Professional Photography : printmaking

Protecting Your Prints

Eileen Fritsch — Mon, 10 Aug 2009 14:51:00 GMT

The latest model printers, like the HP DesignJet Z3200 and the Photosmart Pro B9180, are capable of creating prints that last over 200 years thanks to the formulation of pigment inks and the coatings on the papers we print to. Obviously, that’s a long time, and while the print might be viable for that period, improper care and handling will lead to an early death.

One problem with inkjet prints is the tendency to scratch easily. This is particularly true with prints made with pigment inks, because the pigments sit on the surface of the paper rather than being absorbed into the swellable coatings used on inkjet papers made for dye-based inks. So, rubbing against something, or the errant fingernail can ruin an otherwise perfect print and expensive sheet of paper.

The simplest solutions are usually the best, and print handling is no different. If you’re doing quality printing for exhibition, sale, or other public use, wearing a pair of cotton gloves will protect your prints from fingernails as well as oils on the skin, fingerprints on a glossy print, or other unforeseen disasters.

For fine art papers and canvas, I’ll normally use a spray protectant after the print has set for 24 hours. Desert Varnish from Moab, Lumijet Protective Spray from Hahnemuhle and Premier Art Shield from Premier Imaging Products are all good options that seal and protect the print from moisture, scratches, and fingerprints and won’t yellow as the print ages.

Print protection shouldn’t end here though. Storage and display should also have their own safety measures in place. Starting with storage, it’s best to store your prints flat. It avoids unwanted curling or bending, and handling is easier. Always use a protective sheet between each print. Acid-free tissue paper, available at most art stores or online at sites such as Light Impressions, is an inexpensive way to keep your prints from rubbing against each other.

If you’re mounting your prints for display, make sure that you’re using an acid- and lignin-free mat board and backing material. And, if your prints are going behind glass, never let the print rest against the glass.

A little extra caution up front can save time and money down the road. When you consider how much effort you spent getting to the point of creating that print, the extra effort is well worthwhile.

Limited Edition Printing: Is It For You?

Eileen Fritsch — Mon, 29 Jun 2009 14:21:00 GMT

By Jon Canfield

Limited editions have been around as long as printmaking. What exactly does it mean in today’s digital world though when another copy of the image is just a couple of mouse clicks away?

First, your customers have an expectation that the print they’re buying has a greater value than an open (or unlimited) edition print of the same image. But, the quality itself may be exactly the same. So what are the differences, and are they still important?

A limited edition must have a firm and guaranteed maximum number of prints available. For example, you might decide to limit your edition to 50 prints. Typically, you’d number each print, then provide a certificate of authenticity with the print stating what number that print is in the edition (i.e. 10 of 50) and when the image was printed. The certificate should be signed by you if you’re printing one of your own images and by the artist/photographer if you’re printing for a client.

Now, does this mean you can only have 50 copies of an image and never print again? Of course not. An open edition could be done of the same image without the authenticity and numbering information. What makes the limited edition more valuable is the guarantee that you’ve done the work on the print yourself, rather than having some outsider do the work on potentially inferior materials. An example of this is Ansel Adams prints – you can buy open edition posters and reprints, but you’re going to pay a premium for a print that is done from the negative.

Personally, I won’t do open editions on the same media that I use for the limited-edition print. For example, if I’m doing the limited edition on HP Hahnnemuhle Smooth Fine Art, then I won’t do an open edition of that print on the same paper in the same size as the limited edition.

You can also have any number of sizes of a limited edition. For example, I might do fifty 16 x 20 and fifty 11 x 14 prints. The key is that there will only be 50 of any given size. If you intend to do this, you need to be clear about it so that your customers aren’t left with the impression that there will be 50 prints total, regardless of size.

I also place additional information about the print on the back of the mounting board. This information includes when the image was captured, where it was taken (if it’s not obvious), and other details that a collector might find useful or add value to the purchase.

Also, you need to keep records of when a limited edition print is sold, and to whom you’ve sold the print. This is for the client’s protection and yours. Careful record keeping is your insurance that you can certify the authenticity of the print and the limited nature of the run.

Also consider pricing. A limited-edition print should be priced appropriately higher than an open edition. If you’re selling normal 16 x 20 prints for $100, a limited edition print should be in the $200 range (or more). You want the buyer to feel that they are getting something special. By default, a limited edition is a collectible piece of art or photography and should be treated as such.

Seminars on Digital Fine Art Reproduction

Eileen Fritsch — Wed, 13 May 2009 10:23:00 GMT

By David Saffir

As one of the photographers/printmakers who played a role in the development of the HP Artist Software Solution for Nikon, I receive a steady stream of questions about digital fine art reproduction. Some people ask about the type of technical equipment and photographic proficiency required. Others are more concerned about the feasibility of getting into digital fine-art reproduction as a business. All of these questions are valid, and I will address many of them on a new post on this blog next week.

But if you’re seriously interested in entering the digital fine-art reproduction business, I would encourage you to attend one of the seminars I will be presenting in the New York and Washington, DC area in early June.

