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Members of my newsletter Collectors Alert get a free ebook.

The next issue goes out early morning Monday, July 9.

Sign up for Collectors Alert free.

 

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When you’re evaluating print quality, knowing what to look for is almost as important as knowing how to achieve it. Many technical factors contribute to print quality. Here’s a list of things to look for when you’re evaluating print quality – yours and others’.

It’s not that every one of these factors has to be optimal to achieve great print quality. It is that every factor you optimize enhances print quality further.

Well Focused

No Motion Blur

No Sharpening Artifacts

Extended Depth Of Field

Extended Dynamic Range

Appropriate Lightness

Highlight Detail / Separation In Values

Shadow Detail / Separation In Values

Mid-tone Contrast

Gradation

No Posterization

Low Noise

No Noise Reduction Artifacts

 

Believable Color … or … Color Transformed With Intent

Color Without Artificial Color Casts

Variation In Single Colors

Saturated Color

 

Appropriate Materials

Appropriate Scale

Appropriate Presentation Materials

Appropriate Contextualization

Appropriate Price

So what’s ‘appropriate’? That all depends on the statement being made. The real question is, “What is the artist trying to do? And how well did they achieve that?” You can successfully break the rules if you break them for a reason.

Oriens

1

Oriens, 1999

Selva Obscura VI

2

Selva Obscura VI, 2002

Oriental II

3

Oriental II, 2000

Correspondence - Nocturne - XII

4

Correspondence XII – Nocturne, 1999

Reflection I Adagio

5

Reflection I – Adagio, 1999

Condensation II - Prelude

6

Condensation II – Prelude, 2001

Correspondence - Sonata in Blue -III

7

Correspondence III – Sonata in Blue, 1999

Refraction X

8

Refraction X, 2002

Exhalation I

9

Exhalation I, 1996

Resonance in Red and Gold IB

10

Resonance IB – in Red and Gold, 2000

Resonance in Blue and Gold IA

11

Resonance IA – in Blue and Gold, 2000

Wake I

12

Wake I, 2004

Enjoy this collection of my twelve best-selling images.

Click on the links to find their current prices.

Find out more about my editions here.

Find out about new releases here.

In this video …

I describe what motivates me to make my images.

I celebrate the power of prints.

And I discuss why I choose to print with Epson printers, inks, and papers.

Learn more in my digital photography and digital printing workshops.

Find out more about Epson’s new Legacy papers here.

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Revelation XLIII

Digital technology offers interesting new possibilities for print editions.

The appearance of the print may change.

It has long been an accepted practice that artists will change the rendition of their images over time.

Ansel Adams famously remarked,  “The negative is comparable to the composer’s score and the print to its performance. Each performance differs in subtle ways.” You can view the changes in Ansel Adams’ classic Moonrise Over Hernandez here. Some collectors search for the optimum print made in an artist’s lifetime, while others collect multiple prints to create a meaningful comparison.

The composition may change.

Similarly, it’s been accepted that a composition may vary if cropping is adjusted during printing, though typically this is a matter of fine tuning rather than dramatic change. Today, with composites, the composition may change by replacing components, often dramatically changing the composition.

I’ve released composited images and later changed the composition substantially.

In the following to image, Voyage Of Grace, the feather at the top of the waterfall was at the bottom of the waterfall in the first print sold. I chose not to start the edition again because it was not a substantially different statement. The one collector who has that print has a unique item with exceptional value. (I do offer print replacements for a fee, which the collector has not chosen to exercise.)

Voyage of Grace

Find out more about this and related images here.

Updated Or New Edition ?

For me, the question of whether to replace one edition with another or to issue a new edition is an interesting one. It’s one that my father – a traditional analog photographer – and most photographers of his generation do not have to address. New possibilities bring new challenges.

There are times when related but distinctly different images warrant a new edition.

The following two images are made from separate single exposures of the same subject made at approximately the same time, but their compositions and intent are quite different; one is straight and representational, the other is composited and surreal.

Antarctica XXXVIII

The straight image

View the straight series here.

Revelation XLIII

The composite

View the composited series here.

The two editions both complement and contrast with one another in ways that build value in each edition. In general, when you can align the interests of the artistic statement with the interests of the market, you’ve got a winning combination.

Find out more about my print editions here.

Sign up for my newsletter Collectors Alert here.

Download my free PDF on Editions here.

Learn more in my digital photography and digital printing workshops.

Recently on TWIP’s (This Week In Photoshop) The Fix I spoke with Jan Kabili about the power of printing your photographs. Then I demonstrated how to get the best results possible with Softproofing & Proofing practices. Watch this and you’re sure to get better prints in less time with less waste.

Find more useful videos on TWIP’s The Fix here.

Read more with my free Color Management and Printing resources.

View more in my DVD series R/Evolution.

Learn more in my digital photography and digital printing workshops.


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