captureon-photography

Why Is Custom Framing So Expensive ?

Thu, 20 Aug 2026 15:13:44 GMT

Why Is Custom Framing So Expensive? And Is It Actually Worth It?

If you’ve ever walked into a frame shop with a piece of artwork and gotten a quote for custom framing, there’s a decent chance you had the same reaction a lot of people do:

“Wow. I didn’t realize framing was that expensive.”

I get it.

You can walk into big box retail store and buy a frame for $30 or $40. Then you come into a custom frame shop and the price might be a few hundred dollars. For a large piece, an unusual size, or something using premium materials, it can be considerably more.

So what are you actually paying for?

And more importantly, when is custom framing worth the money?

A Custom Frame Is Built for Your Piece

This is probably the biggest difference.

When you buy a ready-made frame, you’re buying a predetermined size. Your artwork has to fit the frame.

With custom framing, we build the frame around the artwork.

We choose the dimensions, moulding, mat opening, glazing, backing, mounting method, and hardware specifically for that piece.

That matters aesthetically, but it also gives us much more control over how the artwork is handled and protected.

If you have an odd-sized photograph, original painting, signed print, jersey, diploma, family document, or something else that doesn’t conveniently fit into a standard frame, we don’t have to force it into one.

We build around it.

The Materials Are Different

This is another big part of the price.

There are a lot of materials inside a finished frame that you may never really notice.

Depending on the project, we might be using conservation-grade mat board, archival backing materials, UV-filtering glass, museum glass, specialty mounting materials, spacers, dust covers, hanging hardware and, of course, the moulding itself.

The glass alone can make a significant difference in price.

UV-protective glass, and museum glass are very different products. On a large piece, the cost difference can become substantial.

Museum glass is expensive, but once you see it in person, you understand why people choose it. The reflections almost disappear while you’re still getting UV protection for the artwork underneath.

Do I think every piece needs museum glass?

No.

Part of our job is figuring out where spending more money actually makes sense.

You're Paying for Labor Too

This is probably the least obvious part of custom framing.

A frame doesn’t arrive at our shop finished, It has to be joined and assembled. Mats need to be designed and cut. Glass needs to be cut and cleaned. Artwork needs to be mounted properly. Everything has to be fitted together, sealed, finished and wired.

And we have to do all of that without damaging the thing you trusted us with.

Some projects are straightforward.

Others absolutely are not.

We've framed everything from photographs and paintings to jerseys, memorabilia and pieces that require us to figure out a completely custom mounting solution.

That time and craftsmanship are part of what you're paying for.

Good Framing Should Protect the Artwork, Not Damage It

This is the part I think people overlook the most.

If something matters to you, the goal isn't just to make it look good on the wall.

It's to make sure we're not doing something today that damages it ten or twenty years from now.

We've opened old frames and found artwork taped directly to mats, photographs stuck to materials they never should have touched, acidic backing boards, faded prints and other shortcuts that seemed fine when the piece was originally framed.

Sometimes the damage can't be reversed.

For artwork with financial, historical or sentimental value, the materials and techniques behind the frame matter just as much as the moulding you see from across the room.

Then Why Can I Buy a Frame for $30?

Because it’s a completely different product.

A mass-produced frame might be manufactured by the thousands in a handful of standard sizes. The manufacturer can buy enormous quantities of materials, automate much of the production and build the exact same frame over and over again.

There’s nothing inherently wrong with that.

I actually think store-bought frames make sense in plenty of situations.

If you're framing an inexpensive 8x10 photo, decorating a room on a budget, putting together a temporary display, or framing something that doesn't have much monetary or sentimental value, you probably don't need a custom frame.

I'd rather tell someone that than convince them to spend $300 framing something that would be perfectly fine in a $30 frame.

Custom framing starts making more sense when the piece itself matters.

Maybe it's original artwork.

Maybe it's a photograph you want to keep for the rest of your life.

Maybe it's signed.

Maybe it's valuable.

Maybe it's completely worthless to everyone except you.

That last category is actually one of the biggest reasons people come through our door.

You're Also Paying for Design

One of our favorite parts of custom framing is seeing how different a piece can look when everything works together.

The right frame shouldn't overpower the artwork.

The mats shouldn't be the first thing you notice.

