printing

Size Matters: Understanding Image Resolution, and Why and When to Boost It

This week we’re showcasing post-processing. Want to learn even more about developing your digital photographs? Join Tim Cooper and Chris Nicholson on the Seattle waterfront this July for a weeklong Post-Processing Intensive workshop, including night shooting along the city shores of Puget Sound.


As we discussed in a recent blog post (“Supersize Me: Adobe Brings Us High-Quality Quadruple Enlargements”), Adobe’s new Super Resolution is a fantastic new tool to enlarge images for print. But how do you know when it’s needed? For a full understanding of image enlargement, we need to take a deep dive into file size, resolution and image resizing.

File Size and Resolution

The size of a file is talked about in several different ways. You could talk about the megapixels, megabytes or even file dimensions (width x length). For example, a photo from my Nikon Z 6 can be said to be a 25-megepixel file, or a 45-megabyte file, or a 6048 x 4024 file. In Figure 1 you can see how the Metadata panel in Lightroom shows a Z 6 image as having a file size of 44.93 megabytes and dimensions of 6048 x 4024.

Figure 1. Metadata panel in Lightroom.

If any of this seems unintuitive, then think of a piece of 4x8 plywood. It measures 4 feet wide and 8 feet long. Its area is 32 square feet. In addition, it has a certain weight.

Likewise, my Z 6 file is 6048 x 4024. It measures 6,048 pixels wide and 4,024 pixels high. Its area is 25 megapixels (6,048 pixels x 4,024 pixels = 24,337,152 pixels = 24.34 megapixels). Its “weight” is 44.93 megabytes.

Figure 2. 6048 x 4024 = 24.34 megapixels.

“Resolution” is the number of pixels in an image, expressed either as a total number or as dimensions (width x height). My Z 6 creates an image with a resolution of 25 million pixels (25 megapixels). But while megapixels is a great term for advertising camera models, as photographers we’re better served thinking in file dimensions.

Image Sizing

Screens and printers create images in very different ways. Screens are measured in pixels per inch (ppi) while printers are measured ­in dots per inch (dpi). Regrettably, these terms are often seen as interchangeable, even though they are not.

Screen Resolution

For example, my BenQ SW270C is a 27-inch monitor. Its resolution is 3840 x 2160. This means that the screen has 3840 pixels across its length and 2160 pixels from top to bottom.

Figure 3. Pixel dimensions of a BenQ SW270C photo monitor.

When you enlarge your image in Lightroom or Photoshop to 100 percent, you see only a portion of the photograph. This is because images from modern cameras have a higher resolution, or a higher pixel count, than the monitors they are displayed on.

At 100 percent magnification, one pixel on the monitor represents one pixel of the image. For this reason, 100 percent is sometimes called “actual pixels.” Figure 4 shows what is really happening behind the scenes: The image is much larger than the screen resolution can show at 1-to-1, so we see only the portion of the pixels that fit onto the screen.

Figure 4. The actual image size compared to the resolution of the monitor.

When you are viewing at 100 percent you are getting a very accurate view of the quality of your image. This is why it’s important to perform certain tasks such as noise reduction, sharpening and spot removal at this magnification.

These days tablets and phones are also used to view imagery. These devices have even less resolution than your computer monitor. Because modern cameras have such high resolutions, and because screens have comparably smaller resolutions, it’s very rare that you would need to enlarge or use Super Resolution on your photos just to view them on computer monitors or mobile devices.

Print Resolution

Printing, however, is a different story. Printers need a bigger file to create a quality image. To understand why, let’s look at the printer’s resolution. All printers (even the professional ones at labs) have a resolution of 300 dpi, with the sole exception being Epson printers, which print at 360 ppi.

The easiest way to understand the relationship between ppi and dpi is to look at the image in Photoshop’s Image Size dialog (Figure 5). To get there:

  1. In Lightroom select your image and choose Photo > Edit In > Edit in Adobe Photoshop.

  2. Once your image opens in Photoshop, choose Image > Image Size.

Figure 5. The Image Size dialog in Photoshop.

Notice the familiar pixel dimensions of 6048 x 4024. To see how large a print you can make from this file (without enlarging), simply change Pixels to Inches, and enter the ppi of your printer in the Resolution field. In this case (Figure 6), I can see that I could make a print of 13x20 inches on a 300 dpi printer without having to enlarge the image. (Or, as we see in Figure 7, I could make an 11x17 print on a 360 dpi Epson.)

Figure 6. This file could be printed at 13x20 on most printers.

Figure 7. The same file could be printed at 11x17 on an Epson printer.

