Some recent tests on my Canon PRO-4000 printer revealed that I get prints with finer detail, blacker backs (better D-Max) and richer color on Canon Photo Paper Pro Luster than I do with Epson Premium Luster Photo Paper.
I made this discovery when profiling my new Canon PRO-4000. When I profile a paper, I make test prints to confirm the profile is working correctly. Since I had some Canon Luster on hand, I decided to profile that and compare it to the Epson Luster, and honestly I was a bit shocked to see that there was a difference in detail and sharpness. The Epson luster looked slightly out of focus compared to the Canon paper. The Epson print was still acceptable, but why not get the sharpest print i can? And as I further examined the prints, I found that the Canon paper was better in every area.
I already knew that the Canon Pro-4000 inks produces the blackest blacks I’ve seen. But the different between two luster papers was surprising. It was obvious to the naked eye that the Canon luster paper produced a blacker black that Epson luster. This is important to print quality, because the darker your black, the wider the dynamic range, which makes a print more brilliant and more dimensional.
This deeper black has a impact on even the color areas of the photograph. Most subjects contain a multitude of small shadow areas. When these small shadow areas print darker, they create local contrast which makes the colors next to them look richer and deeper, which creates a better print. This isn’t something you can create in a editing program, it is wholly dependent on the printer/paper/ink combination.
Color performance was a little harder to discern. There were some areas of saturated color where it appeared better on the Canon paper, some areas where the local contrast from darker blacks made the colors appear richer, and the image sharpness also made the Canon paper appear better. Regardless, the final overall effect was a richer print on Canon luster. .
What I saw convinced me to make Canon Photo Paper Pro Luster my luster paper of choice for my personal work and for customers. It’s a clear winner when compared side by side in carefully controlled tests with images I am very familiar with.
This test made me curious to see how other brand luster surfaces papers perform, so I plan on doing more testing as time allows.
I also compared these prints to Fuji Luster RA-4 paper exposed with a Chromira. RA-4 papers are a light sensitive paper and one of the most commonly used papers by photo labs. The results were interesting enough to deserve their own article at a later date.
Questions or comments? Use the comments section below, and I’d love to hear your experiences.
Great article from The Guardian on how photography is driving overwhelming visitation to #instagramworth spots. For me, the National parks and wilderness have always been about solitude, finding places where I can hear that still, small voice. Its the individual experiences I have in those moments that spur me to photograph. Kinda hard to do standing shoulder to shoulder with 5,000 people at the same spot.
Your photos are the perfect gift to give this Christmas...something actually made by you, that can be appreciated and loved. Maybe it’s an amazing landscape photo you made this fall, or a portrait of the kids for Grandma. Whatever it is, your print is something your friends and family will truly treasure.
The time to order is now, so you aren’t rushing at the last minute. I’m going to make it easier by offering an Early Bird special of 30% off 16x20 prints on any of my papers. All you have to do is mention this sale when you place your order.
You don’t have to be an expert to make a beautiful print...just tell me what you want, and I’ll make it happen. You can find information on all my printing options at http://www.richseiling.com/prints.html, including easy online ordering. Sale ends Nov 25.
To me, bespoke printing means I craft your prints, making a product that is far beyond “upload and print.”
When I make your print, I’m seeking to use the materials to the limit of the process. Instead of doing things the fast way for more efficient production, I can do things the slow way that provides the utmost in quality.
You can customize your print to meet your unique needs and specifications, and you can talk directly to me about your order to answer any questions you may have.
You are printing on papers that I’ve personally approved and ensured the accuracy of; papers I’ve picked for their unique qualities.
I can print your file as-is, or I can do all the image editing for you to make a true museum-quality piece.
You don’t have to be a professional to use my services, you just have to have an appreciation beautiful, well-made things. Everyone has a unique story to tell, and my goal is to help you share that story the best you can.
Will your prints match the next time you print them? Can you take the same file and obtain the same results using a different printer, ink, and paper? I can, and so can you.