Everything should feel like it belongs together.

Sometimes we'll put a frame next to a piece and immediately know it isn't right. Other times we'll try something a customer never would have picked off the wall, and suddenly the whole thing comes together.

That's difficult to get from buying a frame off a shelf.

You're not just choosing a frame.

You're designing the finished piece.

Why Does One Custom Frame Cost So Much More Than Another?

Because there are a lot of variables.

Size is an obvious one. A 30x40 frame requires considerably more material than an 8x10, and large pieces may require oversized glass, mat board, backing or heavier moulding.

The moulding you choose matters too. Some are relatively inexpensive. Others are handcrafted, imported, heavily finished, or simply cost considerably more per foot.

Then you have the glazing, number and type of mats, mounting method, complexity of the project and the amount of labor involved.

That's why asking, “How much does custom framing cost?” usually gets you an answer of it depends...

Is Custom Framing Worth It?

Not always.

I know that's probably an odd thing for a frame shop to say.

But I don't think every photograph, poster or piece of artwork needs custom framing.

What I do believe is that certain pieces deserve it.

If you care about how something is presented, if you want to protect it, if it's an unusual size, if it has monetary or sentimental value, or if you simply want it to look like it truly belongs in your home, custom framing can completely change the way you experience the piece.

I've seen customers bring something into our shop that has been sitting in a closet for years.

Then we finish the frame, turn it around on the table, and suddenly that object feels important again.

That's the difference we're trying to create.

At Capture On Labs, we're not interested in putting the most expensive frame possible around everything that walks through the door.

We're trying to figure out what the piece needs, what you want it to look like, how it should be protected, and where your money is actually worth spending.

Sometimes that's museum glass and a beautiful custom moulding.

Sometimes it's a much simpler frame.

And sometimes I'll tell you that the store-bought frame you already have is perfectly fine.

The goal isn't to make framing expensive.

It's to make the finished piece worth keeping.

DPI vs PPI

Thu, 13 Aug 2026 14:07:44 GMT

PPI vs. DPI: What's the Difference?

Estimated Reading Time: 7 minutes

If you've ever tried to prepare a photo for printing, you've probably seen the terms PPI and DPI thrown around.

A lot of people use them interchangeably. We hear “300 DPI” all the time at the lab, and we know exactly what someone means when they say it. Technically, though, PPI and DPI are describing two different things.

Understanding the difference can help you figure out how large your photo can actually be printed and, just as importantly, why changing a number in Photoshop doesn't magically make a file higher quality.

The Short Answer

PPI (Pixels Per Inch) describes your digital image.

DPI (Dots Per Inch) describes how a printer puts ink onto paper.

If you're trying to figure out how large you can print a photo, PPI is the one we're really concerned with.

What Is PPI?

PPI stands for Pixels Per Inch.

Every digital photo is made up of pixels. When we print that image, PPI tells us how many of those pixels are being used for every inch of the finished print.

Let's say you have an image that's 6,000 pixels wide.

Print it 20 inches wide and you have 300 PPI.
Print it 30 inches wide and you have 200 PPI.
Print it 40 inches wide and you have 150 PPI.

The important thing here is that your original file never changed.

We're taking the exact same 6,000-pixel image and spreading those pixels across a larger or smaller print.

This is one of the first things we look at when someone sends us a file and asks, “How big can I print this?”

What Is DPI?

DPI stands for Dots Per Inch, and this is where things get mixed up.

DPI is really about the printer, not your photograph.

Our printers use microscopic droplets of ink to reproduce the colors and detail in your image. There isn't necessarily one dot of ink for every pixel in your photograph. The printer may use multiple droplets to reproduce the information contained in a single pixel.

So the easiest way to remember it is:

PPI is about your image.

DPI is about the printer.

For most photographers preparing files for us, PPI is far more useful to think about.

Why Does Everyone Say "300 DPI"?

Mostly because that's just what people have been saying for years.

We'll have photographers tell us they need their image to be “300 DPI,” and we know what they mean. They're really asking whether the file has enough resolution to produce a high-quality print at the size they want.

Technically, 300 PPI would be the more accurate term when talking about the image itself.

But we're not going to correct you at the counter if you call it DPI.

Does Changing 72 PPI to 300 PPI Improve My Photo?

