Canon iPF8100 natural choice for Contemporary Landscape Artist

Author Information

Sample Print has 4 Published Articles

United Kingdom,
England,
London,
London,

Canon iPF8100 natural choice for Contemporary Landscape Artist

Posted On : Oct-14-2011 | seen (352) times | Article Word Count : 1762 |

Thanks to the versatile nature of the iPF8100 he is now able to produce a full width slice of his print (emulating a dark room style crop) in order to match it at any point. “This alone is saving me three times as much media.”

The Photographer
David Anthony Hall plans his shots months, sometimes even years in advance. He visits locations numerous times to get just the right natural lighting conditions in order to capture the perfect shot. For the self-professed nature devotee, taking panoramic photographs of arrestingly beautiful scenery is hardly an arduous task. “When you love what you do, you’ll never have to work a day in your life.” says David. His photographs are expansive not just in size but in the level of content they express and are filled with a passion he captures so vividly and with such great detail.

Born in Dublin in 1969, he first discovered his love for photography at school when he processed some of his father’s old negatives for a class project. He trained as a graphic artist then studied photography at Dun Laoghaire School of Art and Design (now the Institute of Art). His first role was as a still life photographer after coming to London in 1990. He then set up his own commercial studio in West London in 1994. Several years later, after running a successful photographic agency, Photohall Ltd, he decided to concentrate on his own work and passion as a landscape artist.

The Art
Using the medium of photography and large format print to capture his expansive nature shots is undoubtedly a very specific path to follow. It’s not as if one element on its own isn’t sufficient to captivate an audience! Yet combined they blend perfectly; fusing impressive photography, design and printing techniques seamlessly to provide breath taking panoramic expression. David’s photographs are rarely confined by a viewfinder. He shoots a series of shots which he later pulls together to capture the vista he wants to portray. The sheer scale of his work lends itself to large format print at its absolute best. David’s sells an image each year for charity, a d 2.7m wide and 1.5m high entitled ‘Autumn Light’, was sold for charity in 2009, raising a fantastic £7500. The image was printed on the 12 colour Canon Image PROGRAF iPF9100. The proceeds where split between, Cancer Research, McMillan Cancer Support and Bart’s Hospital East Wing, and dedicated to the memory of David’s natural father Antonio Senezio, who died of cancer in 2007. He has since donated several more images to various charities, including PhotoVoice and Marie Curie Cancer Care. In 2011 he provided a wonderful image entitled ‘Bluebell Woodland’ which sold for £10,000 for the Children’s Acute Transport Service CATS.

David produces around 12 finished pieces per year, often visiting locations many times to extract the right shot. He will sometimes wait days, weeks, or even months for the right lighting conditions. He takes into account the various trajectories of the sun as the earth orbits throughout the season, as well as lunar tidal rhythm to gain the best possible shot.

Using his Canon EOS-1Ds Mark IIl, David shoots the images using lenses ranging from his favoured 50mm to a 100mm and sometimes even a 300mm. By employing a range of panoramic techniques he is able to capture a series of images which he later weaves together in his digital darkroom.

David employs a more traditional approach to his photography, as he would have once with a film camera. Whilst he believes the digital technology has enabled photographers to speed up the process, he also believes it creates a tendency to rush the results. Image success is often decided by what is revealed in the screen and not just what the camera can do. For David the set up of the shot is as much a crucial element of the process, as the camera itself. Slowing everything down, taking his time and creating ‘breathing space’ enables him to capture better results. “You shouldn’t rush photography: the key is stopping, slowing and taking your time. There’s insecurity in the photographic industry which makes photographers believe they need big cameras to be a better photographer. But if you’re not in the right place at the right time it won’t work, no matter which camera you have!”

The Printing
Until recently David’s relationship with Canon had never extended beyond his use of their cameras. After seeing the quality of his charity piece ‘Autumn Light’ produced by the Canon distributor Velmex Distribution, David was extremely happy to take delivery of his new printer a, 44” 12 colour Image PROGRAF iPF8100, large format printer, soon after the event. “What struck me initially was just how quiet the Canon was. My previous A1 device wasn’t a Canon product; it was very slow and surprisingly noisy”.

