Canson has been a pioneer in the field of photography for well over 150 years and was awarded one of the first patents relating to the production of photographic paper all the way back in 1865. Building on its wealth of experience, Canson® Infinity has just announced the launch of the industry’s first Matt Baryta digital darkroom paper, Baryta Photographique II Matt, 310gsm. For years, photographers have worked with Baryta papers for the look and feel of traditional darkroom photo papers that this medium delivers. Now Canson has produced a second generation of its Baryta Photographique paper: Canson Infinity Baryta Photographique II Matt.

It’s the first Baryta paper with a matte finish providing an extremely smooth finish, which promises to deliver exceptional detail. At the same time, the matte finish prevents unwanted light reflection—regardless of light source and viewing angle—making this paper ideal for display. Canson also emphasizes that this paper’s very high D-Max (black density) matches that of a digital fine art matte paper, among other attributes such as high contrast.

[Read: WPPI Winners Dissect Their Print Choices]

“Because the new Baryta Photographique II Matt is totally smooth as well as completely matte, it means that the incident brightness on the paper does not create distracting reflections, which allows you to see incredible detail within your image,” says wedding photographer and Canson Infinity Ambassador Sanjay Jogia.

Landscape photographer Chris Ceaser says that, “the super smooth surface of this exciting new paper ensures stunning prints that are bursting with detail. Working well with either color or black-and-white photography, the paper handles really well and has a traditional feel, thanks to the alpha-cellulose base. Although this is an authentic Baryta paper it is totally matte in appearance and as such allows the photographer to display their work free from reflections from external light sources, ensuring that the finished work is presented to maximum effect.”

[Read: 18 Picture-Perfect Photo Presentation Products]

This alpha-cellulose based, 310gsm paper is available in more than a dozen sizes, in sheets and rolls from 5 x 7-inch sheets to 60” x 50’ rolls. Pricing ranges from approximately $19 to $425.

For more information and to download ICC profiles, please visit canson-infinity.com. And while you’re there, check out Canson’s four 310gsm Infinity Arches paper: Arches 88, Arches BFK Rives Pure White, Arches BFK Rives White and Arches Aquarelle Rag.

The post Canson Infinity’s Baryta Photographique II Matt Paper appeared first on Rangefinder.

Event photographers and others who need high speed, high volume print production have a new option with Epson’s new SureLab printers—the SureLab D1070 and D1070DE. The latest models have evolved over the past decade and are smaller, faster, much less expensive and more sophisticated than their predecessors. I previewed Epson’s initial offering—the SureLab D3000—at a trade show about ten years ago. It was a beast (I don’t know how they were able to transport it to the meeting room) and it cost $20,000.

Since then, Epson has streamlined the price and size of its SureLab printers with the release of successive generations of printers. The latest models in this line are affordable at $2,595 (D1070) and $2,995 (D1070DE). And interested photographers can literally pick up and transport them to an event. Although final specs are not yet set, the D1070 should weigh in approximately 37 pounds with a footprint of about 18.1 x 13.13 inches. Initial estimates for the D1070DE, which comes with built-in duplex capabilities (perfect for photo books, postcards, etc.), are about 47.6 pounds with a footprint of 18.1 x 16.6 inches. Both printers have handles on the side for easier lifting.

[Read: Epson’s EcoTank Cartridge-Free Photo Printers]

Print sizes range from 4 x 6 inches to 8 x 10 inches with a wide range of media options including high-capacity rolls as well as double- or single-sided stock. Glossy, luster, matte and thick card surfaces are available to meet a variety of output needs—from photos to promo cards and more. The printers use 250 mL UltraChrome D6r-S high capacity ink packs, which cuts down the waste of discarding ink cartridges.

Epson has redesigned and simplified the printer drivers for Windows and Mac. With improved connectivity, you can control the printers via Wi-Fi, Ethernet and USB and use the Epson Cloud Solution PORT to monitor the live status of the printer remotely. (A mobile app is in development, which we assume will be ready when the printers launch.) There’s a new 1.44-inch LCD panel on the front provide easy access to operational functions.

[Read: Printers, Papers and Custom Art Options for Photographers]

Other notable attributes include an integrated output tray and high-speed rotary cutter as well as new nozzle detection and alignment technology.

