Created with Sketch.
Breathing Color Blog
14 minutes | 5 years ago
Rapid Fire Questions With Justin – Volume 2
Quick answers to a variety of printmaking FAQs covering Breathing Color media, printer issues, shipping recommendations, and print varnish. In volume two of our “Rapid Fire” series (missed part 1? Click here), we open up the listener questions grab bag and knock down a stack of questions on Breathing Color media, printer issues, shipping recommendations, and print varnish techniques. Listen in to hear the answers to printmaking FAQs Highlights Note: These timecodes show how much time in the episode is remaining in the episode, which is how our audio player (above) displays time. –13:00: Why you can’t roll coat Crystalline canvas –11:02: The thickness of Vibrance Photo Matte –10:26: The issue behind the periodical cleaning cycles when powering up the Epson 7890 –09:45: Painting with acrylics over a digital print on canvas after it’s been varnished –09:01: If corner protectors are necessary for shipping prints –08:35: Where to find carrying cases for gallery wrap prints –06:52: Not being able to print sharp images on watercolor paper with the Epson P800 –03:59: An alternative way to varnish prints for only $5-6 dollars –03:13: The shelf life of print varnishes and if it’s okay to varnish past the expiration date Show Notes This episode featured questions from Ben, Rob from Robscheid.com, David from Waldropfineartphotography.com, Sophie, John, Charlie, Ian, Richard, and Mike. Thanks for submitting your questions! Breathing Color products that were mentioned: Crystalline Canvas, Lyve Matte Canvas, Vibrance Photo Matte, and Timeless Print Varnish. Packing supply companies: Artpack Services, Airfloat Systems, Uline, Masterpak USA. Preval Sprayer (as mentioned, we have not tested this at BC, so be sure to use at your own risk). To check out the first volume of Rapid Fire Questions With Justin, click here. Want your question to be included in volume three of this series? Submit it here. Love the show? Have some feedback for us? Leave us a review on iTunes. Audio Transcription Prefer to read over listen? Want to save this conversation for reference later? We transcribe all of our shows for these reasons! Download this episode’s transcription below: CLICK HERE to download the text transcription for Episode 46! Or, to view a web version of the transcript: Click Here [Music] Announcer 1: You are listening to the AskBC Podcast. Your printmaking questions answered by the experts. Justin: Hey, everybody. This is the AskBC Podcast and I’m your host, Justin. This is the second volume of our Rapid Fire Question Series. We get a ton of questions from you guys, and basically pick out the ones we feel would be the most helpful for a majority of our listeners to hear the answers too, but there are a ton of questions that don’t get picked because the answers to those questions are just too short to fill in an episode with our typical format. In these rapid fire episodes we throw all these quick questions into a grab bag and answer a bunch of them in a row. There’s no specific theme to this episode, so I’m sure I’ll be jumping around all over the place in order to answer whatever topics show up today. We’ll probably be talking about Breathing Color products, printing, varnish, stuff like that. I’ve got a stack of questions here, so let’s get started with this one from a listener named Ben. [Music Ends] Ben asks, “Why can’t I roll coat Crystalline?” Good question, Ben. Just giving everybody a little bit of context as to what Ben is referring to, Crystalline is a Breathing Color canvas product, and it’s actually designed not to need a top coat. Not to need varnish. Varnishing it actually is kind of strange, I think. If you’re going to varnish your canvas I definitely recommend using one of our alternative products such as Lyve. You get some benefits using a matte canvas instead of just buying something like Crystalline, and then varnishing it. You’re paying a little bit more for Crystalline, for one, so to purchase varnish and then to spend the time to apply it to Crystalline, it’s one of those decisions that you can make as business owner, I guess, but pretty uncommon, I would say. To answer your question, you can’t roll coat Crystalline because its ink-jet coating essentially is not designed to be water-resistant enough to handle one of these rollers that’s saturated with the liquid product, liquid top coat. When you go to roll it, more than likely, you’re going to see some ink being uptaken on the roller itself and that might transfer back down to the print as you continue to roll it. You’ll see some smearing, some smudging, stuff like that. It all depends on the image. If it’s an image that’s fairly light, doesn’t have a lot of ink being laid down on it then you may not see this effect. Feel free to try it if you’d like. Run some tests of your own. Alternatively, you can spray coat it if varnishing Crystalline is something you want to do. You can purchase an HVLP, high volume low pressure, spray gun. Load it with Timeless, or whatever print varnish you’re electing to use, and then spray it on Crystalline, and let it go through its drying process. It is worth noting that if you’re going to be spray coating Crystalline, just as if you were to be spray coating a matte canvas, you will have to allow it to go through the outgassing process, which we typically recommend is a 24 hour drying period after printing, before coating. Again, if it were me, I would go with our Lyve canvas if you’re going to be varnishing anyway. It’s more archival. It has some more longevity than Crystalline will, but again, that decision’s totally up to you. Moving onto the next question. Rob from Robscheid.com asks, “What is the thickness of Vibrance Photo Matte 44 inch?” Vibrance Photo Matte is an 8 mill, 230 GSM matte photo paper. Now, it’s a pretty nice paper. You can think of it as a low cost fine art paper. Smooth fine art paper. We say photo paper, but it can be confusing. Terminology with the word photo paper is a little confusing. It doesn’t have an RC resin coated base, so it doesn’t have that plasticy type of feel. Like I said, it’s basically really thin, smooth fine art paper, so a nice low cost, budget paper there. The next question comes from David from Waldropfineartphotography.com. David asks, “My 7890 will periodically launch into a cleaning cycling when I first power up the machine even though I have auto head cleaning option off in the printer setup menu. What could be happening?” David, good question. I think there’s two options on these Epson printers. One is auto cleaning, and the other one is called an automatic nozzle check and you adjust both of them to say on, off. I think there’s an on periodical option as well. First thing I do with new Epson printers is to turn this off typically because we like to manually do this. Run a print through it every day, and we just keep up with it on our own as to not waste ink unnecessarily. It’d try to look for that auto nozzle check option and turn that off as well. Sophie asks, “Can we paint with acrylic paint over a digital print on canvas after it has been varnished?” Yeah, Sophie. I think I’ve addressed this question potentially on a previous episode, but even myself, I can’t remember. It’s been a few episodes in at this point. You can definitely use acrylics to paint over a canvas print that has been varnished. This is a pretty common technique that people refer to as embellishing, and it can really turn a print into a unique piece of art. I really enjoy this method. I would say don’t use oils. We found some negative side effects of using oils. Some discoloration even if the print has been top coated with a varnish. Definitely stick to acrylics, and not really too much else to know here. Print it, let it dry, coat it with a varnish, and paint away. John asks, “Are corner protectors necessary for shipping prints?” Good question, John. I would definitely lean towards yes on this one. It does depend. Are you shipping something that’s framed? Are you shipping a gallery wrapped canvas? Are you shipping a loose print that’s rolled up? Are you shipping a loose print that needs to be flat? It kind of varies, but there’s also multiple different kinds of boxes. This ties into a question that I