Before using the Canon iPF8100, David would often produce five, full sized, pieces in order to get the exact colour match before he was happy. Thanks to the versatile nature of the iPF8100 he is now able to produce a full width slice of his print (emulating a dark room style crop) in order to match it at any point. “This alone is saving me three times as much media.” he said. The reason this is possible is because of a unique Adobe plug-in that comes with the printer. “The Adobe plug-in is brilliant! It’s very easy to use, quick and convenient. It gives me total control over the colour output I produce. It saves me a lot of media and I don’t have to mess around with custom sizing, plus I can print straight from Photoshop with no need to resave files first.”

When Adobe Photoshop sends a 16 bit image to be printed it does so in 8 bit format, this is because most operating systems do not generally support 16 bit files to the print driver. The result is a lower quality output, even though the printer can produce a higher quality image. The Canon Photoshop plug-in can automatically convert a 16 bit image in Photoshop, to a 12 bit interpolated image for the printer, capturing the optimum quality available. The eye is unable to distinguish the difference between 12 bit and 16 bit, yet between an 8 bit and 12 bit output the difference, even to the untrained eye, is noticeable. “16 bit offers superb gradation on my three meter images, it makes a big difference to my type of work. Now, from image capture to output I have the ability to print at the highest quality. The difference is evident to me, especially in the sharpness of detail I get in blue skies or the detail of greens, where otherwise the 8 bit version can appear flat.”

Because David produces editions of his work, the output must be precisely the same from the first to the last image. “The Canon drivers supplied with the printer offer great colour accuracy, any breakdown in the colour chain is not acceptable to me. Canons colour reproduction is spot on each time. As long as the input is controlled I don’t have to worry at all about the output, I know it will be correct. Profiles stay the same regardless of driver updates and image reproduction is precise each time. The 12 colour LUCIA inks has a huge colour gamut as well, extra red, green and blue inks increase the outer spectrum giving me something as close to a lab process as, I think, inkjet can produce. The four black inks give far greater shadow detail, plus once again there is a saving on ink costs as less mixing is required. Simply put it means I use far less ink!”

The inspiration behind David’s photography is to capture nature in its purest form. However to do this justice and to reproduce on such a large scale, vast amounts of data becomes the main ingredient.

The images are all shot in RAW format creating image sizes anywhere from 150 mega pixels to 200 mega pixels, creating a level of sharpness and detail vital when printing at this scale. “Because the size of my files are so large, upwards of 4GB, having an 80GB hard-drive is invaluable. The files download straight to the printer freeing up my desktop and the printer will start to print even before the file has completely downloaded. The twin print-heads offer me super fast printing. The print-heads are semi permanent features that don’t need replacing with each ink change plus I can replace the print heads myself. This gives me a cost saving I’d not anticipated, and with no down time. The ink cartridges are available in 700ml and 300ml tanks and can be hot swapped whilst the machine is running, making it incredibly versatile when printing my three metre images. The printer also has a reserve tank which stores ink to ensure the print is finished without stopping. This prevents any risk of having a dry line through the middle of a print. Something you don’t need when printing three meter images!”

These large format printers can be managed simply by the ‘Canon Job Manager’ a tool that David has found invaluable when running his print jobs. “Previously I would estimate my ink costs by job as I didn’t have the same level of detail I have now with ‘Job Manager’. I can access it via any web browser enabling me to check the ink usage on every print. I can also check ink levels, which paper I’ve loaded in the printer and the length and width of the roll. I am now in complete control of all my printing costs, something that I certainly didn’t have before”.

Archival work
The process David employs to finish his prints is ‘Face Mounting on to Perspex’. This is a process where the finished print is sandwiched between a piece of Perspex and Dibond or an Aluminium backing sheet. Recent research by Wilhem-Research.com suggests that a colour print from a Canon 12 colour Image PROGRAF iPF6100*, on gloss media under a Perspex substrate could offer a light fastness of 176 years. “This is 101 years longer than my previous printer could claim giving my customers a higher archival value.”

What’s next?
His plans for the future involve bigger and more public installations. But one thing is for certain, for David Anthony Hall large format printing and photography are now an integral blend of each other. The intricate capture of the Canon EOS- Ds Mark III and precision output of his Canon iPF8100 large format printer has become the model for his exceptional expression of natural landscape art.

Re-Publish this Article

<h1>Canon iPF8100 natural choice for Contemporary Landscape Artist</h1> Author: <a href='http://www.articleseen.com/profile_Sample Print.aspx'>Sample Print</a> 
The Photographer
David Anthony Hall plans his shots months, sometimes even years in advance. He visits locations numerous times to get just the right natural lighting conditions in order to capture the perfect shot. For the self-professed nature devotee, taking panoramic photographs of arrestingly beautiful scenery is hardly an arduous task. “When you love what you do, you’ll never have to work a day in your life.” says David. His photographs are expansive not just in size but in the level of content they express and are filled with a passion he captures so vividly and with such great detail.

