Posted by Hugo Cruz on October 23, 2009 at 12:25pm
I have heard of a lot of artists who print their own prints. What is your opinion on a photographer/artist buying his/her own printer? Are the cost savings (in the long run) significant? The drawbacks I imagine are having to take care of the maintenance issues of the machine, perhaps newer and better printer technology being released making my printer more obsolete, entry may be cost-prohibitive and other issues. Although, some advantages include total control of my work/output, being able to fulfill small orders or "onesies" quickly & in-house, the future option of experimenting with other papers/materials and more that I cannot think of.
As for me, my current needs are to get a printer that can produce lab quality photographic prints on Metallic/Pearlescent paper up to 13"x19" or 24"+ wide if it is affordable. However, buying the right printer with a future option to experiment with other media (canvas, fine art rag, etc.) would be welcome. Any advice on specific brands, models, technology, best stores to buy it from etc. would be appreciated.
So, what's your opinion?
Thank you.
Hugo Cruz
www.HugoCruzGallery.com
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Digitizing paintings is much better done by having the paintings scanned at places that specialize in printing reproductions of paintings. You can shoot your paintings with a high resolution digital camera if you use the right lighting and a sturdy tripod, but you'll be limited to the size you can print. It is possible to print larger sizes if you use canvas because the texture of the canvas can obscure some of the lacking detail.
If you are going to have your paintings scanned, make sure to ask if they are scanning into the RGB or CMYK color modes. If they do give you CMYK files of your paintings it will be very difficult to create accurate images for jurying. Printing will also be difficult unless you use a CMYK RIP for your printer.
The advantage of using full Photoshop is that it recognizes and accurately displays your images no matter what the color mode or color space, but you need to have a calibrated system which includes your printer besides your monitor. If your system isn't calibrated you can create accurate prints through trial and error but you will need to scan your prints for accurate digital files for jurying.
All said, you can shoot your paintings and make prints and sell them without any of the above if accuracy and size limitations isn't important.
Digitizing paintings is much better done by having the paintings scanned at places that specialize in printing reproductions of paintings. You can shoot your paintings with a high resolution digital camera if you use the right lighting and a sturdy tripod, but you'll be limited to the size you can print. It is possible to print larger sizes if you use canvas because the texture of the canvas can obscure some of the lacking detail.
If you are going to have your paintings scanned, make sure to ask if they are scanning into the RGB or CMYK color modes. If they do give you CMYK files of your paintings it will be very difficult to create accurate images for jurying. Printing will also be difficult unless you use a CMYK RIP for your printer.
The advantage of using full Photoshop is that it recognizes and accurately displays your images no matter what the color mode or color space, but you need to have a calibrated system which includes your printer besides your monitor. If your system isn't calibrated you can create accurate prints through trial and error but you will need to scan your prints for accurate digital files for jurying.
All said, you can shoot your paintings and make prints and sell them without any of the above if accuracy and size limitations isn't important.
Wow! As a newbie you just freaked me out. I hope it is easier than it sounds. About digitizing with a pro setup, do you mean by a print shop or are there specialist that do that? What would I called them on a search engine? Sue
chas lewis said:
I came across this discussion and will add my $00.02. I am a painter selling mainly prints I make on my own wide-format printer. In my experience, there is a lot of learning involved in doing printing. But that doesn't mean you shouldn't do it. First, the digitizing: that's best done (for paintings anyway) with a pro setup at a shop that does fine art capture. Your digicam simply isn't good enough, nor are your lights unless you are really skilled. Once I get that super hi-res file, it usually takes a number of hours color correcting the file with a calibrated monitor (critical!). In my view, all visual artists should become proficient in Photoshop - not Photoshop Elements, either, but the real one. Then you have to run test prints and (if you are me) compare them against the original and re-correct some color. This is very time consuming, but if you have a photolab do it, you'll be paying them plenty. It's rare that a painting file, anyway, doen't need extensive color work to get it truly dialed in. Dialed in means for YOUR printer. Once you have that master file, things get a lot easier. Now, the printing. I use an Epson 7600 (24 inch), which was state of the art in 2004. Still works great and has all the color gamut I need, which is a lot. It's not simple to learn, but not insurmountable either. You do have to factor in scrap, which can be significant. I ballpark fine art paper or canvas plus ink cost at somewhere around $5 per square foot, including scrap costs. You can go through a lot of substrate and ink. OEM ink is really the way to go. After you get a print you aren't done - there is the coating process. Without UV coating, giclee prints look flat and are quite delicate. the coating also adds longevity. I have a pro-quality HVLP spray rig for coating paper prints. I can use a foam brush for canvas. Usually takes at least two coats. It's also easy to screw it up and ruin your prints with dust, puddles, etc. Dust is a major enemy. All this probably sounds daunting, but I really can't imagine NOT doing my own printing. I can do different sizes, borders, use different surfaces, and keep tweaking the image until it really has snap, with the right colors and contrasts. I think you could quickly run up a tab equivalent to the cost of a printer at an output shop, just in pre-print correction and a couple of prints. And you are beholden to them every time you want to order another print. If you don't need 24-inch widths (which lets you do up to 22x28 with some border for stretching a convas) or 24x30 size prints, the 17-inch wide printers are pretty great, and they also take the large (220ml) ink cartridges which are more cost-effective. Ebay for ink can work well to save a bit of money. Epson enhanced Matte paper is still, I think, the best and cheapest proofing paper. Does that help anyone? Good luck.
