{"id":40518,"date":"2021-11-21T10:10:33","date_gmt":"2021-11-21T10:10:33","guid":{"rendered":"https:\/\/www.johnpaulcaponigro.com\/blog\/?p=40518"},"modified":"2021-11-21T15:23:14","modified_gmt":"2021-11-21T15:23:14","slug":"the-big-overview-the-key-reasons-why-your-tools-matter-when-printing","status":"publish","type":"post","link":"https:\/\/www.johnpaulcaponigro.com\/blog\/40518\/the-big-overview-the-key-reasons-why-your-tools-matter-when-printing\/","title":{"rendered":"The Big Overview – The Key Reasons Why Your Tools Matter When Printing"},"content":{"rendered":"

\"\"<\/p>\n

Prints are produced by not one but many things – a system.\u00a0 <\/span>You can make better prints if you understand how each of the tools you use to make them influences quality. In addition, you\u2019ll be able to identify and come up with solutions for problems you run into, now or in the future.<\/p>\n

I\u2019ve written whole articles on each one of these components (Follow this article with the individual ones you\u2019d like more clarity on.), nevertheless, rather than having to piece all of that information together, I find it\u2019s also useful to have a broad overview of how the whole system works.<\/p>\n

Here\u2019s a quick survey of why each element of a printing system matters.<\/p>\n

 <\/p>\n

Camera \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0resolution – dynamic range – bit depth<\/b><\/p>\n

Lens \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0sharpness – low distortion – few artifacts<\/b><\/p>\n

Editing Space \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 saturation<\/b><\/p>\n

Bit Depth\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0gradation<\/b><\/p>\n

Software \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0color – detail – composition<\/b><\/p>\n

Monitor \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0accurate preview – saturation – brightness of white<\/b><\/p>\n

Printer\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 ink – size<\/b><\/p>\n

Ink\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0black – saturation – longevity<\/b><\/p>\n

Paper\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 whites – materials<\/b><\/p>\n

Printer Profile\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0accurate color – graybalance<\/b><\/p>\n

Light\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 how well you can see<\/b><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"<\/p>\n

I\u2019m currently testing the Fuji GFX 100<\/em><\/p>\n

100 mp \/ 14 bit \/ ISO 12,800 expandable to 102,400<\/em><\/p>\n

Camera<\/b><\/p>\n

resolution – dynamic range – bit depth<\/b><\/p>\n

A camera\u2019s 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\u2019s easier to throw away what you don\u2019t need than create it.<\/p>\n

\"\"<\/p>\n

Among several lenses, I favor the Fuji 32-64mm<\/em><\/p>\n

Lens<\/b><\/p>\n

sharpness – low distortion – few artifacts<\/b><\/p>\n

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.<\/p>\n

\"\"<\/p>\n

Prophoto is bigger than Adobe RGB and sRGB<\/em><\/p>\n

I edit in ProPhoto RGB<\/em><\/p>\n

Editing Space<\/b><\/p>\n

saturation<\/b><\/p>\n

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.<\/p>\n

Read more here.<\/a><\/span><\/p>\n

\"\"<\/p>\n

I edit in 16-bit<\/em><\/p>\n

Bit Depth<\/b><\/p>\n

gradation<\/b><\/p>\n

16 bit\u2019s thousands of shades of gray don\u2019t 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).<\/p>\n

Read more here.<\/a><\/span><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

I use Adobe Lightroom Classic and Photoshop together.<\/em><\/p>\n

Software<\/b><\/p>\n

color – detail – composition<\/b><\/p>\n

You can pretty much change anything about the way your images look \u2026 for better or worse.<\/p>\n

Good software lets you be more precise and go further. Better software does it more easily without cutting corners.<\/p>\n

For traditionalists, it\u2019s shadow and highlight detail, midtone contrast, color clarity, sharpness and reduced noise.<\/p>\n

For non-traditionalists, it\u2019s the ability to produce unique color palettes, special effects, and composites.<\/p>\n

Read more on color here.<\/a><\/span><\/p>\n

Read more on detail here.<\/a><\/span><\/p>\n

Read more on composition here.<\/a><\/span><\/p>\n

\"\"<\/p>\n

I use an NEC PA311D<\/em><\/p>\n

Monitor<\/b><\/p>\n

accurate preview – saturation – brightness of white<\/b><\/p>\n

What could be more important than seeing your images accurately while you\u2019re 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).\u00a0<\/span><\/p>\n

