Tag: review

Using the Canon EOS R Mirrorless Camera for Multiple Exposure & ICM Photography

Posted on December 17, 2018 by dougchinnery - Gear Reviews, News, Photography comment, Photography Tips

Using the Canon EOS R Mirrorless Camera for Multiple Exposure & ICM Photography

The new Canon EOS R full frame mirrorless camera system was released recently with much fanfare. Valda and I were immediately keen to get our hands on one and Rob Cook at Canon UK very kindly provided us with loan bodies, lenses and adaptors to give us that chance. (I made all of the images in this article on one day with the EOS R).

Our hectic lives, as usual, meant that time with the camera was frustratingly limited, but over the few weeks we had them we did manage to clock up several hours of use. Enough to put them through their paces and get a real feel of how this system performs for those of us that are working with the creative use of multiple exposures and intentional camera movement (ICM).

If you also use your camera for more conventional image making, this blog, while not concentrating on those areas (you will find hundreds of others out there that do) should also give you a feel for its potential.

Firstly, I’ll deal with some of the fundamentals around your possible reasons for switching to this new system.

1. Saving weight – mirrorless cameras tend to be lighter (and less bulky) than DSLR’s. The ‘R’ is no exception. It is, roughly, 30% lighter than a 5D mk4, for example. If you use a Fuji or Olympus, it is heavier, but it has more the feel and build quality of a DSLR, along with the high quality weather and dust sealing of pro Canon DSLR’s. For those who found the Fuji’s and Olympus systems too small and fiddly in the hand, you shouldn’t find this an issue with the ‘R’. The 24-105mm f/4 lens is a high quality L glass lens so it adds weight. Noticeably so, but it is also very versatile with 4 stops of image stabilisation and very sharp results (if sharpness is your thing). The 35mm lens (which is also a macro) is far lighter. I haven’t tried the 50mm. The EF adaptor which allows you to use all your EF lenses with all functions (auto focus, metering etc) weigh very little. I tried using my EF 70-300mm L lens and found it well balanced and very comfortable. The weight added depends on the lens, obviously.

2. The electronic viewfinder (EVF) is a revelation. It is fast, responsive and very sharp. I found I soon forgot I was using an EVF. For the multiple exposure image maker, the EVF is a real gamechanger over other Canon DSLR’S that have the blending modes. This is because as you make each frame you can see the next one overlaying the previous in the viewfinder. This allows precise lining up of frames. The effect of the blend mode is not shown until after you fire the shutter (but you do get to see that through the EVF which is especially good in bright light when viewing the live view screen is difficult. The overlay of the image is subtle but good enough to position things carefully. For me this is a major reason to switch to this new camera, the benefit is so significant.

3. The EF Adaptor with built in variable ND filter. ( https://www.canon.co.uk/mount-adapters-ef-eos-r/ ) This is the other game changer for me and a really innovative idea from Canon. The adaptor not only allows us to use our EF or EFs lenses on the EOS R, but it also has a slot in it, into which fits a beautifully designed two to nine stop variable neutral density filter. The strength of the neutral density effect is applied by rotating a small wheel on the filter holder. This innovation is perfect for those of us who love ICM and ME photography. It obviates the need for a Lee Filter system hanging off the end of the lens, or having to screw filters onto the end of the lens. It is so much neater, compact and is permanently available. These adaptors will be available in the UK from February 2019. (there is also a polariser and UV filter which can be purchased to slot into the adaptor – only one filter can be used at a time). The above link will show you just how beautifully designed this option is.

4. The tilt and swivel touch screen. A more minor benefit to me, but a benefit nonetheless. The screen tilts and swivels. This is very useful for low and high level images. It also means the screen can be completely rotated when the camera is not in use so it is facing the camera and not exposed and thus prone to being scratched. Additionally, the screen is touch sensitive. This means lots of things can be adjusted by touch instead of scrolling through menus with wheels and switches. You can also touch focus and even fire the shutter by touch on the screen if you wish. I particularly found making major changes to white balance much faster by touch than using the scroll wheel as on my 5D mk4.

There is an issue with the camera that has been much debated since its release. It has only one SD card slot. Many people have flown into a rage about this. For the sake of balance I would just throw a few points out there. Yes, I agree, it should have had a second slot. It would allow backing up images while shooting (or shooting alternative formats to each card etc). I am sure the next model will have a second slot. However, I think the outrage is overdone. Firstly, many people I have worked with often don’t have a card in the second slot. Those that have often have no idea how their camera is set up to use the second card – whether it is backing up the first, or writing jpegs, or perhaps filling one card then the other. There is also the fact that it is also only relatively recently that cameras have had two slots. We managed quite well with one for years prior to that and I have to say in all my years of using digital cameras, I have only ever had one card failure. So yes, it should have two card slots, I wish it did, but it’s not going to stop me owning the camera.

Let’s talk now about usability. The first thing I found was using the ‘R’ slowed me down. I guess we all get a certain amount of ‘muscle memory’ in using a particular camera model. When we switch to a new one it takes a while to adjust to the new button positions, menu layouts and just the general feel of the camera. Everything on our old camera is set up just the way we like it for the way we use it. It takes a while to get the new camera set up just so. I found this quite irritating at first, I longed to go back to the mk4. However, after a few hours, the familiarity with the ‘R’ started to build and I was able to focus less on operating the camera and more on making images.

The camera has a ‘multi-function bar’ which is operated by sliding your finger along it or tapping each end. It has the potential to be a useful control, but if I am honest, I found it lacked responsiveness. I couldn’t get it to work in a consistent way. This led to me being frustrated with it and I very quickly deactivated it. It would be difficult, if not impossible to use wearing gloves. I am sure some will get the hang of it quickly and really love it. I, however, am not a fan, sorry Canon.

A new innovation which is useful, is an additional ring on the ‘R’ Lenses (and fitted to one of the EF adaptors to add the function to all of our older EF lenses). So you now have three on a zoom lens, the focus and zoom rings plus a third which can be programmed to alter several settings according to your preference. (On a prime lens you have two, a focus ring and the new one). You can set the new ring to change aperture, shutter speed, ISO, exposure compensation etc. I set mine for ISO. I just found I had to take care when the camera was to my eye and I was, say, changing the focal length, that I didn’t hold the wrong ring by mistake and inadvertently find my ISO 3200 without noticing. The surface texture of each ring is different to help and if you prefer not to use it, the rings function can be deactivated.

