FADP Highlight – A Sense of Destination

destination
One of the key concepts Mac Holbert and I emphasize in our digital printing workshops is developing a clear sense of destination before you start editing a file. Once you have a sense of destination what you need to do to an image becomes much clearer. Without a sense of destination you may end up wandering aimlessly. Your personal style may influence the route you take but you’ll know what steps you need to take to get where you want to go. First you have to know where you want to go. Your artistic intention determines objectives, outcomes, and procedures. There may be many ways to get there – different tools to choose from and ways to apply them during your workflow – but with a clear sense of destination you’ll be able to more easily make meaningful choices that fulfill your vision.
Learn more at Brooks here.
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Stay tuned to Insights for the upcoming release of our Fine Art Workflow DVD.
Check out Mac Holbert’s website.
Find out more in my Fine Art Digital Printing Workshops.
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Comparing Epson UltraChrome Inksets


How do Epson’s three UltraChrome inksets compare?
White arrows
Areas Epson UltraChrome HDR exceeds gamut of previous inksets.
Blue arrow
Areas Epson UltraChrome K3 with Vivid Magenta exceeds Epson UltraChrome.
White
Epson UltraChrome K3 3800 on Epson Exhibition Fiber Paper
Orange
Epson UltraChrome K3 Vivid Magenta 3880 on Epson Exhibition Fiber Paper
Spectrum
Epson UltraChrome HDR 7900 on Epson Exhibition Fiber Paper
Find out more about Epson’s ProImaging printers here.
Get my free printing resources here.
Learn more in my The Fine Art Digital Print workshop series.

Epson 3880



New Epson 3880!
Price
$1,295
Size
17×22″. No roll attachment.
Ink
UltraChrome K3 with Vivid Magenta (8 inks) not UltraChrome HDR (7900/9900)(10 inks)
Autoswapping Photo and Matte Black ink.
Further reduced ink waste.
Print Head
Fast.
One-inch wide, high performance print head.
Even fewer clogs.
Ink specially formulated. Nozzle specially coated. Auto nozzle check and head align.
Fine.
Maximum resolution of 2880 x 1440 with variable sized droplets as small as a 3.5 picoliters.
New MicroPiezo® AMC™ Print Head Technology (like 7900/9900).
AccuPhoto™ HD2 Screening Technology (like 7900/9900).
Among the very best printers for resolving detail and smooth gradients.
Profiles and LUTs
Epson PreciseColor™ makes unit variability is extremely low.
Epson’s ICC profiles and LUTs lead the industry.
Green
It’s built from identified plastic for easier recycling and uses smaller ink packaging.
Should you buy the Epson 3880?
Ask these questions.
What printer are you currently using?
Do you need roll fed paper?
Do you need a prints size larger than 17″?
How much physical space can you make for a printer?
Do you need the extended gamut of Epson UltraChrome HDR?
How much are you willing to spend?
Note! The optional ColorBurst® RIP Software is for PostScript and prepress proofing. Most photographers don’t need this feature.
Find out more about the Epson 3880 here.
See the entire Epson ProImaging product line here.
Get my free printing resources here.
Learn more in my The Fine Art Digital Print workshop series.

BillAtkinson.com – A Great Resource


Bill Atkinson, one of the original authors of the Mac interface and color management expert, offers excellent free resources on his website. His website is so rich you might miss the free color management resources he makes available – targets, profiles, test files. In particular his Profile Test Images file is excellent for evaluating inks, papers, and profiles objectively. These resources are excellent. I recommend them to all of my workshop and seminar participants. I recommend them to you too.
Find the downloads here.
Find out more about Bill here.
Check out his book here.
Check out his photographs here.
Want more? Check out my free downloads here.

Exhibit – Holbert and Steinhardt in Seattle


Last night presenters at the Epson Print Academy (Caponigro, Gorman, Holbert, Resnicki, Schewe) attended a gallery opening in downtown Seattle at the Benham Gallery showcasing images by members of their own ranks – Mac Holbert and Dan Steinhardt. Also on display were works by Robert Wade and Esther Sirotnik. Also in attendance was permanence expert Henry Wilhelm. Not surprisingly, the gallery talk quickly moved from early inspirations to a spirited discussion of process and permanence. “Giclee is meaningless!” “Archival is meaningless and no longer used by the ISO!” “C prints are no longer considered for collection by the Getty! They fade too fast!” “Color is now permanent!” You’ve got to see and hear it to believe it. What’s worse than being in a room with an expert? Being in a room with ten experts. Seriously though, it’s always interesting.
Mac Holbert described what it was like to leverage his 18 years of experience printing other people’s work when printing his own work several years ago for his first exhibit and more recently for this follow up. Dan Steinhardt also made interesting comments about why he chose to ask Mac Holbert to print for him. After a lifetime in photography, first as a photographer, then as a marketing expert for both Kodak and Epson, and recently in the last 5 years becoming more active in making his own images, he still decided to have an expert make the finest possible prints from his images. It’s an interesting decision that every photographer faces. Do you make your own prints? Do you have the time and knowledge base to do this? Or do you enlist master printmakers to make prints for you – a time honored tradition both within and without photography. Do you have the financial resources to enlist them and are you willing to engage in a collaborative process? There’s no right answer. It’s an individual decision. And you may make different decisions at for different projects and at different times in your life.
Mac also shared a story about his work. In the image above, he saw the Bible and the little girl when he made the exposure. But he didn’t see the ironic 666 written on the box in pencil until he made the print. So often, new things come to light when you make prints of your images.
The exhibit Placement of Place is on display from January 7 to February 14.
Find out more about Mac Holbert here.
Find out about the Benham Gallery here.
Improve your printing skills at the Epson Print Academy.
Learn to make master prints in my workshops.

Epson 9900


My Epson 9900 just arrived. I’ve been using the 7900 at the Epson Print Academy. What’s new? Incredible yellows and oranges with improved blues. The best dot structure ever, better than my 11880. Great detail and smooth gradations. Epson HDR ink isn’t a quantum leap but it is a signficant evolution.
Stay tuned for more details.
See the 7900 in action at the Epson Print Academy.
The Epson Print Academy is in Seattle tomorrow.

Henry Wilhelm will make a special appearance.

Achieving the Blackest Black


The blackest black in print is achieved with today’s inkjet materials. Epson Exhibition Fiber printed on Ultrachrome K3 or UltraChrome HDR produces a 2.65 dmax; silver gelatin selenium toned produces a 2.35 dmax. You get this extraordinary black when printing through the printer driver’s Advanced Black & White mode; print the same image through a standard color color management route and you’ll only get a 2.4 dmax. Also, matte papers yield weaker blacks, roughly 1.85 dmax.
Get my free download on Epson’s Advanced Black & White mode here.
Find out more about black and white in my DVD Black & White Mastery.
Find out more about black and white in my Workshop Black & White Mastery.
Special discounts are available until January.