On June 12, Canon hosted an invite-only gallery opening to showcase their latest exhibit From Light to Ink, which highlighted and called for a revival of the dying art form of printed media. With a nearing packed house and a continued influx of Pinot Noir, guests were welcomed with the presence of the night’s guest of honor, legendary documentary photographer and Emmy-nominated filmmaker John Stanmeyer. Stanmeyer, whose continued support for Canon goes unprecedented, embarked—yet again—on an assignment from National Geographic to document the Central Asian Caucuses with his Canon gear earlier this year, displaying his abiding unapologetic will to both his craft and printing.

Additional featured artists like Karen Grubb and Jacob Santiago shared in Canon’s mission to revitalize the printing industry by displaying images that have demarcated their careers with immeasurable standards by utilizing Canon’s always bewildering imagePROGRAF printer.

“We’re trying to encourage the use of printing more because there are so many images being taken today, but not enough printing,” notes Santiago. “To see these fine images of art hanging on the wall is just amazing.”

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The Canon imagePROGRAF printer—which is stifling in person, trust me—laid center in the gallery space, validating the power any image can possess when brought to life with large format printers and supreme artistry.

What makes these high-quality large format prints so unique is their ability to connect the viewer to a more significant level with each artist; truly indulging them into their world. More notably, these printers allow for artists to further capture beautiful imagery that would only be translated as sub par on a smartphone or computer monitor.

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“There’s a lot of talk about a digital dark age,” remarks Stanmeyer. “Here we are, able to physically see work that otherwise the world would not be able to see because of printing.” Stanmeyer continues on, emphasizing the importance of being able to view and hold images instead of having them broadcasted on distant screens, for these prints are imperative to our interpersonal historical documentation.

“This is a reminder for all of us to embrace who we are as human beings and photographers,” Stainmeyer says. “With [photographers] as the conduit, we must be able to see [this potential loss of history] and change it.”