Giclee has somewhat revolutionized how printing is done: before there was no
choice other than going with silver halide prints. Nothing wrong with this,
except that something better has come along. It has to do with the gamut giclee
has: brilliance, more colors able to be reproduced, super high resolution. Last
but not least the ability to print on disparate papers such as canvas and
watercolor.
There is no digital signature or a screen in giclees. In other words it is
virtually impossible to see a "screen" similar to press made images.
Furthermore, black and white images show a depth never seen before. One of the
reasons for this is that some giclee printers employ a light black in addition
to regular black. It is possible to achieve a much wider grey scale.
Another issue which is important for photographers is the ability to communicate
efficiently with their printer. Nevertheless there are universal concepts in
color theory and composition which transcend a particular medium. This is why it
is important to have a relationship with a printmaker who understands color and
has a firm grasp on both traditional and digital printing.
Giclee for photography is a viable alternative to traditional silver halide
printing: it is as archival and the materials available are many: giclee prints
can be made on canvas, watercolor etc.
The use of a light black in addition to regular black increase the tonal
rendering of black and white images. As digital camera use increases and film
slowly disappears, the giclee medium offers the beauty of a high quality
rendition expected for fine art and commercial applications.
A true giclee printer is not your run-of-the-mill desktop variety commonly sold
for a few hundred dollars: these large format printers have inks and nozzle
heads tuned for professional, archival output. Giclee printers like to be run
all the time. If they sit unused, even for a few days, will start having
problems with clogged nozzles.
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