Meet Bradley Cantrell

By | Art From the Hills, Artist, Photographer, Tweek Imaging | No Comments

Learn a little more about photographer Bradley Cantrell! We love working with this guy, and we think you’ll love his work.

​Probably our favorite thing about being printers is that we get to meet and work with really cool artists like Bradley Cantrell. Bradley is a super talented photographer who lives and works right here in Knoxville, TN. Bradley has an awesome show coming up at Pellissippi State in the Bagwell Center Gallery that will run from November 20-December 8. We were luckily enough to chat with Bradley this week about his work and motivation. Check out our conversation below!

  • When did you first pick up a camera and what was your motivation?
    • When I took a photography class in high school, I think 10th grade. I bought a point and shoot Canon.
  • Has your motivation changed from then to now? Has you gear changed from then to now?
    • Absolutely, obviously then it was for a class I didn’t really care about. Now I am trying to make art. My gear has definitely changed, I shoot lots of different film cameras, and currently am shooting Sony for digital.

  • What is your favorite camera or format to work with?
    •  My Hasselblad 500c medium format is probably my favorite camera I have.
  • Do you plan out a lot of your shots ahead of time, or just shoot as you see things? Favorite subject? What inspires you most?
    • I love to plan almost nothing, I think I get the best images when i’m not trying to. I love photographing people, and I find a lot of inspiration from movies.

  • When you’re shooting while traveling and snap one of a passer-by or something do they ever notice and say anything? Ever had any interesting reactions?
    • Yes, I was in Scotland and this lady was in the middle of the street feeding some birds, easily 200 birds it was surreal and as soon as I lifted my camera to photograph this scene she freaked out and ran over to me and my friends screaming at us, demanding we delete any photos of her. She was actually scaring some of the people with me so I had to tell her off! It was an experience. 
      • This story is awesome!

  • What is your favorite location that you’ve seen/photographed?
    • There was an Island in Scotland that was the most incredible place I have ever been or even seen. Lush green hills and a rocky coast to the ocean, not another person in sight. It was a place you see in movies and I never imagined I would step foot near. 

  • Black and white or color?
    • I never liked black and white until I started shooting film, that is such a tough decision but I would go with black and white.
  • Can you give us the details of your upcoming show?
    • The reception is Nov. 20th, 4-7pm. It is all photographs from a trip to south korea, 59 images total. it will be hanging until Dec. 8th

  • What brought you to Tweek?
    •  Emily Brewer messaged me about a special discount on prints, and probably a hundred prints later here we are. 
  • Would you recommend Tweek to other photographers?
    • Oh yes, I recommend Tweek to all my photographer friends. Excellent customer service, especially if you are local, and you guys actually care about what you are working on. 
      • Thanks buddy!

  • Current musical obsession: I’ve been stuck jamming The Killers and Manchester Orchestra’s new albums.
  • Favorite meal of the day: Breakfast, no doubt.
  • Coffee or Chocolate: Coffee

Check out Bradley’s website or his Instagram to see more of his work!

Meet Kyle Myles

By | Artist, Photographer, Tweek Imaging | No Comments

We love seeing the world through the eyes of others at Tweek. Sometimes that means we’re scanning your negatives, restoring your photos or printing them. For photographer, Kyle Myles, that often means helping him during the printing process. More recently we were helping him print a number of panoramic photos for a show in his hometown of Washington D.C. Often times we get to look into his life with his friends and his family when we print his work. We love printing Kyle’s work. Even more, we love sharing it on the blog today. So, here ya go. Learn more about Kyle Myles.

TI: When did you first pick up a camera and what was your motivation?

KM: I first picked up a camera around 2012 to document my friends that I was skateboarding with.

TI: Has your motivation changed from then to now? How so?

KM: I’m still documenting skateboarding but now I photograph everything else, and everyone else I know, as well.

TI: Has you gear changed from then to now? What did you start out shooting with? How old are you/did you start out pre-digital age?

KM: My first camera was a Sony Nex-5 and i’ve used a wide variety of cameras, both film and digital, ever since. I’m 27 now so I started well after digital came about.

TI: Tweek printed some panoramas for you that were pretty awesome…what were you shooting those with?

KM: Thank you! Those were shot with a Hasselblad XPan that a friend loaned to me.

TI: Do you do those very often or just when the scene is right?

KM: I would certainly shoot more panoramics if only I could afford an XPan. The wide open western landscape definitely lends itself to a aspect ratio like that.

TI: Favorite subject? Do you have to say your family?

KM: Family and friends for sure. I’ve realized lately that the majority of my work is centered around the people closest to me. I’m not particularly interested in documenting strangers, though I enjoy and admire the work of many photographers who do.

TI: Speaking of family…your niece and nephew must just see a camera as an extension of your face by now. How have their interactions with you and your camera changed over the years? Or have they? Do they put on a show for the camera at all or just act naturally all the time?