The Epson SureLab D1070 is slated to ship this fall for an estimated MSRP of $2,595. The duplex model, the SureLab D1070DE will be available for $2,995 in 2022. Meanwhile, a duplex feeder can be purchased separately for approximately $599 to add automatic double-sided printing to the D1070.

epson.com

The post Epson’s New SureLab Printers: Great for Event Photography appeared first on Rangefinder.

Photographer Aly Kuler and his wife, Kathleen Gemma Kuler, who are based in New York’s Hudson Valley, have been shooting weddings together ever since meeting at WPPI in 2019. “Everything was going great until the coronavirus pandemic hit,” says Aly, channeling not just other wedding photographers thoughts but small business people everywhere. Most of their clients postponed the big day, leaving just a handful of backyard weddings on the Kulers’ schedule. Instead of being defeated, though, they brainstormed and came up with an expansion plan for their business: printing and selling wall displays.

“We tried to upgrade ourselves and do the things we didn’t have time for when we were busy,” says Aly. “We’ve worked on our website and thought about how we can expand our business and offer more.” That’s when it struck them, to go beyond just the albums that they already offered clients and include big, beautiful wall art on canvas, acrylic and other premium media.

Before the pandemic, Aly had started to notice that when past wedding clients called him back for maternity and family shoots, they often had photo prints of his work hanging on their walls—photo prints he hadn’t made. He often wasn’t thrilled with their quality but he recognized the opportunity to offer something much better, both for his clients and his business.

It took some trial and error with different vendors to find the right print partner. “When I first tried to add wall art, it was really expensive, and I didn’t know how I would make a profit.” Aly says. “But CG Pro Prints has the quality and the prices you need to offer photo prints at a reasonable cost to your clients and still make a profit. I’m so confident in them that when I talk to my clients, I’m 100% sure of the quality I can offer.” The response from clients has been resoundingly positive.

When the pandemic hit, the Kulers added a page about wall art to their website and started showing clients the photo prints hanging in their own home on Zoom calls. “We tried to reach out to past clients who hadn’t purchased albums or wall art,” says Aly. “From there we started to make sales.” Despite its own challenges as a small business during the pandemic, CG Pro Prints kept operations humming, and being able to sell photo prints of images they had shot at past events gave the Kulers a steady revenue stream during the period of lockdowns and postponements.

Now that shooting dates are filling their calendar again, the Kulers are looking at studio spaces where they can both have portrait sessions and give clients an in-person look at high-quality wall art. Says Aly: “I tell my clients that when you have an album or wall art printed, it’s there for you all the time. You’re not sitting with your family and trying to find pictures on your phone or your computer. When you have the picture printed, it’s tangible. You can feel it. It takes you back to the moment.”

The Kulers are also taking some time to pick out shots to submit for CG Pro Print’s Billboard Project, which will install billboards of selected images across the country to promote professional photographers. “I can’t wait to see how they’ll look,” says Aly. “Even if I’m not selected, it’s good for everyone. It’s a message that shows the power of photo prints, for clients and for us.”

Enter WPPI The Annual to be eligible for one of three CG Pro Prints Billboard project awards. Three photographers will be showcased in a national billboard campaign.

Visit CG Prints Pro prints to learn more about their print and display solutions.

The post Printing and Selling Wall Displays with CG Pro Prints appeared first on Rangefinder.

WPPI The Annual‘s judge, chair and resident print expert, Rocco Ancora, shows you how to prep and print photos from home.

The biggest frustration for photographers attempting to print photos for the very first time is that their prints don’t match their screen. There could be many factors contributing to this, but I will outline the most common pitfalls here.

1 | Monitor Calibration

 The monitor is the most important piece of the jigsaw color management workflow as it is your only true window into your image file. Calibration is a non-negotiable component.

The purpose of calibration is to make sure that all the colors, contrast and brightness are correct. It ensures you can trust what you actually see on your monitor. Remember that the monitor is your only window to your image file. Calibration will give you confidence to send images to your lab for printing and knowing that you are giving your clients files that are properly balanced, based on your creative vision.