Many have asked me what is it like using EF lenses with the new body? I tried it with my EF 70-300 IS L and the EF adaptor. The first thing to say is, yes, it is heavier – naturally. ‘L’ lenses, because of their build quality are weighty. But you are still saving the 30% of weight over an average DSLR. I found the balance was good, supporting the lens with my left hand as I would with a DSLR. This camera is not as small and light as, say, a Fuji XT-3, but I prefer the size. It fits my hands better, the buttons and dials are spaced and placed in a more ergonomical way and suit my hands. I like the grip design and balance, and I am speaking as someone who absolutely loved my Fuji cameras so I don’t say this lightly.

If you are looking to make the camera into a very lightweight system, I would seriously consider some of Canons lighter, mid-priced EF lenses, which are cheaper and will save a great deal of weight over the ‘L’ lenses. Yes, some image quality will be sacrificed, but they are still excellent for classic photography and for multiple exposures and ICM images the quality of the lens is fairly irrelevant. Take Canons lowest price, lightest 50mm f/1.8 lens for example, which is available for a little over £50. It weighs almost nothing and is ideal for ME and ICM.

To use the camera for multiple exposure images, I found the fastest way to access all the menus I needed – the ME menu itself, ISO and White balance primarily – was to add them all to a custom menu. I was then able to access this with one button push and go into whatever setting I needed. Very quickly I was using the camera instinctively and concentrating on image making, as I mentioned earlier.

Some of you may be thinking about waiting for the next iteration of the ‘R’ before investing, perhaps wanting a higher resolution sensor, for example. If you are a multiple exposure image maker I would add a word of caution. Making multiple exposures on the 50mp 5Dr is a very slow process compared to the 5D mk4 (which has the same sensor as the EOS R – 30mp approx). It seems combining several 50mp files takes its toll on the processing power of the camera. If the next ‘R’ has an upgraded sensor (and it seems logical the sensor from the 5Dr could be slotted in without too much trouble) then, unless Canon really beef up the processing power, the camera will be much slower for us ME photographers. It will be fine for classic image makers, but not for us. I have taken the decision not to upgrade to the 5Dr for just this reason, the slowness of it would hamper my creativity and the extra 20mp are simply not worth it for me.

As for image quality, it is breath-taking. All the images in this article are made with it. The sensor is a tried and tested full frame 30mp sensor from Canons 5D mk4. This has fabulous resolution, with superb colour and contrast. The camera is fast and reliable. The raw files are full of detail and can be cropped and manipulated to your hearts content. The prints from the files are glorious. You will have no quality issues from this camera as regards images – unless you are some anal pixel peeping geek who is more interested in discussing the micro contrast in the shadows on relentlessly boring internet forums and barrel distortion tables on mindlessly obscure websites than in actually going out and making images. But that applies to most cameras these days – let’s face it, they are all pretty amazing. If I need to remind myself of this fact, I go back and look at images from my first 4mp digital camera. Case closed.

In conclusion, while I found it took me a few hours of using the camera intensively to get used to it and I had to customise the menus and controls to suit my way of working, I soon found it a very natural tool that felt comfortable in the hand and didn’t get in the way of my creativity. This is exactly what I want from a camera. I don’t really want to have to think to much about the camera at all, I want to think about the image. If I am having to fuss about too much with my equipment, if the gear is getting in my way or irritating me then I am using the wrong gear.

So once I was over the hurdle of unfamiliarity, and I was able to seriously concentrate on making images, I was able to enjoy the advantages that the EOS R has for me as a multiple exposure and ICM photographer. Being able to use the EVF to line up ME compositions was a dream and a major step forward in our genre of image making. Being able to see the blended image in the EVF straight after each frame is made was also hugely beneficial, not only in bright sunlight but in all conditions.

While I couldn’t try out the new EF adaptor with the variable ND filter, I have no doubts this will be a game changer for me. I am itching to get my hands on one in February when they arrive in the UK. I am expecting demand to be huge.

The weight and size saving is nice to have, but not a game changer for me. It will certainly help me as someone who travels the world constantly – but I am more interested in functions and usability than weight.

The big question, will I be changing to the EOS R as my system of choice? The answer? Yes, if I can. My big frustration is I bought a brand new 5D mk4 only a few weeks before the EOS R was released. I don’t think I can afford to lose what I have invested in the new body by trading it in so soon for the ‘R’. This breaks my heart but as a professional running a business I have to be pragmatic. These are tools of the trade for us and have to earn their keep. It might seem as though pros always have nice gear – and we most often do – but we have to work very hard to afford it and most of us can’t just keep jumping from one body to the next without thinking about the financial implications. So I may have to wait awhile before I can justify it. However, if you are able to afford it, I wouldn’t hesitate in recommending this very excellent new system to you. It is superb.

Now, a few final thoughts from Valda –

We decided to wait to put out this review until I had returned from Venice. When we led the three one-day EOS R Discovery Day workshops in London recently we had more people than cameras and it was me who drew the short straw and didn’t really get to use it.

I took one of the loan bodies to Venice recently – unfortunately once again, my time with it was limited. Partly because I was teaching but partly because there were no shortage of clients in the group wanting to try it out for themselves. It really has generated an enormous amount of interest.

I’m not sure I can add anything more to Doug’s lengthy and comprehensive review. I actually found the multi-function bar very useful for changing white balance but really couldn’t get to grips with the function ring on the front of the lens – I found myself grappling with the wrong wheel. Of course its use would no doubt become second nature after shooting with it for a lengthy period.

Like Doug, I found the newness of the camera got in the way of my creativity, but this cannot obviously be blamed on the equipment. Within an hour or so, it was all becoming very much easier. I love the EVF – the best I have ever used – and the overlay feature during multiple exposure made the building up of layers a lot more fun.

There was a slight hiccup when it appeared that the autofocus wasn’t working. Such is the complexity of modern cameras, it took me about four hours to realise that the last client had enabled the back button focus, thus disabling the button I usually use. Again, not the camera’s fault at all, but half a day lost in trying to figure out what might be the problem.

I too, have only recently invested in the 5D4 so I won’t be changing any time soon I don’t travel with a lot of gear anyway, so the weight issue is not a hindrance to me. I am very excited about the adaptor with the slot for a drop-in ND filter – I don’t get on well with accessories and other extraneous bits and bobs that can be sat on, broken, lost, smeared or cracked. So for me, the more streamlined the kit, the better.

My technical knowledge only extends as far as I need it to in order that I can make my images so I’m really not in a position to predict how this camera stacks up against the competition. However in terms of usability, and for what I would use it for, I think it is certainly a winner.

