INTERVIEW WITH GEORGE MATTAR - FINE ART PRINTER

Recently, I reached out to George Matter, owner of Narre Warren Fine Art Printing, a lab I've been using for the past two years now. I asked if he had 20 minutes to chat about printing, and he was generous enough to oblige. What started as a quick Q&A turned into nearly 50 minutes of great conversation. There’s so much about the printing process that photographers often overlook, and this interview offers some valuable insights into the journey from capture to print.

YOU CAN FIND OUT MORE AND INQUIRE WITH GEORGE ABOUT YOUR OWN PRINTING NEEDS HERE


Background and Journey into Fine Art Printing


N: Thanks so much for offering your time today George! To start, can you share how you got into printing, how long you've been in business, and what your journey has been like?

G: I used to work as a contractor at a school, mainly in IT, but I also taught photography to the kids. I’ve had a passion for photography since I was young, though I lost interest while focusing on tech. When drones became popular, it reignited my passion, and things took off from there.

At the school, I ran a 'makerspace' where we used drones and cameras for excursions, teaching students how to photograph and edit using Photoshop. This led us to printing. One year, we wanted to print large portraits of teachers and students for a Book Club display, but we couldn’t find a local printer that could match our needs, so we ended up using a printer all the way in the city (Melbourne CBD).

We decided from there to buy a printer for the school, but instead, the 60-inch printer ended up at my place, and that’s where the printing business started!

N: So, would you say you’re mostly self-taught in printing?

G: Yes, although I’ve taken a few courses. My IT background helped a lot, especially with the technical aspects like colour matching and printer calibration, which are key in printing.

George Mattar, owner of Narre Warren Fine Art Printing


Paper Types and Selection

N: I know you primarily use Canson paper—can you tell me what draws you to this particular fine-art paper?
G: I use a variety of papers, including Hahnemuhle Metallic, Bamboo, and German Etching, but I prefer Canson because of how the ink sits on the paper. Canson papers don't have Optical Brightening Agents (OBAs), unlike some Hahnemuhle papers, even in their matte options.

The collection of Canson Papers that George loves to work with. 

N: Can you explain what OBAs are and why they're a concern?

G: OBAs are chemicals that enhance the look of prints by reflecting UV light. They can make prints look great with the help of UV light, but when displayed in regular indoor settings, they can appear dull or lifeless, especially at night. (noting that LED lighting doesn't have UV) 

Worse, OBAs break down over time, causing prints to yellow and fade. This happens with cheaper papers, while high-quality, museum-grade papers like Canson's are made to last.

N: I’ve noticed that with some of my older home prints—they’ve definitely yellowed!

G: TThat’s typical with cheap paper. For fine art prints, you want longevity. Artists and photographers need their work to last, especially if they’re selling limited or signed editions. A print that fades in a year doesn’t reflect well on the artist or the printer.

N: I’ve always struggled with choosing the right paper. What should photographers consider when selecting paper?

G: The main factors are whether you want a matte, satin, or gloss finish. Matte offers a softer, painterly look, while gloss or satin creates more contrast and reflects light. The key is choosing a paper that suits the image and the emotion you want to convey. For example, I have a bird photographer who initially wanted matte, but after trying both matte and satin, she preferred the satin for her work.

N: I was going to ask you if you have a personal preference for a particular paper?!

G: I lean towards matte papers, but it really depends on the image.

I recommend doing test prints to see how different papers affect the image. It’s subjective—what works for me might not work for you. For fine detail, I often prefer Baryta because it’s flat and sharp, while matte papers can be softer and as a result can affect sharpness..

N: When doing test prints, what’s the best approach? Should you print small or at full size?

G: For large prints, start with A4 or A3 test prints to get an idea of how the paper affects the image. Test strips are useful for checking specific details, like faces, color, pixelation at full scale, without committing to a full-size print. If you're concerned about colour, a small test print will show you how it translates to the paper without the expense of a larger piece.

Just a small selection of the papers that George has available in his lab. 


Editing considerations , Colour Spaces and File Types

N: When editing photos for print, are there things we should keep in mind during post-production?

G: It’s all about thinking ahead to the final product. If you’re planning to sell prints, consider the size and framing options early. Custom frames can be expensive, so stick with standard sizes like A1, A2, A3, A4, or even 8x10” and 16x24” frames, which are easy to find. And don’t forget to plan your crop ratio to fit these sizes. Also, soft-proof your images so you can make sure your colours and tones are within the gamut of the paper.

N: What exactly is soft-proofing?

G: Soft-proofing is essentially previewing how your image will look on paper before you print. You get ICC profiles for the paper and printer you’re using—your print lab should be able provide these—and load them into your editing software. This lets you check if the colours and tones in your image will look the way you want with the specific paper and printer.

N: What’s the deal with ‘gamut’?