Born in Dublin in 1969, he first discovered his love for photography at school when he processed some of his father’s old negatives for a class project. He trained as a graphic artist then studied photography at Dun Laoghaire School of Art and Design (now the Institute of Art). His first role was as a still life photographer after coming to London in 1990. He then set up his own commercial studio in West London in 1994. Several years later, after running a successful photographic agency, Photohall Ltd, he decided to concentrate on his own work and passion as a landscape artist.

The Art
Using the medium of photography and large format print to capture his expansive nature shots is undoubtedly a very specific path to follow. It’s not as if one element on its own isn’t sufficient to captivate an audience! Yet combined they blend perfectly; fusing impressive photography, design and printing techniques seamlessly to provide breath taking panoramic expression.  David’s photographs are rarely confined by a viewfinder. He shoots a series of shots which he later pulls together to capture the vista he wants to portray. The sheer scale of his work lends itself to large format print at its absolute best. David’s sells an image each year for charity, a d 2.7m wide and 1.5m high entitled ‘Autumn Light’, was sold for charity in 2009, raising a fantastic £7500.  The image was printed on the 12 colour Canon Image PROGRAF iPF9100. The proceeds where split  between, Cancer Research, McMillan Cancer Support and Bart’s Hospital East Wing, and dedicated to the memory of David’s natural father Antonio Senezio, who died of cancer in 2007. He has since donated several more images to various charities, including PhotoVoice and Marie Curie Cancer Care. In 2011 he provided a wonderful image entitled ‘Bluebell Woodland’ which sold for £10,000 for the Children’s Acute Transport Service CATS.
 
David produces around 12 finished pieces per year, often visiting locations many times to extract the right shot. He will sometimes wait days, weeks, or even months for the right lighting conditions. He takes into account the various trajectories of the sun as the earth orbits throughout the season, as well as lunar tidal rhythm to gain the best possible shot.

Using his Canon EOS-1Ds Mark IIl, David shoots the images using lenses ranging from his favoured 50mm to a 100mm and sometimes even a 300mm. By employing a range of panoramic techniques he is able to capture a series of images which he later weaves together in his digital darkroom.

David employs a more traditional approach to his photography, as he would have once with a film camera. Whilst he believes the digital technology has enabled photographers to speed up the process, he also believes it creates a tendency to rush the results. Image success is often decided by what is revealed in the screen and not just what the camera can do.  For David the set up of the shot is as much a crucial element of the process, as the camera itself. Slowing everything down, taking his time and creating ‘breathing space’ enables him to capture better results.  “You shouldn’t rush photography: the key is stopping, slowing and taking your time. There’s insecurity in the photographic industry which makes photographers believe they need big cameras to be a better photographer. But if you’re not in the right place at the right time it won’t work, no matter which camera you have!”

The Printing
Until recently David’s relationship with Canon had never extended beyond his use of their cameras. After seeing the quality of his charity piece ‘Autumn Light’ produced by the Canon distributor Velmex Distribution, David was extremely happy to take delivery of his new printer a, 44” 12 colour Image PROGRAF iPF8100, large format printer, soon after the event. “What struck me initially was just how quiet the Canon was. My previous A1 device wasn’t a Canon product; it was very slow and surprisingly noisy”.

Before using the Canon iPF8100, David would often produce five, full sized, pieces in order to get the exact colour match before he was happy. Thanks to the versatile nature of the iPF8100 he is now able to produce a full width slice of his print (emulating a dark room style crop) in order to match it at any point. “This alone is saving me three times as much media.” he said. The reason this is possible is because of a unique Adobe plug-in that comes with the printer.  “The Adobe plug-in is brilliant! It’s very easy to use, quick and convenient. It gives me total control over the colour output I produce. It saves me a lot of media and I don’t have to mess around with custom sizing, plus I can print straight from Photoshop with no need to resave files first.”

