All other things being equal, the best files will make the best prints. That said, what factors should a photographer consider when choosing and preparing files for very large prints?
A fall scene from the Adirondacks photographed with a 42MP camera. Straight from the camera, a maximum print size of 17 x 27 inches at 300 dpi could be made. A bigger print would require enlarging, or interpolation, which is done with software. Photo: © Donald J. Rommes
At Iris Arts, we never know which of our images will be selected by our clients. We certainly can’t predict which of those will be used to make very large prints. Consequently, every photograph we make in the field is made with the assumption that someday it will be printed very large. In other words, we try to be mindful of the technical aspects of our craft.
Back at the computer, and operating under the same assumption, the images we select and upload to our website as jpegs have been carefully processed to minimize artifacts.
If one of our website jpegs is later selected to make a very large print, we know that going back to the original RAW file to enlarge it (rather than enlarging the website jpeg) will produce the better. How much better will mostly depend on the initial file size.
Recognizing that technology is evolving rapidly, that there are many ways to accomplish the same thing, and that quality standards can vary from person to person and job to job, here’s our current approach to getting the best file we can make.
IN THE FIELD
We strive for the sharpest images with the greatest amount of digital information.
- When possible, use the camera with the largest sensor.
- Use the lowest practical ISO and expose to the right (minimizes noise)
- Use a self-timer or remote shutter trigger (reduces vibration, improves sharpness).
- Use a tripod (reduces vibration, permits lower ISOs).
- Verify focus, focus stack when needed.
BACK AT THE COMPUTER
Process the files as desired, (we currently use Lightroom Classic and Photoshop) but do so in ways that minimize or eliminate noise and artifacts.
Lightroom.
- Process the RAW file for the lowest noise, best detail, and best de-mosaicing – we have been finding that Pure Raw 3 by DXO is especially good at this.
- Use a camera-specific linear profile in post processing the RAW file (seems to improve separation in high values).
- If RAW sharpening has not been done in Pure Raw, consider de-convolution sharpening in the early stages of post processing.
- Very cautious (if any) application of the clarity, texture, dehaze sliders before enlargement
Photoshop.
- Carefully spot the image
- Examine the image for noise.
- If sharpening and/or noise reduction deemed necessary, use masks (we use luminosity masks) to restrict sharpening (which can contribute to noise) to the lighter areas of the image and to restrict noise to the darker areas.
- If needed, crop the file to a common ratio (3:2, 4:3, 16x9, etc.).
- Do not perform final sharpening until the image is at its final size and ready for output.
- If we are simply preparing the file for the maximum file size of the camera, we sharpen the file at that size, save it as a jpeg and upload it to our website.
- However, if we knew that a very large print was requested, we would enlarge the file to the desired size with Gigapixel software, do selective sharpening and noise reduction with luminosity masks, and only then save it as a jpeg to send to our client.
In the next post, we'll consider what factors art consultants might want to consider when ordering very large prints from a photographer's file.
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