LOCATION & HOURS
Cone Editions Press
Cone Editions Press, PO Box 51, East Topsham, Vermont 05076
PACKAGES & STUDIO
Cone Editions Press, 17 Powder Spring Road, East Topsham, Vermont 05076
PHONE CATHY CONE (802) 439-5751
BUSINESS HOURS Monday to Thursday 9am-4pm
ONLINE HOURS 24/7
FREQUENTLY ASKED QUESTIONS
What is Cone Editions Press?
Cone Editions Press is a full service digital print lab. It is the first, oldest, and longest-lasting digital print lab in the world and it specializes in high-end monochromatic (B&W) prints for artists globally.
What kind of services are offered by CEP?
Cone Editions Press offers custom printing for artists around the world. We offer unique grayscale carbon Piezography printing, color pigment printing, drum scanning, and online (Print On Demand) printing, Platinum printing, and much more.
What is Piezography?
Piezography is a type of black and white inkjet ink invented at Cone Editions Press. You take out the color ink from an Epson professional printer and put in multiple different shades of grayscale ink. This new ink triples the resolution and tonal fidelity of the final print way beyond what can be synthesized by mixing color and grayscale ink in a normal printer. The result is a print that looks much more natural. The matte prints have more tonal transitions that Platinum and gloss prints have uniform gloss with darker blacks than Silver.
What are the advantages of printing with you?
Cone Editions Press is the longest running digital print-lab on earth: it’s were commercial fine art inkjet printing started. CEP is owned and operated by Jon and Cathy Cone and when you work with us you are guaranteed personal, collaborative, long-term, and future-proof support with your artistic production. Cone Editions Press is very experimental too! We started (before digital) as a silk-screen and gravure studio for painters and other artists during the 80s. That means we have deep experimental mark-making in our roots and won’t shy away from non-traditional ways of making prints!
Does Piezography print both glossy & matte?
Yes! Piezography excels at both. With Piezography on Matte we offer the darkest matte black ink in the world (a dMax of 1.84 for all those print-nerds out there looking for numbers). With Piezography for Gloss we perfectly optimize the print all the way through the white border so the inked image has the exact same gloss as the paper and the image becomes visually “embedded” within the paper just like a silver print.
How do I calculate my price for a print order?
You can view our price list here. For Print-On-Demand orders you can simply add a print to your cart and multiply the price you see by the number of prints you wish to receive. For any other type of printer, you can always request a quote and we’ll get back to you with the estimated price ASAP!
My browser won’t allow me to upload files for printing.
We suggest using the Google Chrome browser for uploading. It is the most feature-complete and secure browser currently available and supports uploading (even very large) files. If you are still having trouble, call us and we can arrange alternative file-upload options.
What file format should I use?
Use the TIF (tagged image format) file format! This file format also supports Photoshop layers. If you are sending master files for us to custom print (not Print-On-Demand), we suggest leaving the layers un-flattened because then we can diagnose any editing issues that may be present and hopefully correct them without too much trouble.
What should my color space be set to?
For color printing we suggest Adobe RGB 1998 as the preferred color space. This color space matches the visual and print gamut available with fine-art inkjet. Using larger color spaces (aka, buckets of color) like ProPhoto can make prints look wonky if they are not translated properly into the smaller print-space for inkjet.
How to I soft proof?
Where are the ICC profiles?Color and Piezography ICC profiles and instructions can be found right here.
What resolution should I use for my files?
We recommend between 300ppi and 720ppi. See our File Preperation page.
What kind of paper should I use?
You can see all about our different papers in our papers section.
How do I add white margins?
In Photoshop, flatten your image. Go to Image>Image-Size and set the long-dimension to a desired size. Then go to >Image>Canvas Size and set your canvas size to the sheet-size you want. Make sure the background is set to white. When we receive images that have been sized in this way (with specific white borders around the image) we will honor the sheet size and cut the final print to those exact dimensions.
What film types and sizes can you scan?
We scan film all the way from smaller than 35mm to 16x20 in size. See our Drum Scanning page for details!
How large are your drum scans?
Between 500MB and 1500MB based on the original film size. We always scan at the highest resolution possible and depending upon the quality of the lens and camera that made the negative, our drum scans can print within the 40x60 to 60x80 size!
How do you deliver files?
We deliver files by a secure Google Drive download link. You do not need a Google account to download the files, and we delete the files 1 week after delivery. We also keep files on archive for the customer for free.
