Photo Cascadia Blog
Archive for the ‘printing’ Category
Note: Readers have asked some great printing questions in various locations, so I’m compiling them along with my answers at the end of the article so they are all in one place.
I often get questions about how I prepare an image for printing with an online print lab for best results, so I’ve collaborated with Artmill.com to create this tutorial which we hope will help you get great prints.
Printing online can be as simple as uploading phone pics to a lab directly from your smart phone or as advanced as working one on one with a professional print master to go through a multi-step hard-proofing process to fine tune every aspect of the final piece. Most of us who are photography enthusiasts will take an approach somewhere in the middle. Just a few simple pointers can really elevate the quality of your prints.
In the video below, I take you through my process of preparing an image for printing online. In both Lightroom and Photoshop, I cover how to address color accuracy, contrast, sizing, sharpening and the most common print challenge…prints that come out too dark. In the video, I unbox the print so you can see how it turned out.
Artmill was kind to provide the promo code OUTDOOREXPOSURE for my viewers/readers. You can use it at http://www.artmill.com to get 15% off your first order.
For more tips on printing make sure to read Zack Schnepf’s article on the Photo Cascadia blog: www.photocascadia.com/blog/5-essential-tips-when-preparing-images-for-print
You can also view my tutorial on soft proofing in Photoshop: https://youtu.be/ND_GzCueX4s
Just to be clear, I don’t work for Artmill and I was not paid to do this video. We felt some information on this topic would be welcomed and they were kind enough to provide the printing. The print itself will be auctioned as part of a fundraiser for the public library here in my home town.
Your Q’s generated by the video and my A’s:
Q: I’ve been wanting to try an online print, but worried I would mess it up.
A: If you haven’t printed online before I suggest ordering a small test print on photo paper first and if you like what you get, then order a larger, more expensive print. Some labs even offer a free small sample print on your first order for proofing purposes.
Q: I have had such awful experiences with online prints! Always dark, grainy, out of focus.
A: It’s important to remember that the print can only be as good as the original image file. Issues that may not be noticeable at a small size on screen, such as noise or soft focus, will become very obvious in a large print. It’s important to zoom in to 100% magnification to inspect and evaluate images. If you see noise, focus or other issues that bother you at this magnification then they will be visible in a large print…and the larger the print the more visible they become.
Q: When you were in Photoshop did you increase the size of the image? I always thought this would make it blurry and lose sharpness and detail.
A: Yes, I did enlarge the image in the video…both in the Lightroom example and the Photoshop example. If you want to print a photo bigger than the size it comes out of your camera it must be enlarged somehow. You can either do it or the print lab will do it…but somebody is doing it. There are two ways that Photoshop can enlarge images for printing. It can either increase the number of pixels in the image (interpolation) or it can increase the “size” of the pixels (decrease the pixels per inch). Taken far enough, both of these methods will eventually lead to decreased image sharpness and detail. But Lightroom/Photoshop now do an excellent job enlarging. I find that I can at least double the output size of my original image file and still get excellent results. For example, without any enlarging an image from my 30.4 megapixel Canon 5D4 will print at roughly 15 x 22.5 inches at 300 ppi. This means that I can enlarge up to 30×45 at 300 ppi with very good detail and even up to 40×60 or larger if the image is very clean or when printing on textured paper or canvas, which doesn’t show as much fine detail anyway. Depending on the viewing distance, you could potentially go even larger. I have printed wall murals 15 feet high that look great because you have to stand back several feet to view them. They are not as sharp up close, but that’s not how they are meant to be viewed. So, if you want to print images larger than they come out of your camera I say go for it!
Q: Before you apply the sharpening for print, do you remove all other sharpening that might have been applied before in Lightroom?
