About Robert

  1. Are you from Bal­ti­more?
  2. How did you end up in Bal­ti­more?
  3. What do you like BEST about Bal­ti­more?
  4. What kind of dog do you have?
  5. Where did you study?
  6. Are you related to the Jes­sica McClin­tock, the fash­ion designer?

About the Art

  1. What is an ORIGINAL dig­i­tal fine art print?
  2. Is an orig­i­nal dig­i­tal fine art print the same thing as a “giclée”?
  3. What’s the dif­fer­ence between an OPEN edi­tion and a LIMITED edi­tion?
  4. How is my print made?
  5. Does a dig­i­tal fine art print require spe­cial han­dling?
  6. How long will my print last?
  7. Will my print fit in a standard-size mat and frame?
  8. Do I receive some kind of doc­u­men­ta­tion about my print?

About Robert

  1. Are you from Baltimore?

    No, I actu­ally was born in Brat­tle­boro, Ver­mont and raised in Wilm­ing­ton, Ver­mont. I lit­er­ally grew up ski­ing at Mt. Snow and Haystack Ski Areas. I’ve lived and trav­eled around the U.S., spend­ing 8 years in Den­ver, Col­orado. I did a brief stint in Los Ange­les and also spent a lot time in New York City where my mother and her fam­ily is from.

  2. How did you end up in Baltimore?

    In fact Bal­ti­more was not even on the radar when we relo­cated from Ver­mont in 1996. My wife Sue is from Bethesda, MD and I had been free­lanc­ing as a pho­tog­ra­pher in and around Wash­ing­ton, DC. I closed my photo stu­dio in Ver­mont and we thought we were going to DC but we ended up here in Bal­ti­more when Sue was got a job as a LCSW at Shep­ard Pratt Hospital’s For­bush School. Hon­estly, I did not like it here at all, i thought Bal­ti­more was huge mis­take, until one day it hit me while dri­ving down St. Paul Street one after­noon, i said “this place is kinda cool. much bet­ter than DC”, Sue agreed and we dug in, liv­ing in Bolton Hill for the first 4 years. Even­tu­ally we bought a row house in Charles Village.

  3. What do you like BEST about Baltimore?

    I like that it’s very friendly and although it’s really pretty big and rough around the edges it has a home town feel. You see peo­ple you know all over the city wher­ever you go. Peo­ple who live here are very loyal to Bal­ti­more and have a lot of pride in the city and miss it when they’re gone. I grew my whole busi­ness here based on people’s love for the famil­iar and quirky iconic scenes of the city I call “Paris on the Patapsco”.

  4. What kind of dog do you have?

    Octo­ber 2009, I per­son­ally res­cued a lit­tle starv­ing Pit Bull mix from a bad sit­u­a­tion here in Baltimore…I had no plan in mind when i did it, just could bear see­ing him wither away, I fig­ured we’d pass him along to Recy­cled Love. Well they couldn’t take him right away, no fos­ters were available…SO one week led to two weeks to three weeks, guess what happened?…We fell in love with the dog and kept him!!…His name is SUPER LOU and he’s the best!! Our four cats have adjusted and steer clear, we keep them apart, they got the upstairs and Super is down­stairs. He changed our lives! (for the better)

    Our art framer Manny has a Pit Bull dog, “Kratos”, who comes to work every­day, he’s great to have around, plus we get tons of dog vis­i­tors daily which we don’t have to feed or walk!

  5. Where did you study?

    I am actu­ally com­pletely and entirely self taught. I owe my tal­ent and inter­est in the arts to my par­ents, my father was very active artist, actor, singer and a hair­dresser by trade. My mother was also very tal­ented as a fash­ion­ista and also a hair­dresser. They were both very sup­port­ive and encour­ag­ing for me in any­thing I wanted to do. They never pushed me in any par­tic­u­lar direc­tion. Most peo­ple thought i would go on to be a doc­tor. I attended the Uni­ver­sity of Ver­mont for about 10 min­utes, I dropped out and spent over 15 years in the restau­rant busi­ness as a waiter and bar­tender, but always keep­ing a hand in the arts, either paint­ing or tak­ing pic­tures. After burn­ing out of the restau­rant biz I became a full time pro­fes­sional pho­tog­ra­pher which lasted for about 12 years.

