All prints are Digital Pigment prints on museum-quality acid-free papers such as Museum Etching, Canson Rag and Arches Velin. These papers are designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. The choice of paper is suggested by the Photographer according to his or her preferences.
All prints are Digital Pigment Prints using the latest top of the line technology, archival high dynamic inks and 200 years old life paper.
No, the photograph is not signed, instead the Photographer signs a Certificate of Authenticity (COA) which accompanies very limited edition prints (1 to 30). The COA protects the security and genuineness of your limited edition print. Larges editions (31 and more) don't come with a certificate of authenticity.
The smaller print sizes are produced in larger editions and do not come with a Certificate Of authenticity to make them more widely accessible and more affordable. Photographs are available in different formats depending of the artist, small, medium or larger scale. The large-scale print size is normally produced in a very limited edition (1-30 prints) making them more valuable because of the limited number available and they also come with a signed and numbered certificate of authenticity.
The Print Atelier aims to achieve accuracy between the photographs you see online and your final print. However we cannot be responsible for minimal differences deriving from reproduction techniques that may exist between the presented image and the print. Computer screens may differ and the colour and contrasts of the image on the screen may not look exactly like what you receive. This is because different types of monitors are calibrated differently. Also, any prints with a soft focus or texture work (grain, spots, etc.) were created that way for artistic purposes.
No. Our prints are on standard paper sizes and we don’t alter the image size and proportions to fit the paper. Each print has a minimum 0.5 inch white border.
Photographer for 40 years, Rejean Meloche has divided his career between press coverage and snapshots. A privileged witness years of Quebec effervescence, he fixed on film thousands of events and personalities for various media from the specialized press and the general public, including the Montréal-Matin and Le Devoir. His work was the subject of a retrospective exhibition at the Cultural and Community Centre Henri-Lemieux in LaSalle in 1991. Winner of various awards, he still drags his camera around the city as a freelance photographer.
2012 | Montréal. L’agitation tranquille, Lozeau Gallery, Montréal, Qc, Canada.
2011 | Des sinistres d’hier à aujourd’hui, Palais des congrès de Montréal, Montréal, Qc, Canada.2003 | Permanent Exhibition (11 photographs), Salle du conseil de la Commission de la Construction du Québec, Montréal, Qc, Canada.
1991 | Les Trois C Gallery, Maison de la culture (Cultural and Community CentreHenri-mieux), Ville LaSalle, Qc, Canada.
2015 | ART et NARRATION, Dominique Bouffard Gallery, Montréal, Qc, Canada.
2014 | Musique : Le Québec de Charlebois à Arcade Fire, McCord Museum, Montréal, Qc, Canada.
2006 | Visages du Pôle des Rapides ,Les Trois C Gallery, Maison de la culture, (ultural and Community CentreHenri-mieux Henri-Lemieux) Ville LaSalle, Qc, Canada
1990 – 1991 | Technical Scholarship from the Ministry of Cultural Affairs of Québec, realization of a solo exhibition.
1977 | Lucien-Langlois Award: 1st Prize Winner, Photos Segment, Montréal-Matin.
1977 | 1st prize, Writing Segment, Firefighters Association of Montreal.
1977 | 3rd prize, Photo Segment, Firefighters Association of Montreal.
1975 | Honorable Mention, Association of Professional Photographers of Quebec.
1975 | Lucien-Langlois Award, 1st Prize Winner, Photo Segment. Montréal-Matin.
1974 | Honorable Mention, Association of Professional Photographers of Quebec.
2012 | « Montréal - L'agitation tranquille – Réjean Meloche », Text by Guylaine Boucher, 2012, 80 p. (ISBN 978-2-9813444-0-3)