Resizing Your Photographs

Changing the size of your images is completely normal. It actually happens often without you even realizing it. If you send a full-size JPG to Bay Photo and ask them to make a 30x45 print, they resize it. Every time you upload an image to Instagram, unless you specifically pre-size your image to 1080 pixels square, then it’s resized for you. Images you see on any website have all been resized.

Simply put, resizing is either throwing out or adding pixels to an image to make it fit its eventual use.

For example: Instagram currently displays images at a resolution of 1080 x 1080. To display my Z 6 image of 6048 x 4024 pixels on Instagram, it needs to be downsized (throwing out pixels). Conversely, to make a 30x45 print on a 300 dpi printer, my native resolution (as we saw in Figure 6) of 13x20 is not enough. I’d need to upsize it (adding pixels).

The act of upsizing or downsizing is also called “resampling.” Resampling can be done to an image in Photoshop or when exporting from Lightroom.

Resizing in Photoshop

When you want to resize an image using Photoshop, open the Image Size dialog seen in the above examples. If the Resample box is checked, then changing the pixels or inches will add or remove pixels from the image. Figure 8 shows that with the Resample box checked, changing the pixels to 1080 in width downsizes the image from 139.3 megabytes to a mere 4.44 megabytes.

Figure 8. The Image Size data shows how changing the width to 1,080 pixels downsizes the file from 139.3 megabytes to 4.4 megabytes.

Likewise, if you were making a print, you would open the Image Size dialog, change Pixels to Inches, and type in the desired width or height. Figure 9 shows that changing the height of this image to 30 inches will enlarge the file (adding pixels) from its original size of 139.3 megabytes to 696.6 megabytes.

Figure 9. The Image Size data shows how changing the height to 30 inches upsizes the file from 139.3 megabytes to 696.6 megabytes.

Notice that the aspect ratio in both cases has stayed the same. This image (as with most digital cameras) has an aspect ratio of 2x3. As long as the chain icon (circled in red in Figure 10) stays locked, then changing either the height or width will also change the other proportionally.

Figure 10. The chain icon on the left is locked, which keeps the aspect ratio constant. On the right the chain is unlocked, meaning you could disproportionately squeeze or stretch your image while resizing.

Resizing in Lightroom

If you want to resize with Lightroom instead, then you need to export the image (Figure 11):

  1. Select your image and choose File > Export, or click the Export button at the bottom left of the screen.

  2. In the Image Sizing section, check the Resize to Fit box and type your desired pixel length.

Figure 11. Exporting and resizing an image using Lightroom.

You have many choices within the Image Sizing box (Figure 12). If you want to size an image to use it on a screen (such as a monitor, website, Instagram, etc.), then all you care about is the number of pixels—the Resolution section, or pixels per inch, is irrelevant. Whether that’s set at 72 or 300 will have zero impact on your file and how it appears on a screen.

Figure 12. Options for resizing within the Image Sizing box.

However, if you want to size that file for print, then the Resolution section of this dialog becomes very important. Here’s the process:

  1. Select your image and choose File > Export, or click the Export button at the bottom left of the screen.

  2. In the Image Sizing section (Figure 13), check the Resize to Fit box and change “pixels” to “in” (i.e., inches).

  3. Type your desired length.

  4. Choose either 300 or 360 for Resolution (to match the dpi of the printer).

Figure 13. The proper settings for enlarging a file to make a 30x45 print for a 300 dpi printer.

As we saw earlier, if I wanted to use a file from my Z 6 to make a print larger than 13x20 on a 300 dpi printer, or 11x17 on an Epson printer, then I would need to upsize that file. Of course, if I crop the file, then I might need to upsize even for smaller print sizes. Figure 14 shows the same file that has been cropped. Now I could make only a 10x15 print—for anything larger, I would need to add pixels by resampling.

Figure 14. Our example image has been cropped. Now the maximum print size would be 10x15 at 300 dpi. If I wanted to print larger, I would need to upsize the cropped photograph.

Super Resolution

The problem with all of this is that from the beginning of digital photography, enlarging, or resampling, has been an obstacle. No one has yet found a way to add pixels to the resolution of an image that results in the same quality as the original, smaller file.

But programmers have always been chasing that goal. In the late 90s, third-party solutions such as Genuine Fractals were the answer. Then Photoshop caught up, and could produce the same quality with its upsizing algorithm. Then Adobe made that even better with the Preserve Details tool. All of these options (and more) were better than the previous best options, and that improvement continues with Super Resolution.

In short, Super Resolution is a superior way to enlarge your images, in the cases where you need to do so—which, as you’ve seen above, is only when you are making large prints.

