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Hahnemuhle Announces World Tour for Their Anniversary Collection

The year 2009 marked the 425th year of continuous operation for Hahnemuhle’s paper mill in Germany. The mill was established on Feb. 27, 1584 under the name of Relliehäusische Papiermühle and is located on a crystal-clear river in the town of Relliehausen near Dassel in Solling.

"Skypool" by Frank Meyl

To celebrate the 425th anniversary, Hahnemuhle invited photographers from around the world to participate in a competition with the theme “For Originals.” Participants were encouraged to present their visions of people, objects, and environments from the most original perspective possible.

Nearly 1,800 photographers from more than 45 countries submitted more than 7,100 entries. In November, a panel of four judges evaluated the entries on concept, composition, and message and selected 41 images to become part of the Hahnemuhle Anniversary Collection.  

The collection includes the 12 images for which the photographers received cash awards. The cash prizes were given to three winners in three categories (People and Portrait; Landscape and Nature; and Architecture and Still Life) and three students.

In 2010, the Hahnemuhle Anniversay Collection will be exhibited in cities throughout the world. The first stop on the tour will be Sydney, Australia on Feb. 10. From there, the collection will be exhibited in Beijing, Berlin, London, Paris, Hong Kong, New York, and Istanbul.

The New York exhibition is scheduled for May 24-June 21. The award-winning images will also be displayed at the Photokina imaging exposition, Sept. 21-26 in Cologne, Germany. Additional cities for the tour will be announced on Hahnemuhle’s website.

"People 01" by Roberto Soares-Gomes

“There extraordinary images represent a full range of photographic subjects,” says Hahnemuhle’s Managing Director Jorg Adomat.  To ensure the best possible print presentation, Adomat said each winning photo will be output on the inkjet paper from Hahnemuhle’s Digital FineArt Collection that has the most suitable whiteness, structure, and other properties for that particular image. 

For complete information on the judging panel, winners, and tour dates, visit www.hahnemuhle.com and click on “Creative and Informative.”

For more information about Hahnemuhle Digital FineArt Collection, including Hahnemuhle’s new Baryta FB glossy fiber-based paper, visit LexJet’s website or call a LexJet account specialist at 800-453-9583.  If you’re brand-new to exhibition photo printing, we can answer whatever questions you may have about how to get the best results with your printer.

Posted on by LexJet Posted in Tips & Tricks
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Using a Foam Roller to Apply Sunset Coatings to Inkjet Prints on Canvas

A previous post on this blog talked about Clearcoating Inkjet Photo and Art Prints and LexJet’s Sunset Gloss and Sunset Satin Coatings.  It was noted that LexJet Sunset Coatings can be applied with either a spray gun or foam roller. Below are a few tips for using a foam roller to apply a smooth, even coating. 

Photo: BWO Print Studio and Photo Lab, Oklahoma City

Note that the effectiveness of these techniques may vary depending on the humidity and temperature of your working environment.  It may take a little practice and experimentation to find the touch and technique that works best for your studio.

1. Start with a high-density, white foam roller and a tray that is typically used for holding paints. You can buy these products in the paint department of any home-improvement store. The high-density foam will help reduce bubbles.  Use a larger-width roller if you plan to coat larger canvases. 

2. Pour the coating into the tray and dip the roller in the coating until it is thoroughly wet, but not too wet.

3. Lay your print on a clean, dust-free board that is bigger than your print.  The extra space on the surface around the print can be used to roll off excess liquid if you happen to oversaturate the roller.

4. Consider using two or three thinner coats, instead of one thicker coat.

5. Don’t try to coat the whole print at once. Start with one or two passes at the edge of the print, and go over each pass enough times for the bubbles to dissipate, but not so many times that the coating becomes tacky or bumpy.

6. If large bubbles appear, try blowing on the coating.

7. Make overlapping passes so you can maintain a wet edge and avoid lines and streaks.

8. Find the rolling pattern that works best for you.  Some users prefer rolling in one direction only.  They go up the print in one pass, and down the print in the second pass (like mowing a lawn).  Others will apply enough coating at once to roll it out in a few different directions until the excess rolls of the side. They then roll smooth passes, alternating horizontal and vertical passes.  While the coating is still wet, they use the side of the roller or a brush to smooth the coating on the edges of the stretched canvas print.