was going to answer later on down in this episode, so I think I’ll just tie them in here. Charlie was asking where he could find carrying cases for gallery wrapped prints. Now, there are a number of different places online that you can find that’s used for shipping prints. It depends on personal preference where you’re shipping them. Again, what it is exactly that you’re shipping. I would definitely lean towards using corner protectors. Especially if you’re sending it in a frame. Sometimes you’ll find these boxes that are basically filled with foam, and you can tear out a template for the size of the print that you’re sending, and then set the print in there, and then replace the foam. That way basically your print ends up surrounded by foam, of course, with a cardboard outer box outside the foam. In that case you may not need corner protectors. It’s a pretty loaded question. It depends on your boxing. It depends on what you’re shipping. You might consult somebody that ships art regularly, and see what their thoughts are if you’re confused on how to pack a print. You might test ship a few if you’re trying to really trim costs on packing supplies. Pack it one way, send it to a friend across the states, or something like that, and give them a call and ask them how it arrived. Just an idea. It de
32 minutes | 5 years ago
The State of Print Profile Hardware + Misc. Profiling Problems
Color management tips to achieve color accurate results – print profile hardware/software, colorimeters/spectrophotometers, ICC profiles, and more! Color management is a pretty huge deal. If you get your output media settings wrong, you’re looking, at best, at walking away with a print that doesn’t look much like your original image. At worst, well, you could run into some pretty funky results that render your prints unusable. In this episode of AskBC, Kevin O’Connor joins us to talk about his recommended print profile hardware, and answers a round of questions for listeners having trouble with profiling and color management. Tune in via the audio player below! Listen in to learn about print profile hardware Highlights Note: These timecodes show how much time in the episode is remaining in the episode, which is how our audio player (above) displays time. –30:18: The skinny on the state of hardware and software for print profiling in 2016 –22:50: When it’s necessary to upgrade – taking the step from a ColorMunki to an i1 Pro 2 –18:31: The best way to scan prints with color accurate results – if a scanner RGB is a good color space to work in or if a custom color profile would yield better results –07:50: If it’s okay to select SRGB or Adobe RGB within the printer driver when doing a final profile print Show Notes This episode featured questions from Jacob, Kim, and Paul. Thanks for submitting your questions! Check out Kevin’s Color Bible: Part One, Part Two, and Part Three. For even more on color management, check out Navigating Color Spaces And Affordable Wide Gamut Displays and Color Management: Avoiding Oversaturation And Exploring Color Gamut. Love the show? Have some feedback for us? Leave us a review on iTunes. Audio Transcription Prefer to read over listen? Want to save this conversation for reference later? We transcribe all of our shows for these reasons! Download this episode’s transcription below: CLICK HERE to download the text transcription for Episode 45! Or, to view a web version of the transcript: Click Here [Music] Announcer 1: You are listening to the AskBC podcast – your printmaking questions, answered by the experts! Justin: Hey, everyone. It’s your host, Justin, from the AskBC podcast. Thank you so much for joining in today. If you’re interested in ICC paper profiles, display profiles, color matching, spectrophotometers, and other color geek things like I am, then you’ll really love today’s show. Kevin O’Connor makes a guest appearance on today’s show and we talk about all things color management. Without further ado, let’s go ahead and jump into today’s episode. [Music Ends] Justin: Hey, Kevin. Welcome back to the show. Today we’re going to talk a little bit about color management, and I thought you’d be the perfect person to chat with about this, so I appreciate you taking the time to join us. How’s your Friday going? Kevin: Friday is awesome. I’m looking forward to a great weekend shooting and processing images. Justin: Yes, that’s awesome. Sounds like a good way to spend a weekend. Like I said, today we’ve got a few listener questions, actually, that all primarily revolve around color management. We’ll do a little bit of talking about some of the hardware, some of the software, some printer profiling, just some various questions that talk about color management. We haven’t touched on this stuff in a few episodes so it should be pretty interesting. I’m going to go ahead and jump into the first question. Jacob asks, “Can you give me the skinny on the state of hardware and software for print profiling in 2016?” Jacob says that he’d love to move up to something beyond his ColorMunki spectrophotometer for profiling aqueous inkjet printers, but he’s unsure of how to take the next step. He says that the market seems dominated by “outdated X-Rite software, which is half the reason I’m moving from ColorMunki in the first place.” What are your thoughts on that, Kevin? Kevin: Well, golly. Several things come to mind. I’m not quite sure about the reference to outdated software, so I would be curious to know a little bit more about what he means by that. In general, one of the things to know about color management for various devices is that you end up with some possibilities depending on what device you buy. Many of our listeners might find that the profiles that Breathing Color provides free of charge for all of their papers works so well that they don’t really need to build their own. I encourage our listeners to try them out. The nice thing about that is if you don’t need to build your own paper profiles you can take the money that you saved by not buying a device that yields printer profiles and you can put that into a really good device for making display profiles. The current leaders in that area are devices that are not spectrophotometers, but they’re colorimeters. It’s a difference in technology, and it sounds intimidating, but what it really means is that a colorimeter most of the time will do a better job on a display profile than you would think. It certainly is as good or better than a spectrophotometer. For example, the X-Rite i1Profiler for displays is a small little unit which is often available for less than $100 if you watch for specials on it. It is a very nice display profile. The other one that everyone knows about probably already is the Datacolor Spyder, which is its current version is number 5, I believe. It has some new hardware design, but the software is the same as it was for version 4. That is a superb profiling tool in many ways, and I use it fairly frequently on several of the displays that I use often. Both of them are very good products, and because both of them are less expensive than buying a device that will do both print profiles and display profiles, I often recommend it to people if they don’t need to build a lot of printer profiles. If you need to build a couple of printer profiles, it’s sometimes easier to work with a profiling service where they send you a target with instructions on how to print the target and then you in return print it out according to the instructions and send it back to them. They run it through a high-speed professional reader and calculate a profile and send it back to you. Justin: Yeah, that’s a good alternative. Kevin: A lot of people find that that is a nice alternative to having to buy your own profiling hardware and software. Justin: Yeah. Some consultants even do the on-site thing, which at the price of some of these spectrophotometers in the $1,000 to $2,000 range, even paying somebody to come on-site and dial in all of your medias to their optimum color makes sense, especially if you’re not switching medias back and forth a lot. Profile it, and you’re good to go. Kevin: If someone needs this sort of thing to be able to make a lot of their own paper profiles, I certainly would encourage them to invest in a good tool. The top of the line from X-Rite is