KM: They’ve seen me with a camera ever since I picked one up so I think they must see it as an extension of me by now. They’re the only people that I know who (most of the time) don’t put on a show when they see the camera. We’ll see how that dynamic changes as they grow but for the time being they’re generally in their own worlds and don’t pay my camera any mind.

TI: People or places/things? Do you prefer one over the other?

KM: I definitely prefer photographing the people in my life but sometimes a scene/landscape can hold just as much emotion or connection for me. I can’t explain what I might see in a scene that brings me to photograph it and I never know until I have gotten home whether it has translated or not.

TI: Black and white all the way? A few of your panos are in color…is that it?

KM: The majority of my work is definitely in black and white but i’ve been pushing myself lately to try and make more work in color. It’s been a challenge to say the least.

TI: Why are you such a fan of B&W?

KM: When I started shooting with film and developing it myself, I got into black and white for how easy/cheap it was process. After shooting that way for some time it became natural to see and photograph things with that in mind. I look at just as much color work as I do black and white but for me my preference for my own photography is still overwhelmingly black and white.

TI: Future of photography equipment…what do you see?

KM: I think DSLR’s are definitely on the decline as camera manufacturers are investing more into mirrorless technology and many users are looking for the best performance in the smallest package. That’s part of what makes the Sony A7(r,s), Fuji X and Leica M series so popular. As great a tool that the cell phone camera is, and I use mine just as frequently as any camera I own, I think there will always be a market for dedicated still and video cameras. I try not to think too much about equipment. The most important thing is to find a tool that works best for you and the way you work.

TI: I’m a big fan of clean, negative space and you do that really well. Did you start out seeing this way or did you just end up here?

KM: That’s something that has developed in my work over time. I find cluttered photographs too distracting and I try to give the key elements their own space to breathe

TI: Any shows coming up for you? Give us the details and tell us what we could see if we are able to go.

KM: I currently have an exhibition of panoramic images, made in California and Nevada, up at Hanks Cocktail Bar in Washington, DC. It runs through October 31st.

TI: What brought you to Tweek? How long have you worked with Tweek, and what keeps you coming back for each project?

KM: I was initially approached by my friend Emily Brewer to try out Tweek’s latest online platform about a year or so ago. I enjoy working with you all for the one on one experience (Tony is just a text or email away for any of my obsessive questions), the value for my money and the end result which has never disappointed me.

TI: Would you recommend Tweek to other photographers?

KM: Definitely, and I have on quite a few occasions.

TI: Current inspiration:

KM: The stack of books on my coffee table (Larry Towell is at the top of the pile) and whatever good work my friends make on a daily basis.

TI: Current musical obsession:

KM: Future Islands is the most recent played artist on my Spotify.

TI: Favorite meal of the day:

KM: Dinner, because its the one meal I never forget to eat.

TI: Coffee or Chocolate:

KM: Don’t do that to me…


Meet Danny Wilson

By | Artist, Tweek Imaging | No Comments

It’s time we introduce you to another Tweek Artist! This month we are pleased to share a recent Q&A with Danny Wilson. Danny is a Knoxville illustrator who has worked with clients ranging from the University of Tennessee to The White House, Scripps Networks to Warner Bros, Panera to Taylor Swift…. We love printing Danny’s work and getting to see what he’s been working on. The talent of our Tweek Artists is truly unmatched. Enjoy reading/meeting Danny!

TI: So your career started with a BFA in Graphic Design/Illustration. What was your initial motivation as far as work was concerned? Did you have one goal in mind?

DW: My career actually started before I had a BFA. While a student at UT, I worked as an illustrator for The Knoxville Journal doing news and sports related illustrations and informational graphics. As my graduation approached, my goal was to move to a larger market and get hired by an illustration studio. At the time, in the mid-eighties, there were illustration studios in major cities that had several illustrators on staff and just cranked out the work. It was a great way to get trained and learn to produce professional level art. The day after graduation I went to Atlanta and on my second day got hired by an illustrator from New Zealand, Ian Greathead. Ian was a renowned airbrush illustrator who was in such demand he was turning down a lot of work. He decided to start a studio to be able to take on that extra work, and I was the first illustrator that he hired.

TI: What was the content of your final show and how did that shape what you did in the future at all?

DW: At that time at UTK we weren’t doing the “final show” concept for BFA students. However I did have a portfolio of work that showcased what I hoped to do professionally. At one point in my schooling I made a decision that I wanted to be an illustrator rather than a graphic designer. My upper level classes reflected that choice, so I had a portfolio full of illustration that had quite a bit of diversity in style and technique. Even though I was always told that I needed to develop one style to be known for, that ability to be versatile has turned out to be very important in my career.

TI: From concept renderings, cartooning, logo creations…do you have a favorite? Why?

DW: I have come to really enjoy the concept renderings that I do for Event and Experiential Marketing firms. Each project is unique. They are usually quick turnaround, but they pay well. And that niche has allowed me to do work for a lot of nationally prominent companies and people like Warner Bros, Netflix, Panera, Yahoo, Taylor Swift, The White House, Zappos, etc. etc.

