Image Information

Images are produced in editions of three c-prints and three pigment prints in most instances with some exceptions in editions of ten c-prints and ten pigment prints.

"C-prints" or "chromogenic prints" are traditional photographic prints on paper processed with chemicals from negatives. Traditionally, enlargers were used to expose the photographic paper. More commonly today, the paper is exposed from a digital file of the scanned print film negative or transparency film with colored lasers or LEDs. Lightjet and Chromira printers are widely used today for c-prints, which are generally printed on Fuji Crystal Archive paper.

"Pigment" prints are inkjet prints using pigment inks. This process is relatively new and was pioneered by Nash Editions. Pigment prints are printed on a variety of papers. A short history of the process and Nash Editions follows below.

Each print is signed, numbered and captioned in ink on the verso. Image information can be viewed by clicking here.

ORIGINALS - prices range from $2,250 to $2,650 depending if a c-print or pigment print, edition size and availability and can be acquired through Saatchi Art, or directly from the studio by emailing Cheryl or telephoning 949-644-8882. Also, since computer images being what they are, 8"x10" proofs for your review can be supplied for a nominal charge.

If the image you are interested in is not at Saatchi Art, just email or telephone us and we will add it for you. If you need any additional information, have questions, or just want to say "hi", please email or call.

When framing originals, we suggest using Museum-quality glass for improving the intensity of colors and detail since it reduces glare when a work is viewed from different angles, minimizing the mirror-like effect of typical glass. We feel it is worth the extra cost.

OPEN EDITIONS - since we have had constant requests, open edition unsigned prints on various papers and in various sizes ranging in price from $29 to $129 are available at Saatchi Art. Matting and framing options are also available. And as with originals, email Cheryl if you do not see the image you want and we will add it for you.

Thank you for visiting.


History Of "Pigment" Prints

The following excerpts are from the article "Nash Editions: Fine Art Printing on the Digital Frontier" written by Garrett White for The Digital Journalist and presents a background of the development of the printing process pioneered by Nash Editions;

At a time when millions of homes and offices are equipped with inexpensive, high-quality printers linked to equally affordable computers and scanners, it is easy to forget that little more than a dozen years ago digital imaging and printing were still in their infancy. The prospect of a high-resolution fine art print that could rival traditional photographic printmaking in terms of aesthetic value and longevity was still a dream being pursued by only a handful of visionaries. Among those early digital pioneers were rock musician Graham Nash and friend and former Crosby, Stills, and Nash road manager R. Mac Holbert. Together, in 1991, the two founded Nash Editions, the first fine art digital print studio in the world.

Conceived in 1989, Nash Editions is now widely recognized as the premier fine art digital print studio in the country. The extraordinary body of work produced at Nash Editions represents the entire spectrum of artistic involvement in digital imaging since the medium first became viable in the late 1980s, from highly manipulated images composed in the computer or on a digital scanner to straight photography that has been printed digitally from scans of the negative. After early skepticism, many artists - including, for example, David Hockney, whose experiments with photography and traditional fine art printmaking are well known, and Robert Heinecken, who, among others, pioneered techniques that blurred distinctions between photography, painting, and other fine arts - have embraced the medium and are actively engaged in developing its potential.

Nash and Holbert contact(ed) Steve Boulter, then a national sales rep for Iris Graphics. Boulter introduced the pair to the Iris 3047, a four-color ink-jet printer developed for the commercial printing industry to make high-resolution pre-press proofs. "Mac and I instantly knew what the possibilities were with this machine, that it could be adapted into something that could make art." Nash bought his first Iris 3047 in 1989 for $123,000 and set about customizing it with assistance from Boulter and experimenting with various substrates, mostly French Arches and Rives watercolor paper.

Nash's passion for the project and his ability to finance the company allowed Nash Editions to grow slowly, developing proprietary software and perfecting a unique approach to fine art digital imaging and printing. Today Nash Editions clients include artists such as Pedro Meyer, Peter Alexander, William Claxton, Francesco Clemente, Eileen Cowin, Elliott Erwitt, Carol Flax, Allen Ginsberg, Robert Heinecken (another early experimenter at JetGraphix), David Hockney, Robert Glenn Ketchum, Douglas Kirkland, Mark Klett, George Krause, Martina Lopez, Danny Lyon, Sally Mann, Joyce Neimanas, Jenny Okun, Olivia Parker, Marc Riboud, Jamie Wyeth, and many others. From the beginning, Holbert and Nash sought to work one-on-one with artists to make limited edition prints in the manner of a traditional fine art print atelier. Many of the artists in the Nash Editions fold have worked at the studio for years, expanding their own art as Nash Editions has pushed the limits of the technology. "In the last decade," says Holbert, "we have been able to refine the tools, to refine the process so that we can in a fairly seamless fashion allow artists and photographers to better realize with less resistance their vision on paper. Our goal has been to lower that resistance in every way possible - in terms of the technology, the question of permanence, and the general acceptability of the whole process to collectors and museums."