You may be surprised to see how much things have changed. A few years ago, the level of financial investment and technical skill required for digital fine-art reproduction was daunting. Now, the technology and software have advanced to the point that digital fine-art reproduction is no longer strictly an enterprise for a small elite.

The HP Artist Software Solution for Nikon helps make it more practical for more museums, galleries, artists, art publishers, and curators to convert more of the artwork in their collections into digital files and print them out in various sizes and formats as desired.

Applications for fine art reproduction include (but aren’t limited to): the creation of limited-edition reproductions of watercolor paintings, drawings or sketches for sale or exhibitions; the restoration and archiving of national collections of artworks; and reproductions of private art collections for family estates and heirlooms.

Once the art has been digitally captured and archived, the files can also be used to create various types of promotions for gallery exhibits as well as posters and other items to be sold in museum or resort-area gift shops.

Many museums, galleries, and art publishers may choose to establish their own in-house art-reproduction facilities. But many opportunities also exist in digital fine-art reproduction for enterprising photographers and print-service providers who want to diversify their businesses.

If you attend one of my seminars, I will show you exactly how the HP Artist Software Solution for Nikon works. First, I’ll talk about how to prepare your studio for image capture using the Nikon D3/D3x, then I will demonstrate how the HP Artist Software solution embedded in the Ergosoft StudioPrint RIP controls color, exposure, illumination, density and media selection. You will also see how the printing process is managed with the Designjet Z3200.

Best of all you’ll be able to see for yourself how the quality of the Designjet reproduction compares to the original captured with the HP Artist Software solution for Nikon. I think you’ll be amazed to see how much less labor-intensive and less expensive is has become to produce gallery or exhibition-quality prints.

In the seminar, I’ll also explain why I firmly believe most start-ups should be able to achieve the transition from break-even to profitability within a year. I’ve spent a lot of time doing profit/loss calculations for different reproduction scenarios and will be happy to share my findings with you. We will also review methods for recruiting artists or organizations as new customers, and show how you can help coach your clients to effectively market their art reproductions at reasonable cost. You’ll also receive access to a downloadable portfolio of supporting technical papers, how-to guides, and other documents. (For a preview, visit the HP Artist Solution for Nikon directory on my website.)

The first three seminars are scheduled for: Monday, June 1 at B&H Photo in New York, Tuesday, June 2 at Adorama Photo in New York; and Wednesday, June 4 at Mac Business Solutions in Gaithersburg, MD (serving the Washington DC Metro area). If you can’t attend any of these first three seminars, but might be interested in attending seminars in other cities, please let me know.

And if you’re still not sure whether Digital Fine Art Reproduction is an opportunity that makes sense for you, check this blog next week when I’ll be posting answers to the most frequently asked questions about the still-expanding field of Digital Fine Art Reproduction.

Get to Know Your Media

Eileen Fritsch — Thu, 02 Apr 2009 19:54:00 GMT

By Jon Canfield

Because I regularly cover new paper options for trade publications and have an intense interest in printing for personal and professional reasons, I’m excited about the number of new surfaces we have to print on. It seems that every month brings one or more new options, all of which are promoted as the best thing since ink was invented.

This embarrassment of riches isn’t without its drawbacks. We’re all striving for the ultimate in quality with our prints, whether they’re going on our own walls or will be hanging in a prestigious gallery for thousands to enjoy. Just as with your camera or your printer, it takes time to learn how to get the most from a particular paper. Some papers are better for black-and-white than color work; some hold ink better and can produce denser blacks. And then there is the issue of paper white: Do you want a warm, cool or neutral tone?

Just as in the emulsion film world, it takes time to really know how the paper will respond to your needs. You might carry around a couple of different films, but you probably wouldn’t keep 10 or 12 choices in your bag. It would just be too much work to really know them all well.

If you’re constantly switching to new media at every opportunity, you’ll never have the time to really learn how each paper responds to different subject matter and display conditions.

I’m not suggesting that you should find a single paper and use only that. But I am recommending that you find one paper in each type of surface that you use, then try to really learn how your work presents itself on that paper.

For example, I love the baryta papers for black-and-white work. The traditional darkroom look and feel is ideal for many of my prints. Quite a few choices exist in baryta papers, and to be honest, any one of them would be just fine.

But, I don’t want to mix them up and print randomly. Nor do I want to invest the time to learn how a dozen different papers react to my printing.

My approach is to use a standard test image for each new paper I test, so I can have a baseline for comparison. From this, I’ve narrowed down my baryta printing to two surfaces – HP Baryte Satin Art Paper and Hahnemuhle FineArt Baryta, giving me warm and bright-white papers.

Of course, I still look at new media when it comes out. If it looks promising, I’ll do the test printing and then try more in-depth printing to compare against my current standards. If I find one that I like better, I’ll take the time to learn the ins and outs before replacing one of my current choices. After all, experimenting is part of the fun. But in the end, we simply want perfection.

Learn About the HP Artist Solution for Digital Fine-Art Reproduction

Eileen Fritsch — Wed, 25 Feb 2009 22:50:00 GMT

By David Saffir

If you plan to attend the PMA International Convention and Trade Show in Las Vegas March 3-5, I hope you’ll stop by and see me in the HP booth. I would love to meet you, chat about photographic and fine-art printmaking in general, and show you the new HP Artist Solution for Digital Fine Art Reproduction.

