Giclee Workflow.
This particular workflow is for fine art giclee. Fine art photography does best with a slightly different workflow. Decor is then again a distinct workflow (shares common elements, but decor is not giclee and not fine art photography). What's the difference?
The new HP giclee printers are sufficiently revolutionary that an entirely new workflow is being designed for them. The 11-color (12-ink-line) Canon iPF5000 is a single printer with no particular workflow designed around it. The Epson printers are popular worldwide, but again, do not have their own workflow (they use a traditional common-sense workflow).
So at FLAAR we are tabulating the workflow for each situation: for giclee, for fine art photography, and for decor: for Epson, for HP, and for Canon. The workflow for Roland and Mimaki is similar to that for Epson. The workflow for an Iris or Ixia is slightly distinctive, but fewer than 50 giclee ateliers still use these older technologies. Solvent ink printers (yikes, but yes, people do use them; but we accept them only for decor) and UV-curable inkjet printers, each have slightly different stages at certain points.
As you expect (if you know our inherent drive to cover new technology), we will address each aspect one by one.
Then which workflow for the innovative HP system; which workflow for the fledgling Canon printer; which workflow for the basic Epson printer? The particular workflow we show here on this page is based on the HP innovations, except that it is polite to wait until HP itself exhibits the details. So we restrict our workflow diagram specifically to those portions which have been shown to the general public at Art Expo Atlanta 2005 and Art Expo New York 2006.
FLAAR has independent full-color reports in PDF format on each of these pivotal industry events.

FLAAR is working on describing the workflow for both fine art giclee, fine art photography, and fine art decor all summer and autumn. You can find the resulting FLAAR Reports on www.wide-format-printers.NET, in the appropriate links in the column of links at the right.
Giclee workflow concept design, path, and
steps copyright Nicholas Hellmuth, FLAAR, 2006.
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Available by october 2008 |
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Available by octuber 2008 |
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Available by october 2008 |
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Available by october 2008 |
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Available by october 2008 |
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Nicholas Hellmuth’s Medium Format Digital Camera Initiative
For over 40 years Nicholas Hellmuth has used Rolleiflex and Hasselblad cameras to record the flora, fauna, and archaeology of Belize, Guatemala, Honduras, and Mexico. Now for several years he is extending his medium format experience to digital photography.
Since FLAAR works both in a studio as well as out on location, we are an ideal focus for judging portability. We have experience with large format digital scan backs (the excellent BetterLight) and we also use Nikon and Canon digital cameras. A full-service digital pro should have at least one medium format digital system and should consider large format digital options as well.
Although we started with a Leaf Valeo 22 coupled with a Mamiya 645 AFD body and lenses, we are open to showcasing all bodies as well as other digital backs. Indeed we have tested an Imacon 4-shot back on a Hasselblad H1 body. Then (February 2006 onwards) we are evaluated a MegaVision black-and-white dedicated back for fine art photography. Next we are testing a 33-megapixel Phase One P 30. Since 2008 FLAAR has used a Phase One P25+ (a great way to update an aging Hasselblad ELX body with its excellent Zeiss lenses).
Camera resellers or manufacturers who wish to have their cameras, lenses, and backs included in this initiative are welcome to send their equipment for evaluation.
FLAAR is the de facto source of information because we have been university based, independent, blunt, and we are one of the few review sources that dares to review advertising specs, advertising claims, and advertising hype. We can afford to reveal all the pros and cons because FLAAR is a research institute. Photographers feel they can trust a university research professor who has devoted years to understanding the pros and cons of each aspect of a digital camera system and workflow.
Notice you are not blinded by blinking, flashing, or pesty ads for low-bid camera stores on a FLAAR photography review. I am always amused by a pseudo-review that obviously is simply paid to send you to a camera store.
You can download our colorful FLAAR Reports on our medium format digital camera initiative. |
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