Buying a professional quality photo printer is a wise investment. Your clients will appreciate how the crisp details of your prints. Rely on our photo printer reviews to help you choose the right tool for the job.
Monday, April 28, 2008
Hi-Tech Studio: Professional Black-And-White Printers
Amid the many options for black-and-white printers, there are a few models that pick up where film left off, providing superior black-and-white prints reminiscent of the days in the darkroom
Black-and-white printing has been in a state of flux from the days of film to the early stages of digital inkjet printing. The problem with film was that color photos were the most difficult to reproduce in the darkroom due to the difficult silver-halide workflow. Today the paradigm has shifted, making black-and-white printing one of the most difficult areas to master in a now digital world.
Monday, January 7, 2008
DPP Solutions: Printer Drivers
Get the highest-quality prints even when your printer's drivers won't cut it
Professional printers are getting even better, giving us amazing picture quality with exceptional printer drivers. Usually printing with the manufacturer's media guarantees the best print with its printer drivers, but when using a third-party paper or any other sort of substrate medium, it becomes harder to get the best and most predictable results. For those of us who want the highest-quality photos and the most control over our output, there are reliable options that ensure what we have on the screen will be yielded when we queue our print jobs.
Thursday, August 16, 2007
Red On The Set
When Epson wanted to photograph one of the world's rarest automobiles to test a new printer, they went to Stage 3 Productions in Detroit, where the staff knows how to generate maximum resolution
The next best thing to driving a $1.3-million Enzo Ferrari is photographing one. Epson America challenged us to photograph the legendary car in our studio at Stage 3 Productions and create the most detailed digital files possible. Dan Steinhardt at Epson specifically asked for a final file that was unflattened, 16-bit, Pro Photo RGB-captured to the highest resolution possible. Using a Sinarback 54HR, P2, the final size after retouching would be in the gigabytes.Read More...
Tuesday, June 19, 2007
The Paper Chase - Selecting The Best Paper
One of the least considered, yet most used materials in the photographer's arsenal, a paper's fundamental construction can have a profound impact on how images print
For most photographers, the ultimate goal is a print. When inkjet printing hit photo quality, the choices were very limited. Every manufacturer went to great pains to supply papers that mimicked traditional darkroom papers in an effort to lend a more legitimate feel to digital printing. Photographers didn't take long to try alternative media, though, looking for that perfect surface and finish that would bring out the best in their images.
Tuesday, June 19, 2007
Mysteries Of (Color) Space
We've covered it before and we'll cover it again because the ins and outs of color management begin with a firm grasp of how devices handle color space
Technical terms are frequently tossed around like a Frisbee in a park on Sunday. In digital imaging, three such terms are color space, color gamut and profiles. “Use this color space—you'll get better results.” “Is this color within the color gamut?” “What profile are you using?” All are valid questions, but what do they actually mean?
Monday, June 18, 2007
Proper Printer Resolution
Myth: Pixels equate to ink droplets
You may have been told that you have to use a high image resolution (most commonly given as 360 ppi or pixels per inch) in order to get the best inkjet prints. Or perhaps someone has instructed you to use something much lower, maybe even 200 or 180 ppi. Who's right? Is anyone absolutely right?
Wednesday, May 30, 2007
When Epson approached Jeff Schewe to photograph their latest professional printer, they wanted something different
This story started last spring when I received a phone call from Dan (aka Dano, as in “Book 'em, Dano”) Steinhardt from Epson, asking me if I might be interested in doing a shot for Epson. At the time, he was his usual circumspect self, hinting that the “thing” I might be shooting was bigger than a breadbox and would sit on a desk—yeah, like I didn't assume it was a printer—but he steadfastly refused to allow the discussion to progress to further speculation on my part. I said yes.
Thursday, May 24, 2007
High-End Printers For Your Studio
The current generation of professional-level inkjet printers can give your studio a steady stream of lucrative print business
With the exception of Epson, many of these improvements have been slow to arrive in the large-format printers that are preferred by many pros and studios. For the purposes of this article, large format is defined as printers capable of 17-inch and wider prints on either sheet or roll media.
Wednesday, May 23, 2007
Dealing With Viewing Distance
Creating accurate viewing conditions is critical when evaluating your images, and it's something no one seems to be talking about—until now
There's a fundamental flaw in digital imaging today. You simply cannot view a pixel-based image on a computer display that gives a true interpretation of what it will look like printed on paper.
Contender: Nicholas Mele
It can happen in an instant
Contender: Cindy McDaniel
Going underwater for an unpredictable look
Contender: Martin Christopher
“Angel Face” was photographed for a local hair salon’s ad campaign
Contender: Bruce Roscoe
Meticulous attention to the lighting creates strong chiaroscuro and a dramatic effect
Contender: Kevin Ziechmann
Reality and photography collide in this self-portrait
Contender: David Miller
Rendering a split look in a “Frankenstein” photo
Contender: Jeff Nadler
Black and white film and natural light gave this image its distinctive look
Contender: Jessica Christie
Capturing emotions and creating a retro look
Contender: Laura Bello
A little bling and vibrant color demand a viewer’s attention
Contender: Dhrumil S. Desai
Style and substance came into play in making this warm-toned black and white portrait