For photographers, it is recommended that we calibrate to the photography and graphic technology industry international standard. That standard is ISO 3664:2009 for graphic technology and photography viewing conditions. This standard stipulates white point, luminance (brightness) and contrast settings for your monitor.

ISO 3664:2009 recommends calibrating monitors to:

• white point of CIE D65
• luminance between 80cd/m2 and 160cd/m2
• gamma to 2.2 or native

The choice of monitor is a very important one as monitors are not made equally. Whichever monitor you have, the principles and parameters that you set are exactly the same. The calibration software automatically prompts you to set the desired brightness, contrast and color of your monitor.

2 | Working Environment

Most lighting in your home is not ideal for any digital imaging work. The color of your lights and your walls are extremely important factors as colors around you can affect your color perception.

Ideally, we need to make our viewing area as neutral as possible. No direct sunlight or direct window light is preferable as the amount of light in the room will alter at different times of the day, not to mention varying weather conditions affecting the color temperature.

All sources of glare should be avoided since they significantly degrade the quality of the image, and the monitor should be situated so that no illumination sources—such as unshielded lamps or windows—are directly in the field of view or are causing reflections on the surface of the monitor.

The monitor should be the brightest thing in your field of view. It is recommended that the light intensity should be no greater than 64 lux, equating to roughly 1/15 of second at f/2.8 and ISO 400.

Before you print photos, you have to set up your viewing space. For WPPI The Annual entrants: The prints are judged under daylight-balanced lighting (5000K) at a specified intensity. The light is set at 2000 lux and EV 10, which is around f/2.8, 1/125 of a second and ISO 100. Setting up your lighting conditions to WPPI specs is imperative for accurate appraisal.

3 | Unexpected Print Results

If this happens, it means that your monitor is displaying the correct colors but an overly bright version of them. In this case, you need to recalibrate using a lower brightness setting—eg100cdm2, 90cdm2 or 80cdm2—in your calibrating software.

Another problem that you might encounter is that your prints may appear too warm compared to the screen. What this means is that brightness might be accurate but your white point and contrast will differ depending on what paper we are printing on—not to mention your viewing conditions. The reason for this is that there are different versions of white. In other words, what is white? Our brains keep adjusting the color that we see based on the lighting conditions.

If we hold a blank piece of our favorite printing paper under tungsten light, it will appear white; if we do the same under window light, it will also appear white. If we were to compare a blank sheet of fine-art paper against a pure white document opened in Photoshop on a monitor that’s calibrated to D65, the monitor will appear too blue by comparison. The base color of the printing paper, especially the fine-art papers, have a warmer base, and that warmth will vary from paper to paper.

So how do we change this? We can recalibrate to a warmer white point, D50 (5000k), instead of D65.

4 | Paper Profiles

Once you have chosen your paper, you need to download and install in your operating system the appropriate paper profile from the paper manufacturer’s website for your specific printer model. This will allow you to achieve fairly good results, but for accurate color and tonal reproduction, you need to create a custom paper and printer profile that is specific to your printer. A specialized printing bureau that can do this for you.

Controlling color from pixel to printed dot can be a daunting process but by following the procedures outlined above, you will achieve accurate and consistent results. Printing your own work can be a very rewarding experience, empowering you to control your vision from capture to print photos.

Brought to you by WPPI The Annual: 16×20, Print, Album and Filmmaking competition. Learn more about this awards community at wppiawards.com.

For more information on how Rocco Ancora of Capture to Print can help with your WPPI entries, please visit the Capture to Prints website.

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The post WPPI The Annual: How to Prep and Print Photos from Home appeared first on Rangefinder.

Event photographer Patrick Williams, who runs PWP Studio out of Atlanta, was happy to get his hands on the 4.5-inch, DP-QW410 Pro dye-sublimation photo printer from DNP and test it out. Here’s what he thought.

One thing that has remained constant over the 20-year span of my event photography career (using over 40 printers from Kodak, Sony, DNP and Olympus) is that I’ve been used to the heavy weight of a pro dye-sub printer—they are hefty machines. When I picked up the box DNP recently shipped to my studio, though, it was so light that I instantly thought, “This must be just the media; I wonder when the printer is arriving?”