No, and this is probably one of the biggest misconceptions we see when it comes to preparing files for print.

Let's say your image is 3,000 × 2,000 pixels.

If you open that file in Photoshop and change the resolution from 72 PPI to 300 PPI without resampling it, you still have exactly 3,000 × 2,000 pixels.

You didn't create any new detail.

All you've done is change the size at which the software expects those pixels to be printed.

This is why we don't reject an image just because the file information says “72 PPI.” We want to know the actual pixel dimensions and what size you're trying to print it.

Those numbers tell us much more about the file.

What Actually Determines Print Quality?

This is where I think people can get too hung up on the 300 PPI rule.

Resolution matters, but it's only part of what makes a good print.

We'd rather print a sharp, properly exposed image at 200 PPI than a soft or blurry image that technically comes in at 300 PPI.

When we're evaluating a file, we're also looking at things like:

Focus
Camera shake
Motion blur
Noise
Compression
Editing quality
Viewing distance
The final size of the print

A number by itself can't tell us whether a photograph is going to make a great print.

We have to look at the image.

Is 300 PPI Always Necessary?

No.

We love having 300 PPI when the file allows for it, especially for smaller prints that are going to be viewed up close. But we don't automatically tell someone they can't make a print because their file falls below 300 PPI.

As a general starting point:

300 PPI is excellent for close viewing and fine detail.
240 PPI is great for most photographic prints.
200 PPI can still produce a very good wall print.
150 PPI can work well for large artwork that's going to be viewed from farther away.

Viewing distance matters more than people sometimes realize.

If you're making a large piece for a wall, nobody is standing three inches away inspecting individual pixels. As the print gets larger, the normal viewing distance usually increases too.

That's one reason we're comfortable printing some large pieces below 300 PPI when the image itself supports it.

So What Should You Send Us?

Whenever possible, send us the original, full-resolution file from your camera or phone.

Don't resize it because you think we need a certain PPI. We'd much rather receive all of the information your camera captured and prepare the file appropriately for the final print.

We also recommend avoiding screenshots, images downloaded from Facebook or Instagram, or files that have been repeatedly saved and compressed.

When we review a file at Capture On Labs, we're looking at:

Pixel dimensions
Intended print size
Image sharpness
Cropping
Overall file quality

We've seen files labeled 72 PPI that can produce beautiful prints.

We've also seen files labeled 300 PPI that aren't large enough for what the customer wants.

That's why we don't judge a file by that number alone.

Our Recommendation

Don't get too caught up in whether your file says 72 PPI or 300 PPI.

Keep your original file at its full resolution and send us the best version you have.

If you're not sure how large you can print it, that's something we can help with. David and our team can look at the actual file, consider how you're planning to display it, and recommend a size that makes sense for the image.

Sometimes that means staying smaller to preserve fine detail. Other times, especially with a piece that's going on a wall and viewed from several feet away, we may be comfortable going considerably larger.

The goal isn't to hit an arbitrary number.

The goal is to make a great print.

Frequently Asked Questions

Is PPI more important than DPI?

For photographers preparing digital images for print, yes. PPI tells us how much image information is available at a particular print size. DPI is a specification related to the printer itself.

Is 72 PPI only for screens?

No. That's an old misconception that's still floating around. Modern displays have all kinds of different pixel densities, and a file being labeled 72 PPI doesn't mean it's only suitable for a screen.

Can I make my image better by changing it to 300 PPI?

Simply changing the number won't improve the image. You would need to actually add pixels through resampling or AI enlargement, and even then, the quality of the original file still matters.

Is 200 PPI good enough for printing?

Absolutely, in many situations. We've printed plenty of larger pieces where 200 PPI is more than enough, especially when the finished artwork is meant to be viewed from several feet away.

TIFF vs JPEG: Which File Format Should You Use?

Mon, 03 Aug 2026 16:10:57 GMT

TIFF vs JPEG | Which File Format Should You Use? | Capture On Labs

TIFF vs. JPEG: Which File Format Should You Use for Printing?

Estimated Reading Time: 8 minutes

The Short Answer

If you're ordering prints, a high-quality JPEG is almost always the right choice.

If you're editing heavily, archiving important work, or creating artwork reproductions, keep a TIFF as your master file.

