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Kim Malco PhotographyKim Malco Photography

Ordering Prints Using the Online Store

Thanks for your visit to and for your interest in fine art prints. This page describes the purchase procedure, lists the choices involved on a print order, and describes the technology used to make prints.

Outline of online store product offerings. 

The main product offering is 13x19 archival-ink prints.  All images on the website have an associated 13x19 print offered.  A secondary product offering (only for certain images) is for 20x30 LightJet or Lambda prints on C-type paper.  Only the images found in the "Favorites" gallery are offered for sale at the 20x30 size. (Those same images can also be found resident in their "home" regional galleries and scattered about in the Thematic Galleries, so it is not necessary to search only the Favorites Gallery for 20x30 prints. If you are interested in 20x30, the tactical advantage of the Favorites Gallery is that all of those items will have a 20x30 product offering.)

How the fine art prints are made, and turnaround time. 

Archival-ink prints are made in my office on the state-of-the-art Canon 9500 Mark II, at 600 dpi.  LightJet or Lambda prints are produced on laser printers that are called "photo laser imagers" or "large-format digital photo printers." Such prints are sourced out to a couple of the very best professional photography labs in Los Angeles.  There is a three-day turnaround on 13x19 prints and a five-day turnaround on 20x30 prints. Your credit card account will be pre-authorized on the order date.  Your credit card account will be charged on the shipment date.  Please note that the online store is not set up to automatically calculate any volume discount. Your final invoice will indeed reflect the discount and the credit-card transaction amended accordingly. 

If I am out of town I may need to suspend all ordering to prevent an excessive delay between order date and shipping date.  I may drop you an email note within 36 hours of your order to confirm the order and invoice amount that has been pre-authorized on your credit card, if there are any questions about the transaction amount, and, if necessary, to answer any lingering questions about the order. (For example, I will probably drop you an early email note if you left a rather complicated comment at the Customer Comment Box at the online store.)  If the order is very straightforward, expect an email note on the day of shipping with your UPS tracking number, final invoice, and a helpful reminder that your card has been charged for the transaction amount. (When you first place your order, the online store automatically generates a simple order description and automatically emails that to you.) If you ordered a 20x30 print, please expect an email note in four to five days. If for some reason a delay of two or more days appears to be in the works, which could happen if you ordered more than three prints, I will write to you early to explain the delay. 

Prices, shipping, and sales tax for print orders. 

The price for a 13x19 is $80 and the price for a 20x30 is $150.  Kim Malco Photography currently sells and ships to the 50 USA States, the District of Columbia, and the 10 Canada Provinces.  Sorry, if you are a resident of any other region, the store will not complete your order.  Free shipping to most North American street addresses is included, but Hawaii and Alaska will be charged $15 on the Shipping Cost line item.  Please note that either a California billing address or a California shipping address will trigger the collection of California sales tax.  Also, a city or zip code in Los Angeles County will trigger a higher (local) rate than non-Los Angeles County cities and zip codes (because you are in the same rate zone as the merchant).

Payment is by major credit card (Visa, MasterCard, Discover, and Amex).  No checks are accepted.  All shipping is by UPS Ground (no special requests for a different shipper or speed) and I ship only to North American street addresses.  No PO Boxes, please; the online store will not allow you to proceed if you try that for the shipping address.  In the checkout process of the online store, your USA Zip Code or Canada Postal Code is a required field, as this determines the exact percentage of sales tax that must be charged to California addresses.  (The address is the controlling factor in this process per State of California Board of Equalization requirements.)  In the checkout process you must also provide your email address and your phone number.  It is generally a good idea to make certain that the provided phone number matches your credit card billing data.  Your personal information is stored as little as possible and is never shared with anyone; it is used only as needed to enable the online store operations.

Protection of fine art prints during shipping. 

Prints are carefully protected by archive-rated sheet protectors (with a white poster board insert) or by clean white poster board.  All prints are very securely packed in flat cardboard boxes.  Dear 20x30 customers: please note that manufacturers do not make 20x30 sheet protectors.  I do the best that I can with 20x24 heavy-duty, premium quality sheet protectors and similar protectors. Your print will be very carefully protected against dust and scratches in archival-quality protectors, even if that involves a little bit of creative thinking.  I have found a source for extra-large white poster board, and all 20x30 prints come with a 20 1/8 x 30 1/8 white poster board inserted under the print. 

