Kirk Anspach Studios: San Anselmo, CA
Kirk Anspach first met Jim Marshall in 1976. Back then, Kirk was employed at the black & white processing lab Marshall was using, and the two quickly developed a strong working relationship that has only deepened over the ensuing thirty-plus years.
Kirk not only processes Marshall’s Kodak Tri-X black & white film stock, he creates the prints from those negatives on Ilford double weight, fiber-based museum-quality silver gelatin paper.
Knowing how Jim creates his negatives gives Kirk a unique insight into Marshall’s working methods. “Unlike most photographers, who under- or over-expose on the same roll, all Jim’s proofs are perfect,” says Kirk. “He really knows how to read Tri-X, and knows how his camera reads it. And because Jim is such a master of composition, I always print full-frame. There is no image cropping. What you see is what Jim shot. When it comes to our relationship, Jim trusts me because I don’t fuck up.”
Kirk has been Jim’s exclusive black and white processor and printer since 1988.
Page Imageworks: San Francisco, CA
Tony Page has worked with Jim Marshall for more than 15 years. A master at matting fine art photos, Tony exclusively uses a 4-ply, bright white Rising Museum Board, with one layer behind the print and another in front with a window that’s been precision-cut on a $15,000 computer-driven Wizard CMC 8000 mat cutter.
Once readied, the boards are hinged at the top with acid-free linen tape, and each print is held in place by four corner pockets that have been fabricated from the same material. Thus mounted, the image itself “floats” between the mats, ensuring that, should the print ever need reframing—be it tomorrow or 50 years from now—it will remain in its pristine original condition.
Signature and Mat Window Cut
Jim’s usual preference is to have the mat board cuts so it shows only the image — with no extra border space around it. Following this format, Jim signs both the print and the mat; his signature on the mat is the one that appears on the final framed photograph. Note, however, that Jim occasionally signs only the print. Mats for these prints are cut with extra space at the bottom in order to show Jim’s signature and the date.
The authenticity of your print is verified by Jim's signature.
A Note About Mat Size, Print Paper and Image Size
Marshall Photo customers please note: The specified size of your Jim Marshall print may, for example, be listed as 11” x 14” with a 14” x 18” mat. But please keep in mind that the 11” x 14” dimension is in reference to the size of the photographic paper the image is printed on. The border around the image may vary from half an inch up to three-inches on each side; hence, the actual image area is less than the stated print paper size.