The HP Artist Solution for Fine Art Reproduction represents a potential business opportunity that should not be overlooked.

The technology was developed by a collaboration between HP, Nikon, and Ergosoft, a company that makes StudioPrint print-management software for high-end fine-art and photographic printing. The HP Artist Solution for Digital Fine Art Reproduction is a combination of hardware and software that greatly streamlines the workflow in fine art reproduction, reduces technical requirements for the operator, and provides an opportunity for users to improve their cash flow and profitability.

Photographers, galleries, and others can add this system to their toolbox and attract new customers from the fine art photography and art communities.

If I don’t have a chance to give you a demo personally at PMA next week, take a few moments to read my detailed review of the system on the HP Graphic Arts site. Plus, I’ve posted additional content, videos of artist interviews, and profitability analysis information on my own website (www.davidsaffir.com).

I’ve also written several blog posts that provide more details about how the HP Artist Solution works, why the fine art reproduction business is such a good opportunity for professional photographers, what it takes to get started in the fine-art reproduction business, how to find customers, and how to build relationships with artists.

If you have any further questions about the HP Artist Solution, submit them here and I will address them in a future post

Why I Continue to Print My Images

Eileen Fritsch — Wed, 28 Jan 2009 12:30:00 GMT

By David Saffir

I have read a few articles lately that question whether photographers really need to make prints anymore. Why bother with a print when the image can simply be shown on the computer screen or displayed via projection? It’s a good question.

Let’s turn the issue around for a moment: What are the reasons for making a print?

I think that the answer will be as personal to each photographer as the subjects they choose to shoot.

Here are my two cents, focused first on the fine art side of things: (1) I make my own prints because I want to take ownership of the expression of my art; and (2) I use digital printing technology because it offers such a wide range of possibilities for expression of the image. An image printed on glossy paper may have very different visual and emotional content than one printed on a softer, textured canvas or natural white, watercolor paper.

A print is a fixed, tangible expression of my vision. The variations in electronic display and projection technology frequently make it impossible for me to maintain control of the appearance and impact of an image--particularly from one venue to another.

In my opinion, the steps involved in creating a print (removing imperfections, adding enhancements, controlling color and resolution, selecting the media, and choosing the print settings) are essential, inseparable parts of my photography. Giving someone else control over these elements is something that I’m just not going to allow as a photographer/artist.

Making prints gives me great satisfaction. As I review my finished work, I feel as if have fully explored all of the possibilities inherent in an image. A print hanging on the wall has a depth and richness that matter to me. The experience of viewing a print on a wall simply can’t be duplicated with an electronic display. At heart, I guess I’m still an analog kind of guy.

To Boldly Print Where You Haven't Printed Before

Eileen Fritsch — Mon, 19 Jan 2009 11:27:00 GMT

By Wayne Cosshall

We all have at least one inkjet printer around the house or studio. Many of us have several. But do we take advantage of all the possible printing options they give us? Probably not.

Modern inkjet printers come in two types: those that use dye inks and those that use pigment inks. For example, I have two large-format printers: an HP Designjet 130 that uses dye inks and an HP Designjet Z3100 that uses pigment inks. I also have a number of smaller-size dye and pigment-ink printers from a variety of manufacturers. I imagine that many photographers have a mix of both types of printers as well.

The vast majority of photographers limit the exploitation of their printers to the complex decision between using glossy and semi-glossy photo papers. A significantly smaller group sees the benefit of using matte papers. But that is generally as far as many photographers go.

On the other hand, a small subset of digital artists push their printers further, in some cases much further. In my opinion, all photographers would benefit from thinking a bit more like this group.

An image is what we capture with our cameras, but at that point, the creative possibilities are only just starting. When we decide to turn an image into a physical object (hopefully, an art object), we also can choose how to construct the object in a way that will say so much more than just the image itself.

We can present the image in ways that will either enhance some of its inherent characteristics or conflict with those characteristics to create tension. Or, we can use the print to tease out a deeper and perhaps more subtle meaning from the image.

Even the simplest of inkjet printers can print on a variety of materials other than glossy, semi-gloss or matte photo papers. Your printer can also probably print on canvas, overhead transparency film, and normal art, craft, or note card papers thin enough to pass through the machine.

With a bit of ingenuity we can also print images on: incredibly thin papers, such as Japanese Washi papers (see tip below); completely clear or backlit films; fabric of all thicknesses; sheets of aluminum, copper, brass, or steel; sandpaper; slabs of plaster; textured surfaces, and more. Imaging on some of these materials may entail elaborate processes, some of which may require special transfer papers, decal materials, or an inkjet-receptive base coating applied to the substrate.

But printing on all of these different materials is doable. Some processes will be easier to do with dye inks and others with pigment inks, and a few may be impossible with one type of printer or the other.

The thing is, when we look at our images, we should think about ways we can present or enhance them that might turn them into something really special. For example, a semi-abstract and minimalist architectural image might look great printed on a sheet of brass. A flower macro might look stunning on handmade Nepalese paper that incorporates flower petals. And that great shot of your dog might look great printed on a T-shirt.

