Almost Weekly Photo

Bhutan's Remote Phobjikha Valley

Early morning, Phobjikha Valley overview, BhutanPhase One XF 150MP, 110mm…

Refine, Refine, Refine

Foyn Harbour Weather Study #3, Antarctica 2020Phase One XF 150MP,…

Mastering The Photography of Trees

Water gums from Paul Curtis's book, The Heritage of Trees.…

Love The One You're With

Tree in Mist, Above Sofala, NSWCambo Actus-DB2, Phase One IQ4…

Long Reef, Sydney. Just down the road from the studio...
Phase One A-Series, 70mm Rodenstock, a combination of exposures for sky, water and headland.

I've just made a 1.5 metre print for the office/studio window, lovingly printed with my Epson SureColor SC-P10070 on Canson Rag Photographique roll paper. It's similar to an earlier photo I blogged, but is this the colour and contrast I intended and how do I necessarily know?

What an odd question! Let me explain.

I have two places where I work: home and the studio. However, if I edit an image at home, I DropBox it so I can pick it up at the studio where the printer is. However, when I opened up this photo down at the studio, it didn't look right. It wasn't what I expected, or what I remembered from my editing session the night before. Perhaps my monitors were out of kilter?

So I checked. I use several EIZO monitors, including a wonderful 4k ColorEdge CG319X. All the monitors had up to date calibration and I'm using the same settings (gamma, Kelvin etc), so why did the image look so different down at the studio? To check, I printed out a test print of the file without any changes - exactly as I sent it from home. Then I took this print home and compared it with the monitor image there: identical! The monitors are working flawlessly!

So what happened? My perception changed. What I thought was warm and fuzzy after dinner and a piece of chocolate, didn't cut the mustard the following morning. No, it's not about the viewing conditions on the print as I'm still reviewing the images on the screen, it's all about me! It's all about my perception and how I feel about the image.

I mention this experience simply as a point of interest. It also reinforces my practice of making smaller reference prints and pinning them opposite my desk at the office/studio so I can live with them. And then if someone like Christian Fletcher rings me up to chew off my ear, I can tune out and think about what needs to be changed in the print...

And if you wonder why I singled Christian out for attention, then you haven't been listening to his podcasts with Carwyn. You can find them at https://www.lightminded.com.au/podcast

Finally, Australia Post isn't quite as quick as it was, so if you'd like a copy of my book, The New Tradition, NOW is the time to order it so Kim can send and you will have it for your Christmas stocking! Click here for details.

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