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Taking the Fine-Art Plunge

(May 2013) posted on Fri May 03, 2013

Four companies embracing fine art and artists.


By Adrienne Palmer

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“It’s great when someone comes in with a file and we realize it was done properly, [but] even better when they let us manage the image capture,” says Baglaneas Eves. “We begin from step one with them and do the digital image capture to our standards and specifications, meaning a high-resolution image capture, removing the artwork from the frame, making sure the studio is set up correctly with balanced lighting, using our color card, etc.”

When a client comes in with a digital file they had done somewhere else – perhaps by a photographer who says he used a professional camera, but instead used equipment with low-resolution – “we have to tell our client that it’s not going to get them an optimal print, both resolution-wise and color-wise,” she says. Generally, Cape Ann relies on its Sinar camera with a 4 x 5 digital back for capture.

The couple’s focus has always been on fine-art printing, “first for ourselves and then for our customers,” says Baglaneas Eves. Today, its clients range from artists wanting to reproduce their work and sell the prints, executors of well-known artists’ estates looking to have museum-quality authenticated giclées made, to photographers – both amateur and professional – who want to get the most from their images and want to be able to print on premium-quality media.

Artists trust the business, says Baglaneas Eves, because they are able to be a part of the printing process, reviewing the proofs, and seeing how the prints are done. “We don’t have a counter keeping them out or a back room they can’t go into,” she says.

For output, Cape Ann Giclée relies on its Epson Stylus Pro 9900 and 4900 printers, and the shop enjoys experimenting with new media for its artist clientele – and if the media works, making it part of its stock media. Cape Ann began with premium canvas, fine-art smooth (natural and bright white), fine-art watercolor (natural and bright white), photo papers in luster, matte, and gloss, and then moved to metallic papers, “especially the ones that have a pearlesence to them to recreate a silver gelatin look – especially in black and white prints,” says Baglaneas Eves.


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