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Discussing paper choice and presentation

From: Inkjet Printing for Photographers

Video: Discussing paper choice and presentation

If your ultimate goal for your print is to matte it, frame it, and hang it on a wall, there are some things that you might want to think about during the printing process. So, to address those, I brought in my friend Konrad Eek here. We've been working in his framing gallery here, and he's going to answer a couple of questions that I've got, the same types of questions that you might want to ask whoever it is you have frame your work. I think you're going to find that Konrad is incredibly knowledgeable about matting and framing. I think you're also going to find that right now he sounds awful.

Discussing paper choice and presentation

If your ultimate goal for your print is to matte it, frame it, and hang it on a wall, there are some things that you might want to think about during the printing process. So, to address those, I brought in my friend Konrad Eek here. We've been working in his framing gallery here, and he's going to answer a couple of questions that I've got, the same types of questions that you might want to ask whoever it is you have frame your work. I think you're going to find that Konrad is incredibly knowledgeable about matting and framing. I think you're also going to find that right now he sounds awful.

Konrad, you sound awful. Konrad Eek: Thank you very much for noticing. I am trying to work through a little bit of a cold, and it's made my voice a little bit rougher than usual. Ben: All right! Well, hopefully it's not going to impact any of your answers. Konrad: No, no it hasn't penetrated that far. Ben: So, I've got a print. My first question when I'm printing is, well, I've got my matte papers, I've got my glossy papers, and I'm thinking I'm aiming this print towards framing, which means I'm going to put glass in front of it. Does it matter if I'm choosing matte or glossy paper if I'm going to have a glossy piece of glass in front of it? What are the differences? Konrad: I tend to prefer matte paper on the glass because with a glossy paper you can sometimes get two layers of shine out of the same thing.

So, if you've got a duller paper underneath the glass, it tends to read a little bit better. Ben: So it's just one less--going with matte is one less layer of interference between you and-- Konrad: Exactly! And there are also glass types you can use that will cut down on reflection, but they have their own inherent problems. One of them is they make your voice sound a lot like Mickey Mouse. Ben: Wow! I wouldn't have expected that. Konrad: But you can see here, this is a reflection control glass, and when you put it in front of the work, as you get it closer, there is a certain milkiness to it that disappears.

But if you've got any kind of separation, you can really start to lose contrast in the image. And so if you have a lot of reflections in the area, you're going to hang your work, you might consider this. Another way to go is with a museum glass which has reflection control as well but doesn't cause any of the milkiness. The disadvantage of the museum glass is it costs quite a bit more than the reflection control glass. Ben: I've been talking to them about different paper choices and how some paper choices might have just slightly better contrast than another paper choice.

If I'm putting some of this in front of it, and it's maybe going to be milky or take away some contrast, do I just go with a cheaper paper, or is it better to have the best possible image I can? Konrad: I thing you want to start with the best image you can, man, because if you are going to lose contrast, if you're starting off with something that's a little bit flatter, and then you lose more by the addition of the glazing, I really think you're taking away from the quality of the work. Ben: Okay. So it sounds like another thing that I'm balancing in here is maybe I like this glass because it doesn't reflect, but if I have chosen a framing style or something where the glass is going be father away, this is not a great option.

Konrad: Yeah, the reflection control is not a good option if you're adding a lot of depth in the matting technique, I would not recommend it. Ben: So I need to have some idea about the matting technique before I make this glass choice. Konrad: Yeah, and I talk quite a bit in an upcoming course on matting, framing, and hanging photographs about it's a group of decisions you need to make while you're getting ready to present your work. The frame, the matting technique, and the glazing are all integral to the final appearance of the work. Ben: Okay, let's talk about image size.

We've gone through in this course how you size your image for printing. But I've got a lot of different options when it comes to framing. I can go with pre-built frames that come in particular sizes, I can go with custom framing, how do I want to think about that? Konrad: Typically, Easel Back frames that we have some examples here are used mostly for portrait work, and those are very difficult to find in anything other than standard sizes. So, if you're shooting portraits with the intent of maybe putting them on a table or a metal piece in your home, I think it's best if you can even pre-visualize shooting to a standard size, because the typical sensor in a DSLR or a digital camera does not really match up very well with the standard sizes.

Ben: Right. Yeah, most of these standard sizes are not a 3:2 aspect ratio, so that doesn't work. So is it a good idea to buy the frame first before I even start printing? Konrad: Not necessarily, because there is a small number of standard sizes. If you just kind of think that you're going to lose about 20% of the width of your image when you compose, that works well. Then having the frame one hand is great, but if you don't have a chance to go shop first, if you just think of a standard 4x6, 5x7, and 8x10 sizes, it's pretty well served.

Ben: So, I've got this camera that's got lots of pixels in it, and I've got dozens of megapixels. I can print really big and maybe I am on a landscape shoot, and I am thinking, wow! I want to make a really big print, and I like to frame it, and hang it on my wall. Is that just going to cost me a fortune? Konrad: You've got money? Ben: Okay. Konrad: No, it is. The larger costs more. Every time you step up in size in your matting and framing, there is an increase in cost. There is a big cut off point at 32x40 inches, which is the limitation of standard sizes of matting and glazing.

There are some alternative ways to present things, though, that can help reduce cost. One of the things I've been doing lately is printing on a more of the fine art paper, and you can mount that fine art paper on board and varnish it, and at that point you've protected the surface with a varnish, and so you don't need to add the glazing in front of it, so you can eliminate the need for the matting, and the glazing which are two of the bigger costs in matting and framing the piece of work. Ben: Interesting! Are there standard sizes at larger size or is that always a custom frame? Konrad: There are a whole series of standard sizes that go all the way up to 32x40, and you can often find open back frames in those sizes that you can get quite a bit cheaper than if you have to go with custom framing. Ben: Okay.

