Mark Niznik, who conceived the overall concept of IMAGEWISE in the early 90’s, recognized the process of combining digital technology and visual imagery. With an extensive background in digital imaging and technical photography, he acknowledged the exciting potential of combining the two elements together. Less than ten years later, with up to date, hands on experience in large format digital printing, and an unwavering desire to create great images, his dream was about to become reality. When the price points of technology, quality, and production time all merged to an acceptable level, IMAGEWISE was finally launched.

Mark’s research had indicated that the Fine Art Community was looking for a more “user friendly” environment. As a result, IMAGEWISE maintains an open door policy throughout the fine art printmaking process. “Creativity is very personal, and we’re putting creative control back in the hands of the artists and photographers. We want them to feel comfortable while we’re working together. The goal of IMAGEWISE is to be the conduit between their technical needs and creative objectives. Our clients have told us they really appreciate this approach.”

“A year before I graduated from college, I realized that computers were doing things that I was trying to do with a camera. For example, multiple exposures onto a single sheet of film, photo composites, and all kinds of special effects that could be accomplished through retouching. Not only could these special effects be done, but they could be done with much more precision than conventional methods. Now instead of using Polaroids to see what’s right or wrong, you just hit the command and Z keys, and it’s instantaneous. As of the late 80’s, there really wasn’t desktop photo applications available to the average photographer, but I knew that would change, and I knew I wanted to change with it”.

Niznik moved to the Twin Cities in 1989 because desktop publishing was really starting to take off throughout the Upper Midwest. “Even though I had a photographic background, the photographic industry was not embracing the advancements in digital technology, so desktop publishing became the way for me to still be involved with photography, and combine that with computer graphics. At that time no school or college was providing that type of education, and on the job training was the only way to obtain the required skills. The Twin Cities was where I could achieve my objectives”. In 1994, an opportunity to combine large format photography and computer graphics presented itself, and for the next 5 years Niznik became involved with digital film recording, ink-jet printing, and direct digital photographic printing. He comments “back in ‘89 I had hoped to eventually be involved with digital imaging, I had no idea I would be setting up and managing an entire high end department with state of the art equipment”.

An aspect that surprised Niznik was the proprietary nature that information was held within the computer graphics industry. One of the first things that he stressed within his department was that information was to be shared, not hoarded. He adds “the idea was to avoid having a single person with a proprietary skill-set, but to let the talents within my department flourish through shared experiences”.

New technology inherently necessitates troubleshooting and problem solving, and one of Mark’s best assets is his ability to solve problems. He points out that the dawn of digital technology was initially very confusing because no one really understood how to use it to their advantage. Most of his time was spent finding solutions to clients problems that resulted from incorrect file preparation and the lack of technological capabilities on their end. With all of this new equipment available, a nationally based clientele, and time sensitive deadlines to meet, it became a situation of: where did the clients want to hand off the file for either pre or post production, and how much would it cost? Since most of the financial concerns were related to system time, Mark was able to maximize the production while keeping the costs to a minimum, especially since most of the projects had budgetary constraints. This enabled his department to gain nationwide respect, and grow proportionately from the trust they had developed with clients through phone consultation.

In an industry that is so dependent on the visual image, color management became a vital component to the finished product. Variables such as paper, chemistry, ink, software applications, monitors, scanners, and film all needed to be accounted for when providing predictable color images. The evolution of digital technology from scanners, film recorders, ink-jet printers, and direct digital photographic printers all presented a variety of challenges on a daily basis. All of the experience Niznik acquired would prove to be invaluable as he looked to the future.

In examining the needs and expectations of the Fine Art Community, Niznik learned by asking questions and listening. He found that unlike the service bureaus he had worked with in the past, where projects were completed behind closed doors within a pre-determined production schedule, artists and photographers wanted to be more involved in the final production of their work. Niznik explains “in the past, when an artist or photographer wanted to produce limited editions of their work, they were subject to a set of guidelines that were both inflexible and expensive. For example, all prints of the edition needed to be run at the same time for consistency, making up front costs expensive, and eliminating the possibility of test marketing an image. It is often difficult to determine the differences between service and technology, but often when one tries to separate the two, technology becomes the emphasis, and service seems to be left behind. Technology will come and go, but there is no substitute for good service. What I’m trying to do is provide solutions to needs based upon what my clients tell me their needs are, technology is only part of what I provide. I’m providing an opportunity for an artist or photographer to sell a print of their work before it’s even produced, thus eliminating expensive up front inventory costs. Because of my past experience, the research I’ve done, and will continue to do, they can expect to receive the highest quality currently available, on a variety of different pre-tested material options. IMAGEWISE is committed to sharing information with clients on concerns such as technology, color fidelity, print longevity, and cost economy”.

It was recently pointed out in the January/February issue of “The Big Picture” (a digital output publication) that the negative stigma of “art with computers” has rapidly turned towards acceptance within the Fine Art Community. The equipment has become more economically feasible that artists and photographers can even become their own production lab. However, not all artists and photographers want to become digital technicians, and still agree that giclee printmaking requires a certain skill level. Niznik believes that the continuing involvement between the Fine Art Community and digital technology will only substantiate a company like IMAGEWISE. He adds “there will never be a substitute for excellent quality, which is all I’m trying to promote. If other people want to get involved in fine art digital printmaking, that’s great. I do know that there is a learning curve to achieving excellent quality, and as long as I continue to provide the kind of quality and customized service I’ve established with IMAGEWISE, my reputation will precede me. Word of mouth will be our best advertising”.