For twenty years, I’ve been printing client photos, and my own, over and over again with a very exact match, using different printers including LightJet, Chromira, multiple generations of Epson printers, Canon Printers, and even Metal...and on dozens of different papers. It is still a little mind-blowing for me to realize that this is even possible; That I’ve been printmaking for that long, and with so many different processes.
Accuracy, control, and repeatability are what first made digital printing interesting to film photographers, long before there were viable DSLRs. For a photographer who sells prints, having the print they deliver match the one the client saw on the wall, regardless of size, was (and still is) a huge deal. With darkroom printing using an enlarger, this kind of matching was virtually impossible and caused many frustrations. My earliest clients were mostly photographers with galleries who needed to be able to deliver prints that matched on demand, at any time, and at any size. They moved to digital to make that a reality.
That requirement, to match the original print at any point in the future, makes how I set up my printer the most important step in my workflow. I absolutely need to print the file as accurately as possible so it will match the previous print. My pro clients can see the smallest differences in color, density, and contrast. They know their subjects, and their photos, inside and out. They immediately see if something is off. Some of them can even explain the scientific process that produces a certain shade of color in an animal’s feathers; or a geologic feature; or the ocean in a certain part of the world. Achieving this exacting level of color matching is one of the reasons they keep working with me, and drives every step of my process.
The key to this is color management; using ICC profiles to characterize a paper/printer/ink combination. With an accurate ICC profile, if you do all of the printing steps the same, you will enjoy the same result, time after time, even if you change printers or papers.
That’s why I take profiling very seriously. Every profile I use has been carefully tested by printing a test image, and comparing it to my library of previous test prints to see if they match. These test prints let me evaluate accuracy, but they also let me evaluate differences between printers, inks, and papers. Obviously, not all printers, papers, and inks can produce the same aesthetic feel, and the definition of “match” needs to include these factors. It also lets me see improvements to the printing process. When a manufacturer makes a blacker black ink, you can see it in the test prints, and see how it affects the image.
Matching also means that what I see on my printer looks like what I see on my $1,000 reference-grade monitor. Being able to make a very good screen-to-print match on the first print not only makes me efficient when working on client files, but it also lets me work more intuitively on my own photos, which I believe lets me bring more out of the process. It allows me to be more expressive because I’m not fighting the file, but can work with it fluently and easily.
How accurate do you need to be?
That’s something only you can answer. While very high accuracy is a vital part of my personal expression, and of my business printing for other photographers, a photographer printing for themselves has more leeway to say “good enough.” The public-at-large viewing your photographs are not trained to see the small differences in color and density that a photographer is. They don’t know what you saw in your mind’s eye when you clicked the shutter. They only know what they see on the print, and whether they like it or not.
Even if you don’t have the world’s best profile, you can make prints that “match” themselves as long as you use the exact same file, printer, paper, and settings. Of course, if you change any of those factors, then your prints will no longer match. When (not if) that happens, your only solution is to decide that the difference between how it printed before, and how it prints now, is acceptable...or go back and make new adjustments to make a better match.
My personal expectations, and those of my clients, don’t give me this kind of leeway. But when you are the one doing the printing, you set the expectation for how well your prints will match the next time you print them. Your bar is going to be set by your needs, expectations, and how well your eye is trained. When getting the prints you want becomes frustrating; when you’ve spend hours working on a photo in image processing software to make it look exactly the way you want it, only to have it print differently; then it’s time to learn to become more accurate.
But I encourage you to seek that high bar of accuracy even before you need it. The ability to see, and control, small differences in color and density will help you make better decisions when processing your photos, and make you a better photographer. (Plus, your prints will look the same 20 years from now!)
Will you give a vote for my friend Tony Wu? This amazing photo of a Humpback Whale is up for a People’s Choice award for the Wildlife Photographer of the Year Contest.
Tony makes amazing pictures of these majestic creatures, and spends significant amounts of time at sea observing them. His photographs capture unique glimpses of these creatures and their behavior. I’ve printed Tony’s photos for many years, and what is always striking is the amazing blue water and immense detail he captures. There is a blue color in some of the nutrient poor areas of the oceans that is unlike anything I have seen anywhere else in nature. It’s depth, transparency, luminosity, and complexity is breathtaking. The first time I saw it off Maui, it left me speechless. Making sure this amazing color and the fine detail of Tony’s photos come through in his prints is always a rewarding challenge.