Of course, many online and local labs will do some of these things for you, and it might be worth exploring these services. But you may want to try printing on materials other than photo papers yourself.

So the next time you’re working on a particularly great image, think about all of the different ways you might present it. It might just change what you do with it.

Suppose you’re planning to use transparency to combine a number of images as layers in Photoshop. Why not print the individual images on clear film and then, physically stack them with a small separation between each layer? Just imagine what a striking presentation this might be. Now, rather than the static blending of the images as you would get in Photoshop, you have a dynamic and interactive piece that looks entirely different each time the viewer moves his or her head. Plus, the image may (or may not) look even better when you backlight it. The possibilities are endless.

Just as most photographers use only 10% of the capability of their camera gear, many people only use 10% of the capabilities or their printers. Are you going to expand your limits?

Tip for Using Thin Material: Here’s how to print on very thin materials (such as Japanese Washi papers) that might not otherwise feed through your printer correctly. Use a can of spray contact adhesive to lightly affix your thin material to a sheet of normal printer paper that can act as a temporary backing sheet. Cut your thin material to size and give the back a very light spray with the contact adhesive, paying particular attention to the edge areas. Adhered to the normal-paper backing sheet, the thin sheet will transport through your printer without problem, unless the edges lift while the sheet in the printer. After the thin paper has been printed, simply peel it off from the backing sheet.

Building a Fine-Art Reproduction Business: Personal Rapport Matters!

Eileen Fritsch — Sun, 21 Dec 2008 21:02:00 GMT

By David Saffir

If you are considering using your photography equipment and skills to get into the business of fine-art reproduction, keep in mind that the viability and profitability of your new venture will depend partly on how skillful you are at building personal relationships and a sense of trust. In fact, your interpersonal skills may matter even more than your technical prowess.

To show you what I mean, let’s review each stage of the process of helping an artist create a sellable edition of his or her works.

Image quality, of course, is critical. The initial photographic capture of the original and the subsequent prints must meet the standards and expectations of the artists’ targeted customers. The standards may vary depending on whether the artist is seeking to appeal to:

-Individual consumers who buy prints at art fairs or gift shops;
-Interior designers of residential or commercial office space;
-Gallery owners, exhibition judges, and art dealers; or
-Museum curators, and private art collectors.

Some artists seeking reproductions will have definite ideas of exactly what they want. Some may be wary if they have been disappointed by the work of previous printmakers. However, for many artists this may be the first time they have ever hired someone to digitally reproduce their work. They will look to you for guidance.

That’s why establishing effective communications and a personal rapport between you and artist should be at the heart of your business model. To efficiently achieve the results that the artist wants, you need to gain their trust and come to a mutual understanding with regards to their artistic goals.

Most of my new business comes from word-of-mouth referrals from past and current customers. This gives me a head start in earning the trust of each new client, because artists tend to trust the recommendations of their peers. From my experience, word-of-mouth marketing is far more effective in bringing in new business than advertising or postcard mailings.

The next most important step in the process is the initial meeting. How well you handle this step sets the stage for later success.

The Initial Consultation
Most artists are interested in reproducing their originals because it gives them much greater freedom in showing and selling their work. They don’t have to permanently give up or take risks with the original, and they can price the reproductions at a level that makes them more accessible to their potential audience or customers.

When they come to you, many artists will have already begun to visualize what they want. In their minds, they know what success will look like. The more clearly you can coax them to express that vision, the more easily you will meet their expectations. Some good questions to ask:

-Do you expect the reproduction to look exactly like the original?
-What media type do you want to print on?
- Are there adjustments or improvements that you would like to see?
- Are you planning to hold an exhibition? If so, what are the viewing conditions?
-Have you selected pieces you want to reproduce and/or show?
-Are you planning an open or closed edition? What size?
-Will the work be framed, or unframed?

Initially, many artists believe that the reproduction can, and should, be indistinguishable from the original. Although this is possible, it is often difficult to accomplish at reasonable expense. Paper type, base paper tone, texture, color, and density all have to be duplicated.

For the initial consultation, I keep a portfolio of other artists’ completed work on hand. These examples often prove to be useful tools in initial discussions with new clients. Typically a new artist enjoys exploring creative options such as choosing a new media type or considering a different treatment of the original. In all but a very small minority of cases, the artist will elect to make a few changes when their original is reproduced as a print.

It is also important that the artist have realistic expectations about selling their work. Making prints doesn’t guarantee anything. They’ll have to show and market their work, which takes time and effort.

Photographing the Artwork
In many cases, we’ll start with one or two pieces. This keeps communication simpler. And because the scope of the project is smaller, it is more manageable. Starting small can help build comfort levels and trust.

The artist will usually leave the artwork with me. Along with their initial order, I ask them to sign a liability release. Although any photographer would be diligent about protecting original artwork, no one can guarantee perfect safety. A moderate deposit helps keep things professional, and ensures commitment.

At this stage, we will have reached an initial agreement on artistic goals. Then, I’ll photograph the work and create a test print for the artist’s review.

