Learn about why Les Picker prints his photographs and uses Moab Paper for his fine art prints. “I print because that is really the culmination of my artistic vision. Until I see my image on a fine art paper, I feel it is incomplete.” Les is a very successful photographer, photographing for National Geographic publications and many other magazines and newspapers.
Learn about why Jim LaSala prints his photographs and uses Moab Paper for his fine art prints. "I printed this image on juniper which has tremendous color latitude and brought out the color exactly the way I had seen." Jim LaSala specializes in Fine Art Photography, Portraiture and Street Documentary.
Jim LaSala's favorite papers:
The AIPP (Australian Institute of Professional Photography) Victorian State awards, is a favorite of Moab Master, Joshua Holko, because each category he enters is judged in print, not digitally. Joshua Holko is a professional landscape, nature and wildlife photographer specializing in the Polar and sub-Polar regions of the globe. His work celebrates the extreme latitudes of the Polar environment. He is a huge advocate of the print as the finished medium of choice for his own photography.
The AIPP National and State awards remain two of the few remaining competitions to actually judge the finished print and they do so using a panel of judges all deemed experts in their respective genres and accredited as Masters of Photography through their years of success in this arena.
Joshua Holko entered twelve prints spread across the Nature, Documentary and Landscape categories. He took first place overall in the Nature category, what he felt was his strongest point. He also took the Highest Scoring Print award for the Nature Category. As someone who is passionate about print, this was an incredible honor.
All of the prints were printed on Somerset Museum Rag, Joshua Holko’s go-to paper. “Museum Rag has a gorgeous, sensuous texture that is a delight for the senses. No other paper so beautifully captures all of the colour, detail and subtle tonalities that the natural world has to offer. I would not exhibit my work on any other paper."
Chi Shooters celebrates their one-year anniversary with a special showcase on the 94th floor of the Hancock Center.
We’re excited to celebrate the Chi Shooters Anniversary with your artwork along with sweeping views of 360 Chicago! Chi Shooters is a branch of a global network of photographers and creators that promotes and inspires the growth of creative photography worldwide.
Artists are given the opportunity to submit their work to showcase and sell up to three pieces at the gallery event.
This event, June 6th 2019, also functions as a photography meetup for golden hour and sunset!
**Use the promo code CS360 for free tickets upon registering on Eventbrite**
We’re teaming up with Photo Innovation Lab to offer to get your work printed and handcrafted on the cotton based museum quality paper that we launched the business with for a fraction of the original cost! All prints will be on Entrada Rag Natural 300 16x20 and 12x18 size paper with your choice of Full Bleed or 1/8in White Border.
Join us for the opening recpetion of photographer, Dave Krugman’s, first solo gallery at Sony Square in NYC April 12th, 2019 at 7pm. All prints will be on Slickrock Metallic Pearl printed by LTI Lightside.
“This collection of work from Dave Krugman evokes the cinematic style of film noir that has been blended into the futuristic motifs of a cyberpunk backdrop. These rainy, neon lit streets are washed in light- watercolor landscapes that subjects move through like film sets. The images are foundations for the imagination to build stories upon. Transparency, shadow, water, artificial light, umbrellas and sweeping vistas- these variables combine to create a world that will immerse you in its depths.”
“It ... was long days,” Soluri says, but “I knew it would have meaning: This was the first reconnaissance of the Kuiper belt, and I was there with them as it happened.” - Michael Greshko (National Geographic)
When: Mon, August 20, 2018 6:30 PM – 8:00 PM PDT
Where: The Collective, 400 Dexter Avenue North, Seattle, WA 98109
Join us for an evening of conversation, photography and printing at The Collective! The Collective is a wonderful, urban basecamp in South Lake Union. Their space is dynamic and beautiful, offering nooks for conversations or a full restaurant experience.
This will be a great opportunity to hang out and network with your fellow photographers, while enjoying some snacks. Moab Paper will be on hand to chat about printing, paper and create prints for attendees! Be sure to bring 1-2 images on a flash drive/memory card to have a print created on Moab Paper.