going to be their i1Profiler packages. They have several of those, depending on what your needs are. For someone who is only printing RGB files to a standard inkjet printer, they don’t need to buy the high-end version of that because that set of tools is overkill for their needs. It is possible to spend a lot of money on this, as you know. I don’t get a commission from either X-Rite or Datacolor or other companies, for that matter, so I’m cheerfully willing to tell people that I think that both X-Rite and Datacolor make very good profiles and you should buy the tools that meet your needs and not more than that. Put that extra money into extra Breathing Color paper. Justin: Hey, I couldn’t agree with that more. It’s interesting. In part, we use an i1Pro 2 here. There’s difference in price levels and their features. That’s all built into the software, right? No matter which package you buy with the i1Pro 2, it varies on the software side of things or limits you down to the RGB profiling and doesn’t allow you to do CMYK until you update that license or that software side. You could always start with what you need and pay a little bit more to advance that licensing later on down the line if your needs expand. It’s kind of cool. Keep the same hardware. Kevin: I think that’s a very good approach to doing that. Buy what you need and no more, and then if your needs change they do offer you an upgrade now. People don’t necessarily realize it, but Datacolor also makes a profiling solution for papers that delivers very good results. I find it a little more challenging to use than the X-Rite solution because of the way that the device scans the rows of patches, but that may be just my lack of hand-eye coordination too. It should be noted, though, that if you are purchasing the packages, that they can vary a lot in price. The ColorMunki is the best bang for the buck because it’s an all-inclusive package that meets both printing and display profiling needs. As the correspondent who wrote in to us to ask a question for this podcast says, I’m thinking that perhaps he thinks that the software for the ColorMunki is what needs some updating. I have to admit that I haven’t used the Munki in so long that I’ll have to check on that to be sure. We may have an update for him in the future about the Munki. Justin: Yeah. I think the biggest difference is that you’re limited to the number of patches that you can use in the ColorMunki software, whereas with the i1Profiler software you can define the number of patches that you want to use. You potentially have some ability to make a profile with a larger gamut. It’s a much bigger
31 minutes | 5 years ago
Photographing Special Subjects: Sun, Moon, & Earth
Professional photography tips for working around the sun, photographing the moon, and must-have equipment for shooting landscapes. When shooting outdoor photography, there are many factors you must consider in order to capture powerful images. If these factors aren’t considered, you may end up with washed out images or even an aching back. In this episode of AskBC, we interview Kevin O’Connor on what it takes to photograph the Sun, Moon, and Earth. How should you change your approach as a photographer when shooting photography in sunlight? What’s it take to get a great photo of the moon? And what are the must-have (and must-leave-behind) pieces of equipment for shooting landscapes on the fly? Listen in to learn how to photograph the Sun, Moon, and Earth Highlights Note: These timecodes show how much time in the episode is left, which is how our audio player (above) displays time. –28:05: How the brightness and location of the sun can change how you approach an outdoor shoot –23:46: How to optimize your shooting for photography in sunlight –20:25: Tips for photographing the moon –16:56: Some tools that are important to photograph the moon –13:42: How to pack for a landscape shoot and some of the most efficient tools to bring –09:00: Specific brands of camera bags that Kevin recommends –06:47: Shooting with camera filters – different types of filters to use Show Notes This episode featured questions from Ryan, Kari, and Kylie. Check out Kevin’s post on How to Photograph Fireworks. The Color Bible: Part One, Part Two, and Part Three. Love the show? Have some feedback for us? Leave us a review on iTunes. Audio Transcription Prefer to read over listen? Want to save this conversation for reference later? We transcribe all of our shows for these reasons! Download this episode’s transcription below: CLICK HERE to download the text transcription for Episode 44! Or, to view a web version of the transcript: Click Here [Music] Announcer 1: You are listening to the AskBC podcast – your printmaking questions, answered by the experts! Justin: On today’s show, I’ll be joined by photographer Kevin O’Connor. Our theme is sun, moon, and the earth. [Music Ends] Justin: Hey, everybody. This is your host Justin. Welcome to another episode of the AskBC podcast. Have you ever tried taking a picture of the moon with your cell phone? It never quite turns out like anything you’re seeing with your eyes, right? What does it take to get a great photo of the moon? Kevin O’Connor is a professional photographer, and a frequent contributor to the Breathing Color Blog. Today, he’s going to be sharing his knowledge on photographing the moon, working with the sun during outdoor shoots, and some general tips on landscape photography. These questions today probably came in from people that saw Kevin’s posts on our blog called “How to Photograph Fireworks.” I’m sure we’ll be releasing this post this year for the 4th of July, since it seemed to be really helpful for a lot of people. You can find it anytime on the blog by searching the keyword fireworks in the search bar at the top of the page. Fireworks definitely work in the same way, at least for me, as the moon does. I always try to use my cell phone to capture them and usually get pretty terrible results. It can be frustrating, but also think it can be kind of comforting, at least in our industry, that even with cell phone cameras in everyone’s hands, there still seem to be plenty of images in different subjects that only a really talented and knowledgeable photographer with the right equipment can capture. Kevin is also the author what we call the Color Bible, which is basically a massive, three part examination of every component of a professional color workflow, starting at dialing in your display, to capturing the way the color, the way you want it to through your camera, all the way down to printing it out perfectly. I’ll go ahead and put a link to those posts in the show notes of this episode as well, just in case you want to check that out. Beware, it is a little intimidating, though, because it’s so long and in depth. I would definitely suggest using the yellow buttons placed throughout the posts, so that you can download all three parts as a PDF and kind of work your way through it at your own pace, which will probably be over a few days, I would imagine. Anyway, the point is, Kevin is a great guy. He’s super knowledgeable, and I’m definitely excited to hear what he has to say today. Without further ado, let’s go ahead and jump right into my conversation with Kevin. Hey, Kevin. Thank you so much for calling in for the show today. It’s great to have you back on to the podcast. It’s been a while. I know a lot of our listeners are big fans of your written posts on the Breathing Color Blog. Welcome, and thank you again. How are you doing? Kevin: Thank you very much. It’s a pleasure to be here, and I think we’re going to have fun discussing our topics today. Justin: We are. On that note, let’s go ahead and jump right into the first question. This one actually comes from a gentleman named Ryan. Ryan is asking, “How does the brightness and location of the sun change how you approach an outdoor shoot?” He asks, “Is it ever beneficial to shoot directly into the sun?” Kevin: I think that that’s a pretty broad question in some ways, so let’s start with the really specific answer, that if you shoot directly into the sun and you’re not being really careful, you can damage your eyes and even cause blindness. We want to be absolutely certain when we’re composing a shot that has the sun in it, that we’re being absolutely cautious of