First thoughts on the Canon EOS R and Multiple Exposure Photography

Posted on October 28, 2018 by dougchinnery - Gear Reviews, News, Photography comment, Photography Tips

I had the chance this week to briefly test the brand new Canon EOS R mirrorless camera with the 24-105mm lens (and the EF adaptor along with my EF 70-300mm IS L lens). This was courtesy of my good friend Carl, who had pre-ordered the camera and was prepared to entrust it to me.

My reasons for wanting to try it revolved around the weight saving of a mirrorless body and the advantages of having an electronic viewfinder for multiple exposure photography (EVF). I have been, in the past an advocate of the Fuji mirrorless systems – both the X and GFX medium format body – loving the weight saving and EVF as well as the image quality. However, the lack of a serious multiple exposure mode coupled with having to carry two systems in order to have a proper ME system meant I recently abandoned Fuji for good and dedicated myself to Canon. As someone who travels a great deal I need one system that does all everything and so I currently use the superb 5D mk4 and only have one lens, the 70-300mm L.

Before I go further, some clarification. I am not sponsored by Canon. This review is entirely impartial. I will aim to tell it exactly as it is. It is based on just a couple of hours at most with the camera, using the 24-105mm R lens and barely 15 minutes with my 70-300mm lens and the EF adaptor. All of this time I was working in multiple exposure mode, so please don’t expect a review of using the camera for classic photography.

I would also add that I am not interested in this camera for shooting video. I may shoot some, but I am an art photographer and this review is written from that perspective. I am sure other reviews will guide you if you have interests in serious video work.

My final plea concerned the images – I was working quickly and just experimenting around my home – they aren’t meant to be serious work, just samples of the camera in action. Please don’t be too hard on me!

I am also aware of the near apoplectic rage there seems to be that the camera only has one SD card slot. My feelings about this? Yes, I would have liked two card slots (both SD, for me please Canon). But I do think we need some perspective. Yes, two slots has become the norm in cameras of this quality and I am sure the next iteration of this body will have them. If it is that big an issue for you I would just suggest waiting. However, in my experience, most photographers don’t know how their second slot is utilised – whether it is having a backup copy written to it, or if one card fills and then the second card fills – or if one card has raw files writing to it and the second has jpegs writing to it. Many cameras I have seen clients using don’t even have a card in the second slot. I have been using digital cameras for, I don’t know, 12 or 14 years and I have only had a card totally fail once in all that time. Once. I buy quality cards and I push my cameras hard in all weathers – I don’t wrap them in cotton wool (or polythene). Its not so long ago all cameras only had one card and prior to that, one roll of film. We managed somehow. My feeling is that the outrage is just a little over done – and I know that me just saying this will outrage some people. But I am just being honest (but please Canon – get another card slot in ASAP, I am pretty certain your design guys can make one fit).

Now that is death with let us get down to the nitty gritty. My first impressions about the camera. The build quality is excellent, as you would expect from Canon. I have big hands but ergonomically it is very comfortable in the hand. The balance is good and I liked the shaped grip. I work with one hand a lot of the time and this suited me well. I was surprised at how light it felt, even with the quality lens fitted. The EF adaptor is ridiculously light – this is because it is, in effect, just an extension tube. There is no glass in it. It just moves the EF lenses further away from the sensor and links up the electronics. So all of the lens functions still work as normal and everything still works in the EVF – you notice no difference in operating the camera. Even with a big lens like the 70-300mm attached it felt well balanced and lighter, obviously, than my 5D mk4. The weight saving is not huge but it is noticeable but it is also physically smaller so when travelling it takes up less bag space and it is less obtrusive in the hand, attracting less attention. Yes, using your L EF glass brings the weight right up, but you have the quality of the glass and it will be lighter than your DSLR. For some of you the weight saving while using your DSLR lenses will not be enough – but the R lenses are L glass quality and lighter. Canon will widen the range quite rapidly. I am happy to use the 24-105 for now along with my L 70-300 and the adaptor and cope with the weight – while benefitting from the physical size decrease (and it is lighter – noticeably so) while I wait for a lighter 70-300 R lens to be released.You will need to decide for yourself what you can cope with.

The 24-105mm lens was superb – the optics were brilliant as you would expect from Canon L glass. The image stabilisation was faultless as was the auto focus. Don’t ask me about frames per second and whether this would be a good camera for shooting wildlife on the Serengeti – that is above my pay grade. I am sure other blogs will help you with those questions.

What does the EOS R have to offer us as respects multiple exposure modes? This was a question we were really interested in. The answer is, it has all of the modes and functions of the 5D mk’s 3 and 4 (and other fully featured Canon DSLR’s). You will not lose anything by switching. But will you gain anything? The answer, I feel, is ‘yes’, which is why I would like to move to the ‘R’ myself.

Firstly, I want the size and weight saving. I am a traveller and I am always looking for savings in this area as long as functionality is not compromised. The EOS R gives me this. It has the same 30mp sensor as my current 5D mk4 so image quality is identical. I am guessing the next iteration of the body will have an ‘improved’ sensor but with this I give a warning. Valda had the 5Dr for some time which has the amazing 50mp sensor. Now, while this produces eye watering quality and huge files it brings with it a big issue to multiple exposure photographers. It becomes painfully slow. Stacking up several 50mp files and blending them in camera takes huge processing power and time. Valda found this really slowed her down in the field and, to an extent stifled her creativity so she switched ‘down’ to the 5D mk4 and is happier as a result. You may not find this to be an issue but we certainly did – so unless new bodies have significantly more processing power and speed, we would be reluctant to move to them. We have never had an issue as professionals with the 30mp files with our clients and galleries. The 30mp files for us still allow image cropping and manipulation to meet our needs. You need to decide what your needs are.

The second, and for me game changing improvement for multiple exposure work with the EOS R, is the EVF. This allows you to see the image ‘shadowed’ as you make each frame. You can’t see the effect of the blend mode being applied before you fire the shutter (but you do see, in the EVF the blended image after the next frame is added) however the big advantage is being able to line objects up. This helps hugely with composition. The next frame you see shadowed in the EVF is ‘brighter’ and so you need to look closely but it is sufficient to do what you need to do. The EVF also works seamlessly, I was not conscious it was an EVF, to be honest, it didn’t interfere it only assisted me. I like to have the camera to my eye when making ME images and previously I had to visualise in my mind where objects would be. You could use the live view screen, but this slowed the process down and meant holding the camera away at arms length which I found didn’t suit my way of working. I was blown away by the difference using the EVF made to my workflow. I am now finding using my 5D mk4 very frustrating indeed. I have opened Pandoras Box!