TI: What is more challenging for you–bringing a creative firm’s vision to life based on their description or the physical creation of a piece?

DW: I would think the bigger challenge is the first part, making sure I understand what the client is asking for. Each client has a different way of describing what they want, but over time I have learned how to interpret their descriptions and what questions to ask. After I have an understanding of the project, the creation of the image is the part that comes more natural to me. I will usually do a sketch and send to the client for approval, to make sure I understood their requests, before starting on the final color art.

TI: Is there one thing you started doing early on in your business that set you up for success? One small daily practice that makes everything fall into place?

DW: A couple of things come to mind that I always tell students and young entrepreneurs. One is to treat being a freelancer like a job. Get up. Get dressed. Even though flexibility of your schedule is a nice perk of freelancing, try to keep somewhat regular hours when possible. The second thing is some pretty obvious financial advice to help even out the feast or famine nature of freelancing. Set up a business checking account separate from your personal account. When you receive payment, deposit it in your business account, set aside 20% for taxes and then write yourself a regular paycheck into your personal account. That way you don’t end up blowing through the money when you had a good month and then have nothing when you have a bad month. And be aware, you will have good and bad months for your entire career.

TI: Was there one project early on that shaped your business? Maybe a type of illustration you didn’t expect to do?

DW: I’m sorry to go back to the concept renderings, but that really has been the biggest surprise of my career. In the early nineties I got a call from Michael Miller at Whittle Communications. He asked if I would do a project that he had been given that he didn’t feel like he could do. It was a concept rendering for the new Whittle Events Group to be used in a presentation to Coca Cola for the Coca Cola Road Trip. Not really understanding what the Events Group did, I thought it was a one time project, but when I delivered it to him (a 24”x 36” marker rendering, mounted on foam core), a young Brad Wirz, who had just joined the sales division of the Events Group, saw it and said to me, “Hey, how much is one of those?” We talked for a few minutes and later that day he called me with another concept rendering project. And I’ve been doing them, and specializing in them, now for about 25 years. So I owe a lot to Michael and Brad for that part of my career. It’s a niche that I didn’t even know existed prior to that and one that I now get work for from all around the U.S.

TI: Do you have a favorite project as of late? Why?

DW: I recently was asked to create the official art for The 2017 Chick-fil-A Kickoff Games in Atlanta, which open the College Football season each year. I enjoy doing College Football related images and this project, which I got because of the poster I created and sold in 2016 for The Battle at Bristol football game has been a fun challenge. Its getting a lot of exposure on a national scale and it’s led to some important relationships in the college football world for me.

TI: What project brought you the most public recognition do you think?

DW: The Battle at Bristol poster last year, that I just mentioned, led to five or six TV and radio interviews, and several newspaper articles, so that might be it. In years past though I’ve had some pretty visible projects. I designed the court graphics for The Summitt, UT’s basketball court. I did the growling Smokey logo that you see on shirts and bumpers. And I did the old starburst Power T design that used to be on the back of the jumbotron at Neyland Stadium. Another highly visible project that has been around for a while is a large mural at the Hoover Dam Visitors Center. Also, the graphic on the front of the Kraken supercomputer at ORNL. Those are some of the more visible projects I have done.

TI: What project brought you the recognition in the art world do you think?

DW: I’m not really sure how to answer this. I’m not really recognized in the art world in any kind of tangible way. I don’t enter award shows or anything like that. I’m a relatively obscure illustrator that has happily been able to make a living at it for over 30 years.

TI: What brought you to Tweek?

DW: Even though I think I may have interacted with them earlier, I was really made aware of Tweek when I was working on a project with Paul Seylar, Creative Director at Scripps Networks. We teamed up to create a pretty unique infographic, that doubled as a framable piece of art. Tweek was working with Paul on the gicleé prints. Later on, when I need a source of that same kind of printing I got their contact info from Paul.

TI: How long have you worked with Tweek?

DW: That Scripps Networks project was in 2012. I think the first actual job that I sent to them personally was a print of a caricature of my friend Mike Wenger, in 2013.

TI: What keeps you coming back for each project?

DW: Quality products coupled with excellent customer service.  They really know what they are doing in both.

TI: Would you recommend Tweek to other illustrators?

DW: Absolutely! And I do!

TI: Current inspiration:

DW: Since almost all of my professional work is done on a digital tablet, I have recently began doing some actual on-site sketching when we travel. The sites I have seen, plus the experience of sketching on the spot, both are very inspirational to me.

TI: Current musical obsession:

DW: The entire career of Bob Dylan.

TI: Favorite meal of the day:

DW: Breakfast is my favorite meal, but since I work from a studio in my home, I do enjoy going out to lunch every day just to keep from going crazy.

TI: Coffee or Chocolate:

DW: Not a coffee drinker so chocolate wins by default.

Meet Emily Brewer!