Here's the part that surprises most people. A properly exported JPEG can produce a print that looks virtually identical to a TIFF. The biggest differences happen before the print is ever made.

People Ask Us This All the Time

One of the questions we hear most at Capture On is:

"Should I upload a TIFF instead of a JPEG?"

Some photographers have been told that TIFF files always produce better prints. Others have heard JPEGs ruin image quality. Both statements have a little truth behind them, but neither tells the whole story.

After printing thousands of photographs over the years, we've found that file format is rarely the thing that determines whether someone loves their print.

Much bigger factors include proper editing, exporting correctly, choosing the right color space, and selecting the right paper.

If you've already read our guide on why prints don't match your screen, you know that your monitor can have a much bigger impact on the final result than whether your file ends in .jpg or .tif.

What Is a JPEG?

JPEG is the most common image format in photography.

When you export a JPEG, the file is compressed so it's much smaller and easier to store, upload, and share.

That compression is called "lossy," which simply means some image information is discarded to reduce file size.

That sounds worse than it usually is.

If you export a JPEG from Lightroom or Photoshop using the highest quality settings, the amount of information that's removed is so small that most people will never notice it, even in large prints.

Where JPEG starts to lose its advantage is when the same file is edited and saved over and over again. Every time it's re-saved, a little more information can be lost.

Think of it like making a copy of a copy. One copy looks great. Fifty copies later, you begin to notice the quality slipping.

What Is a TIFF?

TIFF stands for Tagged Image File Format.

Unlike JPEG, TIFF files can preserve all of the image information without using lossy compression.

That makes TIFF an excellent choice for photographers who want to keep a master file of their finished work.

TIFF files also support higher bit depths and are commonly used for professional retouching, artwork reproduction, and long-term archiving.

The downside is file size.

A JPEG might be 15 to 20 MB.

The same image saved as a TIFF could easily be 150 MB or more.

For many photographers, that extra storage isn't necessary once the editing is finished.

Will a TIFF Produce a Better Print?

This is probably the biggest misconception surrounding file formats.

In many real-world situations, the answer is no.

If you gave us a properly exported TIFF and a properly exported JPEG from the same image, printed them at the same size on the same paper, most people would never be able to tell which was which.

That's because modern JPEG compression is remarkably good.

TIFF doesn't create more detail.

It doesn't magically make colors richer.

It doesn't make your printer perform better.

What TIFF does is preserve flexibility during editing.

That's a very different benefit.

When We Recommend JPEG

For most customers, JPEG is exactly what we'd recommend.

It's perfect for:

Family photos
Vacation pictures
Wildlife photography
Landscape photography
Wedding photographs
Online print orders
Images exported directly from Lightroom

JPEG files upload faster, take up less storage, and produce beautiful prints when exported correctly.

When TIFF Makes Sense

There are definitely situations where TIFF is the better choice.

We recommend keeping TIFF files if you're:

Creating museum-quality artwork reproductions
Working with complex Photoshop edits
Saving a permanent master copy
Sending files through multiple rounds of editing
Preserving important images for the future

If storage space isn't a concern, keeping a TIFF as your archive file is never a bad idea.

The Things That Matter More

If you're trying to get the best possible print, don't spend all your energy worrying about TIFF versus JPEG.

These things have a much bigger impact.

Exporting with the correct color profile
Using enough resolution
Calibrating your monitor
Keeping your screen brightness under control
Choosing the right paper
Applying sharpening correctly

Those decisions will affect your print far more than simply choosing one file format over another.

TIFF vs. JPEG at a Glance

FeatureJPEGTIFFFile SizeSmallLargeUpload SpeedFastSlowerEveryday PrintingExcellentExcellentEditing FlexibilityGoodExcellentLong-Term ArchiveGoodExcellentPhotoshop WorkflowGoodExcellentFine Art ReproductionVery GoodExcellent

My Recommendation

If you walked into Capture On and asked me which format to print from, here's what I'd tell you.

Keep a TIFF if you want a master file.

Print from a high-quality JPEG.

I'd much rather receive a properly prepared JPEG than a TIFF that was exported incorrectly.

At the end of the day, the quality of your editing, your export settings, and your paper choice will have a much bigger impact on the finished print than whether the file is a JPEG or a TIFF.