We looked earlier at canvas which is a really fun inkjet option, because you don't need to put glass in front of it. What are some of my presentation options with canvas? Konrad: With canvas, typically you'd either want to mount it on board with an adhesive, or if you've got enough space on the edges of it, you can stretch it like a typical painter's canvas on stretcher bars. And then in some of the editions I've done on canvas, the artist will then go in and varnish that canvas just as they would a painting. Once again, that varnish, it's an acrylic- based varnish, and it doesn't interact with the inks at all, and it provides a nice protective layer for the print.

Ben: Okay, that's great! Konrad can go on like this all day long. He is really the guy to talk to about matting and framing, and you can see an entire course packed with detail about this stuff, and it's called Matting, Framing, and Hanging... Konrad: Your Photographs. Ben: Your photographs, okay, that's better than like your neighbors. Konrad: Yeah. We don't want to hang them-- Ben: Okay, right, right. And they will actually be able to hear you and everything in that. Konrad: Yeah, in that course I actually am able to speak English in an understandable way. Ben: All right! Well, check that out, and thank you very much Konrad.

Konrad: My pleasure! Thanks Ben!

Show transcript

This video is part of

Image for Inkjet Printing for Photographers
Inkjet Printing for Photographers

68 video lessons · 13336 viewers

Ben Long
Author

 
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  1. 9m 18s
    1. Welcome
      1m 50s
    2. Exploring why we print
      4m 3s
    3. Understanding what you need for this course
      3m 25s
  2. 13m 29s
    1. Why inkjet printing?
      4m 36s
    2. Understanding ink types: Dye vs. pigment
      4m 26s
    3. Discussing considerations for black and white
      1m 48s
    4. Reviewing the features
      2m 39s
  3. 1h 1m
    1. Printing and your workflow
      3m 3s
    2. Printing black-and-white photos
      6m 49s
    3. Understanding the histogram
      7m 37s
    4. Understanding what localized adjustments are used for
      2m 38s
    5. Explaining the histogram with a practical example
      6m 51s
    6. Making a localized adjustment in a practical example
      5m 30s
    7. Evaluating a localized adjustment in a practical example
      2m 29s
    8. Refining a localized adjustment for effect
      13m 36s
    9. Making a gradient adjustment
      6m 47s
    10. Paying attention to viewing conditions
      4m 49s
    11. Summing up
      1m 50s
  4. 54m 36s
    1. Understanding pixels, printer dots, and resolution
      2m 44s
    2. Understanding resolution
      2m 33s
    3. Defining resampling and interpolation
      3m 41s
    4. Understanding where resizing fits into your workflow
      2m 12s
    5. Defining native printer resolution
      2m 39s
    6. Understanding the relationship between viewing distance and print size
      2m 1s
    7. Reducing image size in Photoshop
      9m 11s
    8. Cropping to a specific size and resolution using Canvas Size
      4m 34s
    9. Cropping to a specific size and resolution using the Crop tool
      5m 15s
    10. Enlarging an image in Photoshop
      7m 7s
    11. Creating a triptych
      3m 55s
    12. Creating a triptych using Automator on a Mac
      4m 5s
    13. Exploring the aesthetics of print size
      4m 39s
  5. 1h 17m
    1. Understanding how sharpening works
      3m 18s
    2. Sharpening in JPEG mode
      1m 26s
    3. Exploring sharpening workflows
      3m 47s
    4. Sharpening in Camera Raw
      6m 17s
    5. Looking at noise reduction
      1m 46s
    6. Sharpening output with Smart Sharpen
      11m 52s
    7. Understanding selective sharpening
      4m 25s
    8. Sharpening through an edge mask
      7m 17s
    9. Reviewing high-pass sharpening
      4m 30s
    10. Applying aggressive sharpening
      8m 53s
    11. Exploring advanced sharpening techniques
      9m 7s
    12. Exploring the Print dialog
      11m 35s
    13. Proofing at smaller sizes
      3m 3s
  6. 53m 9s
    1. Exploring how color works
      2m 5s
    2. Reviewing color models
      2m 56s
    3. Defining gamut and color space
      9m 55s
    4. Reviewing when colors go out of gamut
      4m 54s
    5. Configuring Photoshop's color settings
      5m 47s
    6. Changing color space in Camera Raw
      4m 7s
    7. Working in an advanced color space
      6m 13s
    8. Assigning a color space in Photoshop
      2m 20s
    9. Correcting a color image
      9m 17s
    10. Printing a color image
      3m 30s
    11. Evaluating the print
      2m 5s
  7. 34m 46s
    1. What is color management?
      4m 16s
    2. Profiling a monitor
      8m 45s
    3. Evaluating a monitor profile
      4m 37s
    4. Exploring paper profiles
      5m 17s
    5. Understanding soft proofing
      11m 51s
  8. 24m 33s
    1. Understanding how paper quality affects the appearance of black in prints
      3m 26s
    2. Looking at third-party papers
      3m 46s
    3. Looking at paper finish
      3m 44s
    4. Understanding paper traits
      6m 31s
    5. Discussing paper choice and presentation
      7m 6s
  9. 23m 18s
    1. Printing a black-and-white image
      11m 45s
    2. Printing a color image
      11m 33s
  10. 1m 16s
    1. Goodbye
      1m 16s

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