The Most Important Step in the Print Workflow

Monitor Calibration

In preparation for producing the best image files possible for print, I take several important steps throughout my editing workflow. The most important step however, is working on a monitor calibrated for color and brightness. By calibrating my monitor I can ensure that my prints will come out exactly the way I envision them. Currently, I work on a BenQ SW270C monitor built specifically for editing photographs. One important note is that my monitor is calibrated differently based on whether the final image will be posted to the web or printed. When editing for web I set the brightness at 120 nits to accurately reflect what people will see on their phone or computer. But when editing for print I set the brightness at 80 nits to compensate for the fact that images look darker on paper than they do on a screen.

Other Important Steps That Make a Big Difference

Setting the Photoshop workspace to a light gray or white background ensures that any shadows in the image are not too dark, as editing on a black background changes the way the eye perceives shadows.

The final output size of the image file is the next important consideration to be made because that affects the output sharpening process.

Before I print my work, I first resize the image in Photoshop to the final output size, and then go through a multi-stage sharpening process. This is because different size prints will require different levels of sharpening. These are just a few of the important steps I take to produce a high-quality file for print.

Metal Prints Explained

What are Metal Prints?

Metal Prints are known by several names such as HD Metal Prints, Aluminum Prints, Brushed Aluminum Prints, DiBond Prints, Metallic Prints and Metal Photo Prints. Printing on metal is a sleek modern way to display your work without having to frame it. Metal Prints really bring an image to life to life. Due to their durability, archival quality, and convenience, they are quickly becoming the new standard for displaying and selling art. Metal prints are made via a process called sublimation, and here’s how it works.

Unlike the traditional method of printing directly on the surface, which may damage easily, dye sublimation infuses the image directly into the hard coating to provide lasting durability and protection.

The first step requires your image to be printed on paper transfer media on a giclee printer with specialized sublimation inks made for the metal print process. The print will look like a flat colored mirrored copy of the original image.

This sheet is then taped on to blank metal photo panel which is then placed in a heat press. The heat and pressure causes the sublimation inks to transform into a gas. The gas is then absorbed through the pores of the polymer coating of the metal and into the base coating. As the metal cools, the pores close and the metal surface stabilizes.

Additional Benefits

Other than the obvious image quality, metal prints offer additional benefits.

Metal prints offer great value. Since metal photo prints don’t need to be framed, you can save big on framing costs which are often much more than the price of the print itself. My metal prints come ready to hang at a fraction of the cost of a custom framed traditional photo print.

Durability and archivability of metal prints are excellent. The surface coating is very tough and scratch resistant. It doesn’t require any glass to cover it. Also, they are incredibly fade resistant. So, how long do metal prints last? The Rochester Institute of Technology tested metal prints to last up to 4 times longer than archival silver halide photographic prints which last about 40 years.

Since they are printed on aluminum, metal prints are also water proof. If you have finger prints or something gets on it, just use a damp cloth to wipe it.

My Camera Settings for Landscape Photography

Today I’d like to talk about the camera settings I use when I am on location that allow me to capture the highest quality files possible, ensuring that I have the ability to create the images I envision when I get home, and that the prints I make are of the highest quality.

Image quality set to RAW

I always capture my images as RAW files instead of JPEGs. Although RAW files look flat compared to JPEGs straight out of the camera, they allow more leeway in post processing. I can bring more definition to the shadows, retain color in the highlights, dodge and burn more naturally, and reduce noise wherever I see it. All of this means more ability to create the images I envision in my head.

Manual mode to have complete control of the exposure

Landscape photography involves capturing scenes with large dynamic ranges, typically at sunrise or sunset. Using an automatic mode results in compromises to image quality that are unacceptable because it requires balancing the highlights of the sky with the shadows of the landscape. Either the shadows are too dark and noisy, or the sky is washed out. By switching to manual mode I have complete control over the exposure and can even take multiple exposures optimized for different areas of the image, combining them later in post-processing.