Frequently Asked Questions

Can Capture On print TIFF files?

Absolutely. We print TIFF files regularly, especially for artwork reproductions and professional projects.

Will TIFF make my print sharper?

No. Sharpness comes from the original image, proper editing, and correct export settings. Simply changing the file format won't add detail.

Should I export TIFF from Lightroom?

For most photographers, no. A maximum-quality JPEG is easier to upload and produces outstanding results.

Is TIFF better for Photoshop?

Yes. TIFF is an excellent working format if you're making extensive edits or want to preserve a master file.

What file format do you recommend?

For most customers ordering prints, we recommend a high-quality JPEG exported using the correct color space and settings.

Still Not Sure?

If you're unsure which format is best for your project, send us the file or stop by the shop.

We'll take a look, answer your questions, and help you choose the option that makes the most sense for your image.

How Big Can I Print My File?

Wed, 29 Jul 2026 14:16:06 GMT

How Big Can I Print My Photo?

Estimated Reading Time: 8 minutes

One of the most common questions we hear at Capture On is:

"How big can I print this?"

It's a great question, but the answer isn't as simple as looking at your file size.

A 12 MB photo might only make a sharp 16×20 print, while another 12 MB photo could look fantastic at 40×60. The difference comes down to the image itself, not just the number next to the file.

To make things easier, we've built the calculator above. Select your image and it will estimate how large it can be printed based on its resolution.

But before you make a decision, it's worth understanding what those numbers actually mean.

Try Your Image First

Use the calculator above to instantly see:

Pixel dimensions
Megapixel count
Aspect ratio
Recommended print sizes
Whether standard print sizes will require cropping

Your image is analyzed directly in your browser and is never uploaded or stored.

What Determines How Large You Can Print?

There are several factors that affect print size.

1. Pixel Dimensions

This is the biggest factor.

Every digital image is made up of tiny squares called pixels.

For example:

6000 × 4000 pixels
4000 × 3000 pixels
2400 × 1600 pixels

The more pixels your image contains, the larger it can generally be printed while maintaining fine detail.

2. Viewing Distance

People often assume every print needs to be viewed from just a few inches away.

That's not always the case.

An 8×10 sitting on a desk is viewed from close range.

A 40×60 hanging above a fireplace is usually viewed from several feet away.

Since you're farther away, your eyes don't need the same pixel density to perceive a sharp image.

That's why large wall art can still look incredible even if its resolution is lower than a smaller print.

3. Image Quality

Resolution is only one part of the equation.

A high-resolution image that is out of focus won't make a great print.

Likewise, a slightly smaller image that is tack sharp can often produce an amazing enlargement.

Things that affect print quality include:

Focus accuracy
Motion blur
Camera shake
Noise
Compression
Editing quality
Sharpening
AI upscaling

The calculator can measure your resolution.

It can't judge how good the photograph actually is.

Understanding Print Resolution

You'll often hear resolution measured in PPI, which stands for Pixels Per Inch.

PPI tells us how many pixels will be printed into every inch of paper.

As a general guideline:

300 PPI

Excellent.

Ideal for fine art prints, close viewing, and maximum detail.

240 PPI

Great.

Most photographers would struggle to see a difference compared to 300 PPI.

200 PPI

Very good.

Perfectly suitable for many medium and large wall prints.

150 PPI

Often acceptable for oversized artwork viewed from farther away.

This is why billboards don't need thousands of pixels per inch. They're designed to be viewed from a distance.

Bigger Isn't Always Better

Many people assume they should always print at the largest size possible.

I don't necessarily agree.

Sometimes an image has incredible detail and deserves a 40×60 print.

Sometimes the same photograph has a stronger impact at 16×24.

The right size depends on:

The amount of detail in the image
Viewing distance
Where it will hang
The emotional impact you're trying to create

We've seen photographs become more powerful by printing them smaller and giving them room to breathe with a wide mat and custom frame.

Cropping Matters Too

Not every photograph matches standard print sizes.

For example:

A camera may produce an image with a 3:2 aspect ratio.

An 8×10 print uses a 5:4 ratio.

That means some cropping is required.

Our calculator estimates whether cropping will be needed for common print sizes so there are no surprises before you order.

What About Phone Photos?

Modern smartphones are surprisingly capable.