I have heard people expressing concerns about the controls on the camera – that there is only one control dial and so on. This is not the case. You have two control wheels so you can change aperture and shutter speed independently (or exposure compensation). The touch screen is a delight (but would be tricky with gloves in cold weather) However everything can be accessed through the quick menu and control buttons (no joystick on this camera) There is a slider bar which I didn’t have time to get to grips with.

The tilt screen also swivels – which would be a first for a camera I own. Exciting for me. Little things please me. I am also delighted to see Canon have used the same battery for the ‘R’ as used in the 5D range. This means all of the spare batteries I have acquired over the years will fit. How good to see a manufacturer doing this when so many use the release of a new model to change the battery shape in order to force us to buy more new batteries at exorbitant prices.

Another innovation which is interesting and useful is the addition of an extra ring on the R lenses. This ring can be programmed in a menu so that you can use it to change shutter speed, ISO or aperture – whichever is most useful to you. I didn’t get time to check, but it wouldn’t surprise me if you could program it to change something else too, if you prefer, like white balance etc. This may be very handy for working in cold weather or to save you accessing a menu for something you alter frequently.

My final comment is about the another adaptor Canon has issued. It is a very clever piece of kit, sitting between the body and lens into which you can drop either a polariser or a variety-ND filter so that these do not have to be fitted to the front of the lens. For me, this is a revelation. It is such a simple solution, so small and compact and will allow me to do ICM images with such ease. The ND filter goes from 2 to 9 stops – which is absolutely perfect for me. A stroke of genius from Canon and one I will definitely be adding to my kit bag.

So my verdict. For multiple exposure and ICM shooters, I think this camera is a game changer. I see no reason to stay with a DSLR any more. You can keep all of your EF lenses and slowly replace them if you with with R lenses – or not – the choice is yours. I see no real deal breaking disadvantages with the camera. I think if you have any other brand of mirrorless camera such as Fuji and you have a passion for multiple exposure photography, I would seriously consider switching. It is a big thing to do, but I don’t think you will be disappointed. This is a seriously good camera that for me and my work ticks all the boxes (just get a second card slot in the next one, please, Canon…. and maybe come up with some more, new, innovative blend modes that we can see being applied live in the viewfinder before we press the shutter – then you really do have something amazing).

Valda and I are running some one day workshops in November where every participant has a loan EOS R for the day courtesy of Canon UK – you can read full details and BOOK HERE

YŪBI – Truly a book of ‘Gentle Beauty’

Posted on May 23, 2017 by dougchinnery - Gear Reviews, News, Photography comment

There is a (pleasing) trend towards more photographers publishing collections of their work as photobooks. Some are choosing to approach specialist publishers such as Triplekite or Kozu Books. These publishers will work in close partnership with the photographer and use their expertise in desktop publishing and printing to help bring a project to fruition. They may also have access to distribution and sales channels to help the photographer with, what is often the most difficult part of the project, selling the books.

Others prefer to do things on a much smaller scale and self publish using a proprietary platform such as Blurb, Lulu or one of the many others available. These companies often allow ‘print on demand’ so there is no upfront investment in pallets of stock and even if the photographer just wants a handful of copies to sell or give as gifts to family and friends this is relatively affordable. Some of these organisations include electronic versions and allow selling through Amazon and other sales channels. The quality can be good. It can be rather poor, but it may meet the needs of some.

There is now another approach some photographers are taking to make their work available to an appreciative photo-book collecting audience. The hand made (or partially hand made) photo book. These are made in very limited numbers due to the intensive nature of putting them together. They are usually beautifully printed on fine art papers, hand bound and often presented in hand made slip cases. The printing is usually of the very highest quality and as such they become treasured art objects in their own right.

One such example I was very fortunate to add to my collection recently was ‘YŪBI’, a hand made photo-book by husband and wife landscape photographers Denis and Freda Hocking.

Freda came on a workshop I was running with Valda Bailey up in the Lake District and she had bought a copy of the book with her. As soon as I saw it, I knew I had to have a copy. It is unusual, though not unique, for a couple to work together so closely on photographic projects. If you visit the Hockings website (and I recommend you do) you will see they share it. The galleries display work from both of them. The galleries and images do not identify who has made them. This is truly a partnership at work. You will see images of the most wonderful quality throughout the website – and this is echoed in ‘YŪBI’. If you would like to listen to a great interview with Freda and Denis, I can highly recommend this one on the Togcast (I also recommend subscribing to the Togcast for great interviews with photographers on an almost weekly basis).

The book itself is a thing of great beauty. It goes without saying that the images within are stunning. Landscapes made world-wide on the Hockings global travels, that mesh with the meaning of the Japanese word ‘YŪBI’, which is ‘Gentle Beauty’. You will see images which reflect their individual styles (although no images are identified as to who took which – part of the fun is trying to second guess the originator). The whole book has a calmness, a serenity which aptly echoes the link with the principles of Haiku.

The couple had assistance from Eddie Ephraums at Envisage Books. He provided guidance on the format, sequencing, fonts, layout, paper choice, printing, binding and all the other areas where he has great expertise. His guiding hand is very evident in the quality of the book. But knowing Denis and Freda, it is also their incredible attention to detail, their striving for perfection and their intense love for the landscape and photography which completes this book. From the hand stitched Japanese binding (which must have taken many loving hours of work to complete, through to the perfect and beautifully printed slipcase complete with fine Japanese calligraphy (provided with help from the expert Yukiko Ayres) you can see this has been a real labour of love.

The first edition has been produced in just 100 copies, of which just a few remain. I can wholeheartedly recommend that anyone who loves the landscape and collects beautiful photo-books should invest in a copy of YŪBI. I am sure it will become a treasured addition to their collection, as mine has.

You can obtain your individually signed and embossed copy HERE.

The Pool by Iain Sarjeant

Posted on September 12, 2014 by dougchinnery - Uncategorized

From the first time I heard that Iains series, The Pool, was to be published by Triplekite, I was excited. I have followed Iains work for a few years now and The Pool series has become a favorite of mine.

I first came across the work on Iains website a year or two ago and was instantly entranced by its delicate beauty and simplicity. Iain is a full time professional photographer working out of Strathpeffer in Scotland. His work is often characterised by its keen observational quality. Iain is a man who walks around with his eyes wide open and seems to see things where many do not.

A New App from the Maker of the Photographers Ephemeris

Posted on November 15, 2013 by dougchinnery - News, Photography Business, Photography comment, Photography Tips, Software Tips

I was very privileged to be asked by Stephen Trainor earlier this year to be one of the beta testers of a new app he has designed to complement the hugely successful and absolutely essential photographers app, The Photograpers Ephemeris (TPE).