A trip to Photoshop’s Image Size dialog will give you all of the information that you need to make the decision to upsize or not. If the answer is yes, then, for the best results, refer to my previous post on using Super Resolution.

And then what comes next? Keep an eye out for another upcoming post on this topic, wherein we’ll further explore image upsizing and demonstrate how to properly sharpen your upsized images for printing.

Tim Cooper is a partner and workshop leader with National Parks at Night. Learn more techniques from his book The Magic of Light Painting, available from Peachpit.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Supersize Me: Adobe Brings Us High-Quality Quadruple Enlargements

This week we’re showcasing an exciting new feature from Adobe. Want to learn even more about developing your digital photographs? Join Tim Cooper and Chris Nicholson on the Seattle waterfront this July for a weeklong Post-Processing Intensive workshop, including night shooting along the city shores of Puget Sound.


The folks at Adobe have done it again. They’ve taken a good process and made it even better. This time they have made use of advance machine learning to drastically increase the quality of enlarged images in a new process called Super Resolution.

If you’ve been paying attention to news in the photography world this past week, then you already know all of that. But what we wanted to know is this: How well does Super Resolution work with night photos?

Let’s have a look …

What is Super Resolution?

Super resolution is a new process that enlarges your image files while maintaining (creating!?) an extremely high level of detail. (For more info, see Adobe’s explanation.)

Over the years, Adobe has done a great job of tweaking and creating new algorithms for enlarging image files, but this time they have outdone themselves. A direct side-by-side comparison of enlarged photographs shows the superiority of this new process, even in finicky long-exposure and high ISO images. You can see the difference between the newer Super Resolution files and the same files upsized with Adobe’s previous enlargement algorithm, Preserve Details (enlargement), in Figures 1 through 3. (These are best viewed on a larger display to more clearly differentiate the results.)

Figure 1: Lighting painting, ISO 200. This shows an upsized image at 100 percent (actual pixels), enlarged with both the old method and with Super Resolution. (Click to enlarge.)

Figure 2. Milky Way, ISO 6400. The traditionally upsized version appears a slight bit sharper, but the Super Resolution version shows much better grain structure. It’s always easier to add a bit of sharpening as opposed to trying to reduce noise, so again Super Resolution wins. (Click to enlarge.)

Figure 3. Moonlit landscape, ISO 6400. In this comparison the Super Resolution version shows better sharpness and a smoother sky.

As you can see in the above examples, overall the new process produces better detail and smoother gradients in the areas with less detail. Super Resolution does seem to add a bit more color noise in the shadows, but that’s easily remedied.

Who Needs Super Resolution?

While this is an awesome new feature, you may not have to use it all that often. You typically need to enlarge images only when making prints. Even the resolution of older cameras exceeds what’s needed for posting on websites and social media. So when you’re Instagramming, you don’t need this. But if you are making large prints from your files, you might want to use Super Resolution to upsize the file before you send it out or send it over to your home printer.

Another possible use would be upsizing images that have been dramatically cropped. I’m not talking about trimming a bit around the edges or cropping your image into a square, but rather a severe crop (you know, the kind of crop that you feel guilty about). Super Resolution can get those files back up to a more usable size.

How to Use Super Resolution

At the time of this writing, Super Resolution is available only through Adobe Camera Raw (ACR), but will soon be available in Lightroom as well. (We’ll keep you up to date. Be sure to watch our Facebook channel for the announcement.)

1. Launch Photoshop and choose File > Open.

2. Navigate to the desired RAW file and choose Open. This will open the image into the ACR editor (Figure 4).

Figure 4. Resulting ACR dialog after opening your RAW image in Photoshop.

3. Control-click (Mac) or right-click (PC) on the image and choose Enhance (Figure 5).

Figure 5.

4. In the resulting dialog, choose Super Resolution and then click Enhance in the lower right corner (Figure 6).

Figure 6. The Enhance Preview dialog.

5. Photoshop will create a new image from the original RAW file that is twice as tall and twice as wide as the original. Click on the resulting image to highlight it, then click Open in the lower right corner (Figure 7) to open the image into Photoshop.

Figure 7.

At this point you are back in Photoshop with an image that has four times as many pixels as the original, and is ready to be edited or printed.

Now What?

If you are ready to print through Photoshop, you are all set. File > Print will bring up all of the necessary dialogs for you to make a print on your home printer.

If you want to send out this file to a professional print house such as Bay Photo Lab, simply choose File > Save. A dialog will offer options of file type and location. I suggest saving the file in Photoshop format (i.e., PSD, for future use) and as a JPG to send to the lab. To keep things organized, save the file back into to its original folder.