I came across this discussion and will add my $00.02. I am a painter selling mainly prints I make on my own wide-format printer. In my experience, there is a lot of learning involved in doing printing. But that doesn't mean you shouldn't do it. First, the digitizing: that's best done (for paintings anyway) with a pro setup at a shop that does fine art capture. Your digicam simply isn't good enough, nor are your lights unless you are really skilled. Once I get that super hi-res file, it usually takes a number of hours color correcting the file with a calibrated monitor (critical!). In my view, all visual artists should become proficient in Photoshop - not Photoshop Elements, either, but the real one. Then you have to run test prints and (if you are me) compare them against the original and re-correct some color. This is very time consuming, but if you have a photolab do it, you'll be paying them plenty. It's rare that a painting file, anyway, doen't need extensive color work to get it truly dialed in. Dialed in means for YOUR printer. Once you have that master file, things get a lot easier.
Now, the printing. I use an Epson 7600 (24 inch), which was state of the art in 2004. Still works great and has all the color gamut I need, which is a lot. It's not simple to learn, but not insurmountable either. You do have to factor in scrap, which can be significant. I ballpark fine art paper or canvas plus ink cost at somewhere around $5 per square foot, including scrap costs. You can go through a lot of substrate and ink. OEM ink is really the way to go. After you get a print you aren't done - there is the coating process. Without UV coating, giclee prints look flat and are quite delicate. the coating also adds longevity. I have a pro-quality HVLP spray rig for coating paper prints. I can use a foam brush for canvas. Usually takes at least two coats. It's also easy to screw it up and ruin your prints with dust, puddles, etc. Dust is a major enemy.
All this probably sounds daunting, but I really can't imagine NOT doing my own printing. I can do different sizes, borders, use different surfaces, and keep tweaking the image until it really has snap, with the right colors and contrasts. I think you could quickly run up a tab equivalent to the cost of a printer at an output shop, just in pre-print correction and a couple of prints. And you are beholden to them every time you want to order another print. If you don't need 24-inch widths (which lets you do up to 22x28 with some border for stretching a convas) or 24x30 size prints, the 17-inch wide printers are pretty great, and they also take the large (220ml) ink cartridges which are more cost-effective. Ebay for ink can work well to save a bit of money. Epson enhanced Matte paper is still, I think, the best and cheapest proofing paper.
Does that help anyone? Good luck.
I have (4) Epson professional printers. Would go with nothing else Hugo. Quality supbub - maintenance nearly non existant - ink is pricey, but better with larger cartridges or ink systems - only use Epson inks or you null the warranty (and quality not as good). I am a bit particular about my quality but have sent for samples once in awhile. NOTHING comes back nearly as good as what I produce. Check out Epson online, then if you have questions, their guys are very helpful and their after purchase support is terrific.
Hugo Cruz > Linda AndersonOctober 23, 2009 at 2:26pm
I have it's parent - the 3800 and I love it! It's my real workhorse. With all the shades of blacks utilized, the black & white images are amazing! My 3800 does not come with a roll feeder and I think the 3880 will have one. I've been looking at adding a 3800 for next year as my 3800 runs 24/7 whenever I am home (not at shows). I have had no problems at all. Again, I know others use all kinds of papers/inks.... but I stick with total Epson brands, always using their 5 star papers (mostly Premium Luster). I have had great success using Epson's high end canvas. It comes in rolls, but I cut to size and feed from the back. Always receive great comments at all art shows I attend.
You should get a screen caliper to match what you see on your computer screen to the actual printout. I use the Monaco system product which I was introduced to years ago at an Epson seminar. Also, those seminars are worth going to if there is one in your area and if you can find the time.
