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Frenske has had more than 25 years experience in the photographic industry in both marketing and as a professional photographer. She is highly acclaimed by her local and international clientele and her wide ranging portfolio bears testimony to this.
She is able to work across a broad spectrum of subjects, ranging from the commercial fields of advertising, magazine work, and brochures, to all types of people photography as well as building up a continuously growing collection of Fine-Art images, for both exhibitions and private collectors.
Frenske lives just south of Cape Town, in the beautiful Constantia Valley which lies between two oceans, surrounded by vineyards and mountains. This magnificent landscape, with its ever changing light and mood is where she does most of her family & children portraits, and also gives the inspiration for her Photo-Art Collection.
My interest in creating images began in high school where I sat in on the History of Art classes and where the Impressionists influenced me more than any other group. It was when I received my first camera; a leather cased Kodak Retinette, that I began exploring the nature of light and dark, colour, form and texture through the medium of the camera.
I was fortunate enough that my working life then involved the marketing and sales of a wide range of photographic equipment and I was seldom without a camera both at home and in my travels.
A combination of numerous courses in photography and a natural passion for creating beauty led me over the years to a point where this has now become my life and my business.
My catchword "HAVE CAMERA- CAN DO" evolved from the wide ranging fields of photography that I am able to work in. My speciality is working with people, especially children.
I love shooting weddings where I work within relatively fixed parameters and the challenge is to create memories of not only reportage of the day but to bring an artistic and ethereal edge to the portfolio.
My other fields are macro photography, jewellery, food, low- light/ night photography and of course landscape, which is where it all began!
I prefer not to work within the confines of a studio and work mainly on location with a wide range of non digital Nikon equipment.
I do however burn films to CD where digital creativity can then take over!
PRINTING ON CANVAS
This technique has been in existence for many years, but in the early ‘wet darkroom’ days was a complex hit-and-miss procedure. It involved making an enlargement from a negative and then in a series of complex and messy steps the image on the emulsion was lifted by a chemical process from its backing paper and transferred onto a sheet of canvas.
The image was then pressed into the canvas and stretched on its backing frame.
Today, using the digital darkroom and computer technology, the end result, visually, is much the same but the process is far more accurate and simple, and thus less wasteful and messy.
An image, from a negative, is scanned into the computer; cropping and colour corrections are done, where necessary (as would be the case in the ‘old fashioned’ darkroom) and, via specific software, translated into its positive image.
The image is then printed onto the canvas by the digital ink jet printer.
The canvas is actual artist’s canvas but of a very fine smooth texture. Prior to printing it is treated so that the inks do not seep right through but remain, to a certain micron depth, on the surface.
The inks are sprayed according to the digital instruction and once dry a protective UV coating is applied, which give the picture flexibility and stretch without the image cracking or being damaged as well as a measure of protection against UV light and loss of colour and tone.
The big ink companies such as Epson have run in-depth tests with their inks, and the results prove that, using these specific chrome inks on archival quality canvas, the resultant picture will last for very many years. However, closer to home though, Irvine Meyer, head of the photographic Department at the Cape Peninsula University of Technology has independently also put the process under extensive testing. The tests that were run under specific scientific parameters of light intensity, duration and UV radiation showed much the same results as those by Epson.
The conclusion is that these canvas mounted prints have an archival life of between 65 and 75 years under normal light and heat and humidity conditions and require the same measure of care as any other picture made with pigments, be it ink or paint.
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