Although white poster board is not normally rated for archive safety, I believe that white poster board is safe for long-term dark storage, so long as you keep the poster board beneath the print.  In other words, it is in contact with the print, but with the back side of the print.  The front face of the print should only come in contact with the archive-rated sheet protector, or with some other archive-rated material that you trust.  

Special choices available for fine art print orders. 

In ordering a print, there are a couple of extra choices that you must make so that I can give you exactly what you want.

If ordering a 13x19 ink print, I offer a choice of paper surfaces: Glossy or Luster.  This is an easy radio-button choice during the store checkout.  See below for a detailed list of the fine, heavy papers that I generally use to make an ink print.  Your print will generally come from this list.  At this time, I do not offer a choice of Matte paper because I find that paper surface to be suitable for a very narrow range of photographic subjects.  Everything looks good in Glossy or Luster.  All 20x30 prints are Glossy and please assume that 20x30 products are full-bleed only (no white border requests). 

Another choice during the store checkout process is to request an artist signature on the print, or not.  The default is for no signature.  If you request a signature, I will need to do it in gold ink on the front of the borderless print.  Signing a print within the image area is not a common practice, so I only do this upon request.  This is easily indicated with another radio-button choice during the store checkout.

Online store refund policy. 

We want happy, satisfied customers.  If there is a problem with your shipment (it’s damaged or you are not happy with the artistic quality of the print), please contact Kim Malco Photography within 14 days of receiving the package, to discuss the problem.  All returns must be by UPS, you must forward the tracking number to Kim Malco Photography at time of shipment, and the customer must bear the cost of return shipping.  Please utilize the exact same shipping materials that the product arrived in.  When the product is returned to Los Angeles, you will be given a chargeback refund on the card used for purchase.  The product must obviously be undamaged unless you can make a very convincing case that the carrier damaged it.  No refunds on products returned by other shipping methods such as United States Postal Service.  No refunds after 14 days of receiving the package.

Volume discounts.  

A 15% discount will be given for 4 to 8 items on one order. A 25% discount will be given for more than 8 items on one order.  


Please see the seven sections below for a detailed discussion of various issues that are common to the sale of fine art photography prints.


