Edward Peck studied photography, fine arts, conceptual art, historical technics, film, and literature at the University of British Columbia. He then went on to work under a number of artists to develop his technical skills in photography, film, etching, watercolour, performance art and drawing. This has led him to work in many mediums over the years. Currently, he is working with digital photographic processes and has shown his work in both group and solo exhibitions. Peck works collaboratively with other visual artists, exhibiting locally and internationally. His work is held in private, corporate and public collections. Peck also edited and produced anthologies of Canadian Literature as well as assisted in the editing of a Canadian literary journal. This has led to his editing and production of artist books and exhibition catalogues.




Precincts and Topography

  • Tue, 04 Oct 2022 22:14:35 +0000

    Journey to the Interior
  • Sat, 01 Oct 2022 21:55:46 +0000

    Liquid Emergence
  • Wed, 28 Sep 2022 04:23:47 +0000

    Liquid Emergence Side Two
  • Sat, 24 Sep 2022 18:08:36 +0000

    Himalayan Honeysuckle in Blue
  • Thu, 22 Sep 2022 06:20:02 +0000

    Kiln Opening Dialogue
    Huyghe Studio circa 1976
  • Wed, 21 Sep 2022 16:15:12 +0000

    Jim ruminations of the Artist in the ’70s
  • Mon, 12 Sep 2022 21:36:02 +0000

    Camera Bags

    One of the things that occasionally become an issue for me is having a camera bag that I can use both for under-seat air travel and extended day outings where I need to carry more equipment and clothing that does not fit in my sling bag. So not so big and cumbersome as an be an overnight hiking bag. A recent article has brought the new Gura Gear Kiboko City Backpack. This particular model is in the Kickstarter phase so it can not be evaluated other than through the specifications. However, for correspondence with the company I am told it will fit the GFX100s easily without difficulty and a few lenses. Guru does have available the 16 and 22-litre butterfly back bags, but it is not rear access. It is designed for quick access to equipment on safaris according to the manufacturer, and it is also very lightweight. According to Gura their standard 16 and 22-litre bags are designed to fit under airline seats and the 30-litre are designed for overhead bins. The implication is the city backpack should also fit under an airline seat.

    In terms of fitting your gear, there should be no problem with full-frame mirrorless lenses and cameras, as it is designed specifically for mirrorless equipment. If you are using medium format mirrorless like such as the Fujifilm 100s they suggested to me that this should not be problematic either. The quick access opening on the side of this bag is 4 inches by 6 inches and eleven 11 inches deep, which may be problematic for the GFX100s, (5.90×4.09).

    Gura Gear Kiboko City Backpack

    This is a new product and has a lot of key features, the three pounds ultralight weight, the swing round side access, rear camera access, expandable roll top and yes the water bottle pocket. Bag weight is very important as camera equipment can be very heavy. Also being able to carry all those other things you need with you is key as well. Rather than going into detail, all the details are available on the Kickstarter website. The included video is quite comprehensive.

    Peak Design Everyday Back Pack

    Usually, when you talk about the best-designed camera bags Peak Design is at the top of the list, like the Gura bags they are designed by photographers. The commuter bag that they make is the Everyday Backpack, which comes in 20 and 30-litre sizes.

    Wandrd PRVKE LITE

    When you ask GFX 100s users which bags they have been using for this purpose one of the bags that gets good reviews is the Wandrd PRVKE LITE 11-litre bag that rolls to 16 litres. This bag is your most compact option but according to the Wandrd site the 21-litre, of similar construction, would be more appropriate for more than two lenses.


    The other bag that is favoured is the Shimoda Action X30 backpack. This bag comes highly recommended by many GFX100s users, is well built and perfect for carrying more equipment and personal gear. This 30-litre bag can be expanded by another 7-litres. However, it is quite a bit larger than the bags that have already been mentioned. However, they do make a smaller Explore V2 25 Starter Kit.

    Sling Bags for the Street

    In closing, if you have not invested in a sling bag for lightweight minimal kit outings, I have come across three companies that have excellent options in this style of bag Ona, Peak Design and Tenba.

    The Prince Street bag comes both in waxed cotton or leather and is a nice compact bag. The Tenba 13″ is an excellent option. This is perhaps the most compact and light weight option the 6L bag, and is also very quick to deploy and huges the body well.


  • Sun, 04 Sep 2022 19:08:55 +0000

    Is Digital-Based Image making Photography?

    In print a digital image there are a lot of processes that can be used and unlike the wet darkroom days. In my practice, I am using a number of printing methods, however, I would to focus on is pigment ink printers for the purposes of this discussion. When printing 17 by 22 I use an Epson 3880 printer, and print on hot press bright cotton paper (fine art paper). What I find interesting about pigment ink printers is the similarity it has to other forms of planographic and intaglio printmaking process where pigment inks and cotton papers are used. Unlike chromogenic prints or C-prints processes, the materiality of a pigment in print is quite different. There are two advantages to pigment ink printers, first, the surface is whiter than C-prints which tend to have a dull less sharp look, and second, the gamut or range of colours is greater.

    The Painters World

    The traditional triad-based colour wheel painters for mixing pigments is quite different from the pigment used in digital printing. Painters have a wide variety of paints to choose from which are created using a large variety of pigments. Orginally most pigments were ground-up organic materials, but over time synthetic pigment colours have been introduced. Two of these, cyan and magenta now form the fundamental basis of the digital printing process. The problem from a painter’s perspective is magenta is not technically red and when mixed according to the wheel with yellow it tends to acquire a brown hue, and of course, cyan is not blue and has similar issues.

