There is a big difference between good color and accurate color. Good color can be simply color that you like. If you like the prints coming off your printer, you can deem them “good” using just your opinion. There are definitely some circumstances where that is enough for a photographer...but the problem comes when you want to print the same file on a different paper, or a different printer. If you want prints to look the same when changing printers and papers, you need to have accurate color.
I define accurate color as being able to reproduce colors to a known standard. Accurate color requires testing; comparing prints from the device and/or paper you want to use, to a known, quality reference print.
My known reference prints are a pair of test sheets with several of my photographs on them that I know extremely well, from printing over many years on many devices and papers. The test sheets also include some color and gray charts, which are used as diagnostic tools, and for comparing one profile to another.
When I want to print on a new paper, I print my test sheets so I can visually compare them to known and approved reference prints I’ve made in the past. With an accurate ICC profile, it is possible to produce prints that are extremely accurate, and for all intents and purposes, the same as prints made on other devices and papers.
This precision in color is what I require before I approve a profile for production. The value of using this approval process has been proven to me, again and again over the years in my work as fine art printmaker. I’ve applied this process to approving dozens and dozens of profiles for different papers on fine art printing devices including inkjet printers, Chromiras, Lightjets, and even metal prints.
Creating my reference chart the first time was the hardest part. It required knowing what the photos should look like to a very high degree of precision, as well as being able to print it on several different papers and devices to validate that the master reference print was indeed accurate.
Time and time again in my teaching and workshops, I run into photographers who haven’t measured their prints against a known reference print, and don’t even have a known reference print. The easiest way for me to solve that is to offer approved and validated prints of my test sheet, and allowing photographers to print the same file on their printers, with their profiles, so they can compare their prints against my known and approved reference print.
I use two reference prints, one for color, and one for black-and-white. I’m offering copies of my reference prints for $30 for one, or $50 for both the color and black-and-white when ordered as a package. Each print has been printed on my Canon PRO-1000 printer, has been carefully checked against my master reference print, and signed by me as a mark that I’ve approved the color accuracy.
These prints are a valuable tool that will help you save time and frustration, as well as valuable paper and ink. They will help you gain confidence in your printing process, while showing you areas that need a little more work. And the prints themselves are pretty nice to look at, too!
I was deeply saddened to read that the recent rockfalls on Yosemite’s El Capitan killed climber Andrew Foster and injured his wife. There is a kindred spirit that runs through all who love Yosemite, and the loss of anyone there, even someone I didn’t know, is a loss to the greater Yosemite community.
Rockfalls like this are spectacular events, that are hard to understand unless you’ve studied or experienced one. A 65x131x4 foot section of rock falling 1800 feet and hitting the ground has an immense force that literally disintegrates much of the rock into small granules and grit only a bit larger than sand.
I was witness to the 1996 Happy Isles rockfall that had some similar effects. About twelve hours after the rockfall, I went photographing in the area impacted and then led my Ansel Adams Gallery camera walk there. The scene was literally a moonscape. Everything was covered in a fine dust of fresh granite to the point that no color was visible. It was like the change in the Wizard of Oz from color to black and white, only backwards. Rock dust was worked into every nook of bark on the trees, on every leaf, everything. I was so focused on black and white photography at that time that I didn’t even think to take a color photograph, which would have shown it in terms that are easier to understand, but I do have some of the black and white photographs I made that morning.
It’s hard to describe the texture and coarseness of the granite dust. It is like nothing anywhere else and it got into everything. Fine particles were still floating around and I remember feeling them on my teeth. They even got into the works of my lenses, and for years after I could feel them as I changed aperture on those lenses. After reading accounts of the Apollo astronauts, it’s probably the closest I’ll come to walking on the moon.
I thought black and white film would be perfect for capturing the truly monochromatic landscape, but the problem was everything was the same shade of gray, just a little lighter than a 18% gray card. Sunlit areas were brighter, but there was little shadow to create contrast. Truly a challenge situation to photograph.