9. Don’t press down on the roller. Maintain a light, even pressure.

10. If you are applying a second coat, allow the first coat to dry before applying the second coat. A thin coat should take about five minutes to dry. But it will take longer if you’re working in an environment with high humidity.

11. Allow the coated print to dry thoroughly before you pack it for shipping. Don’t try to speed up the drying process with a fan; allow the print to dry on its own.

12. Clean the rollers immediately after each use. Run cool water of the rollers immediately after use, and squeeze them until they run clear. Allow 10 to 15 minutes.  If you keep the rollers clean, you can use them for about six months before you need to replace them.

If you have any questions about how to apply Sunset Coatings, please contact a LexJet account specialist at 800-453-9538.

Posted on by LexJet Posted in Tips & Tricks
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Ten Warning Signs of an Inferior Giclee

In an article in the Art World News, Gary Kerr of Fine Art Impressions provides excellent advice for Choosing the Right Fine Art Giclée Printmaker. He cautions that finding the right printmaking requires artists to do some research because “The quality of giclée printmaking varies as much as the art itself.”

Fine Art Impressions is so committed to quality in every step of the process that they can truthfully promote their work as museum-quality giclées. They have done work for the Louvre in Paris, and often make prints for artists who have sold originals for $50,000 and more. The most expensive original Fine Art Impressions has reproduced to date was valued at $800,000.

In his article on choosing the right printmaker, Kerr emphasizes that “First and foremost, the shop you choose should handle the digitizing of your art in-house, offering specific expertise in techniques for lighting and capturing original art properly. The accuracy of the process to digitize your art will determine 90% of the quality achieved in the final print.”

In a sidebar, he lists the 10 warning signs of an inferior giclée.

  • Blurred or soft image focus.
  • Poor image delineation or sharpness.
  • Overexposed highlight detail or underexposed shadow detail.
  • Pixel artifacts: jpeg compression, poor scan quality, pixel noise.
  • “Halo” outlines or improper/excessive image sharpening.
  • Poor color rendition or “fake” looking colors, flat, or lifeless colors.
  • Printer malfunctions: banding, streaking, or other misprint patterns.
  • No texture, detail, or nuance in the print.
  • Lack of a UV coating on canvas prints.
  • Color cast, poor gray balance, or odd tint.
To digitize artwork, Fine Art Impressions uses a high-resolution Better Light camera back mated to a Sinar 4x5 studio view camera. The studio's HID lighting doesn't subject the artwork to undue heat or UV rays.
Fine Art Impressions uses a high-resolution Better Light camera back with a 4x5 studio view camera. The studio's HID lighting doesn't subject the artwork to undue heat or UV rays.

In a story to be published in the next issue of LexJet’s In Focus newsletter, Kerr says “Fine Art Impressions is here to replicate art so accurately that no one knows that it isn’t the original. We want to enable the joy of owning art without the financial commitment or in-depth knowledge involved with collecting original art.”

He uses a music analogy to remind artists that not everyone with access to better cameras and printers is equally skilled at the craft of printmaking: “Remember, the music is in the pianist, not the piano.” He takes great pride in the craftsmanship of the work at Fine Art Impressions and is committed to client satisfaction: “We invest the time it takes to make the best possible print for our artists.”

You can read more about Fine Art Impressions by visiting: www.fineartgiclee.com. A copy of Gary Kerr’s article on Choosing the Right Fine Art Printmaker can be downloaded from that site.

Posted on by LexJet Posted in Case Studies & Profiles
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Graham Editions: Appreciating the Art in Art Reproduction

Not all companies that offer fine-art reproduction services are equally well equipped—particularly when it comes to the most important phase of the process: the digital capture. Significant variations exist in the type of capture equipment and lighting set-ups used.

If the original artwork isn’t captured at sufficiently high resolutions and under the correct lighting, the intricate brushstroke detail that adds texture and nuance to a work won’t reproduce as well as you might like—especially if the painting is enlarged from its original size. And some areas of the reproduced painting may show more detail than others. Color quality can become a concern if the printmaker lacks sufficient experience in the finer points of digital color reproduction.

