Mon 24 Apr 2006
PhotoArtCanvas - a short intro
Posted by John under Photoshop , Business , Creativity , Digital Art , Art , PhotographyA Series of Articles About the Development of a Photography Business
To introduce myself first, I’m John Stevenson, of Colorado Springs in the fine state of Colorado in the U.S.A. And Wayne has very kindly decided to let me write some invited contributions to his blog for a while. I’m in the process of going into business, as PhotoArtCanvas (actually - legally - as Photoscena LLC d/b/a PhotoArtCanvas) and that will be what I’ll be writing about here, at weekly intervals or so.
Moving onto what it is that the business is actually going to provide - well, this all got started via an article I wrote for Harald Johnson’s DP&I website back last fall, reviewing the use of a new digital imaging software package, ArtMasterPro, developed and sold by Fo2PiX Ltd. in the U.K. By that point I had already spent some time on the learning curve for their product, and also with its precursors the buZZ.Pro plug-in filters, and had visited with Don McCrae and Andrew Bangham, two of the principals of the Fo2PiX company. My impression was that this software might open new opportunities in the re-rendering of photographic portraiture, far more subtle but yet a lot more powerful than anything that had been previously demonstrated via the use of the native artistic filters in Photoshop. As far as the overall technique is concerned, please refer to the original article.
PhotoArtCanvas itself became something of a New Year’s resolution to yours truly; originally a bit exploratory and then later involving more of a definitive commitment (including the upfront financial resources). Some of the early notes I made (cryptically) back in mid-January, concerning business goals, read as follows:
1. to produce high quality prints, onto canvas, from digital photographic files,
2. using all-archival grade materials (canvas, ink(s) and protectant),
3. the files to be supplied by customers, or generated via scans of actual photographs,
4. inclusive of a proprietary artistic rendering of the customer’s images (via Fo2PiX’ ArtMasterPro software),
5. inclusion of a proofing step - e-mail based - for the artistic rendering,
6. maximum of two-week turnaround, from receipt of file to shipment of print, and,
7. with just the very best web-based business interface, at www.photoartcanvas.com
I’ve already gone about halfway along the path outlined here, and in enough detail to know that this only represents about half of what’s actually needed. Where is a marketing plan (?), what about real-world production capability (?), etc. etc. So, this is what will be written about in the coming weeks - hopefully with some insights useful to others. Please stay tuned. Any comments and questions very welcome.

April 27th, 2006 at 1:39 pm
Hi,
I teach Photoshop to pro photographers and have developed several training curriculums.
One of my great interests has been creating realsitic painted versions of great photo’s.
I have tried Painter 9 just enough to know that it requires a major time investment to really get anything decent out of it.
As I have a large amount of experience in Photoshop, I’ve been pursuing the digital painting effort in it. I tried an early Buzzpro plugin. I’ve seen the portrait efforts by experts using ArtMasterPro and it is impressive.
However, it is another major investment of time and money. I highly recommend learning from the best Photoshop digital painter and teacher on the planet, Trimoon.
I think his work is equal to or better than masters of Corel’s Painter. I’ve invested about 60 hours and can create a very realistic painted effort in 20 minutes. Please review his work
http://www.pbase.com/trimoon
Thanks .
Gavin.
http://www.photoeffects.biz
April 27th, 2006 at 11:55 pm
Hello Gavin,
Thanks for these thoughts and the helpful suggestion. I’m familiar with your work - I found it, via the digital-fineart list(?), several months ago.
My own take on the “painting effects” topic is a little different from your own. I’m not so interested in strictly replicating a painted version of the original photo, complete with faux brushstrokes etc. But I am trying to rework the photographic image that’s an input by using the same principles as a sketch artist or portrait painter would utilize (extensive color simplifications, redefinitions of highlights and shadows, emphasis - in local color and texture - of the primary subject and its contours, the de-emphasizing of backgrounds, etc.).
I’ll be posting some new examples of my own efforts here shortly. In the meantime though, I would just make the same observation as outlined originally in my article for Digital Printing and Imaging, here: http://www.dpandi.com/howtos/artmasterpro/ - that working to these these principles seems to me to be best supported - today - by using the ArtMasterPro and Photoshop applications together.
John
May 1st, 2006 at 3:53 am
[…] Since posting the introduction to this series, I’ve been busy completing a detailed configuration and design for the PhotoArtCanvas website. Part of that effort has involved actually producing some fully finished products - completed, full-size and mounted prints - such that photography of these can be completed for an online gallery and catalog. Below I’ve included samples from this pre-production exercise, allowing directly for “before-and after” comparisons. Lady before gentleman. […]
June 13th, 2006 at 9:03 pm
[…] It’s pretty self-evident I guess that to be a new entrant in the business of selling photographic prints online, then a reliable and high quality printer is a fully primary requirement. I’ve long been a fan of the Epson Stylus Photo line of digital inkjet products - not just the printers themselves, but also of the media available directly from Epson as well as selected products from third-party suppliers. […]
June 19th, 2006 at 2:33 am
[…] To date, I’ve carefully developed a total of fourteen different transformational styles for marketing via PhotoArtCanvas. They range from the traditional examples included in this posting on to schemes with much more dynamic and contemporary flair. Each of them has been optimized to allow for substantial enlargements of the original image and also for printing of the enlarged output image onto textured canvas. For example, the color-wash portrait of my grandfather prints nicely onto a 24 by 32 inch canvas panel, ideal for mounting and hanging in exactly the same way as an oil painting. […]