At this point, Lightroom may not be aware that a new photo has been created from the original. If you would like to be able to access the image via Lightroom, open your catalog and navigate to the folder with the newly created file. In the Library module, Control-click (Mac) or right-click (PC) on the folder in the Folders panel and choose Synchronize Folder. Lightroom will see your new image and make it accessible.

If you want to just make a print, you can simply navigate (outside of Lightroom) to the folder with the new file, select the image and upload it to the printer of your choice.

The Long and Short of Super Resolution

Super Resolution is awesome—for making large prints. It is not a tool that is needed on a day-to-day basis. If you want to upsize an image to make a large print (say, 20x30 inches or larger), this should be your go-to tool. Likewise, if you have an image that has been severely cropped, Super Resolution can be a good way to regain the resolution needed to display the image as you envisioned.

Note: This blog post is a quick reference on how to use Photoshop’s new Super Resolution upsizing algorithm. It begs a lot of related questions, such as, “When is your current resolution not enough?” or even “What is upsizing?” For a deeper dive into understanding resolution and upsizing, keep an eye on our blog.

Tim Cooper is a partner and workshop leader with National Parks at Night. Learn more techniques from his book The Magic of Light Painting, available from Peachpit.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Putting Pictures to Paper: How Printing Can Make You a Better Photographer

Last year Gabriel Biderman wrote a post about making printing part of your photographic process. I loved it. Then this past week our partners at Bay Photo Lab hung out with us during our night photography workshop at Golden Gate National Recreation Area.

Both of these things brought my thoughts back to my earliest days of photography, and got me thinking about why we printed then and how the print compares to the modern digital equivalent. It also led me to thinking about how printing is more than just another way to show our images in yet another medium. Printing can actually make you a better photographer.

Patrick (above, at left) from Bay Photo visited our workshop in San Francisco last week, to help spread the word about how important printing can be to improving photography skills. Me (right), more than a few years ago, loading my 4x5 camera with film—in the days when a print was the only final format.

A World of Myriad Media

Printing was always a huge part of my creative process. An image wasn’t complete until I mounted and framed the finished print and shared it with others. So how does that differ from today?

Well, these days we share our work a bit differently. For many, the final destination may very well be Facebook, an iPhone or an Instagram account. The share is so much faster. Immediate. And share we do. Perhaps we even overshare.

This rarely happened before—because printing took so much longer (and was much more expensive and time-consuming), it was inevitable that we wouldn’t be able to show as much of our work. Only the best images made it out of the darkroom or returned from the lab. This made us much more selective about what we presented to the world.

Modern tech has now made it fairly easy for us to us get our images in front of others. This ease, in turn, has made it tempting to share a lot more images. In many ways, this is good. It gets us out shooting, which provides the practice we need to get better, hones our skills at seeing light, and helps us improve our composition skills.

The downside is feeling compelled to put out images even when we know they are not our best. Today’s climate certainly rewards those who share frequently. But we have to remember the old adage: You are only as good as the weakest photo in your portfolio.

The majority of anyone’s images are just that—kinda weak. No one makes awesome images every time they pick up their camera. Most of our work is simply the attempt at making stunning images, but the true masterpieces are far between and few.

That being said, photography is one of those art forms that has many uses. As such, many of us don’t strive for a masterpiece with every exposure. A selfie in front of the Lincoln Memorial means something completely different than the same shot without you in it. There are as many reasons to take photographs as there are to share them. We just need to consider which work we want to share, how we want to share it, with whom, and for what reason. Your family will be most forgiving of technical errors in an image showing your vacation in Europe, while the audience at the coffee house may be decidedly more critical, and the visitors at a gallery more critical still.

Chris Nicholson recently made a 40x60 Bay Photo Xposer print of one of his Big Bend National Park images—just to put in his living room.

So, Why are We Printing?

To my mind, there are three good reasons for making a print:

1. To celebrate your masterpieces.

They are not easily achieved. Be proud of the hard work you’ve invested to create them. There is no reason to make prints of every snap you’ve made. But it’s really nice to honor your best pieces by creating prints of them. Putting them in books or placing them up on your wall will ensure they live on.

2. To slow yourself down.

It will take extra time, knowledge and money to make prints, so you will want to be selective. You will want to be more deliberate during the culling process. Really get in and examine your images. For each photograph you’re considering committing to paper, ask yourself:

  • Is it sharp?

  • Is the light right for the scene?

  • How was your timing?

  • Could you make a better photo if you returned?

When you’re spending more time and money on printing your photos, you may find you become much pickier.

In 2010, Lance Keimig printed for a Simmer Dim exhibit at New England School of Photography, showcasing his work from Scotland.