One printmaker who values the importance of high-res capture and color management is Geoff Graham of Graham Editions in Canoga Park, CA.

 

Geoff Graham regards his printmaking atelier as a fine-art boutique, offering whatever high-end scanning, capture, and fine-art printing services a client might require. Graham Editions routinely produces large editions of high-end works for art publishers, but also enjoys working with individual artists and photographers who just need a few prints. www.grahahm-editions
Geoff Graham regards his printmaking atelier as a fine-art boutique, offering whatever high-end scanning, capture, and fine-art printing services a client might require. Graham Editions routinely produces large editions of high-end works for art publishers, but also enjoys working with individual artists and photographers who just need a few prints.

Having worked as a commercial photographer for more than 25 years, Graham has acquired an in-depth knowledge of color along with the high-end imaging equipment needed for top-quality fine-art reproduction. He is totally committed to achieving the best possible quality during every step of the art-reproduction process.

For capture, he typically uses a Sinar P2 4×5 view camera with a PhaseOne FX scanning back. Combined with his powerful North Light 900 HID lighting set-up with UV filters, he can create ultra-high-resolution files with all of the detail required to make beautiful, consistently detailed reproductions.

“I’ve been using large- and medium-format cameras since I can remember,” says Graham. “The scan back cost $37,000 when I first purchased it, and the quality it reproduces is mind-blowing. It has an area of 10,500 x 12,600 pixels and the detail is phenomenal. I use high-end reprographic lenses so I can get as close to the image as I need to. I also have lots of flexibility in my lighting.” This flexibility enables him to adjust the lighting according to the nature and texture of each piece of art.   

He typically reproduces originals painted with oil and acrylic on canvas in sizes from 16 x 20 in. up to 48 x 72 in. but he has captured paintings larger than that.  He says, “If it’s any bigger than 48 x 72, I can shoot it in sections and blend in Photoshop.”

The files are output on one of three Epson printers. Graham generally uses the 44-in. Epson Stylus Pro 9600 for black-and-white printmaking, the 44-in. Epson 9800 with fine-art papers, and the 64-in. Epson Stylus Pro 11880 with LexJet Sunset Select Matte Canvas. Having each printer dedicated to certain types of jobs makes it more efficient to keep the workflow totally color managed. 

Geoff Graham has considerable expertise in color management, which he regards as the key process in fine-art reproduction. He did some consulting in the early years of the digital color management, and knows how to use and interpret profiles. He uses ProfileMaker software and i1 color-measuring devices now sold by X-Rite to create custom profiles for all of his capture, display, and output devices.

He keeps the studio exceptionally clean, which is particularly important during the printing and finishing phases. Graham meticulously coats all canvases by hand. He typically applies two coats of varnish and creates profiles for his print media based on how the prints will look after the varnish is applied.

Graham doesn’t expect clients to understand all of the technical reasons why this fine-art reproduction workflow produces great-looking results. Instead, he simply shows them the high level of printmaking skills he has attained since going into the fine-art reproduction full-time business several years ago.

All of the cameras, scanners, printers, and monitors at Graham Edition are color managed. “Everything is closed-loop,” says Graham. “What I see on the monitor is exactly what I print out.” In order for the colors in a reproduction to be accurately viewed, the studio has neutral gray walls and overhead lighting that simulates pure daylight
All of the cameras, scanners, printers, and monitors at Graham Edition are color managed. “Everything is closed-loop,” says Graham. “What I see on the monitor is exactly what I print out.” In order for the colors in a reproduction to be accurately viewed, the studio has neutral gray walls and overhead lighting that simulates pure daylight

Clients can inspect the high-end reproductions on the walls of the studio, view samples of previous jobs, or examine some of the high-res files that he has captured. “I zoom in 100% and let clients see the dots in the canvas,” explains Graham. “Even at 100%, each corner is razor sharp.” 

 When you talk to Graham, you quickly understand that he’s not only passionate about reproducing the art to the best of his ability, he’s also passionate about the art. As he explains to visitors to his website, “I serve the vision of you, the artist, and put you in the driver’s seat while using state-of-the art technology.”