that, how we focus, and trying to avoid looking at the sun through the lens. Obviously, you have to do this a little bit to do the composition, but there’s a great danger here that we want to avoid, because, as your mother always told you, you only get one pair of eyes, young man. You need to take care of them. Justin: The sun is pretty bright, so yeah. Kevin: Focusing that brightness through a lens would make it even worse. Of course, the longer the lens, the bigger the problem. I tend not to shoot a lot in the middle of the day, because I don’t think the light is very attractive for many things that I would be shooting. Sometimes, it’s unavoidable. For example, a client hired me recently to do a series of panoramic shots in a full 360 spin for their project. Of course, you’ve got the sunlight in the middle of the day, and that’s when it had to be shot. Then it becomes a question of, “what do you do about it?” My general advice is, if possible, when you’re going to be shooting at a time when you have a lot of sunlight, you want to scout the location ahead of time, if you possibly can. It’s always important to know what you’re walking into when you don’t have control over the light. The second point that I would make, that goes along with that, is that sometimes, especially in the middle of the day, the dynamic range that your camera can capture, whether you’re shooting film or you’re shooting a digital camera, may not be as much as what your eyes can see and make out in detail. When that happens, one of two things should be done to optimize your shooting. I’m going to talk about digital here, because film is a different discussion for another time. On my digital cameras, there are options to invoke a high dynamic range management tool automatically. For example, my Nikon D800, I can tell it that I want it to do a little bit of dynamic range compression, or a lot, or the maximum. It’s nice to have those scaled steps in the middle, there. When I do that, the camera manages a certain amount of the detail captures, so that when I open the files later on, in Lightroom or in Adobe Bridge, I can pull out the detail in the shadows, having made sure as I made the exposure, that I exposed to capture detail in the highlights. Very often, if you pull out the detail in the highlights, you don’t have any way of pulling it back, even in a raw capture. However, if you pull out the detail in the shadows and you held detail in the highlights, you’ve done a really good job at that point of getting all the detail that your eyes saw. This works well with all cameras, although different chips and different price points for different cameras are going to cause you to end up with different results at certain times, because all cameras are different, and all chip capabilities are different. This is one where you need to be doing some testing ahead of an important shoot, so you can make sure that you know what your camera is capable of. My best recommendation for this is to go somewhere where you have a lot of dark shadow and you have a lot of really, really bright light, and with the two of them together in the same scene, shoot a series of images, bracketing the exposure, to find out what works best with your meter, your camera, and your particular lens. Justin: When you are shooting directly into the sun, how do you optimize the shooting for the best possible result? Kevin: I think that’s a really good question, because we’re all going to be shooting into the sun at some point. If we’re shooting a sunset, obviously, this is one where many of us are doing that fairly frequently. The first part of that is to make absolutely certain that your lens in perfectly clean. Any bit of smudging or fingerprints, or dust on the lens, is going to degrade the image quality. You’re already challenging the lens a great deal by doing that. The second thing that I think is very helpful is that when you have the option, shooting with a prime lens often results
32 minutes | 5 years ago
3 Print Permanence False Claims (and the Truth About Longevity)
Renée Besta covers what print permanence means, how it’s achieved, and the truth behind 3 of the most common false claims often made about longevity. How long a print will last is a subject of great confusion and controversy on the internet – you may have seen arguments about this topic in printmaking forums. The truth is, there’s a ton of misinformation, false assumptions, and plain old lies floating around out there about what makes a print last 100 years. Renée Besta joins the AskBC podcast this week to set the record straight. She’ll cover 3 of the most prevalent false claims about print permanence, separating fact from fiction and sharing truths she’s learned from deep research and extensive printing experience. For the first assumption… Did you know longevity is not purely dependent upon the printer, ink, and paper used? Listen in to learn about the 3 print permanence false claims and the truth about longevity Highlights Note: These timecodes show how much time in the episode is left, which is how our audio player (above) displays time. –29:56: A brief overview of what print permanence actually means –27:33: Why print permanence is important and should be considered –23:45: Where to get the right information on print permanence –18:15: False assumption #1: Believing that the longevity of photographs is purely dependent upon the printer, ink, and paper used –16:27: The lack of print education and fake “experts” –13:02: False assumption #2: Believing that all printers and papers are more or less equal –08:30: The impact of OBAs on print longevity –06:32: False assumption #3: Believing that the quoted Wilhelm Imaging Research “years on display” are absolute numbers –03:36: A quick summary on how to achieve a 100-year print Show Notes Print permanence studies mentioned in this episode were carried out by Wilhelm Imaging Research, Aardenburg Imaging & Archives, and Image Permanence Institute. The Ultimate Guide to Digital Printing: Part One and Part Two. Check out Renée’s website at RenMarPhoto.com. Love the show? Have some feedback for us? Leave us a review on iTunes. For Renée’s full show notes for this episode, including the transcription, click here to download. Audio Transcription Prefer to read over listen? Want to save this conversation for reference later? We transcribe all of our shows for these reasons! Download this episode’s transcription below: CLICK HERE to download the text transcription for Episode 43! Or, to view a web version of the transcript: Click Here [Music] Announcer 1: You are listening to the AskBC podcast – your printmaking questions, answered by the experts! Justin: In this episode, Renée Besta joins me to talk about three of the most popular misconceptions about print longevity. [Music Ends] Justin: Hey, guys. Welcome to AskBC. My name is Justin, and calling into the show today will be Renée Besta, a printmaker, photographer and frequent guest to the show as well as on the Breathing Color Blog. We’ll be talking to her in just a few minutes about print longevity. This, of course, is a very important topic to us here at Breathing Color, and we go through a lot of trouble to ensure that our media is stuff that you’ll want to print on if your work is to last a long time. Achieving that kind of quality means doing a lot of research into the science of print permanence. We do independent as well as third-party testing and have some bold steps such as removing OBAs – those are optical brighteners – from most of our paper so that we can feel confident in giving you guys materials that will really last. Obviously, having very long-lasting prints is something that’s important to most artists, but technology changes, new information is discovered and science evolves; and all this creates various pieces of misinformation that can definitely be confusing to sort through, especially for somebody new to printmaking or even somebody that’s pretty experienced. We invited Renée on the show today to clear up three common misconceptions, three big ones, and we’ll walk through them one by one. Renée will help separate some false assumptions from truths that she’s learned from experience, research and speaking with other industry professionals. Pretty excited to hear what she has to say, so let’s