What are the shipping costs for my order?
Shipping costs are inherently variable based on the distance between CEP and the customer, the speed of the required delivery, and if the prints need to be roll-packed or flat-packed. Please email us to request final ship-charge quotes and please tell us if you need the prints flat or roll packed and how quick you need the delivery time to be. We’ll get back to you with your options.
How to I get my invoice and when do I pay?
Invoices are sent online and payable online. You will receive an invoice before a printed job ships. Printed jobs do not ship out from Cone Editions Press before payment is made so this is something to consider when calculating required turnaround time.
None of these FAQs help me, what do I do now?
Call us! We can answer any questions you might have. Our phone # is (802) 439-5751 and we are available Monday through Thursday 9am to 4pm.
- What is Cone Editions Press?
- What kind of services are offered by CEP?
- What is Piezography?
- What are the advantages of printing with you?
- Does Piezography print both glossy & matte?
- How do I calculate my price for a print order?
- My browser won’t allow me to upload files for printing.
- What file format should I use?
- What should my color space be set to?
- How do I soft proof? Where are the ICC profiles?
- What resolution should I use for my files?
- What kind of paper should I use?
- How do I add white margins?
- What film types and sizes can you scan?
- How large are your drum scans?
- How do you deliver files?
- What are the shipping costs for my order?
- How to I get my invoice and when do I pay?
- None of these FAQs help me, what do I do now?
DRUM SCANNING PRICES
The prices below are for "base scans." They do not represent the cost for a fully mastered print-ready image file as most of the time the artist's input is needed after a flat-contrast low-saturation positive (base scan) has been created. All additional cleaning and imaging labor to master the image file is charged at our normal hourly labor-rate rounded up to the nearest 1/4 hour. Prices indicate per-neg cost to scan. File sizes per scan range from 300MB to 2000MB depending upon the original film size. We scan at the highest resolution possible at all times. We do not discount for smaller file-sizes as 99% of the cost of drum scanning is labor and materials, not processing size.
|Film||Resolution||Bit-Depth||Print Size||1 neg*||2 - 10 negs*||11 - 20 negs*||21+ negs*|
|645 - 6x9||5500+ppi||48bit RGB||40"x60"||$130||$110||$90||$75|
|617, 4x5, 5x7||3200+ppi||48bit RGB||60"x80"||$200||$180||$140||$100|
* Each neg/positive is scanned raw and then brought to a positive flat-contrast low-saturation state. Then the negative is cleaned of any dust that got into the scan during the scan process. This is what we call a "base scan." All other labor such as surgical cleaning of old negatives, color matching or color grading, etc, is charged our normal labor rate. We charge $187.50 an hour in ¼ hour intervals for mastering and can give you a quote before running the scan if requested in your order.
Digital Negatives (Platinum, Palladium, Salt, Ziatype, Cyanotype)
|Custom Calibration (for home darkroom)|
|$150.00 per Calibration. Calibration is stored @ Cone Editions Press and digital negatives are made from this calibration for the client and their own home darkroom. We currently do not support silver neg printing but will in late 2017 or early 2018.|
|Neg Dimensions||1 neg||2 - 4 negs|
To start a digital negative order, please call us at (802) 439-5751.
Platinum & Palladium Prints
|Print Dimensions||1||2 - 5 of the same neg||6+ of the same neg|
* Prices represent cost per print for a single image/neg.
** All Platinum/Palladium prints are flattened, quality controlled, and retouched (spotted) and then archivally flat-packed for shipment or storage.
Pt/Pd Proofs (Piezography on Hahnemuhle Photo Rag 308)
|Print Dimensions||Price Per Proof|
|8x10 (on 8.5x11 paper)||$20|
*Pt/Pd Proofs are made to match the tonal range/dMax of a Pt/Pd print and can be made Neutral (Ammonium Citrate Developer), Semi-Warm (Platinum/Palladium in Cold Oxalate), or Warm (Palladium in Warm Oxalate). Brush-marks are not added.
IMAGE FILE PREPERATION (FOR PRINT)
Basic File Specs:
Your files should be sent to us in a proper print-ready form
- Adobe RGB 1998 for Color and Gray Gamma 2.2 for Piezography
- Flattened TIFF
- 300-720 PPI
- Image size set to the correct dimensions for printing (with white borders if specific sheet size is desired
Please note, we are unable to print full-bleed (to the edge of the paper). If white borders are not in the file, we will simply print with 2 inch borders or the maximum border available on the roll (if less than 2″).