Many newer phones produce files that can comfortably print at:

8×10
11×14
16×20

Some can even produce excellent 20×30 prints under the right conditions.

The biggest limitation usually isn't the phone.

It's whether the photo is sharp and taken in good light.

Can AI Make My Photo Larger?

AI enlargement software has improved over the past few years.

Sometimes it can produce impressive results.

Sometimes it simply creates believable-looking detail that wasn't actually there.

We generally recommend starting with the original file whenever possible.

If enlargement is necessary, we'll let you know whether AI is likely to improve the final print.

Our Recommendation

Use the calculator as a starting point, not as the final answer.

It provides an excellent estimate based on your file's resolution.

If you're investing in a large print or custom-framed piece, we'd much rather spend a few minutes reviewing the image than have you order something you're unsure about.

Sometimes we'll tell you it can go even larger than the calculator suggests.

Sometimes we'll recommend scaling back.

Either way, our goal is to help you end up with a print you'll be proud to hang on your wall.

Frequently Asked Questions

Does a larger file always make a better print?

Not necessarily.

A large image that's soft or blurry won't print as well as a smaller image that's sharp and properly edited.

Can I print an image from Facebook or Instagram?

Usually not at large sizes.

Social media platforms compress images to reduce file size, which removes detail.

Whenever possible, use the original file from your camera or phone.

What if my image isn't large enough?

Depending on the image, we may be able to recommend a smaller print size or discuss AI enlargement options.

Why does your calculator say cropping is required?

Your image and the print size use different aspect ratios.

This is completely normal and affects many photographs.

Should I trust the calculator or ask Capture On?

The calculator is a great starting point.

If you're ordering a statement piece or custom framing, we're always happy to review your file and make a recommendation.

Why Your Prints Don't Match Your Screen (And How to Fix It)

Fri, 19 Jun 2026 13:01:41 GMT

Most People Spend Hours Editing a Photo… Then Never See It Again

Most photographers spend hours capturing and editing an image, post it online, get likes, and then never look at it again.

We are living in a time where the process often stops at social media.

I believe photography was never meant to exist only on a screen.

A print turns a digital file into something real. It becomes something you can hold, hang on a wall, and enjoy for years.

The thing is, getting a great print starts long before you submit your file or hit print yourself.

Let's walk through the process, from planning the shot all the way to choosing the final paper.

Shoot With Purpose

This doesn't mean every time you pick up a camera needs to be some elaborate mission.

You can absolutely go out and shoot for fun but even when you're shooting casually, it helps to be intentional.

One of my favorite tools is PhotoPills. If you've never used it, it's a planning app that shows sun position, moon position, and Milky Way alignment before you ever leave the house.

Instead of guessing, you're setting yourself up for success.

If you photograph people, it helps you see where the sun will be during a session so you can avoid harsh light.

If you photograph wildlife, you can plan for backlighting or directional light that adds more depth to your subject.

If you're a landscape photographer, you can figure out exactly when the light will hit the location the way you want it to.

Planning doesn't guarantee a great image, but it definitely improves your odds.

Execute in the Field

When you're actually taking the photograph, think about composition first.

Yes, Photoshop is powerful. Yes, Lightroom can fix a lot, but it's always easier to get things right in the field.

Give yourself options.

-Take a few steps back.

-Zoom in.

-Change your angle.

-Try different focal lengths.

Solve Problems Before They Reach the Computer

One thing I see all the time is photographers saying, "I'll fix it in post." Sometimes that's necessary. Most of the time it isn't.

Look for distractions while you're shooting.

-Sticks sticking into the frame.

-People wandering into the background.

-Airplanes.

-Bright objects near the edges.

Instead of planning to remove them later, adjust your composition or wait a few seconds.

Every problem you solve in the field is one less thing you have to deal with during editing.

Post Processing

This is where you refine the image.

-Adjust your color.

-Adjust your tone.

-Fine tune your composition.

-Remove distractions if need be

-Apply sharpening.

-Pay attention to white balance and your histogram.

Small issues that barely show up on a screen can become much more noticeable once the image is printed.

Your Screen Is Lying to You

This is probably the biggest issue I see when people start printing. If your prints don't match your screen, the printer usually isn't the problem, your monitor is.

