The Big Overview – The Key Reasons Why Your Tools Matter When Printing

Prints are produced by not one but many things – a system.  You can make better prints if you understand how each of the tools you use to make them influences quality. In addition, you’ll be able to identify and come up with solutions for problems you run into, now or in the future.

I’ve written whole articles on each one of these components (Follow this article with the individual ones you’d like more clarity on.), nevertheless, rather than having to piece all of that information together, I find it’s also useful to have a broad overview of how the whole system works.

Here’s a quick survey of why each element of a printing system matters.

 

Camera                        resolution – dynamic range – bit depth

Lens                              sharpness – low distortion – few artifacts

Editing Space             saturation

Bit Depth                     gradation

Software                      color – detail – composition

Monitor                        accurate preview – saturation – brightness of white

Printer                          ink – size

Ink                                 black – saturation – longevity

Paper                            whites – materials

Printer Profile           accurate color – graybalance

Light                              how well you can see

 

 

I’m currently testing the Fuji GFX 100

100 mp / 14 bit / ISO 12,800 expandable to 102,400

Camera

resolution – dynamic range – bit depth

A camera’s chip determines how much detail it can render with three primary characteristics – resolution (sharpness), dynamic range (shadows and highlights), and bit depth (gradation). More is better. It’s easier to throw away what you don’t need than create it.

Among several lenses, I favor the Fuji 32-64mm

Lens

sharpness – low distortion – few artifacts

Good lenses are sharper, better lenses maintain that sharpness edge to edge, while the best lenses also produce beautiful bokeh (depth of field blur). Good lenses are also free of distortion and artifacts like chromatic aberration. Fixing these things in post-production can sometimes be arduous and at a certain point impossible.

Prophoto is bigger than Adobe RGB and sRGB

I edit in ProPhoto RGB

Editing Space

saturation

Pro-Photo RGB can hold all of the saturation your camera can capture while other standard editing spaces cannot. If you use one of the smaller spaces (like Adobe RGB or sRGB) you may lose and not be able to produce that saturation.

Read more here.

I edit in 16-bit

Bit Depth

gradation

16 bit’s thousands of shades of gray don’t give you more separation in prints. Printers can take 16-bit data but they can only print 256 shades of gray. Editing in16-bit eliminates the possibility of producing posterization (which can produce harsh graphic transitions and/or noise).

Read more here.

I use Adobe Lightroom Classic and Photoshop together.

Software

color – detail – composition

You can pretty much change anything about the way your images look … for better or worse.

Good software lets you be more precise and go further. Better software does it more easily without cutting corners.

For traditionalists, it’s shadow and highlight detail, midtone contrast, color clarity, sharpness and reduced noise.

For non-traditionalists, it’s the ability to produce unique color palettes, special effects, and composites.

Read more on color here.

Read more on detail here.

Read more on composition here.

I use an NEC PA311D

Monitor

accurate preview – saturation – brightness of white

What could be more important than seeing your images accurately while you’re editing them? Good monitors can be calibrated to a device neutral standard that shows you what your images truly look like now and in the future (when you replace your current monitor). 

Better monitors render more saturation. (Currently, the best monitors can show you almost all of the values in Adobe RGB.) 

The best monitors can be tuned to show you the white of your print more accurately.

Read more here.

I use Epson’s P900 and 9000

Printer

ink – size

A printers manufacturer determines which ink set you’ll use. 

A printer’s series determines which of the manufacturer’s inkset you’ll use.

A printer’s model determines how big you can print.

Additionally, a printer’s head also impacts speed.

 

I use Epson’s Ultrachrome HDX ink

Ink

black – saturation – longevity

The ink you use has a huge impact on print quality and longevity … but to see what it can do you need paper.

Read more here.

Ink & Paper

black – saturation – longevity

Together, ink and paper determine … 

Black

The black of the ink and the white of the paper set the limits of a print’s contrast ratio. 

No matter how much ink you put down on some substrates you won’t get a blacker black and each substrate has an ink limit, which is the maximum amount of ink that can be put down before detail starts being lost.

Saturation

Good inks and paper coatings produce more saturation in all colors.

Longevity & Durability

Some are more archival than others. (Visit Wilhelm Research for reliable data.)

