Amazing Photo Papers that I rely on Most!

[@ralphbarnes3690]

Very helpful. And a beautiful environment for your videos.

[@oliverhintz594]

One of the better videos I have seen of someone talking about papers! I am looking forward to watching more of your content. Greetings from Bern, Switzerland

[@rogerhance5883]

Very good video Michael. The Permajet range of papers are excellent.

[@OSMPhotography]

Thanks Roger! Yes, they are fantastic papers and an amazing range!

[@annfrancis9096]

Fantastic Micheal, Learnt a lot, wish I had seen this before I did my Fellowship which I printed on Distinction. needed a cool paper, thankfully it worked out well.

[@gonzphotographymusicchanne2855]

This was the video iv been looking for been loving the Perma-jet Oyster and need to move along to some other of there paper.loving your work, dark, fantasy and goth, all the best

[@Danny2009ie]

Excellent Michael!

[@OSMPhotography]

Thanks Danny! I hope you are keeping well!

[@amaimani]

Great cotent. If considering Hahnmulle media, what would you suggest for Fine Art Printing using same printer you have Canon IPF1000. I wish I had seen some printed examples in thsi episdoe to show the differencee in the look of papers. Nonetheless, I have really enjoyed watching.

[@kyledarrenhanson]

Great channel! I've become a bit obsessed with prints and papers over the last year, owning now my first Pixma Pro 100, so I love printing, paper, fine art printing, editing, calibration videos to master the craft. I do have a quick question if you don't mind. Oh, first, I've seen a few photos and prints in your videos, they look fantastic. My question is, I recently bought a SpyderX calibrator and I hear many times to always calibrate to 6500K. The room I edit in is typically quite dark, and the SpyderX software recommended calibrating at 5800K I'm pretty sure due to the dark room I'm in. Do you think sticking with 5800K in pretty dark room will work out when it comes to monitor / printer matching, or do I really need to get things adjusted to 6500K. Very appreciated and look forward to more on your channel.

[@OSMPhotography]

Thank you Kyle! No problem. I am actually putting up a video either tomorrow or Saturday all about monitor white point, so if you haven't subscribed, it might me a good idea so you get to see that video. Without seeing your room, it depends on the colour temperature of any ambient light in your room. If the light (if any) in your room is very yellow, then that can affect how you perceive the colours on your monitor. It might be worth having a calibrated profile at 5800K so you can see colours accurately on your screen while in that environment. However, that may even depend on how much the light colour temperature in your room affects your perception. A bigger monitor would mean you don't get affected by ambient light colour temperature so much. If there is no other light in your room (which I don't recommend, as you might perceive your images to be brighter than they are), then only worry about a daylight target white point to match viewing conditions explained below: The most important thing to consider with monitor white point is where the images will be viewed most often. If your prints will be viewed in daylight, or daylight balanced light, then calibrate to D65 (6500K), or somewhere between D60 and D65 (6000K - 6500k), but anything down to 5600 K is not a million miles off of Daylight. If your images are being vewed online, then definitely 6500k to match the majority of monitors out there in the WWW. If your prints will mainly be viewed in warm (eg, Tungsten type) light, the definitely use a warmer target of D50 (5000K) or below. Some brochure design houses use warmer, eg. 3500K, as they are creating Artwork that will be viewed in homes late in the evening under indoor incandescent lighting. Contrary to a lot of misguided advice out there, there is no one value that works for every situation. The best way to see which is best for you is: 1. Set it to one value, (say D65), edit an image from scratch, and print it. Take to print to view it in the conditions you expect them to be mainly viewed in. 2. Set it to an alternative Value (Say 5800K), Edit a duplicate of the image from Scratch again, print it and view it in the target conditions again as above. Then you will see which one is giving you a more accurate result. For myself over the years I have found that having at least 2 profiles that I switch to (During the day, with window light in the room it's set to D65 , and in the evening, I use a warmer one), As time has gone on, and as indoor lights are more varied than they used to be, I find myself working mainly in the D65 one, and only switching occasionally to check images before exporting for a specific use like Web Galleries or brochure print etc. Images are more and more being viewed in Daylight conditions these days. Hope this all makes sense! It might be clearer in the video! :-)

[@kyledarrenhanson]

@@OSMPhotography Thank you very much for the detailed explanation, I really appreciate it and will let it sink in. I get it with the viewing conditions being a big factor in it, but how about the color of the paper(warm, neutral, blue) when it comes to choosing to calibrate monitor between say 5000 and 6500? I understand a lot of the individual aspects of color calibration, icc profiles, papers, viewing conditions, but I think I struggle a bit knowing exactly how to tie them all together to make the right choices, ultimately so my prints look their best, and have a repeatable process. I look forward to your video on this for sure, as well as other ones, you have a lot of great knowledge to share and excited to learn more.

[@kyledarrenhanson]

@@OSMPhotography oh, and I've very happily subscribed to your channel...

[@OSMPhotography]

​@@kyledarrenhanson Thank you! And also for the kind words. On the question of paper tone - It's a good question, and of course it has an effect, but nowhere near as much as lighting conditions. The idea is to get the image to look as accurate as possible in the target viewing condition, and the perceived colour of the paper changes with the lighting conditions. Paper tone variations for the most part are not that obvious at all until you put them side by side.For the most part, they don't require a change to editing, and people forget that the paper profile takes the paper tone into account as well. The paper tone is most noticeable on the white areas, but again, really only if images are placed side by side on different paper types. The exceptions to this are papers that have got "Optical Brighteners" added. These phosphoresce under UV light to make them appear whiter than they are. This can cause the whites and highlights to shift dramatically under daylight. But this doesn't happen under other conditions where there is no UV. So, if you try to correct for this happening, by having a brighter image, it fixes the issue for a very specific lighting situation, but makes the print look too warm in eery other scenario. So again - We are back to the viewing conditions being the most important consideration. :-) Things to bear in mind - --Most monitors are only capable of reproducing their full colour gamut when set to their "native" white point. This is D65 in the vast majority of modern monitors. --The Human eye tends to correct for colours and light colour temperatures using daylight as a reference point. It doesn't tend to correct for how things look in daylight, it just sees them as they appear. So... An image edited for daylight looks perfect in Daylight, and will still look ok under other situations, as the eye/brain tries to shift the colours in our vision back to daylight so we can accurately process the colours in our minds. But.... An image edited to be viewed under warmer lighting conditions... Will look REALLY blue in daylight balanced lighting, because the eye does NOT correct from daylight back to tungsten. :-) And this is all going to happen regardless of paper tone. I hope this helps. :-)

[@OSMPhotography]

ps - I saw a video recently where the advice was: "If you're editing for print, calibrate to D50, because that's the colour of paper". That is such poor advice. The colour of paper is the colour of the light in the room! :-)