G: Gamut is just the range of colours that a paper and printer can handle together.

Matte papers have a narrower gamut compared to coated papers like Baryta or Satin, which can display more of the colour spectrum. If your image has deep blues, for example, Satin might be a better choice over Matte. It really depends on the colours and the feel you're going for.

N: Any other tips for editing or file types?

G: If you're printing large, like A0 or A1, pay extra attention to details. Small things, like a tree or a shovel in the background, can become distractions when the image is blown up. Also, check for any dust spots or color casts—those will be more noticeable in the print. And a common issue I see is dirty lenses—always zoom in to 100% to spot any tiny imperfections. I often flag these for clients before I print.

Printing often makes you a better editor and photographer because you start noticing things you don’t see on screen.

N: So, getting it right in-camera is key, right? What about file types—what should we be sending for printing?

G: Well, JPEGs are compressed files, and every time you save a JPEG after editing, the image degrades a little. If you’re working with JPEG scans, save them as TIFFs. TIFFs are uncompressed and keep the quality intact, even after editing. That’s why they can get pretty big! For high-quality prints, I always recommend sending TIFF files or other uncompressed formats.

So, TIFF is preferred but also,  making sure 300ppi is set for the export (this is the ideal and max. resolution required for the best print). Clearly the larger the print, the more visible the quality will be. The smaller the print, you can get away with more.

Also, some people have output sharpening selected in LR. I would recommend having this turned off so there are no unintended consequences , something I see a bit.



N: Good to know! I’ve been told to export in Adobe RGB for printing. Does that sound right?

G: Yep, Adobe RGB 98 is the way to go. It has a wider color gamut than sRGB, which is better for printing. Just make sure your monitor is calibrated properly, and always export in the same color space from your editing software to get the best results.

A small selection of prints that George has created for me over the past 2 years.


Calibration and Print Accuracy

N: I know some people use laptops or tablets for editing, so can you explain why monitor calibration matters for printing?

G: Calibration is key because if your prints end up looking too dark or too bright, it’s usually a sign your monitor isn’t properly calibrated. Often, people adjust their brightness for a dark room, which can throw off their edits. If you compensate for an overly bright or dark screen, your image won’t look right when printed.

A good tip is to check the histogram—if it’s skewed with too many blacks or whites, it’s another sign your calibration is off (assuming the image is well lit). Calibration helps adjust the monitor’s brightness and colours to match what the print will look like. It's not perfect, but it’s a great starting point.

For more accuracy, you can get test prints and adjust your colors manually. Some monitors auto-calibrate, but you can also buy external calibrators. If you don’t have one, you can use an old trick: hold an A4 piece of white paper next to your screen, adjust the brightness so the screen doesn’t appear brighter than the paper. That's a basic starting place.

N: That’s an awesome tip for those without a calibrator!


Framing Considerations

A variety of framing mouldings. 

George handmakes all of his frames in his studio. 

N: Let’s talk about framing. What’s your advice on including a white border around a print for framing? Should we do it, or not?

G: If you're framing it, most framers will suggest leaving a white border, especially if you're using a matte board. It makes it easier to position the image without it sticking down.

N: What if you’re framing edge-to-edge, with no matte board?

G: In that case, I’d skip the white border. There’s usually a small overhang (about 3mm) on the moulding that will cut off part of the image. If there's a bit of white showing, it can look sloppy and your framer will probably cut it off anyway, which just creates more work for your framer.

N: Got it! Matte board—keep the white border; no matte board—don’t bother. What about glass versus acrylic in frames?

G: It depends on the situation. Glass is typically cheaper, if you want high-end options like museum grade, acrylic will cost more.

N: So why choose acrylic then?

G: Acrylic scratches more easily, so that’s a downside. BUT it’s lighter, which makes it a good choice for places like hotels or commercial ventures where public safety is important. If it gets knocked off the wall, acrylic won’t break as easily as glass, so it’s less likely to damage the artwork. That’s why it’s often used for commercial settings.


Business Initiatives and Future Plans

N: You used to run a Fine Art print club. Any plans to bring something like that back in the future?

G: The Fine Art Print Club started because many photographers and artists weren't printing their work. Every month, I’d introduce a new paper, and members would submit an image to print on it, which I’d send them in the mail.

N: That’s a great idea!

G: It worked well for a while, but after three years, most members had seen all the papers I offered, even though I kept introducing new ones. I might consider bringing it back if I get enough interest—so, "watch this space"!

Right now, I’m focused on growing and expanding. I recently added a bigger studio space—an extra 3x6 meters—and I’m hoping to open a showroom in that area soon.

N: Sounds like you’re outgrowing your space, but in a good way! 

Thank you so much, again. It's been really amazing to sit and chat with you. Very insightful lots of tips for me, and hopefully for everyone else who gets a chance to read it. Thanks George. 


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