Background
In a nutshell, we don't try to do everything for everyone. We are a small, relatively specialized company with a relatively low overhead, that has decided to concentrate on the creative new developments in archival inkjet imaging. Our clientele encompass artists, photographers, graphic designers, and advertising professionals. Essentially, we tend to attract clients who wish to have more direct personal communication with the person who is translating their images and digital files, in a subtle way, through the inkjet process. We try to maintain a good eye.
We choose to output on a wide variety of media and surfaces. These include many types of coated art papers and archival photo quality media that posses color and tonal accuracy associated with museum quality print imagery. The new pigment based color output we use make possible some of the most beautiful and permanent prints of any process available. New papers designed especially for these processes such as the Hahnemühle Photo Rag, Museum Etching, and William Turner papers, and the excellent papers from Crane and Innova, are some of the finest media available for any kind of printmaking. Canvas and fine art fabric printing is also a new area with various canvas media and Jacquard inkjet fabrics. There is a revolution going on in printmaking today and we are committed to being a continuing part of it.
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Comments on the Development Of Fine Art Digital Imagery
If Rembrant and Durer were alive today do you think they would be scratching their ideas on steel and copper plates?
If Alfred Stieglitz and Alvin Langdon Coburn were walking around now do you think they would be making photogravures with ink on metal, or breathing the toxins of platinum prints? Heaven knows Dauguerre wouldn't be breathing iodine and mercury fumes, and who knows what the print makers Daumier, Degas, Toulouse-Lautrec, Matise, Picasso, Klee, Ernst, or even Warhol would be doing... but they wouldn't be doing what they were doing. And most likely what they would be doing would be done on a Mac or a Pc.
Fine art digital printmaking really began in a big way around 1990 with the advent of Nash Editions, founded by Graham Nash and Mac Holbert in California, and the similar studios of David Adamson in Washington D.C., and Jon Cone in New York. All of us owe a lot to them. These pioneers and the artists who supported their endeavors bumped photo and art printmaking into a totally new orbit, with greater control of color, concept, and output possibilities than we have ever known before. And, all of this is just beginning. With these early Iris studios, a whole host of new media for photographic output became possible, such as printing on the finest traditional printmaking rag papers like Arches and Somerset. Today the only limit is our imagination. As an example, there are many surfaces and textures of coated rag papers now available for high-end imaging. Besides the great matte rag papers, we often output on canvas, rice paper, silk, linen, photo fiber media . The vast number of surfaces, colors, and textures of these new media grow larger all the time. We are devoted to exploring the potentials of these new options. Our goal now is to combine our knowledge and appreciation of traditional and historic printmaking techniques with all these new possibilities. No, we don't think Rembrant would be scratching his drawings on copper if he were alive today. That's our story and we're sticking to it.
About The Business
John Dean started this business, Dean Imaging, in Candler Park Atlanta in 2001 to specialize in the expanding area of high stability pigment based digital imaging for the art community. Dean Imaging specializes in working with art photographers, painters, and multi-media artists to materialize their creative ideas digitally. John has both a BFA in art photography / art history, from the University of Arizona in Tucson and an MFA in art photography from Tyler School of Art of Temple University in Philadelphia Pennsylvania. He studied with Todd Walker, William Larson, Harold Jones, Esther Parada, Martha Madigan, and Larry Fink. John studied the history of photography with Keith McElroy PHD, Susan Cohen PHD, and William Johnson. He has a very strong background in art history and the history of photography, having worked at the Center For Creative Photography in Tucson for several years. In those student days he showed rare prints to researchers and students at a very interesting time in that instututions history.There he learned about the finest photographic printmaking first hand from the actual portfolios of many of America's and Europe's greatest art photographers. In that environment he met many of these great printmakers: like Ansel Adams, Emmit Gowin, Harry Callahan, Aaron Siskind, Frederick Sommer, Paul Caponigro, Linda Connor, Jack Welpot, Jerry Uelsman, and W. Eugene Smith to name a few who visited and taught there.
Dean Imaging strives to provide a service where individual artists have a say in the final production of their unique bodies of work within the new media context that now exists. Dean Imaging is primarily concerned with accuracy of the artists visual intention and great care is given to the longevity of the final work produced.
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