Other issues. 
1) Editions. 
2) Artist signature, or not.   And: How to order a 13x19 bordered print.  
3) Print permanence ratings.   
4) My list of preferred ink papers. 
5) LightJet or Lambda printing for my biggest (20x30) prints offered for sale.  
6) Ink prints versus photo laser imager prints: is one better than the other?  
7) Copyright legalese.
1)  Editions. 
I do not sell prints in Editions. Generally speaking, there are only a few prints in existence of your image, usually less than 10.   
2) Artist signature, or not.  And: How to order a 13x19 bordered print.      
By default, I sell borderless (i.e., full bleed) prints. I do not sign the print except on the reverse (in a very fine and safe line).  I will discreetly sign the borderless print on the front of the print (with gold ink) if you request that I do so (which you can easily do in the store checkout process). There is no extra charge for a signature.  
I recognize, however, that some customers prefer to receive a bordered print, either because the customer likes that look, and/or because the customer prefers to have an artist signature within the white border of the print.  To request a bordered print on a 13x19 print, please use the customer comment box available in the store checkout process to make a special request in this regard. I will produce a special print on 13x19 paper with a white border that is in the neighborhood of 0.75" to 1.0" at each edge.  Bear in mind that the image itself will no longer measure 13x19. 
Please be aware that because of typical complications involving aspect ratio and cropping, that it is almost impossible to produce a print with perfectly symmetrical (equal in width on all four sides) white borders.  I will attempt to make the borders reasonably symmetrical, but expect a print with asymmetrical borders.  
If you want the signature in the white border to be in pencil, please mention that desire also; by default a signature in the border will be in a fine, permanent, non-smearing black ink produced by either a technical drafting pen or an Ultra Fine Sharpie.  
These choices regarding bordered prints are for 13x19 prints only.   
20x30 laser prints are borderless/full-bleed only.    
3) Print permanence ratings.    
This is a discussion of permanence ratings for properly stored or framed archival-ink prints.      
Wilhelm Imaging Research ( is the recognized authority in the industry for permanence ratings.    
Lightfast Ratings from Wilhelm Imaging Research for typical high-end Premium Glossy ink paper is about 80 years to 105 years, depending on the quality of the ink used in making the print. To reach these pleasing numbers of years requires the best ink from the most esteemed manufacturers.  
For typical high-end Premium Semigloss ink paper, the rating is about 75 years. 
These permanence ratings by Wilhelm are for prints that are framed under glass. 
Prints properly stored in an archive drawer or an archive box (called "dark storage"), inside of a sheet protector or sandwiched between sheets of archival mat board (to prevent contact with air), will perhaps have a longer permanence, due to the darkness.    
For more information on Wilhelm's ratings, please visit:  
From my own reading of Wilhelm-supplied articles:    
Prints that are framed under glass have much greater longevity than prints that are not treated in this manner.  
Prints framed under glass that has a UV-filtering capability have additional longevity -- about 20% to 50% more years.  
The best archival-ink materials are now believed to have as much longevity, or even more longevity, as well made and well handled silver halide materials.  However, for reliable results, use only the best ink and paper materials from the most esteemed manufacturers.  There are huge variations in permanence ratings, depending on where the ink and the paper came from.  
Actual print stability and longevity will vary greatly, depending on exactly how the archival-ink print was made (the type of ink being a very important factor, perhaps even more important than the paper itself), how the print is framed and displayed for many years, the typical daily light intensity that the print is subjected to, the typical daily humidity and atmospheric conditions that the print is subjected to, and any post-printing treatments (such as lamination, or even how the print is attached to the mat boards within the frame). 
To sum up the best practices for good longevity of a print: 
The most important safeguard habits are: 
Protect the print from air and harsh light. Never display a print that is not under glass or a glass substitute, and never let harsh, direct sunlight or direct artificial light shine on the print for hours per day. (Diffused, refracted direct light, typical of most sun-lit rooms, is okay; we are talking about "spotlight" light.) Air and harsh light (and extreme heat or humidity) are enemies of indoor art; remember that basic guideline, and your art will be fine.  
One final point: when the print is matted and framed, it's a good idea to keep the print "forever stiff" with an archival-quality base mat board. (Rather than using a piece of tape as a "hinge" or some other such technique.) 
4) My list of preferred ink papers.  No papers are used that fall below 270 gsm or 10.2 mil. 
Glossy Papers: 
Hahnemuhle Fine Art Baryta FB, Bright White High Gloss Inkjet Paper, 350 gsm 
Inkpress Pro Gloss, 330 gsm, 12 mil, brightness 95%, high D-max 
Hahnemuhle Fine Art Baryta 325, Ultra Smooth High Gloss, Bright White, 325gsm 
Harman Glossy Fiber Base AI Professional Fine Art, 320gsm 
Hahnemuhle Photo Rag Baryta 315, 100% Cotton High Gloss, Natural White, 315gsm 
Ilford Galerie Gold Fibre Silk, 310 gsm 
Brilliant Museum SilverGloss White, 300 gsm, 18 mils, made in Germany, lignin free, acid free 
Canon Pro Platinum, Super High Gloss Photo, 10.2 mil 
Innova Fibra Print, F-Type Ultra Smooth, Brilliant White Gloss, 285 gsm 
Moab Lasal Photo Gloss, Brilliant White, Archival Pro, 270 gsm, made by Legion Paper 
Canson Infinity PhotoGloss Premium RC, 270 gsm, brilliant, extra white 
Luster Papers:  
Brilliant Supreme Lustre, 300 gsm, 11 mils, ISO Brightness 93 
Canson PhotoSatin Premium RC, Satin Surface, Ultra White, 270 gsm 
5) An introduction to the LightJet or Lambda printing technology that is used for my biggest (20x30) prints offered for sale. 