By | Artist, Photographer, Tweek Imaging | No Comments

It has been a little while since we’ve introduced you fine folks to another Tweek artist. So, we’re here to quench your thirst today! You’ve seen Emily Brewer from time to time on our social media accounts but we thought it was time you learned more about what she does when she isn’t on our social media. She has a couple shows she’s a part of this summer in Knoxville so we’ve got the scoop on those as well. This gal has nothing short of an analogue film obsession and because of that she’s got some pretty fantastic work. Enjoy this little sneak peek in her world! And visit her show in Knoxville before August is over!

TI: Where do we start with you? What camera did you pick up first?

EB: Trying to think back to this first camera of many…I borrowed my Dad’s Minolta SLR back in high school for a short darkroom lesson during an art class, but my first proper camera was purchased at Blue Moon Camera in Portland, Oregon when I lived there way back in the day. I think I bought a Canon AE1.

TI: What draws you to photography? And what keeps you coming back for more?

EB: I think I’ve always been drawn to things that feel magical. Obviously, I realize everything has a scientific explanation and a few genius brains behind it, but think about it – we are using tiny little (and sometimes not so tiny) boxes of wood and metal and plastic with a roll or piece of film in it that captures life as we see it, and sometimes life as we don’t see it. Then we swish it around for a while in some chemicals and there’s an image that we can put in another box and shine light through it onto a chemical-coated paper that makes a photograph right before our eyes as we agitate a tray. It’s fascinating and magical and it feels great. That feeling is what keeps me coming back.

TI: We ask you that because we know you have a camera obsession. What is your current obsession?

EB: Oh man, the camera obsession. Current and long standing obsession is anything Leica. Tiny rangefinders, point & shoots, and half frames really have my heart right now. As well as anything 4×5. So one extreme or the other, basically.

TI: Explain your obsession. Why do you love trying new camera bodies or love acquiring them?

EB: Well, they all have their own nuances. It’s fun getting to know a camera. Each camera I use gives me a different feeling while I’m using it. I’m also an overly technical person (NERD!) so I kinda geek out on stupid tech specs and spend a lot of time researching, just because.

TI: Film or Digital?

EB: FIlm, hands down!

TI: If you could have an unlimited supply of any film what would it be?

EB: Why do you ask these hard questions?! How can I pick just one? If I am forced, I suppose Fuji Neopan. But HP5 & Tri-X are staples too, for affordability.

TI: Describe your favorite shooting environment.

EB: Old, dirty places or cities. Nighttime. Panama City Beach. Anywhere I haven’t been before.

TI: You’ve gotten into tintype photography. What do you love about it?

Remember that thing I said about the magic? Yeah. Plus, it’s pretty interesting that the photograph comes out essentially grain free. And there’s a risk of blowing things up with chemicals, so that’s always fun too.

TI: Your body of work has a good amount of environmental and portrait photography. Do you have a favorite?

EB: No favorites really. I enjoy both equally.

TI: Did you print these yourself in your darkroom?

EB: Yes, I do print them myself in my basement darkroom. I have also used the Knoxville Community Darkroom while mine was still under construction. My platinum prints were made in Portland, Oregon but I am set up to continue making these at home as well. The color prints are professionally printed (the old fashioned way) at my only and favorite camera store and lab – Blue Moon Camera in Portland, Oregon.

TI: Have you displayed your work enough to have a favorite way of hanging/displaying?

EB: I like tacking them up on my wall at home and staring at them until I hate them. Or until I’m bored with them. It motivates me to make more and better.

TI: What would be the content of your dream show?

EB: Interesting question. I don’t really “create” or plan my content, the content, in a way, finds me. I’d be happy to show anything and everything.

Current & Upcoming Shows featuring Emily Brewer:

Striped Light, 8/4-5: Introducing Emily’s new project TnTypes! Visit her site to schedule an appointment to get your very own tintype portrait made this weekend! How cool is that?!

White Oak Gallery, running thru August: Show will consist of silver gelatin prints, platinum prints, polaroid emulsion lifts, and optical color prints. It is in White Oak Gallery.

Current inspiration: All of my creative friends across the world – I’m constantly inspired by any and all other artists.

Current musical obsession: Andy Shauf / True Widow / After Care / Pinback / Title Fight

Favorite meal of the day: Breakfast, Snack, Lunch, Snack, Dinner, Snack – all day food

Coffee or chocolate: Chocolate, and it better be small batch, fancy, expensive, dark, and have superfoods in it.

TI: How do you typically get your film images converted into digital format? Tweek maybe? 🙂 Why Tweek?

EB: Definitely Tweek. I can use quality scanners that have been around and appreciated for years. And I know my obsession for quality is matched by Tony and the rest of the Tweek team.

TI: Do you have a favorite scanner at Tweek? Why?

EB: I prefer using the Scitex Eversmart Pro because the scans have a special quality to them that I don’t see when using other scanners. It’s kind of one of those magical things that’s hard to explain.

TI: What makes you choose Tweek for printing larger format or multiple prints of images? What keeps you coming back for more?

EB: The paper options are enough reason alone. But I also know that Tweek’s attention to detail and quality can’t be found many other places.