We have made a set of print templates that will ensure a perfect upload and print workflow. Use these templates to size and position your image. Click and Download the template below that corresponds with your desired portfolio print dimensions.
How to Use a Template:
- Open your first image file in Photoshop.
- Download and open the template file that corresponds with your desired print-size. (See links above.)
- Go to your first image file and go >Image>Image Size.
- In this window, make sure “Resample” is checked on.
- Set the resolution (400 Pixels/Inch for Piezography, 300 Pixels/Inch for Color) and set your desired print size (the longest edge should be equal or shorter than the longest edge of the template file). For example, when printing a 20x24 print, a standard long-side dimension would be 20″
- Flatten your image. (>Layer>Flatten Image).
- Select all (>Select>All).
- Copy (>Edit>Copy).
- Go to your template file in Photoshop.
- If your image file is horizontal, rotate your template file by 90 degrees clock-wise so it is horizontal as well.
- Go to >Windows>Layers and click the eyeball next to the “HIDE THIS GROUP” group. This will make sure the instructions are not printed in your portfolio! Then click the background layer (once) to make sure you are on the Background
- Go to >Edit>Paste Special>Paste In Place. This ensures that your image file will be pasted into the center of your template file. If a “source space” warning comes up, click “Convert.”
- If the borders are not to your liking, go to your image file and re-size the image by going to >Image>Image Size. Make sure the ppi is still set to 400 though! Then copy the image and paste-special into the template file.
- Flatten your template file. (>Layer>Flatten Image).
- Go >File>Save As, and type a name in (eg: Portfolio_Print_One). We suggest saving all of these files in one location (e.g. the Desktop).
- Select TIFF as the file format and click “Save.”
- When the TIFF file options window comes up, make sure LZW Compression is turned on. Ignore all the other settings and click Save a final time. Close the image window.
- Repeat these steps until all the files have been saved.
- At cone-editions.com choose your paper type and Piezography toning and then upload the print file. Hit the “+” button to get to the next upload row. Do this until all images have been uploaded and then click “Add to Cart” to proceed.
ICC PROFILES (FOR SOFT PROOFING)
Use our Soft-Proof ICC profiles to perfectly simulate the final printed image in Photoshop. This will enable a close match between the image on your monitor and the final print. There are two types of soft-proof ICCs in the download link below. One type of ICC is a “Piezography Soft Proof ICC” and one is a “Color Soft Proof ICC.” The Piezography ICCs are used to simulate the color and contrast of a particular Piezography ink/paper combo and the Color ICCs are used to simulate the color/contrast of a particular Color ink/paper combo.
Soft Proof is a feature that has long been used in Photoshop for previewing images as they will appear in print. The “Soft” is for software. Proofs are normally hard copies that are printed to give the designer or photographer an idea of how a digital image will print prior to going to press. The Soft Proof therefore, is a way to look at an image that is being converted by the software (Photoshop and Lightroom) to simulate the color of the inks, the color of the paper, and the dynamic range (contrast) of the inks. It will give you, the artist, a better idea of exactly how your print will arrive in the mail so you can edit the tones in a more precise matter. Softproof ICCs profiles are not used for printing. They are only used for previewing images.
Soft Proof ICC profiles are easy to install.
Find the files are end in “.icc”. These are in the same folder as this instructions document.
On Macs you copy or move the ICC profiles to your User/Library/ColorSync/Profiles folder.
On Windows you get to right click each ICC profile and select Install or you can manually copy each ICC into C:/WINDOWS/system32/spool/drivers/color
Soft Proofing in Photoshop:
- Go to View / Proof Setup / Custom menu on the Menu bar
- In the Device to Simulate menu you can select one of the ICCs you have down loaded.
- If you have trouble finding them – look for the ones that start with “Piezo.”
- Set the Rendering Intent to Relative Colorimetric
- Under Display Options check both of Simulate Paper Color and Simulate Black Ink
- You can select OK to exit this window, or you can Save the setup so it is easily selected again under View / Proof Setup
- Your image (even a color image) will have converted to the color of the inks that were profiled while you were selecting the ICC profile in the Custom menu. You will notice that anything that was brightest or near brightest changed to a new color of white relative to the color of the paper that was profiled. And the dMax (the darker parts of the display) got appreciably lighter to as near exact to that amount of light that is reflected off the darkest bits of the inks on that paper that were profiled. The contrast of the image will be converted to Gamma 2.2 and you will only notice that if your display has not been calibrated to Gamma 2.20 (which it should be!).