When I opened the box, staring up at me were two boxes of media and a printer, the DP-QW410 Pro, and the whole set weighed less than one of my DNP DS40’s without media. In addition, this is the first DNP printer that prints 4 x 6-inch sizes but does not print at a standard 5 x 7 inches, has internal print cutting, lower power usage, a print roller that “flattens” prints internally, and a 16:9 print ratio. In other words, lots of new features here.  

What I Liked

At less than 13 pounds and a compact size of only 8 inches wide x 7.75 inches high x 9.5 inches deep, the size and weight are the big wins here. Lower power consumption is no big upgrade for those shooting in indoor spaces with outlets readily available, but it’s huge if you need an alternate battery option off the grid. Lower power consumption allows for these printers to be run on portable batteries for hours at a time.

The Lay Flat print option is also a decision maker, in my opinion, if you are frequently making keepsake albums onsite where you might be taping/pasting prints onto an album page.

I also liked the that I was able to run a complete roll of media (150 4 x 6 prints, below) in one continuous print job to test whether it would slow down or overheat during non-stop printing like we see at events, and it ran like a champ through the entire run.

Other cool features: an internal print cutter offers additional print size options, there’s Wireless capability (requires an adapter) that allows the printer to be utilized with iPads/devices and without being tethered to the capture station, there’s the ability to print 4.5 x 8-inch mini-panorama prints, and the system is compatible with Windows and iOS drivers.

What I Didn’t Like

While there are so many things I really love about this printer, there are some I don’t, like print speed (19 seconds for 4 x 6 inches), printing capabilities up to 4.5 inches but no 5 x 7-inch capability, 4 x 6-inch media comes in 150 print sets but 4.5-inch media comes in 110 print sets, which is limiting for larger events and settings confusion for the cutter function. Also, the cost per 4 x 6 print is $.10 per print higher than most others. Other things to make note of include:

The paper tray (clear plastic print catcher on the front of the printer, above) only works with 4 x 6 media, and has a max capacity of 20 sheets before you risk paper jams.

The trash box (print clippings tray) pops off the front. In my first time opening it up, the box popped off the front of the printer straight on to the floor! I could see that happening at an event, but even worse, hitting a concrete floor and breaking.

Settings for the cutter (for smaller prints) can be found in three different places on Windows but figuring it out required a call to DNP tech support for me to identify which settings would make it cut prints correctly.

User Friendliness

DNP printers are rather simple machines to use and this one is no different—ten minutes to set up the hardware and download drivers from the DNP site and you are printing! If you are familiar with changing out media (paper rolls and ink ribbons) on DNP printers, you will feel right at home with the DP-QW410. I did have a hard time with removing the spacers to change from 4-inch media to 4.5-inch media (made me feel like a monkey learning algebra) and the ribbons were a little difficult to add/remove with large hands, but those are minor annoyances versus deal breakers.

Image Sizes

Without additional cutting outside of the printer, it will print a 4.5 x 8-inch print, one 4.5 x 4.5-inch print or four 2 x 4.5-inch prints on 4.5-inch wide media. We haven’t seen some of these sizes in the past without specialized perforated media. (Glossy or Matte finishes are available.)

How It Compares

The DP-QW410 is a highly specialized printer aimed at the entry- or mid-level segment in the DNP product line: think of it like a Nikon D780 or a Canon 90D in their respective full-frame camera lines. DNP printers are known for great print quality and their rock-solid reliability, plus the QW410 is (literally) half the weight of any other professional grade 4 x 6-inch dye sub printer out there right now. Printing a 4 x 6-inch image does take it more than twice as long as most current dye-sub models from other manufacturers and the per print cost is a little higher, but the quality, feature set and footprint combination are hard to beat. 

The Bottom Line

In the world of printers, the DP-QW410 is not a solid choice for larger print volume events and studios, mostly due to the limited print quantity in the media packs, higher per-print cost, and lack of printing 5 x 7’s.

The weight, size and power consumption are a perfect combination for portability, and the multiple new print sizes made possible by the internal cutter are also a plus for those who need to constantly evolve their smaller sized print offerings. In conclusion, although it has its limitations for larger volume applications, it is a really well thought out feature set for photo booth operators, small- to mid-size event/wedding photographers, and portrait photographers who need 4-inch or 4.5-inch prints and proofs. In other words, a great option for those seeking the quality and reliability of a DNP dye sub printer in a smaller, lighter and more portable set.