Most people edit with their display brightness cranked all the way up. That works great for watching videos. It works terribly for printing.

Your monitor emits light. A print reflects light. Those are two completely different experiences.

When your monitor is too bright, you naturally darken your image while editing. Then the print arrives and looks darker than expected.

A simple rule:

If your image looks amazing at full screen brightness, there's a good chance your print is going to disappoint you.

For print work, your display should be dimmer than you think. Whites should not feel like a light source.

The image may feel slightly less vibrant than what you're used to seeing. That's actually much closer to how it will appear on paper.

Understanding Color Profiles

A color profile is simply a set of instructions that tells your monitor, software, and printer how to interpret color.

Without those instructions, colors can shift from one device to another.

The two color spaces photographers should know are sRGB and Adobe RGB.

sRGB

Industry standard
Most consistent option
Works almost everywhere
Safe and predictable

Adobe RGB

Larger color gamut
Better greens and blues
Potentially more color information for print
Requires a fully color-managed workflow

The problem isn't Adobe RGB.

The problem is using Adobe RGB in a workflow that doesn't support it. That's when colors start looking dull, washed out, or different than expected.

I've seen this happen many times. In fact, if someone uploads an Adobe RGB file to our website, it can create color shifts because the website assumes sRGB.

The simple takeaway:

If you want consistency, use sRGB.

If you fully understand your workflow and everything supports Adobe RGB, then Adobe RGB can give you a slight advantage.

Soft Proofing

Soft proofing is one of the most overlooked parts of printing.

It allows you to preview how an image will look on a specific paper before printing.

When you soft proof, you'll often notice:

Colors shifting
Shadows getting deeper
Highlights changing
Contrast changing

That's normal.

Your monitor can display colors that physically cannot exist in print.

Soft proofing helps you identify those differences before spending money on a print.

Below is a step by step on how to activate soft proofing.

Look at the difference between the two images once I select a profile.

You'll see that the first image that has a profile selected is a tad warmer compared to the last image that is cooler. If you look up in the top right corner at the histogram, you should notice is has slightly changed between the two.

File Formats

People spend a lot of time debating JPEG versus TIFF.

Honestly, for most people, it isn't nearly as big of a deal as they think.

JPEG

Perfectly fine for everyday printing.

TIFF

Great for large prints, fine art printing, and archival purposes.

The issue usually isn't JPEG.

The issue is opening, editing, and re-saving the same JPEG over and over again.

Resolution

The traditional recommendation is 300 DPI.

That's ideal.

240 DPI is still excellent.

I've gone much lower and still produced prints that look fantastic.

Viewing distance plays a huge role.

Paper choice can also help.

A large wall piece viewed from several feet away does not require the same resolution as a small print viewed from arm's length.

Sharpening for Print

Think about it this way.

Screens emit light.

Prints absorb detail.

Because of that, prints often need slightly more sharpening than what looks perfect on your monitor.

If an image looks perfectly sharp on screen, it may end up looking a little soft in print.

Programs like Topaz can help.

If you're unsure about sharpening, many professional labs can handle that for you. We include sharpening as part of our lab correction service.

Common Problems We See

Certain issues jump out immediately in print.

Things like:

Sensor spots
Crooked horizons
Fringing
Chromatic aberration
Distractions

They may be easy to miss on a monitor, but they become very obvious once the image is printed.

Think About Aspect Ratio

One of the biggest mistakes photographers make is forgetting about the final print size.

If you shoot in a 2:3 ratio and print an 8x10, something has to get cropped.

If you regularly print sizes like 8x10, 11x14, or square formats, start thinking about that while you're shooting.

Take a step back.

Leave yourself room.

That extra space can save an important part of the composition later.

Choosing Your Paper

Once the file is ready, it's time to decide how you want the image to be experienced.

Luster

Slight texture, slight sheen, great color and contrast. Probably the most versatile option available.

Glossy

Maximum color and contrast. Very reflective. Also loves fingerprints and scratches.

Fine Art Baryta

Deep blacks, rich contrast, slight texture, and a premium gallery feel.

Fine Art Pearl

Softer sheen than glossy with a clean, refined appearance.

Silk Baryta X

Very subtle texture, slight sheen, and an extremely premium feel.

Photo Rag Metallic

Matte surface with a metallic shimmer that changes depending on the viewing angle.

