Simply Color Lab

Most people think paper can't compete with metal or acrylic. They're wrong. Here's when paper is the better call.

Texture matters. A matte cotton surface like Photo Rag 308 GSM renders fine detail and tonal subtlety differently than a high-gloss face-mounted surface. If the image has soft shadows, fabric, skin, or organic texture, a matte paper preserves that. Metal amplifies contrast and saturation. Acrylic delivers depth and color pop. But neither handles midtones and texture the way a mould-made or cotton paper does.

Viewing conditions also guide the decision. Paper doesn't throw glare under gallery lighting. Metal and acrylic both reflect. If the image hangs opposite a window or under track lights, paper gives the viewer a clearer read.

We print Fine Art Paper Prints on the Epson SureColor P20570 with UltraChrome PRO12 pigment inks. That's a 12-color set with Violet for extended gamut. WIR-rated up to 200 years color, 400 years black-and-white under standard display conditions. Traditional Papers include Linen 240 GSM, Luster 300 GSM E Surface, and Gloss 300 GSM. Hahnemuhle papers include German Etching 310 GSM mould-made, Photo Rag 308 GSM 100 percent cotton, Baryta, Bright Rag, Pearl, Bamboo, and Torchon.

Files are printed as provided. We don't auto color-correct. Framed Fine Art Paper Prints include an acrylic face for UV and dust protection.

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We round the corners by hand on every Heritage Wood print because a 90-degree edge doesn't belong on fine art paper mounted to wood.

After your file prints on Fine Art Linen, Smooth Matte, Photo Rag, or Fine Art Luster, we mount it to a 3/4 inch white birch panel. Then we sand. The corners get rounded. The front edges get beveled if you ordered Heirloom, or left straight if you chose Legacy. Then we UV laminate the surface and attach the keyhole hanger.

Every step happens at the bench in Henderson. Not on a production line. Not outsourced. We built the tooling to do this in-house because the finish matters as much as the print. Frames are built in-house. Acrylic is face-mounted on premises. Canvas is hand-stretched on hardwood frames we make ourselves. Heritage Wood is hand-sanded with rounded corners.

This is what it looks like when a print lab operates as a craft shop. You send the file. We handle it from the printer to the shipping box.

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The bride touched the metal print and her hand stayed there. That's when the photographer knew she was adding three more to the order.

Dye sublimation infuses the image into the ChromaLuxe HD aluminum coating under heat and pressure. The color doesn't sit on top like ink on paper. It becomes part of the panel. That's why metal delivers luminosity paper cannot match. The whites glow. The shadows hold depth. Skin tones have dimension.

We print metal on the Epson F6470 in Light Cyan / Light Magenta configuration. Six color dye-sub optimized for wedding work. Every panel is hand-inspected under lightbox in our Henderson, Nevada facility before it ships. Production runs two to three business days.

The in-person reveal is where you finish the sale. Metal is the product that earns the upsell in the room. When a bride sees her dress glow on ChromaLuxe, she doesn't compare prices. She asks how many panels fit on her wall.

Use code AISLE20 for 20% off all products through June 30.

Every order is hand-inspected before it ships.

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The glow in a metal print isn't a finish. It's the process.

Dye sublimation infuses ink into the ChromaLuxe HD polymer coating using heat and pressure. The image becomes part of the panel. Light hits the coating, passes through the ink layer, reflects off the aluminum base, and travels back through. That's the depth you see in person.

Paper absorbs light. Metal reflects it. That's why a metal print of the first dance stops the room when you pull it from the sleeve at a reveal session. The science matters because the moment matters.

When a couple sees their wedding day for the first time in print, you need a surface that holds up to the memory. Metal delivers saturated color and luminosity that paper cannot match. The blacks are deeper. The highlights retain detail. The overall image has presence.

We run the Epson SureColor F6470 in Light Cyan and Light Magenta configuration on ChromaLuxe HD aluminum panels. Six-color dye-sub system. UltraChrome DS inks rated for 65+ years of gallery display. Production takes 2-3 business days. Custom sizes available up to 44 by 96 inches. Five finishes including White Gloss EXT for outdoor installations.

Every panel is touched by a person in our Henderson, Nevada facility before it ships. No automation. No outsourcing.

Use code AISLE20 for 20% off all products through June 30.

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We round the corners by hand on every Heritage Wood print. Not automated. Not skipped. Every single one.

After your file is printed on Fine Art paper and UV laminated, we mount it to white birch. Then someone in our Henderson facility takes a sander and rounds each corner. The beveled edge on the Heirloom finish gets hand sanded too.

It's a step that could be skipped. Most labs skip it. We don't because the final product matters more than the production schedule.

The result is a handmade artisan effect. The kind of thing that belongs on a wall, not in a drawer. The kind of gift someone keeps.

Choose from Fine Art Linen, Smooth Matte, Photo Rag, or Fine Art Luster paper. Sizes start at 5 by 7 inches and go up to 47 by 47 inches. Available in Square, Rectangle, Circle, Hexagon, and Oval shapes. Production is 4 to 5 business days.

Use code AISLE20 for 20% off all products through June 30.

Order at simplycolorlab.com