Where do prints come from?

By | Artist, Services, Tweek Imaging | No Comments

Ever been curious about the early life of your print before it becomes part of your home? To help you out today we’re going to tell you all about the birds and the bees. Are you ready?!

So, you click order (birds) and we receive your order (bees). Done. You can stop reading now. J/K! J/K!

For real though, once we receive your order we (with gloved hands) print it on your choice of paper then…

Your print gently falls from the printer into the print-friendly hammock below the printer. We then grab your print by the edge attempting to never touch the actual image. A lot of times your print will be curled because we are printing on rolls of paper. So the next step is usually de-curling the print. Essentially we are curling it the opposite direction in order to flatten it. Once it is flattened we place your print(s) in an acid free protective sleeve before attaching it to chip board and placing it in your mailing package. Why do we attach it to chip board? To help with rigidity and protect that happy baby. Gotta protect your babies. They dent so easily.

If you’re in a hurry to get your print and we are rushing a bit (which is totally cool with us) we will place your print in the acid-free sleeve with a piece of standard bond paper to help the image out-gas before it gets to you to go in your frame1.

One question we have for you is… ‘how long are you going to store your print before framing or hanging?’ If it is going to be a while2 we recommend requesting a backing board at checkout. This is going to give your print rigidity and hopefully prevent an ‘uh, oh’ moment for you. We’d hate for you to be forced into ordering the same print twice. Unless you want to of course.

Another great reason for getting a backing board is if you’re an artist and you plan on immediately selling your product or shipping it straight onto your client. We’re here to help make your life easier. Remember? If you’re going to store this print indefinitely we’d recommend you store your print as we send it then sandwiched between acid-free foamboard.

After all that, baby is placed in the shipping container, driven to the shipping facility and placed in their hands to be delivered at your happy door.

The End!

Oh wait, here are some quick tips:

How you can store your prints (if you aren’t immediately framing):

  • Leave them in the packaging (specifically the acid-free sleeve) you get from us

  • Store in a flat file box or cabinet

If you’re framing:

  • Use gloves to be sure no oils or prints are transferred

  • If you want to continue with the archival process we’ve started for you use acid free mats

  • You can also use an acid free backing board like foam-core that will keep your print in place 3

  • Self-adhesive Linen hinging (i.e. Lineco Tape)

Meet Lesley Eaton

By | Art From the Hills, Artist, Tweek Imaging | No Comments

It’s featured artist week at Tweek! Meet our super talented, paper-pepperin’, collage-makin’ friend Lesley Easton! Read on!

I bet you thought we’d never introduce you to another artist didn’t you?!1 Do you have no faith in Tweek? Come on guys. Ya’ll can always rely on your friends at Tweek.

Now, onto what we really want you to read about today…Peppered Paper2! We love Lesley’s clean, yet chaotic, work. How she can handle working with such tiny pieces of cut paper for long periods of time blows our minds but she loves it! And thank goodness because the world is a better place with Peppered Paper! On to the interview and more photos of her work!

TI: So, your work started with scraps of paper painted for other projects during art school correct? Are you painting paper specifically now for Peppered Paper?

LE: My “peppered paper” is a collection of butcher paper that was used as drop cloths to catch all of the spills, splatters, and brush strokes as I painted. It’s filled with haphazard markings and texture and lots of color! I love incorporating this paper in my recent collage work, but I’ve never limited myself to only using this scrap paper. I will often add other papers I’ve painted or paint on top of this paper if I want a specific color- the dinosaurs of a good example of this. I painted lots of paper for them because I knew I wanted to use specific bold colors, and the somewhat intentional by-product of painting more papers is more “peppered paper” on my drafting table.

TI: What was the piece you made that inspired Peppered Paper?

LE: Well, as typically happens, my style evolved very naturally and intuitively. I started working mostly in painted paper collage for children’s book illustration. It’s where my “peppered paper” drop cloth scrap paper came from. I painted lots of papers, lots of bright colors for this illustration work. My first official “peppered paper” piece was actually created for a silent auction fund raiser for a food pantry. I wanted to donate a piece of original art that was more accessible to the attendees at a wine and cheese art auction than children’s illustration would have been, and I had been saving all of this exciting paper from my drafting table for a couple of years. I started playing around with my x-acto knives and came up with these wonderfully sharp and delicate leaves and petals creating my first “peppered paper” collage, a blue thistle.

(Photo by Alison McQuain)

TI: What has made you choose the subjects you’ve made?

LE: The second “peppered paper” collage I made was the old-time banjo. I definitely had this vision of using some of the mostly white butcher paper with a few colorful splatters and brush marks for the white head of the banjo. So, my instrument series evolved from there. The thistle is a good example of the hard and sharp edges I’m drawn to creating with cut paper. I love the juxtaposition of the delicate and sharp, the chaotic painting and super meticulous cutting and gluing. A lot of the subjects I’m drawn to have a sharp edges or points with a kind of gracefulness at the same time: deer antlers, spiky thistle leaves, raccoon whiskers, insect antennae, crustacean claws….