The post DNP’s DP-QW410 Printer: An Event Photographer’s Review appeared first on Rangefinder.

Having survived 26 years in this industry, I’ve seen many photographers come and go. The ones who manage to stick around for the long haul do it by providing an incredible client experience, meaningful storytelling in their imagery, and they have a solid strategy to print sales for wedding and portrait clients. Being successful for another 26 years is more important to me than fleeting popularity.

[Read: Creating a Wedding Photography Experience That Truly Caters To Your Couples]

Although there is undoubtedly a market for photographers who supply only JPEGs to their clients, most who have sustained thriving businesses have created a model where their clients must purchase printed photographs and other products. I do this by creating one-of-a-kind album and wall art collections for my clients and their families.

[Read: Upselling Albums to Wedding Clients and Playing the Long Game]

I use Fundy software to design and sell my albums, as well as Graphistudio in Italy as another supplier of albums and wall art. Their attention to detail and customer service is really second to none, and those details make me look good to my clients, even though the hard work has been done for me. As a one-stop shop, it also makes my workflow that much more efficient. My favorite products are the Graphistudio 12 x 16-inch Wedding Book, Pro Canvas and Pro Acrylic (non-reflective) wall art. (I’m also excited to share that very soon, they will also be releasing a collection designed by moi. It’s been a lot of work and brainstorming, so stay tuned.)

[Read: How the Pros Approach Album Design]

Showcasing wall art in realistic home environments is incredibly important to condition prospective clients to buy printed products. I feature these kinds of photos on my website and my price list as well. The same goes for wedding and portrait albums. Fundy software has some great features that allow you to do this very easily. For example, you can ask a client to send photos of their wall space to you. If they measure something in the photo (such as the width of a couch or a doorframe), you can then enter the measurements into the software and show your wall art collections to scale. It’s a realistic perspective of what a client’s photographs will look like in their exact desired space. If you sell with a projector, Fundy software can even show the “actual” size of the wall art projected on the wall. 

[Read: 14 Apps and Software to Help Run and Grow Your Photography Business]

I do offer my wedding clients low-resolution files in all of my collections, but I actually call them “images optimized for social networking.” It sounds so much better, right? If they select my second or third collection, I include high-resolution files of the images that appear in their finished albums. In other words, when you buy the print, I will give you the file. It’s also a great incentive to purchase additional images in their albums. With portraits, I do not have an option for low-resolution files, but I include the high-resolution file with every print that is purchased. 

Twenty-six years ago when in-person sales was simply called “sales,” a client would choose their photos from 4 x 5-inch proofs and point to a 16 x 20-inch print and ask to have one. Today, the choices are much more expansive.

Of course, many prospective clients are conditioned only to want digital products. But together as an industry, I think we have the responsibility to educate a new generation that printed products have so much more value and longevity. Photography is one of those rare items in life that appreciates in value with every day and every death. It’s a sad reality, but something we need to be reminded of sometimes. 

If you struggle to upsell printed photographs and other products, just remember that it’s not hard if you keep in mind that you are allowing your families an opportunity to create a legacy that they will preserve for the next generation. 

Jerry Ghionis is WPPI’s most awarded photographer. His WPPI Platform class, “Posing Challenging Subjects,” takes place in Mandalay Bay, Feb. 25, from 4:00-5:30 p.m. 

The post How to Boost Print Sales for Wedding and Portrait Photos appeared first on Rangefinder.

As its newest, lightest and most compact dye-sublimation photo printer, the latest from DNP is the QW410 is a portable model that can be plugged in to create instant prints on location.

With WiFi and iOS compatibility, it also supports an external battery to be used off-site and without power.

At $469, it’s available for pre-order now.

Ideal for photo booth and event photographers, there are two square formats in 4 and 4.5 inches so that it can even be used for ID photos.

With matte and glossy finish, the 4.5-inch printhead provides full-bleed, edge-to-edge prints in 16:9 ratio at 300dpi. Most 4-x 6-inch solutions have a 3:2 ratio that will crop the original photo.

