New Videos Explain Why Photographers Like Epson Stylus Pro 900 Series Printers

By Eileen Fritsch
Editor, LexJet In Focus Newsletter

When I visit the Epson, Canon, and HP booths at photography-industry trade shows, I not only like to see what new products are being previewed or promoted but also how they are being promoted. That’s because press releases, tech data sheets, and brochures are often so dense with numbers, charts, statistics, and buzzwords that the practical, real-world value of the new products aren’t fully conveyed.

Certainly, facts, figures, engineering data, and gamut maps can help substantiate claims that a product is improved. But it can be extremely valuable to see new products being demonstrated or discussed from the perspective of the end user.

One of Epson’s goals at PDN PhotoPlus Expo this year was to visually document some of the benefits of their Epson Stylus Pro 900 series printers and UltraChrome HDR ink technology. They did this in two very creative ways:  1) through a new series of online videos, and 2) with an in-booth print-comparison display that also highlighted their newest art papers.

EpsonScreenCapture500pNew Videos: On the day the PPE show opened, Epson announced the addition of seven new videos to their Focal Points website. In these videos, well-known photographers Bambi Cantrell, John Paul Caponigro, Douglas Dubler, Greg Gorman, Jay Maisel, Steve McCurry, and Jeff Schewe talk about the value of printing in general and the importance of printing big.

Their comments underscore a theme that resonated at PPE this year: Prints are the ultimate expression of a photographer’s vision and can provide a lasting legacy of a photographer’s career. 

Another benefit some of the photographers talk about in the videos on Epson’s website is how well the UltraChrome HDR inks can print details and flesh tones even on matte papers.

One Portrait-Five Different Media Types: To illustrate the capabilities of UltraChrome HDR inks, Epson’s booth at PhotoPlus Expo displayed five identical portraits side by side. Each portrait had been printed on a different type of media. Four were printed on Epson’s new art papers (Cold Press Bright, Cold Press Natural, Hot Press Bright, and Hot Press Natural) and one was printed on Epson Exhibition Fiber paper for photography.  

The portrait depicted an elderly gentleman, with a deeply wrinkled face, twinkly blue eyes and a healthy thatch of snowy white hair. He was wearing a comfy-looking black fleece pullover that draped in soft folds around his neck and shoulders. This particular image proved to be a visually powerful way to demonstrate how well the wide gamut of the UltraChrome HDR inks and Epson print technology could reproduce black, shadow detail, highlight detail, and fleshtones on five noticeably different media types. 

If you haven’t visited Epson’s Focal Points website lately, check it out and take a few minutes to watch the videos. When the practical benefits of advances in technology are explained from the point of view of top artists, it’s much easier to understand the real-world value of the technical breakthroughs that get the product managers and engineers so pumped up.       

If you’re interested in buying a 24-in. Epson Stylus Pro 7900 or 44-in. Epson Stylus Pro 9900 series printer, call one of the friendly account specialists at LexJet (800-453-9538). They can answer any questions you may have and tell you more about the many different ways LexJet customers are using these printers.

 In future posts about what I learned at PhotoPlus Expo, I’ll talk about an eye-opening HP-hosted event (New Ideas, New Beginnings) and a fascinating software demonstration I saw in Canon’s booth.

Wildlife Photographer Brian Hampton Shoots to Thrill

Some photographers like to go where the wild things are. They know that with a little patience and luck, they just might find themselves at the right place in the right time to take that one perfect shot—the shot that lets them capture wild animals for display in their homes. If you think about it, wildlife photography can be considered a much more humane form of big-game trophy hunting. Armed only with a high-quality camera and lenses, all a photographer takes from the “hunt” are some incredible photographs—and memories of adventures that few people ever get to experience.  

Many of Brian Hampton’s images decorate the lobby, hallways, and meeting rooms of the corporate headquarters of Cleo Communications, where Hampton is the CEO. Read more in LexJet’s In Focus newsletter Vol. 2, No. 11
Many of Brian Hampton’s images decorate the lobby, hallways, and meeting rooms of the corporate headquarters of Cleo Communications.

One wildlife photographer with a passion for shooting big animals is businessman Brian Hampton. He is currently CEO of Cleo Communications, a software firm in Rockford, IL. But over the past few years, Hampton has been devoting more and more of his time to photography—traveling with his wife to remote corners of the world to capture some of the most magnificent creates on the planet. His wife shares his enthusiasm for wildlife photography and shoots high-definition video.

