About The Work
Since starting out with film and the 4×5 view camera in 2000, my photographic career has seen amazing advances in the “tools of the trade,” resulting in a lot of outdated technology in a short amount of time. I think of the first Hasselblad camera I bought was 30 years ago and still very usable. Now you’re lucky to get 3 or 4 years from one camera, if that. I see this mirrored strongly in the communications and entertainment industries, which most everyone can relate to, and that is why Obsolete Delete began there. For this series, I wanted to build an image instead of finding one. I have seen many excellent documentary photographs concerning this subject matter and consider others to be the masters of that process. I feel my strengths lay a little beyond the realm of stark reality and controlling the objects and how they fit into the landscapes creates for me a unique point of view and consequently a stronger photograph.
WHAT TYPE OF PAPER IS THE PHOTOGRAPH PRINTED ON?
All prints are Digital Pigment prints on museum-quality acid-free papers such as Museum Etching, Canson Rag and Arches Velin. These papers are designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. The choice of paper is suggested by the Photographer according to his or her preferences.
WHAT IS THE PRINTING PROCESS USED?
All prints are Digital Pigment Prints using the latest top of the line technology, archival high dynamic inks and 200 years old life paper.
IS THE IMAGE SIZE THE SAME AS THE PAPER SIZE?
NO! Our prints are on standard paper sizes and we don’t alter the image size and proportions to fit the paper. Each print has a minimum of 0.5 inch white border. This is an artistic decision that belongs to the artist. Margins don’t normally exceed 2-4 inches on each side depending on the final paper size.
David Ellingsen is a photographer and environmental artist creating images of site- specific installations, landscapes and object studies that speak to the natural world and Man’s impact upon it. At its core David’s work is motivated by the challenges of sustainability within contemporary Western culture.
David has been exhibiting his work since 2001 within commercial and public galleries in Canada, the USA, Asia, and Europe. His photographs are part of the permanent collections of the Chinese Museum of Photography, the Dana Farber Cancer Centre at Harvard University and the Beaty Biodiversity Museum and have been shortlisted for Photolucida’s Critical Mass Book Award, awarded First Place at the Prix de la Photographie Paris and First Place at the International Photography Awards in Los Angeles.
David is also recognized for his advertising, corporate and editorial photography with a client list that includes the Business Development Bank of Canada, Time Inc., Enbridge Inc., PricewaterhouseCoopers, the Canadian Broadcasting Corporation along with Men’s Health, People, Marie Claire and the New York Times magazines.
Originally from Cortes Island, a remote community of 800 residents in Canada’s Pacific Northwest, David was raised on a small family farm surrounded by forest and ocean. His photography is rooted in this rural upbringing, which emphasized the importance of pairing quality with practicality, people with the environment and the individual with the communal. These values continue to inform his working life.