Soft Proofing in Lightroom:
- While in Develop mode check SoftProofing on the Toolbar.
- Clicking that opens the SoftProofing Pane
- In the Profile menu you can select one of the ICCs you have down loaded.
- If you have trouble finding them – look for the ones that start with “Piezo.”
- For Intent I suggest Relative
- Check Simulate Paper Ink
- Judge the Results
Jon Cone’s aside:
This is where time really shows the difference between imaging in the 1990s and 2000s, and imaging today. I hate to get all “back in the day”, but back in the day everyone had a D50 environment. Everyone doing advanced digital imaging in the 90s and 2000s were mostly professionals in studios – that had perfect viewing conditions for both their calibrated displays and the printed proofs they used for comparing to the display to.
The displays were CRTs calibrated to 5000 kelvin. The displays were in darkened rooms without any other source of light that was not the same color temperature as 5000k or made the room brighter than 50 to 100 lux. Adjacent to the display was a small viewing booth which the print was put into. The light in the booth was dimmed to the same brightness of the calibrated display, and the color temperature of the booth’s light was the same as that of the calibrated display (5000k).
As ICC improved each successive year, the quality of the match of a print to the soft proof on the calibrated display became more and more accurate. Then the CRT died, and the LCDs came on – and with the exception of the Eizos and the NECs — they’ve gotten worse ever since. Frankly, color management today is not what it used to be. And yet that is not saying that ICC profiling does not work. It does. Printing is better than ever. What is lacking is that such a small percentage of users at home have set up good viewing and comparison conditions.
So, the results will vary. Soft proofing depends fully on the quality of your calibration and viewing conditions. For example, I can not use the latest greatest MacBook Pro that I’m writing this on (even though it has both Photoshop and Lightroom.) I have calibrated it with i1Profiler – but Apple didn’t design this MacBook Pro’s display for previewing soft proof ICC profiles. But, I do have a Mac Tower with a 30″ NEC that is hardware calibrated using NEC’s own sensor and software. The print lab this monitor sits in is painted off-white and dimmed to about 75 Lux. There is a GTI soft proof (dimmed) viewing booth – and everything is calibrated to 5000k. The display is reduced to the dynamic range of the Piezography prints for viewing when I am making prints. I use the soft proof in both LR and PS. I will set it brighter for general photo work and can also change it on the fly to look like what most of the world sees when they look at Facebook and web pages.
In summary, Soft Proofing is a useful tool for artists wanting to get perfectly matched prints right off the bat. However, soft proofing will not work equally well on all monitors. We suggest using a high-end monitor that can truly show more than 256 gray levels at even the low contrast ranges required to match printed paper. The brands that stand out the best are Eizo ColorEdge and NEC SpectraView monitors.