While Yosemite is very safe compared to a lot of places in the world, it is still wild. We are not in control there. I’ve missed injury or death from rockfalls in Yosemite on several occasions, from having rockfalls on roads that I just passed minutes before, to “finding” a major rockfall in the Merced canyon late one night while returning home, that required screeching to a halt to avoid car sized boulders. During the Flood of 1997 I literally had to run from a rockfall on the backside of Yosemite falls. I’ll never forget the look on my friend Glenn’s face as he shouted “Run!” to me and my wife. We literally ran for our lives, and then later found the spot we were standing in covered in about a foot of small fist sized rocks. But my brush with the 1996 Happy Isles rockfall was most similar to the El Capitan event. My wife and I were planing to go to Happy Isles that evening, and would have been there at the time of the rockfall, but we were tired after a long drive that day and decided to skip it. Had we went, we would have experienced blinding dust, winds exceeding 100 miles per hour that snapped the top halves of 150 foot trees off, and knocked down others. At the time I was disappointed I didn’t get the ultimate front row seat for such an event. In hindsight, I’m glad I missed my front row ticket that night.
Don’t let events like these scare you from Yosemite and other wild places. Your drive to work is probably more dangerous. We go to Yosemite because it is wild, not because we can tame it.
Sitting by a fire on a cool autumn evening holds a beauty and mystery that is universal in the human experience. It’s not just the warmth but the smell of the wood and sap burning like incense, the crackle, hisses, and pops as what was knit together over decades breaks apart into basic elements. It is a soothing, mediative experience.
Yosemite National Park often sets fires on purpose, when conditions are right, to allow slow, controlled burning to help prevent more catastrophic fires. It was during one of these fires that I pulled off the Tioga road to stop and just experience the fire. On an autumn night with virtually no traffic, I was alone, just me and the pop, sizzle, crack, and smoke of the fire. As I was setting up to photograph, the large tree in the center of this photo caught fire of “torched” as the firefighters call it. Even at about 100 yards away, the heat was intense as this 150 foot giant caught fire, every branch and needle engulfed like a touch in the night. For minutes afterward the embers on the branches glowed as captured in this piece of film. The energy released from this on tree was astounding, and left me with in awe.
Wisner 4x5 Nikkor 135mm lens Fuji RDP II 4x5 film
Very few people just pick up a musical instrument and start playing great music. There are exceptions, but most people need to receive formal instruction in both music and the instrument. This instruction gives musicians the foundation to understand how to play and create music, and to keep growing (and hopefully enjoying) the art.
Photography can, and should, be learned in a similar way. With proper instruction, photographers can attain an understanding of the creative controls that allow them to begin expressing themselves more clearly and easily. There are exercises and approaches that can be taught and learned by anyone through study and application.
The more fluent a photographer is in the creative controls of photography, the more the camera and software drop from conscious thought and allow the connection between what the photographer sees in their mind and what is actually in front of the camera to freely flow. This is no different than the musician and the connection they must have to their instrument, or the athlete who practices their swing over and over until it becomes transparent, allowing them to focus on the ball and the wider situation.
My approach to teaching is focused on growing students’ understanding and mastery of photography’s creative controls while guiding and encouraging development of artistic vision.
It is my experience that If I teach a student how to gain creative control over photography, I have given them the best foundation for growing and exploring their artistic expression. Coupled with that, I can expose them to great art and artists to inspire and broaden their palate, and mentor them in finding and expressing their story. My end goal is to give photographers the means to express themselves through photography so they can enjoy a lifelong relationship with the medium.
With Autumn rapidly approaching, I’m looking forward to sharing some more of my fall color work.