I use Epson’s Legacy Fibre and Legacy Platine papers

Paper or Substrate

whites – materials

Substrates determine an image’s white (where the ink doesn’t go) and so contrast ratio. A brighter, bluer white is more versatile, but may or may not be as archival.

Only paper (or substrate if it’s canvas, plastic, metal, wood, etc) can give your images a look and feel. It’s first and foremost about the physical characteristics of materials including things like reflectivity and texture.

Read more here.

Photo papers have greater gamuts than matte because of their blacker blacks.

I use Epson’s profiles

Printer Profile

accurate color – graybalance – gradation – shadow and highlight detail

A good profile can be more than getting a good match with your screen. But it can be more. Poor profiles can cause color shifts, reduce saturation, produce posterization, and even lose shadow and highlight detail.

If you’re using Epson profiles for Epson papers, you’re in good shape. Epson makes great profiles for their papers. But if you’re using a third-party or hand-made substrate you need a good profile. Don’t assume that the profiles you download from websites are good. Test them. If they’re not great, get a professional to build one for you. Or, build your own.

Read more here.

I use Solux 3500K lights

Light

how well you can see good results

Event the best print can’t be seen in the dark. To be seen well, good prints need good light. 

Think about three things …

1 Use a generous amount of light. Not so much light that it creates eye strain but use a lot. Good prints glow when they reflect light but they need enough light to create that glow.

2 Use the right color temperature. If you can’t control the light people view your prints in, assume it’s warmer than 5000K (most people prefer warmer light, like 3500K) and make your prints look good in a similar light.

3 If you really want to dial in the color for your exhibits (or your clients) recommend a full spectrum light source (like Solux) that doesn’t make one color look more saturated than another and so preserves the color relationships you produced in your prints.

Read more here.

It takes some initial research and testing to find the tools that are best for you but once you settle on a system of your own you only occasionally have to repeat this and only for specific components. It gets easier because you have a baseline. All you have to do is ask how much better can the new gear do and is it worth the cost and effort?

Meanwhile, if you run into issues (like my blacks aren’t black enough or my colors aren’t saturated enough or I’m losing detail) you’ll know which pieces of your system to tweak to get better results.

 

Read more on Color Management here.

Read more on digital Printing here.

Learn more in my digital photography and digital printing workshops.

The Fine Art Of Digital Printing

Download your free copy now!

 

Print your images to achieve new levels of mastery and personal expression.

 

Dano’s Glossary of Fine Art Terms 

 

Looking

 

6 Benefits Of Making Prints – Video

12 Things To Look For In Great Prints – Video

 

What Printing Can Do For You

What Printing Can Do For Your Images

How To Strike Up A Lively Conversation With Your Images

How To Map Out A Strategy To Develop Your Photographs | Coming

Save Time, Money, And Resources With These Checklists

7 Things To Look For In Great Prints & Great Artists Who Make Exceptions

9 Ways To Tell If Your Photographs Are Over Cooked

12 Classic Mistakes We’ve All Made Trying To Make Better Prints

How To Avoid 6 Printing Mistakes That’ll Make You Want To Curse

How To Key Your Images Expressively – Go High, Medium, Or Low

How To Avoid Making Viewers Squint At Your Prints To See Their Highlights

The Key To Lively Images –  Midtone Contrast – And How To Get It

How To Render Lively Shadows In Your Prints

 

Resolution  Free to Members
Learn how resolution can ensure fine detail and smooth transition.

Outgassing  Free to Members
Let your prints dry fully before framing them.

Metamerism
Metamerism is the tendency of an object to change its appearance under different light sources.

Bronzing 
Bronzing is an iridescent flash of color when viewing prints under varying angles of light.

Gloss Differential 
Gloss differential is an uneven reflectance of the surface of a print.

Banding  Free to Members
Eliminate mechanically introduced fine lines in your prints.

Longevity & Durability  Free to Members
How long do inkjet prints last? What should you do to protect them? Find out here.

 

Tools

 

Why Your Tools Matter When Printing
This big overview gives you the bottom line – and links for more depth.

Ink
Choose media wisely.

Paper / Substrate
Your choice of materials has a profound impact on your prints.

Paper Sizes – Standard   Free to Members

Paper Size – Custom   Free to Members

Make New Film | .99
Printing digital negatives with Adobe Photoshop (all versions) – 6 pages

Printer Profiles
How do you make a printer profile? When do you need to?

