{"id":7871,"date":"2015-09-17T10:06:23","date_gmt":"2015-09-17T08:06:23","guid":{"rendered":"http:\/\/news.hahnemuehle.com\/?p=7871"},"modified":"2015-09-17T10:06:23","modified_gmt":"2015-09-17T08:06:23","slug":"theunforgivingprint","status":"publish","type":"post","link":"https:\/\/blog.hahnemuehle.com\/en\/theunforgivingprint\/","title":{"rendered":"The unforgiving print and the importance of paper choice"},"content":{"rendered":"

Joel Tjintjelaar is a photographer, educator and writer with a passion for black & white photography, architecture and long exposure photography. He\u00a0 runs the bw\/vision.com blog<\/a> where we stumbled upon an article by Red Ognita on the importance of printing superbly in order to call an image fine art. Red Ognita is a multi award-winning black & white\u00a0fine art photographer and printer with his own studio redlab<\/a> based in the Philippines. He speaks passionately and with extensive knowledge on creating fine art prints for artists from around the world and the importance of printing in this digital age. We are pleased to share their thoughts and their article “The unforgiving print and paper types” – slightly shortened.<\/p>\n

\"HPR<\/a>

Portfolio of Linus Bergman in a box<\/p><\/div>\n

Our mission:<\/strong><\/p>\n

Joel Tjintjelaar:<\/em> <\/strong>A photograph can only be labeled as a \u2018fine-art\u2019 photograph when it has been printed. Preferably large so no detail will escape the viewer\u2019s attention and the craftsmanship and all the time and effort you put into your photograph will come to the surface. To me craftsmanship of photography and digital printing are the essential elements of a work of art. Everything else is just a digital picture.<\/p>\n

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Red Ognita:<\/em><\/strong> I have never seen a person refine faster\u00a0in the craft of photography than a person who just started to print their work. The print is unforgiving. Every mistake that you make will be seen in a print. That slight movement will produce a \u201cghost-like\u201d blur. That chromatic aberration brought about by the lens you have and the f-stop of your choice will be evident. That pixel that you pushed or pull more than it can take \u2013 yup! banding. And that dust-spot that you failed to clean up will annoy you to no end. Every little thing that you did not intend to do shall be shown to you.<\/p>\n

So why print?<\/strong>
\nYou probably know some of the reasons already. The internet has a sea of\u00a0reasons. From technology mishaps, to heightened value for your work, monetary gain, to memories kept even if you fail. The list goes on and on why should you print your work. But let me\u00a0add three\u00a0reasons from a personal standpoint in the mix.<\/p>\n

\"Greg<\/a>

\u00a9Greg Metro on Photo Rag\u00ae308<\/p><\/div>\n

1. It makes you sharper<\/strong>.
\nPrinting makes you more aware of your every move. Having in mind that what you create will be printed\u00a0later imposes\u00a0a discipline that you never had before. From the moment you plant that tripod to the point you send it over to the printer \u2013 every move calculated. Every adjustment will be precise\u00a0and purposeful. You will understand\u00a0the meaning of\u00a0adjustment in small increments<\/em>. You will learn how to be patient. You\u2019ll develop a flow of work \u2013 of things to check and double check.\u00a0You will learn the value of consistency.<\/p>\n

2. It\u2019s there.<\/strong>
\nYou can actually hold it. It is physical. Everybody can see it where it hangs. Everybody can hold it if you allow them to. Every hour that you spend shooting is an hour away from your home.\u00a0You have decided that your photography is more important during that time. Every penny that you spend for your photography is a penny away from something else. Don\u2019t you want something to show for? A million brushes but no painting? A print is a tangible object created by you. There was nothing, and now there is something. And you made that possible.<\/p>\n

3. It\u2019s a legacy \u2013 yours.<\/strong>
\nWith the proper care, your prints will outlast you. It will be something that you will be leaving behind. It is something that you have created out of love and nothing else. It was yours and yours alone. Dictated by no one and was a source of your pride and joy. It is the way you have seen the world \u2013 literally and figuratively. It will be something worth keeping.<\/p>\n

As it is with many things in life, everything\u00a0is not for everyone. Printing may not be for you. But if you\u2019re serious in your photography\u00a0and would like to refine your work \u2013 try printing. Best if you yourself will do it \u2013 learning\u00a0will be efficient and\u00a0much faster, but it doesn\u2019t have to be you. Take into account the economics of a printer and the regularity of printing your work. You can have a custom lab (Hahnem\u00fchle Certified Studio)<\/a> do it and,\u00a0maybe\u00a0ask for a feedback or a friend that has a printer. Print it. Sign it. Date it. Keep it. When you look back, you\u2019ll be happy you did.<\/p>\n

Choosing paper for your photographic work<\/strong><\/p>\n<\/div>\n<\/section>\n<\/div>\n

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Aside from what printer to purchase, one of the most common questions I get asked is what paper to choose. One of the most important choices you\u2019d make when printing is your choice of substrate. Today, with a multitude of options, one can easily find himself lost and confused. Trying and testing fine art papers is expensive and time-consuming. I know, I\u2019ve been there. Without diving\u00a0too much on the technical side, let me try to help you out narrowing it down. You can start by doing either or all of the following:<\/p>\n<\/div>\n<\/div>\n

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