A: I learned from the photography gurus, Mac Holbert and Jeff Schewe, to think of image sharpening in three phases: input sharpening, creative sharpening and output sharpening. Input sharpening is the fine sharpening you can do in LR or Camera Raw to tighten up the fine edges and optimize clarity that is lost with digital cameras (caused by low pass filters and pixel bleed). Creative sharpening is the interpretive and often localized sharpening (or blurring) and clarity work we do during the developing process to help guide the eye, create depth and dimension and showcase elements. Output sharpening is the sharpening done to an output copy to optimize the image for the particular output at the particular size. For example, an image sized to 1000 pixels wide for viewing on the internet has different output sharpening needs than an image sized to 18,000 pixels wide for a 60 inch print on canvas. All three of the sharpening passes are independent of the other and need to be determined on a case by case basis based on the qualities of the image and the intent of the photographer. But, in short…all three types of sharpening work together so don’t remove one to add the other. You do want to carefully evaluate and adjust them as you go to make sure that they are working in concert with each other, however.
Q: Do you also increase the exposure, contrast and vibrance when printing on your home printer?
A: Yes I do, but at home I can also soft proof with the ICC profile for my printer and the paper I’m using and I can run test prints and make adjustments until I get it just right…so the process is a bit more scientific.
Q: You selected the printer resolution of 2880 x 1440 in Output Sharpener Pro. How did you know what to select there?
A: This is another question you could ask your lab to find out what settings they use and be the most accurate, but the differences will be slight. On my own printer that is the ink dot resolution I print with. I didn’t ask Artmill what printer resolution they use so I went with that to be safe. Choosing a lower resolution in Sharpener Pro adds more sharpening to compensate for fewer dots of ink. If I don’t know the ink dot resolution the printer will put down on paper I feel it is better to err on the side of under sharpening than over sharpening.
Q: Are the Nik/Google plug-ins still available? It was great when Google made them free…but then I heard they were going to stop offering them. If they are still available then people should grab them while they can.
A: Yes still available at the moment. There are other options as well, including PhotoKit Sharpener 2.0 by PixelGenius, Topaz and others.
Sean is a full-time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.
My favorite way to experience photography is through print. It’s hard to describe the tremendous satisfaction I get when viewing my own prints, or prints from a photographer I admire. I’ve always enjoyed printing myself. I learned to print in the darkroom in my college photography classes and when I moved to digital I taught myself how to make my own prints at home. As my photography progressed people started to ask if they could buy prints of my images. Eventually, I started doing art festivals and gallery shows to share my work and make more print sales. Whether you plan to print yourself, or have prints made by a dedicated print shop it’s essential that you understand a few basic concepts about color management and preparing images for print.
We live in an increasingly screen based culture. The majority of photography I see is on some sort of screen. A lot of photographers I meet who are starting photography exist almost exclusively in the digital universe. Eventually though, you, or someone you know might want a print made of your photos. Photographic printing can be daunting at first, but it’s very satisfying to see your own images in print, and you will be a better photographer if you understand the fundamentals of color management and print preparation. In this article, I’ll share five essential tips for getting you and your images ready to print.
- CALIBRATE YOUR MONITOR:
It’s hard to stress how important this is. There is no point spending hours processing your photos for print if you haven’t calibrated your monitor. It’s the foundation of color management, and brings everyone into a common color standard. I remember when I got started in photography many years ago, I read on some forums about the importance of calibrating my monitor. At the time I was more concerned with acquiring more lenses and gear and didn’t see why it was a big deal. When I started printing I learned a hard and expensive lesson. The first prints I made were a huge disappointment. They didn’t look like what I saw on my monitor at all, the colors were off and it came out really dark. With a little more friendly advise I finally invested in a decent calibrations package. Once I calibrated my monitor I realized two important things. One, it’s really helpful when everyone is using the same color standards and profiles, otherwise what may look red on my screen could look orange, or purple on another. Two, I had my monitor set way too bright. Reflected light from a print will never look as bright as transmitted light from a screen. Lowering screen brightness much better reflects how an image will print. Here is a link to the colormunki screen calibrator I use now. Very easy to use and profiles really accurately. All of their products work really well, but I like the customization options with the colormunki display model: http://xritephoto.com/colormunki-display
- UNDERSTAND BASIC COLOR MANAGEMENT:
Whether you are printing yourself, sending your files to a dedicated print shop, or preparing an image for a publisher, you will get much better results if you understand the basics of color management. There are two basic concepts to understand when managing color on your computer. The first is using the correct color space when exporting from Lightroom, or Adobe Camera Raw and the right color setting in Photoshop. I always use the Pro Photo RGB color space as it has the widest color gamut, I prefer to start my editing with as many colors as possible especially if I will be printing the image. The second concept is using the right printing profile. If you’re having someone else print for you, it’s still important to understand printer profiles. You can use a printer profile to soft proof your image and get a preview of how it will look when printed with the specific printer and paper they use. Printer profiles are scripts used by the printer to adhere to color standards, they help the printer produce an image that looks as close to what you see on your screen as possible. I’ll talk more about soft proofing in the next section.