Ensuring that my aperture is set to the sharpest setting, focus stacking if I need more depth of field

When selecting an aperture, there is a tradeoff between depth of field and diffraction, which reduces sharpness in images. Typically the sharpest f-stop is somewhere around f/8 or f/11. Any lower than that results in a loss of depth of field and parts of the image may be blurry, any higher would increase the depth of field, but overall image sharpness would suffer. In order to maintain maximum sharpness from the front to the back of an image I use a technique called focus stacking, where I take multiple exposures focused at different points throughout the image, and then combine the sharpest areas of each frame in post-processing to form one perfectly sharp image.

Keeping my ISO at the lowest possible value to ensure the largest dynamic range and lowest noise

Higher ISO levels can introduce excess noise into the image and reduce dynamic range. I always shoot at the lowest ISO level possible, typically 100, to allow for maximum dynamic range and the lowest noise levels in an image.

Enabling the histogram to ensure that nothing is clipping

Over exposing an image can result in highlights that are clipped, while under exposing an image can result in shadows that are so dark they have no detail. To avoid this situation I ensure that the histogram is balanced. And in scenes with a particularly large dynamic range, I take multiple exposures to optimize the quality of the highlights and shadows, combining them into one image in post-processing.

Adjusting white balance to ensure that no color channels are clipping

Many photographers watch the luminosity histogram to ensure that highlights are not being clipped and shadows are not so dark that they lose detail. I also watch the RGB histogram in case any color channels are clipping, which would result in washed out colors during processing. To avoid this situation I adjust the white balance in camera until all channels are fully captured, bringing the white balance back to where it should be in post processing.

Shooting with a remote shutter release to avoid camera shake

Even the slightest movement of the camera can result in an image that lacks sharpness. Using a remote shutter release removes the need to touch the camera to capture an image, ensuring that camera shake does not occur.

100% magnification image review to ensure sharp focus

Because the camera screen is so small, it is easy to miss objects that might appear out of focus on a larger screen. Zooming in to 100% magnification ensures that every part of the image will be tack sharp regardless of how large the print is.

Secrets to Amazing Waterfall Images

Waterfalls make great subjects for landscape photography, especially for long exposures. In this article I explain my approach to photographing waterfalls.

Pay attention to shutter speed

Shutter speed is extremely important when photographing waterfalls. The longer the shutter speed, the smoother the water will look. Whereas the shorter the shutter speed, the more static the water will look. I tend to select my shutter speed based on the size of the waterfall I am photographing. A small waterfall with water that moves slowly usually looks better with a longer shutter speed, whereas a big waterfall usually looks better with a shorter shutter to really convey how powerful it is. Generally I start with a shutter speed around 1/4 second an go from there

Use an ND filter

Based on how bright it is during the day I to use an ND filter to achieve a longer shutter speed and slow the water down even further. I have a 3 stop, 6 stop, and 10 stop ND filter. Typically the 3 stop is perfect for waterfalls.

Use a tripod

Because I slow my shutter speed down to convey movement in the water as described above, I also use a tripod to make sure that my images are tack sharp. I also prefer to use a tripod because it really helps to refine my composition in the field.

Keep a lens cloth handy

When water is rushing towards the camera, water gets on the lens and creates blotches that are difficult to get out in post-processing. I always keep a lens cloth available to wipe down my lens in between shots and to reduce the number of water drops on the lens.

Get in the water

This made the biggest difference for me in taking my compositions to the next level. Getting into the water opened up a whole new world of compositions that normally aren’t available on land. The water really feels like it’s jumping off the screen and has a tendency to make the viewer feel like he / she is standing in the image. In order to get in the water easily I always carry a set of waders just to be safe.

My Favorite Photography Locations in Chicago

Although I love being able to travel and see new places, I still have a full time job and that means the majority of my photography takes places in Chicago. Today I’d like to talk about some of my favorite locations for photography when I’m home.