When some customers ask why doesn’t do serigraphs or lithographs, he explains that those methods aren’t “print-on-demand.” The prepress set-up requirements for serigraphy or lithography make it cost-prohibitive to produce only a few prints as needed. The ability to print only as many copies of a print as you can sell is a key advantage of digital-printing technology.

Plus, advances in inks and materials make it possible to produce prints on canvas and paper that will last for 100 to 150 years under typical gallery display conditions.

Inkjet printing technology has improved to the point that it’s nearly impossible to tell that the print is created from dots. As Graham observes: “Digital printing technology is so evolved, I don’t think anyone will go to lithography again.

For more information, visit the Graham Editions website: www.graham-editions.com

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Catalog Showcases Materials for Inkjet Photo and Art Printing

SLJCatCover09LRMany posts on this blog showcase some of the creative ways that photographers and artists are using some of the materials they have purchased from LexJet, including Water-Resistant Satin Cloth, Absolute Backlit Film, and Sunset Photo eSatin Paper 300g.

You can see additional examples of how photographers and artists are using LexJet materials by downloading a copy of the 2009 Edition of the The LexJet Catalog for the Professional Photographer and Fine-Art Printmaker 

The 28-page catalog also lists roll size, sheet size, and pricing details about many of the inkjet-printable materials available from LexJet, including:

  • LexJet Sunset Photo Paper
  • LexJet Sunset Fibre-Based Paper
  • LexJet Sunset Fine Art Paper
  • LexJet  Sunset Select Gloss and Matte Canvases
  • LexJet Instant-Dry Satin Canvas
  • LexJet Inkjet Paper
  • Hahnemuhle Fine Art Paper
  • EPSON Professional Media

 The catalog also highlights:

  •  LexJet Specialty Films
  • LexJet Adhesive-Backed Media (including Photo Tex PSA)
  • LexJet Banner Media, (including Water-Resistant Satin Cloth
  • 3P Inkjet Textiles
  • Pigment Inks for Epson, Canon and HP Printers
  • Hahnemuhle Standard and PRO Galerie Wrap Stretcher Bars
  • LexJet I-Banner Spring Back Banner Stands
  • Banner Finishing Accessories
  • Sunset Coating

Most of the materials in the catalog are designed for use on the Canon imagePROGRAF, HP Designjet, and Epson Stylus Pro  inkjet printers that use aqueous dye or pigment inks. However, the catalog also features LexJet papers, canvases, banner materials, adhesive-backed media, and specialty films that are used by higher-volume printmakers who use the Epson Stylus Pro GS6000 and other printers that use solvent or UV-curable (SUV) inks.

The catalog lists only some of the products LexJet carries and more products are being added all the time. As the imaging business continues to evolve, LexJet can provide the equipment, supplies, and knowledge you need to adapt.

Over the past 15 years, LexJet account specialists have helped thousands of photography studios, fine-art printmakers, service bureaus, and printing companies discover new ways to profit from printing. We can help your imaging business too!  To learn more, visit www.lexjet.com or call an account specialist at 800-453-9538.

Along with traditional photo and art papers, LexJet sells materials that can be used to print promotional graphics. For example, Picture This Photography in Avon, IN used AquaVinyl adhesive-backed vinyl from LexJet to print these graphics for the vehicles the studio uses to store and haul props. LexJet account specialists can provide tips on how to produce, apply and remove these types of graphics, which can be a cost-effective way to promote your studio wherever you go.
Along with traditional photo and art papers, LexJet sells materials that can be used to print promotional graphics. For example, Picture This Photography in Avon, IN used AquaVinyl adhesive-backed vinyl from LexJet to print these graphics for the vehicles the studio uses to store and haul props. LexJet account specialists can provide tips on how to produce, apply and remove these types of graphics, which can be a cost-effective way to promote your studio wherever you go.
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Tips from an Artist on Finding a Giclee Printing Service

By Darren Vena

Finding the right company to reproduce your art can be a challenge, partly because so many different types and sizes of businesses now offer fine-art reproduction services. Each business seems to offer a different mix of services, capabilities and expertise.