When Brian returns to the States, he likes to share what he’s seen and experienced. So he prints his best photographs in such a big and detailed way that viewers can get a sense of what it must have been like to be there when each image was captured.

Hampton is a huge fan of Epson printers, and owns both a 44-in. Epson Stylus Pro 9900 and a 64-in. Stylus Pro 11880. He also owns a laminator that he uses to mount his prints for framing. 

His prints have been displayed in the corporate headquarters of Cleo Communications, in the homes of nature lovers, in a popular Italian restaurant, and in a special exhibition at the Smithsonian’s National Museum of Natural History in Washington, DC.

This last honor came about because of Hampton’s remarkable action photo of a lioness charging out of a river on its way to a kill.  The photo was named Grand Prize winner in the 2008 Nature’s Best Photography Windland Smith Rice International Awards.

Hampton captured the shot in Botswana’s Okavango Delta using a Canon EOS 1Ds Mark II with a full-frame sensor and a 600 mm lens using the AI Servo mode.

After the image was chosen as Grand Prize award-winner, the shot was published in Nature’s Best Photography magazine and as the shot of the day on both the AOL and MSN home pages.

But for the exhibition at the Smithsonian, Hampton chose to make his own 5 x 8 ft. print. Using onOne Software’s Genuine Fractals Photoshop plug-in to up-res the file and ColorByte Software’s ImagePrint RIP to optimize print quality, he output the image at 5 ft. x 8 ft. on his Epson Stylus Pro 11880. He chose to print on LexJet’s Sunset Photo eSatin paper because “People like to see detail in the printed images, and that’s what I strive for. Sunset Photo eSatin paper shows a lot of detail and it’s more durable than other glossy papers.”  Hampton mounted the print onto Gator board using his wide-format laminator.


Brian Hampton’s Grand-Prize-winning image of a lioness in Botswana was displayed in an exhibition at the Smithsonian’s National Museum of Natural History that honored winners of the 2008 Nature’s Best Photography Windland Smith Rice International Awards. Hampton created the 5 ft. x 8 ft. exhibition print himself, using onOne Software’s Genuine Fractals, ImagePrint RIP software, LexJet Sunset Photo eSatin paper, and a  64-in. Epson Stylus Pro 11880 printer. Hampton mounted the print onto Gator board using his wide-format laminator. Read the full story in LexJet’s In Focus Vol. 4, No. 1.
(Photo in the Smithsonian courtesy of Jonathan Freligh)

Hampton is also using Sunset Photo eSatin paper for the series of images he prints for a frequently updated 15-print exhibition at Giovanni’s restaurant in Rockford, IL. The restaurant has installed lighting to properly light the 15 images, which include fourteen 30 x 40 in. framed prints and one 40 x 60 in. print. Hampton will periodically update the theme of the 15-image display to show images from his travels to wildlife habitats in Africa, South America, and the American West as well as under the ocean.  

Brian Hampton also displays his images in Giovanni’s Restaurant in Rockford, IL. He worked with a custom frame company to create re-usable frames for fourteen 30 x 40 in. prints and one 40 x 60 in. print. He plans to change out the images to provide a continuous change in theme and scenery. Shown here is an image from a series of underwater shots Hampton captured during a recent dive trip to the Bahamas.  Read the full story in LexJet’s Expand newsletter Vol. 4, No. 7.
For Giovanni’s Restaurant in Rockford, IL. Brian Hampton worked with a custom frame company to create re-usable frames for fourteen 30 x 40 in. prints and one 40 x 60 in. print. He plans to change out the images to provide a continuous change in theme and scenery. Shown here is an image Hampton captured during a recent dive trip to the Bahamas.

An experienced scuba diver, Hampton recently captured images while exploring the reefs and underwater canyons in the Bahamas and near the island of Bonnaire in the Netherland Antilles near South America. He and his wife are planning future expeditions to locations where they can photograph whales, turtles, dolphins, and other large sea creatures.

Many of Hampton’s images have been donated to help raise money for worthy causes. Plus, he gave one print to a young girl who had seen the lioness image when she was visiting the Smithsonian with her father. She said her father had been so struck by the image that she wanted to give it to him as a birthday gift. 