In 2010, Lance Keimig printed for a Simmer Dim exhibit at New England School of Photography, showcasing his work from Scotland.

3. To become a better photographer.

Yup, creating prints will make you better. How? Through attention to detail. A good-size print won’t hide the flaws in your photo. In fact, it may highlight them. It’s beyond frustrating to spend a lot of money to get a large print made only to find out that there’s a technical problem with the shot—that it’s out of focus, for example, or that you missed a bunch of dust spots in the sky.

On the bright side, this type of lesson really hits home. It teaches you to be more careful so that the same mistake will not happen again. (On the other hand, when simply replacing an online photo with a fixed version, the inconvenience barely registers. No pain, no gain.)

Printing as a Way to Improve

Another part of the problem of oversharing our less-than-stellar work arises from the way we view the images. The small screens of the phone and tablet—and the small sizes of the images shown on them—do a great job at hiding imperfections. They don’t hide poor composition or uninteresting imagery. This makes it difficult to ascertain the quality of craftsmanship. We can cheat, or we can post images that we wouldn’t otherwise show. As it turns out, it’s not hard to hide poor technique on an iPhone.

The print however, can shed an extra ray of light on laziness and negligence.

Attendees of our 2018 Sloss Furnaces workshop had their favorite images printed for an exhibit at the national historic landmark’s visitor center. Photo © Ron Clemmons.

Now, take that same less-than-stellar image and try to make a print.

  • Does it look the same?

  • Does it have the same impact?

  • Will it stand up to the continued scrutiny of being viewed every day?

  • Is it as good as you thought it was, now that you see it large?

Making prints will make you a better photographer. The person who spends time perfecting the craft and paying attention to detail will ultimately produce far better photography.

And I don’t mean just technically superior imagery. I also mean more meaningful photography. The whole process of slowing down and working in a more meticulous manner will not only benefit your technical chops, but it will also improve your composition and seeing skills. That, arguably, is even more important.

As Gabe says, “Seize the print!”

Tim Cooper is a partner and workshop leader with National Parks at Night. Learn more techniques from his book The Magic of Light Painting, available from Peachpit.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Prepping an Image in Lightroom for the Printer or the Lab

Last week Gabriel Biderman wrote a post about making printing part of your photographic process. I loved it. Reading it brought me back to my earliest days of photography. As it is for Gabriel, printing was always a huge part of my creative process. An image wasn’t complete until I mounted and framed the finished print and shared it with others.

Now, in this post, I’ll go over the modern tools and techniques so that you, too, can feel the satisfaction of a finished print.

Lower Manhattan skyline from Brooklyn. Fuji X-T2, 16-55mm f/2.8 at 21mm. 25 seconds, f/6.4, ISO 200.

Tools of the Trade

Although you don’t need an overly robust computer to print your images, you do need a good computer monitor. Why? One word: WYSIWYG (What You See Is What You Get).

A quality monitor, like the BenQ SW240, is the first step to a quality print.

Today’s monitors can easily exceed the brightness and contrast that a print can display, so it’s important for us to be working with a high-quality and calibrated monitor. If you are not working with a high-quality, calibrated monitor, you can never expect your prints to look like what you see on screen.

Every choice we make when editing our images depends on what we see on our display. If the monitor is too dark, we’ll adjust our images so they end up being too bright. If the monitor is too contrasty, we’ll force our images to end up being overly flat. It just can’t be overstated how important using a good, calibrated monitor is to the editing process.

Here at National Parks at Night, we love our BenQ monitors. They cover 99 percent of the Adobe RGB color space and have the manual controls necessary to perform an accurate calibration. Both of these qualities are necessary for them to be considered high-end photography monitors, but they also go a step further by being calibrated straight out of the box.

For less than $400 you can get the BenQ SW240 24" Photovue. For just a little more you can upgrade your screen real estate to 27 inches with the SW2700PT.

Even the best screens in the world, however, will drift out of calibration. Despite starting off accurate, they drift into being too bright, too dark, off color, or displaying too much or too little contrast. So it is essential that we continue to calibrate our monitors as we use them.

Our favorite colorimeter, the X-Rite i1Display Pro. We use this on our monitors at home, and on our workshops too, for calibrating TV displays and projector/screen combos in the meeting rooms.

I have my monitors on most of the day and calibrate them about once per month. If you have your screen on constantly, then you might consider calibrating more often. Regardless of how often you keep your monitors lit, you should certainly calibrate them just before you begin a new printing project.

There are many excellent calibration solutions out there, but we have settled on the X-Rite i1Display Pro to keep our monitors in line. Whichever system you choose, you’ll get some sort of colorimeter and the software to run it.