North Ave Beach

There are two classic views of the Chicago skyline, and one of them is North Ave Beach. From here you can see iconic buildings such as the Hancock Tower, Lakeshore Tower, and many others as well. I’ve visited this location more than any other spot in Chicago because I always find it so peaceful to be out there alone first thing in the morning when the sun rises and casts beautiful side light on the buildings. Whenever I am in a creative rut this is where I go.

The Adler Planetarium

The second iconic view of the Chicago skyline is seen from the Adler Planetarium. From here you can see the Sears Tower, the Chicago Board of Trade, and many other well known buildings. This is my favorite location to visit at sunset because I love watching the sun set behind the buildings right as the lights in the skyscrapers turn on. I especially love coming here in winter when the lake turns to ice and creates all sorts of interesting patterns.

18th Street Bridge

This used to be my go to location when I was living downtown because I lived 5 minutes away and parking was incredibly easy. Anytime I thought there would be a good sunset or sunrise I would rush over to try and catch it. On the left hand side there is an industrial train yard and I would use the train tracks as leading lines into the city, and on the right hand side there is a beautiful park with green grass and trees and I would use the walkway as a focal point in the foreground.

Lincoln Park Nature Boardwalk

The bridge over South pond near the Lincoln Park Zoo is another spot I love to visit to get a unique view of the skyline. I prefer this location at sunrise because the side light coming from the lake looks amazing. And after the light becomes too harsh to photograph the skyline, I’ll walk over to the Nature Pavilion to shoot abstracts.

Kinzie & Wells Parking Garage

This parking garage has become a must shoot location for Chicago photographers. The train track creates a great S-curve to lead the eye through the image. I like to come here after sunset when it’s dark and you can get light trails when the train passes by.

The Secret to Creating Great Reflections in Your Landscape Images

Whenever I see a body of water I get excited because I know that means a reflection!

Reflections are a great tool to create interesting compositions for landscape photographers.

One tip to incorporating reflections in your landscape images is to get low to the ground as this will emphasize the reflection in your image. Typically, placing the horizon line dead center can lead to a flat boring image, but in an image with a reflection in it emphasizes exactly what we want to, the reflection!

It’s also important to visit the body of water on a calm day when there isn’t much wind, typically this is in the morning at sunrise. If there is a slight ripple in the water it can be smoothed out with an ND filter.

Additionally, try to include the complete reflection in the body of water, as this will emphasize the symmetry in the image. Otherwise the reflection can become visually jarring, defeating the compositional effect of the reflection.

How to Create Amazing Milky Way and Nightscape Images

Some of my most popular images contain the Milky Way and I get many requests to explain how I capture those images, so today I’d like to walk you through that process. Once you try shooting the Milky Way you’ll love it!

Open your aperture as wide as possible

By the time the Milky Way comes out at night it is very dark. Normally, in landscape photography, you would set your aperture to f/11 for maximum sharpness and then adjust the shutter speed to achieve the optimal exposure, but in this situation you want to let in as much light as possible to the camera sensor. A lens with an aperture of f/2.8 or lower is going to be best when shooting the Milky Way.

Increase your ISO

In landscape photography you would normally set your ISO to 100. Again, shooting the Milky Way is very different. In astrophotography, you want to increase your ISO to ensure that you aren’t clipping your blacks on the histogram. Typically, I start with an ISO of 6400 and then adjust up or down based on what the histogram says. And don’t worry if your images looks noisy! Try shooting a series of exposures one after the other and then using a program like Starry Landscape Stacker to blend them together and reduce the noise.

Focus manually

It becomes too dark for our cameras to use autofocus at night, so you will have to focus manually. In live view, zoom in on the stars as much as you can and begin to adjust the focus ring, noticing that the stars change size as you do. Continue to adjust the focus ring until the stars stop getting smaller and look like perfect circles. Alternatively, you can try shining a headlamp on an object far off in the distance and focusing on the light.

Make sure your stars aren’t trailing

Star trails occur when your exposure is too long and the stars begin to move. Star trails look really cool, but that isn’t what we want when shooting the Milky Way! The sharper the stars the better, so you will need to adjust your shutter speed if it looks like the stars are trailing. I like to use the Star trails feature in Photopills because it tells me the maximum shutter speed I can have given the resolution of my camera and focal length of my lens, but generally if you can keep your exposure under 20 seconds you should be ok.

