On the 5th of March, our class (Stage 3, Photography, DIT) attended our first advanced printing workshop with Ed Dunne from Inspiration Prints, and after introducing himself and summarising what his workshop module would cover in its entirety, we continued on to go the subject matter we were going in that particular class.
Fig 1: Kate O'Connor (2018) Advanced Printing Workshop Class Environment
Our first workshop covered three main topics. The critical appraisal of color on our monitors and workspace, and thus our prints, colour spacing, and then printing a PDI test chart from our newly calibrated monitors and printing specs.
We started with a brief description of what colour constancy is and the difference between D50 (average daylight colour and D65 (midday daylight colour) and an acceptance that, while D65 was the more accurate and appropriate lighting and monitor calibration option, this was not always financially or technologically viable, so many photography labs are kitted out with D50 lights and monitors.
After a little discussion on the colour space differences between sRGB, Adobe 1998, and ProPhoto, and how our computer LAB programming adjusts for each programmes shortcoming. Ed advised we use ProPhoto for our print profiling, despite the fact the programme is too advanced for our current computer programmes and printers as it ‘future proofs’ our work, he also advised we save our work in Tiff or PSD format as JPG is not able to use any other profile that s RGB.
We also discussed how B&W can be more re of challenge to print as I eyes notice saturation and hue issues more readily in tonal prints. He suggested we used our eyes on overcast day, rather than under artificial lights, as we would have much more accurate appraisal of the image.
Other minor printing issues were also discussed, such as the merits of using 16 bit images for printing and using the factory defaults for our respective printers for DPI (360 DPI for our Epson printers in college). After making all these adjustments we printed our test prints of Permajet Oyster paper and the printing process went off without a hitch.
For me, it was the discussion about how colour spacing with colour profiles that helped me most as I suspect this was the issue I was having difficulty with when printing warmer colours on Matt paper last semester. An understanding of how colours are adjusted when the colour information attached to the print doesn’t conform to the colour profile in use for the printers will help me avoid making the same mistake in the future.