TPE has been around for a while now and is available as a desktop program or as an iOS or Android app. For most landscape and outdoor photographers it has become an essential part of their location planning kit. I couldn’t imagine doing my job without it. I also can’t imagine the brains and ability that has gone into designing such a complex and useful program.

Not content with TPE, though, Stephen has forged ahead and designed a new app for us photographers called, officially, “The Photographers Transit” but it is shortened to “Photo-Transit”. This is an app which again uses Google Maps as it’s foundation. The app then adds the ability to place yourself at any point on Earth and face in any direction. You can then select any lens for your camera (and it takes into account you sensor/film size) and it shows you what field of view you will achieve at any given focal length. This means, no more worrying if you have packed the right lenses for a long hike or a flight where bag weight is critical. It also means you can plan key shots in advance based on your kit. You will know if your lenses have the width or reach you need for the shot you envisage. Or, before arriving at a location you will know exactly where to be to make best, use of your lenses to get the optimum image. This is location planning in real detail.

There is also the ability to look at elevation data in the app to give an idea of how the land rises and falls. This helps with understanding how shadows will appear, when the sun will break the actual horizon and so on. You can also flip from the app over into TPE to work with both apps together which is very useful. The app can be used offline with available data and to help visualise potential images close to roads you can combine the app with Google Streetview. Added to this is the unique ability to save location information as you plan it, or to take images at a location and tie the image together with the map/lens/body/field of view information and save it for future reference. There is also a linked website sharing facility so you can share this data with your friends, camera club members and so on, including sharing via message, email, Facebook, Twitter etc.

I was pleased to be able to grab some time with Stephen in his frenetic schedule to interview him about Photo-Transit and here is what he had to say.

DC: Thank you for agreeing to be interviewed Stephen. Can I ask first about your background and how did you come to design and program TPE?

SJT: Thanks for the opportunity, Doug. Maybe somewhere in my background is the semblance of a career plan, but if there is one, I haven’t found it yet! Over the years I’ve worked in classical music and opera, advertising, theatre engineering, telecoms and consulting, doing a variety of things along the way, including software engineering. I moved to Colorado from the UK in 2007 and started doing more landscape photography. Around a year later I signed up for a weekend workshop in nearby Rocky Mountain National Park . The workshop offered a ton of great advice and information on how to plan a shoot for the best light. Participants were asked to bring a number of items to the workshop, including paper topographic maps, rulers, protractors, calculators, pencils etc. It occurred to me that things in the digital world were by then at the point where all of this could be done in software. When I discovered that no such tool apparently existed already, TPE was born.

DC: Were you surprised at how popular TPE has become? Do you have any idea how many users there are now?

SJT: Very pleasantly surprised, yes! Across the various platforms we now have tens of thousands of monthly active users. The desktop version is downloaded around 75,000 times a year.

DC: Has anyone used TPE in ways you didn’t anticipate?

SJT: We’ve had some uses by archeologists looking for historical sun/moon positioning. Also, I’ve read about it being used by hunters, in the US mainly. Oh yes – and the trainspotters too!

DC: Is developing TPE and other photography apps your full time work, or do you have a ‘day job’?

SJT: I spend around half my time developing apps and the other half I do technology consulting, mostly in the area of digital media and online video.

DC: Are you a keen photographer yourself? If so, what style of photography do you like? Do you have a personal website where we can see your images?

SJT: I am. I like to shoot landscape primarily. I prefer a simple, clean style without too much post-processing. Photos that are “overdone” are all too common nowadays. At the same time, I’ve never much cared for the well-worn line of “my photography is an unaltered reproduction of what my eyes saw that day” and its variants. No matter how little processing is done, that’s clearly untrue, as cameras and photographic media, whether digital or film, just don’t work the same way as the eye. I’m definitely a fan of simpler compositions, although that’s something I continue to struggle to achieve in my own photography! I have a (slightly neglected) website at http://stephentrainor.com

DC: What are some of the technical issues in developing a program like TPE?

SJT: The initial challenge is implementing the various algorithms required to calculate accurate sun and moon data. Nowadays there are a few implementations out there, but the accuracy and sophistication does vary. Not all algorithms account well for factors such as atmospheric refraction, for example. (I certainly can’t take any credit for the algorithms themselves – in that regard, I’m standing on the shoulders of mathematical and astronomical giants!) Maintenance of the software becomes a bigger issue over time as the code ages and grows. I’m currently in the middle of a major modernisation of the TPE for iOS code base, much of which dates from 2009-2010 – the middle ages, in terms of iOS software. Once that’s done, the Desktop version will need to be reimplemented as a web app – all required to keep up with the technology of the day.

DC: What then gave you the idea to develop this new program, The Photographers Transit? (TPT)

The concept of displaying the field of view on a map was a suggestion made independently by a few different TPE users. I liked the idea very much and wanted to think about how to incorporate it into the app. However, after thinking it through, I decided to develop it as a separate app for the primary reason that there would be a lot more inputs required of the user to make it work: which camera? which lens? what orientation? where are you pointing it? etc. One of the keys to simplicity of use in an app is minimising the amount of input you require of the user. I think – and many would agree – that TPE is quite complex enough already without piling on yet more functionality.

DC: What is TPT designed to do for the photographer?

SJT: I think of Photo Transit as a general purpose digital planning tool for outdoor photographers. It provides a mix of digital “surveying” tools that you won’t find elsewhere, so far as I know: a horizontal field of view indicator overlaid on a map and a vertical field of view chart plus elevation profiler that shows what terrain is visible. In addition, we spent quite a lot of time on shot saving and sharing. You can create projects that contain multiple shots and share these easily with friends, colleagues, workshop participants etc. from the app. We were keen to make sure that any information you put into the app is easy to get out of it, so there’s the ability to email shots/projects, view them on a freely available web-site (http://share.phototransit.com) and to export as KML. You don’t need to own PhotoTransit to be able to view shots that have been planned using it. (BTW, ‘we’ is my wife, Alice, who does all of our graphic design, and I…)

DC: How do you see photographers putting TPT to use in their work?

SJT: It’s an advance planning tool, first and foremost: you can use it to build up a list of shots that you’d like to capture on forthcoming trips or shoots, having explored the compositional constraints of the location, your camera and lens ahead of time. Beyond that, I’d like to see photographers using it to share ideas for shots with one another. It provides an easy and complete way to share the physical setup for any stills image. I think it also has an educative role. Many people find numerical values such as field of view or focal length easier to understand when they can be visualized and, like TPE, Photo Transit is a visualization tool.

