As much as I agree with much of Brooks Jensen’s commentary on print size, I can’t deny there is some unmatched excitement when seeing some of your images printed very large. By large, I am referring to 20×30, 24×36, 30×45 (inches) and up.
Now and then, I get requests for prints at these sizes. In fact I just delivered a job for an art consultant client requiring three 30×45 prints for a corporate headquarters. Sometimes big open spaces require something big to fill them. More often than not, particularly for places like hospitals and offices – they want prints of these sizes.
Of course, big prints mean some pretty big file sizes. The image here was enlarged to 30×44 inches at 200 dpi, which resulted in a 233 MB files size. Even with decent cable internet, it takes awhile to upload this file to a lab. Processing is pretty much the same as you would with smaller print files, except you have to keep in mind that every bit of that image is going to be magnified a lot more than you are used to. So you have to be meticulous about dust spots or the slightest flaws – reviewing every inch at 100% magnification. The image has to be very sharp in its native state, otherwise focus errors become exaggerated. It also helps to have some computer horsepower in processing these large files.
Sharpening is also important because you are likely interpolating your file up from something that is much smaller in its native state. You are going to see some loss of sharpness, but much of that can be recovered through careful use of the tools available these days. Much more than many people think actually. I have become a fan of using PixelGenius’s Photokit Sharpener because of the various staging methods it offers and tools that really overcome interpolation induced softness. I will even add grain from time to time to give digital enlargements a more ‘natural’ feel.
So what if you are unsure if your image will look ok when blown up this big? An easy way to check is to enlarge it to the size you want, sharpen – and then crop out a section for output on whatever size inkjet printer you might have. It will give you a good idea if too much detail is lost, or if you are over or under sharpening.
Having accurate profiles from the lab you are sending to, and a calibrated monitor are absolutely critical if you are ‘pre-flighting’ the file yourself. Some labs will offer you some savings if you work up the entire file yourself (“pre-flight”) and all they have to do is print it. But in this case, mistakes are very expensive. Many of course will color correct, upsize, and sharpen the file for you for a premium, but you relinquish a bit of control. Most will offer you proofs upon request.
Getting the prints at your door is the moment of truth. If you did most of the work yourself, you have a hundred questions in your head. Did I color correct and saturate enough, sharpen enough, went too large?, etc, etc. I’ll be the first to admit that handling prints at these size can be quite stressful because they are extremely delicate. Usually they are shipped rolled at these sizes because shipping cost and packaging is quite ridiculous to ship them flat.
You need a very big, clean open space to unroll them to take a look. Cotton gloves are a must – and you must remember to never pick a print up by anything other than opposite corners. Doing otherwise will give you a nice crease to an expensive piece of work. I don’t like lifting them at all unless absolutely necessary. But I will unroll of course to check the print over and sign it. Rolling them back up is also a very delicate process to make sure edges don’t leave marks on the face of the print.
When everything goes right, you end up with some large pieces that have impact and draw a lot of attention. When I go to art shows, I see quite a few photographers offering these huge prints these days – big 40×60’s. I can only imagine the amount of work that goes into transporting them safely.
I think the people that usually buy these sizes have particular spaces in mind for them. Large great rooms, conference rooms, large hallways, waiting rooms all typically have large open walls. A small piece of art can simply be overpowered by the huge amount of space surrounding it.
While I don’t think a photograph has to be printed large to have a significant response from the viewer, in some situations, it is needed just to be noticed.
Pantone.® has recently announced their color of the year for 2009: Mimosa (Pantone 14-0848 TCX) I wrote about the 2008 color Blue Iris last December (link), and have sort of started a tradition in following it now. . And you are thinking – what influence does color of the year have?. . It seems to have quite a bit – from fashion designers to interior decorators – they are always looking for what’s “in”. . . Here is a link to an article about Blue Iris in the New York Times On the ColourLovers website, Blue Iris ended up being ranked #3,894 out of 1,605,487 at the time of this post. . This is a site where many interior designers experiment with color palettes – sharing and ranking them.
. . Given everything that has gone on in 2008 as far as the economy and the world, perhaps heading in the opposite direction isn’t such a bad idea. . A few quotes from Pantone’s executive director:The color yellow exemplifies the warmth and nurturing quality of the sun, properties we as humans are naturally drawn to for reassurance, explains Leatrice Eiseman, executive director of the Pantone Color Institute.®. Mimosa also speaks to enlightenment, as it is a hue that sparks imagination and innovation. – source Marketwatch
I am also starting another new tradition in creating a special gallery dedicated to the color of the year. . I also played with a few new images in blending this color with them. . These leaf images in this post are the result.