When Adobe Photoshop sends a 16 bit image to be printed it does so in 8 bit format, this is because most operating systems do not generally support 16 bit files to the print driver. The result is a lower quality output, even though the printer can produce a higher quality image. The Canon Photoshop plug-in can automatically convert a 16 bit image in Photoshop, to a 12 bit interpolated image for the printer, capturing the optimum quality available. The eye is unable to distinguish the difference between 12 bit and 16 bit, yet between an 8 bit and 12 bit output the difference, even to the untrained eye, is noticeable. “16 bit offers superb gradation on my three meter images, it makes a big difference to my type of work. Now, from image capture to output I have the ability to print at the highest quality. The difference is evident to me, especially in the sharpness of detail I get in blue skies or the detail of greens, where otherwise the 8 bit version can appear flat.”

Because David produces editions of his work, the output must be precisely the same from the first to the last image. “The Canon drivers supplied with the printer offer great colour accuracy, any breakdown in the colour chain is not acceptable to me. Canons colour reproduction is spot on each time. As long as the input is controlled I don’t have to worry at all about the output, I know it will be correct. Profiles stay the same regardless of driver updates and image reproduction is precise each time. The 12 colour LUCIA inks has a huge colour gamut as well, extra red, green and blue inks increase the outer spectrum giving me something as close to a lab process as, I think, inkjet can produce. The four black inks give far greater shadow detail, plus once again there is a saving on ink costs as less mixing is required. Simply put it means I use far less ink!”

The inspiration behind David’s photography is to capture nature in its purest form. However to do this justice and to reproduce on such a large scale, vast amounts of data becomes the main ingredient.

The images are all shot in RAW format creating image sizes anywhere from 150 mega pixels to 200 mega pixels, creating a level of sharpness and detail vital when printing at this scale. “Because the size of my files are so large, upwards of 4GB, having an 80GB hard-drive is invaluable. The files download straight to the printer freeing up my desktop and the printer will start to print even before the file has completely downloaded. The twin print-heads offer me super fast printing. The print-heads are semi permanent features that don’t need replacing with each ink change plus I can replace the print heads myself. This gives me a cost saving I’d not anticipated, and with no down time. The ink cartridges are available in 700ml and 300ml tanks and can be hot swapped whilst the machine is running, making it incredibly versatile when printing my three metre images. The printer also has a reserve tank which stores ink to ensure the print is finished without stopping. This prevents any risk of having a dry line through the middle of a print. Something you don’t need when printing three meter images!”

These large format printers can be managed simply by the ‘Canon Job Manager’ a tool that David has found invaluable when running his print jobs. “Previously I would estimate my ink costs by job as I didn’t have the same level of detail I have now with ‘Job Manager’. I can access it via any web browser enabling me to check the ink usage on every print. I can also check ink levels, which paper I’ve loaded in the printer and the length and width of the roll. I am now in complete control of all my printing costs, something that I certainly didn’t have before”.

Archival work
The process David employs to finish his prints is ‘Face Mounting on to Perspex’. This is a process where the finished print is sandwiched between a piece of Perspex and Dibond or an Aluminium backing sheet. Recent research by Wilhem-Research.com suggests that a colour print from a Canon 12 colour Image PROGRAF iPF6100*, on gloss media under a Perspex substrate could offer a light fastness of 176 years. “This is 101 years longer than my previous printer could claim giving my customers a higher archival value.”

What’s next?
His plans for the future involve bigger and more public installations. But one thing is for certain, for David Anthony Hall large format printing and photography are now an integral blend of each other. The intricate capture of the Canon EOS- Ds Mark III and precision output of his Canon iPF8100 large format printer has become the model for his exceptional expression of natural landscape art.About the Author: Canon iPF8100 is a 
<a rel="nofollow" href="http://www.sampleprint.co.uk/" target="_blank" title="large format printer">large format printer</a> that is versatile in nature when it come to features it provides. It is one of the best printers in the 
<a rel="nofollow" href="http://www.sampleprint.co.uk/" target="_blank" title="large format printers">large format printers</a> range available today. Article Source: <a href='http://www.articleseen.com/Article_Canon-iPF8100-natural-choice-for-Contemporary-Landscape-Artist_92169.aspx'> http://www.articleseen.com/Article_Canon iPF8100 natural choice for Contemporary Landscape Artist_92169.aspx</a>

Article Source : http://www.articleseen.com/Article_Canon iPF8100 natural choice for Contemporary Landscape Artist_92169.aspx

Author Resource :
Canon iPF8100 is a
large format printer that is versatile in nature when it come to features it provides. It is one of the best printers in the
large format printers range available today.

Keywords : Large Format Printers, Large Format Printer, Cannon Printer,

Category : Computers : Hardware

Print this Article Send to Friend