The Test Print
I’ll make the test prints using the initial guidelines and goals we’ve agreed on. Usually we require only one test print, but sometimes an artist will want to see test prints on different media types. If they have had their work reproduced in the past, we may view one of these copies together, evaluating strengths and weaknesses, and fit with current goals and expectations.

When the artist views the test print, we’ll look at a number of attributes, such as color, density, detail and feel.

If the test prints are OK, the artist will sign off on a final order, which I’ll then complete for them. I usually retain the original until final delivery, mostly to give me an additional reference point.

Final Print
Today’s color-management and digital printing technology allows us to make small batches of prints that will look consistent no matter when they were printed. So to begin with, we typically make anywhere from two to five prints of each original. This keeps initial costs down and leaves the door open to make additional prints as an edition sells. We know that we can return in weeks or months and make a few more prints that will be accurate reproductions.

When the artist arrives to pick up a final print, I try to present the print to them in a realistic viewing environment. The print is on an easel under lighting similar to the planned display environment. I don’t normally show the original side-by-side with the reproduction at the outset. Instead, I prefer that the printed piece be given a chance to stand, or fall, on its own.

Later, we’ll look at the original and the print together. Because the artist has already seen a test print, it is rare for either of us to see any surprises at this stage.

Sometimes we will discuss framing and presentation. Some print service providers offer framing services, but I do not. I usually refer the artist to a dedicated frame shop that I know will do a good job at reasonable cost.

Frequently, discussions will include transportation, storage, pricing, edition size, signing work, and the like. The discussion with each artist is different.

Most important, I think, is that each artist enjoys the experience of feeling unique—that their work matters, and that they have my undivided attention while we are working together. The personal touch makes a big difference.

Down the road, I hope they’ll do two things: return to have additional prints made, and talk to their friends and colleagues about working with me.

Educate Your Customers
A parting thought? It makes sense for photographers in this business to invest some time in educating potential customers. One good way to do this is to make succinct presentations to local artists’ associations, classes, and clubs.

If one of your satisfied customers is already in the group, so much the better. But when you make your presentation, avoid the “infomercial” approach. Instead, talk about the process in a way that demonstrates your understating of the technical challenges of accuracy and color fidelity, your ability to offer creative options, and your respect for their artistic goals. Help educate artists about the process and what is realistic to expect, and over time your business will grow and flourish

Photokina Report 2: The HP Artist System

Eileen Fritsch — Wed, 08 Oct 2008 12:43:00 GMT

By David Saffir

The HP Artist System for Digital Fine Art Reproduction is truly something new under the sun. First demonstrated with the Designjet Z3200 at Photokina 2008, this system incorporates end-to-end production tools and workflow for very high-quality fine-art reproduction. What used to be a tedious, time-consuming, and expensive task is now much more streamlined, consistent, and less costly. In fact, my preliminary analysis shows that the cost of reproducing one piece of artwork can now be reduced by as much as 70 to 80%. This does not include any savings which may be realized through reduction in wasted materials or unneeded proofs.

In the past, photographer/printmakers such as myself typically used some type of flat-copy setup to photograph artwork. Supported by an easel, the artwork was illuminated by two lights at opposing 45-degree angles. With the camera centered on and parallel to the artwork, I photographed the artwork then printed it.

This method involves several problems. First, the lighting setup described above makes it difficult to render finer details of textures and brushstrokes in the reproduced print. Given the uniformity of the lighting, the final image often looked “flat.” While advanced lighting and Photoshop techniques can mitigate this, it requires additional time and expense to do so.

Controlling the color temperature of lighting can also be problematic, as can ensuring that illumination is perfectly even (i.e., +/- 1/10 stop). Some lighting types can be inconsistent and reflectance and density vary from painting to painting, as does color. In the past, managing these variables has required painstaking attention to detail at every stage of production. In order to succeed in the fine-art reproduction business, a photographer needed experience and specialized training.

The new HP Artist Solution streamlines the workflow, provides critical support in key areas of production and quality control, ensures consistent results, and saves time and money. The HP Artist solution is embedded in Ergosoft’s StudioPrint RIP, a specialized print-management program for wide-format photo printers. From the main menu, choose Tools>HP Artist. This dialogue box will appear:


There are ten basic, easy-to-follow steps:

Step 1: Set the artwork up on a flat background, preferably black in color.

Step 2: Ensure that your workroom doesn’t allow ambient light to interfere.

Step 3: Set up your lights, continuous or strobe. They can be arranged in a copy-style setup, or on only one side of the artwork to emphasize textures.

Step 4:     Place a clean white board (such as a matt board) on the easel. Illuminate the white board as you would the artwork.

Step 5: Set up your lighting. It isn’t necessary to create even illumination on the target. The computer program will correct any variations in luminance, even in the corners. Allow your lighting to warm up for 30 minutes, or fire strobes several times.

Step 6: Set up the camera on a tripod or studio stand square to the white board, and photograph it at a proper exposure (check your histogram!) The Nikon D3 using the 105mm Macro VR lens is recommended.

Step 7: Without changing the placement or geometry of the setup, place the artwork on the easel and photograph it. Once work has begun, you can photograph as many additional pieces as necessary.