  6. Are you related to the Jes­sica McClin­tock, the fash­ion designer?

    Well as a mat­ter of fact, YES! Seems I have an Uncle Fred who was in fact was mar­ried to Jes­sica McClin­tock for some years. Not sure how many years. Story goes Fred was a very good friend of Jessica’s hus­band who passed away. After some time Fred and Jes­sica became close and mar­ried, Fred even adopted her son, Scott. They lived together on a 60 foot sail boat in the Florida Keys but even­tu­ally split up, but remain friends. They were talk­ing about get­ting back together but Fred is a die hard recluse in Florida and she lives in Bel Air on the West­side of Los Ange­les. Jessica’s best friend Danielle Steele thought it might not work out.

About the Art

  1. What is an ORIGINAL dig­i­tal fine art print?

    An orig­i­nal dig­i­tal fine art print is orig­i­nal art­work that was cre­ated dig­i­tally and printed by a high-resolution inkjet printer using long-lasting pigment-based inks and an archival qual­ity substrate.

  2. Is an orig­i­nal dig­i­tal fine art print the same thing as a “giclée”?

    With respect to the print­ing process, yes. The term giclée began as a descrip­tion of the way a fine art inkjet printer sprays ink onto a sur­face. Giclée has become, how­ever, the label for inkjet-produced repro­duc­tions of art cre­ated in another medium, such as an oil paint­ing. If a print is labelled giclée, ask if it is a repro­duc­tion or an orig­i­nal dig­i­tal fine art print.

  3. What’s the dif­fer­ence between an OPEN edi­tion and a LIMITED edition?

    An edi­tion refers to the num­ber of art prints cre­ated from one image.

    Open edi­tions refer to a print that may be pro­duced an indef­i­nite num­ber of times.

    Lim­ited edi­tions refer to a finite num­ber of prints that are made from one image. Lim­ited edi­tions are num­bered by the artist with two num­bers sep­a­rated by a slash. The first num­ber indi­cates the sequence in which the print was made. The sec­ond num­ber indi­cates the total num­ber of prints in the edi­tion. A print num­bered “10/50” is the tenth print made in an edi­tion of fifty. Once the fifty prints in the edi­tion have been pro­duced, the edi­tion is retired and will not be printed again.

    Lim­ited edi­tions also include a num­ber of artist’s proofs that are retained by the artist for her own use or that are some­times sold by the artist after the lim­ited edi­tion has been exhausted. Artist’s proofs are des­ig­nated “AP” and num­bered in the same man­ner as lim­ited edi­tion prints.

  4. How is my print made?

    Prints are custom-made one at a time by the artist and his staff in the stu­dio. The in-studio print­mak­ing process takes from 3 — 5 work­ing days. We use long-lasting Epson Ultra­Chrome pig­ment inks and acid-free, 100% cot­ton rag fine art paper and coated cot­ton can­vas. After print­ing, the print is dried for 24 hours and trimmed to fin­ished size. Lim­ited edi­tion prints are titled, num­bered, embell­ished and signed by the artist. Open edi­tion prints are titled and signed by the artist. All lim­ited edi­tion paper prints are embossed with the studio’s print­maker hallmark.

  5. Does a dig­i­tal fine art print require spe­cial handling?

    You should han­dle fine art prints with great care, just as you would any other type of art­work. You should pro­tect it against light, water, mois­ture, air­borne con­t­a­m­i­nants, and fin­ger­prints; it is still sus­cep­ti­ble to dam­age.
    The best way to pre­serve and dis­play your print is to have it pro­fes­sion­ally mat­ted and framed with museum-quality mate­ri­als. If you’re fram­ing the print your­self, use only “acid-free” mats, back­ing board, hinges or adhe­sive, and fram­ing. Always use a mat; dig­i­tal fine art prints should not touch the glass in a frame.

  6. How long will my print last?

    The print per­ma­nence of the ink-and-paper com­bi­na­tion used in our stu­dio has been tested by Wil­helm Imag­ing Research, Inc. and rated at 82 years (archivally framed prints dis­played under glass), 160 years (archivally framed prints dis­played under UV-filtering glass), and 68 years (unframed prints). The coat­ing applied to the fin­ished print may dou­ble the light­fast rat­ings if framed with archival mate­ri­als and UV-filtering glaz­ing. These esti­mates are not a guar­an­tee, only a rat­ing based on exten­sive test­ing by indus­try experts.

  7. Will my print fit in a standard-size mat and frame?

    Although my actual print sizes are unique, they are for­mat­ted for stan­dard size frames. You will need cus­tom mat.

  8. Do I receive some kind of doc­u­men­ta­tion about my print?

    Yes. You will receive a Bill of Sale that com­pletely describes your print, includ­ing the title, date, infor­ma­tion about the edi­tion num­ber and size (if a lim­ited edi­tion), mate­ri­als used, etc. A “cer­tifi­cate of authen­tic­ity” is avail­able on request.