About Fine Art Images
Fine Art Prints
I started out making my photo prints in 1975 in my darkroom (which was a closet in those days). Over the more than 40 years since, many things have changed, thankfully. Printmaking in those days was a laborious, damp, dark, and uncertain adventure, more so than what those black & white enthusiasts today may know. Color required precise temperature control using water baths, and sloshing chemicals. Between attempts to control delicate enlarger exposure within the image bounds, and dealing with those chemicals, it was sometimes a dripping hell- with no certainty how the image would look, once in the light.
In the 90’s computers and software began to appear which promised better things to come. I became ecstactic with the prospect of actually being able to work in the light -directly on an image I could actually see with my eyes- to try different effects to ascertain what enhanced the image best- much like a painter with brush and canvas. I felt myself transformed from chemist to artist- such a delight! Thank you Apple, thank you Live Picture, thank you Photoshop!
Not only did this new visual technology open up unimagined levels of image control- over color and contrast, but did allow precision control over details within the borders.
And, all this with the added bonus of unparalleled image longevity- the bugaboo of the chemical age.
So, now I make all my prints on my large-format inkjet printer using archival pigment- based inks that guarantee generations of fade-free viewing. The paper is also of archival fine art stock, so not only are the colors dazzling in appearance, but also, the paper itself.
Each subject is assigned an edition which limits the total prints I will produce. Generally, now that limit is 200 (though earlier images were smaller), which is divided between the different sizes I offer- excluding the smallest size- prints of 10” length. These allow the Solinsky brand to flourish without limit bringing notoriety, and fuel interest and sales of the numbered prints, which supports collector value for each owner. Prints are numbered in the edition, dated, and signed by the artist.
As a built-in retirement plan, outside of these editions, 10 prints of each subject are reserved as AP, or artist proofs, which will benefit the artist in retirement (if he ever puts away the camera).
As prints sell within an edition, and their scarcity grows, the price does rise. That’s why you see some prices higher than others.
Proof your print before purchase
I am very aware of the potential for image variation between monitors. In some cases where accurate color does matter you may want to see the print in your home, under your light. In this case, I’m happy to send you a small 10” proof so you can accurately assess how your print actually looks in the space. There is a $40 charge for this to cover the print, and shipping, but will it be deducted from your final purchase transaction- and it’s yours to keep. The proof we send is guaranteed to closely color-match your purchase print.
Photos are mounted on archival white museum board, using accepted materials. A window mat of the same material protects the image providing a buffer space if there is glass.
In other cases I have experimented with prints not requiring glass- that are mounted directly on a rigid metal substrate, and protected by a clear acrylic sealer. If you do not want glass, we can discuss these options.
There are standard framing options I offer, and of course, many specialized options.
Standard frames are the ones easiest for me to provide (after all, I’m a photographer, not framer). The standard aluminum frames, though, are simple and elegant- and let the image sing.
Call me to discuss these options, or I’ll call you once I receive your order.
Solinsky Studio: (530) 265-5977.