DC: How does TPT work with TPE?

SJT: Currently, you can open TPE directly from Photo Transit and match the same subject location. The next update to TPE will add the ability to open Photo Transit directly from TPE to go in the reverse direction. We have some further bells and whistles in the works too that will improve the interaction between the apps even more.

DC: What hurdles did you have to overcome to get TPT working?

SJT: Not too many – fewer than for TPE, I’d say. The data model in Photo Transit is definitely more complex (projects, shots, locations, cameras, sensors, lenses), so that took more work. However, many of the harder lessons were already learned with TPE. The Apple maps saga of 2012 cost many hours, but the lessons learned made the mapping choices and implementation for Photo Transit much more straightforward.

DC: Can you give us any clues as to your next project? or is it a secret? or are you still so tired after working to get TPT out that you haven’t had time to think about it yet?

SJT: We have another app in the works that we’re dusting off – it was shelved at the start of the aforementioned maps saga last year. It’s not directly photography related, but more than that I can’t say quite yet. We also have multiple TPE and Photo Transit updates and improvements planned.

DC: Final question, can you recommend websites of any photographers whose work you love? Who are some of your photographic heroes?

SJT: Some names that spring immediately to mind: Bruce Percy (http://brucepercy.com): I think Bruce’s photography was the first that really conveyed to me a sense of personal style. He does a great job of distilling, culling and crafting to achieve a portfolio that has an amazingly consistent ‘voice’. Jack Brauer (http://www.mountainphotography.com): Jack has an incredible collection of beautifully produced photography covering mountains all over the world. He produces wonderful photographs of places that I don’t ever expect I’ll have the strength or fortitude to reach! Guy Tal (http://guytal.com): Guy’s work from around the desert southwest of the USA is probably the most original and distinctive being produced today. He has a great eye for compositional simplicity.

You can visit the Photo Transit website HERE and you can follow on Twitter @photoTransit

“Sea Fever” – The New Book from David Baker

Posted on November 3, 2013 by dougchinnery - News, Photography Business, Photography comment

"David Bakers - "Sea Fever" Cover

David Baker, or Milouvision as many of his online followers will know him, has been photographing and blogging for years (www.milouvision.com). Building his following and honing his skills with the camera, he has risen to real prominence over the last couple of years, first winning Outdoor Photography magazines “Outdoor Photographer of the Year 2012” title, followed by three successful exhibitions and the 2012 Landscape Photographer of the Year “Your View” category winner, culminating now in the publication of his first book, “Sea Fever”.

Published by Triplekite Publishing, Sea Fever is a collection of 26 of Davids stunning signature coastal wave images.

So, what are you to expect when you receive your copy of “Sea Fever”?

The first thing that will strike you is the stunning cover image, a taste of things to come. The image is one which was on display at the Masters of Vision exhibition at Southwell Minster ( http://mastersofvision.co.uk/david-baker/ ) this summer and it is a fitting image to lead us into the book. An image full of power and drama.

Inside, the foreword has been written in a beautiful alliterative style by accomplished landscape photographer, Pete Bridgwood. To quote Pete as he describes how David approaches his image making of the sea,

“He has a rare ability; to completely concentrate his creativity, to focus his intentions and develop a deep relationship with his subject…. it is immediately evident that this is no dalliance, no brief fling; this is an aching, impassioned love affair”

This gives an idea of the intensity and depth of the images that reveal themselves as we turn the pages. David also gives a brief introduction to his approach to making the series of images.

The book is printed in portrait format, an unusual choice for a book based mainly around landscape orientation images. However, the images that are shot in portrait orientation display well and then many of the landscape orientation images are displayed (by Dav Thomas, who has done a great job with the layout and design of the book) spread across two pages, often bleeding off of the edges to give the greatest impact. Others are often given wide margins, lots of ‘breathing room’ and this is pleasing to the eye. The fact that Triplekite have decided on such a generous page size means this all works well. Nothing feels cramped or stifled in any way. The images are the stars.

Davids “Sea Fever” images captured the imaginations of lovers of seascapes as soon as they began to appear. (and I have already seen a few ‘Sea Fever’ wannabes imitating the style! I suppose imitation is the sincerest form of flattery?). They have a power and transcendent beauty which seems to connect with all who have a love (and respect for) the sea. By slowing the shutter just a little he retains enough detail in the waves to show the power, movement and flow of the waves while softening the effect and merging the waves into the sky. There is no real, defined horizon in his images – they become almost ‘as one’. In fact, the skies are not playing ‘second fiddle’ to the waves but enhance and complement them perfectly, almost becoming part of the waves themselves.

Every image in the book is just beautiful. Some are full of stormy ominous power, others gentle light and gracious delicacy. There is not a weak image in the portfolio and I would love to have any of these on my walls at home. Each has a mesmerising quality to hold our interest for many years.

I had the opportunity to interview David a few days ago about the book and his work and thought you might enjoy his comments.

D: First of all, let me congratulate you on the publication of your first book, “Sea Fever”, I have seen an advance pdf copy and it looks stunning. How did you feel when you first saw the design?

DB: Many thanks! Yes, a great feeling to see the flow of images due to Dav’s design skills.

D: How did the book project come about?

DB: I was fortunate to be one of the exhibitors at Masters of Vision which opened in late July 2013 and during that weekend I met David Breen (Triplekite Publishing) and Dav Thomas. I knew of David’s photographic work and of course of Dav’s book. In early August David emailed suggesting a book based on the Sea Fever project part of which had been exhibited at MoV. A really good day!

D: How did you decide to focus on such a tight project as “Sea Fever”? Was it more difficult, do you think, than doing a retrospective on your work, or would that have been harder?

DB: I’ve held previous exhibitions which have been a selection of my favourite images and at the time of MoV I had just completed a show of the Ridge Trees project and was in the midst of Sea Fever so it seemed natural to show what I was passionate about.

D: How did you find the process of selecting the images for the book? Was the choice difficult? How did you go about narrowing down the selection?

DB: There wasn’t a huge selection anyway as I’m a ruthless editor. But for the book I provided the required number plus an extra 25% I think and then Dav undertook the skilful design.

D: Without giving away too many secrets can you give us an idea of how you make the “Sea Fever” style images? What kit do you use? Shutter speed etc?

DB: I experiment with a variety of shutter speeds and focal lengths whilst trying to look for relationships between the waves and ideally clouds. I aim to have at least a line of foreground or central wave across the frame. I try to take a painterly approach if that makes sense as I want the images to say this is how it feels to be at the shoreline with the battering wind full of salt, the spray, the thump of the waves, the sense of vulnerability. How can an hour at the shore be captured in an image?