Photo Rag Ultra Smooth

Completely matte with no texture. Clean, modern, and understated.

Museum Etching

Beautiful texture with a watercolor-like feel. Lower contrast and more of a traditional fine art appearance.

Canvas or Metal?

Canvas

Soft texture, timeless appearance, and a painterly look.

Metal

High gloss, incredible vibrancy, and a clean modern presentation.

Neither one is better.

They simply create different experiences.

Don't Forget the Frame

This is the step that turns a print into wall art.

A simple black frame and white mat can look fantastic.

When you start customizing frame styles, mat colors, and mat widths, you completely change how a piece feels.

The right frame should support the artwork, not compete with it.

Make Your Images Real

I hope this gives you a better understanding of how to control the final result.

Printing isn't just hitting a button.

It's the final step of the photographic process.

It's where all the planning, shooting, editing, and decision making come together.

Because at the end of the day, photography was never meant to live only on a phone screen.

Printing is what makes the image real.

5 Tips for better night photography

Wed, 12 Jul 2023 13:41:14 GMT

5 tips for better night photos.

Night photography can be incredibly difficult to master. Trying to capture the perfect image of the moon, the stars, lightning, or even just dimly lit areas can be a hassle. Night photography can be especially complicated if you are new into the world of photography. We understand your struggles and we want to provide you with a gateway into mastering the secrets of capturing the night sky’s beauty. With the help of Zakk Sheehan , we were able to compile a guide to support you in your journey of learning the art of night photography.

What are the essential camera settings and equipment that should be used for night photography?

A: Some of the essential camera equipment that you will probably need while shooting night photography includes a fast lens, a sturdy tripod, a remote trigger, and a head lamp. A full frame camera isn’t a necessity in shooting night photography but it helps with the process an immense amount. Aim for a lens that is f/2.8 or faster. Having a sturdy tripod and a remote trigger provides you with a strong base and avoids blur in your photos from camera shake. A star tracker isn’t a necessity in shooting night photography but it helps in gathering as much light as possible for your night shots. In terms of camera settings, be sure to avoid using auto white balance, set it to what appears best. Setting your f-stop pretty low, to approximately f/1.8 or f/1.4, is the most ideal in night photography. ISO is most ideal to start high, to approximately 6400 ISO, since noise is easy to fix. Stacking photos helps resolve noise easily. Shutter speed works well with the 300 rule. The 300 rule involves taking 300 and dividing it by your focal length. For example, (440) 840-5699mm=15 seconds. In this situation, as long as you don’t go past a 15 second shutter, you won’t get star trailing.

2: How different is nighttime photography from daytime photography?

A: Night photography is extremely different from day photography. When it comes to photography, light is everything. At night, you are using all of your skills and equipment to get every piece of light possible from pitch blackness to make your image visible.

3:Are there any post processing techniques that can enhance night photos?

A: Post processing is everything when it comes to bringing out the most details in your nighttime photos. Photoshop and Lightroom are probably the two best programs to utilize when post processing. It’s ideal to start in Lightroom to do basic edits and then bringing the photo into Photoshop to create more precise edits. Starry Landscape Stacker is a really good program to use for stacking photos through Mac. It’s extremely easy to use and very powerful.

4:What are some common challenges or obstacles that photographers face when shooting at night? How can these obstacles be overcome?

A: It’s difficult to know if you got the perfect focus or used the best settings until you get home from the shoot. The only way to feel more confident in this is practice. Be sure to go out whenever the sky is clear to get practice shots in.

5:Do you have any tips for any beginners who want to get into night photography?

A: 1. Shoot with people who are better and/or more experienced than you. They have already tried things that don’t work, so you’ll be able to avoid those mistakes. Learning from experience is one of the best ways to improve your craft.

2. Shoot higher ISO and take multiple photos to stack.

3. The milky way is cool, but if you don’t have a good foreground, your photo will probably just be of the sky. Be sure to have a good foreground.

Now that we have covered some key tips and tricks relating to the world of night photography, we hope to have given you some clarity on how to approach the craft of taking flawless night photos. While beginning your endeavor in the art of night photography, maintain your curiosity, creativity, and passion. These aspects will drive you in enhancing your craft and taking stunning shots.