photosynthesis accepts all of the most common file formats like JPG, TIFF, PSD and RAW. As a general rule of thumb, as long as you shot an image with a digital camera that is 5 MPs or better, than you should be in good shape.

Yes, as long as you can provide a digital file of artwork we can reproduce it.  Artwork can be scanned if small enough or it can be digitally photographed.

If you want to use an image that was shot by a professional photographer then you need to have a copyright release from the photographer, essentially his or her permission, for you to reproduce their image. Anything shot by a professional is the intellectual property of that individual and thus you may have to purchase the right to reproduce his or her image. You must obtain/purchase the release before we will make your image on canvas.

Yes we can.  We restore old images but keep in mind our restoration services are $60 per hour and are billed in 10 minute increaments.

Lucia inks that are used in our Canon printers are archive inks that are quoted by Canon as lasting up to 200 years.  So let's just say they'll last a couple of lifetimes.

The whole process usually takes only 2-4 days. The first day we synthesize your image, that is we make it look it's best and lay out the wrap option.  The second day we spray the image with a UV clear coat protectant. Not only does that block out harmful UV rays, but it brings a nice gloss back to the image. The third day the image is mounted on the frame and ready to go!

Every Giclée we produce is coated with a UV protectant. This also protects the inks from water damage as well. You should dust your artwork regulary with a dry feather duster, but if you need to clean better than a dusting, you can use a damp cloth.

Adobe RGB 1998 and sRGB IEC61966-2.1 (sRGB) are two of the most common working spaces used in digital photography. This section aims to clear up some of the confusion associated with sRGB and Adobe RGB 1998, and to provide guidance on when to use each working space.

Background

sRGB is a RGB color space proposed by HP and Microsoft because it approximates the color gamut of the most common computer display devices. Since sRGB serves as a "best guess" for how another person's monitor produces color, it has become the standard color space for displaying images on the internet. sRGB's color gamut encompasses just 35% of the visible colors specified by CIE (see section on color spaces). Although sRGB results in one of the narrowest gamuts of any working space, sRGB's gamut is still considered broad enough for most color applications.

Adobe RGB 1998 was designed (by Adobe Systems, Inc.) to encompass most of the colors achievable on CMYK printers, but by using only RGB primary colors on a device such as your computer display. The Adobe RGB 1998 working space encompasses roughly 50% of the visible colors specified by CIE — improving upon sRGB's gamut primarily in cyan-greens.

 

SUMMARY

My advice is to know which colors your image uses, and whether these can benefit from the additional colors afforded by Adobe RGB 1998. Ask yourself: do you really need the richer cyan-green midtones, orange-magenta highlights, or green shadows?  Will these colors also be visible in the final print?  Will these differences even be noticeable?  If you've answered "no" to any of these questions, then you would be better served using sRGB. sRGB will make the most of your bit depth because it allocates more bits to encoding the colors present in your image. In addition, sRGB can simplify your workflow since this color space is also used for displaying images on the internet.

What if you desire a speedy workflow, and do not wish to decide on your working space using a case-by-case method?  My advice is to use Adobe RGB 1998 if you normally work with 16-bit images, and sRGB if you normally work with 8-bit images. Even if you may not always use the extra colors, you never want to eliminate them as a possibility for those images which require them.