Thirteen pounds in weight, it’s not necessarily portable but it does have external dimensions of only 8.2 x 7.8 x 9.5 inches. That’s 42 percent smaller and 50 percent lighter than their previous DP-DS620 model. It also uses 35 percent less power.

There is a curl-correcting mechanism as smaller printers need to reduce the diameter of the paper roll, which can cause curling. 

The printer comes with four sizes of prints as standard, however additional print sizes can be set through software. Each 4 x 6-inch print takes approximately 19 seconds or 22 seconds when using curl correction.

It’s also capable of 4.5 x 8-inch prints at approximately 24 seconds in turnaround.

Related:
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Printers, Papers and Custom Art Options for Photographers

The post DNP’s Portable QW410 Printer appeared first on Rangefinder.

Printers and Papers

Editor’s Choice: DNP Luxury Media

DNP’s Luxury Media is compatible with the company’s DS620A and DS820A dye-sublimation printers and consists of both Metallic and Silver Pearl media. According to DNP, the Silver Pearl media is “engineered specifically to enhance the subtleties of portraits” with natural skin tones and softer edges. Both the Silver Pearl and Metallic papers are available in 5 x 7-, 6 x 8- and 8 x 12-inch sizes.

Price: $167+
dnpphoto.com

[How to Separate Portrait Subjects From the Background]

Hahnemühle Natural Line

Hahnemühle’s Natural Line consists of two new papers. The first is Hemp, which comprises 60 percent hemp and 40 percent cotton fibers, with a white base and matte coating. It has a lightly textured felt structure and no optical brighteners. Next up is Agave, which consists of 70 percent agave fiber and 30 percent cotton. You can expect a rough yet “delicately defined” surface with a matte coating. It’s acid- and lignin-free, has no optical brighteners and is suitable for both dye and pigment inkjet printers. The line also includes a bamboo-based paper.

Price: TBD
hahnemuehle.com

[11 Photo Booth and Event Prints for Wedding and Portrait Photographers]

Epson SureLab D870

The new SureLab D870 uses Epson UltraChrome D6r-S six color, dye-based inks. Unlike many event printers, the D870 uses inkjet, not dye-sublimation, technology. You’ll hit print speeds of up to 430 4 x 6-, 275 5 x 7-, or 140 8 x 10-inch photos per hour. The D870 accepts square and panoramic media with a minimum width of 3.5 inches and a maximum size of 8.3 x 39 inches (and everything in between). It can print on glossy, luster and matte surfaces. The printer weighs in just north of 50 pounds, before ink and media are loaded in.

Price: $2,495
epson.com

[Sure Shot: Canon Updates Speedy Event Printer]

Epson Legacy Textured

This inkjet paper is created from a mould-made paper base that lays cotton fibers down randomly, which Epson says virtually eliminates curl. It has a heavily textured surface with a matte finish that simulates old-world, handcrafted watercolor papers, according to the company. The paper is 100 percent cotton and weighs 310 gsm. It contains no optical brighteners and accepts a high ink load. It’s sold in cut sheet sizes of 8.5 x 11, 13 x 19 and 17 x 22 inches and in 50-foot rolls, in widths ranging from 17 to 60 inches.

Price: $45+
epson.com

[How to Pick the Right Paper For Your Photo Prints]

Canon Creative Media for Pixma Printers

If you’re looking to make some novel photo creations, Canon’s creative media for its Pixma line of printers could fit the bill. The media includes Restickable Photo Paper, Magnetic Photo Paper and an Instagram-esque square Photo Paper Plus Glossy II paper. Both the Restickable paper and Magnetic paper are sold in 4 x 6 inches. The Glossy II is available in 3.5 x 3.5 inches.

Price: $6+
usa.canon.com

[Sneak Peak! 6 Things That Will Boost Your Print and Upsell Game at WPPI 2019]

Finishing Touches

Editor’s Choice: Bay Photo Lab Deckled Edge Framed Prints

Bay’s new Deckled Edge Framed Prints are available in a choice of three Fine Art Papers (light, medium or heavy texture) with optional borders and hand-torn edges. There are 23 optional frame mouldings to choose from including nine Float Frames, plus Reveal Mats in six widths and 12 colors. They’re available in sizes from 8 x 8 to 30 x 40 inches.

