This picture demonstrates what portraiture is all about: distant generations gazing across at each other, mediated by generations in between.

In thirty or forty years we'll be able to pan this image to the right, and get a look at what Shai is touching with her outstretched finger.

I've also done a great deal of darkroom work with it. At first I overlooked this picture; I examined the contact sheets and failed to see. After living with the pictures for a while, and coming back to the contacts a few times, I realized the importance of this frame. The intersecting gazes, and the meaning in all those eyes, are gripping.

In October, 1997, I made a First Edition of "Great Grand Nana". It consists of five 16x20 inch prints. Each one is edition numbered, titled and signed on the front. The signature includes the date of print production.

It's interesting to note that, for the first edition, I had to dodge the baby's face under the enlarger during the print exposure. For the second edition, dodging was not necessary. Both editions were made on the same type of print material (Ilford MGW 'Warmtone' Fiber Base). I used a different print developer for each edition.

Dodging is used where a particular part of the picture becomes too dark during the enlarger exposure time the remainder of the picture requires. In this case, the baby's eyes are in shadow, so they tend to become quite dark. Holding them back a little helps, although overdoing it trashes the print!

But, for the second edition, (part of which I made in January, 2000) a change of developer obviated the need for dodging the eyes. It is very interesting to watch the effects of various changes in darkroom method. In this case, as in almost all areas of darkroom printmaking, the differences are subtle. Unless one has a signpost to observe, such as the baby's eyes, it can be difficult to see any effect from one's careful fiddling around. In this case I was delighted to see a beautiful, tonally glowing, absolutely straight print.

The first print of the second edition (which I gave to Shai and her mother Caitlin) is made on Agfa Portriga paper, grade 2. I love this paper, but it has become a special-order in larger sizes, so it has to be imported from the USA each time I want it. The rest of the second edition are made on Ilford MGW 'Warmtone'. This paper has endeared itself to me for its extreme versatility.

All prints of "Great Grand Nana" offered for sale are made on fiber base material. To ensure long lifespan for the print material, they are properly treated and washed. In addition, a lengthy treatment in relatively concentrated Selenium Toner has been carried out. This protects the image from airborne pollutants, as well as enhancing the 'look' of the print.

These are prints by Lloyd Erlick. I make them myself, by hand. I don't farm out to commercial labs, I have no mechanized processor, not even an assistant! I guarantee one hundred per cent customer satisfaction or purchase price refunded. There is no fuss over a return, no hoops to jump. Although this guarantee is quite absolute, no one has ever returned a print!

To arrange a purchase, please contact me. Here is how to get in touch:

Email: lloyd@the-wire.com

PRINT PRICES: (prices will rise as an edition sells out.)

• First Edition (Five prints, 16x20 inch)
  "Great Grand Nana" ..... USD1000.00 (as of February 11, 2001)
• Second Edition (Twenty-five prints, 20x24 inch)
  "Great Grand Nana" ..... USD1000.00 (as of February 11, 2001)

• First Edition "Great Grand Nana" (Five prints, 16x20 inch)
  • 1/5 sold
  • 2/5 available
  • 2/5 available
  • 4/5 available
  • 5/5 presented to Shai's grandfather ...

• Second Edition (Twenty-five prints, 20x24 inch)
  Note: the first ten prints of this edition were made in January, 2000. The edition will be completed if there is demand...
  • 1/25 presented to Shai, the little star of the picture, and her mother Caitlin.
  • 2/25
  • 3/25
  • 4/25 ... 10/25