I find that best rendered using Ilford GALERIE GOLD Fibre Silk. Other times I really want a subject to have that awesome 3d like edge rendition. In my case if my subject demands the best in the distinct separation in white/gray/black I typically will go with a good glossy paper. Typically I see Glossy paper has having blacker blacks and Luster papers having a better edge rendition. For me it largely depends on the subject and what I want. It is hard to decipher which paper would be best to use for a B&W print. In my opinion, I get much better results printing my own work. I used WHCC services for a while and they were not bad. I'm new to all this & love the look of my prints so far on Canons fine art matte which was only about a third of the price of Canons other fine art papers that were much nicer to feel in the hand.Īre their other accepted ways of displaying prints without using glass? I assume most shots are displayed behind glass so does the feel of the paper have any bearing when we make a purchase? You mention liking the feel of the paper which I experienced when looking through the Canon demo print outs in the shop when I bought a pro9000. who wants or expects people to be handling these exhibits? ABW mode on Epson).Īs for "feel" - if its hung on a wall or such for display, under glass or not.
Crane and co print drivers for canon pixma pro 100 driver#
RR Aurora Natural) can be nice for the added warmth they can add (though unsure how hard yield really with an adjustment in color balance in print driver (eg.
Textured mattes/fine art papers make some sense at least as you can visibly discern the texture, but smooth mattes. When under glass, does usage of matte paper make sense? The glass adds the reflections you'd get with glossy, at the expense of (generally speaking) matte paper having a slightly lower density range than gloss paper. just a couple options for non-under glass options: They are rare animals, which are not often photographed and that live in wonderful biotopes – an ideal recipe for experiencing exceptional emotions and making beautiful images.Check out float wraps or standouts. I'm fascinated by the Andean cat too, and the puma. I tried to see the Siberian tiger in 2019 but I only saw its footprints. You've had great success already, but what dreams would you like to fulfil in future? The robustness of the Canon EOS R5 and the Canon EOS-1D X Mark III is a real asset." "I am often in difficult conditions when I create my images – snowstorms, sandstorms, lying in mud or frost – so it's important that the kit stands up to my demands. What do you need from your Canon kit in the environments where you work? In order not to miss it, you have to wait all day." You don't know the time or the place of your encounter with wildlife. It is essential not to frighten the animals and I'm very careful about that. "Knowledge of the animal is very important so that you don't disturb it. How important is patience in getting the perfect shot? I have tried to draw but I am very bad, so it's thanks to photography that I manage to transcribe what I have in mind." I also love watercolours for their softness, or sculpture and bronzes for the fabulous work of the material. I would even say that I look at very few photographic images. They contain daring images that break the rules of photography."ĭo you look to art forms beyond photography for inspiration? "I designed everything, from the text to the layout, including the choice of paper and images inside," Michel says. He's already self-published three books: Encounters, Yellowstone and Hokkaido. While still a student at the INRACI photography school in Belgium, he was awarded the Fritz Pölking Junior Prize in 2014, followed by the Rising Star Portfolio award at the Wildlife Photographer of the Year competition that same year, which he won again in 2018. Recognition of his talent has come quickly. "Thanks to the precision of Canon cameras and lenses and their ease of use, I can concentrate 100% on my image and let the camera take care of the technique," Michel explains. He initially used a Canon PowerShot A570 before moving on to a Canon EOS 400D (now succeeded by the Canon EOS 850D), paired with a secondhand Canon EF 300mm f/4 USM lens (now succeeded by the Canon EF 300mm f/4L IS USM ), at 15. Michel was 13 years old in 2005 when he started photographing birds around the rural centre of Belgium, where he's lived all his life.
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