David Saffir’s Photography and Printmaking Blog

Reminder - New Blog Site, and an Announcement 2

Tue, 21 Jul 2009 21:23:46 -0700

I’m not channeling, I’ve have moved my blog to a new site :)
http://davidsaffir.wordpress.com
This site is better suited for blogging, easily searchable, and it gets indexed almost instantly by Google. There are a bunch of new posts over there, so go take a look!!!

Updates to Directory of Top Photography Professionals

Fri, 22 May 2009 21:54:59 -0700

These are profiles added since last update. For the complete list, including these individuals,
use this link to Directory of Top Photographers, Printmakers, and Consultants

Photography and Consulting

Robert Ash, www.pbase.com/robertash Robert is an accomplished photographer with a unique style he calls “Fine-Art Photojournalism”. He sells to corporations and private collectors, and shoots much of his work in non-optimal lighting conditions. Jack Duganne says, “I am amazed at the range and depth of Robert's sources and impressed by the level of color he maintains throughout his work...He has a penchant for panorama and the moment which is very striking.” Robert contributes insights and tutorials on business, marketing, computer performance, digital asset management and a wide range of photography subjects. He is currently working with me in developing the next generation of professional courses for photographers.

John Canfield, http://www.joncanfieldphotography.com/, is a top-notch photographer, writer, and educator. The sole author of five books on photography, printing, DSLR techniques, and the like, he is also a prolific contributor to Shutterbug, Digital Photo Pro, PC Photo, and Outdoor Photographer.

Nick Carlson is a Southern California photographer we should all pay attention to. He’s an out of the box creative, using cameras and digital editing in ways that are fresh, and more important, very effective. I’ve seen his work in mega-panoramas, glamour, macro, and nature photography - he has a unique view of the world, and I’m impressed.

Ted Dayton, teddaytonphotography.com, is a photographer whose work spans a wide range of categories - architecture, fine art, portrait, commercial, and more. He’s also a relaxed and effective teacher, able to communicate with aspiring professionals and seasoned individuals. He’s won more awards than one could count - and he’s completely unassuming and low-key. I’d recommend any segment of his work anytime - and as a bonus - if he offers a class on studio lighting, run, don’t walk, to sign up.

Don Gale, http://www.photographybydon.com/
Don is an award winning outdoor photographer, Don's website includes his
Workshop Schedule, Tips & Techniques blog and Photo Galleries. He’s one of the most adept and patient instructors in his field; if you want a sure bet to advance your skills in outdoor photography, take one of his workshops.

Bill Truran, amazing depth of knowledge in high-def photography, plus collaboration with large-scale publishing, and in color management - he is an exceptional educator and author as well.

Printmaking and Related

Harald Johnson, www.dpandi.com Best known as an author (Mastering Digital Printing), Harald is at once one of the best specialists and generalists around. He's an amazing communicator, able to bring artists, photographers, corporations, consultants, and other experts together in effective collaboration on leading edge projects. His web site is one of the best in the world as a resource on digital printing and related subjects.

Andrew Behla, http://behladesign.com is a fine art printmaker, color management consultant, educator and graphic designer. With over 19 years experience in the visual arts field, Andrew has managed fine art printmaking studios, is an instructor and course developer for UCLA Extension, has presented at national seminars, worked in technical support and training for a graphic arts software and hardware corporation. He is the founder of his own company, Behla Design and Consulting. He has a fine art printmaking studio in Woodland Hills, CA that is capable of producing archival pigmented prints on virtually any media. Andrew provides onsite consultations for color management, Photoshop, fine art printing and digital imaging workflows.

Color Management Consulting And Related

Marc Aguilera, http://www.encompus.com encompus is a collaboration of uniquely talented individuals with a passion for design, interactive development and color management. Mark and his colleagues work with clients in a wide range of industries to bring increased visibility to their brands. From cutting-edge websites to iconic logo design to color consultation, we deliver solutions that are as creative as they are practical.