Hampton understands that many people are fascinated by wildlife photographs because the pictures give them a glimpse into parts of Planet Earth that they may never experience. But he says people often want to know the story behind each image, asking questions such as: “How close were you? Where were you standing? Were you in any danger?”


Because Hampton has such vivid memories of his experiences in the wild, he is teaming up with his daughter/author to write a book. He says he wants people not only to enjoy the pictures in the photo book, but also to connect with the circumstances behind the images.

The next trip on the agenda is to Rwanda where Hampton and his wife hope to capture images of mountain gorillas. Whether or not they succeed will depend on whether they are lucky enough find themselves in the right place at the right moment.

One important lesson Hampton has learned as a wildlife photographer is that “Quite often when you go out to shoot one thing, you end up with something entirely unexpected.” You could say it’s simply the nature of the beast.

To learn more about Brian Hampton’s adventures in wildlife photography, visit his website, and subscribe to the newsletter he publishes quarterly.

Or, read the articles that have appeared in LexJet’s In Focus and Expand Newsletters:

 The Smithsonian Displays Brian Hampton’s Grand-Prize-Winning Photo Super-Sized

Underwater Décor

Bringing Wildlife to Life in Large Format

Easy-Install Fabric Photo Posters Honor Movie Theater’s History

The black-and-white posters in the new lobby of The Dietrich Theater in Tunkhannock, PA were printed on Photo Tex PSA, an inkjet-printable fabric with a respositionable adhesive for easy installation.

Going to the movies was more of a community experience in the decades before national corporations started building huge, multiplex movie theaters at shopping malls. If the weather was nice, you could pile your friends into a car and head off to a drive-in. But most of the time, you had to go downtown to the local theatre to see the latest releases from Hollywood.

Civic leaders in small towns across America are hoping to recapture some of that sense of community by restoring old theaters and reinventing them as community arts centers.

Such is the case at the Dietrich Theater in Tunkhannock, PA.  The Dietrich Theater first opened in 1937 with just one screen. That was fine until the mid-1980s when the Dietrich Theater couldn’t compete with the new breed of corporate-run multiplex theaters at malls.  After being closed for well over a decade, the Dietrich Theater reopened in 2001—this time with two screens to meet the changing expectations and diverse tastes of moviegoers.  And earlier this summer, the Dietrich Theater opened a new addition to the theater that includes two additional screens as well as space for arts classes and community events.

SLJLizzaDietrich2posters500pOne of the most eye-catching features of the addition to the theater is the series of larger-than life black-and-white photographs hanging above the new lobby. The photo posters were designed by Stephen Hendrickson, a NY-based production designer for television who helps design special events and displays for the Dietrich Theater.  The posters were printed by Lizza Studios, a Tunkhannock-based business that provides large-format, fine-art reproduction services for artists.

The posters were printed on Photo Tex PSA fabric for solvent printers and an Epson Stylus Pro GS6000 solvent inkjet printer from LexJet. The posters were  installed by Bob Lizza, Doug Wilson, and Betsy Green of Lizza Studios.  

The seven posters in the series include three 80 x 82-in. posters on each side of the lobby and a 106 x 80 in. poster at the center. The posters feature some of iconic stars you would have seen in movies at the Dietrich Theater in the 30s, 40s, 50s, and 60s, such as Clark Gable, Jimmy Stewart, Elizabeth Taylor, Marilyn Monroe, Paul Newman, John Wayne, Cary Grant, and Katherine Hepburn.

According to studio manager Betsy Green, this was the first time Lizza Studios had ever attempted a project like this, but they were more than happy to help The Dietrich Theater succeed as an arts center.  She said Lizza Studios typically uses the Epson Stylus Pro GS6000 for reproducing art that features bright, saturated colors. But she reports that everyone was extremely pleased by how well the printer reproduced the black-and-white movie stills.

Lizza chose to print on Photo Tex PSA because it is so easy to hang that it doesn’t require any specialized training in installation.  Photo Tex is an inkjet-printable fabric, backed with a repositionable adhesive. The adhesive cures over time so that the mural will stay put, but if you make a mistake when you are installing the printed panels, it’s easy to fix. And, because the fabric “breathes,” you don’t have to spend a lot of time removing the trapped pockets of air.  The adhesive removes cleanly from the walls when it’s time to take the mural down.  Photo Tex PSA is available for both aqueous-ink and solvent-ink printers.   

