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The ones I bought from Amazon do not have strong enough magnets to hold up large canvas prints. I have a print that is 20 inches by 36 inches, and it falls off the top bars after a while. It does well on small canvas prints though.

The mirrored edges option, is that something that is done with the Q Image One software?

Thank you! I figured out how to use the right paper profile but printer manages color was the key. I just boost the white in levels a touch and now my pixma 100 prints 13x19 photos that look exactly like the photos on my iphone screen. Skin tones are PERFECT!!

what nails compressor shell i use for home DIY use. I am not professional but need some time

even more trippy is add a 3rd and you can restore the light passing through.

great

The problem that I have with my printer in addition to the horrible color is that the printer constantly reverts to being offline. I just saw your video regarding the color problem and can’t wait to try it tomorrow but my printer is always offline. Any suggestions?

Thanks! This is one of the best explanations

Love the simple set up thank you

French bread comes in a long paper bag, sure you find those in bulk online. If the sleeve is to weatherproof, wax paper maybe 🤷🏻

Great video, thank you! I don't understand the issue with constant lighting vs. strobe? If you had soft boxes of the same color temp as the strobes why would it matter if they were on constantly or not? Thanks

It would be great to see an update on the polarizing method you are using to shoot paintings.

What if I'm selling photos online only, and want the prints to be the closest to what customers see on the thumbnails (which are sRGB)?

Light from the lamps in a room doesn't bounce off a matt printed artwork. That will make the artwork stick out. It can stick out like a sore thumb..OR it can stick out like a beautiful center piece. IMO, go for matt only if the art is breathtakingly good. Else, the satin will add a flow and continuity to the eye which scans the room. Now if your walls are painted in semi-glossy finish and your artwork is in matt, the artwork is not going to participate in the warmth of the room when you switch on a warm light bulb. For the artwork to participate with the room's glow, it has to be in the same satin finish as the walls. In this case the satin canvas print is going to look way more beautiful and coherent.

Good looking print. Just curious, what were the dimensions of the original art?

Question what Format of Files usually used to sell Art Prints on Print on demand Sites? By the Way Thank you for the Video…Good Info

Thanks.

Hi, I changed the purge unit and I'm still getting the same error. any ideas please

Perfect 👍 looking for cheap easy way to mount my art. Thx!

You saved me a great deal of time and energy with this tip. I sincerely appreciate the help.

Super useful tips, thank you so much!

So basically, using these color spaces only makes sense in your specialized printer and paper right? most printers should still receive CMYK?

Deepest lake on the continent!

cmyk percentage, percentage of what is it, is it from 100% of four colors cmyk or including base color (white), percentage of what is that wich we see in cmyk chart ?

what about cold laminating the print?

I just photographed some paintings for an amazing artist. She sells her paintings to an art consultancy company that does enlargements for hospitals and hotels etc. Obviously I'll have a dpi of at least 300 but what pixels/inches would you suggest I make them? Some of her paintings are small and some are 60"x60". She also requested they be exported as TIFFS. Since I don't know what size her future clients will enlarge them as what do you think the safest export setting would be?

For my own work, i like to scale to the final size and actually cut out the gaps. For example, if i plan to space the panels 2inches apart, I'll crop out a 2inch gap between the print areas. Think of it like a series of windows where the gaps actually hide part of the scene. This avoids skewing the total aspect ratio once hung, and avoids some oddities in some images (like what appears to be a reeeaaly long car or something lol) I prefer it on my own mutli panel prints, but hard to work with others' prints this way sometimes withiut very careful coordination

Thank you for this great presentation, extremely helpful Clear instructions, easy to follow and understand, and ACTUALLY learn from!!!!!!

Good video but for a comparison should rwally have the same photo for all three examples. Comparing a dark sunset pic to a bright photo of a face is just too different.

Since you're already using Qimage One to print, I didn't know if you realize: Qimage One can do multi-panel printing including triptych from the original image. And since the multi-panel UI is designed for it, it's much easier to use and you can specify borders, gaps (or overlap if you wish), and even the mirrored borders. Give it a try next time. Just send the original image over to Qimage One and select the multi-panel print size and go from there.

Great video ... but what if our monitors can't show Adobe RGB, most only 100% RGB ... should we still work in Adobe RGB when we can't accurately see it?

We have the same struggles it seems. Metallics embedded in glossy varnished artwork, the bane of my existence! But I have the advantage of a dedicated artwork shooting space and continuous lighting on ceiling tracks. Like you I take multiple shots while rotating the CPL on the camera and then blending judiciously in Photoshop. An aside, I found the 16-shot 240 MP mode on A7R4 works great with some lenses but is terrible with others.

Thanks man that's hype

Thoughts on luster for cassette j-cards?