Article content by Les Picker & Robert Boyer:
Putting on a gallery exhibition is both an exciting and exhausting experience. Image selection, post-processing, printing, matting, framing, and packing your framed prints are each mentally challenging tasks that require inordinate amounts of time and energy.
I'm often surprised at a huge marketing opportunity that photographic artists pass up that would enhance both sales and reputation. After all, a successful gallery exhibition is not only about showcasing the prints themselves, but the opportunity to sell them and to enhance one's reputation in the highly competitive world of art prints.
And, for most of of us who do our own printing, the opportunity is right in our hands!
A good art exhibition should have a catalog of the images being presented. The catalog might include the name of the piece, its price and perhaps a brief description of the image, often accompanied by the image itself.
Catalogs come in many shapes, sizes and formats. In many cases the catalog provides utilitarian value, an inventory of the art work to be primarily used by the gallery for reference. I see these catalogs as of limited value. Their limited accessibility minimizes their effectiveness. While it's certainly fulfills a necessary requirement, it does not take advantage of an immense marketing opportunity for the artist. Catalogs should use design and materials that reflect the feel and intent of the art they represent. They should also be widely distributed and worthy as a keepsake unto themselves. The goal of these ancillary materials, after all, should be to elevate the art pieces as a whole.
How We Do It
For my latest exhibition, WildEarth: Monochrome, all our large format images were printed on Moab Entrada Natural, Moab Entrada Bright, and Moab Textured Rag, using Canon large format printers. In the interests of full disclosure, we are sponsored by Moab, but that mutual decision was based on our experience and love of their papers. As a senior photographer, and as my clients and students know, I am at a point where I would never agree to be sponsored by a product I did not believe in.
For the WildEarth exhibit, we wanted to integrate the luscious papers themselves into the art experience for the patrons. We designed and printed the catalogs on Moab Entrada Bright 300GSM 13" x 19" sheets. We then scored the paper in the middle, creating a perfect fold. All it takes is a very light score with a brand new blade to achieve the crisp fold we sought.
Invitations To The Opening
Similarly, we created accessory marketing materials that were both consistent with our artwork and integrated with the theme. These consisted of a small announcement/invitation and a set of four gallery cards.
The invitations were printed 4-up on an 8.5" x 11" sheet of Entrada Natural 300GSM paper, utilizing both sides and then cut. For variety, we printed them with a dark and a light background. These were mailed to a select list of clients six weeks prior tot he Opening and were also placed in strategic locations in the gallery and other venues.
The gallery cards were actual copies of two of the wildlife images and two of the landscape images that were on display in the show. They were also printed on Entrada Natural 8.5" x 11" 300GSM paper, two to a sheet and then cut. The reverse side contained marketing material about Les Picker Fine Art Photography.
It would be hard to describe the positive reaction we received at the Opening for the supporting materials (and thankfully for the fine art prints themselves!). There were literally dozens of people who commented on the feel and texture of the Moab Entrada paper and in at least two of the cases, that tactile sensation helped sell prints.
Having supporting marketing materials that elevate the artwork and are consistent with their mood and feel are what museums and significant galleries do as a matter of course. As a small studio ourselves, we completely understand that most photographers do not have a dedicated person or team to do this. But that does not mean it should not be done. We look at the production of the artwork itself as just one step toward a successful gallery show. Yes, this is a difficult and laborious task, but the end result is both satisfying and, hopefully, financially rewarding.
So, next time you are contemplating an exhibit of your artwork, think in terms of integrating the art with the marketing materials.
Profiles for the Epson XP-15000 are now available for Moab Papers.
1. Go to the ICC Profiles link on the Moab website.
2. Select your printer type & model.
3. Fine the Moab Paper listed, and download the profile directly to your desktop.
Jonathan's work contains twenty-four 24" x 36" prints on Juniper Baryta Rag. "It's my favorite paper, makes the saturated color jump."
Other artists shown are Gregory Eddi Jones, Anastasia Samoylova and Danielle Ezzo.