 TI: How does your love of book illustration shape your work? Or does it at all?

LE: I’m really itching to get back to more narrative work. It’s not the kind of work that sells at silent art auctions ;), but visual storytelling is my true passion. So, as my style continues to evolve I’m excited about experimenting with combining more drawing with my collage work.

TI: What is your favorite part of your process? Why?

LE: That part when my logical brain turns off completely. Some people refer to this as working in flow. It’s getting lost in color a lot of times for me- just painting papers, or getting lost in drawing, when I have time. Most often it’s getting lost in design, curating and piecing together all of the perfect papers for whatever I’m working on at the time.

TI: Your two little guys are so adored at Tweek, how do they impact your work?

LE: Balancing motherhood and creative work has been a huge challenge for me. Like I just mentioned, my favorite part of creating involves letting my logical brain turn off. This can be tough when time in my studio is so limited, and the mom job is so demanding and exhausting for me at times. However, I’m starting to realize how grateful I am for the challenge, for the drive to push through and keep creating, and really for the affirmation that I should keep fighting to reconcile my calling as both artist and mom.

TI: Is your family involved in the creation or showing of your work?

LE: I loving refer my husband as my manager. And I really need a manager! I’m not so great at details, marketing, following up with people, etc. He’s also super creative and handy, so he’s built lots of displays and beautiful frames for some of my original pieces. The boys love when mom has an art show now- I’m pretty sure they think all art shows have some type of craft donut or ice cream truck around.

TI: What made you decide to make prints of your originals?

LE: I really wanted to offer a lower price point for people to purchase my artwork. I LOVE when people purchase an original, but, I completely relate to having a lower budget for art and decorating right now. We’re slowly adding to our collection of original pieces, but I enjoy the professional art prints I’ve purchased from other artists just as much, and know that it’s supporting their work as an artist too!


TI: What is your favorite aspect of getting your art reproduced?

LE: As much as I love selling original work, I still sometimes have trouble letting go of some pieces. Having my work reproduced and printed feels like I get to keep a little part of the art, so it’s easier to see it go, ha! It’s just reassuring to me to know that I have my art documented and saved in that way.

TI: Why work with Tweek?

LE: Attention to detail! My work is super meticulous, so you might correctly assume I have pretty high standards for its reproduction, for myself, but also for anyone purchasing my work. I want the reproductions to reflect the quality and craftsmanship I put into each piece. The photographer/printer always gets lots of compliments at show because he does such a good job making sure the three-dimensional aspect of my work is captured. My work is so unique because it’s all cut paper, so it’s pretty important that this is evident in the prints as well. Tony’s also always been great to work with me if I need a quick turn around, and to make sure the colors are “tweeked” just right.

Current inspiration: The Unmistakable Creative podcast with Srini Rao

Current musical obsession: not sure I’d say obsession, but The Hamilton Soundtrack, The Lumineers, and The Tallest Man on Earth are getting lots of play time lately

Favorite meal of the day: Breakfast

Coffee or chocolate: Coffee! but, pregnant lady gets to say both, right?


1 How much did you love learning about Matt Day the other month? Yea?! Us too.

2 Remember us talking about art reproduction? Well, here is an artist that allows us to reproduce her work!

Meet Matt Day

By | Artist, Photographer, Tweek Imaging, Uncategorized | No Comments

Hey you guuuyyys!!1

New regular occurrence happening here today. Starting now every month or so you can expect to get a look into one of Tweek’s artists’ lives on the blog! Pretty cool huh? This month we are starting that new trend with Matt Day.2

One thing we love about Matt is that he often allows Tweek to make prints for him. But even more what we love is the dedication Matt has to his craft and the community at large. After reading and doing a little more digging on this guy you’ll learn he never puts his camera down. And he has done so for so long that his camera has just become a part of him. Oh gosh, we’ve already said too much! We will stop talking so you can move on to the good stuff below. Read on my friends! Huge thanks to Matt for spending some time with all of us!!

TI: Where did this all start for you? What made you pick up a camera?

MD: It’s a bit of a long story, so I’ll try to keep it brief! In April of 2004, my brother was 17 years old and working on a local farm. He had been working there for years, but one day, he was attacked by one of the bulls on the farm, paralyzing him. While he was in the hospital recovering for some time that spring and summer, I was living with friends and family, back and forth. My mom was staying at the hospital with him, my dad was making trips to the hospital and working on getting our house adjusted to accommodate a wheelchair. They had to add on a room to our house. So their hands were full and I was still finishing up the school year, so I was staying different places. My aunt and uncle flew in from Florida to visit my brother and when they got here, they had a camera for me. They knew I was always playing around with video cameras and enjoyed that kind of stuff. They told me to take the camera and document his recovery and also document what I was doing so that when I see my parents and brother, I could show them photos of what I had been up to. Hanging out with friends, being a 13 year old kid. That sort of thing. So that’s what I started doing and 13 years later, I’m still doing the same thing.