|ICC Profile Name||Ink Set||Paper||Toning / Hue / Base|
|PiezoPro Matte Warm.icc||Piezography Pro||All Matte Papers||100% Warm|
|PiezoPro Matte Neutral.icc||Piezography Pro||All Matte Papers||100% Neutral|
|PiezoPro Matte Cool.icc||Piezography Pro||All Matte Papers||100% Cool (Cool Neutral)|
|PiezoPro Matte Warm Neutral.icc||Piezography Pro||All Matte Papers||25% towards Warm|
|PiezoPro Matte Semi-Warm.icc||Piezography Pro||All Matte Papers||50% Towards Warm|
|PiezoPro Matte wH cS.icc||Piezography Pro||All Matte Papers||Warm Highlights & Cool Shadows|
|PiezoPro Matte cH wS.icc||Piezography Pro||All Matte Papers||Cool Highlights & Warm Shadows|
|PiezoPro Gloss Warm.icc||Piezography Pro||All Gloss Papers||100% Warm|
|PiezoPro Gloss Neutral.icc||Piezography Pro||All Gloss Papers||100% Neutral|
|PiezoPro Gloss Cool.icc||Piezography Pro||All Gloss Papers||100% Cool (Cool Neutral)|
|PiezoPro Gloss Warm Neutral.icc||Piezography Pro||All Gloss Papers||25% towards Warm|
|PiezoPro Gloss Semi-Warm.icc||Piezography Pro||All Gloss Papers||50% Towards Warm|
|PiezoPro Gloss wH cS.icc||Piezography Pro||All Gloss Papers||Warm Highlights & Cool Shadows|
|PiezoPro Gloss cH wS.icc||Piezography Pro||All Gloss Papers||Cool Highlights & Warm Shadows|
|PiezoK7 Matte Carbon.icc||Piezography K7||All Matte Papers||100% Carbon (warm)|
|PiezoK7 Matte Special Edition.icc||Piezography K7||All Matte Papers||Warm Shadows & Cool Highlights|
|PiezoK7 Matte Selenium.icc||Piezography K7||All Matte Papers||Magenta Neutral Warm (glow)|
|PiezoK7 Gloss Carbon.icc||Piezography K7||All Gloss Papers||100% Carbon (warm)|
|PiezoK7 Gloss Special Edition.icc||Piezography K7||All Gloss Papers||Warm Shadows & Cool Highlights|
|PiezoK7 Gloss Selenium.icc||Piezography K7||All Gloss Papers||Magenta Neutral Warm (glow)|
|CEP9900 Eps PremSemiMatte.icc||Color Pigment||Epson Premium Semimatte (luster)||* Note, Soft Proof ICC Not Available. Coming soon!|
|CEP9900 Hahn Matte Fibre.icc||Color Pigment||Hahnemuhle Matte Fibre (matte)||* Note, Soft Proof ICC Not Available. Coming soon!|
|CEP9900 Hahn PhoRag.icc||Color Pigment||Hahnemuhle Photo Rag (matte)||* Note, Soft Proof ICC Not Available. Coming soon!|
|CEP9900 Can RagPhoto.icc||Color Pigment||Canson Rag Photographique (Matte)||* Note, Soft Proof ICC Not Available. Coming soon!|
|CEP9900 Hahn Bamboo||Color Pigment||Hahnemuhle Bamboo (matte)||* Note, Soft Proof ICC Not Available. Coming soon!|
|CEP9900 Can BFKRives.icc||Color Pigment||Canson BFK Rives (matte)||* Note, Soft Proof ICC Not Available. Coming soon!|
|CEP9900 Can EdEtch.icc||Color Pigment||Canson Editions Etching (matte)||* Note, Soft Proof ICC Not Available. Coming soon!|
|CEP9900 Hahn PhoGlossBaryta||Color Pigment||Hahnemuhle Photo Gloss Baryta (glossy)||* Note, Soft Proof ICC Not Available. Coming soon!|
|CEP9900 Hahn PhoRagBaryta||Color Pigment||Hahnemuhle Photo Rag Baryta (semigloss)||* Note, Soft Proof ICC Not Available. Coming soon!|
|CEP9900 Hahn PhoRagPearl||Color Pigment||Hahnemuhle Photo Rag Pearl (semigloss)||* Note, Soft Proof ICC Not Available. Coming soon!|
|CEP9900 Canson Platine||Color Pigment||Canson Platine (semigloss)||* Note, Soft Proof ICC Not Available. Coming soon!|
Cone Editions has printed on fine-art papers for over three decades. In all of that time we’ve seen papers come and go. For a while we were the sole importer and seller of Hahnemuhle papers (we named the various papers after towns in Vermont and sold them under the Cone brand.) Throughout the mid 1990s and early 2000s, there was a great variety of paper and ink that arrived on the market, but some of these papers did not stand the test of time: there surfaces would flake, or discolor when exposed to sulfur or acid. Some papers, however, did stand the test of time and these are the papers that we keep in stock for artists. All of the papers are ISO certified as archival and are doubly certified by us (the longest running digital lab on earth) through our own experience working and printing with these materials over decades.
The papers that we regularly stock offer a broad range of surface texture, surface gloss, handling characteristics, paper-white, and thickness. Below we describe each paper with a brief review talking about what the paper’s properties are and what type of printing it’s good for. We also explain what paper sizes are available, and what inks are available.
We also have a vast “back catacomb” of papers that we have bought in bulk over the years available for collaborative printing project.