Step 8: Save these files to a folder on the same computer where you keep the HP Artist software.

Step 9: Follow the provided instructions. You will now take simple measurements of the lighting striking the target, the white board, and the artwork. The artwork measurements involve sampling colors from the piece itself using an X-Rite i1 spectrophotometer. With a bit of practice, I can do this for a 20 x 30 piece in about five minutes.

Step 10: Load your measurements and images into HP Artist software. Click “Process.” In less than a minute, you’ll have your adjusted image file, ready for final editing in Photoshop

How does this system compare to older methods?

In my view, HP Artist provides a greatly improved adjusted image file, ready for final tweaking in Photoshop and printing. Time to completion is significantly less.

The chart below is based on my own experience over the past few years. It compares the amount of time it typically took me to set up and shoot artwork using my previous steps to the time it now takes me to do the same job with the HP Artist software in the Ergosoft RIP.

Note that a job that once took more than five hours (315 minutes) can now be done in slightly more than a hour (67 minutes).

The cost savings are substantial. Assuming labor and overhead costs of $150/hr., a job that once cost $800 to complete can now be done for about $165.This savings of $630 doesn’t even take into account any additional materials costs that might have been incurred making multiple proof prints. Even if my HP Artist cost estimates are off by 50%, the cost reduction is still quite significant.

In my next post, I’ll present a pro-forma Profit and Loss statement that can help you evaluate what type of impact this kind of investment can have on your business.

PREVIOUS METHOD	Minutes
Set up lighting	15
Meter and adjust lighting on artwork	25
Photograph color chart or gray card	5
Photograph artwork, review result	15
Adjust camera/lighting. Photograph again	15
Import image into Photoshop. Edit color, luminance, contrast, etc.	90
Calibrate printer	30
Profile media	120
TOTAL TIME	315

HP ARTIST SOFTWARE IN ERGOSOFT STUDIOPRINT
Measure artwork	10
Photograph reference backing board	1
Set up lighting	5
Measure lighting incrementally by hand w/ incident lightmeter	1
Photograph color chart or gray card	5
Photograph artwork, review result	15
Adjust camera/lighting. Photograph again	0
Import measurement data and images into HP Artist/StudioPrint and process	10
Calibrate printer using automated system on StudioPrint and Designjet Z3200	10
Profile media using automated systems on StudioPrint and Designjet Z3200	20
TOTAL TIME	67

Photokina Report 1: The Designjet Z3200

Eileen Fritsch — Fri, 03 Oct 2008 21:17:00 GMT

By David Saffir

I had the good fortune to attend Photokina 2008 in Cologne Germany. As always, it is held on such a large scale that it defies description. Take it from me, the whole thing seems bigger than Rhode Island. According to a final report issued by the Photokina Press Office, this year’s show featured 1,523 exhibiting companies from 49 countries. The show was attended by 169,000 people (including 6,000 journalists) from 161 countries.

Attending Photokina has reinforced what I posted previously: We truly are in a golden age of photography, with more choices and tools available at more reasonable costs than ever before. New photography products were everywhere, ranging from cameras and lighting systems to printers, inkjet papers, and more. For example, Nikon’s lineup of cameras now includes the D90, which features over 12 MP and video recording, plus some new lenses including Perspective Control models.

Plus, in addition to announcing new products of interest to photo labs and retailers, HP introduced the new Designjet Z3200 and HP Artist system for fine-art reproduction. I have also had a chance to test the Nikon D3 combined with the new 105mm Macro VR lens, along with the HP Artist system. This lens is very sharp, with great technical characteristics, and superb color and contrast.

The Designjet Z3200 is a new model in many ways, but primarily it builds on the success of its predecessor, the Z3100. Technical changes and upgrades include:
·         easier loading of sheet media;
·         direct user control of the paper feed; and
·         improvements in the user interface in the software HP supplies to run the printer.

The speed of the printer has increased significantly, which should make this machine even more attractive for those who need higher-volume output. Most interestingly, the printer now incorporates a new ink formulation for the red channel, called Chromatic Red. It provides a wider overall color gamut. In images that include a range of red tones, you can definitely see improvements in saturation and color vibrance, along with increased detail throughout highlights, shadows, and transition areas.

The Designjet Z3200 includes support for more than 50 types of HP large-format printing materials, including HP’s new Baryte Satin Art Paper.

In a case study HP’s site, photographer Albert Watson shares some of his observations about the Z3200. He notes that, “One of the most important things to a photographer is the translation from the eye to the film, the film to the screen, and the screen to the paper. The translation the HP Designjet Z3200 achieves is amazing.”

The Designjet Z3200 is at the heart of the remarkable HP Artist System, a breakthrough end-to-end digital fine art reproduction system that I’ll discuss in more detail in my next post.

Fine Art Reproduction Part 3: Getting and Keeping Customers

Eileen Fritsch — Mon, 11 Aug 2008 12:25:00 GMT

By David Saffir

Now that we’ve discussed why fine-art reproduction is a good business for photographers (Part 1) and what types of equipment you need (Part 2), let’s talk about how to market your business. I’ve found that most artists producing flat art still believe that they must invest large sums of money to create reproductions of their art, and that individual prints are very expensive. Very few are aware of new technology available and of the improved costs involved.

