Imaging
How to effectively print your image, part 2
For me it is clear that the image on screen is the ‘mother’ file. It is what I spent so much energy on to get it right, to make it articulate in expression, precise in
How to effectively print your image, part 1
The other day I was tutoring a photographer who was completely frustrated about his process. Ever since he switched from analog to digital he lost his bearings. My promise that I could help him solve
When someone says your colours look strange..
How colours look Sometimes a comment you may get on your work could be like: ‘The colours don’t look realistic’ or ‘look strange’. It is often heard. And it is in itself a surprising remark.
New Horizons in colour… (as preceded by New Horizons in binding)
The paper of this book has a very soft touch, it brings the pristine whiteness and the binding is flawless Now it is up to the images to take you on the trip the artist
Bring out the light!
When will you experience a print or a reproduction of a photo as convincing? In a previous blog (Toning images) I focussed on the importance of density and contrast in an image. Those are means
On calibration and colour management
Can you imagine working with images and being able to predict how it will look in print? That it will look about the same on different paper types as on an inkjet print? Fantasy?
Printing and Lithography
To print great images you need good photos. But that is not all, because photos are made of light. Printing you do with pigment on paper, the default being four colours. And four colour
Toning images
Some images we see we experience as captivating, others we don’t spend any time on. Anyone who wants to communicate through images hopes to achieve the first. The question is how to get there.
Toning images, Black and white
In any picture in colour you have a colour contrast and the tonal contrast. Colour contrast is based on the effect of complimentary colours. Cyan and red, green and magenta, yellow and blue are the