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JAMES MCALICE

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Born and raised in Kingston, Massachusetts, James started a passion for art at an early age with drawing and painting. James ended up in San Diego, California for a few years painting houses, mixing paint, and helping with interior color designs. He ended back in Massachusetts in a small town called Westborough continuing construction and interior color design. From there he landed a job at the Art and Frame Emporium, under the owner Ed Turner, learning how to frame artwork, reigniting his passion for art and realizing he had an eye for photography. With having the great pleasure of helping other artists getting their career started by helping to host art shows for them and selling their work. After six years at the Art and Frame Emporium he took over management and saw a prime opportunity to express his self through his own photography. He mainly focuses on landscapes, enhancing the colors, HDR, or black and white, and he has dabbled in model photography.

“There is so much beauty in the world and you really have to slow down to notice most of it. Having a camera makes you become patient and observant.  I am a self-taught photographer with an eye for capturing everything from the awe-inspiring beauty of fireworks in a Boston city skyline to a nineteen-twenties clad gentlemen with a glass of wine in one hand, the bottle in the other, and a face that encompasses emotions ranging from disgust to exasperation.  My ability to mold into any genre of photography is enables me to stay significant during an era overflowing with camera phones and elementary kids toying with Photoshop.  My technique varies from classics such as: portraits, wedding photography, and black and white film, to more unconventional aesthetics involving high-dynamic-range imaging, color enhancement, or even images of landscapes fallen into such disrepair and disregard that I might be one of the few to even notice their natural allure.” 

Click on our logo to hear James radio interview on "An Artist Speaks"

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Description of Policy from Merchant:

How To Return a Purchase? If you are not completely satisfied; you can return your art within seven days. Please save the original packaging when you receive the art. If you choose to return the art, repackage it in its original box and contact us at service@cagonline.co or (844) 210-7722. We will then issue you a prepaid FedEx or UPS shipping label to affix to the box and return. Items must be shipped backed within seven days of receiving the order. 50% of the cost of the return will be deducted from your refund. If you live outside of the United States, please see below for the return procedure. Art that is returned damaged will not be refunded. Photographs and limited edition prints that are returned wrinkled, dented, or smudged due to mishandling will incur a handling fee based on the size of the piece. Outside the United States, How To Return a Purchase? If you are not completely satisfied; you can return your art within seven days. Please save the original packaging when you receive the art. If you choose to return the art, repackage it in its original box and contact us at service@cagonline.co or (844) 210-7722. We will provide you with the return shipping address so that you can ship the artwork with the carrier of your choosing. You are responsible for the cost of return shipping and any customs and brokerage fees charged upon return. Items must be shipped within seven days of receiving the order. Receipt of a Damaged Piece of Art? We package all artwork in custom built art boxes to insure safe delivery, so receiving damaged art is a rare occurrence. If you receive a damaged piece of art, contact us within 24 hours, at service@cagonline.co or (844) 210-7722. Please take a picture as well as save the box and all packaging material; we must have these items in order to process the claim.

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Verified Archival Materials Used

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Description from Merchant:

Archival Quality paint must have certain qualities. The first is the paper itself. The paper or canvas must be manufactured using pure alpha cellulose fibre, pure cotton fibre or a combination of the two materials. This will ensure the paper base is pH7 or above or acid free. A paper that contains lignin cannot be acid free as lignin is a naturally occurring acid within plant fibres. It is the lignin content in newsprint paper which causes it to yellow and go brittle over time. Next the paper is coated for preparation of printing. This preparation changes depending on the machine and paper used. The coating is applied to the surface of the paper base to ensure that the ink is absorbed in just the right amount. Once a coating is applied, the pH value (acidity) of the entire paper changes. The only way for this to be addressed is for manufacturers to ensure that the coatings used on their papers are as close to acid neutral as possible and to supply the pH value of the total paper (base and coating) rather than just the base. Then the ink is applied to the Archival paper. In order for a print to be considered An Archival print the inks used are pigment-based instead of dye-based. Finally; to maintain your Archival Print, below is a checklist.: 1. Ensure all the materials used to mount, frame and store finished prints are acid free. 2. Display your own prints out of direct light, in an environment with stable temperature, and humidity levels.

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