STOCKED GLOSS & SEMIGLOSS PAPERS
Paper Notes: Semi-Gloss, 100% Cotton, Natural white with pigmented surface and zero OBAs. This paper is created from the Arches Platine Platinum paper base and is then buffed several thousand times to create a pollution barrier. It’s then coated with a titanium-white pigment and semi-gloss emulsion. This paper has a natural texture and it’s very very very durable. This is a great default paper.
Hahnemuhle Photo Gloss Baryta
Paper Notes: This is a brand-new very glossy Baryta paper brand from Hahnemuhle but the paper itself will be instantly familier to people because it’s still made by Harmen and is a re-make of the old Harmen FB Gloss Baryta Neutral-Tone paper that is the closest match to a traditional silver print ever created. The old paper had quality control issues from batch-to-batch but now that Hahnemuhle is running the show directly at the mill, every roll comes out perfect and we can finally offer this paper as a viable option for artists looking to show digital prints in the same portfolio as silver prints. If you are looking for a print that mimics B&W silver, look no further than Piezography Pro inks on this paper.
Hahnemuhle Photo Rag Baryta
Paper Notes: Glossy, Smooth, Semi-white, 100% cotton + baryta, similar to Photo Rag Pearl but smooth, more glossy, slightly warmer. It has a better resolution due to the baryta layer. This paper has the unique ability to completely hide ink dots and keep the image super sharp at the same time. It works well with all inksets we use at Cone Editions.
JonCone Studio Type 5
Paper Notes: Baryta surface, semi-gloss but the least amount of gloss possible, warm-white non-OBA. Very thick rigid paper. This paper is the perfect fine-art paper for traditional K7 semi-gloss Piezography printing and also works incredibly well for color printing.
Hahnemuhle Photo Rag Pearl
Paper Notes: Semi-Gloss, 100% Cotton, slight texture, Semi-white with minimal amount of OBAs. This paper is very durable and takes a decent amount of gloss ink without bronzing. The first Hahnemuhle Semigloss cotton paper and still one of the best for general photographic printing. It’s a photo-community favorite.
Epson Ultra Premium Luster
Paper Notes: This is Epson’s “Ilford Multigrade.” It’s their base paper for all photo printing and is as durable as Battlestar Gallactica. This paper can take more ink than Epson Glossy and it’s nearly waterproof and “cockle” proof. It’s a great student work paper!
Epson Ultra Premium Semimatte
Paper Notes: The only archival paper that Epson (or really anyone) makes that can be face mounted is Ultra Premium SemiMatte. This paper has the least reflectance and the most smooth surface of any Epson paper. Epson stopped making it for nearly a half decade and recently re-introduced it to the market. If you are looking to face mount a print, use this paper.
STOCKED MATTE PAPERS
HAHNEMUHLE PHOTO RAG
Paper Notes: Matte, 100% Cotton, White with minimal amount of OBAs. This paper started the fine-art digital inkjet revolution. It has an incredibly rich tonal range with Piezography ink and a very high color gamut with color ink.
CANSON RAG PHOTOGRAPHIQUE
JONCONE STUDIO TYPE 2
Paper Notes: Matte. Warm-white, Non-OBA, stiff rigid thick surface, very sharp dot (similar to the original Crane Portfolio Rag but smoother and slightly warmer), this paper is specifically built for Piezography printing and is the most exceptional, most archival paper for the process. It works equally well for color printing.
Paper Notes: Smooth, Thick, Matte, Bamboo fiber, Very Warm with zero OBAs. This paper is environmentally and ethically friendly (no cotton!). It is one of the warmest papers on the market and many consider it to be more archival than Hahnemuhle Photo Rag. The paper surface is truly exceptional and professional-grade and surpasses the dMax (how black the black gets) of Hahnemuhle Photo Rag. It’s perfect for portraits too.
canson BFK RIVES
Paper Notes: Matte, 100% Cotton, Natural white and zero OBAs. This paper is similar to Canson Edition Etching but with a warmer and more natural feel and texture. It does not have as much bite as other Canson papers but that is the whole point. It’s soft and alluring.
HAHNEMUHLE MUSEUM ETCHING
Paper Notes: Matte-Textured, loose grain, 100% Cotton, mid-white, mould-made felting. Museum Etching has a smooth wide grain and it’s a very thick 350gsm paper. The texture is less present than Torchon. It’s great for extremely large prints that require tough paper that will hold up to a lot of abuse. It doesn’t flake. This paper has incredible longevity and is probably the oldest continuously-made paper in history. We consider in future-proof.