D: How long have you been working on the “Sea Fever” project? How long did it take to perfect the style of the images?

DB: I was in the Outer Hebrides in March 2012. During my previous trip in February 2008, I had taken mostly long exposure shots (as during this time the B+W 10 stop filter featured in many a photoblogger’s work) but during March not one long exposure shot was made. Feeling a little ‘unsettled’ I started taking shots during the closing days of the trip to capture the sea’s power in a way I had not undertaken before.

The first image, Hebridean Sea III, was uploaded to my photoblog in late April 2012 and that was that. Nothing happened in terms of development of the project until August of that year when another image was processed. I hadn’t realised I had a potential project but something must have been percolating away as in March 2013 onwards I started experimenting in acquiring images to compliment Hebridean Sea III.

D: Do you like working on projects? Or do you prefer more random ways of working? If you prefer project working, what benefits do you see working that way?

DB: It’s only during the past couple of years that a project based approach has been developed. I worked up one called Ridge Trees which concentrated on the New Forest and was defined by three attributes – dawn, mist and geography. Whilst the structure of a project is appreciated, I’m not restricted to just that type of work.

D: Why the sea? What draws you to photographing it so intensely?

DB: Good question! I usually mumble something about energy, and change. It’s not something that I’ve nailed down yet, and I’m not sure I want to. I’m not a great deconstructor (in an image sense) although I written a little about this aspect in the book.

D: Have you always been interested in photography? What is your photographic ‘history’?

DB: At 15 I wanted to be an architect. My dad had introduced me to an architect client and despite the then (1978) 33% unemployment in the industry, I was keen on pursuing architecture as a career. Despite good grades, events didn’t entirely pan out as planned, and after dithering about a course at Salisbury Art College and flirting with a technical drawing apprenticeship, I joined the Civil Service. It’s fair to say that there’s been little creativity work-wise since. I’ve always had a great love of art (especially sculpture) so I guess the creative ‘urge’ has always been there albeit mostly dormant.

I started using a small compact digital camera in about 2003/04 documenting visits to stone circles, dolmens and standing stones. A friend subsequently talked about his new digital SLR and suggested that I also buy one, so in January 2005, trying to engage a creative aspect of myself, I also bought a 300D.

From a technical aspect, almost immediately I wondered what I had let myself in for. I started reading magazines, books (fortunately Southampton has an excellent library) and looking at other images in various exhibitions and photoblogs. In the spring of 2005, I began posting images on a web forum and as a consequence a photoblog was started in late 2005.

Why photography? It was accessible and there was an immense amount of support and inspiration from the photoblog community.

D: Who would you say was your first inspiration in photography? And who do you find inspirational now?

DB: Just after I started using a SLR, I saw a photograph in Outdoor Photography of a Hampshire beach at sunset by Guy Edwardes and the sea looked fantastic drawn over the shingle beach. The wave trails looked ethereal and a week or so later I attempted the same and that was that, I was caught and I’ve been a seascaper ever since. Current inspiration is from a wide variety of sources.

D: What does photography do for you? What do you get out of it that drives you to pursue it as a passion?

DB: I guess it’s the conduit for a creative aspect that must be present in myself.

D: Have you ever hit a creative block? If so, how do you get over it?

DB: I get very keen on my work and then very disappointed by it very rapidly. I then go off to make more images. And then the process starts again.

D: What camera equipment do you currently use?

DB: 5D2, 24-70 and 70-300 lenses, Lee filters, Gitzo tripod and a RRS ballhead. The camera, lenses and filters all fit in a Billingham bag. There’s no need to march huge distances for my work, and I’m (hopefully) finished with the days of rucksack wrestling against a rapidly incoming tide.

D: Is there a piece of kit you really couldn’t live without? A favourite piece of equipment?

DB: For years I used the Canon 17-40. Everything was at 17mm and hang the consequences. That used to be nailed to my 300D and then to the 5D. Now, I think the 70-300 zoom is used significantly more than ever. Almost everything is on the tripod too.

D: Is there any piece of equipment you lust after and would love to own?

DB: I was considering the Gitzo Ocean tripod.

D: I know you are a keen and active photoblogger and Twitter user. Why do you love photoblogging? What do you enjoy about Twitter and the photographic community on there?

DB: The immense amount of support and inspiration from the community plus the free exchange of ideas, links to work, exhibitions, and the occasional meet-up.

D: Would you describe yourself as a “Landscape/seascape Photographer” or do you enjoy other genres of photography?

DB: I’m a seascape/forest photographer really. I really like looking at the landscape big views plus the more intimate landscape compositions and also the very experimental ones. I also really like looking at street work (especially if there’s humour present).

D: What advice would you give to young or new photographers to help them make progress with their passion?

DB: Believe in the value of your talent and your images. Experiment, and have fun. If considering a project, make sure it’s personal to you, and choose a subject which will allow access to create the images you want. Think about the story and how the work will be shown – book, exhibition or blog.

D: What software do you use to process your images? Does much work go into processing the “Sea Fever” images?

DB: For ages (and ages…), I used RawShooter Essentials (which became Lightroom I think) as I loved the ease of use, and the mono images it could produce. During the last year I’ve used Canon DPP for the Raw files. I make no corrections in DPP aside from using the lens profiles and the auto-dust correction (the principal reason for moving from RSE). Everything else in undertaken in PS, and I use Bridge as a catalogue.

D: What is the URL of your website so readers can have a look at your work?

DB: milouvision.com (although some project highlights are also at dbphotographic.com).

D: So, finally David, what next? More “Sea Fever” images or is the project complete? Do you have other projects on the go? Any other plans?

DB: I’m not sure at present. It took a few Ridge Trees and Sea Fever images to realise I had the makings of a project so I’m sure something will present itself soon.

The soft back book itself is outsized at 410mm x 305mm and is being printed in Malta by the same high quality printers who printed Dav Thomas’s acclaimed “With Trees” book. The paper used for this book is 170 gsm Valletta Silk and it is being printed using the same Sublima 240 lps screen process as with Dav’s book which yielded spectacular print quality.

There will be two versions. For the serious collector there is a very limited edition of 50 which will be individually signed and numbered by David and comes complete with limited edition A3 print for £85. The standard edition is £25. The price excludes P&P of £8.50 (UK) or £23.50 (International). You can pre-order your copy HERE.

