Technical Information

General technical information about Reilly’s work is detailed below. Specific information for unique or editioned works is included within the provenance documentation supplied upon its sale.

 

Silver Gelatin print

Reilly created Silver Gelatin photographic prints starting onward from 1976 using Ilford Ilfobrom or Galerie graded papers. Prior to this date these exact details are unknown. Beginning in early 1977, Reilly treated all black and white prints with Selenium toner to take advantage of its archival benefits. All black & white images were captured using Ilford FP4 film in formats 35mm, 4” x 5”, or 8” x 10”.

 

Cibachrome print (or noted as Dye Destruction print)

Colour prints dating from 1977-1983 were produced on Ilford Cibachrome photographic paper. This positive-to-positive printing method uses a chemical process to remove dyes rather than coupling them to render the final colour image. Hence the term "dye destruction" is used as the generic process type.

The few surviving colour photographs dated prior to 1977 were shot on colour negative film and printed on chromogenic paper. After this, Reilly worked exclusively with colour positive film when colour was expected for the final piece. All colour photographs during this early period were shot using Kodak transparency films of various types in formats 35mm, 4" x 5", 8" x 10", or 11" x 14".

 

Transparency

Where Transparency is noted as the medium for a work, the original work exists only as positive colour film. Subsequent reproductions may have been created from high resolution digital scans, then printed accordingly. As well, digital copies of the original film were used as the basis for newly constructed works expressing something entirely different than the original image.

 

 

Pigment print on paper

Reilly’s works printed on paper starting in 2018 were typically generated on high quality Epson inkjet printers (P5000, P9000, or P20000) using Epson’s Ultrachrome HDX or Ultrachrome Pro T800 pigment inks. The choice of inks depends upon the specific printer used.

The paper media used for most editioned works were those available from Hahnemüle or Awagami. Working proofs or other study prints were produced on a wide variety of papers, including those from Canson Infinity or Ilford. Large scale works are typically mounted to 3mm or 4mm Dibond substrate.

 

Pigment print on aluminium

Single works or installation panels larger than 160cm in width or height are printed directly on 1mm aluminium with a 3mm composite substrate (DIBOND) using UV cured pigment (UV direct-to-plate printing). The image surface is exceptionally durable, and the ink is suitably lightfast. Nevertheless, these works should be treated with the same level of care as is recommended for any original work on paper or canvas.

 

Dye Sublimation on aluminium

 

Mixed Media