HAHNEMUHLE PHOTO MATTE FIBRE
Paper Notes: Matte-Textured, loose grain, alpha-cellulose proofing paper. This paper is a thinner than Hahnemuhle Photo Rag 308 with slightly less optical brighteners (warm) but retains the same dMax performance of it more expensive sibling while coming in at a very attractive price-point. We offer this paper as the matte option in our “standard portfolio” online print service.
For online Proofing, our general turnaround time is 24hrs during the work week (M-Thur) but that can extend to 1 week if the studio is slammed or a paper is temporarily un-stocked due to supply issues with our vendors. We recommend you schedule a week+ from upload of the proof file to recieving the proof in the mail.
For online Portfolio printing, the turnaround is between 3 days and 2 weeks depending upon the size of the portfolio and material availability. We indicate the turnaround time in the invoice we send for approval/payment after a portfolio job has been submitted to us.
For Custom printing, we say turnaround is 2 weeks although most-often we are able get a job done quicker if the files are in good shape and the job is not huge. We indicate the turnaround time on the estimate that is approved before work begins.
For Studio Print Days, all work is done in-lab over an 8hr period although pre-work is highly recommended.
For Drum Scanning, our turnaround is between 24hrs and 3 weeks depending upon how large the job is.
All jobs can be rushed for a fee. This fee is variable and dependant upon how busy the lab is at the time the job is submitted, how quick the rush is, how much communication must be done back and forth with the client, and how far the final work needs to be shipped. We determine the rush fee at time of estimate and the fee is agreed upon by the client before work begins. If a job changes mid-production, rush fees may increase or decrease according to the change. Sometimes jobs cannot be rushed if another rush job is already in the queue. If this is the case, we are forced to turn down the second rush job submition.
BILLING & TERMS
All invoices are sent online and payment can be made by check drawn on a U.S. bank, money order, Visa, Mastercard or American Express. Cash is accepted at the studio.
Sample Proofs are billed at checkout.
Standard & Fine Art Portfolios (online):
Standard and Fine Art Portfolio job invoices are sent to the customer for online payment after the print-files have been verified. The invoice includes packing and shipping charges as well as a FedEx tracking #. Production on the portfolio prints will not take place until payment is complete. Only online payment is accepted.
When you contract us to print for you, we prepare an estimate (quote) that includes all of the work that has been discussed and requested. The final invoice may include charges that were not anticipated at the time the work entered our studio, or changes requested by the client. The client will be notified when additional charges begin to incur.
For large custom print jobs, a deposit of half the amount is required in order for us to begin the work and must be paid prior to any production. Upon completion of the project, the invoice balance must be paid in full prior to our shipping the work, or prior to the client picking up the work. The final invoice may include shipping although we prefer to ship on our client’s accounts. Unless you have a valid resale certificate, all state and local sales tax is applied.
Workshops & Studio Print Days:
A non-refundable seat reservation deposit of $450.00 is due at time of order for each workshop or print day. The full remainder of the fee is due 1 week prior to the start of the workshop or print day.
Vermont Business Sales Tax Exemption
If you are a Vermont Business and you have a sales tax ID number with the state and the work we do for you is meant for resale, you can fill out the Sales Tax Exemption Certifcate and send it to us. We will keep the information on file and not charge you VT State Sales Tax.
PACKING & SHIPPING
Due to our rural location we do not receive morning/priority overnight deliveries. Our normal pickup and drop off time is 3:00pm EST. Shipping costs and materials are the client’s responsibility. For custom print jobs, please indicate your preferred shipping method (i.e. priority or standard overnight, 2-day air, Express Saver etc) for shipment of proofs and final prints. For portfolio print jobs, standard FedEx Express shipping is used.
We offer different print shipping packaging. We have 5” tubes available in your print width at $15 up to 36” and $20 for up to 48”. We have tri-wall flat paks, which are virtually indestructible at $35 for prints up to 16x20, $50 for prints up to 24x36, $75 for prints up to 30x40, $100 for prints up to 36x44. Beyond this, allow us to suggest either a reusable 12” diameter polypropylene shipping container or we can build a custom tri-wall or plywood crate.
The normal shipping method is flat-pack for in-country shipping of any print up to 30x40 and tube for any print over 30x40 in size. For international shipping, tubes are normally used for prints 20x24 and larger due to extra costs associated with shipping flat prints internationally.