"ECOTOMES (transitions between ecosystems), a quiet room in a sea of interactivity. Photography’s invention caused a shout: “from this day painting is dead”. New media is evolving media; from stones and pencils to paintbrushes and presses and onward to virtual reality, artists-cyborgs use available technology to make their mark. Every iPhone image relies upon millions of lines of code; every image we make (and see) involves millions of neurons. Cameras and computers are prostheses for the artist, in a good way: not to replace but to augment what it means to be human. Photography has not depicted what is “real” since it’s inception; that train left long ago. But it retains its evocative nature to simulate the real (a construct of our brains processing visual intake) when contrasted with digital marks. Here we air the ongoing dialog between our organic selves and our digital allies and influences." - Jonathan Morse
In an age where we rely on technology for just about everything that we need, we tend to neglect or forget about the analog aspects of life. This is particularly true for the media we consume, which are largely in digital format—people rarely keep physical media like videotapes, audio CDs, and of course, printed photos.
For instance, most photographers today have thousands and thousands of images saved on their memory cards and other storage devices, but have little to no printed copies. Unlike earlier analog photographers who had to use darkrooms to make prints just to be able to see their images, many shutterbugs of the digital era no longer keep physical copies (whether on film or in a printed photo) of their work.
But what happens when you lose all of the digital photos you saved in your computer or shared online? That’s where printing comes in.
You might be wondering why printing is important—especially for photographers, who tend to share their work solely on their online websites or social media pages. Here are some reasons why photographers (like yourself) should consider printing their photos:
1. It’s a better way to look back at old memories.
Do you ever find yourself wanting to reminisce about the past? Baby pictures, family reunions, high school parties, weddings, and the like? Having these precious memories on print is a better option for when you’re feeling a little nostalgic. Why? It’s simply a better experience to be able to go through a photo album as opposed to swiping left or right on a mobile device, or pressing buttons on a computer.
Another upside to having prints is you can display your favorite shots (or your most treasured memories) in your home or office. After all, what’s the point of taking all those beautiful pictures if you’re going to keep them stuck in a digital device? All you need is a good printer and some fine art paper, and you’re all set to enjoy those photos in a more meaningful and tangible way.
2. They technically last longer than digital copies.
Unlike digital pictures, actual printed copies have a longer lifespan. Think of it this way—you most likely still have copies in your family albums of decades-old photos from when your parents (or grandparents) were still young. Sure, they’re pretty battered and discolored, but they’re still there. On the other hand, the same probably can’t be said for those random selfies or artsy photos you saved on MySpace or Friendster.
When you upload pictures to social media, photo hosting sites like Flickr, or to paid cloud storage servers, there’s always a chance that they will get permanently deleted. The same goes for your computer storage or your hard drive. They can get corrupted or even lost—which means you lose your photos in the process.
If you want to get started on printing your work, make sure to choose high-quality photo paper to ensure the longevity of your prints.
3. You can display them anywhere you like.
Another advantage of printing your photos is that you can display them anywhere. As a professional photographer, you’d want to show off your best work, whether in your home, at your office, or in your studio.
Many photographers these days are content with displaying their work on social media, but there’s still something more impressive and organic about having large, blown-up prints of your favorite photos. It really shows off your skill, because plenty of photos can look good on a computer or mobile device, but not all of them will look good in print.
4. It makes you a better photographer.
Nowadays, thanks to Instagram, pretty much anyone can be a photographer. But as previously mentioned, it’s easier to shoot photos for social media than for print, and by printing your work, you force yourself to really perfect everything down to the last detail and ensure that your shots look good on both print and digital.
Printing also allows you to understand your work better. How? It helps reveal things you wouldn’t have normally seen on a digital screen. Seeing your photos in print will allow you to see what your (and your camera’s) strengths and weaknesses are.
5. You get to learn a new craft.
Photographers spend years learning how to use their cameras—but they usually don’t stop there. Back in the days of analog photography, you had to learn how to use a darkroom and develop your own photos. These days, photographers no longer need to learn how to develop film, but they do need to learn other skills, like basic photo editing and digital manipulation. Some even take it a step further by learning how to properly print their photos as well.
