24 Following


Currently reading

Paddy's Lament, Ireland 1846-1847: Prelude to Hatred
Thomas Gallagher
Pivot: The Only Move That Matters Is Your Next One
Jenny K. Blake
When in French: Love in a Second Language
Lauren Collins
Beyond the Job Description: How Managers and Employees Can Navigate the True Demands of the Job
Jesse Sostrin
Vision and Art: The Biology of Seeing
David Hubel, Margaret S. Livingstone
Achieving Your Potential As A Photographer: A Creative Companion and Workbook
Harold Davis
Reclaiming Conversation: The Power of Talk in a Digital Age
Sherry Turkle
Picture Perfect Practice: A Self-Training Guide to Mastering the Challenges of Taking World-Class Photographs (Voices That Matter)
Roberto Valenzuela
Man's Search for Meaning
Viktor E. Frankl, Harold S. Kushner
Terms of Service: Social Media and the Price of Constant Connection
Jacob Silverman

Fine Art Printing for Photographers: Exhibition Quality Prints with Inkjet Printers, 2nd Edition

Fine Art Printing for Photographers: Exhibition Quality Prints with Inkjet Printers - Uwe Steinmueller, Juergen Gulbins A great introduction/overview for me -- the entire topic was new to me. Understanding color models:- RGB (additive color model -- the sum/addition of all 3 basic colors at full strength will add up to pure white. - lab color. CIE Lab color model. Separates colors (chroma A+B) from the detail and brightness (luminance, L) in images. L ranges from black (0 = no light) to white (100), and 2 color axes: a and b. A-axis is green to red (actually more magneta) and the b-axis, blue to yellow. - cmyk model, a subtractive model. Designed for printing. It is not much used in digital photography. Though inkjet printers are technically CMYK, they provide a RGB interface to the user. Transformation from RGB to CMYK is done by the printer driver in the background. Because most people use their monitor as their soft-proofing device, the 1st step toward complete color management is to profile your monitor. Avoid applications that do use or create embedded profiles, or that do not support use of monitor profiles. If you can't reproduce the full gamut of a rich color set which a good digital camera or good scanner can capture on your monitor or your printer, why then should you keep the full gamut using a large color space like ProPhoto RGB or Adobe RGB? 1) Devices are going to improve. 2) During editing, you can lose colors -- or you may gain colors. Therefore, it is reasonable to start with a rich set of colors and a large color space and use 16-bit color depth as long as possible. p.61-62Generally, it is good practice to view a photo at higher contrast, to discover whether you are missing an opportunity to improve your image. If the higher contrast is created at the expense of too highly compressed highlights and/or dark blocked shadows, then it is probably time to decrease a bit. P.94SharpeningAll images produced by a digital camera need some sharpening, as some softness is introduced internally by the anti-aliasing filter of the digital camera (in front of the sensor). Some additional softness is introduced by the demosaicing filter. Sharpening usually should be performed as the last optimization step. P.130You should use your inkjet printer regularly – once a week should be a good time frame. This will prevent the nozzles of the print heads from clogging. It may be sufficient just to switch it on and off after a few minutes. P. 136Let the client handle color management. Do not enable CMS in the application and in the driver. It is much easier to understand what a client application does than what the printer is doing in the background. To get the results you want, work on your profiles, and improve them. p. 138-139Tuning tonality.It is important to remember that we are discussing the tonality you create on a print. It is not possible to produce the same high contrast on paper as can be viewed on screen. Keep in mind that matte papers produce consistently lower contrast prints than the same image on semi-gloss or gloss papers. Print sharpening.If you did not yet perform an output-specific sharpening, you can let Lightroom do some print-sharpening. (low, medium or high). The right degree of sharpening depends on the extent to which you have already sharpened in Lightroom’s Develop mode. It also depends on your image. With sharpening, photographers have a saying: Sharp, sharper, busted. So don’t overdo it. P. 157Print quality related issuesDrying time. 24 hours, but at least 3 to 4 hours. Make certain you don’t touch the surface oa print and let it dry in a dust-free space. Inspecting your prints. Use standardized daylight, D50 (Daylight at 5000 Kelvin), as all color management is based on this. P. 163 As the spectrum of daylight changes through the day, the best time for this will be around noon. Though the least expensive solution, it is also the last reliable one. P.203When handling fine art paper, wear cotton gloves when handling your mats. Suggestions from the resources appendix:Matworks – helpful, free program from Giorgio Trucco. Aids in the calculation of mat openings. www.gt-photography.com/matworks.htmlAlso quickMats – a program for virtual matting. www.outbackphoto.com/portfoliowork/pw_25/essay.htmlTIFFEN – well known for camera filters, but also offers a number of software tools that simulate filters and additional effects: www.tiffen.com/Dry Creek Photo. A web site with many useful links on color management for photographers, various test charts, and hints on how to prepare an image for digital photo printing. www.drycreekphoto.com. They also have a useful page for monitor calibration done without special hardware devices: www.drycreekphoto.com/Learn/monitor_calibration.htm