Top tips from the photography fair: printing tips from the Fotospeed experts

The 2021 Photography Fair and Video Fair is in full swing and we’re having fun exploring the talks, demos, and kit previews in the living room. One of the benefits of TPS is the ability to chat with professional shooters and brand experts, get insider tips and tricks to improve your photography and get the most out of your kit.

We jumped at the opportunity to sit down with Vince Cater of Fotospeed, to discuss how we can all instantly improve our printing success and produce more impactful and consistent results with our printers. While many photographers (including ourselves) have cut back on the number of prints we make, citing cost and convenience, Vince explains a few key ways for photographers of all experience levels to achieve physical prints from sustainable way.

1- Understand the advantages and disadvantages of the printer

(Image credit: Avenir)

Not all printers work the same and not all produce the same quality. It may seem obvious, but it’s important to understand the reasons for these differences. Much of the variance comes from the types of inks used by the printer and the number.

“In general, it’s best to avoid all-in-ones for professional-quality prints,” suggests Vince. “High-end printers have 6 inks, which offer a greater range of colors. These include dedicated blacks.”

If you are an avid photographer, on a budget, purchasing a printer with 6 inks offers a good balance of overall photo quality and affordability, while the larger models have 10 or 12 reservoirs, which may be useful. ‘prove to be a prohibitive investment over time.

2- Choose the paper features

The next point of confusion for many photographers new to high-level printing is the choice of paper. There can be an overwhelming and somewhat intimidating array of types and styles, and knowing which papers will best match your printer and photographic interests takes some research.

“It’s always a good idea to buy test packs,” says Vince. “Collect a few sample images and try printing them on different finishes. Pick a few key types, such as 1 chandelier, art gloss, etc. and try your images on each to see what your preference is. Complicate them too much. things – narrow your choices down to a few types that suit you and your images. ”

3- Do not neglect the profiles!

(Image credit: Avenir)

Vince emphasizes the importance of downloading and applying the correct paper profiles for different combinations of media and printers. This is a critical step in ensuring accurate and consistent colors in prints. As is the case with Fotospeed, paper profiles can be downloaded from manufacturers’ websites, imported into software such as Photoshop, and applied to images before printing. This means that if you spend hours correcting and perfecting your color on the computer, you will really see the benefits in your final images.

4-Perform a nozzle check

“Printing without checking the nozzles first can mean discolored results,” says Vince. “Running a check first can reduce paper waste and make the process less expensive.” While it may be necessary to run checks before each print, any time you’ve left more than a few days between prints, this is a critical step. Wasted paper means unnecessary costs for you, while reducing this is also better for the environment.

5- The right paper for the job

(Image credit: James Artaius)

While finding a range of papers that you like is a great way to experiment with styles and looks, you need to be careful not to choose the wrong media for the type of images you are trying to print. Of course, much of this choice is subjective and depends on your personal preferences, but in general, art subjects are not suitable for gloss processing, while high-end lifestyle portraits may not benefit from the gloss processing. ‘high texture. When you run your test prints, with sample packs, target certain types for the main genres you work in.

“Textured paper also hides imperfections!” Vince’s Notes – a nifty insider tip that gets duly noted the next time one of our shots is slightly softer than we’d like or when there’s a little too much noise in the shadows.

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