    From UX Planet

    Chromogenic Print Making

    In the colour dark rooms of the 70s colour was done with up to three filters, as the light passed through the enlarger head your prints tended towards blue if it was a Fuji film or red if it was a Kodak. So your choice of paper had to be calibrated toward the filter colouring choices. This meant the gamut one could achieve in the darkroom was more limited than what digitally we can achieve today and much further away from what a painter could achieve.

    From Reframing Photography
    Once you have printed a full-size trial photograph at the correct density, evaluate the print’s colour. Assess the print under the same type of light source in which you will ultimately present it. If the presentation venue is not known, use daylight. Look for colour casts that you can identify as red, green, blue, cyan, magenta and/or yellow. For example, the cast may be greenish, which indicates the presence of too much green. Or the cast may be purplish, which would indicate the presence of excess magenta and blue. Usually, areas of the print that should be neutral gray are easiest to evaluate.
    Instead of trying to identify a cast from six possible colours, you can halve the possibilities by determining whether the cast is warm or cool. On our colour wheel, the warm colours are at the right of the vertical axis (magenta, red and yellow) and the cool colours are at the left of the axis (green, cyan and blue).

    You can see by comparing the two colour wheels that there is a difference in the colour one is working with. In the colour, darkroom blue is closer to purple and the red has an orange hue. So the colours that can be created this way are different and one has to be careful during the mixing process not to acquire too green a hue or too purple a hue. You are also working with cyan and Magenta.

    The Digital Pigment Ink Prints

    Digital printmaking now has a wider range of colours than traditional darkroom colour prints but this varies depending on your printer. In the common home printers, four pigments are used black, cyan, magenta and yellow.

    In the Epson 3880 pigment printer, the palette is much broader, however magentas and cyans still dominate. As you look at larger Epson printed more pigments are available such as orange, greens and violets.

    Keep in mind the whites of the image come from the paper and papers can vary widely in terms of how they produce a white, the white substrate does have an impact on the luminosity of the print and presentation of the pigments. I use the whitest hot press bright fine art paper which is cotton paper because of its bright white surface.

    Print Pigments Painterly Quality

    Digital printmaking has advanced technology by using more traditional fine art materials, such as pigments and fine art paper. This means more colour range and better blacks and whites opening up more creative choices. In so doing colour accuracy, which is critically important in most professions, for the artist moves them closer to the world of the painter in which colour accuracy is less important. It is now possible to use digital technology to print images, that look more like paintings than traditional photographs.

    When you tell someone the image is a photograph people’s expectations of this media can cloud their perceptions idea of photography. These expectations can vary depending on their experience. Individuals who have been exposed extensively to chromogenic images may see the richer colours, deep blacks and bright whites as some sort of enhancement; leading them to think or ask if the image has been photoshopped, even if technically the print is accurate. Those who have been exposed to a lot of digital media where extensive colour grading as they do in TV shows like CSI: Miami may have a very different reaction.

    Documentary versus Fine Art Printing

    I am wondering if we need to consider a new way of referring to this form of printmaking, after all, it is a two-dimensional illusion a facsimile, like other forms of two-dimensional art. The difficulty with the word photograph is photography has been used extensively to document or accurately record events, represent evidence in courts, and record historical events in the press. Photography has as result been an instrument of reform as it shines a light on the darkest corners of our society. Accuracy is paramount when using photography for this purpose and photojournalists are not allowed to manipulate or enhance an image (although the act of framing can change the meaning of a photograph dramatically). This aversion to manipulation often influences how people look at photographs. The sciences when recording and analyzing microscopic worlds and galaxies also have a rigorous need for accuracy.

    It is a complex process and the following flow charts give you some idea of the detail involved in getting an image to reflect the colour that was present when the image was taken.

    Typical Color Management Workflow for Image Enhancement Typical printing process workflowhttps://www.benq.com/en-us/knowledge-center/knowledge/color-management-workflow-to-enhance-color-reproduction.html

    How to Describe the Difference

    If the word photography has this kind of influence on how people look at things called photographs even if they are present in a fine art venue, perhaps we need to find a new way of delineating the difference between fine art and documentary photography. In the fine arts world, accuracy is less important, it’s more about expression and the ability to evoke an emotional or conceptual reaction. Like a painter the making of a digital fine art print may need to have different tones harmonized, the intensity of certain colours adjusted, and the hues may need to be tweaked. All these decisions are decisions more akin to what a painter might consider than a documentary photographer.

    It has been suggested to me that “digital-based image making” or “photo-based image making” might be a more accurate way to refer to this sort of photographic process. I tend to think the first term is more inclusive and less problematic. It seems a more accurate way of describing fine art image-making while distancing it from the documentary form of photography, at least until a better term evolves.

  • Fri, 02 Sep 2022 15:50:39 +0000

    Arc Swimmer
  • Thu, 01 Sep 2022 06:45:24 +0000

    On-Line Course

    I am teaching an online course “Developing Your Photographic Eye” through the Shadbolt Centre for the Arts, and registration is now open.

    A low maximum of 5 students allows for more individual attention. Instruction will be provided online via Zoom. Google Classroom will provide a secure and private platform for instructional material, after-class discussion groups, and after-class feedback.

    Photographers at various skill levels who are interested in learning more about the art of photography. Every photographer regardless of their skill level has a style either dormant or emerging. Through walking assignments, participants will have an opportunity to develop their own unique style to make images and discuss them in a workshop format.

    Discussions may cover composition techniques, various photographers’ methods, post-processing, camera techniques, and technical problem-solving.

    Instruction will be online via Zoom. Google Classroom or Moodle will be used to provide a secure and private platform for instructional material, after-class discussion groups, and feedback.

    You can register at the City of Burnaby web reg portal the bar code is 674376


    Fees: – $240.00

    Senior $192.00

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