“If we hadn’t used the Photo Tex material, the job would have been nearly impossible for us.” Green admits.  During installation, they had to work from a high lift and precisely align each panel in the recessed areas the architect had included in the lobby walls.

They had to take the posters on and off a few times to get each poster installed exactly right. But they succeeded, and Green now calls Photo Tex PSA a miracle material: “Whoever invented it is genius. It is user-friendly in every way.”

The addition the Dietrich Theater opened in June and everyone agrees that the black-and-white images look stunning. The prints provide a striking, historic contrast to the ultra-modern design of the lobby below. Hildy Morgan, of the Dietrich Theater, says “It’s the most beautiful visual tie-in that you can imagine.”

At LexJet, we love hearing how customers such as Lizza Studios are using their inkjet printers and alternative materials to contribute to community projects. We’ve published other stories about Photo Tex murals in our In Focus newsletter and we’ll be showing some other examples in upcoming posts on this blog.

For example, you can read about the photo mural Advanced Signs & Graphics installed in a health-care facility or the wrap-around photo murals Tom Grassi of Image-Tec installed as a scenic backdrop at a rehabilitation facility.

If you have any questions about the material or how to use it, please call one of the helpful account specialists at LexJet at 800-453-9538.

You can read more about the extraordinary art-reproduction services offered by Lizza Studios on a separate post on this blog or by visiting their website:

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 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.

Desk-Front Displays for Photo, Art, and Promotional Prints

By Darren Vena

Fine Balance Imaging Studios uses changeable panels in their desks to exhibit their clients' art and promote their own services. (
Fine Balance Imaging Studios uses changeable panels in their desks to exhibit their clients' art and promote their own services. (

At LexJet, we love it when photographers and artists send us pictures that show some of the creative ways they are using some of the inkjet-printable materials we sell.

In two previous posts on this blog (about photographers Leslie D. Bartlett and David DeJonge), we’ve shown you why LexJet’s Water-Resistant Satin Cloth is quickly becoming a popular option for printing photo and art exhibitions. For one thing, the inkjet-receptive coating on this smooth, lustrous, wrinkle-resistant cloth is designed for high-resolution, full-color imaging. And, because prints on Water Resistant Satin Cloth don’t need to be framed or mounted, shipping exhibition prints from one site to another is a breeze.

But here’s one use of Water-Resistant Satin Cloth that we hadn’t seen until now. The clever, desk-front display system shown here was devised by Joe Menth of Fine Balance Imaging on Whidbey Island, Washington, a mecca for artists, photographers, and nature-lovers about 25 miles north of Seattle.

FBIPanoDeskShotJoe built the desktop display system earlier this year when Fine Balance Imaging moved into a spacious new studio, which was more than twice the size of their original working quarters. He says the desks from the old location simply looked out of place in their new surroundings.

So he customized the desks with fixtures designed to hold changeable graphic panels made from satin-cloth prints attached to recycled door moldings. (The door moldings are used like stretcher bars in canvas gallery wraps.) The panels can be slid in and out of slats in the desk fixtures whenever Fine Balance Imaging wants to feature something new.

“In the desks, the panels looks seamless and permanent because we’ve put trim over the top,” says Menth. “But we simply pull up the trim, pull out the frame, and drop the new prints in.”

The images are printed onto LexJet Water Resistant Satin Cloth using the ImagePrint RIP and the Epson Stylus Pro 9800 printer.

The desktop graphic panels are just one of the ways that Menth shows clients what’s possible with high-resolution inkjet printing and different types of materials. As you can see from Joe’s panoramic shot below, when clients walk into Fine Balance Imaging they see bold splashes of color almost anywhere they look.

SLJFBIpanorama view 2

Along with promotions for the studio’s services, visitors can see small exhibitions of the work produced by clients such as Michael Foley. His macrophotography series Miracles in Minutiae was printed on LexJet’s Sunset Select Matte Canvas and is displayed for everyone to see.  In the corner of the studio is a print on an aluminum sheet made possible with Golden Digital Grounds for Non-Porous Surfaces.  Hanging above the desk are paintings enlarged to 400% and printed onto Color Textiles Habotai Silk.  Most of the framed photographs were printed on Epson UltraSmooth Fine Art paper.

