subscribe 0330 333 1113 I http://www.amateurphotographer.co.uk I 30 November 2019 51
Top tips for
printing
Editing is one thing but how
do you get the best-possible
prints from this image?1
Monitor brightness
Although calibration devices are
highly sophisticated,, I fi nd they tend
towards encouraging a brighter monitor
setting than is ideal. You may fi nd you
want to turn down your display a little
further to ensure your prints do not turn
out too dark.2
Sharpening
I apply some sharpening to the raw
fi le at input stage (tailored to suit
specifi c cameras/lenses) and only apply
output sharpening (with Nik Sharpener
Pro) once I have sized an image for
print – I do not always apply sharpening
to the whole image.3
Print size
Assuming the fi le resolution is
suffi cient, a good image will look good
printed at any size. It’s really important
to consider how you wish people to
interact with the print/s. Will they go in a
book or hang on a wall?.4
Live with it
Make a small print and see how
your impressions change over the
coming days. You’ll soon know if you
need to make any changes.5
Presentation
When producing a series of prints
for display, try to include images that
work well as a body of work, or at least
sit happily together when hung on a
single wall. This applies to the style of
the image, and how it is framed.IN ASSOCIATION WITH
‘Themutedcoloursandcontrasts
createdbytheweatherwouldwork
perfectlywithourOriginalPhotoPrint
UnderMatteAcrylicGlass.To
underlinethenaturallook,I would
recommenda walnut-coloured
FloaterFrame,WhiteWall’s15mm
Baselmodelin particular.Addingan
additionalwhitebordergivesthispictureanextraclassy
look.Thiscanbedoneduringtheorderingprocessin our
configurator.Finally,theimageshouldbeat least 40 x
60cmsinceit is verydetailed.Someonelookingfora
room-definingmasterpiececouldevengoupto 180 x
122cm.Ourglossyacrylicglassis anotheroptionthat
wouldletyoucarveoutthecontrastsevenbetter.This
surfacesupportstheglossyeffectof thedampleaves.’
Jan-OleSchmidt,ProductManager,WhiteWall.comWhiteWallrecommends
4 Curves, layers, brushes...
I then used a mild S-curve on a curves
adjustment layer in Photoshop to add slight
contrast selectively to parts of the image, using
a soft, large brush at 10% opacity. This has
given emphasis to the birch leaves, enhancing
their jewel-like sparkle and golden tones.
at me and cried out to
be photographed. When
shooting woodland, I
particularly enjoy soft light,
so I can make the most of
all the wonderfully complex
little details you notice if you
are aware. If it’s a little damp
too, all the better. I tend not
to use a polarising fi lter as
I like the resulting specular
highlights on the wet leaves
- they give an ethereal glow
to the image.
It’s a picture that’s all
about texture, patterns and
colour, with a lyrical fl ow
that I hope helps the viewer
navigate what is a relatively
complex composition. I enjoy
a more complex print on my
wall – something I can keep
coming back to, that will
hold my gaze and let my eyes
and mind wander for a
while. When processing a
more intimate landscape,
such as this, I tend to allow
myself a little more ‘artistic’
licence, hoping to bring out
all that seemed so special
when I fi rst set eyes on the
scene before me.