By ARTHUR H. BLEICH

Panoramic images made from several photos stitched together are impressive, but creating them involves a lot of time and effort. Here’s an easier way requiring only a single photo and a few simple settings in your imaging program. First though, let’s get into the differences between the two techniques.

MULTI IMAGE VS. SINGLE IMAGE PANORAMAS

Producing traditional panoramas requires shooting multiple mages in portrait mode tat overlap each other by 25% to 50% so they can be accurately matched before being stitched together by special panorama software.

A single-image pano requires only a one image to produce a result equivalent to a three- to-five shot conventional panorama.

However, each section of an image used to produce a conventional panorama retains its original resolution. So the final composite image, even if it’s large, usually has enough resolution (pixels) to produce an acceptably sharp result.

Single image panoramas, on the other hand, lose resolution as they are stretched and may need an infusion of additional pixels. Your imaging program can resample the image and add pixels to improve its resolution which can improve the quality if you want to print large images. It usually does a good job on moderate enlargements, but it can it can fall short if you want to print larger images. Not to worry. A free, easy-to-use AI app can remedy that and later on I’ll show you how to use it if you need to.

Finally There’s another difference between the two panorama methods. A single image pano may look slightly elongated but that can contribute to its visual impact, much the same as lenses of different focal lengths do when shooting images in conventional photography.

BEST SUBJECTS FOR SINGLE-SHOT PANOS

Landscapes, seascapes and other vistas look best as single-image panos. But don’t let that deter you from shooting other subjects or objects or even experimenting with images you’ve already shot. You can even achieve some extreme distortion which can really be eye-catching when you use this technique "to boldly go where no one has gone before. "   

SHOOTING A SINGLE PANO IMAGE

1. If your camera gives you the option, set it to the highest resolution it is capable of.

2. Use a shutter speed of 1/125 sec or faster unless your camera is on a tripod, in which case, slower speeds are acceptable if the subject is static.

3. Hold your camera horizontally (in landscape mode). frame your image and shoot it.

4. Shoot several images so you can later choose the sharpest one to print.

5. If your camera has an anti-shake option, turn it ON if you are hand-holding it. If you use a tripod make sure the Anti-Shake option is OFF unless your camera manual says it’s okay to leave it on. NOTE: Most anti-shake settings get confused if the camera is already on a steady support and can actually produce shake rather than prevent it.

POST PROCESSING YOUR PANORAMA

NOTE: I’ve used Photoshop Elements. Other programs work the same way but may have slightly different names for their selections.

1. Open your shots and choose the best one.

2. Go to the TOP horizontal menu bar and choose Image > Resize. You’ll get a screen that looks like this:

3.  "Styles" and "Constrain Proportions" boxes should both be UNCHECKED. 

4. Resample Image should be CHECKED.

5. Set the resolution in the range of 200-300 and enter the image size you want in pixels or inches. This will depend on the paper size you use. Red River has t two pano size papers that work well with desktop printers: 8.5 x 14 inches and 8.5 x 25 inches. (See Resourses below.) You may want to consider leaving a 1-inch border around your image.

6. Every desktop printer can use 8.5 by 14 inch paper which is Legal Size. Many can also use longer paper, the sizes of which can be entered iin the Custom Paper Size option. Check the manufacturer’s specs for the maximum paper length your printer can output, but first try an easier way to find out. Give Google  your printer make and model and ask it for the maximum length of paper it can output.  You'll not only get the answer, but instructions on how to set it up as a  Custom Paper Size.

7. Resample the image to the size you have selected. Output a test print (or a section of your image on regular-sized photo paper) to see if its quality is satisfactory. If so, then print the entire image. NOTE: Using standard sized paper for testing will save you  ink and paper costs. 

NEED BETTER QUALITY? AI TO THE RESCUE! 

If you find your image lacking in quality at the size you desire, it’s time to try Upscayl, a free AI app that’s simple and fast and will take your image into a whole new visual dimension. (See Resources Below.)

Read my blog post about Upscayl, download the app, and then let it go to work on your image to increase its resolution. It will add pixels and give much better definition to your image than your imaging program’s resampling can do. It can also increase the physical size of your image but you can then take it back into your imaging program and Resample it down to your desired size for printing.

NOTE: Most imaging programs can reduce image size quite well without loss of quality because it is easier for them to remove an over-abundance of existing pixels  than  to "guess" where to add new ones required to make an image larger. 