As for promotional graphics, a front counter sign is printed on LexJet Water-Resistant Polypropylene and the graphics in the I-Banner Stands are printed on either Water-Resistant Polypropylene or Water-Resistant Satin Cloth.

Fine Balance Imaging was founded in 2004, a couple of years after Nancy McFarland and her son Joe Menth had moved to Whidbey Island intending to start a small, family-run art gallery. Nancy and Joe are both photographers and artists at heart, but had worked mostly in technology-related careers that they never were fully passionate about.

At the art gallery, they started making small art prints for a few of their new artist friends. They opened Fine Balance Imaging in direct response to what the artists in the area said they needed. The fine-art business has since expanded to include an extensive array of capture, design, finishing, and marketing-support services for artists, photographers, small businesses, and consumers. These services include: high-end film and flatbed scanning; photography; graphic design; panorama stitching of multiple images; and photo restoration, color correction, and retouching.

But the bulk of the studio’s business revolves around wide-format printing of fine art, photographs, posters, banners, and displays. The studio uses the Epson Stylus Pro 4800, 7600, and 9800 printers with ColorByte Software’s ImagePrint RIP for consistent color from print to print.

For artists who want prints ready to sell at local festivals, Fine Balance will provide shrink-wrapped or polybagged mounted prints. Finishing options include UV-coating, hand deckling, or custom trimming.

As their services have expanded, so has their base of customers. And that’s why they needed to move to a bigger space and chose to do something more creative with their desks.  When more customers see for themselves the type of images that can be produced on Water-Resistant Cloth, Menth says, “More and more clients are using it to create frame-free, ready-to-hang art.” Fine Balance Imaging sells the prints complete with a simple hanging system made from dowels and satin cord.

This type of ingenuity in producing ready-to-hang prints that has made Fine Balance Imaging very popular with their clients. Plus, “Doing work that we truly love motivates us to uphold incredibly high standards,” says Joe.

He adds that, “Our clients don’t care what equipment is used to create their prints. They just care that we spend time with them personally to make sure that they’re happy when they leave, so they will come back to us again and again.”

You can read more about Fine Balance Imaging and how they find ways to help artists succeed in LexJet’s In Focus Newsletter (Vol. 4, No. 7) and in future posts on Studio LexJet. Or visit the Fine Balance Imaging website:

How Photography Careers Evolve: A Profile of Theo Anderson

By Dustin Flowers

At LexJet, we talk to dozens of successful photography professionals every day. One thing we’ve learned is that photography careers often take some interesting twists. Few photographers are doing the same type of work they started out doing 20 years ago.

Each photographer has a unique story—about how they got their first break and how they are adapting to changes in how photographs are captured, processed, used, and sold. Ideally, some of the career-reinvention stories you’ll read on Studio LexJet will provide inspiration and insight—whether you’re new to the photography business or seeking new ideas for your own business reinvention.  

Today, we’re highlighting an experienced, respected editorial photographer who is also making a name for himself in contemporary fine-art photography.  He has also undertaken a pesronal project  to help support orphans in the Dominican Republic.

Theo Anderson is a self-taught photographer based in Allentown, PA.  After graduating from Temple University in 1974 with a B.A. in political science, he was pursuing a doctorate in government at Lehigh University when he bought his first camera and built a darkroom in the closet of his apartment. He left graduate school in 1978 to start a career as a photographer. One of his first jobs was shooting images for the publications office at Lehigh University. Since then, he has spent much of his career shooting photojournalistic essays for corporate annual reports. He has also served as creative director for an award-winning community-college magazine, sold stock images, and operated a studio in which he built sets for intricate photo compositions for companies in the tech industry. 

Now, Anderson is using his personal projects to make a name for himself in the upper echelons of contemporary fine-art photography.  One of his best-known projects, entitled Where’s Joe? The Ghost of Bethlehem Steel, depicts the de-industrialization of the US.  An image from the Where’s Joe? series is included in the inventory of HamburgKennedy Photographs, a New York-based private art-advisory service for novice and seasoned collectors.  