All packing is done by our printmakers and is fully quality controlled and inspected by the same people who run the print and work with artists.
FILE DELIVERY & ARCHIVING
All printing files remain the property of Cone Editions Press and are archived for free. These files can be deleted from the archive at the clients request.
Requests for re-prints of work archived before 2012 may incure a research labor fee.
Scan files are delivered as download links or can be loaded in-bulk onto a client’s hard-drive if they mail it to CEP with their originals to be scanned.
Files uploaded online are encrypted and stored in a password protected directory before final archiving on our internal server. After the job is printed, we delete the uploaded files and archive the final print-files at our studio for free.
INSURANCE & LIABILITY
LIMIT OF LIABILITY: Submitting any material (i.e. film, slide, negative, artwork, computer files, video tapes, etc.) to Cone Editions Press, Ltd., (hereinafter CEP) for processing, printing, or other handling, constitutes an agreement by the client that any item damaged or lost while in the custody of CEP employees, or agents, whether such damage or loss results from negligence, or otherwise, will be replaced with equivalent unexposed film or art materials, or One Hundred Dollars, whichever is less. Except for such replacement, the handling of client material is without warranty or liability even though loss, neglect or damage is caused by negligence or other fault. All client materials will be accepted by CEP and delivered by the client without any other liability, guarantee or warranty of any kind either expressed or implied. Should any material being submitted involve high origination costs or have high value, the onus is upon the client to appropriately insure it.
Warranty and Indemnification for Copyrighted Works: You, CEP’s customer, represent and warrant with respect to any copyrighted work you submit to CEP, that you: (1) own the entire copyright in such work; (2) have the copyright owner’s permission to reproduce, distribute, and display such work; or (3) will use the reproductions prepared by CEP. solely for teaching, research, scholarship, or for criticism, comment, or news reporting, and that you will not sell the reproductions or use them in any manner for your financial benefit to the financial detriment of the copyright holder. YOU AGREE TO DEFEND, INDEMNIFY, AND HOLD CEP HARMLESS OF, FROM, AND AGAINST ALL COSTS, EXPENSES, ATTORNEY’S FEES, AND/OR JUDGEMENTS RESULTING FROM ANY CLAIM OR LAWSUIT AGAINST CEP ALLEGING OR RELATING TO COPYRIGHT OR COPYRIGHT INFRINGEMENT OF THE WORK AND/OR ANY REPRODUCTION THEREOF.
DISCLAIMER OF WARRANTIES: YOU UNDERSTAND AND AGREE THAT YOU USE THE SERVICE AT YOUR OWN RISK. The service is provided on an “as is” and “as available” basis and without warranties of any kind either express or implied. CEP disclaims all warranties, express or implied, including, but not limited to, implied warranties of merchantability and fitness for a particular purpose. We do not warrant that the service will meet your requirements, be accurate or reliable, the service will be uninterrupted or error-free, that defects will be corrected, or that the web site or the server(s) that makes the web site available are free of viruses or otherharmful components. We do not warrant the quality of any products, services, information, or other material purchased or obtained by you through the service. No information obtained by you from us shall create any warranty not expressly stated in the Terms and Conditions.
LIMITATION OF LIABILITY:
UNDER NO CIRCUMSTANCES, INCLUDING, BUT NOT LIMITED TO, NEGLIGENCE, SHALL CEP, OUR VENDORS OR BUSINESS ASSOCIATES BE LIABLE TO YOU FOR ANY DAMAGES RESULTING FROM YOUR USE OR INABILITY TO USE THE SERVICE, THE UNAUTHORIZED ACCESS TO OR ALTERATION OF YOUR TRANSMISSIONS OR DATA, OR STATEMENTS OR CONDUCT OF ANY THIRD PARTY ON THE SERVICE, EVEN IF WE HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. IN NO EVENT SHALL CEP TOTAL LIABILITY TO YOU FOR ALL DAMAGES, LOSSES, AND CAUSES OF ACTION EXCEED THE AMOUNT PAID BY YOU, IF ANY , FOR USING THE SERVICE.
CONE EDITIONS PRESS
COPYRIGHT 2017, ALL RIGHTS RESERVED
Cone Editions Press, PO Box 51, East Topsham, Vermont 05076
PACKAGES & STUDIO
Cone Editions Press, 17 Powder Spring Road, East Topsham, Vermont 05076