jump right into the interview. Hey, Renée. Thanks so much for joining the show today to discuss this print permanence issue. I think we’ll start off with just kind of a brief overview of what print permanence actually means. What are your thoughts on that? If somebody were to come up and ask you, somebody new to printing, I guess, “What is print permanence?” Renée: First of all, thanks for having me back, Justin. Appreciate it. Basically, in the simplest form, print permanence, we would generally just say, how long is the print going to last before the fading? You could look at light fading. It becomes objectionable to you under given display conditions. Of course, that’s based on different testing methods, but it also has to do with the quality of your printer, ink and papers. How long is it going to last before either the paper itself, which isn’t going to really happen these days, completely gets destroyed and crumbles like old papyrus, or will it be destroyed because of atmospheric pollutants, temperature, humidity or, more likely than not now would be light fastness or the light fading. When does that become objectionable? It’s dependent on the person. Justin: What is usually the first thing to change? The media? The ink? Renée: Right. It depends on if you’re talking about chromogenic prints or inkjet pigment prints. For chromogenic, that’s a whole different ball of wax, and I’ve been discussing that in my article with more to come, but with inkjet prints, it’s going to be, you’re going to see fading. Of course, this all depends on what colors are in your image and how they are distributed within that image. Traditionally, with inkjet pigment prints, it’s the yellow ink that’s always been the fugitive ink or the culprit that causes the issues, and it’s really important for skin tones and portraiture which, of course, constitutes a lot of the consumer market and wedding and portrait market. It’s just going to depend on which type that you’re doing. Justin: A lot of different variables. Renée: There’s a ton of different variables. So again, if that’s most of the composition of the photograph, you have a problem with the yellow ink and you’re doing a portrait, you’re going to see big changes as it fades much faster than you would just a landscape that doesn’t have much yellow in it, if that makes sense. It’s more blues and greens or what not. That’ll all change, but it’s a basic, generic term: How long is my print going to last? The question should be: How well is it going to last? Justin: Right. Why is that important for somebody that’s trying to decide what type of paper or what type of printer, what type of ink, all these different variables? Why should that be important to somebody that’s trying to make these buying decisions, like an artist or photographer? Why should they consider print permanence? Renée: They ought to consider it simply because, as you know, there’s a lot of misinformation on the market and a lot of print studios, labs and OEMs claim, “Our materials or our systems are archival.” Well, what does that mean? That’s a loosey-goosey term. If someone is putting out their hard-earned money to buy a print, they should be concerned with how long it’s going to last. Of course, it has a lot to do with not only the printer, the ink and the paper and how it’s coded, but also the display conditions, which we’ll get into. I think I had mentioned in my article in the Digital Printing Guide, there’s a lot of photographers still these days, very famous, like Peter Lik, instead of making the choice of an inkjet pigment print, they’re still selling the digital C-prints or chromogenic prints. As I mentioned, people keep bantering around this term, it’s going to last a hundred years, and I can get into the history of that in my article. It’s absolutely not true. It’s less than 30 at this point, and I would want to know if I’m spending over $100,000 or a million dollars – they’re in the millions of dollars now. Cindy Sherman’s prints. She didn’t think about longevity. That’s what was available at the time when they were printed, say in the 1980s. They’re all faded, and people were like, the more it fades, the more value it seems to have. Even if you’re just, this is what bothers me about the print on demand services and the confusion photographers have. We’ve talked about this in prior podcasts where someone will call in and say, “How come Photoshelter or SmugMug or Fine Art America only takes jpegs and SRGB?” As I mentioned before, it’s because they assume most of the people that purchase will order the less expensive digital C-prints or chromogenic dye prints, and they certainly won’t last as long as an inkjet pigment print. So it just basically depends on, what are you claiming to the customer? Depending on the price point you’re selling at, maybe if you’re selling something for five bucks, it’s not going to matter as much. I see the prices are wild and all over the place. It’s one of the hardest things to do is determine pricing, but I think it should last, based on inkjet pigment prints today should at least expect under average display conditions a life of 100 years for something that’s framed behind conservation
22 minutes | 5 years ago
Interview: Keith Cooper on Starting a Career in Commercial Photography
Our interview with Keith Cooper on starting a career in commercial photography, building a photography biz, staying inspired, and more. Making a living doing photography is tough. Many people have a photography hobby, but turning that hobby into a full-time career takes more than a knack for art. It takes business sense, a strategy, and revenue. In this week’s episode, we interview Keith Cooper, a commercial photographer based in Leicester, UK. Keith shares with us his experiences working in commercial photography – from how he approached making it his full-time job, to the tools and tips that help make him a success. Listen in to learn how to start a career in commercial photography Highlights Note: These timecodes show how much time in the episode is left, which is how our audio player (above) displays time. –19:54: Is it still viable to take on photography as a career? –18:32: Keith’s entry point as a photographer –16:36: The most common sorts of images he’s hired to capture –13:17: Staying inspired and motivated –11:44: Working for credit/exposure –07:32: Adding new equipment to your arsenal – rent or buy? –05:34: Essential equipment for beginner photographers –04:15: Keith’s best piece of advice for new photographers –03:38: Researching the potential of your market Show Notes Keith Cooper is the owner of Northlight Images, check out his writing and services there. Love the show? Have some feedback for us? Leave us a review on iTunes. Audio Transcription Prefer to read over listen? Want to save this conversation for reference later? We transcribe all of our shows for these reasons! Download this episode’s transcription below: CLICK HERE to download the text transcription for Episode 42! Or, to view a web version of the transcript: Click Here [Music] Announcer 1: You are listening to the AskBC podcast – your printmaking questions, answered by the experts! Justin: In this episode, we interview Keith Cooper about how to turn a photography hobby into a profitable career. [Music Ends] Justin: Hey everyone, and welcome to AskBC. I’m your host, Justin, and today we’re going to be talking to Keith Cooper, from Northlight Images. No doubt if you’ve done a Google search for pretty much anything related to printmaking, you’ve run across Keith’s website and blog. Keith is a commercial photographer, printmaking educator, and all around charitable guy when it comes to helping others get better at making art, so I’m super excited to be able to talk to him today about making a living as a photographer. Keith, thank you so much for joining us, welcome to the show. How’s it going? Keith: Very well, thank you, and thanks for asking. Justin: Yeah, no problem. As I mentioned, we’re going to talk about making a living as a photographer. Pretty prevalent subject, considering most of the people that listen to the show and follow our blog are engaged in photography in one way or another; whether it’s at a professional capacity, hobbyist, or kind of like myself, just as a consumer and a general fan of art. The image