Canon has taken a great leap forward creating a whole new generation of their aqueous pritners that have some exceptional features. Now that the Canon Pro-4000 has just started shipping, I thought I’d highlight a few features that I found significant.
Roll Feed Unit and Paper Handling
The optional roll feed unit can be used as a take up real as we’ve seen in printers before. But this roll feed unit can also act as a second roll feeder with it’s own unique paper path to the printing area. With this unit we essentially have double roll support that allows users to keep two different rolls installed simultaneously. What’s even more surprising is that the printer can quickly switch between these rolls automatically without user intervention. The leading edge of one roll is kept at the printing area while the leading edge of the unused roll is kept a few inches back in a holding area, ready for use. When a roll is loaded you specify which media it is and the printer keeps track. When you want to print, just select the media in the driver accordingly and the printer knows which roll to print to. Select ‘Luster’ as your media in the driver and it prints to the luster roll, or select ‘Matte’ as your media in the driver and it prints to the matte roll – there’s no need to specify roll 1 or 2. Since Canon printers don’t have the awkward photo and matte black ink switching that Epsons surprisingly still have, this means you can make prints to a matte roll, prints to the luster roll and back to matte extremely quickly without any user intervention (paper loading) at all.
The Pro-4000 has a similar cut sheet loading process that the previous Canon iPF printers had, along with the same curved paper path. While this makes the use of rigid materials impossible, I’ve been able to use large sheets of heavy papers (more…)
March 31st-April 3rd 2016 in the Big Bend region of West Texas
with Scott Martin and Lance Keimig
Scott Martin and Lance Keimig team up again to present a four day/night photography workshop in the Terlingua ghost town in the Big Bend region of West Texas. The Big Bend region is 300 miles away from the nearest city and feels every bit of it. It’s one of the country’s best kept secrets, full of history and pristine landscapes (more…)
October 22-24, 2015, 10a-4p at Flatbed Press in Austin Texas
with Scott Martin and Byron Brauchli
Scott Martin of Onsight and Byron Brauchli of Izote Editions team up for 3 days of photopolymer gravure printmaking from calibrated digital positives. This is really two workshops in one as participants will learn how to make calibrated positives and negatives for any alt-photo printing process, and photopolymer gravure prints. It’s an opportunity to learn from two established craftsman and make gravure prints of your own images.
Participants will learn how to produce print-ready transparencies using common ink jet printers. Byron and Scott will instruct students on how to use a free and easy-to-use software to print, in one easy step, transparencies that will beautifully reproduce images in warm gravure blacks, cyanotype blues, or in other alt-processes. We’ll make custom ICC Profiles that will allow you to perfectly simulate your alt photo printing process on screen. Participants will create 1-2 plates and print a small edition. If time allows, more advanced printing techniques like chine collé or à la poupée will be covered.
Byron is traveling to Flatbed Press from Veracruz, Mexico, and we are very excited to offer this special workshop in conjunction with his upcoming exhibition Encrucijadas (Oct 23- Dec 5) at (more…)
Yours truly featured in today’s Breathing Color Podcast #20 talking about RIPs, printer drivers, nesting, layout, workflow and the big “to RIP or not to RIP” question.
This Night Photography workshop will feature two nights of photography at Bodie Ghost Town, one at Mono Lake, and one on the Conway Summit. Each day we will have hold a critique and classroom instruction in the community center from 11a-5pm and will enter the field afterwards staying out past midnight. The workshop is suited for those with limited NPy experience, but at least basic photo skills, and familiarity with shooting RAW in manual mode with a DSLR. More advanced students and alumni are welcome too, we know you love shooting Bodie at night!
Conway Summit, Mono Lake and Bodie ghost town are not only some of our favorite locations that we’ve been making images in for decades, we’ve also been leading night photography workshops here for over ten years. We think you’ll find Mono Lake’s signature monolithic rock structures that extend upward from the lake are ideal for night photography. The dramatic granite moonscapes of Tioga Pass (more…)
When you first install Lightroom 6/CC you may find yourself asking “Wait, how is this different from Lightroom 5?”, which is to say it’s an easy upgrade and familiar on all counts. But as you use it you’ll notice lots of meaningful new features everywhere – some small and some big. Here are five things in LR6/CC that I find significant:
The “Merge to Panorama in Photoshop” and “Merge to HDR in Photoshop” features have both been brought natively to Lightroom. And let me tell you, the process of combining frames in LR6 is so fast, easy and friendly that it’ll make you want to do it more often. From the Library module, goto Photo>PhotoMerge to get started. When combining files with Panorama mode, LR6/CC generates a large TIFF, but when combining raw files with HDR, Lightroom generates a much smaller and more potent composite raw file (DNG) instead of a TIFF. These features are super simple, easy to use. They have developed a new architecture for these features that will allow them to do some great things moving forward, but because it’s different, your results may vary slightly from what you would get in Photoshop. For now, Lightroom has finally made these tedious tasks insanely easy and have simplified our workflow in the process. Love it.
You’ve likely used another app that uses facial recognition to automatically identify people’s faces that you’ve taken the time to label once. For those that work with portraits, it has the potential to greatly simply the tedious task of including names in metadata. Look for the new “People” view button to get started. It’s in the toolbar area of the Library module, next to the Grid, Loupe, Comparison and Survey buttons. (more…)
I thought I’d show everyone what my days often look like as a consultant. For 20 years, I’ve traveled around working with people in their studios on issues like color management, workflow, and print quality. A lot of the time this means working on big printers like these.
In addition to common aqueous inkjet printers, I spend a lot of my time working on UV Curable, Solvent, Latex and sublimation printers from companies like Vutek, HP, Epson, Gandhi, Mimaki, Mutoh, Roland, Inca and others. Last week I visited 3 clients in 3 cities including one of my favorite clients, HPI in Houston, where we worked on several of their printers including the Vutek HS100 Pro. To show you how it works, here’s a short video of it making a 30×40 print of my image Solitude on white aluminum dibond:
This monster UV Curable machine has 48 4” print heads that cost $3500 each and unusually accurate dot placement, for a UV printer. Even though it can print at incredibly high speeds, we have it in it’s slowest setting here that produces the highest quality. It uses an 8 color UV Curable inkset that can print on just about anything, including metal and glass. The LED Ultraviolet curing lamps you see positioned on each side of the carriage cures, frys and hardens the ink to the substrate before it has a chance to bleed or move. This type of printer was previously used exclusively for outdoor signage because of it’s extreme print durability and lightfastness. The print quality has recently become so good that people are using them to print artwork shown in galleries and museums. (more…)
20+ years ago I was splitting my time between a job where I was a Leaf45 scanner operator and an apprenticeship with a master printmaker. In the printmaking studio we were making large digital negatives on an imagesetter and using them to make hand-coated platinum/palladium prints in a wet darkroom. Back then everyone was using Photoshop 2 and had CRT monitors. While the color scans coming off the Leaf45 seemed pretty decent after a little color correction in curves, I was frustrated with how different the handmade B&W platinum palladium prints looked in comparison to the same images onscreen. We had developed curves to linearize the imagesetter that made the negatives but still, the prints on Arches Cold Press paper looked soo much different than they did onscreen. The paper had a warm tone that was darker and more yellow that what I saw onscreen. And the platinum palladium blacks were much lighter and warmer than the deep neutral blacks we saw onscreen.
I was so excited about ‘monitor matching’ that I started going around to everyone I knew adjusting their monitors to match whatever printing process they were working with. I learned to adjust the RGB gain, brighness and and contrast settings on their CRT monitors before doing the final tweaking (more…)