Printer Points of Control   Free to Members
You have a number of points of control with digital printers.

Printer Maintenance  Free to Members
A little maintenance can go a long way!

 

Epson

 

Epson Driver – Color 

Epson Driver – Advanced B&W Photo

Epson Driver – Double Color Management

Epson Driver – Ink Limit  Free to Members

Delete and Reload Printer Driver  Free to Members

Epson – Print / File Size Chart   Free to Members
The relationship between print size, file resolution and bit depth for Epson printers.

 

Presentation

 

Scale  Free to Members
Size matters. Consider the size of your prints with care.

Signing Prints
Use the best tools to ensure your signature lasts. 

Notation  Free to Members
The notations you make on your prints add value to them.

Mounting  Free to Members
Ensure that your prints are protected and beautifully displayed.

Matting  Free to Members
Make sure your images are protected and presented properly.

Framing  Free to Members
The frames you choose will enhance the quality of your artwork.

Exhibiting  Free to Members
Make your experience more successful by knowing what is required.

 

Masterworks In My Collection

 

The Importance Of Viewing Masterworks

Paul Caponigro – Apple, New York City, 1964

Ansel Adams – Clearing Winter Storm, 1944

Jerry Uelsmann, Nude, 1983

Joyce Tenneson – Kristin, Hands In The Air, 1998

.

Photographers Celebrate The Print

 

Two Generations – Paul & John Paul Caponigro 

John Paul Caponigro 

Jeremy Cowart

Gregory Crewdson

Lois Greenfield 

Gerd Ludwig 

Steve McCurry

Mark Seliger 

John Sexton 

Tim Tadder 

Amy Toensing 

Stephen Wilkes 

.

Bambi Cantrell

John Paul Caponigro 

Douglas Dubler 

Greg Gorman 

Jay Maise

Steve McCurry

Jeff Schewe

 

John Sexton 

Kim Weston 

 

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My New Free eBook Highlights My Go To Gear

GearGuideCover_425
Great tools can change the way you see.
Discover my go to gear in this free eBook.
You’ll learn what I use and why I use it.
Table of Contents
1    Cameras
2    Lenses
3    Trip Essentials
4    Computers & Accessories
5    Color Management
6    Printing
Plus, my Gear Guide includes links to many helpful resources.
Download it here.

Paper / Substrate

Epson K3 ink on Luster and Watercolor compared

 

There’s an art to making paper. Since its invention, thousands of years ago, paper has had a long and interesting history. There are many ways to make paper and many kinds of paper. We’ve found many ways to use paper – architecture, furniture, crockery, fashion, sculpture, and of course the display of text and images in a variety of forms. Contemporary printmakers don’t print exclusively on paper. There’s also canvas, wood, metal, and plastic too. Anything you print on could be considered a substrate.

Substrate dramatically impacts print quality.

Substrate determines white – ISO brightness. The white of the substrate determines the brightest values achievable and the quality of the highlights in a print. Some substrates have bright cool whites, while others have duller warmer whites, some are so dull they look antique. Short of bleaching or coating a substrate with a brighter substance, this is something you can’t change about the substrate.

Substrate has a dramatic impact on ink limit, how much ink can be put down before detail begins to be lost. Droplets of ink spread when they come in contact with paper and dry. Dot gain specifies how much a dot spreads. A dot spreads more on an uncoated paper than it does on a coated paper. A dot spreads more on a matte paper than it does on a glossy paper. Consequently, fine detail is more precisely rendered on coated glossy surfaces. In addition, very smooth surfaces render subtler gradations, without interference from ink spattering or textured surfaces.

Ink limit has a dramatic impact on black – dmax. More ink, blacker black, higher dmax ratings. Using Epson UltraChrome II ink, dmax on glossy papers is approximately 2.4, 1.8 on matte papers. 

Ink limit has a dramatic impact on saturation – gamut. More ink, more saturated color, wider gamut. It’s important to understand where gamut is extended. The dmax and gamut on glossy papers is greatly expanded in the shadows and minimally reduced in the highlights. Put another way, glossy papers render significantly more saturated shadows and slightly less saturated highlights. 