This is one of those rare photos where I got a second chance after failing to get a good photo the previous year. This creek is located in the nook between two tall mountains at about 7200’ elevation. The combination of open shade and the increased UV radiation contribute to make a very blue light. Our eyes, and digital cameras, do a very good job of white balancing this blue light to normal, but this photograph was made with film which has a fixed white balance. The first time I tried to make a photograph here, I didn’t use a warming filter to adjust the white balance, so it was horribly blue with no way to correct it out in Photoshop. The next year I was better prepared, and was able to make this exposure with my 4x5 Wisner field camera, 135mm Nikkor lens, Fuji RDP II film, and a warming filter. Because of the high resolution of 4x5 film and a high quality scan, many fine details are visible, including the vein structure in the leaves and even insect holes where they have made a snack of the beautiful fall foliage. It will always be a reflection of the experience I had making it, and so many crisp, clear fall days in the Eastern Sierra.
The eclipse may be over but this liquor store still has solar glasses...and beer goggles.
Sony AR7 II Zeiss FE 35mm F2.8 ZA 1/90s f8 ISO 100
Words are not sufficient to describe seeing a total eclipse of the sun in person. I have dreamed of seeing a total eclipse my entire life. I've been watching eclipse photography since the early 80's as it progressed from the film era into digital. I've seen countless photos of eclipses from around the world. Nothing prepared me for the experience. As the sun winked out of view in my viewing glasses, and I took them off, I was it a totally different world. The sun replaced by a black hole, the brightest thing in the sky a ring of light with billowing curtains of gossamer flowing from it. It was if I was transported to another planet, so profound was the change from partial eclipse to totality. Superlatives seem an insult.
Cameras are like our memories: They preserve snapshots of they way things are at a unique point in time, creating links to places, people and events that we can no longer visit in person. The conflict between this sense we have of eternity, and yet being stuck in mortal bodies, provides a never-ending protagonist as we photographers tell stories by writing with light.
Today I came across this photo I made in 2013 of one of the launch pads at Kennedy Space Center. I was struck with a new connection to it, as this week part of the tower has been torn down to make way for the new Falcon 9 Heavy rocket made by SpaceX.
I took this photo on a pilgrimage of sorts. I love watching while history is being made. As a young photographer it fueled my desire to be a photojournalist. In high school, I was able to cover part of the 1988 Presidential race as Ronald Reagan and Michael Dukakis both visited my swing state of Ohio. Seeing people up close that I’d only watched on the evening news was an incredible rush to a 16-year-old.
Over time, I realized that I value a personal connection to places and events. It’s one thing to see a picture of something like Stonehenge, but until I stood before it, it wasn’t as real.
It’s with that motivation that I traveled to Kennedy Space Center in the spring of 2013. NASA was flying Space Shuttle Endeavour to Los Angeles, and I had secured VIP passes to be on the flight line the morning it flew out. I really wanted to see a space shuttle on the back of a 747, and this was my last chance because it was never going to happen again. I was also able to take a special tour of Launch Complex 39A...the site where Neil Armstrong and Buzz Aldrin took flight to become the first men on the moon. This launch pad went on to serve the shuttle program with 82 shuttle launches. Because the pad was not in use for the first time in nearly 35 years, up-close tours were allowed in ways that hadn’t been before, and are no longer available, since it has become a main launch site for SpaceX.
It was a powerful moment for me to stand inside the fence at pad 39A and have a few brief minutes to examine and photograph a place I’d thought about since I was a small boy. This is a very personal photograph that represents far more than just the subject before the camera. And today, knowing that this scene is gone forever, I’m very glad I had the chance to make it.
If you are like me, there are certain restaurants you’ll go out your of your way to experience. I have my favorites, and I bet you can picture your favorite spot, and maybe even your favorite dish, right now.
So what’s the big deal? It’s just food. You can probably buy the same ingredients the chef uses, and cook them at home, right?
Not so much...
Part of dining out is experiencing the chef’s creativity and talent. That creativity intrigues us so much, there’s an entire TV network dedicated to food, with competitions where chefs showcase their training and talent. The shows always start out with a grand introduction, listing where the chefs studied, which chefs they worked under, and which restaurants they worked at, or own. They then open their mystery baskets and have to turn seemingly contradictory foods into something that will impress the distinguished panel of judges.