capturing technology available today in smartphones and such has pretty much turned everyone into a photographer, a hobbyist photographer at a certain degree, which begs the question, is it still viable to take on photography as a career? I see that there’s certainly still a huge need for trained professional photographers to deliver images at that commercial capacity, but what about photography for the pure sake of art? How do you minimize risk there? What are your thoughts on that? Keith: It’s really tricky, and most of these things, you need to know if you’ve got a market for it. If you’ve got great pictures, but nobody wants to buy them, you have a large pile of great pictures, but you’re not making any money from it. That varies. If you can find local sales, people are more likely to buy local images or images that mean something to them, but in general, it’s about the business, and that’s what a lot of photographers forget. Justin: Right, yeah. When you say local, you mean like the subject of the photography? Like images that are around your space? Keith: Yes! I live in Lester, in England, the place where they found a king in the car park. I’m some distance away from the sea, so there’s no point in me having great seascapes for sale, because people aren’t interested for them. If I lived at the seaside, if I had a small gallery there, I’d have local pictures, local area. That’s what people buy, and people just don’t buy much in the way of prints. Justin: Yeah. That makes sense. It’s kind of a balance between what you’re passionate about taking photos of and what makes sense from a marketing perspective then. What was your entry point into photography as a career, and how did you navigate that split between photography as an art and as a commercial service? Keith: I took up photography for a living in 2004. I can date that. That was when I was 44. I’d had a successful career in a number of other businesses, had photography as a bit of a hobby, and was in a position where I could actually look and think, “What do I really want to do?” And I looked at photography. Several people said yes to that, but then again, I looked at it from a point of view of, “Could I make a business from it?” That was where I realized that yeah, I might love going around taking landscape photos and producing huge great prints, but there wasn’t much money, certainly here in the UK. There’s not much money in that. I looked at what areas of photography as a photography competent for, what areas I didn’t want to do. Looked at that, and came up with a business plan. It fell down to coming up with a business plan that I felt could actually make some money and make a living of. Hence, why I do commercial photography. I don’t do weddings, I don’t take baby photos, pictures of pets. I would lose the will to live if I had to do that. Sorry folks, it’s a skilled area, but it would really bore me to do it. I would have no interest, and if you can’t maintain interest and the business side of it, then stick with the day job. Justin: Yeah, that’s a great point. I think some of these things that you’re talking about is just a huge highlighting, like something that should be a glaring point that people should take from this podcast. It really is to take that approach that you did, and from a more business aspect. People are just kind of like, “Oh, I like taking photos. Let’s jump in, buy website services, and try to sell these things” with almost zero consideration of what will actually sell. “How should I approach this? Do I have business model?” I feel like that almost never crosses people’s minds when it comes to making photography a career. Clearly, you did this and it’s working for you, so I think that’s a great point that you made. What are some of the most common types of images that you’re hired to capture? Keith: In architectural work, it tends to be quite dull, boring buildings, and that’s where the skill comes in, because almost anybody can take great looking photos of iconic buildings. It helps if you’ve got the right kit, with tilt shift lenses and things like that, but almost anyone can take a picture of a great building. When it’s an extension to a house, or a new shed out back, making an interesting photo of that takes a bit of skill. That’s where you have to have nice weather. You have to accept that it’s never going to be a great work of art, and essentially one of the things I’ve found in business, your job is to produce the photos that the clients want, not the ones you want to take. Just because you don’t fancy taking something, you don’t get a choice when you’re doing it for a living. Justin: That’s gotta be tough, to put your thoughts about the image aside and present what you think will look good, regardless of what you think. That’s got to be a hard decision, something that’s pretty tough to do. Keith: It is. In many ways, that’s one of the skills of being a professional photographer – that you’re there to do a job. You’re there to produce a product, and that product is an image that the client is happy with. You may get to work with them and decide what the artistic line you’re taking is and what lighting they want and nice things like that, but most of the time, you’ve got an hour to go somewhere, take some nice looking photos of it, and the thing is, you know the photos are never going to be produced to any size, they may, at most be produced at 1000 pixels across on a website, and you have to produce the same element of skill to take that photo, as you would for a commission for a large print. Justin: Yeah, that’s tough. Does commercial photography involve a lot of setup and research from your end, or it is more of showing up and figuring it out when you’re on there, winging it and ending up with these shots that are acceptable to the client? What’s the ratio of preparation to winging it? Keith: Technically, I should say you never wing it. No, of course not, but yes you do sometimes. Google Maps, Google Earth, Street View, are great tools for some of the commercial properties that I photograph, because they’re already there. I can look at them. I can look at a map, so I know what direction they’re facing so I know that if it’s a South facing elevation, then the sun is going to be shining on it around mid-day. If it’s an East facing elevation, then I need to go in the morning. There’s little bits like that. You may need to actually get permission
17 minutes | 5 years ago
Rapid Fire Questions With Justin
Updates, a series of rapid fire printmaking FAQs, and a replay episode on cleaning and maintaining your printer. This week, Justin offers some updates, tackles some “rapid fire” listener questions, and replays an old episode of AskBC. Tune in to hear Justin answer a series of quick questions about topics such as: print paper, turn buttons, and coating. Later, a replay of episode 9 in which Justin interviews certified Epson technician Ron Ardito and asks him how to properly clean, maintain, and store a wide format printer. Printing on the back side of a one-sided printable paper Breathing Color paper that can be printed on both sides Information about Turn Buttons Safest method to remove dust and airborne grime from our coatings Whether a coat of Timeless is enough protection to avoid putting a print behind glass The best paper for acrylic face mounting Much more! Listen in to hear the answers to printmaking FAQs Show Notes Listeners featured in this episode include Steve from North Of Superior Art, Marg from Little Shuswap Studio, John from Tech Photo, Brian from Rocky Mounting Publishing, and Jackson Ball. In question 1, Justin mentions our Pura Bagasse papers which come in smooth and textured varieties. As mentioned in question 4: AskBC Episode 19: ICC Profile Basics, Printing on Magnets, & Bulletproof Prints. In question 5, Justin mentions our Vibrance papers which come in gloss and metallic varieties. Want to read Justin’s Rapid Fire Q&A’s rather than listen? Click below to download the text transcription of this episode. Includes a bonus question and answer not available in the audio version! → BONUS: Download the Rapid Fire Q&A including a bonus question! Thanks for listening! For more free episodes of #AskBC, check out the full archive! The post Rapid Fire Questions With Justin appeared first on Breathing Color Blog.