Consider a blue hour blend

If you’d like more detail in the foreground than you would get with the methods described above, consider a blue hour blend. You’ll want to capture your foreground during blue hour or twilight after the sun sets with the setting you would use when shooting a traditional landscape, ISO 100 f/11. Once you have your foreground, wait until the Milky Way comes out and capture it using the settings described earlier in this article. Then, in Photoshop swap your blue hour sky for your Milky Way.

Don’t forget about twilight!

People typically focus on shooting the Milky Way in astrophotography, but the time in between right after the sun sets and before the Milky Way comes out can be used to create amazing images too! I really like shooting at this time because there is still light on the landscape that can be brought out with dodging and burning, and the sky turns a beautiful shade of blue, but you still have some stars in the sky so the top of your image doesn't look empty.

I hope you enjoyed these tips! Feel free to message me with any questions, and subscribe to my mailing list so you know when the next article comes out!

How to Capture Backlit Landscapes

One of the techniques that took my photography to the next level was understanding how the direction of light in a scenes affects how the main subject was lit. Recognizing certain types of light and how that impacts a scene is important to the success of a photographer.

Scenes can be lit three different ways: back light, side light, and front light. Today I want to explain how to shoot and process backlit images.

Backlight can product incredibly images, but the dynamic range in these images can be very difficult to capture as the dynamic range typically extends beyond what the camera can capture in a single exposure. Exposing for the sun results in a foreground that is too dark, but exposing for the foreground results in a blown out sky.

Bracketing your exposure will help manage these backlit scenes. I take two exposures, one with an optimal exposure for the foreground, and one with an optimal exposure for the sky. Once I have captured these images, I blend them together in post-processing. The result is a realistic image that retains all details.

Next time you go out to capture a backlit scene, try experimenting with bracketing to preserve the highlights and shadows in your scene.

I hope this technique is helpful next time you go into the field. Feel free to message me if you have any questions, and sign up for my list so you’ll know when my next article is released.

How to Create Amazing Images Using Long Exposures

Today I want to talk about how to use long exposures in your landscape photography. Long exposures are a great way to show movement in a scene, especially when clouds and water are involved. Once you try it, you’ll love using the technique. Here are a few tips to keep in mind that will help as you get started.

Use a shutter release cable

Because the camera shutter is open for so long, the camera is extra susceptible to movement. I use a shutter release to make sure that my camera doesn’t move. Plus, using a shutter release in bulb mode makes it easier to take take exposures longer than 30 seconds.

Use a neutral density filter

Depending on how bright it is how outside, you might need to use a neutral density filter to achieve your desired shutter speed. I have 3 different versions: a 3-stop, a 6-stop, and a 10-stop. The 3-stop filter is great for achieving shutter speeds between 1/4 second and 1 second, which can show movement in water. The 10 stop filter is great for 4 or 5 minute exposures that blur clouds.

Use Photopills or another app to determine your shutter speed

When taking an exposure longer than 30 seconds in bulb mode, the camera can’t calculate the shutter speed for a properly exposed image. In this situation, I use Photopills to determine my shutter speed, but there are other apps available as well. All you need to do is input the shutter speed for a properly exposed image without an ND filter, then enter your ND filter information, and Photopills tells you the correct exposure with the ND filter on.

Experiment with different shutter speeds

Don’t be afraid to experiment with different shutter speeds and ND filters. Sometimes a 1 or 2 second exposure looks best, sometimes a 1 or 2 minute exposure is the way to go. It all depends on the feeling you are trying to convey with your image. Typically, when I want to show movement in water I start with a shutter speed of 1/4 second. If I want to show movement in the clouds I start with a shutter speed of 2-3 minutes. But it all depends, so experiment and have fun!

Using a long exposure is one of my favorite techniques. Feel free to message me if you have any questions, and sign up for my list so you’ll know when my next article is released.