Carbon transfer printing is one of those processes that somehow feels more complicated the longer you talk about it, and that is exactly why we wanted to have Michael Strickland on the show. Michael is a photographer and printmaker based in Kansas who specializes in carbon transfer printing, platinum-palladium printing, and drum scanning. He joins Michael and Jeffrey to break down what carbon printing actually is, how pigment, gelatin, UV light, and multiple transfers come together, and why the finished prints have a depth that is difficult to describe until you see one in person. But this is not just a technical conversation. Michael also talks about the challenge of building a business around a demanding handmade process, balancing the studio with family life, stepping back from his own landscape photography for a while, and finding creative satisfaction in helping other artists bring their work to life. From printing with soil collected from meaningful places to experimenting with gold leaf, glow-in-the-dark pigments, glass, and dimensional textures, this one goes well beyond what most of us think of when we hear the word “print.” Join the conversation over on Patreon. Free members and paid supporters can jump into the post-episode discussion, and we’d love to hear your thoughts on culling, editing, critique, printing, creative growth, or anything else this episode brings up. 👉 https://www.patreon.com/ShutterNonsense Highlights: Michael Strickland shares his path from music and engineering into film photography, drum scanning, and alternative-process printing. A plain-English explanation of carbon transfer printing and why it is a pigment-based transfer process. How color carbon prints are built through multiple layers, careful color separation, and extremely precise registration. Why one print can take days to prepare and complete, even before accounting for the trial and error involved. The role that materials, humidity, temperature, and consistency play in a successful print. Michael talks about taking a step back from personal landscape work and giving himself room to reconnect creatively. Why digital files, film originals, water, rich tones, and physical depth can all work beautifully in carbon. The wild creative possibilities of the process, including earth pigments, soil, gold leaf, glow-in-the-dark layers, glass, and custom materials. Related Links: Michael Strickland’s website: https://www.michaelstricklandimages.com/ Michael’s Instagram: https://www.instagram.com/mstricklandimages/?hl=en Overview of Carbon Transfer Printing: https://www.michaelstricklandimages.com/the-carbon-transfer-service Ansel Adams book “The Print”: https://amzn.to/4weyEso (affiliate link) Edward Weston: https://www.westongallery.com/original-works-by/edward-weston Edward Burtynksy: https://www.edwardburtynsky.com/ Cody Cobb: https://www.codycobb.com/ Learn more about Michael's photography: www.michaelrung.com Learn more about Jeffrey's photography: www.jeffreytadlock.com