Always worth the time to call the Epson guys and tell them what your purpose is. Sometimes they will offer a special deal over the phone and if they don't and you are ready to buy, make sure you try to weasel one out of them..... even if it's just more ink..... it's worth a try. I think they have some special pricing going on this time of year..... if not now, closer to the holidays they may.
Hugo Cruz > Linda AndersonOctober 23, 2009 at 5:43pm
Unfortunate news. I contacted a dealer and they told me the ink jets do NOT print on Metallic/Pearlescent papers. That technology (according to them) is available only for the much more expensive, lab quality, printers.
The search goes on or will have to wait until they become affordable / mainstream ... unless if you hear diffferently.
You should also look into a lab (local or mail order) that uses the LightJet or Lambda printers. One of the advantages of outsourcing is that you don't have to pay for the rejects. Another is the amount of waste during the time it takes to set the printer up properly. I always recommend hiring an expert to come in and set up your computer/printer properly so what you see on screen is what you get. Charles Bush recently made a good post on my forum about the differences in his actual costs printing his own compared to outsourcing.
Replies
Larry Berman said:
If you are going to have your paintings scanned, make sure to ask if they are scanning into the RGB or CMYK color modes. If they do give you CMYK files of your paintings it will be very difficult to create accurate images for jurying. Printing will also be difficult unless you use a CMYK RIP for your printer.
The advantage of using full Photoshop is that it recognizes and accurately displays your images no matter what the color mode or color space, but you need to have a calibrated system which includes your printer besides your monitor. If your system isn't calibrated you can create accurate prints through trial and error but you will need to scan your prints for accurate digital files for jurying.
All said, you can shoot your paintings and make prints and sell them without any of the above if accuracy and size limitations isn't important.
Larry Berman
Digital Jury Services
http://BermanGraphics.com
412-401-8100
chas lewis said:
Now, the printing. I use an Epson 7600 (24 inch), which was state of the art in 2004. Still works great and has all the color gamut I need, which is a lot. It's not simple to learn, but not insurmountable either. You do have to factor in scrap, which can be significant. I ballpark fine art paper or canvas plus ink cost at somewhere around $5 per square foot, including scrap costs. You can go through a lot of substrate and ink. OEM ink is really the way to go. After you get a print you aren't done - there is the coating process. Without UV coating, giclee prints look flat and are quite delicate. the coating also adds longevity. I have a pro-quality HVLP spray rig for coating paper prints. I can use a foam brush for canvas. Usually takes at least two coats. It's also easy to screw it up and ruin your prints with dust, puddles, etc. Dust is a major enemy.
All this probably sounds daunting, but I really can't imagine NOT doing my own printing. I can do different sizes, borders, use different surfaces, and keep tweaking the image until it really has snap, with the right colors and contrasts. I think you could quickly run up a tab equivalent to the cost of a printer at an output shop, just in pre-print correction and a couple of prints. And you are beholden to them every time you want to order another print. If you don't need 24-inch widths (which lets you do up to 22x28 with some border for stretching a convas) or 24x30 size prints, the 17-inch wide printers are pretty great, and they also take the large (220ml) ink cartridges which are more cost-effective. Ebay for ink can work well to save a bit of money. Epson enhanced Matte paper is still, I think, the best and cheapest proofing paper.
Does that help anyone? Good luck.
http://groups.yahoo.com/group/artshow_photo/
-Josh
http://JoshTrefethen.com
follow me: http://twitter.com/joshtrefethen
Hugo said:
Any opinion on the new 3880?
http://www.pdngearguide.com/gearguide/content_display/reviews/e3i1a...
http://www.epson.com/proimaging/StylusPro3880.html
Thank you
You should get a screen caliper to match what you see on your computer screen to the actual printout. I use the Monaco system product which I was introduced to years ago at an Epson seminar. Also, those seminars are worth going to if there is one in your area and if you can find the time.
Always worth the time to call the Epson guys and tell them what your purpose is. Sometimes they will offer a special deal over the phone and if they don't and you are ready to buy, make sure you try to weasel one out of them..... even if it's just more ink..... it's worth a try. I think they have some special pricing going on this time of year..... if not now, closer to the holidays they may.
The search goes on or will have to wait until they become affordable / mainstream ... unless if you hear diffferently.
Larry Berman
Digital Jury Services
http://BermanGraphics.com
Test Your Jury Images and Presentation
http://JuryImages.com
412-401-8100
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