Neil Snape, http://www.neilsnape.com/ in my view, is one of the finest creative photographers in Europe and North America, and he is truly expert in the world of color management. In a field where people are often wrong, but never uncertain, Neil stands out as a voice of objectivity. We have worked together on more than one project, including development of a new wide format inkjet printing system. He is consistently one of the strongest contributors, and his expertise is remarkable – starting with image capture, and going all the way through to final output. And in addition to all this, he’s a strong communicator and a real people person, working easily with groups and individuals.

Henry Wilhelm, wilhelmresearch.com is one of the world’s foremost experts on digital technology, printing, color management, and print longevity. The author of thousands of pages of technical analysis and guidelines, Henry is the go-to person in his field. And on top of all that, he’s a seriously nice person, easy to talk to, and always willing to share his knowledge.

Helen Golden www.helengolden.com, creates her tra-digital/mixed-media fine art work by integrating computer art-making tools and traditional ones such as etching and photography. She is a pioneer in the digital art realm, exhibits in solo, curated and invited exhibitions and is cited in newspapers, magazines, books, television and on the internet. Her work is in private and corporate collections and has been accessed by the National Museum of American Art at the Smithsonian Institution in Washington DC. and she is a Laureate of the Computerworld Smithsonian Information Technology Innovation Distinction. Golden serves as an independent research consultant to graphic technology companies, was a co-founder of a digital collective and has worked as a curator, an artist-in-residence, gallery director and as a lecturer/educator. Her studio is in Palo Alto, California.

JD Jarvis, www.dunkingbirdproductions.com, holds an MFA degree in Video and Mixed Media ('75) and maintains a career in television production. He switched his artistic output from acrylic painting and drawing to digital printmaking in 1994 when he also began writing on topics related to digital art. In 2000 he was awarded an international prize for his digital artwork from Toray Industries in Tokyo and in 2005 co-authored "Going Digital: The Practice and Vision of Digital Artists" published by Thomson Course Technology as part of their "digital process and print" series. His articles and essays can be found at numerous websites and in "EFX, Art and Design," "Digital Output," "Great Output," and "New Mexico Collector's Guide" magazines. He became a member of the Creative's Advisory Council for Hewlett-Packard's large format printing program in 2006.

New LinkedIn Group on Art Reproduction for Professionals

Thu, 21 May 2009 21:51:19 -0700

The Fine Art Reproduction Professionals Group provides artists, photographers, gallery owners, museums, curators, and others with a unique forum for exchanging information and ideas about art, art reproduction, preservation and archiving, exhibitions, marketing, and promoting limited editions.   The Fine Art Reproduction Professionals Group will include news, reviews, techniques, success stories, lessons learned, Q&A, and more. Plans for adding value to the group include posting technical and business related content, inviting guest authors to contribute articles, and the like. Members are encouraged to post questions on any relevant topic - and of course to share their knowledge to the benefit of the members.

Here’s the link: Art Reproduction for Professionals Group

Copy of May Newsletter

Mon, 18 May 2009 01:09:28 -0700

Time flies in the springtime!
I hope everyone is doing well and enjoying better weather. It is windy and very hot here in California; unusual for this time of year.

I have quite a bit of news this round. New workshop dates, new content, and more. Here's a set of links:

I've moved my blog to Wordpress. The link is David Saffir's Photography and Printmaking Blog There is quite a bit of new or extended content on the new blog

I did this as I felt it was faster to load, and much easier to create a searchable index and tags for readers' convenience. A great site; consider it for your blog.

Other new content on the site and blog:

Directory of Leaders in Photography, Printmaking, Color Management, and Related Fields

This is a directory of people who I feel are leaders in photography, printmaking, color, and related fields. I include names, web addresses, and one or two paragraphs describing their expertise. It is a work in progress, so you'll see a good start, with more to come.

We have new seminars on fine art reproduction June 1 and 2 New York (B&H and Adorama) and June 4 in the Baltimore/DC area at Mac Business Solutions. Learn how the HP Artist Solution for Nikon can help you improve color accuracy, reduce costs, and build your business. Registration links are on this page.

