If you would like to hang any of these images on your walls, high quality prints are available for sale. Prints have finer detail than what you see on your computer screen, but their colors won’t be as bright. This is due to the difference between the transmitted light of the monitor and the reflected light of the print.
The original 35mm slides and negatives are scanned with a 4000 dpi Nikon Super Coolscan 5000 ED film scanner, resulting in resolutions of over 18 megapixels after cropping. Multiple scanning passes are used for the sake of error correction. Giclée prints are made on Epson Enhanced Matte Paper with an Epson Stylus Photo R1800 printer that uses 8 colors of ink.
If you prefer traditional type C photographic prints, these will be out sourced and made with the Fuji LightJet system. Type C prints can reproduce a broader range of colors than giclées. However, not all images contain colors outside this narrower range. Furthermore, out of range colors often translate very nicely in giclées.
My 8½ by 11 inch prints have a resolution of about 590 pixels per inch (ppi). 13 by 19 inch prints have a resolution of about 320 ppi. All enlargements over 16 by 20 inches have their pixel count increased to 300 ppi with Genuine Fractals 4.0. This program yields better results than upscaling with Photoshop’s Image Size tool. Extra large prints are only available in type C.
The color response of my monitor is calibrated using Pantone ColorVision Spyder2 Plus hardware and software. With this system a color measuring device attaches to the monitor screen with suction cups. Then the software runs a series of tests and makes the necessary adjustments. The software generates a color response profile for the monitor and this is used to keep colors consistent between the monitor and the printed image. The Epson printer comes with color profiles for its ink system in combination with a wide variety of Epson papers.
I fine tune the tonal values of my images in Adobe Photoshop. I use the Levels tool to set the black point and white point of the images according to the Histogram readout. The Histogram shows the relative number of pixels at each brightness value. Before Levels adjustment not all images span the full tonal range from darkest black to brightest white. After setting black point and white point I optimize tonal transitions using the Curves tool. If you would like to know more about how I make these adjustments, read my essay on color correction.
For framed prints I use Dick Blick Gallery Series wood and metal frames. If you want to see the specs for these frames, here are links to pages about the wood and metal versions. I use acid free matte board and backing as well as museum-quality UV glass. The matte is white with a black core. The framing of prints will take several weeks. I only buy frames as needed and I have to wait for them to ship. Then the framing shop takes about two weeks to matte and frame the prints.
If you have any other questions about my prints I would be happy to answer them.
If you would like to hang any of these images on your walls, high quality prints are available for sale. Prints have finer detail than what you see on your computer screen, but their colors won’t be as bright. This is due to the difference between the transmitted light of the monitor and the reflected light of the print.
The original 35mm slides and negatives are scanned with a 4000 dpi Nikon Super Coolscan 5000 ED film scanner, resulting in resolutions of over 18 megapixels after cropping. Multiple scanning passes are used for the sake of error correction. Giclée prints are made on Epson Enhanced Matte Paper with an Epson Stylus Photo R1800 printer that uses 8 colors of ink.
If you prefer traditional type C photographic prints, these will be out sourced and made with the Fuji LightJet system. Type C prints can reproduce a broader range of colors than giclées. However, not all images contain colors outside this narrower range. Furthermore, out of range colors often translate very nicely in giclées.
My 8½ by 11 inch prints have a resolution of about 590 pixels per inch (ppi). 13 by 19 inch prints have a resolution of about 320 ppi. All enlargements over 16 by 20 inches have their pixel count increased to 300 ppi with Genuine Fractals 4.0. This program yields better results than upscaling with Photoshop’s Image Size tool. Extra large prints are only available in type C.
The color response of my monitor is calibrated using Pantone ColorVision Spyder2 Plus hardware and software. With this system a color measuring device attaches to the monitor screen with suction cups. Then the software runs a series of tests and makes the necessary adjustments. The software generates a color response profile for the monitor and this is used to keep colors consistent between the monitor and the printed image. The Epson printer comes with color profiles for its ink system in combination with a wide variety of Epson papers.
I fine tune the tonal values of my images in Adobe Photoshop. I use the Levels tool to set the black point and white point of the images according to the Histogram readout. The Histogram shows the relative number of pixels at each brightness value. Before Levels adjustment not all images span the full tonal range from darkest black to brightest white. After setting black point and white point I optimize tonal transitions using the Curves tool. If you would like to know more about how I make these adjustments, read my essay on color correction.
For framed prints I use Dick Blick Gallery Series wood and metal frames. If you want to see the specs for these frames, here are links to pages about the wood and metal versions. I use acid free matte board and backing as well as museum-quality UV glass. The matte is white with a black core. The framing of prints will take several weeks. I only buy frames as needed and I have to wait for them to ship. Then the framing shop takes about two weeks to matte and frame the prints.
If you have any other questions about my prints I would be happy to answer them.