any time he was working in a Black-And-White darkroom with glass plates and later wilh film negatives. jorg frequently made very large prints. Mis dramatic scenes of the International landscape, rendered in black-and-white, required prints that could show every razor-sharp detail. For jorg, the priming method was both an and craft. The art lay in determining how to make each aspect of the graphic while the craft was translating that eyesight to the light-sensitive, emulsion-coated paper.
These days, it’s not hard to become complacent about the craft side of making a print. We have got tools that are both immensely powerful and simple to use. You do not have to he a good craftsman lo get a pretty good prinl. but if you’re no) satisfied wilh very good, wc have some lips to gel you on the road to gallery-quality.
Starts Using the Image File , If we were still shooting film, we’d be saying it starts using the negative, and that’s how you should be Ihinking of the photograph as soon as of initial exposure. Having the most detail and the best possible exposure from the outset puts a person on the paih to lop-echelon prints. Otherwise, you’re always going to he fighting against shortcomings and trying to coax detail where it’s been lost. Take care lo get the exposure perfect. If possible, bracket in the field to give your-self options down the road. You may have met photographers who say they never review images in the field and also who say they can tell the proper exposure without the use of a light meter. Maybe they can. but if you have the DSLR on a tripod and you’re shooting a landscape, chances arc. you have the time lo do a quick check of the composition on the LCD screen and call up the histogram to be sure you aren’t clipping.
Capture In Color , We usually suggest. shooting in color and even converting to black-and-white in Ihe computer. Thus giving you ihe most image information in your image file. A number of DSLRs do an excellent job in monochrome mode, and we like using thai mode in The field for getting a fast look at how a scene will render, but when it’s time to make the critical exposure, do it in color.
Capture In RAW , This one is a no-brainer. If you are looking for Ihe most detail and also best tonality, you have to shoot in RAW. Just like JPEG compression is. it’s Mill compression. If you want to make Adains-esque prints, start with a RAW file.
Convert To Black-And-White , There are numerous options for doing the conversion. Adobe Photoshop and Lightroom have sophisticated controls, as does Apple Aperture. The most popular choice is Nik Silver Efex Pro 2 for its combination of power along with a simple photography-oriented interface, and the fact that it gives you a layered file, which provides you even more control over Ihe image as you proceed to printing.
Set The Picture Resolution To 300 dpi , There is no shortage of opinions about this point on the Internet, but we prefer to keep it simple. Set the graphic resolution to 300 dpi, and when that doesn’t leave you with as large of a print as you’d like, up-res with a program like onOne Perfect Resize (this is the new name for Genuine Fractals). Boosting resolution isn’t perfect, but in the event you start wilh a large image file that has a lot of image data, ihe resizing algorithms do an excellent work. We prefer this to resampling in Photoshop most of the time.
Print In Colour Or Monochrome Mode , That one is a little more very subjective. Printer drivers and inksets do a excellent work in pure black-and-white modes, but for ihe besi possible prinls. we slill like lo print in full color. For many images, this gives you added depth and dimension. It also lets you provide the image a warm or cool lone, if you want.
High-QuaIity Papers , The primer producers make excellent papers that have been made to give you optimum image quality using their printers. There arc several third-party paper manufacturers that create a variety of alternatives. Ultimately, this is a subjective choice. A glossy paper will certainly show delail betler, and ii could make incredibly rich black areas. Satin and also matte papers give a slightly softer effect. Watercolor paper is a lot softer still. For highest impact and an jorg -esque look, we recommend glossy or possibly matte paper.