Test Files

Go beyond the limits of color management? Adopt a proofing workflow.
Here’s a short excerpt from my DVD.

Read more on Color Management here.

Learn more in my digital photography and digital printing workshops.

FRAGILE – Packing & Shipping Prints

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Let people know your work is valuable – even when you’re not there to tell them about it. Add a label. FRAGILE. Make it look official. Buy it preprinted. Or print it yourself. Or stamp it. Make it big. It’s a mandate not a disclaimer to be hidden in small text. Make it red. Red attracts attention. Put it on both sides of a package. Make sure no one can miss it.
If you want to go the extra distance, add a second label. HANDLE WITH CARE. It’s implied when you use ‘fragile’ but it never hurts to restate your case. People will pay attention. The whole point is to remind them to be considerate. It also sends a message to the people receiving your work. This is valuable.

Read more Printing Tips.
Learn more in my Fine Art Digital Printing Workshops.

Print Aesthetics

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What do people look for in fine art photographic prints?
One of the most important things we look for is …
Detail.
What kind of detail?
At least five kinds.
Detail – Focus
Detail – Dynamic Range
Detail – Gradation
Detail – Low Signal to Noise Ratio
Detail – Flawless Surfaces
There’s are many exceptions to this rule of thumb but they are exceptions.
The best exceptions depart from the standards meaningfully.
It helps to know what to look for in fine art photographs.
Find out more in my free downloadable Lessons.
Find out more in my Fine Art Digital Printing Workshops.
Stay tuned for the announcement of my Fine Art Digital Printing DVD.

Michael Morrison – Affecting Climate Change


Michael Morrison is fascinated with how our world works, the nature of awareness and perception, the experience of wonder and beauty, and the central role humanity now plays in Earth’s evolution—and the future of Civilization. With a scientific background, his passion lead him to earn the first degree in Earth System Science at the University of New Hampshire and serve as the Scientific Coordinator for the Greenland Ice Sheet Project Two (GISP2), which produced a detailed, 100,000 year history of climate—a history that revolutionized our understanding of climate. His research activities have taken him to the the South Pole, the Transantarctic Mountains, Mt. Erebus, Alaska, The Himalayas, and the highest point on the Greenland Ice Sheet. He is anticipating an ice coring expedition to the Andes in 2010.
Though he loves and values scientific discovery, he finds that the beliefs at the core of our behavior are intriguing and stubborn beasts, not always responsive to simple facts. He believes creative expression is central not only to meaning and joy in life, but to the trajectory Civilization will take moving forward from here. Following belief, creativity, circumstances, and the digital revolution in imaging, Michael now offers fine-art digital imaging and printing services in Santa Fe, New Mexico and is co-authoring a book of photographs and stories from research expeditions with Dr. Paul Mayewski, a world-class climate scientist and the Chief Scientist of GISP2.
“Graphs, tables, and didactic discourse are important, but are not fully able to reach our collective conscious on the level called for by our time in history. This is the domain of creativity—playful, beautiful, surprising, and innovative—it reaches deep into our psyches, dreams, and motivations. Into our beliefs …”
Read more here about his personal experiences, what he’s learned, and his thoughts on what we can do.
Read More

Maggie Taylor and Jerry Uelsmann – Just Suppose


“There’s nothing more exciting for an artist than an exhibition showcasing new work, unless that show also features the work of an equally acclaimed and beloved spouse. Such is the story of photographer Jerry Uelsmann and artist Maggie Taylor at their recent “Just Suppose” exhibition at the University Gallery, University of Florida (UF), Gainesville, Fla.
Although the content of their art has a similar ethereal quality, both have very different approaches. Jerry Uelsmann rose to fame in the 60’s and 70’s as a master black-and-white printer creating composite images with multiple enlargers and long hours in the traditional darkroom. In contrast, Maggie Taylor produces her dreamlike color images by scanning objects into a computer using a flatbed scanner, manipulating the images with Adobe Photoshop, and printing them in a digital workflow using Epson Stylus Pro printers.”
Find out more about the production of their new work for this exhibit here.
Read my conversation with Jerry Uelsmann here.
Find Jerry and Maggie’s books here.

Pete Turner – Empowered By Color



“Legendary photographer Pete Turner still knows how to punch up the color and get people’s attention. The master colorist, who broke all the rules in the pre-computer era, is taking his creativity to an entirely new ground with the unprecedented control of digital technology. His photographs are best known for their blazing hues, atmospheric effects, daring perspectives and surreal landscapes.
Turner personally printed 50 of his most loved images, with colorful names like “Lifesaver, USA” and “Hot Lips,” for the recent retrospective, Pete Turner: Empowered by Color. The photographs were on view in his hometown of Rochester, N.Y. at the renowned George Eastman House International Museum of Photography and Film.”
See the short 6:33 video on Turner from Epson Focal Points here.

Metamerism / Metameric Failure


It’s often called metamerism, but the correct term is metameric failure.
Metameric failure is the tendency of an object to change appearance under different light sources. Different light sources, even of the same color temperature, are often comprised of differing amounts of spectral frequencies (i.e. red or blue frequencies). Some objects change appearance more quickly than others; they are more highly metameric. This is true when comparing dye-based inks with pigmented inks. As pigments are made of irregular particles, they tend to refract (reflect and bend) light more strongly than uniform dye globules. The most current ink technology coats pigment particles in resin to reduce this effect. Additionally, some color pigments, typically the most saturated ones, are more prone to metamerism. By separating the file differently and using more of the less metameric ink to reproduce an image, the print’s appearance stability is increased. This is particularly important when reproducing neutrals, as small shifts in hue are quickly detected in these colors.
How can you evaluate metameric failure? Make two prints of the same image (preferably containing significant neutrals) and compare them side by side in different light sources.
What can you do to reduce metameric failure? Use the latest inksets (such as Epson’s Ultrachrome K3) and drivers (with the latest separation routines). And, when practical, standardize the light your prints are viewed under. Can metamerism be completely eliminated? No. Everything is metameric. But metameric failure in prints can be reduced to the point where it is no longer significant.
Read the rest of this article in the current issue of Photoshop User.
Learn more in my workshops.