We work with fine art photographers and curators to create museum quality prints.



  1. Scanning
  2. Retouching
  3. Digital Fine Art Printing
  4. Dye Sublimation Printing
  5. CMYK Proofing
  6. Finishing

1. Scanning

A perfect print begins with a perfect digital file. There are a variety of image editing processes that can help you get the results you need, from retouching and correcting positive images to working with color negatives and converting files for specific end uses. For your convenience, we can maintain master-copy files of all images.

Our scanning is designed to provide high-resolution, archival digital files. The archive file is embedded with a color profile that will provide the greatest viability for the future. All processes follow the principles and standards acknowledged and set by The Society for Imaging Science & Technology (IS&T), The U.S. National Archives and Records Administration (NARA), and Universal Photographic Digital Imaging Guidelines (UPDIG). Negatives are scanned as negatives; positives are scanned linearly, at the highest possible resolution in bit depth.

  • Color Negative Process

Achieving the best color from color negatives can be a challenge. The automated settings in most scanning software often results in mediocre color with clipped details. Our custom process ensures beautiful, handcrafted color and contrast for your images. If you do have your color negative film scanned by a third party, we recommend that you have the film scanned as an uncorrected, 16-bit per color channel negative image. This will give you the freedom to customize the color for the best results you want.


2. Retouching

  • General Retouching Services

Includes defect removal, masking, local color correction, and simple compositional changes. Corrections are made in a separate file, preserving the original scan as a Digital Master, from which future custom adjustments can be made. All image adjustments (color correction, tone adjustments, sharpening, and compositing) are saved in separate layers so all adjustments are reversible.

  • Advanced Retouching and Composition Services

These services are specialized for each industry and are often customized for an artist’s particular work. Please contact us to request samples of our work.

  • CMYK Conversion

In addition to retouching, we manage RGB to CMYK conversion. Many issues can surface when converting an RGB file for reproduction as a CMYK offset print. Images need to be adjusted for the final medium whether it is a book, magazine, or a newspaper. We work directly with the printer to ensure that you get the best results possible for your images.


3. Digital Fine Art Printing

Pigment Ink Printing is the finest form of digital printing available today. It provides superb color rendition, 100-plus year print permanence and can be used on a wide choice of papers.

Pigment Ink Prints are very versatile and can produce images that are hard with strong contrast, soft and velvety, or can manifest a multitude of other  characteristics depending on the paper choice. Some images work best when printed with one kind of paper; some respond beautifully on a variety of papers. We can help you select the best substrate to fulfill your vision.

KAS provides three service levels of Pigment Ink Prints:

  1. Commercial Prints: A great value when your files only need only to be opened and printed. We provide a standard, quality material for commercial prints. 
  2. Custom Prints: This is our personal favorite. With Custom Prints, we have the opportunity to collaborate with you, working to create the best possible image to fulfill your vision. Included in this service are minor corrections, a test print and fine tuning of the file, and a final print on selected fine art papers. 
  3. Fine Art Premium Prints: There are many fine papers available for Pigment Ink Prints, but a few papers are above the rest in quality. We always ensure that you leave with the highest level of archival print. This service includes custom testing as in our custom print service above. 

(See our paper on Digital Fine Art Printing)

4. Dye Sublimation Printing


A relatively new process in fine art printing, dye sublimation prints have a unique, dimensional quality while also having lightfast archival characteristics that go beyond traditional lab chromogenic prints.

This process starts with a dye inkjet print onto transfer paper. The paper is then loaded into our heat press with the specially coated Chromaluxe® metal. Under high temperature (400˚F) and pressure, the dye is transferred permanently into the coating. Dye sublimation prints are durable because the dyes are below the coated surface, resulting in a fade-and-scratch resistant piece. The aluminum is .045 inches thick, which can stand alone or be backed with any of our substrates, braced, or framed.


These are like white paper and come in these finishes:

  • White Gloss: high-gloss, glassy finish.
  • White Semi-Gloss: non-glare semi-gloss finish.
  • White Matte: non-glare and non-reflective finish.

Special Order:

  • Aluminum Matte: Transparent non-glare coating; the brushed metal shows through light and white areas of the image.
  • Aluminum Glossy: Transparent glossy coating; the brushed metal shows through light and white areas of the image.

In addition to the standard sizes, there is the option of computer controlled cutting (CNC cutting) to any shape.

5.CMYK Proofing

Ken Allen Studios offers SWOP® Certified color proofs of your digital files with professional conversion to various color specifications, for example:

  • WebCoatedSWOP
  • CoatedGRACoL
  • Coated FOGRA39
  • US Newsprint

All proofs offer Color Bars or PrintCertification Targets. Our conversion services also include Custom Spot Color Matching and PANTONE® Color Matching.

6. Finishing

Finishing is important not only to present your work, but also to protect the print. KAS offers mounting, basic framing, and packaging. We handle all sizes and mount on standard as well as custom materials.

Rear or Surface Mounting

We use pH neutral pressure-sensitive adhesive film that creates a permanent bond. Recommended Boards:

  • Sintra® (PVC): a lightweight PVC-based semi-rigid material. Available in 3mm and 6mm thicknesses, it allows for either conventional or glassless display. Available in black or white finish.
  • DIBOND®: a composite material of 2 layers of aluminum bonded to a black thermoplastic core. It comes in a variety of colors and thicknesses; with a standard thickness of 3mm. Extremely rigid, it allows for thin and glassless presentation of both small and large pieces.
  • .063 Anodized Aluminum: a smooth, rigid material that comes in a variety of thicknesses and finishes. It is a popular alternative to conventional framing.
  • Matboard: archival, acid-free mounting board, great for conventional framing.
  • Foam Core: best for temporary exhibits or for traditional framing. Available in a black or white finish.

Front or Face Mounting
We use an optically clear film with your choice of:

  • Glossy framing grade clear acrylic (PlexiGlas®) in ⅛” and ¼” thicknesses. Additional thicknesses by special order.
  • Anti-reflective framing grade acrylic in ⅛” thickness.
  • Thin, glossy, polycarbonate film.
  • Thin, matte vinyl (not archival)

Traditional framing is still the recommended way to display a final print, but there are several other non-conventional framing options, including backings and protective coatings. We will discuss with you the pros and cons of the best options available, depending on your prints’ usage and display environment.

Backings are attached to the rear of each substrate and add a dimension of depth from the wall. They are available as:

  • Aluminum Z-clips: create a 1/4 inch distance off the wall
  • Aluminum braces: ¾ or 1 inch deep, they provide additional support for larger prints and provide a simple way to attach the piece to a wall.