Most inkjet substrates are coated. Coatings involve complex chemistry. Coatings reduce the spread of ink, allowing less of it to sink into the base and more of it to sit up on the surface. Most coatings contain drying agents to increase drying time and reduce dot gain. Many coatings contain optical brighteners to render brighter, cooler whites and more saturated colors. Some optical brighteners actually fluoresce, emitting more light than they receive. You can tell if there are a lot of optical brighteners on a substrate if you view it under a black light and it glows. Many optical brighteners are not stable and prints made with them typically display reduced longevity ratings. If print permanence is a significant concern avoid them.

Substrate has a dramatic impact on longevity. Different substrates yield different longevity ratings. If longevity is a significant concern, research the most current data. Visit Wilhelm-research.com for a wealth of information from one of the most definitive and respected resources. Remember, when comparing data on longevity from a variety of sources, testing conditions must be comparable for comparisons to be valid.

For best results, print on the coated side of a substrate. How can you tell? If you can’t tell from the orientation in the manufacturer’s packaging and you can’t see a manufacturer’s logo on the back of the paper, wet your lips and press the paper in between them, the side that sticks most is coated. A few papers are coated on both sides. Printing on the uncoated side typically yields soft under-saturated results. Printing on uncoated papers yields similar results. You can coat your own custom substrates with products like Ink Aid. (See my review at www.johnpaulcaponigro.com.)

Today, you have an amazing array of substrates to choose from. The astonishing array of choices available for inkjet printers today should suit almost every need. With a single printer, you can print on surfaces that span the gamut, from matte to glossy. You’ll find fiber, plastic, and metal. Uncoated, hand-coated, mechanically-coated. Machine-made or hand-made. Silk, canvas, foil, and transparent mylar don’t seem exotic in comparison to the most unusual substrates people have tried to feed through their printers. I encourage you to experiment. Use some caution in your explorations as very fibrous substrates may clog print nozzles and you can damage print feed mechanisms with very thick substrates. While I don’t recommend you use third-party inksets, I do recommend you test third-party substrates. Because of the enormous industrial infrastructure required to mass-produce paper, most printer manufacturers don’t make their own substrates but instead partner with paper manufacturers to produce materials to their specifications. There are many fine companies that make papers specifically for inkjet printing; Arches, Cranes, Hahnemuele, Ilford, Innova, Legion, Moab, Museo, and Pictorico are just a few. New materials are being released every year. Some have unique characteristics. My recommendation is that you test many substrates. Make test prints using a representative image that contains the full spectrum and includes a neutral step wedge with specific values that will help you determine minimum and maximum printable densities. There’s only one way to truly find out how the look and feel of a substrate will impact your work – use it.

Above all, remember that looking is a sensual act. Aesthetics may win out over technical considerations. While it’s useful to identify quantitative criteria (such as ISO brightness, dmax, gamut, ink limit, and dot gain) other qualitative aspects of a substrate may be as or more important. Substrates come in various weights; some are so thick they don’t need mounting while some are so thin you can see through them. Substrates have different textures; some are wavy or ridged, some are woven or cratered, some are fibrous or fuzzy, some are very smooth. Some substrates have distinctive edges, such as deckling or excess fiber. Substrates have different reflectivities; some are so glossy they are mirror-like reflecting everything in front of them as well as within them, while others are extremely matte exhibiting no surface reflections. The material characteristics of a substrate may carry specific connotations; one may look synthetic while another looks organic, one may seem commercial while another seems artistic. These qualities, in combination with one another, may be extremely useful for enhancing the expressive characteristics of your prints.

Research your options thoroughly to help you make more informed decisions before you commit your images to print. It will be time very well spent.

Read more on digital Printing here.

Learn more in my digital photography and digital printing workshops.