Printing your photos allows you to learn a new craft—from understanding color management down to choosing the right printer, ink, paper to use in order to produce high-quality prints of your work. Once you master this part, you increase your skill set as a photographer.
And the best part? You won’t have to pay someone to do it for you.
6. It allows you to expand your photography services.
Adding photo printing to your photography package allows you to provide a more comprehensive service. Aside from giving you the option of earning extra cash, printing gives you the opportunity to deliver the best possible output for your clients. After all, imagine taking the time and effort to capture all of those perfectly composed and exposed photos, only to have them look horrible once the client has them printed elsewhere.
When you do your own printing, you retain control over image quality, size, and the overall presentation, so you get to ensure the quality of the final product.
Printing allows you to become a full-service photographer, which can help you attract both potential and long-time clients and take your business to the next level.
Be the first to see our new Flint Portfolio. An ultra-modern screwpost portfolio used to create a stunning presentation. The innovative adhesive hinge strips allow any Moab Paper to be applied.
Grab a sample of our new Entrada Rag Textured paper. A defined, yet subtle texture with the same superb printing qualities as the classic Entrada smooth. A nice alternative to the traditional smooth finish.
The International Photography Hall of Fame and Museum presents the 2017 class of Photography Hall of Fame inductees, and first-ever Lifetime Achievement Award recipient.
- Kenny Rogers, singer, songwriter, record producer, actor, photographer, and author, will receive the 2017 IPHF Lifetime Achievement Award, the first of its kind awarded by the IPHF.
Nine photographers or photography industry visionaries who demonstrate the artistry, passion, and revolution of the past and present craft of photography are selected for induction to the Hall of Fame, including:
- Harry Benson, iconic portrait photographer
- Ernest H. Brooks II, black-annd white underwater photographer
- Edward Curtis, photographer of the American West and the North American Indian
- William Eggleston, pioneer of color photography
- Anne Geddes, portrait and infant photographer
- Ryszard Horowitz, pre-digital special effects photographer
- James Nachtwey, photojournalist and war photographer
- Cindy Sherman, conceptual portrait photographer
- Jerry Uelsmann, photomontage photographer
A huge congratulations to one of our Moab Masters, Ryszard Horowitz!
The 2017 Awards and Induction Event will take place on November 17th, 2017 in St. Louis, MO.
For full information, read the Press Release here.
By Theano Nikitas for Rangefinder Magazine
Epson inkjet printers have been a staple in photographers’ studios for many years and with good reason. Each generation of hardware and inkset elevates photo printing to new standards. That trajectory continues with the SureColor P5000, Epson’s latest 17-inch desktop printer. (The company recently rebranded its familiar Stylus Photo/Stylus Pro lines under the SureColor banner to unify the brand globally.)
The SC P5000, the successor to the still-available Stylus Pro 4900, retails for $1,995 (Standard edition, reviewed here). Commercial and Designer editions are also available for $1,995 and $2,495, respectively.
Featuring a 10-color UltraChrome HDX pigment inkset, the P5000 utilizes 200mL cartridges, adding orange and green inks to the mix as well as cyan, light cyan, yellow, vivid magenta, vivid light magenta and three levels of black (Photo or Matte, light black and light light black). The printer is also equipped with two maintenance tanks for depositing excess ink, including one for borderless printing. Built-in roll printing and a high-capacity cassette complement front and top paper feeds. An optional SpectroProofer is also available.
Beyond additional inks, the P5000 offers a broader color gamut, 1.5x higher density black levels and twice the print permanence of its predecessor—up to 200 years for color and up to 400 years for black and white.
As expected, print quality is superb. I printed a variety of color and monochrome images on several different glossy and matte papers including Epson’s Legacy Platine and Moab’s brand new Entrada Rag Textured 300 (scroll down to see the sample image). Colors were beautifully rendered and there was no evidence of metamerism or gloss differential.
