We know, we know... it's only October, and you've just started ordering pumpkin spice lattes.
But for the professional photographer, October means it's time to start ordering holiday prints for clients! So, Richard is taking 20% off everything you need to make the season merry & bright... we're talking cards, fine art prints, canvas wraps, books, even our brand new Trademark Prints and more.
Start saving now on everything in ROES* with promo code 20HOLIDAY16R
Make sure you're ready for the holiday season with these three easy tips from Richard:
- Know the turnaround times! You can find the turnaround times for all of Richard's print products on our website or in our ordering software (and remember, turnaround times don't include shipping time). Remind clients of your deadlines so you'll have time to prep orders for submission to the lab.
- Become a master of our ordering software, ROES, with some quick tips and ordering guides.
- Get ready to hit the ground running by perusing our blog; you'll find tons of helpful hints like book design tips, the scoop on Richard's gift packaging, how to choose the right fine art paper, and more!
Be sure to receive your holiday prints on time! The following deadlines will allow us to ship your products by December 23rd; remember to choose Next Day Shipping:
- Friday, 12/16 at Midnight PST: Hardcover Books and Softcover Books
- Tuesday, 12/20 at Midnight PST: Fine Art Prints, Frames, and Canvas & Gallery Wraps
- Thursday, 12/22 at Midnight PST: Trademark Prints, Flat & Folded Press Cards and Photographic Prints (No-Correction or Lab-Corrected)
Psst... shipping times are estimates only, and can be influenced by a number of factors outside of the lab's control during the holiday season. So, don't wait!
*Sale excludes proof prints & albums. Sale ends November 14th, 2016 at 11:59pm PST.
After spending hours tweaking your photo files in post production to get the perfect colors, the perfect brightness, the perfect contrast, you get your prints in hand... but it seems like all those meticulous adjustments didn't do a thing! Your prints just don't look like your image files.
Many a photographer has fallen victim to print surprises like this. The unassuming culprit? Your uncalibrated computer screen!
All screens displays are different. Sometimes the variation between screens is minimal, but it can also be really extreme! Watch the video below. We scrolled through some monitor display presets to give you a basic overview of how image appearance can change based on screen settings alone.
The thing is, the settings for your screen aren't recorded in the digital file you submit to the lab for printing. If the reds on your monitor are more prominent than they are on the lab's machines, your prints will look cyan. If your brightness setting is significantly higher than the lab's settings, your prints might look dull or lack contrast. If your screen's saturation settings are lower than the lab's, the colors in your prints could look overly-vivid and unnatural.
There's a reason photo labs sell calibration kits (and it's NOT making money). Calibration kits help you precisely adjust your computer monitor settings, making what you see on your screen at home match what is printed at the lab as closely as possible.
How do you calibrate your screen? First, get yourself some monitor calibration hardware (like Spyder or iOne Match), which will give you a great baseline calibration according to your monitor type, viewing conditions, etc. Then, grab a monitor calibration kit from ROES! You'll get a print from the lab along with its digital file—open the file on your computer and make minor adjustments to your monitor settings, matching screen to print. #easypeasy
Psst... If you don't think you need the precision of monitor calibration, but you're still concerned about your final prints, order Lab-Corrected Prints! Our color-saavy crew will adjust your image files for the best overall print results from the lab's machines.
A guest blog by photographer Sandra Coan.
Winter is coming (insert Jon Snow voice here). That can be a pretty scary thing for us film photographers! Film loves light, we all know it—the more the better. And winter is dark.
So, what do you do when the dark days of winter arrive? Embrace hybrid shooting? Push your film and pray for good results? Put your film cameras on a shelf and wait for Spring? That's no fun!
The truth is, you can shoot film all winter long—even inside, even on super dark days—by creating your own light. Learning to use strobes and flash will absolutely change the way you shoot film (for the better), trust me!
I’m a film photographer in Seattle,WA (a.k.a. one of the darkest cities in the world). The sunsets at around 4:00pm throughout the winter here. Sometimes the street lights stay on all day long, because it never gets light enough for them to turn off. It’s seriously dark. When I went back to shooting film, I knew that the only way it would work for me and my business was if I learned to use artificial light. And honestly, I wasn’t thrilled about that idea.
Using artificial lighting just didn't sound appealing. I was worried that my photos would look “flashy” and harsh. I wanted soft and natural! What I learned however, is that it is possible to create beautiful, natural looking light with strobes and flash.
Here are four things to keep in mind when working with artificial light:
LIGHT IS LIGHT
If you can work with it coming from the sun and shining through a window, you can work with it coming from a bulb and shining through a softbox—the same rules apply. This idea helped me get over the feeling that I didn’t know what to do with strobes. When I thought of my strobe and softbox as a portable window, I realized I knew exactly what to do. I’d been working with window light for years... and light is light!
METERING IS KEY
Every modern hand-held light meter has a flash mode that, when activated, will help you meter your strobe light. Make sure your meter is set to “flash” (a little lightning bolt icon on the Sekonic meters), and then meter just like you would meter window light. For me, that means metering for my shadows when shooting color film.
CONTROL YOUR POWER
Where do most photographers go wrong when working with artificial light? They have their power turned up way too high! I set my model light on high (so I can see where the light is hitting my subject), but I turn the power on my strobe light to low. Doing so creates a soft, natural looking light—which I love!
PREPARE TO BE AMAZED!
When I started working with strobes, it was really just to make it through the winter. What I’ve found, however, is that I actually prefer it to natural light (gasp!). Strobes are consistent. I know that I can go into any shoot, at any time for the day, at any point in the year, and have the same light. Every. Single. Time. Knowing this reduces my stress and worry and allows me to concentrate on my subject—which is way more fun than worrying about my light. Now I use strobes all the time, even in the summer, even on bright sunny days.
Give it a try! Bust out your flash! Dust off those strobes! And start shooting film all year long!!!
Want to learn more? Visit Sandra’s blog for tips and tricks on using lights, working with kids and families on film and growing a business you love. Or, join Sandra in February 2017 for her Studio Lighting workshop!