The image featured above was a solution I figured out on how to accurately stack images with lens focus. Segments of focus from my start, stop, and in-between became a real time saver and more accurate way of mapping out an images focus points. It was pretty easy, I just stuck a piece of roll measuring tape (found it in the scrapbooking aisle awhile back) to the lens, extended the centimeter lines and was all set.
After meeting with the faculty in my graduating committee at Eastern Michigan University today I got a better outlook for the printing of my show.
DeMarte, Hyndman, Fey, and Sacksteder each helped me with the way things were laid out. The projectors, as Brendan Fey suggested, could be placed on top of the half walls—a win-win for scale and ability for people to actually spill their silhouette shadow into the projection instead of blocking the entire light projected behind them. Amy Sacksteder discussed the harmony of colors in the Little Planet series and enjoyed the idea of there being three marbles instead of two on display. Chris pushed me in a good print direction, which would allow me to place white tacks onto a bordered free-hanging print without the need for an “object” as he called it hanging on the wall.
After doing some test prints with Jason DeMarte in the photo print lab I realized how my image workflow process of saving files has been off for some time now… Not only that, but the photographs I intended to print described in detail from my journal entry earlier this month were not nearly the size they needed to be.
If you’re reading this and plan on making extremely large prints from a compressed JPEG file of 22 megapixels or around this size take it from my experience that there are things to consider. Before today I thought I could increase a 22 megapixel resolution file (from a Canon 5D Mark III) and be alright for printing a clear 40×60 inch scale print. The thing is, all my previous files (along with nearly everything else) have been saved in an Adobe RGB (1998) JPG format. Even though I was aware of these being 8-bit compressed files, I didn’t think the compressed tones were that influential when printing at a very high scales. I was wrong. Today I learned that size and color shift (from JPG compression) may look good from a distance, but from this massive scale and viewed up close they looked very close to falling apart apart.
- Canon 5D Mark III – 5760 x 3840 (22MP) – Previous files saved as Adobe RGB (1998) JPEG 300ppi
- Canon 5DSr – 8688 x 5792 (51MP) – Reshoot files saves as ProPhoto RGB PSD 16bit 300ppi
22 Megapixels is rated superb at 16×24, excellent at 20×30, and good at 40×60 (see this nice infograph for a quick reference to print sizes). Since the entire purpose of my crystal and marble series is to be looked at from so close your entire field-of-vision is filled with absolute clarity, this fact became a problem. After doing a very quick search I found this: a quick and clear infographic on print sizes and how they stack up. To even get into near the excellent quality I was going for, I needed to re-shoot these images.
The paper I ordered for my show will be Epson “Hot Press Bright Archival Inkjet Paper” (thanks for recommending, Jason)
The floorplan for my show has changed.
Everyone was on the same page for the elimination of the print in the lower left corner, which will now be replaced by first marble you see below this diagram, with the two remaining next to one another. The entire feeling I have of my layout now is cleaner and more consistent with the work itself.
Click the + to see the previous version.