- SOFT PROOFING AND HARD PROOFING:
Soft proofing is using software such as Lightroom, or Photoshop to preview a printer profile. Soft proofing attempts to simulate what the image will look like when printed on a specific print paper with a specific printer. I think soft proofing is useful to get you in the right ballpark, but I don’t trust soft proofing completely. It is still pretty unreliable when trying preview exactly what a print will look like. I use soft proofing to get me close and then I order a test print which is called a hard proof. Once the test print is made, or arrives from a print shop, I can evaluate it and make any adjustments that I think it needs. This method is what I rely on when making prints for customers, art shows and galleries. The videos below help explain soft proofing in Lightroom and Photoshop.
Great video on soft proofing in Lightroom: https://www.youtube.com/watch?v=8M9B8ABOb9U
Another video about basic soft proofing in Photoshop: https://www.youtube.com/watch?v=Y47uoKE_dAs
- SHARPEN APPROPRIATELY FOR EACH PRINT MEDIUM AND SIZE.
Each print medium I use requires different levels of sharpening to look it’s best. For instance, noise from over sharpening shows up easier on metal prints. Both acrylic and traditional inkjet prints are more forgiving and hide minor noise and digital artifacts better. Canvas is the most forgiving. Print size is also something to consider. What does this mean in practical terms for my workflow? I’ve adopted a simple and flexible approach to sharpening. I do normal output sharpening in Lightroom or ACR to correct for softness introduced by camera, lens, and the RAW format. The amount varies for each image. I continue with my workflow in photoshop to produce a master file with all layers and adjustments preserved if possible. If I’m going to make a print, I save a flattened copy of the master file and sharpen it specifically for that print size and medium. Sometimes it doesn’t need additional sharpening, but if it does it’s usually the last adjustment I make before sending it to print. As a general guideline, I sharpen more for smaller prints, and less for larger prints. The is counter intuitive for many people, but I’ve found that smaller prints need more because they lose sharpness when they are scaled down, and large prints tend to show any unwanted effects that might arise from over sharpening. This is my personal preference and there are other factors to consider including the view distance.
- ADJUST LUMINANCE FOR SPECIFIC PRINT MEDIUMS.
Each print medium has it’s own perceptual brightness and ambient reflectivity. Like I described in the sharpening section, I save a flattened copy of my master file for each specific size and print medium I print on. Aluminum prints and lumachrome acrylic prints have high ambient reflectivity and perceptual brightness, therefore they require very little, if any brightness adjustment. Traditional inkjet prints and canvas require a lot more brightness adjustments if you want to replicate the look you see on your screen.
I’ve been printing a long time, and I’ve learned several important lessons from printing over the years. I’ve noticed that my processing workflow has evolved to accommodate printing. I now tend to process with printing in mind first, and make specific changes to the file later when posting to the web. I also have evolved to process in the most editable and non destructive way to preserve the image quality. I think printing has made me a better photographer and has helped me improve my image quality.