Also, Santa Fe Workshops will host my three-day intensive on Digital Fine Art Reproduction in November, 2009. New Seminars, Fine Art Reproduction with David Saffir

I am also planning on opening a photography studio offering rental space and educational programs in late summer 2009. Mango Studios Of California will be located on the West Side of Los Angeles, in or near Santa Monica. We intend to provide an environment for seasoned pros, aspiring professionals, and students alike. You can find further info on this on the opening page of the David Saffir's Photography and Printmaking Blog.

Panoramas r' Us A new client, photographer Nick Carlson, is making multi-frame grand scale panoramas that are selling as fast as we can print them. Some are made up of dozens of frames stitched together, and print about ten feet long.

I have a continuing series on key issues in Color Management for photographers. Articles are based in part on questions I've received in the past few months.

Part One, Part Two, Part Three

Upcoming education sessions on the calendar later in 2009 include the ESRI conference in July. This is a preliminary announcement, so details will be coming up soon!

Access to other content that has proven to be useful and gets many visits is listed on my Intro & Site Directory page on my web site. You'll find links to numerous tutorials, lessons, articles, and the like.

New Blog Post - HP Pro Photo Blog - Fine Art Reproduction Seminar

Wed, 13 May 2009 13:58:50 -0700

My latest post on the HP Pro Photo Blog went up today. Provides details on upcoming workshops on the East Coast. You can find it via this link: Fine Art Reproduction Seminar w/ David Saffir, New York and Wash DC area.

Reminder - New Blog Site, and an Announcement

Wed, 6 May 2009 16:06:31 -0700

I’m not channeling, I’ve just moved my blog to a new site :)
http://davidsaffir.wordpress.com
This site is better suited for blogging, easily searchable, and it gets indexed almost instantly by Google. There are a bunch of new posts over there, so go take a look!!!
Next, I’ve created a directory of professionals I know and respect. It includes names, web url, and a description of their expertise and background. You can click here to find David Saffir’s Directory of Leaders in The Field of Photography, Printing, Design and Color Management

Seminar - Introduction to Digital Fine Art Reproduction by David Saffir

Tue, 28 Apr 2009 13:02:59 -0700

Join us for this introductory seminar and learn how you can add significant income to your photography or art-related business. New technology in fine art reproduction makes this a viable option for professionals and aspiring pros alike.

Offer high-quality fine art reproduction services to artists and galleries. The system is suitable for curators, galleries, museums, and fine art publishers.

Workflow includes:

Studio preparation for image capture using the Nikon D3/D3x
See a demo of the new HP Artist Software solution (embedded in the Ergosoft StudioPrint RIP) which can control color, exposure, illumination, density, and more.
See how the power of HP Artist software solution can correctly and efficiently automate image processing
Evaluate prints made on the new HP Designjet Z3200 photo printer!
Review recruiting artists or organizations as new customers – and learn how they can market their art reproductions at reasonable cost.
You’ll also receive access to a downloadable portfolio of supporting white papers and other documents, including a copy of a business analysis which shows you how this business can be profitable. For a 10-page technical review click here. 
The many applications for fine art reproduction include:
Exhibition of gallery quality reproductions
Sales of limited edition reproductions of watercolors paintings, drawings or sketches
Archiving and restoration of national collections
Reproductions of private collections or family paintings

Attendees of this class will learn how to automate tasks and streamline processes reducing the production time from hours to minutes, while lowering costs to produce high-fidelity prints.

Attendees do not need to bring a laptop computer; just a pen, paper and open mind.

For more information please visit:

- http://www.nikonusa.com
- http://www.hp.com/go/HPArtist
- http://www.ergosoftusa.com
- Web directory of relevant articles and presentations

June 1:
B & H PHoto, NY, NY
June 2:
Adorama Photo, NY, NY
June 4:
Mac business solutions, Wash dc/mD

Color Management - Part Three

Sat, 25 Apr 2009 17:36:32 -0700

I receive email almost daily regarding screen to print match. The biggest challenge people have is usually not color, but brightness.