Anderson’s other projects, entitled Amarillo, NYC, and Pennsylvania, aren’t so much about place as they are about transformation, and the transitions in the human experience. He shares works from these series with the curators and collectors who attend fine-art photography gatherings such as FotoFest in Houston and Review Santa Fe.

A Unique Vision and Simple Workflow: What has helped Anderson get noticed in the fine-art world is the way he structures his shots, his sense and use of color, and his confidence in his unique vision. Anderson has a very simple shooting style and workflow and is skilled at crafting his own large-format prints. His intention is to reflect the scene exactly the way it appeared when he took the shot. As Anderson explains, “I want the purity of the frame to come through in the authenticity of the image.” 

Anderson doesn’t take a whole lot of shots, because he prefers to wait until conditions are perfect before pressing the shutter. He envisions the finished print as he sets up each shot.

He shoots only in available light, nearly always using either a 35 or 50 mm lens. His images don’t get cropped and his photographs are never Photoshopped unless a chromatic aberration needs to be removed. Most images are printed directly from the digital negatives.

The print size Anderson likes best is 28 x 42 in. on a 36 x 50 in. paper, because he believes it has the greatest visual impact and resemblance to what he saw through the camera’s viewfinder.

Retaining Control of His Work: Anderson has been printing his own work for awhile. He says he was always a good black-and-white printer, but hasn’t been in a black-and-white darkroom since 1990. When he started shooting color for his editorial assignments, he became interested in learning how to make color prints. Anderson points out that color photography has so many subtleties in tone that it’s advantageous to retain control. When he sent prints to labs, he says “I could never get prints to look the way I wanted.”

The first in-studio printer he bought was an Epson Stylus Photo 2200. Then he bought an Epson Stylus Pro 5000, and later an Epson Stylus Pro 4000.

When HamburgKennedy Photographs expressed interest in his work a few years ago, one of the questions they asked was how large he could make his prints. First, he considered having large prints made at a firm that specialized in large-format printmaking. But he realized that no matter how skilled those printmakers might be, it would mean giving up final control over the quality of his work.

So Anderson bought a 44-in. Epson Stylus Pro 9800 from LexJet, created his own profiles for his papers, and started printing. After experimenting with several papers, he ultimately decided his images looked best on Moab Entrada Natural.  

When Anderson shipped 13 of his large prints to HamburgKennedy, one of the agency’s partners commented how impressed she was with the quality of the prints. He regards the acceptance of his work by HamburgKennedy as a turning point in his career. The quality of his printmaking has also been noticed by the art lovers at FotoFest and Review Santa Fe—particularly when he unrolled two 36 x 50 in. prints to show alongside his smaller prints. Anderson believes that displaying photographic art on a web gallery can’t come close to matching the visual impact of showing curators and collectors the actual print.

StudioLJTheoAndersonCedulaHelping Orphans in the Dominican Republic: Like other photographers, Anderson wants to use his talents to help others. He hopes his newest personal project will help raise funds to support a project being led by Dr. Lois Grau, who chairs the School of Public Health at the University of Medical and Dentistry of New Jersey (UMDNJ). Anderson was shooting images for an annual report at UMDNJ when he learned that some drawings posted on office walls had been created by children in the Dominican Republic who have since died due to the substandard living conditions and lack of medical care.

Dr. Grau is currently spearheading a facilities-reconstruction project that will help support education and health care for 27 Haitian orphans in the Dominican Republic and the women who take care of them.

Human-rights organizations have documented the need to help the families of Haitian migrant workers who help with sugar cane harvesting in the Dominican Republic. The Haitians have no legal rights in the Dominican Republic, are discriminated against based on their darker skin color, and live in overcrowded “bateyes” without potable drinking water, electricity, sewerage, schools, or medical facilities.  The problem hasn’t received as much media attention as regions of the world in which there is active fighting.  Anderson hopes the 47 images in his Cédula series will be able to help raise awareness and funds through print sales, the creation of a traveling exhibition, or the publication of a photo essay. 

At LexJet, we applaud photographers who are using their talents to support worthy causes. And we agree there is value in knowing how to make your own large-format prints.

If you’re interested in learning more about the wide-format inkjet-printing process, equipment, and materials, please call a LexJet account specialist at 888-873-7553. We’d be happy to help you get started!