Price: $75+
bayphoto.com

[How to Create an Award-Winning Photo Print]

Chromaluxe Textured Photo Panels

The new Textured Photo Panels give a more dimensional feel to Chromaluxe’s metallic prints. Glare and fingerprint free and scratch resistant, the panels are available for desktop or wall mounting. You can order the panel in a 1/4-inch tempered hardboard or a 5/8-inch medium-density fiberboard. The former is sold in 5 x 5- through 8 x 10-inch sizes and include a dual keyhole and kickstand slot for mounting. The fiberboard versions are sold in sizes ranging from 5 x 7 to 30 x 40 inches.

Price: set by partner labs
chromaluxe.com

[What It’s Like to be a WPPI Print Competition Judge]

Millers Lab Personalized Foil Cards

If you want to give your photo cards an eye-catching sheen, check out Millers’ new Foil Cards. These custom cards can be produced in one or two days and are available in 5 x 7 or a business card-sized 2 x 3.5 inches. They feature printed raised foil on one side—you can print on the other side, too, it just won’t be foil. You can select gold, silver of spot gloss finishes.

Price: $0.70+ (5 x 7), $28+ (business cards)
millerslab.com

[A Simple Guide to Steering Your Creative Business in the Right Direction]

WhiteWall Wall Art

WhiteWall has recently expanded its wall-art options with a new circular shape, plus 6-, 8- and 12-sided prints. The new shapes can be produced in a variety of WhiteWall’s output, including their Print Under Acrylic Glass, HD Metal Print, Direct Print On Aluminum Dibond, Direct Print On Wood and Forex Print. The new shapes are sold in sizes ranging from 7.9 x 7.9 up to 39.4 x 39.4 inches.

Price: $18+
whitewall.com

[How Photographers Can Sell More Photo Prints]

H&H Color Lab Edge Metal Float Blocks

H&H’s new Edge Metal Float Blocks are sold in three metal finishes: brilliant, with a glossy white base; matte, with a matte white base; and aluminessence, which features a brushed silver base. You’ll have four color tones to choose from including black and white, cool brown and warm sepia and color, plus a wide array of block wrap materials and colors. The Edge Metal Float Blocks are available in square sizes from 8 x 8 to 30 x 30 inches and in vertical or horizontal orientations in 8 x 10 to 30 x 40 inches.

Price: $59+
hhcolorlab.com

[How to Make the Best Print From Your Photo File]

Printique Full Metal Albums

If you love the look of metal prints, Printique’s Full Metal Albums are a must-see. The glossy white metal is sublimated with your image, so the surface is heat and water resistant. The spine and back are made from a firm leather lux, and the album uses a lay-flat binding. You’ll have 13 color choices and options for thick or extra-thick photo paper. You can spring for Landscape albums in 8 x 10 and 12 x 15 inches, or square-format albums from 6 x 6 to 12 x 12 inches. There’s also a 10 x 8-inch portrait option.

Price: $189+
printique.com

[Upselling Destination Weddings With Niche Albums and More]

AcrylicPress.com Dimensional Logo Sign Kit

Give your personal brand a boost with AcrylicPress’s Logo Kit. Inside you’ll find a 16 x 24-inch dimensional logo sign, a coast set and luggage tag all festooned with your logo. There are also ready-to-hang signs for your studio that features a raised layer in either 1/8- or 1/4-inch acrylic with an aluminum backing, a bevel and either a glossy or non-glare acrylic finish. Shipping is free in the continental U.S.

Price: $145
acrylicpress.com

[8 Common Branding Pitfalls in Wedding and Portrait Photography]

Leather Craftsmen UV Laser Imprinting

If there’s anything cooler than lasers, we haven’t found it. Leather Craftsman uses a new UV laser imprinting process to create custom logos and art for their albums. The laser guides UV-cured ink onto the cover material (or spine) for a distinct and durable finish. Any album can get the imprinting, though the pattern must use a non-metallic color.