So here’s a couple of tips:

First, it is really difficult to edit and preview images on screen in a bright room. Get room brightness down to at nearly dark, and if you absolutely have to, a small tabletop lamp off to the side.
Next, re-calibrate your display. If you are accustomed to using 6500k color temperature, stay with that for now. However, using the display calibration software, dial down your screen brightness to between 100-120 cd/sqm. It will take time to become accustomed to this - the screen will look pretty dim.

And remember - if you can’t stand the results, you can always reset to your previous environment. If possible, give it a week before you decide.

In the next post, I’ll include a test target you can use to evaluate your screen performance, and more info on screen management.

Reminder - Fine Art Printing Special by David Saffir

Wed, 22 Apr 2009 17:54:27 -0700

Special, one-time pricing for exhibition-quality photographic prints is still available. I’ve received a number of requests to extend the deadline beyond April 30 - so the new date is May 8, 2009. However, this is subject to change if I feel that orders exceed my ability to deliver on time. This should give you more time to get prints mounted, etc in time for submission for competition and the like. If you are interested, the page for the printing special can be  found here. Also, online ordering is now available.

Upcoming Fine Art Printing Workshop, Santa Monica

Wed, 22 Apr 2009 17:46:14 -0700

A quick reminder - Jack Duganne and I are teaching Advanced Fine Art Printmaking in Santa Monica in May - two separate sessions - May 1 and May 2. These will be small, intensive classes. There are a few seats left, so if you’re interested, go to this link and sign up!

Spring is Here, and I Can’t Resist the Birds

Tue, 21 Apr 2009 13:36:44 -0700

Digressing a bit from color management (but not for long)....

Spring is here, and wildlife activity is intense. Here’s a couple to help you get out there and get busy!!

Color Management For Photography Part Two

Fri, 10 Apr 2009 12:13:51 -0700

One of the questions I hear quite a bit is lately is: “how do chromogenic prints (like the Fuji) compare to modern inkjet printers? aren’t they cheaper and just as good?”

Well, there’s two parts to this answer: on some images, you may see little difference; on others, quite a bit.

The ColorSync utility that is provided with the Mac OS will draw a color map, or chart, of the available range of colors produced by a printer/paper/ink combination. I’ve used this to map out the color gamut of the Fuji on Fuji satin paper, the Epson 9880 (w/ Vivid Magenta) on satin media, and the HP Z3200 on satin media. The results are interesting:

It is important to note that these are unidirectional, basic 2-D views of a 3-D color map. Having said that, all views are identical, and are the default setting for ColorSync utility.

In my view, the Fuji is in third place compared to the other two. That’s not to say that you can’t make pleasing prints using this technology - you can, within limits. By the way, the last frame on the right shows an overlay of the Fuji on the Z3200 plot.

In my personal opinion, the Z3200 has the greatest potential to deliver prints with the widest possible color gamut. Again, not to say that the Epson can’t make prints that please the eye, just that in this particular test it appears to me that there are significant differences.

So, I’d say you do get what you pay for. Prices on chromogenic prints like the Fuji are coming down, but if I were printing my exhibition or fine art edition, the Z3200 is still my printer of choice. Part One of this post, Color Management for Photographers, is here.

Color Management For Photography Part One

Mon, 6 Apr 2009 16:52:01 -0700

Color control in the digital world can be a serious challenge. You can lock down your color, and reduce your time and labor costs by using a few simple practices:

If you shoot JPEG, and your camera allows it, try using Adobe 98 RGB rather than sRGB
If you shoot RAW, set your preferences in Adobe Camera RAW or other processor to use Adobe 98 RGB or ProPhoto RGB.
Calibrate your display! With newer LCD displays once a month will do the trick.
Use Soft Proofing in Photoshop. Here’s a link to another page of mine that shows you how to do this. Soft proofing gives you an on-screen preview of what your image will look like, printed on the media you plan to use. Saves a ton of time and money on wasted proof prints.
When printing, use Application Managed/Photoshop managed color. You can set this is just about any image editing application you want to use - Photoshop, Lightroom, or Aperture.
Use the right ICC profile for your printer/paper combination. Just about every printer manufacturer provides a library of these on their web site, with instructions for installation.   The Adobe Photoshop web site directs us to install the profile into this directory path in Windows: WINDOWS\system32\spool\drivers\color folder (Windows XP) - or right click and choose “install profile”. On the Mac, the path is: /Library/ColorSync/Profiles folder or the /Users/username/Library/ColorSync/Profiles folder. Restart the application so it “sees” the new profile.

More info in the next post - use this link to see Color Management for Photography, Part Two.

PC-E Micro Nikkor 45mm f/2.8D ED

Tue, 24 Mar 2009 19:25:36 -0700

In the recent past, Nikon have released several new lenses worthy of discussion. I had an opportunity to use one of these, the PC-E Micro Nikkor 45mm f/2.8D ED (perspective control lens), while I was teaching a class at the Santa Fe Workshops in New Mexico.

One thing that hit me right away was the importance of being able to combine the capabilities of this lens, which include both tilt and shift adjustments, with Live View features available on new cameras like the Nikon D3 and D3x. Live View provides real-time viewing of the image as it will be captured by the camera.

In the past, I found it darned near impossible to use any tilt/shift lens on a 35mm camera to its full potential – it was just too hard to look into the corners of the viewfinder and see if the image was really sharp. (image below courtesy Nikon).

Not the case any more. Live View, combined with a sturdy tripod or studio stand, allows full control of image quality – which is what this lens is all about.

Not only can the lens be shifted side to side or up and down, it can be rotated to compensate for the position of the subject. Same for the tilt capability.

I took this photo of a church located immediately adjacent to the Workshop offices in Santa Fe.

I captured the image in direct sunlight, in part to challenge the lens/camera combination. Shooting in RAW, ISO was set to 200, aperture was f/8, shutter at 1/640. Zoomed in to 100%, the image shows excellent detail, and little to no chroma aberration along the edges of the building.

I was shooting from a downhill grade (the driveway) and so had to use maximum shift available. This caused slight vignetting in the corners (which Nikon predicts in the instruction manual). I think this is a small price to pay for using a lens that permits perspective control and can eliminate image stitching in post-production.

This is a fully manual lens. It is unforgiving of inattentiveness or poor setup. One has to focus on the details, but with a bit of practice it delivers outstanding results. Coupled with Live View, we now have a mini view camera!

Santa Fe Workshop - Digital Fine Art Printing

Mon, 23 Mar 2009 15:37:48 -0700

Unlike last year, we had amazingly good weather in Santa Fe. Sunny skies, balmy breezes - what a difference a year makes! Last March it snowed about eight inches the night we arrived.

The class was booked to capacity, and the Workshops were buzzing with a bunch of sessions. We seemed to have one of everything.

Digital fine art printmaking is, of course, more involved than simple desktop printing. You just can’t see elements of an image at 8x10 that you can see when it is enlarged. And, of course, large-format printers like the Z3200 render fine details,with amazing accuracy. The B9180 printers performed flawlessly under the relentless onslaught of the students. Some were amazed at the change in tone and feeling in a print that comes from using a new printer - or even changing media.

Jack Duganne and I had a great time. We both thought that the print exhibition was among the best we have seen from a class.

What follows is a somewhat random selection of images illustrating events during the week. Many thanks to Dottie and Cotton for providing many of these!

I’m looking forward to teaching the November session at Santa Fe Workshops on Digital Fine Art Reproduction, November 11-13, 2009. For details and enrollment, go here.

Evaluating Printed Images - Part 2

Fri, 13 Mar 2009 17:18:38 -0700

Examples of Criteria for Evaluating Your Prints

Some of this info is gleaned from different sources. Again, I’ve been getting requests for this kind of guidance.