20x30 prints are made using either LightJet or Lambda printing technology. This is a method of using laser lights to print onto traditional photographic C-type paper (e.g. Kodak Professional Endura, Fujicolor Crystal Archive or similar papers from other manufacturers). These machines utilize a set of red, green, and blue laser light sources. 
In short, these kinds of laser printers are called "photo laser imagers" or "large-format digital photo printers" and for all practical purposes they have replaced the traditional darkroom technology of enlargers et cetera, at the major photo labs.  The use of enlargers and their associated chemicals is now a boutique industry.  
These kinds of printers produce photographic prints from photographic computer files, typically RGB-TIFF files.  This is essentially the same starting point that is used to print archival-ink prints on a high-end inkjet printer.  Same starting point but different hardware used at the production end of the process.  
LightJet printers are manufactured by a company called Océ.  For more information about Océ, visit
Lambda, or "Durst Lambda" printers are manufactured by an Italian company called Durst Phototechnik. For more information about Durst, visit  
Another company that makes a commonly used photographic laser printing system is Noritsu.  These machines tend to not be as high-end as the LightJet and Lambda machines. They have a smaller footprint than the LightJet and Lambda machines, and tend to not weigh as much.  They are often used at department stores and drug stores as so-called "mini-labs", but are also found in many professional photo labs.  The Noritsu machines also produce excellent prints.  The 400 dpi that they offer is equal to the resolution of Lambda and LightJet machines and is plenty of resolution for most purposes, and in any case most photo labs rarely run their LightJet or Lambda machines at resolutions above 200 or 300 dpi.  (In fact many labs, for reasons probably related to the maximization of profits, refuse to even offer the highest resolution as a regular service.)  
Most professional photographers want their laser digital prints made on a LightJet or Lambda machine. I do the same thing. The Noritsu machines, however, are perfectly capable of making excellent prints. 
6) Ink prints versus photo laser imager prints: is one better than the other?  
People will try to tell you that one of these two technologies is superior to the other. That's not a very helpful debate. At the upper end, both of these technologies are superb. It is true that serious collectors, until recently, have been a little slow in accepting archival-ink prints. This, however, was due mainly to nervousness about a new technology and the fact that it took the manufacturers a few years to improve the technology until it was equal, or superior, in quality to silver halide prints.  
The new ink machines produce prints that are stunning.  Another advantage to archival-ink technology is that third-party manufacturers produce a fabulous array of interesting papers, the best of which are amazingly heavy and thick. Once you get used to that heaviness and thickness, it's hard to go back to the old regular-weight C-type paper. Not that there's anything wrong with regular-weight C-type paper; it's a reliable and proven technology.  You can produce LightJet and Lambda prints on premium-quality, premium-weight paper, but the photo labs hammer us big time for that service -- the price of a print more or less doubles.  I can't do that and still offer a nice price to my own customers.  
Another advantage to archival-ink technology is that the photographer can take the time to print at a high resolution. All of my ink prints are done at 600 dpi. (Some photographers really go crazy on this ability and print at 1400 dpi.)  This setting requires much bigger digital files and a longer printing time, and the difference in the print is subtle, but the extra quality is worth the time invested. The labs generally insist on doing those laser prints at between 200 dpi and 300 dpi.  
Professional photographers love ink technology because you can set up your own print-production center for a reasonable investment.  (Those LightJet and Lambda machines weigh thousands of pounds and cost a fortune.)  Encouraging this trend is the fact that the ink machines that came out in 2009-2010 are a big step forward, in terms of quality. 
Right now, I am splitting the difference – I offer my 13x19 as ink prints, and my 20x30 as Lambda or LightJet prints.  Eventually, though, probably mid-2011, I will get an extra, bigger ink machine to produce my own 20x30 prints.  Doing that will allow me to lower my price on 20x30 prints from $150 to $120.  
Whether your print is an ink print or a laser print, great care has gone into preparing the digital file and managing the production process.  
7) Copyright legalese.
Copyright remains with the artist.  Owner of the print has the right to private or public display of the print and other obvious rights such as profitable resale.  Some artists, perhaps protecting gallery and museum relationships, question the owner’s right to public display.  For the record, I do not mind.  Owner of the print does not have any rights of image reproduction.  Please do not scan, photocopy, or otherwise reproduce the print.  If you would like a digital copy of the image to share with those close to you, or for some other reasonable noncommercial purpose, Kim Malco Photography is happy to provide such images at no charge, up to a lateral size of 11 inches and up to a resolution of 100 ppi.  Please do not post such digital images in a widely blasted blog or on a widely distributed photo-sharing website such as Flickr.  Excessively cloned and distributed digital images endanger an artist’s copyright, even if the images were stolen, as courts tend to consider that the copyright holder did not exercise due diligence in protecting the copyright. 
8) Privacy policy.
Please visit our privacy policy page for complete details on our dedication to your privacy.
Your interest in ordering fine art prints from Kim Malco Photography is much appreciated.
Mauthe Lake in Kettle Moraine State Forest North Unit. East central Wisconsin southeast of Lake Winnebago and north of Milwaukee.

Mauthe Lake in Kettle Moraine State Forest North Unit. East central Wisconsin southeast of Lake Winnebago and north of Milwaukee.