If I invited one of these chefs over and asked them to cook something from my pantry, it would be far better than anything I’ve ever cooked. Think about it. To become a talented chef, these people have studied at culinary school, worked for other top chefs at top restaurants where most of us will never eat, have tasted thousands upon thousands of recipes and ingredients, and probably prepare more meals in a day than we do in a month. It’s something they have poured their whole life into mastering. They are so practiced and skilled, they can combine all this experience and creativity into tastes and flavors I’d never dream of.
That’s the easiest way to explain what I do as a Fine Art Printmaker. I take people’s photographs and, using my years of study, skill, talent, and experience, I make a photograph look the best it can be. I make it into something that makes you feel happy about it, every time you look at it, so you can enjoy that photograph more.
It’s something every photograph, and everyone, can benefit from...so why don’t more people use a printmaker? After talking to my non-photographer friends, I discovered a number of reasons. The biggest one is that they simply didn’t know what a printmaker could do for them. Another was access; most printmakers today require ongoing work or large projects to work with. It isn’t easy to find a printmaker who will work on just one or two files. They typically want ongoing relationships with artists who will do a certain volume of work with them.
I’m out to change that, making printmaking more accessible for everyone. With my new “Printmakers Choice” service, I’ll take one of your photos and give you my take on it, as seen through my experience and taste, for just $35. Think of it as my food truck. I can give you the benefit of my 5-star restaurant experience at an incredible price because you just come to the counter, order, then trust my judgment. This setup streamlines my workflow, allowing me to offer a very high-end service without requiring any minimum orders. Want more collaboration? I can do that too...but it comes at a bit higher price.
My new order system makes it easy to order:
You can then use this file to order prints, canvas wraps, metal prints or whatever you choose (and I can help you find a good lab who will print your file well, if you’d like).
When you consider the cost of putting a picture on the wall...from the printing, to the framing...that it’s going to be a focal point of your room...and that it will be something your family will treasure for years to come...it’s easy to justify the $35 to make sure your photograph will look its best.
Hearing an opinion on the quality of a lens is easy, but finding a GOOD opinion is hard. You have to consider the source and their experience. I’ll admit, I’m very picky about whose opinion I’ll listen to when it’s time to part with my money. I tend to give the most weight to the working pros who I actually know because I’ve seen their work for myself, which validates their opinions.
Even with good sources and top-quality lenses, few pros have exhaustively tested all of the leading lenses in a given focal length. That’s when Lloyd Chambers’ diglloyd.com website becomes extremely useful.
Lloyd is relentless in testing every high-end lens and camera system he can get his hands on, and while it requires payment to access his in depth reviews, it’s a minimal investment compared to the thousands of dollars most photographers spend on glass.
Anyone can tell you that the Sigma Art lenses and Zeiss lenses produce phenomenal resolution. But at diglloyd.com, I can actually see carefully crafted high-resolution files from different camera and lens setups, along with Lloyd’s observations. How a lens performs in the real world is far more valuable to a photographer than benchmark testing or MTF charts.
This is what makes Lloyd’s reviews so valuable. He actually shows you what is right and wrong about a lens so you can form your own opinion.
My trust for Lloyd’s pursuit of quality was cemented after getting to know him on one of my workshops. He was using 8x10 film at that time (8x10 being a benchmark in quality equivalent to about 400mp) and was frustrated that it wasn’t sharper. I looked at his chromes and told them they were as tight as the best chromes I had seen from photographers Jack Dykinga and Christopher Burkett, and that he should be very happy with them because not only were they technically perfect, but they were beautiful as well. Lloyd told me that they should be able to be sharper, and then rattled off some deep technical details that they should be achieving. While many people can talk the talk, Lloyd actually knows how to walk the walk .
It’s one of the blogs I read almost every day, and it doesn’t hurt that his “test” images are beautiful real-world photographs taken in my beloved Eastern Sierra. Short of buying thousands of dollars in lenses and testing them myself, it’s the best evaluation of lens quality I’ve ever found.
Rich Seiling is a pioneer in Fine Art Printmaking, having worked on thousands of prints for leading photographers.