First, look at the print from normal viewing distance. This is roughly three times the diagonal measurement of the print. Do you get feeling of “wow”, or “yawn”?

Do the colors appear as you want them to? Are they believable and realistic? Or do you want a palette that leaps off the page?

In the same vein, did you choose the right media? Do you need the pop and contrast of glossy paper, or do you need the painterly feel of fine art media?

Do you see the details in highlights and shadows? Is there undue noise in either area?

In highly saturated areas, is the color consistent? Do you see any digital artifact, like banding, or is it nice and smooth?

Particularly in skin tones, do you see nice, smooth transitions from highlight areas to shadows? Any signs of stairstepping, loss of detail, etc?

Look along lines where contrast changes significantly - for example, the horizon/sky intersection in a landscape image. Is it clean, much as your eye might see if you were there? Or does it break down into inappropriate colors, aliasing, stairstepping, etc?

Selected comments I’ve collected over time that might be helpful:

_____________________________________________________________________

Is the print in "pristine" condition? (presentation, mounting, lacquering, etc.)
Does the image have a center of interest that is apparent?
Does the title of the print immediately find purpose? (Important!)
Is the technical quality of the image satisfactory?
Does the image sell itself? (emotion - story telling - breaking rules advisedly)
(Dixie Laval, M.Photog. Cr. the Professional Photographers Association of Greater Kansas City)

_____________________________________________________________________

Over and above an absence of technical flaws, finalist photos are (excerpts): 
About character: The subject has a distinctive and appealing presence or intrigue. The
essence may be entirely innate—an expert rendition of reality by the
photographer—or the effect may have been enhanced by the photographer.

Creative: Judges tend to prefer subjects and composition they have not seen
before. While most judges would not rule out selecting a sunset (or a national monument) as a winning photograph, such a piece would have to be absolutely spectacular.

Direct and to the point: The subject and theme of a great photo are
immediately obvious. A not infrequent critique is that an image is “too busy”
or multifaceted.

Either rich in color saturation or delicately shaded: Both approaches
accentuate mood. Brilliant color is always a plus. In black-and-white images,
high contrast without sacrificing detail creates a compelling tension.
(Bill Katzenstein)

There’s more of course. I suggest that you visit websites of the professional photography associations, like PPA and WPPI.

Workshops in March and November 09

Thu, 12 Mar 2009 11:55:32 -0700

Jack Duganne (Duganne Atelier) and I are heading out Saturday for a week of teaching in Santa Fe, NM. I was thinking about last year, and how we received almost a foot of snow on the first night.

It’s incredibly rewarding to spend this kind of quality time at Santa Fe Workshops (SFW) with a group of students who are both sophisticated and open-minded. We’ll be covering capture to fine art print - with the emphasis on the print.

Jack and I have hit on a great format for these workshops - two instructors on-site makes a big difference. While one of us lectures, the other circulates among the students answering questions, etc. The progress from day one to the last day is remarkable.

Also, the support provided by the SFW staff is second to none. They are technically expert, welcoming and flexible, and make the week smooth sailing for all. Here’s a pic of the group from last Spring:

I also plan an intensive workshop in November on Digital Fine Art Reproduction. Take a look at this link - if you have interest in pursuing a profitable (and fun) add-on to your existing photography efforts, take a look.

And here’s a link to my page regarding printmaking services for artists and photographers.

Launching a New Book

Thu, 12 Mar 2009 11:49:13 -0700

From time to time, I write posts for the Pro Photo blog hosted by HP. Here’s a quick synopsis and a link to the full text of the latest post on the subject - you may find it interesting, and even helpful....

“At the PMA Show in Las Vegas I participated in the launch of my new photo book The Joy of Discovery. The book shows a collection of my images in a way that conveys.....

Read more:

http://www.communities.hp.com/online/blogs/graphicarts/archive/2009/03/12/launching-a-new-photo-book.aspx

And another post by Tom Hubbard:

http://www.visionaryphotographers.com/2009/03/visonary-david-saffir-publishes-new.html