Once you install the software, you’ll be guided through the process of calibrating your own monitor. At the end of the process, which usually takes only a few minutes, you’ll be asked to save the profile. Craft the name so that it includes the monitor model and the current date so that you can keep track of when you last calibrated. For example: “BenQ SW240-12-15-2018.”

Printing With a Lab vs. at Home

Once you have a high-quality and calibrated monitor, you can rest assured that you are getting WYSISYG. This means you are ready to make some prints! Now you just have to choose between using a print lab or making prints yourself at home. Both avenues have pros and cons.

The Bay Photo Xposer is one of our favorite print formats at the moment, and is a good example of the variety of formats available only from labs.

Using a Lab

For many good reasons, most photographers choose labs for their prints rather than making them at home. Why? Because there are several advantages that are widely attractive.

To begin with, there is no upfront expense. No need to run out and buy a printer, stock up on inks or purchase a small raft of paper. Using a lab is also less frustrating and less time-consuming. This allows the photographer to focus on their work behind the camera rather than spending more time in front of the computer.

While there are advantages to printing at home, saving time (and perhaps even money) is not one of them. For those who want a no-hassle printing solution—use a lab. And be sure to choose a good one. If you don’t, you’ll end up spending more time and money than you expected.

taking time to choose a pro lab to make your prints is a decision you’ll never regret. Your prints will be on the highest-quality papers, they will always be accurate, you will have a wide variety of formats to choose from, and the process of ordering and receiving will be streamlined. Just be aware that not all labs produce the same quality prints and deliver as high a level of service.

While there are many excellent pro labs out there, we use and love Bay Photo for all of the reasons outlined above.

The Epson P600 is a good example of a good home printer for great photos.

Printing at Home

Printing at home can be very rewarding, but it can also be extremely frustrating. Inkjet printers (both high-end professional as well as prosumer models) are notoriously fussy. Their nozzles can clog, the paper can jam and sometimes they are just simply bewildering.

But when things are going smoothly, printing at home is pure joy.

The biggest advantage is seeing your images immediately. No waiting! If your print comes out a little dark, it’s a snap to reprint it. Too warm? No problem—adjust the white balance and print again.

Owning your own printer also allows you to easily and quickly experiment with different types of papers. From high-gloss to satin to watercolor paper, there are a host of surfaces and brand options to choose from. Each type has a slightly different look; you may find that you prefer gloss for some types of photography and watercolor for others. Being able to experiment at home makes finding those preferences much easier.

Interpreting Your Capture

This is the fun part! Ansel Adams famously quipped, “the negative is like the composer's score … [and] the print is the performance.” This means we get to take the original score (our capture) and (re)interpret its performance (through editing).

Whether sending your image to the lab or to the inkjet printer in your digital darkroom, this is the step where you can unleash your creativity. From Photoshop to Lightroom to innumerable plug-ins and stand-alone programs, there is no shortage of technology to help you create the best version of your photograph.

Once you have created your masterpiece, it’s time to get it ready for printing. We’ll use Lightroom as our example, but most programs will behave in much the same way.

Prepping Your Print for the Lab

If your final destination is the lab, the process of prepping your image is fairly simple. It’s really just a matter of making or exporting a copy of your file and uploading it to your favorite printing service.

Here’s how to make the copy:

1. In the Library module, select your image.

2. Choose File > Export, or click on the Export button at the lower left of the screen.

3. From the Export dialog, set your options as follows:

  • Export Location: Under Export To, choose Desktop. This will send the copy to your desktop so that you can upload it to the lab.

  • File Naming: Here you can choose to rename your photograph. Or not. Totally up to you.

  • File Settings: Choose JPEG for image format, Quality 100 and leave Color Space at its default of sRGB.

  • Image Sizing: Ensure that you uncheck the Resize to Fit box.

  • Output Sharpening: Here you can choose the type of paper you’ll be printing on (Glossy or Matte) and level of sharpening you would like to apply. Begin with Standard until practical experience suggests using Low or High.

That’s it! Hit the export button and a copy of your masterpiece will land on your desktop ready for uploading to your favorite lab.

Lightroom Export settings for sending an image to a photo lab.

Printing at Home Using Lightroom

Using Lightroom’s Print module is pretty straightforward when you forego the many superfluous options and just get down to making prints.

1. Select your image and then move to the Print module.

2. From the Template Browser on the left, choose Maximum Size.

The Lightroom Print module.

3. Click the Page Setup button at the lower left of the screen. Choose your printer, paper size, and whether you want a vertical or horizontal orientation.