26 minutes | 5 years ago
Print Varnish Tips: Common Problems & Solutions
In this week’s episode, we cover print varnish tips and common problems relating to varnish application. Mixing, timing, using custom ICC profiles, handling a HVLP spray gun, and more. When it comes to print varnish’s great power, there comes great responsibility. Without using the proper varnish application techniques, you can end up with bubbles on your canvas, or prints can come out too dark or too light. It can become frustrating when you encounter varnish problems especially after spending countless hours editing, color managing, and printing your work. In this week’s episode, our very own Justin Bodin covers questions all about print varnish. He addresses some common problems associated with print varnish and provides solutions to make your print varnishing experience, well, responsible. Even if you may not be facing problems with coating your prints now, it’s always great to know solutions before you actually experience it yourself. Whether to use varnish on a metal inkjet image Stacking or mixing different types of varnish The timing between applying varnish and stretching the canvas Mixing a varnish container that doesn’t have a large enough opening Measuring ICC profiles for canvases with or without varnish applied Checklist to use when handling a HVLP spray gun Much more! Listen in to learn about print varnish tips and common problems Show Notes Listeners featured in this episode include Jeff from Fastidious Fotog, Mike from Mike Guilbault, Kurt Jones, Kathy Louie, and Joe from Campanellies. Love the show? Have some feedback for us? Leave us a review on iTunes. Ready to master varnish? We have compiled the links to every single post, guide, and tutorial we’ve ever written on the subject of print varnish into a single, epic PDF. → Download the BC Varnish Collection Thanks for listening! For more free episodes of #AskBC, check out the full archive! The post Print Varnish Tips: Common Problems & Solutions appeared first on Breathing Color Blog.
26 minutes | 5 years ago
Color Depth Confusion (Pt. 2)
Part Two of our episode on everything color depth. Software and hardware to work in 10-bit, Apple’s new DCI-P3 color space, and more. Most people know that a higher color (or bit) depth will give you more colors, but may be asking, “What is color depth and how does it work?” Do you have to buy new equipment? Do you even need those extra colors? In Part Two of our special double episode on Color Depth, we continue the conversation with Renee Besta to talk about software and hardware that you’ll need to maintain 10-bit output throughout your entire workflow. Missed Part One of this episode? → Click Here. 10-bit monitors The DCI-P3 color space DCI-P3 vs. Adobe RGB Upgrades with Apple’s El Capitan Maintaining 10-bit color throughout your entire workflow Work station graphics cards LUT (Look Up Table) and other monitor factors to consider Much more! Listen in to learn about color depth Show Notes Ready for more on color depth? Renee has sent us some additional notes and links to complete her discussion on this episode. They’re available for free as a PDF below. → CLICK HERE to download. Love the show? Have some feedback for us? Leave us a review on iTunes. Thanks for listening! For more free episodes of #AskBC, check out the full archive! The post Color Depth Confusion (Pt. 2) appeared first on Breathing Color Blog.
44 minutes | 5 years ago
Color Depth Confusion (Pt. 1)
Answering “What is color depth?”, the tools you need to work in 16-bit, and how to solve common color depth related workflow issues. Most people know that a higher color (or bit) depth will give you more colors, but may be asking, “What is color depth and how does it work?” Do you have to buy new equipment? Do you even need those extra colors? This special, two-part episode is all about clearing the cobwebs around color depth (wait, 8-bit is the same thing as 24-bit???) – Renee Besta joins the show to talk about what bit depth is, how to achieve 16-bit output, as well as the solutions to color depth related issues that can result from not knowing how to properly manage your workflow from start to finish. An introduction to color depth Where those bit depth numbers come from How you can be working in 8 bit and 24 bit at the same time Is 16-bit only for “purists”? Can printers handle 16-bit? Mismatched bit depth issues Apple’s Yosemite OS and color depth Camera settings Color vs. Cost Much more! Listen in to learn about color depth Show Notes Ready for more on color depth? Renee has sent us some additional notes and links to complete her discussion on this episode. They’re available for free as a PDF below. → CLICK HERE to download. Part Two This conversation continues in Part Two of this episode. To listen, Click Here. Love the show? Have some feedback for us? Leave us a review on iTunes. Thanks for listening! For more free episodes of #AskBC, check out the full archive! The post Color Depth Confusion (Pt. 1) appeared first on Breathing Color Blog.