So, one way to attract customers is to help artists become more aware of what you can do for them. You can educate potential customers through a combination of web-marketing and snail mail. During the first 6 to 12 months that you’re in the art-reproduction business, you’ll also need to build relationships through some face-to-face time. You can either join a local arts group, or offer to make a presentation at one of their meetings. Many of the artists you’ll meet at these groups will have created a body of work and have thought about creating an edition of one or more pieces. But they’ve just never believed it would be economically feasible.

If you can dazzle a few of these artists with your printmaking (and print on-demand) capabilities, they will recommend you to their colleagues, and other artists will start making inquiries.

At some point, you may get customers who have hired a digital printmaker in the past but have been disappointed with the results. That’s because some companies that are equipped with wide-format inkjet printers aren’t always attuned to all of the nuances of color and detail that artists care so passionately about. A shared appreciation of color and detail can give a professional photographer a competitive edge in the art-reproduction business.

When you meet artists who are skeptical, show them a sample of your work, refer them to a satisfied customer, or make a few promotional prints for them. If you are accustomed to using studio lighting and a light meter, and you have a good camera with good glass, it probably won’t be difficult to differentiate yourself from other digital-printing companies.

Emphasize your professional photography experience in all of your marketing messages to the local art community and your new art-reproduction services are likely to get off to a fast and prosperous start.

Fine-Art Reproduction Part 2: What You Need to Get Started

Eileen Fritsch — Thu, 24 Jul 2008 20:26:00 GMT

By David Saffir

Professional photographers are uniquely qualified to get into the fine-art-reproduction business because the element most critical to success is a quality image capture. Photographers not only have a discerning eye for color and detail, but also tend to have the best capture equipment. For fine-art reproduction, the lens, digital sensor, and software used to process the RAW digital image files have to be pro level, with no compromises.

Specialized Training
Before you invest in any additional equipment, it might be wise to invest first in some training—so you can see for yourself how the fine-art reproduction workflow differs from printing your own photographs. During a good training session, you’ll see why it’s not smart to try to cut corners when it comes to buying quality equipment.

For example, the training should cover specific capture, color control, and printing techniques that have proven to be successful in faithfully reproducing the colors used in the original artwork. This usually requires one to two full days of work, with lessons focused on image capture setup, color management, media selection, image editing and print prep. You also need to understand how the build good relationships with artists and some of the printmaking traditions specific to the art market. Once you’ve been trained, you’ll better understand the rationale behind all the other elements listed below.

The Right Lighting Setup
Digital image capture for fine-art reproduction is based on good old-fashioned copy work. It requires two to four color-corrected lights (strobes or continuous), diffusers or softboxes, a sturdy tripod or studio stand, and a stable copy stand that can support artwork in a range of sizes. You could use continuous lighting using tungsten bulbs, but I don’t recommend it. Even though we can correct color pretty well, a light source that isn’t color-balanced can lead to a number of problems, including excessive time in post-production trying to correct color distortion. It’s better to use color-corrected halogen or fluorescent lights.

A Good Camera and Lens
I use a Hasselblad H-series camera and a Phase One digital back. I really don’t see any reason to use film for fine-art reproduction unless your client wants to archive an image on film for some reason. With my equipment, I have gotten excellent results with images up to 40 x 60 in. in one frame, and panoramas up to 10 ft. long. It is quite feasible to shoot even larger pieces in one frame. Or, you could shoot the image in quarters and stitch them together in Photoshop. The recently released Phase One/Mamiya medium format combination is interesting, and costs less than competing products. A new Mamiya kit with an 80 mm lens has been reported selling for $10,000. You could use a high-end DSLR, like the Canon Mark II and III-series, or the Nikon D3 series on many pieces of artwork, but successfully reproducing a large painting usually requires the resolution that only a medium-format digital camera can provide. In any case, the cost of acquiring technology is lower and dropping every month. Used equipment is frequently an option as photographers trade in and trade up.

Procedures and Tools for Controlling Color
Reproducing artwork requires processes for controlling color at every step in the process, from capture to output. The more careful you are in controlling color, the less time and materials you’ll waste trying to get your print to match the original. If you’re serious about your digital photography, you probably have already invested in a high-quality monitor and tools for keeping it calibrated so you can accurately preview and edit your images on screen.

The most straightforward way to control color while shooting is to:

Ensure that the target artwork is evenly illuminated from corner to corner and from side to side, within 1/10 of an f-stop;
Shoot at lowest ISO available;
Use RAW capture; and
Include a grey card or white/grey/black target in your shot. (This will be an enormous help when processing the image on your computer.)

Finally, you will want to be able to routinely create accurate custom color profiles for each type of print media you use.

You can use a handheld spectrophotometer (such as the ones made by X-Rite), or an online service (which can be pricey). Or, you can buy a wide-format inkjet printer that has the custom-profiling functionality built-in (such as the HP Designjet Z3100). Being able to obtain accurate color profiles is essential, but that’s only part of the game. In order to efficiently be able to produce a print that looks just like the print you output six months ago, your profiles must be re-created or updated periodically.

