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The popularity and convenience of digital photography has led to more pictures being taken, but fewer being turned into beautiful prints, framed, put in photo albums, and shared with others. The majority of users do nothing with their images for two reasons: Written by popular photographer, columnist, and digital imaging expert Jon Canfield, this book shows you how to easily enhance and prepare your digital images for printing.

Step-by-step instructions and tutorials coupled with full-color images and screenshots explain how to use Photoshop CS2 or Elements for color management and correction; editing images for printing, including properly sizing, sharpening, and converting to monochrome; to fix lighting; and more. You'll also learn how to take your printing to the next level by: Get unlimited day access to over 30, books about UX design, leadership, project management, teams, agile development, analytics, core programming, and so much more.

Publishers of technology books, eBooks, and videos for creative people. Add To My Wish List. One of the most helpful tools for maintaining a manageable workflow, if printing large scale, is a RIP Raster Image Processor program. These programs function similarly to the way your image-editing program or a printer driver handles printing, except that it is even more efficient and enables you to multitask and queue printing with printers that can take almost an hour to produce a single photograph.

RIP programs are dedicated to managing the print handling, which therefore leaves room for you to utilize your image-editing program at the same time prints are being queued up. Many RIP programs also have helpful imaging features within them that will automatically rotate imagery or combine jobs to fit on the same print, or can even enable you to print to separate printers at the same time to significantly increase your efficiency. Just as you can add personality to an image by exposing it in a certain way or editing it during post production, printing on different paper types can add additional layer of character to your image to further help you realize the overall look and feel of your photograph.

There is a huge variety of different paper types available, in both sheet and roll sizes, to help achieve looks ranging from a slick, glossy image to a more craft-inspired, watercolor texture print. These different surface textures all have a range of connotations and can be used accordingly to suit specific types of imagery.

Some paper types, such as luster, satin, pearl, or semi-gloss , are best used in instances where you want the printing medium to not compete with the image itself. These surface types give a good range of tones with enough gloss to provide a deep black, but still have minimal reflective qualities to not create surface reflections. A matte or smooth surface can lend itself well to more artistic imagery without encroaching on the image in a textural manner. There are also papers now that feature a baryta base , reminiscent of traditional darkroom fiber-based prints that provide very rich blacks and an appealing, but not overbearing, glossy surface.

Due to the wide variety of options available, a sample pack is also a highly viable way to begin your search for the ideal paper type to suit your photography. One characteristic many papers have, and something that should be heavily considered when printing, is to use an acid-free , or archival, paper type. Archival papers are made using materials that will not fade for a long time, assuming they are used in conjunction with archival inks. The combination of both archival products will yield prints that will hold up to the test of time with little fading or other anomalies that can occur if displaying or storing work.

As mentioned before, too, when selecting a paper type, it is a good idea to download and install the proper ICC profiles for the given paper in order to prepare before printing.

Once you have finished printing your work, depending on how you intend to use it, you should take the necessary measures to ensure that the print stays in the best condition possible to allow for framing, sharing, mailing or simply storing for later use. One of the most traditional means for storing prints is in an archival museum box.

Another means for storing your work, but in a manner that can be easily shown to others, is by using a presentation case. These cases also offer an archival means for keeping your work, but do so in a book form containing clear pages to insert your prints for display. If you are printing for others and need to transport your work in some way, then you also need to consider the best way to allow your work to travel without it being damaged. Similar to storing it in boxes or in a presentation folder, you will first want to utilize archival means as the first layer of protection your prints receive.

These can include simple clear envelopes or thicker paper envelopes that will provide protection to the surface of your print before you construct a more durable layer of protection. After the surface of the print is protected, the next layer of protection can come through the use of two layers of mat or mounting board to sandwich the envelope containing the print.

These boards offer a smooth, flat, and firm surface to give stability to your print, and will not impress the print itself with any markings such would be the case if using corrugated cardboard or other materials with texture. If you are simply hand-delivering a print, you already have sufficient protection.

However, if mailing a print, you will want to consider firm substrates that will not bend when mailed; such as thin pieces of wood, thick cardboard, or other rigid materials. It is worth mentioning here, too, that it is highly preferred to keep your work flat i. While tubes have been designed to mail photographs, they are less than preferred due to the inherent possibility of damage to the print surface.

By rolling your prints, you are introducing a new shape to the paper from which it can often not recover, and can even lead to the surface of the print cracking or crinkling, in extreme cases. If your print size permits, flat-packing work is the best means for maintaining a clean appearance, and if packed well, should pose no problem in regard to damage during shipping.

The exception to this is when working with extremely large print sizes, about 20 x 24" and larger, in which the costs to flat-pack become more and more substantial. If working and traveling with prints of this size, the best way to roll prints into a tube is through the use of a two-tube system. The first, and smaller-in-diameter tube, will be used as a rigid guide with which you should cleanly wrap your print around and secure using a piece of paper taped into a fitted ring.

With the print rolled around the first tube, it can then be inserted into the larger-diameter tube and suspended in the middle through the use of bubble-wrap or another soft packing material to hold the smaller tube in the center of the larger tube. This method of packing will provide the most protection to a large print short of flat-packing and shipping in a large wooden crate. The idea of printing photographs in regard to making them art objects is a complex issue at best; however, it can easily be said that the fewer prints of a certain image exist, the greater their value due to the simple idea of scarcity.

If your goal in printing your photographs is to have them as salable objects, then certain precautions and measures must be taken into consideration to maintain value and preciousness. Unlike other forms of artwork, such as painting or traditional sculpture, photography is not limited by uniqueness.