45 minutes | 5 years ago
The Fundamentals of Composition
How studying and practicing the fundamentals of composition can turn a boring image into a dynamic one, basic rules of composition (and when to break them), and some tips on achieving compositional balance. Perfecting image composition is something that can take artists a lifetime to master. It’s also a subject heavily reliant on individual taste. But while aesthetic preferences do come into play when composing an image, there are certain theories and “rules” every artist should be aware of in order to understand how their composition is succeeding or failing to draw viewers’ eyes. Professional photographer Kevin O’Connor joins the podcast to talk about some of the most crucial fundamentals to composing strong images. Balance, tension, focus, and more. These are lessons that can be learned today and practiced tonight. And while Kevin focuses on composition as it relates to photography, fine artists such as painters and illustrators will find plenty to learn here, too. Defining “balance” as a compositional element How to create balance or find it organically in your photos The rule of thirds Tips on creating more interesting compositions when shooting portraits Create a triangle! Locked elbows, locked knees, and bullseye vision Creating dynamic tension with composition Some examples of thinking outside the box to create tension Thinking in quadrants How to compose stock photography The importance of critiques Much more! Listen in to learn about fundamentals of composition Show Notes This episode featured a question from Roger. Kevin mentions his article on the art of cropping, which can be read here. Kevin has also written extensively on how to shoot sharper images. Love the show? Have some feedback for us? Leave us a review on iTunes Audio Transcription Prefer to read over listen? Want to save this conversation for reference later? We transcribe all of our shows for these reasons! Download this episode’s transcription below: Prefer to read instead of listen? CLICK HERE to download the text transcription for Episode 37. Or, to view a web version of the transcript: Click Here Hey everybody and welcome to another episode of AskBC. I’m your host Justin from Breathing Color, and today Kevin O’Connor is back on the show, and we’re going to chat about the fundamentals of strong image composition. Before we get started with Kevin, I wanted to talk to you guys a little bit about our Image of the Day collection. Every day, we feature a different photograph or art piece on our social media accounts. If you follow us on Facebook or Twitter or are on our blog mailing list, you’ve probably seen some of the awesome images we find and post daily. We curate this Image of the Day collection to stay engaged with the art community that uses our products and to promote some of the really talented artists that are sharing their work on the internet. You can view the entire collection on a single page by visting the blog at breathingcolor.com/blog and clicking “Image of the Day” on the header. That’ll take you to a gallery on our site packed with art from around the world from amateur and professional photographers, illustrators, painters, and more. We’ve featured everyone from an 18-year-old up-and-coming photographer to an ultra-successful Swedish design team, and we want to feature you, too! If you’re a photographer or fine artist, you can submit your work to be considered for our Image of the Day collection – we’d love to see your art and possibly share it with our entire audience. The instructions on how and what to submit are up at: breathingcolor.com/blog/iotd – iotd as in “image of the day”. That page will walk you through everything you need to know, but one thing I’d like to mention is that every place that we put your image will also include your name and a link back to your portfolio or website – it’s important to us that whether it’s on our gallery page, in a tweet, or in an email, viewers will always have a way to visit your website, check out more of your art, or buy prints from you. So again if you’d like to see your work featured in our digital collection, head to breathingcolor.com/blog/iotd for the details. We’ve received submissions from some really talented artists so far, and I’m looking forward to continuing to build that collection as a fun and hopefully inspiring asset to the Breathing Color community. Alright, now let’s get into my discussion with someone who could certainly be found in the Image of the Day collection – Kevin O’Connor. Justin: Welcome back to the show, Kevin. Thanks for taking the time to join us again today. How are you doing? Kevin: It’s a great day. It’s raining, and we like it when it rains! Justin: Rain in California, right? That’s awesome, finally. Well, we’re here today to talk a little bit about composition – fundamentals of composition, I guess. A little 101. Now, I’m not a professional photographer myself, but from what I understand about the craft, the key to composition is understanding both, I guess, the rules and also how and when to break them. Would you agree with that statement? Kevin: I think that’s a really good starting point. If you don’t understand the rules well, you’re not gonna break them effectively. Justin: Yeah, so learn really well first, and then you can kind of naturally see when you can step outside of those. I’m excited to get your thoughts on composition, maybe we can start the conversation with a gateway question from a listener that I have. So this listener’s name is Roger, and he asks “How would you define the term ‘balance’ in the composition of an image? Is it important, and if so what are the considerations?” Kevin: Well, that’s an awful lot in that one little question from a reader, isn’t it? Justin: [laughs] Yeah, just a few words. Kevin: There’s a lot we can say here. But I think, if we talk about composition, just in general – balance pops up over and over. So, let’s start with composition and work balance into it, because they’re tied together so tightly, you can’t really separate them. Justin: Yeah, that sounds perfect. Kevin: Okay, so the first rule that almost everybody knows, but just in case we’ll review it again, is the rule of thirds. Justin: That one I do know! Kevin: Well, see, you’re cooking with gas, Justin, what can I say? Just in case some of our readers or listeners aren’t familiar with it, the rule of thirds says that you should divide your composition into both horizontal and vertical thirds. Whether you are composing a horizontal image, a vertical image, or a square image. And then, to make the image better balanced, there’s a strong preference for putting the primary object of interest for your image on one of those lines, which divides the left to the center, or the center to the right, rather than putting it dead center. In my very first photography class, my principal instructor started the class by looking at all of us and saying, “You know, I”m sure you all think you’re great photographers, but most of you suffer from several afflictions. You have locked elbows, locked knees, and bulls eye vision.” And she went on to explain that locked elbows meant that you never rotated the camera to take a vertical frame instead of a horizontal. Locked knees indicated that you never stooped down or climbed up to change your perspective from eye level, and bullseye vision meant that you put everything dead center in the middle of the frame. Justin: That’s pretty funny. Kevin: And it’s also very accurate! When we submitted our first assignments to her right after she made that comment, she just looked through the whole stack and started holding them up and said, “Okay, based on what I said to you, what do we think about this one?” Well, ther ewas the image dead center composition. Over and over, dead center. I got to the point where even when the client was requiring dead center for some reason, I winced every time I had to do it. Because, that conditioning was so well ingrained in me that you never want to do that. So if we talk about using the rule of thirds, the next thing we often go to is the idea of balancing the elements in a photo, because most of the time we’re going to have more than one element in the final image. So one of the easiest ways to talk about balancing is, imagine that you have a picture that you’re doing of two people. Now, you could put one on the left and one on the right, and they would be balanced, but this would be kind of dull. It might be much more interesting, especially if this is a couple to have the two of them posed together on one side, looking back across the frame to the other side. If we do that, then the large, empty space is in balance with the two people on the other side of the frame. If you pose them so that they’re looking out of the frame, it’s not as balanced as it was – they don’t have anywhere to look. So you want to pose them so that they’re looking back across the empty space rather than out of the edge of the frame. It’s a pretty simple example of balance, and I think that we know this one, a lot of us, but it starts to get more interesting when we have either multiple objects that we want to balance, or we have multiple points of interest in the image, and how do you make all of those work together? So I do a lot of portrait photography, and one of the most interesting ways to photograph a group of people is to pose them in a triangular shape. So, if you – instead of lining everybody up for a family portrait, pose mom and dad sitting down, and then one or more of the children on their knees behind them, or standing up if they’re very young, so that you start to bring a triangular composition, it starts to feel like it has more balance to it instead of everyb
Terms of Service
Do Not Sell My Personal Information
© Stitcher 2021