A Pro-Model, Pigment-Ink Printer
You’ll need access to a wide-format, wide-gamut printer that can handle a variety of media types, media thicknesses, and roll widths. Most people in the fine-art reproduction business have a printer that can print up to 44 in. wide. Many printmakers use devices that can print up to 60 and 64-in. wide. These wider printers can be used not only to make larger prints, but also to efficiently print higher volumes of smaller prints.

If you don’t yet own a wide-format printer, some studios will rent you access to their printers for a day or half-day. In other areas of the country, you may want to purchase one for yourself. To produce the wide color gamut needed to accurately reproduce fine art, your printer should have at least eight ink channels. In my opinion, having 12 ink channels is better because the color palette and the control provided over color and density is noticeably superior.

It’s also important to be sure that the printer uses pigment inks, instead of dye inks. When used with reputable brands of art papers and canvases, pigment inks can create prints that will last well over 100 years without noticeable fading if they are properly protected and displayed. After you’ve equipped yourself to go into the fine-art reproduction business, the next task is to attract customers. I’ll share a few tips on marketing in my next post.

Fine-Art Reproduction, Part 1: Why It's a Good Business Opportunity

Eileen Fritsch — Thu, 17 Jul 2008 20:14:00 GMT

By David Saffir

If you already own a professional-quality camera and know how to use a pigment-ink inkjet printer to reproduce your own images, fine-art reproduction can be a viable and profitable business opportunity for you.

In this three-part series, I’ll discuss the fine-art reproduction business in more detail. In this post, I’ll describe why it can be such a profitable business opportunity. In Part 2, I’ll go into more detail about what type of equipment is required to get started and in Part 3, I’ll discuss how to attract customers.

Until recently, fine-art printing and art reproduction was expensive, technically demanding, and time consuming. Now, we can digitally reproduce nearly any type of flat art created with paints, watercolors, charcoals, pastels, or other art medium. We can print long-lasting reproductions in a variety of sizes and on a variety of art papers, canvases, or other materials. We can achieve great color fidelity, extremely good color rendering, and good control over the appearance of the final print. Best of all, we can do this at a reasonable cost in time and money.

Artists’ editions typically range from 20 to more than 1,000 prints. The great thing about digital fine art reproduction is that you can print an edition one piece at a time, or in multiples. If you choose to print one-offs (and use the same printer/ink/paper/profile combinations), you can be quite confident that the image colors and quality of each print will be extremely close, or identical, even if a few months elapse between one print and the next. Most artists don’t yet know this is possible. Many still believe they must print an entire edition at one time, which can be very expensive. Most artists I work with hire me to make two prints: one to show, and one to ship. When they sell a print, they order a replacement.

Start-up Costs
The cost of entering the fine-art reproduction business ranges between $10,000 and $45,000 for equipment and software. You’ll also have to factor in training and marketing costs. The cost of your initial investment in technology will depend on how much gear you already have in your studio. For example, you will need:

a pro-model, pigment-ink inkjet printer (at least 24 or 44-in. wide);
a medium-format camera;
a good computer with Photoshop and other workflow software;
a good monitor, and monitor-calibration tools;
a method of creating custom profiles;
specialized training in the art-reproduction workflow;

You don’t have to acquire all this at once. You can start by renting some of the camera or printing equipment, then buy equipment as the demand for your services grows. You may also choose to provide finishing and mounting services, or refer customers to a reliable framer.

In my first year of offering fine-art reproduction services, the wide-format printer, dedicated computer,and software such as Adobe Photoshop CS3. paid for themselves in about six months.

Plus, I have been able to use some of the equipment I acquired for fine-art reproduction for other types of general photography and wide-format printing jobs.

Pricing
Pricing for fine-art reproduction varies from region to region. Services for which you can bill clients include image capture, image editing, printing prep work, and the print itself. Here are few examples of typical charges:

Image Capture: $150
Image Edit: $50
Print 20x30: $120
Proof, 8x10: $45

The price per print should never be your main driver, either in quoting jobs to clients or promoting your services. Artists will pay higher rates if you can provide better print quality, are prepared to print extra copies whenever they need them, or have a rapport with you as a fellow connoisseur of fine images.

Return on Investment
The ROI will be determined by your specific circumstances. In the scenario I outline on my own ROI spreadsheet, the printer is used for fine-art reproduction only, and the breakeven point arrives between month 6 and month 7. Your payback results will depend on how much equipment you need to buy initially and how quickly you can attract customers that want either multiple prints or will come to you for repeat business.

A Key Benefit: Repeat Business
The majority of revenue from the fine-art reproduction business comes from repeat customers. Once artwork is digitized and is kept on disk, the artist will want to be able to continue to order subsequent prints from you as needed. This ability to make one or two prints at a time can be a strong selling point, because it frees the artist from having to keep multiple prints safely stored and protected from damage until they’re all sold.

To summarize, the fine-art reproduction business is within reach of an ever-increasing number of photographers and artists. With proper training and a modest investment in tools that you can use for other purposes, you can be up and running relatively quickly.

In my next two posts,I’ll examine the technology requirements in more detail and talk about how to find and attract customers.