Price: $75
leathercraftsmen.com

[Tips to Photographing Your First Lifestyle Newborn Session]

Artifact Uprising Baby Board Book

Babies love few things more than books (maybe drooling) so they’re sure to love Artifact’s Baby Board Book. The 5.75 x 5.75-inch book has a sturdy matte-laminated cover with 1/16-inch semi-gloss pages. You can order the book with 20, 30 or 40 pages and select from pre-built design themes or custom-build your own design.

Price: $30+
artifactuprising.com

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The $99 INSTAX Mini Link is the latest in FujiFilm’s line of INSTAX instant, handheld printers. Using the INSTAX Mini Link application, the INSTAX Mini Link will connect to the camera roll of mobiles through Bluetooth for quick, seamless prints at an average of 12 seconds. It can print roughly 100 INSTAX prints per a single charge.

A Video Print function will allow motion frames to be printed, too. Multiple copies of a picture can be made by holding the power button while holding the INSTAX Mini Link upside-down.

With a minimal external design, FujiFilm says that operations are intuitive. The device will also work with their X Series and GFX System digital cameras when using the FujiFilm Camera Remote app.

Up to five smart devices can be connected and up to eight pictures can be collaged into a single print. The Party Print mode will create a single collage from photos take by multiple users.

While most photos and prints can be previewed, for a taste of the analog days, FujiFilm’s Surprise Mode option reveals the collage only through the final print. 

The INSTAX Mini Link application gives a variety of add-on frames for print overlays. There are also artistic filters and controls for achieving the best brightness, contrast and saturation in prints. With shutter and zooming options, the connected INSTAX Mini Link app also works as a functional remote control for smartphones. It’s available now.

Related:
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Big Printing: Epson’s Latest 44-inch P9570 and 24-inch SureColor P7570 Printers
Agog Over Analog: New Films and Film Cameras

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Epson has updated their SureColor P-Series of printers with the massive $6,595, 44-inch P9570 and its smaller but otherwise identical twin, the $4,695, 24-inch P7570. The new flagships in their lines of P-Series printers for professional photographers are planned for availability this December, and can be purchased through Epson Professional Imaging resellers.

Both use a new 12-color Epson inkset that adds a color, Violet. With Violet, the UltraChrome PRO12 twelve-color pigment inkset will give 99-percent coverage of the Pantone Plus Formula Guide for color accuracy in printing.

Epson says that Wilhelm Imaging Research have been testing the UltraChrome PRO12 longevity results of up to 200 years for color prints and up to 400 with black-and-white, too. Results meet and even exceed the previous SureColor P-Series inkset, Epson UltraChrome HDX.

Starting off the SureColor P-Series nearly twenty years ago, Epson’s Stylus Pro 9000 was their first 44-inch wide-format printer. Since, they have worked to improve the technology. Printing speeds, for example, have been increased at up to 2.4x the turnaround over previous generation SureColor P-Series printers. A new top-loading cut-sheet feeder door and internal rotary cutter gives fast cutting for most photographic and fine art roll-media types.

A new print mode has been added to the offerings. The Black Enhanced Overcoat improves detail results in blacks to provide an enhanced contrast ratio in prints between the shadows and the highlights. Black Enhanced Overcoat also reduces unwanted gloss differential to reduce any uneven patches of reflectivity when using glossy and metallic printing substrates.

Clarity, sharpness and density have all been improved in the blacks, which also have dedicated nozzles for both Matte and Photo black inks to eliminate ink switching and improve print turnaround. Epson’s highly regarded Advanced Black and White Mode is available for monochromatic printing capabilities directly from the printer. It has a 4.3-inch color touchscreen control panel.

The P9570 and P7570 printers also have new user maintenance doors to do manual cleanings if needed. Automatic maintenance in the newer will check nozzle health without wasting inks. A sealed roll-media door improves dust control and supports both roll- and cut-sheet media from 8.5- x 11-inches and up to 44 inches, respectively. Epson has added an interior LED light to illuminate projects while they print.

Both printers include Epson’s Preferred Limited Warranty for one-year, which includes toll-free telephone access and on-site service within 48 hours in the event of any hardware failures. Epson says LED illumination and frames using UV-absorbing acrylics can extend the lifespans of prints even further.

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