So, at Studio LexJet, we’d like to introduce you to some of the many LexJet customers across the US that offer giclée-printing services. We will also pass along some of their insights that can help artists and art buyers who are trying to make sense of the ongoing digital revolution in art reproduction.

In previous posts, we’ve profiled Lizza Studios in Tuckhannock, PA, and Fine Balance Imaging on Whidbey Island, WA.

Artist Mike Damico runs the Frame & Art Gallery in Fort Myers, FL
Artist Mike Damico runs the Frame & Art Gallery in Fort Myers, FL

Here, let me tell you about Mike Damico who runs MindYourPrints.com. Mike Damico is a trained and talented artist, who sells his works through the small gallery he operates as part of the Frame & Art Gallery custom frame shop he owns in Fort Myers, FL.  

His giclee-printing business, MindYourPrints.com, offers high-quality large-format printing services to individual artists and photographers as well as other gallery owners. Damico uses an Epson Stylus Pro 9800 and typically recommends either LexJet’s Sunset Matte Canvas, Sunset Textured Fine Art Paper, Sunset Photo eSatin Paper 300g, or LexJet Premium Archival Matte Paper.   

In addition to printing, Damico offers high-quality scanning of 4 x 5 transparencies, dry mounting of prints and canvas, spray-coating of printed canvases, canvas stretching, and custom matting and framing.

For jobs that require original paintings to be digitized, Damico has partnered with the Nautilus Photograpic Studio, also in Fort Myers. The studio is equipped with the controlled lighting and a 32-megapixel Hasselblad camera for capturing all of the details necessary for a good reproduction.

Here are five tips from Mike Damico for finding the right printmaker for your work:  . The initial digitization of an image will make or break a final product.

1.            Work with professionals who understand the value of a quality image capture. The initial digitization of an image will make or break a final product.

2.            Ask who the printer’s primary customer is. If the answer is photographers and/or artists, then the printmaker should have a good handle on how to produce a quality image.

3.            Try to find someone locally, so you can get a better understanding of the process and have more control over quality. Find someone you work well with and who can meet your needs. Doing business with someone you have a good relationship with can have a huge difference in the overall quality of your prints.

4.            Expect to pay more for a high quality art reproduction (giclee) than you would pay for a photo enlargement on canvas. Compared to busy lab that is simply outputting digital photographs, the giclee printmaker uses only top-quality materials and is likely to spend far more time attaining the best possible color match to your original, compared to a lab that is simply outputting a digital photograph.

printerflowerColor matching can be very challenging because the surface texture, depth of light penetration, light absorption rates, and even the chemistry of a surface or pigment can affect how light reflects back to the eye. As Mike puts it: “To take an image that was painted on canvas and convert it to millions of little dots of cyan, magenta, yellow, and black inks is a feat in itself. Getting the millions of ink dots to look like the original can be mind-blowing.” Plus, different types of display lighting can play funny tricks on your eye—especially when the final print isn’t produced from the same compounds as the original art.

5.            Find someone you trust to keep up with the most important advances in digital printmaking. A lot of information has been published about digital fine-art reproduction. It’s OK if you don’t absorb and understand all of the intricacies. The key is to work with someone you trust—someone who has proven that they can deliver the type of quality you need.

Other Words of Advice for Artists and Art Buyers: Once the work has been printed and sold, make sure your customers understand what they’re buying, advises Damico. When selling a reproduction of an original painting, your buyers should understand that it’s a reproduction. If it’s a print that’s been hand-embellished, they should know that, too. 

Damico believes it’s important for everyone in the art community to adapt to changing times and accept that digital imaging is a legitimate method of creating and reproducing art. The time has also come to recognize that digital tools can be a bona fide means of expressing an artistic vision, and not something that inherently requires less skill. Even so, Damico emphasizes, “We must never forget the foundations and evolution of art.”

The next time you’re in the Ft. Myers area, we encourage you to stop by and visit Mike Damico’s Frame & Art Gallery. Or visit his website: www.mindyourprints.com.

If you aren’t sure where to find good digital printmakers in your part of the country, contact me or one of the account specialists at LexJet at 800-453-9538. We would be happy to refer you to printmakers in your area who can provide the types of digital art-reproduction and post-printing services you need.