By David Saffir 

If you are considering using your photography equipment and skills to get into the business of fine-art reproduction, keep in mind that the viability and profitability of your new venture will depend partly on how skillful you are at building personal relationships and a sense of trust.  In fact, your interpersonal skills may matter even more than your technical prowess.

Some artists seeking reproductions will have definite ideas of exactly what they want. Some may be wary if they have been disappointed by the work of previous printmakers. However, for many artists this may be the first time they have ever hired someone to digitally reproduce their work. They will look to you for guidance.

That’s why establishing effective communications and a personal rapport between you and artist should be at the heart of your business model. To efficiently achieve the results that the artist wants, you need to gain their trust and come to a mutual understanding with regards to their artistic goals.

Most of my new business comes from word-of-mouth referrals from past and current customers. This gives me a head start in earning the trust of each new client, because artists tend to trust the recommendations of their peers. From my experience, word-of-mouth marketing is far more effective in bringing in new business than advertising or postcard mailings.

The next most important step in the process is the initial meeting. How well you handle this step sets the stage for later success.

The Initial Consultation
Most artists are interested in reproducing their originals because it gives them much greater freedom in showing and selling their work. They don’t have to permanently give up or take risks with the original, and they can price the reproductions at a level that makes them more accessible to their potential audience or customers.

When they come to you, many artists will have already begun to visualize what they want. In their minds, they know what success will look like. The more clearly you can coax them to express that vision, the more easily you will meet their expectations. Some good questions to ask:

-Do you expect the reproduction to look exactly like the original?
-What media type do you want to print on?
- Are there adjustments or improvements that you would like to see?
- Are you planning to hold an exhibition? If so, what are the viewing conditions?
-Have you selected pieces you want to reproduce and/or show?
-Are you planning an open or closed edition? What size?
-Will the work be framed, or unframed?

Initially, many artists believe that the reproduction can, and should, be indistinguishable from the original. Although this is possible, it is often difficult to accomplish at reasonable expense. Paper type, base paper tone, texture, color, and density all have to be duplicated.

For the initial consultation, I keep a portfolio of other artists’ completed work on hand. These examples often prove to be useful tools in initial discussions with new clients. Typically a new artist enjoys exploring creative options such as choosing a new media type or considering a different treatment of the original. In all but a very small minority of cases, the artist will elect to make a few changes when their original is reproduced as a print.

It is also important that the artist have realistic expectations about selling their work. Making prints doesn’t guarantee anything. They’ll have to show and market their work, which takes time and effort.

Photographing the Artwork
In many cases, we’ll start with one or two pieces. This keeps communication simpler. And because the scope of the project is smaller, it is more manageable. Starting small can help build comfort levels and trust.

The artist will usually leave the artwork with me. Along with their initial order, I ask them to sign a liability release. Although any photographer would be diligent about protecting original artwork, no one can guarantee perfect safety. A moderate deposit helps keep things professional, and ensures commitment.

At this stage, we will have reached an initial agreement on artistic goals. Then, I’ll photograph the work and create a test print for the artist’s review.

The Test Print
I’ll make the test prints using the initial guidelines and goals we’ve agreed on. Usually we require only one test print, but sometimes an artist will want to see test prints on different media types. If they have had their work reproduced in the past, we may view one of these copies together, evaluating strengths and weaknesses, and fit with current goals and expectations.

When the artist views the test print, we’ll look at a number of attributes, such as color, density, detail and feel.

If the test prints are OK, the artist will sign off on a final order, which I’ll then complete for them. I usually retain the original until final delivery, mostly to give me an additional reference point.

Final Print
Today’s color-management and digital printing technology allows us to make small batches of prints that will look consistent no matter when they were printed. So to begin with, we typically make anywhere from two to five prints of each original. This keeps initial costs down and leaves the door open to make additional prints as an edition sells. We know that we can return in weeks or months and make a few more prints that will be accurate reproductions.

When the artist arrives to pick up a final print, I try to present the print to them in a realistic viewing environment. The print is on an easel under lighting similar to the planned display environment. I don’t normally show the original side-by-side with the reproduction at the outset. Instead, I prefer that the printed piece be given a chance to stand, or fall, on its own.

Later, we’ll look at the original and the print together. Because the artist has already seen a test print, it is rare for either of us to see any surprises at this stage.

Sometimes we will discuss framing and presentation. Some print service providers offer framing services, but I do not. I usually refer the artist to a dedicated frame shop that I know will do a good job at reasonable cost.

Frequently, discussions will include transportation, storage, pricing, edition size, signing work, and the like. The discussion with each artist is different.

Most important, I think, is that each artist enjoys the experience of feeling unique—that their work matters, and that they have my undivided attention while we are working together. The personal touch makes a big difference.

Down the road, I hope they’ll do two things: return to have additional prints made, and talk to their friends and colleagues about working with me.

Educate Your Customers
A parting thought? It makes sense for photographers in this business to invest some time in educating potential customers. One good way to do this is to make succinct presentations to local artists’ associations, classes, and clubs.

If one of your satisfied customers is already in the group, so much the better. But when you make your presentation, avoid the “infomercial” approach. Instead, talk about the process in a way that demonstrates your understating of the technical challenges of accuracy and color fidelity, your ability to offer creative options, and your respect for their artistic goals. Help educate artists about the process and what is realistic to expect, and over time your business will grow and flourish

The most straightforward way to control color while shooting is to: 

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  Ensure that the target artwork is evenly illuminated from corner to corner and from side to side, within 1/10 of an f-stop;


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  Shoot at lowest ISO available;


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  Use RAW capture; and


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  Include a grey card or white/grey/black target in your shot. (This will be an enormous help when processing the image on your computer.)

You’ll need access to a wide-format, wide-gamut printer that can handle a variety of media types, media thicknesses, and roll widths.