The only anomaly I noticed was that shadows were ever so slightly darker than anticipated, especially compared with the same image printed on the Epson Stylus Pro 3880 using the same color-calibrated monitor, same paper and the appropriate ICC profile. This is a result of the denser black inks, which also increase overall contrast, dynamic range and make prints appear sharper.
The SC P5000 is a beast, albeit a handsome one. It weighs almost 115 pounds and, with the exit tray closed, measures 34.0 x 30.2 x 15.9 inches. Unboxing and moving the printer to a sturdy table is definitely a two-person job. Setup is easy, albeit a little time-consuming; plan on 45 minutes to an hour, at best, until it’s ready to print.
This well-designed printer is equipped with Gigabit Ethernet and USB 2.0 ports, a built-in rotary cutter and a full-color LCD control panel to choose paper types and other settings. The latter, along with a large alert lamp on the top of the printer, provide important notifications about ink status, paper feed issues and more.
Speedy and quiet printing is the norm, although fan noise is noticeable when it kicks on. The fan is not exceedingly noisy, but I wouldn’t want to be next to it when making a phone call.
WHAT WE LIKED
Print quality is, of course, the main criterion and the SureColor P5000 output— color and monochrome—is gorgeous on a wide range of papers. Setting up and printing with roll paper is exceedingly easy and the user-replaceable rotary cutter produces clean and smooth cuts. It’s perfect for printing panoramas.
Dust protection is a bonus and eliminates the need to find a large dust cover for the entire machine (I don’t mind dusting the outside but always worry about dust reaching the feeds, rollers, etc.). And the user alerts are very helpful since the control panel explains exactly what’s wrong.
WHAT WE DIDN’T LIKE
I only have a few complaints. Marring the overall excellent build quality is the plastic output tray. It doesn’t slide smoothly in or out of the main body and although I don’t think it will break, moving the tray requires a little bit of jiggling. The tray is also a little short for larger/longer prints and there’s no catch basket, so your panorama print will likely end up on the floor if you’re not there to grab it.
The front sheet feed also requires a bit of finessing to precisely align the paper since there’s only a mark (rather than physical guides) to place the media.
And, yes, switching between black inks gobbles up some of that liquid gold. Epson doesn’t release any numbers for how much ink is used in the switching process and I’m unable to quantify it, but it’s visible in the ink level gauge on the control panel.
HOW IT COMPARES
There’s little competition in the 17-inch desktop inkjet printer market. The closest match to the Epson SureColor P5000 (or P4900) is probably the older, 17-inch, 12-color Canon imagePROGRAF PF5100. Paper handling options are the same as the Epson, but the $2,100 iPF5100 has built-in calibration, which is nice. If you don’t print in large quantities, can forgo cassette and roll paper feeds but want wireless connectivity, the $1,300 Canon imagePROGRAF PRO-1000 is a compelling, budget-friendly output option.
As I mentioned earlier, inkjet printing standards continue to be elevated with each new product, which gives the Epson SureColor P5000 an edge over the older Canon iPF5100. With Epson’s best-in-class print quality and excellent paper handling, I highly recommend the SureColor P5000 for pros who want—and need—the latest and greatest in inkjet printing.
GIVING MOAB’S NEW ENTRADA RAG TEXTURED 300 PAPER A TRIAL RUN
One of the papers we fed the Epson P5000 was Moab’s latest release, which brings texture to one of my favorite papers. The new Entrada Rag Textured 300combines the warmth of Entrada Rag Natural with a slightly textured surface. Although textured paper is not a perfect match for all images or aesthetics, Entrada Rag’s subtlety worked well with portraits of costumed actors I shot for a theatre company’s brochure. Julius Caesar’s robes and breastplate took on a slightly warm tone with enough tooth to give it personality without overwhelming the subject.
This 100 percent cotton 300gsm media is OBA-free and available in cut sheet sizes from 5 x 7 inches to 36 x 48 inches along with 17 x 24 x 44-inch, 50-foot rolls. Cut sheet pricing for a 25-pack varies from $19 to $514, and roll prices range from $140 to $281.