The current revolution in digital printing can be compared in some ways to the postwar boom in traditional printing that took place in the United States and Britain, when studios like Universal Limited Art Editions (U.L.A.E.), Tamarind, Gemini G.E.L., and Tyler Graphics radically renewed and transformed traditional printmaking processes in terms of complexity as well as scale. Those efforts, however, were built on centuries of tradition. Prints may not have been as highly valued as paintings, but there was no need to fight for their acceptance as fine art. That was emphatically not the case with digital prints or with art made or perfected with computer technology. As critic A. D. Coleman has written, "Today . . . photography stands permanently ensconced in the pantheon of the arts, while a multitude of works generated via computer and proposing themselves as art are presented for our consideration; and, both appropriately and ironically, photography's shifting of the ground rules for acceptance into the territory of art serves as the most frequent analogue in the debate over the claims for the existence (actual or eventual) of 'computer art.' "

The battle for acceptance of color photography as a viable art form had only been won definitively in the decade before Nash and others began their experiments with digital printing. "We've had to fight on several fronts," Nash says. "First, to entice artists to utilize a brand-new tool that they may not be familiar with. Second, gallery owners were saying that they weren't sure they could hang the work and sell it. And third, on the front of curators to collect and exhibit the work at major institutions."

A large part of the struggle for the acceptance of the digital print as a legitimate piece of art has involved issues of permanence. The earliest Iris prints had a display life of only two to three years. By the mid-1990s, the longevity of Iris prints made with organic water-based ink sets was comparable to that of Cibachrome, with an estimated display life of twenty to twenty-five years. "About four years ago," says Holbert, "a new generation of ink-sets appeared on the market. Nash Editions was the test site for one, American Ink Jet's Pinnacle Gold. We helped to develop it, and we continue to use it today. Color display life is estimated at sixty-five to seventy-five years; the black-and-white estimate is 125 years."

Advancements in the composition of ink sets and substrates have finally given digital prints a longevity that has made them attractive for collectors and museums (not to mention the artists themselves). The MoMA purchase of large-scale Iris prints by Chuck Close, the inclusion of several Iris prints in the Guggenheim's Robert Rauschenberg retrospective, and more recent exhibitions of Iris prints by well-known photographers such as Annie Liebovitz and others demonstrate a major positive shift in attitudes toward the medium. Linked to this is a growing awareness of the superiority of digital photographic output over traditional prints made in the darkroom. "It's not an overstatement," says Henry Wilhelm, founder of Wilhelm Imaging Research and one of the world's leading authorities on the stability and preservation of traditional and digital color photographs, "to claim that in the digital era, color photography has finally arrived. The print made by the enlarger is dead.

With an enlarger you can control lightness, darkness, and overall color balance, but you have no control over color saturation, and no real control over contrast. Those are incredible limitations. Modern color photography appeared in 1935 with the introduction of Kodachrome, and these issues of color reproduction have been a struggle ever since. It's in this era, through Photoshop and the Iris printer, that we've finally been given full control. I think it would be a mistake, however, to limit discussion of digital output to Iris prints. A number of artists working in straight traditional photography have begun to output digitally directly to color photographic paper. That gives you the full tonal scale and good color reproduction with full digital control. Digital output on the home desktop printer can also provide good results."

Nash, Holbert, and their associates were the first to adapt the Iris ink-jet printer for the purpose of producing fine art prints. Many others soon followed, and for the first decade of fine art digital printing (roughly the 1990s), it remained the backbone of the medium. It was the first printer that could output a large image - 34 inches by 46 inches - at high, continuous-tone resolution. That remained true into the mid-1990s, and until more recently it was the only printer of this kind that could accept a wide range of substrates, from fine art paper to silk and even metal.

Other technologies have now overtaken the Iris ink-jet printer, and once again Nash Editions is at the center of efforts to move the medium forward. Last year, Nash Editions participated in a groundbreaking collaboration with Epson America, Inc. Called Epson's America in Detail, the project was intended to showcase Epson's state-of-the-art printers and inks. Epson commissioned photographer Stephen Wilkes to create a "millennial portrait of the United States" by traveling more than 20,000 miles across the United States in search of iconographic images of American life and landscape. Wilkes chose subjects that would not only reflect his interest in color and scale, but that would also present a unique printing challenge in each image. Nash Editions was invited to create prints using the 44-inch-wide format Epson Stylus Pro 9500, which prints at 1,440 dpi, using three distinct dot sizes. The result is a print of unprecedented quality that holds up beautifully under as much as 2,000 lux. "At this point in time," says Holbert, "the only new technology that Nash Editions has chosen to pursue is the print and ink technology developed by Epson, largely due to permanence issues."

Sensitized to the stigma that has sometimes been attached to creativity related to computers, Nash and Holbert, along with all of the artists who work with Nash Editions, are quick to point to the technology as another set of tools, a broader palette. "One of the misconceptions about this medium," says Holbert, who conducts workshops and lectures frequently on digital imaging, "is that if you can buy the equipment, you're immediately a fine-art printmaker. There are reportedly some two hundred and fifty digital printmakers in the United States, but much of what we've seen wouldn't make it to our clients as a proof. The most important tool is still your own eye. You're going to be wrong almost every time if you allow the technology to make decisions for you."