Ben’s top tips
1
Calibration
Calibrating the monitor is essential
if you are to produce consistent prints
that are accurate in tone and colour.
There are several devices that are
speci cally designed for monitor
calibration so investing in one of these
should be your rst consideration.2
Paper choice
Your nal print can look very
different depending on the type of
paper it is printed on. Think about the
picture itself and try to visualise how
you would like the nal result to
appear. Does the image contain
important detail that needs to be
preserved? If so, a traditional,
non-textured paper may be your best
bet. Textured, art papers or canvases
can look effective too, particularly with
more abstract images.3
Choosing a frame
If you are framing your image,
think carefully about the style and
colour of the frame. A frame should
not distract from the print so choose a
simple frame which is complementary
rather than contrasting.4
Mounting
The mount is as important as the
frame. Again, simplicity is key, and
whilst white or off white often works
well, a black mount can look effective
for low-key images that contain
predominantly dark tones.5
Go modern
Consider printing on aluminium or
an MDF panel. This will give your
image a very clean and professional
look and have a more modern feel.IN ASSOCIATION WITH
For this beautiful winter
wonderland picture, I
recommend a framed
print. My suggestion is
our Solid Wood Frame
in white maple with a
10 cm wide Passe-Partout. The
bright white Passe-Partout and the
glossy Fuji Archive Paper harmonise
very well with the snow. To
guarantee the view of the motif from
all sides and to avoid re ections, I
recommend choosing Mirogard
museum glass in any case.
Jan-Ole Schmidt, Product Manager,
WhiteWall.comWhiteWall recommends
4 Selective sharpening
The original le is pin-sharp but I like to add a
little selective sharpening once the image has
been sized to the size of the nal print. I used
the adjustment brush to paint over the hare
and added +4 Clarity and +15 Sharpness to
help enhance detail in the eye and fur.
much of my time in winter
combing the moors for
mountain hares and like to
maximise my opportunities
during periods of snowy
weather. The white coat of a
mountain hare against snow
creates beauty in its
simplicity, and I feel that
this is often key to a
successful print. For this
particular image I wanted to
create an intimate portrait
with an added feeling of
isolation and extremity
provided by the winter
weather. For an image with
such a vast amount of paletones, exposure was critical.
To achieve a high-key feel, I
increased my exposure until
the histogram was nudging
the right-hand side of the
graph. This has ensured that
my whites are nice and clean
while still retaining
maximum detail.