TI: Are you shooting only film or a mix? Is there an obvious choice when you choose one over the other?

MD: I’m shooting a mix. For years, my only camera was a 35mm Minolta XG-M. Then I got a DSLR in 2008 and started shooting a mix of the two. Back in 2012, I became completely obsessed with film all over again. I was shooting every film, every format, every camera, etc. Since then, I’ve always had a mix of different cameras, film and digital, but this year I’ve slimmed things down just as a personal exercise. I wanted to simplify and focus on the work rather than the tools. I have a Leica M6 and Leica M262. They’re as similar as you can get, but one is film and one is digital. Those are my two cameras that I use for my daily documenting. When I’m shooting portraits, working with artificial light, I use a Nikon D750. I prefer using an SLR for portrait work and I also use this camera to record my YouTube videos. I enjoy shooting with my Leica cameras more, but there’s a tool for every job.

TI: Color or black and white? First thought! Don’t think about it! Now, why?

MD: Black and white, no doubt about it. Being a film shooter, I love the darkroom. I love developing my film, scanning my film, printing my film in the darkroom. It’s just a special process. But even when shooting digital, I try to shoot with the mindset that it will become a black and white edit 99% of the time. It’s just what I’ve grown to know and love. Color can be too distracting. Composition and light can quickly be overlooked because “Wow, look at the color of that sky!”

TI: We love your YouTube Channel. Lot’s of helpful tips there. Did you sense a need in the community that led to creating these videos? Just too much knowledge in that head of yours to keep it all in? Brief plug for your artist spotlights on your Podcasts as well. Equally enjoy that outlet.

MD: Thank you! I have a lot of fun with the YouTube channel and the podcast as well. And that’s exactly why I started it. I couldn’t find the videos I wanted to see so I made them myself. It started with just sharing info on film cameras because at the time, there wasn’t anything like that on YouTube. There are a ton of YouTube channels about film photography nowadays and I think it’s great. The more exposure film photography gets (pun fully intended) the more people that will be buying film. That’s a great thing. But now that there are so many film channels on YouTube, I’ve tried to structure mine differently. The videos I couldn’t find back in 2014 are now everywhere, so now I’m trying to make other videos that I can’t find. I just want my channel to be my own and share things from my perspective. That’s why I love other certain channels, they all have their own style and presentation.

TI: It looks like your favorite youtube subject is film photography with a smattering of other things – does subject matter get influence from what you are doing day to day or are you getting questions and requests?

MD: I try to take in requests as much as I can. Sometimes I get requests for things that just aren’t feasible or too time consuming, as I have a lot on my plate with family, work, etc. But I try to always be listening to the feedback so I can improve the channel. At the end of the day, I still want it to be a reflection of me. So if I’m shooting something entirely different than usual, I want to share it. I try to be as transparent as possible and just share my experiences as a photographer. To me, that’s relatable for people and gives them something they can hold on to.

TI: Speaking of film…where are you sending your film? Are you developing and scanning it yourself? Favorite scanners?

MD: I develop and scan everything myself. For about a year, I was sending everything to theFINDlab because I was working there at the time. Quick shoutout to them because they are absolutely incredible at what they do. Seeing an entire crew, top to bottom, working so well together was such an eye-opening experience for me. They care about their customers and they care about film. Because of those two things, they’re working tirelessly around the clock to help them both. It’s amazing. But now that I’m scanning at home again, I’m working with an old Epson V600, nothing fancy. I used to use a Pakon f135+ for my 35mm film and that thing is amazing for the speed, but prices skyrocketed and I took advantage of it and sold mine. Something about us film shooters, we’re always buying, selling, and swapping.

TI: So, you carry your Leica with you everywhere. You document most everything. What in the world are you doing with all of those images? You’re a closet scrapbooker aren’t you? Cardstock, special scissors that cut fancy edges, paste…that’s what you’re doing. How do you archive?

MD: My mom would love it if I was a scrapbooker because that’s her world. Haha. She’s got a room at her house that is specifically for scrapbooking and sewing. It’s wild. But for me, I’m just collecting the photos. Every day life, that’s what I’ve always gravitated towards and I think it’s because of how I started shooting. It’s what I learned to do. So I archive my images by year. Every year, I start a new film binder and I just add to them as I develop and sleeve the negatives. It’s a little daunting when I need to find a certain image, but I have a pretty good memory so I can usually remember by season or month and it doesn’t take me too long. For digital images, I archive by folders from each import. So at the end of the day, if I’ve shot any digital images that day, I add a folder of that day and import. THEN I BACK THEM UP ONTO ANOTHER HARD DRIVE. That’s an important step. Sorry for shouting.

TI: Do you feel like always having a camera is an extension of you? Do you feel like it creates a barrier from experiences in your life? Have you ever felt differently than you do now?

MD: Absolutely. It’s what I’ve always done and it’s just how I operate on a daily basis. I don’t think it creates a barrier because it’s something I’ve always been mindful of. There’s a time to take the photo and there’s a time to just let it be. To me, it’s entirely instinctual so I don’t have to think about it each time I grab the camera, I just trust my gut and go with it.