Please take a second to vote, then check out Tony's blog for more amazing photos and the stories behind them.
I’m honored to be featured on the Visionary Wild website as as their recommended printmaker. I’ve been fortunate enough to work with many of their instructors over the years, so I know the level of mastery and professionalism they bring to every workshop. Their instructors are simply the best, and a workshop with them should be on every photographer’s bucket list. They will grow you more than you thought possible. And they visit some pretty amazing locations too ;)
Are you making prints on a regular basis? Why? Or why not?
I think printing should be a regular part of your photography. Nothing will test your photographs more, stretch your abilities, and force you to learn new photography skills, than the process of making prints.
I’ll go so far to say that, if you can consistently produce fine quality prints from your photographs, you will have successfully mastered key components of the craft of photography, and you will be equipped to explore even greater depths of the art.
First, you have to understand that prints are the ultimate expression of a photograph.
Stop thinking that what your monitor or device shows you is what your photo really looks like. The screen is not even close to the accuracy of a print.
Professional printing devices are capable of producing a much wider range of colors (color gamut) than a screen can. They are capable of higher resolution, greater detail, more delicate highlights, and delicate shades of gray in black & white. It’s the difference between a flawless live performance of your favorite music, versus a YouTube video of it from a crummy phone.
Because of this, the print is unforgiving. It will show every flaw and every error in judgement, exposure, focusing, color balance and processing. It’s not a 1500 pixel square on your phone; it’s the real thing, raw, fully laid bare for all to see. And that’s why it’s so powerful. It will test you, measure you, raise your expectations, challenge you, sharpen you, and make you a better photographer.
Don’t do it alone. You need someone who has already mastered the skill to guide and critique your progress; to tell you it’s too contrasty, your highlights are blown out, or you didn’t focus properly. This is an integral part of formal photography training that is lost if YouTube is your only teacher.
Take a class at a local college, go on workshops, and share your work at local photo clubs. Seek out people who make prints you admire, and beg, borrow, or buy time with them to be mentored. Some of the best photographers in the world are easily accessible through workshops. Take advantage of that.
Then find museums and galleries close to you, get on their mailing lists, and go look at prints regularly. Seek it out when you travel. Develop a mental impression of what you think a great print should be. See how artists handle shadows and highlights, color, focus, and paper choice to make their expression.
Lastly, make prints regularly. You’re going to learn more working on a fifty prints in a year than you will just ten. Don’t get caught up in what’s “print worthy” or not. If you think there is something there, print it and start working the process. Hang them on the wall, live with them, and see if they stand the test of time or need to be reworked, or abandoned. Start with 8x10 prints then work your favorites up to larger sizes. Fill your walls, and your friends! Give them as gifts, and let others enjoy them.
Making prints is the fast-track to improving your photography and refining your craft, making you into an even better photographer than you already are.
November 17, 10am—5pm
To make Photoshop work for you, you need a workflow; a process and a structure that guides what steps to take, what tools to use, and when to use them.
This workshop takes you through my Photoshop workflow. I’ll teach you what tools I use, what order to use them in, how they work, and why I use them.
Through hands on exercises, you’ll learn how to use adjustment layers for a non-destructive workflow. You’ll also learn to use layer masks, one of the most powerful features of Photoshop. Special attention will be given to the use of curves to control contrast, density, and create rich highlights and shadows.
You should walk away from this workshop feeling confident that you can learn and use Photoshop to create top-notch results. My workflow is simple yet powerful. It doesn’t rely on tricks or gimmicks, but on the fundamentals of photography.
I’ve used these tools and workflow to make gallery prints for some of America’s finest photographers. They expect prints that don’t look “digital” or “fake” from over-processing or poor technique. It has been used to create tens of thousands of prints by me and the Master Printmakers who worked under me, and taught to hundreds of photographers on workshops like this one. It is a proven workflow that will unlock the full potential of your photography.
