Category: Tips of the trade

Dot Edition’s Digital Printing Discussion

Posted by doteditions on February 11, 2010

Rocky discusses what to look for in a good image for printing, including no clipping of the histogram

Discussing the histogram, one of the most important tools in Photoshop.

Rocky Kenworthy, founder of Dot Editions hosted a Digital Printing Discussion in his Brooklyn print studio. Twenty-five  photographers braved the winter weather warnings and attended the open-forum discussion, armed with questions about archival pigment printing, paper choices, monitor calibration, and RIP software. Rocky shared his knowledge about how to work an image into an optimal archival pigment print, trouble-shooting imaging problems, paper choices, and RIP software.

What the photographers are saying about the event:

“I was very impressed with your studio. I think having the open discussion on file Prep, & printing was a great idea. Now my head is spinning with all the new info.” – Patrick McCarthy

“I enjoyed being there last night, I think its a great idea.” – Bart Michiels

“Last night the print with RIP and without RIP were quiet interesting to see…” - Frank Fournier

“Rocky does a very good job sharing with us what he knows and at the same time being open to what others are experiencing.  My own experience with coming to digital with a longer ‘film’ background gives me similar feelings, that nothing is written in stone, and you simply have to experiment. … I think you both provide a nice environment and i feel the information is treated with enough depth that i can take it further, without so much depth that the discussion just becomes obtuse.” - Richard Rethmeyer

“Thank you for having the event!  I definitely learned some helpful techniques and Rocky was very generous about sharing his knowledge.  It was much appreciated.” – Carey Kirkella

Discussion of paper choices for archival pigment printing.

Discussion of paper choices for archival pigment printing.

We are looking forward  to hosting more of these community-minded forums about the process of archival pigment printing in the future! If you are interested in being part of the discussion, please sign up for our mailing list, or become a friend of Dot Editions on Facebook!

Calibration work-around: match your image on the monitor to your print

Posted by doteditions on February 5, 2010

The frustration we most often hear from photographers making their own prints is “why doesn’t my print match my monitor?” How does one achieve color management at home or in the studio? If possible, invest in a good monitor! We recommend the Eizo ColorEdge CG211 (runs around $2500) or the NEC MultiSync LCD2190 series (around $900), and calibrate using the Eye-One puck and software.

If you can’t afford either of these monitors, here’s a place to get started for monitor settings: Color temperature 6500K, gamma 1.8.

If you’re using an Apple Cinema Display, remember that these monitors are extremely saturated and contrasty, and most likely, your print will look flat and lifeless in comparison.

Assuming that you are correctly applying printer profiles, this work-around should help you better control color managmenent (we will discuss using printer profiles in a later blog post). Your best work-around is to make an adjustment layer on your Photoshop file that you TURN OFF when you go to print. Use these simple steps:

1. Make a print from an image that you think has good skin tone, contrast, nice highlights and shadows.

2. Put your print next to your monitor in decent light. Ideally you would view your print in a daylight balanced light box similar to the GTI viewers. Most people don’t have this, so use diffused, even soft window light if possible. Remember that as the light changes through-out the day in your room, so will your calibration.

3. Make an adjustment layer curve on the image you printed from, and match the image on the monitor to the print. Take your time here, match the image on the monitor to the print as best you can in terms of color, contrast, and saturation. (If you make a few layers, group them together). You should be able to do it with just one curve layer.

4. Name the adjustment layer or the group “TURN OFF WHEN PRINTING” (you can color the layer red as well, by control + clicking on the eye icon on the layer palate)

5. As you make further adjustments to the image to perfect your print, always keep that “TURN OFF WHEN PRINTING” layer on top of you layer stack.

6. Finally, make sure to turn off that layer when printing! Save a PSD file with all your layers (including the TURN OFF WHEN PRINTING layer). Duplicate the layered image, turn that layer off, then flatten (Photoshop will ask you if you want to Discard the hidden layers, click OK) and save as a Tiff file for printing.

monitor-print-workaround

COMING SOON: Soft proofing through Photoshop

Join us Tues. Feb. 9 for a digital printing discussion

Posted by doteditions on February 1, 2010

Join us for a discussion on digital printing : How to take control of your images in the digital darkroom

When: Tuesday Feb. 9 (6-9pm)

Where: 119 8th Street, Studio 210, Brooklyn (near the F, G, M, R trains at the 4th Avenue/9th street stop)

This event will help photographers take control of producing prints for exhibition and portfolio. In this discussion, printer Rocky Kenworthy will share his extensive knowledge of what goes into making an optimal archival pigment print. This is an excellent opportunity for photographers to get questions answered on topics such as:

• What paper is best for your digital printing project.
• How to make a master print.
• What Photoshop tools and tricks are best for getting the most out of contrast, color, and sharpening.
• Benefits of using RIP software.
• How to control color management from monitor to print.
• Mounting and laminating options for pigment printing.

This is a free event in our printing studio. Please bring a drink or snack to share with your fellow photographers!
Discussion will start promptly at 6:30. Doors open at 6pm.

Please click here to RSVP (required)