The attention to detail and print quality achieved for Dav’s book by Triplekite must inspire confidence that “Sea Fever” will look stunning when it arrives. (this review is based on seeing an advanced pdf copy, not a full print copy). David Breen and Dav Thomas seem to have started the company as they mean to continue. The fact they are both keen photographers first and have a passion for photography is reflected in the way they are putting the images ahead of profit. So many photography books are churned out by large publishing houses and treated much the same as cookery books and other books with pictures in. Often the paper and print quality is disappointing and doesn’t reflect well on the photographer whose work is often outstanding when seen in the flesh. With Triplekite the quality of the images comes first above everything, so the paper and print process choice has to be able to display the images at their very best. Attention to detail is seen at every step of the process, from the selection of the photographer and the images, to Dav’s design and layout right through printing and even into the packaging. It is a refreshing change to see a publisher who seems to care more about the photography than the bottom line.

I have a feeling many photographers around the world are going to beating down Triplekites door asking to be considered for their next book. But I also know Triplekite are putting their customers first by being very selective in those photographers work they choose to publish. Triplekite seem to have a tight focus on exactly where they are going with future publications to hold true to their vision for the company. This can be seen in the latest announcements that the next two “Portfolio” books will be by the wonderful Paul Kenny and Marc Wilson respectively. They have also announced a third series of books entitles “Land|Sea”, each of which will feature a small portfolio of work by five photographers carefully selected and which will build into a collectible library of great landscape work. 2014 Looks to be an exciting year for lovers of fine photography.

“Sea Fever” is the first in Triplekites new innovative “Portfolio” series, designed to be project based. Being focused on such a tight project with all of the images shot in a very similar style and with a common technique some may find they desire a greater variety of images, but that is not the purpose of this type of book. Its focus is its asset and it is a great example of how, as photographers, our work can get so much stronger if we focus on a tight themed project. While smaller and lower in cost, it will still adhere to Triplekites philosophy of making the images shine through large page sizes and superb print quality. These books are an ideal way to showcase the talent and work of some of the Worlds finest photographers. I can see the series becoming very collectable.

I, for one, pre-ordered the book as soon as I heard it was to feature Davids “Sea Fever” series and look forward to getting my signed copy and print. Having now seen the pdf proof I am even more excited. A firm delivery date is yet to be announced but is expected to be around mid to late November.

For lovers of fine land and seascape photography and especially if you love really fine photography books this is another ‘must-have’ (and what a great gift, even for non-photographers) from Triplekite. Order your copy HERE

Review of Epson R2880 & ColourMunki Calibration System

Posted on August 26, 2011 by dougchinnery - Gear Reviews

I am often asked what printer I use. Until a few months ago the answer was, ‘I don’t use a printer’. ( I do have a HP desk top printer but it is only suitable for document printing ). I have always shied away from the complex matter of profiles, calibrating, papers and inks. It just seemed too much hassle. So much easier to upload the files to Loxley Colour in Glasgow and receive the prints a few days later.

I then did a workshop with Scott Kelby and he covered printing, calibrating, colour managed workflow etc in some detail. Scott mentioned that he used the R2880 and R3880 Epson printers and the ColorMunki calibrator. So all fired up, and feeling for the first time that I knew what I should be doing, I took the plunge and invested in the R2880 and ColorMunki.

The set up for both was quick and painless. The ColorMunki set up involves loading the drivers and software and then running the simple calibration program. While it is one of the more expensive calibrators it is superb. it allows you to calibrate your monitor and if you wish to create your own paper profiles. You simply print a test chart and then swipe each strip of colours on the paper with the calibrator and this builds a bespoke profile for your printer, ink and that particular paper combination. So far I have only used it to calibrate the monitor (and the first time you do it, it makes a huge difference) and the software prompts you to recalibrate regularly (I have it set to prompt me to recalibrate every two weeks, although this is probably overkill – it only takes a couple of minutes so it is no burden).

The drivers for the R2880 load quickly and the printer runs a set up routine when you install the ink cartridges for the first time. One cartridge has to be swapped out depending if you are printing on gloss or matte paper. I don’t understand why both can’t be fitted permanently – something for the Epson engineers to sort out.

It has quite a large footprint so you need some desk space to cope with it. But the output tray and the top paper input support fold away into the printer and seal it up to protect against dust. This also means they don’t intrude into your desk space while you are not using it.

It comes with a roll feed mechanism, so you can buy your favourite papers on the roll and print panoramas. It takes all sizes from small envelopes up to Super A3 which is bigger than A3 and is better suited to the 3:2 aspect ratio of full frame DSLR sensors. Super A3 paper is about 13 x 19 inches in size and the printer prints close to the edge. Prints at this size look stunning and are perfect for framing to hang in most homes. I bought some Hanemhule A4 paper but have hardly used any, when you have seen your prints at Super A3 you won’t want to print A4 or 10 x 8!!!

I have been trialing Epsons Archival Matte paper for my colour prints (and next want to try Hannemhule (or however you spell it) 305gm PhotoRag paper. For my mono prints I have been using the stunning Ilford Gold Silk paper.

It was with trepidation that I set about printing my first image. I sharpened it with Nik softwares excellent output sharpened plugin for Lightroom. The monitor was calibrated with the ColorMunki. I had downloaded my paper profiles from the manufacturers for the R2880. I had set up Lightroom and Photoshop correctly for a colour managed workflow. It was time to press the print button.

Breath held, I waited for the paper to emerge. Grinning, I held the print up by my studio window because I could already see the reproduction of what I had on my screen was close to perfect. I had never seen prints of such quality outside of a high end gallery. Colours were faithful, prints were not too dark as they so often are when getting them back from a lab and mono prints are quite frankly, astounding. The R2880 has three black/grey cartridges and they deliver deep rich black and mono tones, especially on the Ilford paper.

I now have loads of my prints on the walls of my home and studio, gradually replacing the substandard prints from various labs that have been up for a while. I have also been printing for customers, their own images, as it is virtually impossible to get labs to print on anything but standard papers.

The K3 inks are as good as everyone says. They are expensive, although my local supplier delivers for free next day and charges around £7.80 per colour. With nine colours, it is not cheap, but the results are worth it. The printer monitors levels and warns you when a cartridge needs replacing, which is just a one minute job. I have always sent my empty HP cartridges off to charities for recycling but they won’t accept the Epson cartridges, although a student on one of my workshops tells me you can order envelopes from Epson themselves to send empty cartridges back to them for recycling (but no charities benefit from this which is unacceptable in my mind).

At £449.99 from Amazon (which is the best price I could find from a reputable supplier and I get free next day delivery) it is not cheap, but it is well engineered and produces results worth the cost. I am already lusting after the R3880. So I am now able to wholeheartedly recommend the R2880 and the ColourMunki.