My workflow is so fundamental to the results I achieve that this workshop is for you regardless your skill level. I know you will benefit from this information, gain a more in-depth understanding of Photoshop, and the creative approach to its use.
The class is hands-on. After each lesson, we’ll practice it to ensure you’ve grasped the concept. Mac laptops with Photoshop are available for free, or you can bring your own.
Register on Eventbright
Technology Engagement Center
306 Minerva Drive
The new Nikon mirrorless system has everyone buzzing. Even my pizza guy was talking about it with me the other day while I was waiting on my pies, a conversation prompted by the Sony a5000 around my neck.
So what do I think?
I think you should be thinking about lenses. For most photographers, the latest camera isn’t going to do near as much for your photographs as better lenses will. That’s because, if you are like most photographers, you are probably using lenses that don’t make the fullest use of your sensor (and that’s true even of your expensive zoom.)
The reality is that the sensors in all the major camera brands have gotten pretty good. If you are using a pro body instead of a consumer body that is of recent vintage, the improvements are going to be incremental. Even the top of the line Nikon d810 only offered incremental improvements over the d800, and while I might be able to see that extra little bit when working the file in Photoshop, once you get to the print, there are no tell tale signs to tell me which was from the D800 vs D810.
In fact, the differences between even different brands of sensors with a pro-ish body isn’t something you can readily identify by looking at typical prints. ~24 MegapixelNikon/Canon/Sony/Fuji all produce really good results.
You probably have more to gain by buying a better lens than a new camera. Because while the camera brand you used might not be noticeable in print, the lenses you use will be.
Prints don’t lie. If your corners are fuzzy, with low resolution even at a higher f stop, then it’s very telling of the quality of your lens and how you used it.
For years the standard with film SLRs, and now DSLRs, has been to accept lenses that were sharp in the middle and gradually lost resolving power towards the corners.
But while this was the standard in 35mm size SLR bodies, it was not the standard with medium and large format film cameras used by many professionals. On my 4x5 film camera that resolves upwards of 200 megapixels, I expect the image to be sharp from corner to corner as well as in the middle. After all, what’s the point of using such high resolution film if you aren’t getting all the incredible sharpness and resolution it can achieve?
So I come to DLSRs with a different expectation. It is possible to achieve this corner to corner, high resolution sharpness with a DSLR…if you pick the right lenses.
Zeiss is the first lens brand that comes to mind, as well as many of the Sigma Art lenses. Select lenses from Nikon and Canon lenses are also very good, but most lenses from Nikon/Canon/Sony/Fuji are are just average…which is really true of all the manufacturers. Nikon/Canon/Sony/Fuji et. al. make lenses at a wide variety of price points with a wide variety of quality. This is especially true of zoom lenses. It requires careful research to separate the multitude of average lenses from the few really great lenses.
Picking these lenses is a topic for a different article, but a good starting point is looking at the MTF curves for a lens. Another great resource is Lloyd Chambers site diglloyd.com. Instead of made up testing metrics, Lloyd lets you see full size images from most of the high end lenses and camera systems made in real world situations (although you do have to pay for access.) I find that looking at actual images tells me more about a lens than the average opinion, and Lloyd lets me do that without having to buy or rent a plethora of lenses. Or you can put things to the ultimate test and use them them side by side, which is always very enlightening.
Lenses are the long term investment in a system, not camera bodies. The rules of physics don’t change, and a great lenses today will be a great lens for a long long time. You are likely to keep your lenses for over a decade or more, and use them on a series of different camera bodies. So before rushing out to buy the latest greatest body, take a look at your lenses, and see if you should be adding one or two really sharp primes to your bag instead.
Honestly I’d rather use a 24 megapixel camera with a couple of really sharp primes than an 36+MP camera with just average glass. The difference is that striking. Getting a better lens is the lowest hanging fruit you can pick, and will improve every photograph you make with it much more than a incremental body upgrade will.
Photographer, teacher, and fine art printmaker Rich Seiling works to push the limits of printing technology to create beautiful Museum quality photographic prints for his clients and himself.