Old video blog about basic printing from Photoshop: http://www.photocascadia.com/blog/intro-to-photoshop-printing-video/#.WIT_MrGZMUE
Recommended printing companies: These are the two print companies that I use. I’ve tried a lot print shops, and these guys both produce incredible, quality prints. I get my Aluminum prints from: http://www.hdaluminumprints.com and acrylic prints from http://www.nevadaartprinters.com
by Zack Schnepf
I’ve been doing art festivals and gallery shows for 8 years now. In that time I’ve noticed several changing trends in regards to what type of prints customers prefer. I’ve seen a huge shift away from traditional framed prints and canvas and toward newer technology like aluminum and acrylic prints. I think there are several reasons for this shift. In this article I’ll talk about my observations while selling prints and share my opinion on why people are buying more metal and acrylic and what advantages they offer over traditional print mediums.
A little history. When I started doing art festivals eight years ago there were only two mediums most photographers were printing on. Tradition printing papers like glossy and matte inkjet paper, and canvas prints. About five years ago, I started to see a few photographers printing on aluminum, acrylic and a few other non-traditional mediums. I really liked the look of these new mediums, but they were more expensive and in the case of the acrylic prints, really heavy. At that time I was in the middle of a failed experiment trying out canvas printing. Canvas prints failed for me because I specialize in highly detailed grand landscape scenes and the detail gets lost in the texture. Certain images still sold well on canvas, but they were primarily low detail abstracts and painterly looking scenes that lent themselves to the medium.
After my failed canvas experiment I wanted to try some prints on Aluminum. Aluminum prints have a lot of advantages over traditional print mediums. They are much more durable, water proof, scratch resistant, light weight, very archival, don’t need to be framed, very three dimensional, and very bright. They also have less reflection issues compared to framed prints with standard glass. They do have a few disadvantages as well. They are not as detailed as traditional inkjet prints and have a much more limited color gamut. The limited color gamut is my biggest issue with metal prints. It can be very challenging to get certain colors to render correctly. Because of this, I have test prints made before I order a full size aluminum print. Once I get a test print, I make adjustments to the print file and order a another test print until I get the results I’m looking for. In my experience, green is the hardest color to render correctly.
5 years ago, when I tried aluminum prints for the first time, they were a big hit. Very few other photographers were printing on metal so my images really stood out at shows. They also look very impressive in person due to their 3 dimensionality, brightness and punchy colors. Pretty soon, all of the images I displayed were printed on aluminum and I’ve enjoyed good success at shows ever since.
Photo: iPhone photo of my 2016 both setup displaying aluminum and acrylic prints.
Recently I’ve been experimenting with acrylic prints and they are my current favorite. They represent the best of both worlds and the best overall quality in my opinion. Like aluminum prints, they are bright and have a beautiful three dimensional glossy look, but they also retain the detail and color gamut of traditional inkjet prints. They do have a few draw backs compared to metal prints. They are heavier, and they scratch easier. Scratching is the only real issue i have with the acrylic prints. You need to be careful when moving, or cleaning acrylic prints.
Photo: iPhone photo, acrylic print made by Nevada Art Printers
Conclusion and recommendations. We have more options that ever for printing our photographs. Different types of images work well on different print mediums. For the grand landscapes I’m focusing on, metal and acrylic are my current favorite print mediums. If I were choosing a print to hang on my own wall I would probably choose an acrylic print, unless it was an area that wasn’t lit very well. In that case I would choose an aluminum print for it’s brightness and reflectivity. For most customers I recommend aluminum first. The durability, brightness, visual impact, and ease of maintenance are hard to beat. The exception is certain images don’t print well on aluminum. There are about 20% of my images that I can’t get to print very well on aluminum. In these cases I recommend acrylic instead.
Where do I have my prints made? I still produce my own traditional prints, but I use specialty printers for both acrylic and aluminum. For aluminum prints I use: http://www.hdaluminumprints.com. Randy at HD Aluminum Prints does a fantastic job and profiles better than any other aluminum printer I’ve used. I have my acrylic prints made at: http://www.nevadaartprinters.com. They produce incredible quality acrylic prints!