subscribe 0330 333 1113 I http://www.amateurphotographer.co.uk I 3 August 2019 41
IN ASSOCIATION WITH
‘JEREMY’Satmosphericblack& white
photographof theIsleof Skyeoffersan
amazingconstellationof lightandshadow.
Therearemanyoptionsforhowtoprint
thisimage.AtWhiteWallweofferseveral
productsthatwouldhighlightthefascinating
chiaroscuro,suchasourLightJetPrinton
IlfordB/Wphotopaper.Face-mountedon
glossyacrylicglass,imagesgainbrilliance
anddepth.Moreover,theblack& white
tonesappeardeepandluscious.
‘If youwouldlikethesameeffectsbutwant
togiveyourimageanelegantlookandfeel,
thematteacrylicoptionwouldbea good
choice.Theadvantageof thisis thatyoucan
hangyourphotographanywherewithdirect
ambientlightandstillavoidglare.
‘Forbothspectacularfinishes,the
photographicprintis hand-sealedundera
paneof acrylicglass.Wedothisusingdurable
elasticsiliconethatnevercompletelyhardens,
soit canadjusttochangesin temperatureto
preventflawsin thepicture.However,whenit
comesdowntophotoprints,barytapaperis
a classicchoiceforachievinggallery-quality
results.Thisheavyblack& whitephotopaper
hasa lovelyglossysurface,anditsbaryta
texturealsogivesit a silkyshimmer.
‘Allof theoptionsmentionedherecome
in customsizesandcanbecombinedwith
handmadeframes,helpingyoutoreally
showcaseyourpicture.’
WhiteWallrecommends
3
Roadin the
foregroundwas
4 carefullyremoved.
Threecolourframeswerestitched
togetherandconvertedtob&w.
2
Clonetoolwasusedto
removedustspotsand
unwantedbirdsin flight.
1
LEEFiltersHardEdge0.9
Graduatedfilterwasusedto
controltheexposureof thesky.
4 Keep it simple
Many landscape shots are ruined by
over-the-top post-production techniques.
Keep adjustments to saturation, sharpness,
and vibrance to a minimum. HDR techniques
look awful if overdone, especially in landscapes.
Printing and
framing tips
1
Be aware of the difference between
a monitor image and a printed one.
Monitors are luminous and project light;
prints refl ect light. They look different.
2
Use the ‘Soft Proof’ facility in
post-production software to try to
match your image with the type of paper
you are going to get it printed on.
3
Consider alternatives to paper
prints. Look at canvas, acrylic,
aluminium, steel or even natural wood.
4
When considering having your work
framed, have the image mounted
on to a backing board. There is nothing
worse than looking at an image in
a frame and fi nding out it’s buckled,
refl ecting light from all angles, and you
are unable to see the image properly.
5
Consider your options for the type
of glass carefully. Go for ‘Clarity’
glass which shows hardly any refl ections
but is also totally clear, unlike the
non-refl ective glass of yesteryear.
6
Choose your type of frame with
one eye on the future. Are you
going to hang similar images on the
same wall at a later date? Or do you go
for a random frame that suits the image
regardless of its surroundings?
7
Avoid wafer-thin card mounts.
There are some incredibly thick
mounts available which give the frame
and image a classier look and feel.
8
Whether you’re having your images
printed, mounted or framed, go
to the professionals. They have the
know-how to do a great job.
Isle of Skye,
Hebrides, Scotland
Nikon D850 with Zeiss
50mm f/1.4, 1/100sec at
f/5.6, ISO 64
Jan-Ole Schmidt, Product Manager
WhiteWall.com