 2016?  Why not give it up and roll entirely digital? 


Analog is a different way of working and of seeing. One path isn't necessarily better than the other. Silver halide technology is a fully mature one that has been refined continuously for the past 175 years.  It is also messy, labor intensive, and not particularly environmentally friendly.  The majority of the real work must be done up front. You either get it right or you don't. There is no play or delete button, no pixel chimping. You can enter the world of Photoshop downstream if you choose, but you can also simply insert your negative in an enlarger or contact frame and print it directly.  No sharing it easily or quickly on Instagram for that rush. But it can be beautiful.  In a world where digital can impart a creeping degree of homogeneity this for some is an antidote. 

A significant number of our clients continue to use film, usually medium and large format, as their capture medium and then cross to digital for the rest of their workflow. Many are artists we have been working with for years and our depth of experience making analog finished prints has translated directly to making them digitally.

Also: we are built for it. When the prolab world transitioned to digital we did too but we also held on to our existing analog infrastructure. To our knowledge we are the only lab still capable of producing 72" x 120" analog color murals. Our staff experience with all of these processes is as exceptional as it is uncommon.

To be clear, it is the sunset for most of these processes. E6 is on borrowed time. C41 has a ways to go still. Type C printing materials will likely be around for awhile albeit at ever decreasing quality levels. Black and white, like the cockroach, will be around til the very end.  

4 Basic Components of Photo Mounting

Mounting an image involves at least two--and up to four--distinct components depending upon what you hope to achieve. Understanding the purpose and limitations of each component is essential to creating a look that suits your image and aesthetic preference. 

1. The Print.

Perhaps you've purchased a piece of art that you would like to have professionally mounted and framed, or perhaps you are producing work yourself and seek to give it a museum-quality finish. We frequently mount and frame works produced outside of our lab. Prints may be dropped off in person or shipped rolled or flat. Prints destined for face mounting must be on glossy paper. 

If you are beginning from a digital file, we encourage you to consider printing with us as well. We offer a 15% discount for projects at any scale that are produced from start to finish in-house.  

2. The Backing.

The backing material is the second essential component in any mounting project after the print itself. We offer a range of options for backing, though selection will largely be determined by the size of the image, where and how it will be displayed, and for how long. 

Paper-based options such as Gatorboard and museum board (4 and 8-ply) are more economical, but cannot be permanently hung on a wall unless in a frame. Any piece that requires a hanging system and/or a face mount must be backed with aluminum or Dibond. We advise on the appropriate thickness of the backing depending upon image size. 

3. The Face Mount.

Face mounting has become popular in recent years due to the clean look it lends to contemporary images. Before applying a face mount, the image must be:

  • Printed on glossy paper. When a face mount is applied to paper with even the slightest texture, air bubbles can form between the face and image itself. Email or call us if you are wondering whether the paper you currently use for your prints is sufficient. 
  • Mounted to a stable backing material. We offer several suitable options: aluminum (.063 or .80), Dibond (3mm), or plexi (⅛” or ¼”). 

4. The Hanging System.

We exclusively use aluminum hanging systems and have done so for nearly thirty years. Our hangers are custom-built in house in widths of ½”, ¾” and 1”. The width of the hanger is partially aesthetic, as it determines how far a work will “float” off the wall. Larger works (over 40x60) require a 1” hanger for a secure hold. As with face mounts, hanging systems can only be applied to the more secure backing materials: aluminum, Dibond, and plexi. All hanging systems come with a metal wall cleat for easy installation.

If your work is moderately sized and you seek a more economical alternative, we also offer z-clips. These can be used on mounted images up to 40x60 in size. Work hung with z-clips will appear flush to the wall--creating at most a quarter-inch of float. This is the most obvious distinction between a z-clip and aluminum hanger. 

A clear comprehension of these basic components in relation to your own goals is all you need to embark on a mounting project. Interested in talking to us directly? Send us a message anytime at info@colorservicesllc.com.



David Benjamin Sherry at Danziger Gallery and Salon 94



September 07, 2014–October 25, 2014

Salon 94 Bowery

David Benjamin Sherry is an explorer. He is a master of bold, sensual color. He ventures deep into the American wilderness and reimagines the surfaces of nature as if seen through a kaleidoscope. Part-archeologist and part-futurist, Sherry uses 8x10 film negatives and analogue techniques in order to speak to new technologies and our changing physical world.

Sherry’s latest works take on photography’s canonical genres, including landscape – which he is most well known for – as well as still life, portraiture, the nude, collage and darkroom photograms. There are more waterscapes than landscapes – it’s a murkier, more mysterious realm. Many of these compositions sit at an uneasy intersection of travel photography and surveillance imaging. A sunrise behind a boulder in the water is somehow both a picturesque postcard and a strange alien spotlight. Another large-scale image of ripples on the surface of a body of water, without a horizon, are stained glowing, neon red, a color that implies blood or a dangerous kind of heat as if on a topographer’s or meteorologist’s map – though not quite the right shade of either.




Danziger Gallery is pleased to inaugurate its new space at 521 West 23rd Street with the first New York show of David Benjamin Sherry’s mono-color landscapes – a series of analog photographs taken in 2013 and 2014 as the artist traveled through the Western and Southwestern states. Seeing the world in both a heartfelt and postmodern way, Sherry turned his pictures into vividly colored renditions of the American wilderness, transforming iconic vistas and familiar panoramas into large scale color fields.

Using a traditional handmade wooden camera, and shooting with the f/64 aperture beloved by Ansel Adams and Edward Weston and their namesake f/64 group, Sherry maintained the eponymous sharpness while employing a scale barely imaginable to his predecessors.  In this way, Sherry’s images invite the viewer to get lost in extreme levels of visual information while being seduced by the emotive power of color.

Blending truth and the photographer’s conservationist intent with a contemporary view of the role of the photographer/artist, Sherry’s landscapes remind us without preaching of the inherent value that exists in any natural resource – what it offers, what it represents, and ultimately, its ability to connect us to a broader experience.

More information is available at Danziger's website.