New Epson Legacy Papers

EpsonLegacyPapers
“Legacy Papers marry the artistry of revered European paper making with the latest advancements in inkjet coating technology.
Working with the finest paper mills in Germany and France we first specify the type of base required for each of the Legacy papers. Once the base is produced, advanced microporus coatings are applied using modern techniques for the highest quality and consistency.
Only after meeting hundreds of design specifications, while ensuring for a high rate of production consistency for the richest blacks, outstanding color fidelity and smooth tonal transitions, will a paper carry the Epson Legacy name.”
The First Four Epson Legacy Papers

  • Legacy Platine: 100 percent cotton fibre paper with a bright OBA-free, smooth satin finish. With a unique feel of an artistic paper of centuries past, along with an outstanding color gamut, this paper is exceptional for both color and black and white printmaking.
  • Legacy Fibre: 100 percent cotton fibre paper with an exceptionally bright OBA-free, smooth matte finish. With an outstanding black density, this paper is ideal for all types of high-end printmaking.
  • Legacy Baryta: A baryta paper with a white, smooth satin finish, utilizing two barium sulfate coatings. Inspired by the F64 group, this paper takes the best of revered silver halide technology to new levels of quality.
  • Legacy Etching: 100 percent cotton fibre paper with a bright OBA-free, uniquely textured matte finish beloved by artists for centuries. This paper has the feel of traditional etching papers.

Find out more here.

“The combination of Epson Legacy Paper and Epson UltraChrome® HD and HDX pigment ink technology can provide up to twice the Display Permanence Ratings of previous generation inks, according to tests conducted by the Wilhelm Imaging Research, Inc.”

Find out more here.

Save 10% On Moab Papers


Get 10% off all Moab products with this discount code – JPMOAB2011.
Moab is one of the most trusted paper producers in the industry offering a full line of substrates that spans the gamut from canvas, to washi, to metallics.
For something different, explore their Moenkopie Washi (Asian rice papers) or their new Slickrock Metallic Pearl (pearlscent).
Get more discounts here.
Find out more about the tools I use here.
Learn more in my digital photography and digital printmaking workshops here

Epson Signature Worthy Papers

epsonsignatureworthy
“Only the highest quality Epson papers receive the designation of Signature Worthy. Watch the introduction and view the complete interviews to see why these industry leaders choose Epson Signature Worthy Papers.”
Lois Greenfield, David Lynch, Matthew Jordan Smith, Vincent Versace, Art Wolfe tell you what they like best about Epson papers.
Learn more about digital printing with my online Lessons.
Learn still more in my DVD Fine Art Digital Printing.
Learn even more in my Fine Art Digital Printing Workshops.

Dan Steinhardt – About Paper / Meaningless Terms


Last week at The Fine Art of Digital Printing workshop The Fine Art of Digital Printing workshop (taking place at Brooks sponsored by Epson) spoke about paper. We always have special guests at these events and we were delighted that Dano was able to come this time. Dano explained a lot of interesting things about paper (three types – swellable, microporous, cotton fiber)(the history and myths of OBA’s – optical brightening agents – used in paper coatings, some longer lasting than others)(longevity facts – it’s a combination of many factors, lightfastness being only one).
One of the funnier things that everyone came away with was how many terms we’re used to hearing and using that are essentially meaningless and can be potentially misleading if you make assumptions often associated with the terms. “Fine art paper”, “museum grade”, “archival”, “pearl”, “luster”, “stipple” are all marketing terms with no definite meaning. “Permanent” means water fast, but doesn’t imply light fast. “Compatibility” simply means the paper will transport through the printer – nothing more. So it pays to know which terms are truly meaningful/useful and which terms aren’t.
More to come on this. Stay tuned.
Look for upcoming Epson Print Academy dates here.
Check out The Fine Art of Digital Printing workshops here.
Check out my Fine Digital Print workshops here.

Peg Fredi – Simulating Alternative Processes / Waxing Prints


This week at The Fine Art of Digital Printing workshop (taking place at Brooks sponsored by Epson) Peg Fredi wanted to simulate the look of the alternative process prints she’s been making with digital contact negatives. She tried several toning solutions – variations of traditional warm toning solutions. She found that she like the black of the inkjet prints, which is even blacker than alternative process blacks. She tried several paper types, ultimately deciding on Epson Velvet paper, which she then planned to wax (with butcher’s wax) to enhance the surface further. Actually, waxing print surfaces has been around a long time. It adds an extra dimension and quality to any print. And it doesn’t affect longevity. It pays to experiment. You may find new solutions that are just right for your work.
Have you finished your prints in unusual ways? Tell us about it! Comment here!
See Peg Fredi’s work here.
Look for upcoming Epson Print Academy dates here.
Check out The Fine Art of Digital Printing workshops here.
Check out my Fine Digital Print workshops here.