4. Click the Print Settings button, also at the lower left of the screen. (If you use a PC and don’t see this button, then go back to Page Setup, click Properties, then click Advanced.) Here you’ll choose your printer and the settings that are specific to that printer. In general, you should address the following:

  • Color Controls: If the print dialog offers the option of Color Matching, choose the printer’s color controls.

  • Paper Type: Choose Glossy or Matte or any other variation that your printer offers. (For beginners, I highly recommend using paper from the same manufacturer that made your printer. Epson papers for Espon printers, Canon paper for Canon printers, etc.)

  • Print Quality: Manufacturers will have different names describing print quality. Don’t choose Fast, Draft or Economy. Use a setting that produces a high-quality photograph.

  • Borderless: Avoid using this setting. It generally causes more problems than it’s worth. If you want a borderless print, manually trim the paper after printing.

  • Color Options: Some printers will allow you to tweak the look of the image with certain options such as vivid or realistic. Best to play it safe here and stick with the defaults. Experiment as desired.

5. It’s time to move over to right side of the Print module. The good news here is that because you have chosen Maximum Size in the Template Browser and specified the paper size in Page Setup, most of your work is done. You can move right past the Layout Style, Image Settings, Layout, Guides and Page panels to get to the Print Job panel. In that panel:

  • Uncheck Draft Mode Printing.

  • Set Print Resolution to 360 for an Epson printer or to 300 for any other manufacturer.

  • Set Print Sharpening to Standard for the first print. If the result is overly sharp or too soft, choose Low or High on the next printing.

  • Under Color Management, set the Profile to Managed by Printer.

  • Uncheck Print Adjustment for the first print. If you find your print comes back too dark or too light, then you can return to this setting on your next printing.

Just Do it

Whether you are crafting your own prints at home or sending out your files to off-site experts, making prints of your photographs is a great way to honor the work you’ve put into your craft.

They also make excellent holiday gifts … just sayin’.

Tim Cooper is a partner and workshop leader with National Parks at Night. Learn more techniques from his book The Magic of Light Painting, available from Peachpit.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT

Make Printing Part of Your Process

Do you make prints?

Is it part of your workflow?

When I was getting into photography in the early 1990s, the print always was the final part of the process. We shot on film, edited our contact sheets or slides, and then the best photos were blown up to share with the world.

Let me wax nostalgic about the process in the darkroom so I can lay the groundwork for why I still love the print today.

Darkroom Days

The darkroom was a sacred space to immerse yourself in the process of creating a photograph. It was an incredibly tactile experience—you turned off all the lights, felt around for the paper, and once you found it, checked to make sure you laid it emulsion side up.

The enlarger was like a huge camera on a crane. You dialed in f-stops on the lens and shutter speeds for the time, and you used filters to bring more or less contrast to the ISO of your paper. And then the magic happened. Nothing will ever beat the feeling of seeing the latent image start to appear after agitating the print in the developer. It was a very hands-on experience. It generally took 30 to 60 minutes to perfect the print. A minimal commitment to the darkroom was at least a three-hour session.

Me feeding the troughs with mural prints (above). Each trough was filled with developer, water rinse, stop, water rinse, fix, water final rinse. The 8x10 enlarger (right) with the final 30x40 print underneath.

The ultimate challenge was making a mural print—something bigger than 20x24 inches. I had the good fortune to study this technique. It was saved for a large negative and the absolute best images in your portfolio. The 8x10 mural enlarger could project against the wall or onto a table underneath. You’d use roll paper and tape it down flat. And here’s the fun part: Troughs held all the chemicals, and in order to spread them evenly over the 6x3-foot paper you would roll and reverse-roll the paper back and forth.

The end result of your time in the darkroom was hopefully a portfolio image or a print ready to be matted and framed.

My final prints are stored in archival boxes, organized by theme/subject matter.

Digital Days

Let’s flash back (forward) to the modern process. I flipped to Lightroom for good about eight years ago, and the process can be just as immersive, but without taking up as much space and of course no chemicals!

While it is still a deliberate process, I do miss the hands-on aspect that made you really “work your negative” to figure out what you could pull from it. Everything was a physical and tactile task. Through that experience I feel there was a deeper understanding of what we were trying to create.

While there is so much more we can do with software, are we experiencing and understanding the image as much as we used to? I have to wonder: Is our goal the same? Are we processing to print or just going straight to publishing on the World Wide Web?

Sharing has taken on a whole new meaning in this digital world. You can be everywhere instantaneously but then gone in a moment.

Where is your work? Where does it live for someone to pore over?

Is it just going on your Instagram profile page? Or is your gallery of work on 500px, or Flickr, or Squarespace?