TI: Of course, Tweek wants to know, how do you feel about making prints of your work? How often are you doing that for yourself or your clients?

MD: Making a print is crucial. Whether it’s personal work or client work, holding the photograph in your hand is a big part of the process. There’s something special about it that you don’t get from viewing it online. For myself, I try to print as frequently as I can, as you guys know! I print big and small, it all depends on the photo. Even if I don’t plan on framing it and displaying it, there are some photos that I just want to see big in person and hold a huge print. I have boxes and boxes of prints to look back on.

TI: Do you sleep these days? How do you manage a family, family business, photography clients…? Do you have any secrets?

MD: My wife always jokes with me that I’m always tired and she’s not wrong. Haha. I have a full plate, but I like to keep it that way. Free time makes me anxious. I want to stay busy. I like to work, I like to learn, and I know how precious time is. Also, coffee.

TI: Why work with Tweek?

MD: I’ve worked with big box labs before, and while I was okay with the quality, there was never anything more than that. It was like going to Wal-Mart. I was just another customer and they were just another store selling the same stuff as the other big stores. Ever since working with Tweek, it feels like I’m going to my favorite local coffee shop and seeing friends there. The communication, the customer service, it’s an actual relationship. I get excited to place an order, to receive a call or email, it’s working with friends. To me, that goes a long way. On top of that, the options for prints and the attention to detail is top notch. I never had prints like this before I started working with Tweek.

Current inspiration: I’ve been studying more and more of Danny Clinch lately. Particularly his studio work.

Current musical obsession: The Dead South

Favorite meal of the day: Late night bowl of cereal.

Coffee or chocolate: Coffee!

  1. Goonies? Anybody?
  2. So many links could be used to connect you to his work. Like his YouTube channel, his Podcast, his Instagram, other interviews by big media outlets like this one

Float that Image!

By | Artist, Photographer, Tweek Imaging | No Comments

Not sure how to float your images on white? This post is dedicated to teaching you our floatin’ ways. Read on!

Hey ya’ll! Way to keep up your blog reading. You’re doing such a fine job!

So a couple of weeks ago we mentioned how much we loved Emily’s folio prints floating in a sea of white space…now you’ve got the itch to do something similar. We know. We do too. In honor of these creative desires we bring you another helpful tips post! This entry is what we would like to call: Print that Floater!

Floating Image: your image is smaller than your paper size therefore making it appear as though your image is floating in a sea of white space. It appears that way because, well, because it is literally printed in a sea of white space. As seen above in Kyle Myles’ photo.

Why would you do this you ask? Because, with the right image, it is so visually perfect. Because you’re needing to accommodate large and small images on the same page size in your portfolio. Because you’d rather spend a little bit more on your print and a lot less (a.k.a. About $30.00 depending on the mat size) on a custom mat for your frame. Because you just want to try something different. Because, as Emily says, “you want your image to breathe.” That’s why.

A couple of clients are interested in this idea and we have figured out an easy solution to make ordering easy. We have two options based on the program you use most or prefer. Here is what you’ll do in either Lightroom or Photoshop:


  1. We’ve made easy to use templates1 that you can download here.
  2. Once you’ve downloaded the templates you’ll drag them into Lightroom.
  3. Import your images you’d like to float.
  4. Open the Print module of Lightroom.
  5. Select the template size and then select and drag your photo into the photo box.
  6. Choose ‘Print to File’ in the lower right corner to export your image as a jpeg or tiff.
  7. Upload at to print.

Photoshop (Watch this video or follow the instrutions below):

  1. Open your image in photoshop.
  2. Size your image to the size (Image > Image Size) you’d like it to be. Make sure your resolution is an acceptable size.2
  3. Update your canvas size (Image > Canvas Size) to the final print size.3
  4. Save as a jpeg or tiff file.
  5. Upload at to print.

Got it? If you have trouble or need more information please email or call us for some help! There are no dumb questions. Only dumb answers. Am I right?! Don’t let these extra steps scare you from trying something new! It will be super easy the next time you work on them and after you print an image this way you’ll be hooked.

We can’t wait to see what you send our way! Maybe we’ll even share it with our friends on the world wide web.4

  1. Feel free to make your own template…these are just some to get you started that we have had requests for in the past.
  2. This includes the resolution and dimensions you’d like the image to be inside of the white space. Resolution: 300 dpi is awesome, 200 dpi is great, 150 dpi is acceptable. Size (in inches): When sizing your photo make sure to do it in small increments to get better results. Here’s a great article if you’re a little confused. You can make your photo standard sizes or you can go with something based on your image itself. This is all up to you.
  3. Your canvas is the size of the whole piece. So say you are hoping to fill an 11×14 frame size…your canvas will be 11×14 and your image whatever size you’d like. Changing your canvas size does not effect your image resolution.
  4. Thank you again Al Gore for inventing this web we can share things on. What would we have done without you/it?!