This is actually a strainer, not a stretcher. Stretchers have loose corners that can be expanded by keys to increase the canvas tension.

Wtf ur nails painted. nerd

Great explanation and detail. Came here for ideas as starting a project with now deceased mother-in-laws art. Very similar to the setup I use for real estate photography using umbrellas. While I prefer to "get it correct in camera", rather than try to approximate the angle of the print to the camera, raise the low end of the print with something malleable, like a sock ball hidden behind the painting. Bring the top and bottom of the painting parallel with the wall. An easel mount may be harder to visualize as you raise the top forward to the same plane as the bottom. Then it is simply a matter of centering the level ball on the camera mount and they should match up. I personally use an arca-swiss plate with level ball on camera and adjust the tripod head to center the ball as the alternate style - flash mount level ball unit - is not possible with the Godox Xpro-S mounted there and firing the remote strobes.

hello, what adjustment did you perform from the service manual?

wow, another great video. Thank you!

name of the shop in Madras? Wow, great video, thank you!!!

Thanks for the video! My problem is that we DID change the purge unit. But the problem is still there... Did you come across anything similar while researching maybe?

Thank-you for sharing your knowledge on this subject. I have been struggling with reflection on varnished canvas when using strobes. I really enjoyed your video

To make sure your sensor is perfectly parallel to the painting, the easiest way is to use a mirror. Place it in the middle of the artwork, and if you align your camera so that you see your lens in the middle of the mirror, you can be sure you’re parallel to it. No more time spent on post aligning your shot.

Museums will not let you use flash for this. If you’re doing this at a professional archivist level, continuous lighting, a dark enough room, and long exposures is the way to go.

I just wash the pads in the sink and let them dry. Then go into service mode on the printer and reset the maintenance cartridge. I do this on all three of my imageprograf 6000s. Service mode: Press the lower left corner of the screen then hold down the power button. When the Canon logo appears continue holding down the power button, you have two seconds to do the following; lift your finger off the lower left corner of the screen and touch, in order, the lower right corner, upper left corner then the upper right corner then release the power button. From there you can go into the service menu and reset the maintenance cartridge.

I've literally set contrast AND brightness to ZERO, and the print is still TOO dark.

There doesn't seem to be an option for the IJ driver anymore. The printing system on Mac OS borked right now. It is insanely difficult to not get double profiling; it's as if they've stacked the deck against us.

I use linear polarizing films on two strobe lights that also have continuous lamps for first adjusting camera Circular polarizing lens to completely remove oil painting glare. Thereafter, taking photographs removed the glare. It works. However, there is one problem with my Nikon DSLR. When using it like mirrorless camera, the focus light does not shoot in dark, hence have to first use strong 500W lamp to assist in focus, and then shut the 500w lamp, and thereafter use strobe flash in dark. It works. If Nikon DSLR is used normally, the auto focus assist light will work, but I find that the final oil painting image is not that sharp as using Nikon DSLR like mirrorless camera by flipping out the front view finder mirror. But first, get proper white balance by measuring Nikon white balance on large white gessoed canvas. Entire image of white canvas in camera only for measure of white balance. Forget grey card nonsense. It should be white canvas for measuring white balance. Thereafter, place color checker passport in frame when shooting photo of oil painting (so that no shadow falls on color checker passport color chips), and take photos at F 8, f 7.1, f 6.3, f5.6 even f 4. Keep iso at 100, 160, 200. Practically, I find that keep iso at 200, and f8, Shoot in RAW, and check in camera in histogram if there is good light capture towards the right without blowout flashing. Do the rest adjustments in post processing on computer to get sharp photos with even good lighting. I have taken thousands of photographs of paintings like this, and glare has been eliminated completely, and colour depth is lovely. Varnish, no varnish etc ignore. Cross polarization works. Just fantastic. Only real problem - it works too well and getting that raw feeling of thickness of oil paint in oil painting is missing. Photo becomes too perfect and flat image. At the end, I feel, that if one simply takes unvarnished oil painting in sunlight and takes photograph, the thickness of oil paint is felt in the photo. The photo somehow appears more impactful. So, crude method, as well as highly sophisticated method of taking photos, both have their own charm and use. Make your own choice.

Thank you for the video! What kind of spray do you use? The satin and matte?

Hi, I used Qimage Ultimate up until switching over to the MAC system and purchasing Qimage One, have to say as you pointed out not half as good as Qimge Ultimate and not a lot of tutorials either, anyway as one of the older generation I still like to work in Yards, Feet and Inches not Metric, I cannot figure out to change from Metric to Feet and Inches when creating a user defined margin, use only Sheet paper not roll paper, contacted developer and was told it was maybe because I live in Europe that it shows metric but can't see that should make a difference. Have sent an email with couple images to your SALES email as could not see a way of attaching images to your contact me email. Thanks |You, Russ.