As much faith as I have in Facebook for forever storing my memories, I want a better archive than that. Remember all the family albums that we’d flip through or that were passed down to us? These memories are even more precious than the portfolio!

The digital solution to this conundrum is easy, and I hope you are at least doing this: Make books.

Archiving “snapshot” memories is a must, and is easier to do than ever before.

Every year I put together a family year-in-review. I like the small, 6x8 keepsake books. My wife makes calendars full of last year’s escapes and escapades. Both are excellent solutions to ensure you have a physical archive that will live on.

Perfecting the Print

If your goal is to create high-quality art, then go beyond publishing your images online. If you want to up your printing game, learn from a master printer. Here is how I did it:

I had been printing in the darkroom for 14 years, and pretty confidently for the last 10 of those. Then I took a darkroom course with one of the master printers of our era, George Tice. If you have never seen his image “Petit’s Mobil Station,” then spend some time soaking in the perfect balance and rich tonality in this masterpiece. And by the way, your screen is not doing justice to the tonal range of highlights and shadows that are showcased in his print.

George taught our whole class to print with a purpose, and he taught us to try to pull out a full tonal range. I was a high-contrast printer at the time and my shadows were level-1 black. By using lower contrast gels I could massage multiple levels of blacks and whites and extend that tonal range. That experience with George Tice elevated my approach to printmaking.

I was lucky enough that year to also snap a shot of George with another master printer and icon of photography: Paul Caponigro. Get one of their books and lose yourself in it.

My favorite picture I have of George Tice—the master at work.

Two masters of the darkroom: Paul Caponigro (left) and George Tice.

Want to level up your digital printing? Well, the Caponigro family strikes again. John Paul Caponigro took what he learned from his father and applied it to Photoshop pretty much since the software’s inception. He is a true master printer of our digital age.

I took JP’s “B&W Mastery” class last year and he “George Ticed” me! He spent a whole day on the different ways that we can “output sharpen” to create the finest print. We also spent time talking about the process and immersing ourselves in photo books and our own prints

Poring over prints during John Paul Caponigro’s “B&W Mastery” class.

The highlight of the week, however, was visiting his dad’s studio and having him sharing his work. We spent at least two hours asking Paul about the experience of seeing as well as his process of pulling out ever iota of detail.

I returned home from that workshop reinvigorated and with a deeper focus on working those digital files for inkjet prints.

Showing Your Work

Ask yourself: What is your goal with your images? How do you celebrate your work?

For two of our workshops this year, we were thrilled to host gallery shows that could be shared with thousands of visitors to those parks. And just a few weeks ago we finished our workshop at Sloss Furnaces and they were so impressed with our students’ work that they offered to have a gallery show at their visitor center!

Why not finish your project, or showcase your body of work, with an exhibit? It doesn’t have to be in a gallery—plenty of cafés, restaurants and businesses are always looking for artists. Of course, there are your own walls as well. Curate your home, invite people over to really take in your work. Hanging a print on the wall is the ultimate respect you can give to your photography.

To close this out, I want to share my favorite image that I created in 2018.

“Reality is outside the skull,” Joshua Tree 2018. Nikon D750, 14-24mm f/2.8 lens. 80 seconds, f/2.8, ISO 1600.

I’m taking my own advice and making a print with Bay Photo Lab. Their new Xpozer system has this slick spring assembly in the back that lets the print float off the wall. And because it’s so easy to mount and dismount them, I can order more Xpozer Xchange prints and just swap out the assembly. If you’ve been to my house in New York City, you’ve seen the limited wall space I have, so this will inspire me to keep fresh work rotating in.

Seize the Print!

My Favorite Printing Resources

  • Best 17x22 printer: Canon Pro-1000 and Epson P800

  • Simply no excuse not to make a photo book: Snapfish

  • Arty matte soft/hardcover books: Artifact Uprising

  • Portfolio style books: Bay Photo Lab

  • Best lab/style of print: Metal is so three years ago. We really love Bay Photo’s Xpozer floating print system. Choose from 22 sizes, from 16x16 to 40x80. The Vivid Satin finish could be the perfect gloss/matte combination.

Next week we will continue the printing theme by taking a deep dive into the Print module in Lightroom. Stay tuned!

Gabriel Biderman is a partner and workshop leader with National Parks at Night. He is a Brooklyn-based fine art and travel photographer, and author of Night Photography: From Snapshots to Great Shots (Peachpit, 2014). During the daytime hours you'll often find Gabe at one of many photo events around the world working for B&H Photo’s road marketing team. See his portfolio and workshop lineup at www.ruinism.com.

UPCOMING WORKSHOPS FROM NATIONAL PARKS AT NIGHT