Theano Nikitas has been covering photography for over 20 years. Although she loves digital, she still has a darkroom and a fridge filled with film.
©Harold Davis. All rights reserved.
Entrada Rag is the superb, acid-free paper that put the Moab Paper brand on the map some fifteen years ago. So as a Moab Master I was honored to be asked to evaluate and test Moab Entrada Rag Textured, the first addition ever to the Entrada Rag line, during the pre-production stage for the paper. It’s great news for photographers and artists that Moab Entrada Rag Textured is now generally available.
Like the original Entrada Rag Bright and Entrada Rag Natural papers, Entrada Rag Textured is of course acid-free. Also like Entrada Rag Natural, it is a 100% cotton paper that is somewhat warm-toned. This is a very thick sheet (300gsm) with a great sense of “hand” that is entirely OBA free, and (like the original Entrada Rag Natural) boasts an extraordinary tonal and dynamic range for a matte paper. Note that Entrada Rag Textured is single-sided, as opposed to Entrada Rag Bright and Natural, which come both in single-sided or double-sided versions. The tonality of Entrada Rag Textured is much like the creamy feeling of Entrada Rag Natural, rather than the very bright white of Entrada Rag Bright.
As you might expect, the primary difference between Entrada Rag Textured and the original Entrada Rag Natural is, of course, the texture of the surface. But what you have here is an elegant, refined texture---not an over-the-top "watercolor" paper.
Just as the warm-toning of the Entrada Rag Natural paper is subtle, the texture that Entrada Rag Textured presents is also subtle. Photographs printed on Entrada Rag Textured will look like art, and the finished print will be a delight to handle as well as to look at. In other words, Entrada Rag Textured charts a middle "Goldilocks" course: textured, but not too textured. It is a paper that is indeed "just right", and makes the image look great, not a paper that is so "too-too" that the presentation becomes about the paper rather than the photo.
Of course, like any high-end specialty paper designed for modern photographic printing, Entrada Rag Textured is not one size fits all. It works better with some kinds of images than others. To get a sense of the kinds of images that really "marry" well with Entrada Rag Textured, and to learn what this paper does best, we made numerous test prints in my studio using my large format printer.
One thing I found is that this is a paper that really works well as part of the print presentation. In other words, I would never print right up to the bleed-line (edge) with Entrada Rag Textured. It makes much more visual sense to allow the paper to show around your image---and to strongly consider the imposition and spacing of the print on the paper as an integral part of printing-making with Entrada Rag Textured. Showing an inch or two (and sometimes more!) of Entrada Rag Textured around the borders of any image enhances the art print and gallery effect of this paper.
The combination of a moderate warm tone, refined texture, and high dynamic range is a pretty spectacular set of characteristics for any paper, and helps to make Entrada Rag Textured a winner that is appropriate for a wide range of images. Of course, it is not, never will be, and should not be used like you would use a more glossy photo paper (glossy papers with a more "photographic" finish of course have a great place of their own in the world). So in my experience, the images that work best with Entrada Rag Textured are artful, and intended as art (as opposed to, for example, journalistic-style imagery).
With monochromatic imagery, I would strongly consider toned or somewhat old-fashioned photos (as opposed to "straight" black and white) for Entrada Rag Textured.
With color imagery, I get great results essentially across the gamut of landscape photography, particularly in imagery where the real strength is in separation of mid-tones. My personal preference on Entrada Rag Textured is for color imagery that has elements that echo antiquity, and so lie in the cross-roads between modernism and older traditions of printmaking and art.
There’s no doubt in my mind that Entrada Textured Rag has become one of my "go-to" printmaking substrates. Combining high quality reproduction with a sensitive and sensuous surface that is entirely fiber, I expect to be making prints with Entrada Rag Textured for a long time to come.
(Left) The rendering of the structure underneath the Art Deco Yaquina Bay Bridge in Oregon is a good fit for Entrada Rag Textured: the paper shows and holds details, even in the areas that are almost black. The paper handles ink well and doesn’t overload, even in very dark areas. © Harold Davis