Especially in the age of digital photography, truly limitless copies of a print can be made, whereas with a painting, there can only be one. If you plan on making an edition of prints to be sold, it is most important to decide on an edition size—the number of prints that will ever exist of a certain image in a certain size—and stick to it.

Limiting an image of yours to a certain number of prints is a way of imbuing it with a specified value. If this number changes, the value of all prints will subsequently diminish. If you are working in this manner, value can also be ascribed through the signature and notation you provide on the back of the print itself.

Edition numbers, dates, and your own signature offer proof of where the print is originating. Editioning and ascribing value to your photographs is a highly complex process that takes into account much more than simple rules of economics as other, non-monetary-based details can have a substantial effect on how your work is seen and priced. Printing photographs is one of the most traditional methods in photography and was the original means by which people were able to view an image recorded by a camera.

This simple novelty still exists and, even with the overwhelming notion of digital galleries and online sharing of imagery, the print is still a thriving measure for showcasing your work in a special manner. Through proper technique and careful process, the photographic print can be achieved and employed to help separate you from others, due to its tactility and physical value.

However, my need is a bit more specific. I currently use the old but excellent Epson Photo Stylus R It is not up to the job of heavier papers, not even Epson Velvet. The has been replaced with some new Sure Colour software, which I have heard bad things about from printers - in terms of dyes. Can you help at all.

I really do need to make a decision very soon. As always, deep appreciation for your help. So the inks are an improvement over the ones used in the R and The major change is the new PrecisionCore print head technology, which will bring additional control over ink droplet size, placement and shape, and increase print speed.

Epson is planning on releasing ten new professional printers to the market by They have not released any information regarding these new models and which current ones they will replace. This article was well done. It is complemented in a way the potitional uses the material and gives the potential user will be interested in future information for more thought. PPI pixels per inch is the number of pixels per inch in your image. This will affect the print size of your photo and will affect the quality of the output. There are 2 ways that you can change the print size, by resampling or by not resampling.

Not resampling is what you normally want to do, this will only change the size of the print. Using resampling will actually change the number of pixels and thus the file size in order to match the print size. If you increase the PPI, then pixels will be interpolated and print quality will be affected. DPI dots per inch refers only to the printer. Generally, the higher the DPI, the better the tonality of the image, colors should look better and blends between colors should be smoother. You'll also use more ink and the print job will be slower.

For highest printing quality, you will want to print at dpi. Anything higher will not be recognized by the human eye. And you would be wasting ink.

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Yossi, what you are saying doesn't make sense. You are confusing everyone. Also, you never answered my question- how do you save a file with a specific DOTs per inch? Increasing PPI with resamplig selected will affect image quality through interpolation. Enjoyed reading the article. I'm saving it to re-read to digest it and to use it as a future reference.

I have a 6 ink cartridge Canon ink jet printer but I cannot find a profile associated with it. I wrote to Canon and got no response.

Print Services Comparison: Which Website Makes the Best Prints?

Frustrating as the print comes out very differently from what I'm seeing on Retina screen in Lightroom 5. Inkjet paper manufacturers create ICC custom paper profiles only for the higher end professional printer models, such as the ones that have 8 or more cartridges and use pigment ink. Your best option is to calibrate your monitor with a color calibration system. These will match up what you see on your monitor to what your printer produces. I recommend this color calibration system by X-Rite: We have been using Epson printers in our studio for many years.

The most current one we love is the Epson Stylus Pro The caliber of first run prints is very good. Pro studio work is about all that you see anymore for prints larger than 8x I have a large Epson printer and I am blown away with all the textures and sizes that are now on the market. Now all I have to do is to figure out where I can hang'em! I have been an advanced amatur for 45 years and I have never heard of using JPEG for prints other than 4x6 brag pics. Thank -You very much. This article answers some questions for me that I did not even know existed.

I'm looking for an inkjet printer that has at least 6 ink cartridges light cyan and light magenta to obtain good color prints that will take paper up to 8. Epson used to have R and related series that worked perfectly for me. What is now available?

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They do produce an all-in-one printer-scanner with a 6-ink system with that includes light cyan and light magenta, along with Cyan, Magenta, Yellow and Black. It can print up to 11x17 inches and has an 8.

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print-like-a-pro-a-digital-photographers-guide

Neither Canon nor HP make a letter size printer with the 6-ink configuration. Here is its link on our website: While Lightroom can do image editing, Bridge cannot - it is a file browsing, previewing, and organizing tool that dispatches files to the associated editing programs - such as Photoshop. As each red, green, or blue color receptor on a sensor is shared by two or three adjacent pixels, RAW files almost triple in size when decoded into TIFFs for viewing and editing, because a copy of each R, G, and B readout gets included in each of the pixels - which, on the sensor are virtual, overlapping clusters - it was shared with.

Photoediting programs' proprietary formats like PSD are thus based on TIFF - with additional information that records the handling of the image - whether reversably or not. Finally, I was suprised to see the recommendation that "out of edition" prints be labeled as artists' proofs to make them valueless. Many people consider them valuable as a window into the artist's creative process!

Of course that assumes that they really are proofs - which means that they preceded the numbered run.

Photo Finish: The Digital Photographer's Guide to Printing, Showing, and Selling Images

Dear Phil, I partially disagree with you when you say that Bridge does not offer image editing. Bridge, in cooperation with Camera Raw, offers the same tools that lightroom offers to retouch images. I wish more photographers would invest some effort and interest in the print. It can be rewarding, and it lends itself to learning better how to use your camera. I think the process to a photographic print is richer and broader in range than display on unknown monitors.