Better monitors render more saturation. (Currently, the best monitors can show you almost all of the values in Adobe RGB.)\u00a0<\/span><\/p>\n

The best monitors can be tuned to show you the white of your print more accurately.<\/p>\n

Read more here.<\/a><\/span><\/p>\n

\"\"<\/p>\n

I use Epson\u2019s P900 and 9000<\/em><\/p>\n

Printer<\/b><\/p>\n

ink – size<\/b><\/p>\n

A printers manufacturer determines which ink set you\u2019ll use.\u00a0<\/span><\/p>\n

A printer\u2019s series determines which of the manufacturer\u2019s inkset you\u2019ll use.<\/p>\n

A printer\u2019s model determines how big you can print.<\/p>\n

Additionally, a printer\u2019s head also impacts speed.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

I use Epson\u2019s Ultrachrome HDX ink<\/em><\/p>\n

Ink<\/b><\/p>\n

black – saturation – longevity<\/b><\/p>\n

The ink you use has a huge impact on print quality and longevity \u2026 but to see what it can do you need paper.<\/p>\n

Read more here.<\/a><\/span><\/p>\n

Ink & Paper<\/b><\/p>\n

black – saturation – longevity<\/b><\/p>\n

Together, ink and paper determine \u2026\u00a0<\/span><\/p>\n

Black<\/p>\n

The black of the ink and the white of the paper set the limits of a print\u2019s contrast ratio.\u00a0<\/span><\/p>\n

No matter how much ink you put down on some substrates you won\u2019t 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.<\/p>\n

Saturation<\/p>\n

Good inks and paper coatings produce more saturation in all colors.<\/p>\n

Longevity & Durability<\/p>\n

Some are more archival than others. (Visit Wilhelm Research for reliable data.)<\/p>\n

\"\"<\/p>\n

I use Epson\u2019s Legacy Fibre and Legacy Platine papers<\/em><\/p>\n

Paper or Substrate<\/b><\/p>\n

whites – materials<\/b><\/p>\n

Substrates determine an image\u2019s white (where the ink doesn\u2019t go) and so contrast ratio. A brighter, bluer white is more versatile, but may or may not be as archival.<\/p>\n

Only paper (or substrate if it\u2019s canvas, plastic, metal, wood, etc) can give your images a look and feel. It\u2019s first and foremost about the physical characteristics of materials including things like reflectivity and texture.<\/p>\n

Read more here.<\/a><\/span><\/p>\n

\"\"<\/p>\n

Photo papers have greater gamuts than matte because of their blacker blacks.<\/em><\/p>\n

I use Epson\u2019s profiles<\/em><\/p>\n

Printer Profile<\/b><\/p>\n

accurate color – graybalance – gradation – shadow and highlight detail<\/b><\/p>\n

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.<\/p>\n

If you\u2019re using Epson profiles for Epson papers, you\u2019re in good shape. Epson makes great profiles for their papers. But if you\u2019re using a third-party or hand-made substrate you need a good profile. Don\u2019t assume that the profiles you download from websites are good. Test them. If they\u2019re not great, get a professional to build one for you. Or, build your own.<\/p>\n

Read more here.<\/a><\/span><\/p>\n

\"\"<\/p>\n

I use Solux 3500K lights<\/em><\/p>\n

Light<\/b><\/p>\n

how well you can see good results<\/b><\/p>\n

Event the best print can\u2019t be seen in the dark. To be seen well, good prints need good light.\u00a0<\/span><\/p>\n

Think about three things \u2026<\/p>\n

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.<\/p>\n

2 Use the right color temperature. If you can\u2019t control the light people view your prints in, assume it\u2019s warmer than 5000K (most people prefer warmer light, like 3500K) and make your prints look good in a similar light.<\/p>\n

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\u2019t make one color look more saturated than another and so preserves the color relationships you produced in your prints.<\/p>\n

Read more here.<\/a><\/span><\/p>\n

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?<\/p>\n

Meanwhile, if you run into issues (like my blacks aren\u2019t black enough or my colors aren\u2019t saturated enough or I\u2019m losing detail) you\u2019ll know which pieces of your system to tweak to get better results.<\/p>\n

 <\/p>\n

Read more on Color Management here.<\/a><\/span><\/strong><\/p>\n

Read more on digital Printing here.<\/strong><\/a><\/span><\/p>\n

Learn more in my digital photography and digital printing workshops.<\/a><\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Prints are produced by not one but many things – a system.\u00a0 You can make better prints if you understand how each of the tools you use to make them influences quality. 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