HOW TO USE UPSCAYL

1. Open your image in Upscayle, select the Standard AI Model  and set the enlargement value to 1. This will give your image a shot of pixels and other therapy while retaining its original size.

2. Take the image back into your imaging program and output a test print (or a section of the image on regular-sized photo paper) to see if its quality is satisfactory and,  If so, print the entire image.

However, If the image quality is still not satisfactory, try enlargement factors of 2, 3 or  4 (which insert more pixels for higher resolution).. NOTE: as you use higher settings the image will become larger. This is normal. Then do the following:

1. Open the image in your imaging program.

2. If necessary, use the Resample option to adjust it to it to your desired printing size. Select  the "Bicubic Sharper (best for reduction)” option.

3. Remember to switch your resampling selection back to “Bicubic Smoother (best for enlargement)” (or whatever other choice you usually have it set to) after you’ve adjusted your image to its final size and resolution.

4. CHECK the Constrain Proportions box after you’ve e finished with your panorama session and also if you make any size changes to your image after you have chosen the size you want to print  it at. Otherwise it will not keep the same proportions.

The post-processing steps are pretty straightforward, but depending on the image(s) you work from, you may have to experiment a bit. But once you get into the groove, the results will really impress you– and anyone else who sees the exquisite results you can obtain with Single Image Panoramas.

RESOURCES:

The free Upscayl app and how to use it.

https://www.redrivercatalog.com/blog/upscale-your-images-wit...

Printing large images on small Desktop printers.

https://www.redrivercatalog.com/blog/get-bigger-prints-from-...

Red River's Pano Papers

https://www.redrivercatalog.com/browse/85-x-25-photo-paper-f...

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NONE OTHER THAN ONE OF RED RIVER PAPER'S SIGNATURE LUSTER PAPERS.

Natalie Dybisz (aka Miss Aniela), twice named Saatchi’s ‘One to Watch’, is at the forefront of avant-garde art photography. Miss Aniela's work has been exhibited in the Saatchi Gallery, Waldermarsudde Museum in Sweden and the Houses of Parliament; a bestseller on Saatchi Art and featured on BBC World News.

Her book, SURREAL FASHION, showcases the best 70 Surreal Fashion images including the bestsellers, the earliest images, and the most recent CGI-based work in China. It also features the Face Series. No AI is used in any of the images in this book. In contrast, at the dawn of an age rapidly advancing into AI, it celebrates a wealth of 'real surreal' inspiration.

The Client

Miss Aniela (the professional alter-ego of British fine-art photographer Natalie Dybisz) stunned the art world by using Flickr to showcase her imaginative, multiple-shot self-portraits, breaking with the tradition of spending years as struggling, unknown artist.

The Assignment

Create an image that has the same look and feel as the picture on the wall, a reproduction of Fin de Souper (After Dinner), a 1913 work by French painter Jules-Alexandre Grün, showing people engaged in animated conversation around a table.

The Execution

"I used a Sony DSC-R1 on a tripod with the camera set to "Automatic" and the zoom lens pulled back to its widest focal length- 14.3mm (24mm equivalent for 35mm). All exposures were 1/25 sec at f/2.8 with an ISO of 400. In all, 25 captures were made from which I chose six."

Post Production

"I placed two main clones in the foreground who were to be the main focus of attention, as if they were in conversation. The placement and expressions of the other 'clones' in the background were equally important as accessories to a tightly-composed image and contributing to the feeling of bustle in the scene."

The Output

"Their Evening Banter is quite a dark image, resulting from the compositing and post-processing. It has heavy vignetting round the edges, with the shadow areas opening up to strong saturated orange tones by the candles in the centre of the image making it a challenge for any paper to reproduce faithfully, and producing varied results between different paper types."

"Using an HP Photosmart C4580 set to best photo quality, I chose Arctic Polar Luster as my paper choice because the paper's surface shows the saturation of the image in full, without distorting the shadow areas, and without the hindrance of reflection. The paper is halfway between gloss and matt with the benefits of both."

"I often exhibit my images behind frame glass and want to ensure the surface will not be too shiny and Arctic Polar Luster makes the image look vivid but with less sheen- in fact, the paper is barely reflective even when held next to a bright window."

See More of Aniela's Work

missaniela.com

saatchiart.com/MissAniela

surrealfashion.co.uk

Image Credit: CryCry

Whether you're testing a new deck, creating custom game cards, or building a cube without investing in expensive singles, printing your own proxy cards can be a fun and affordable solution. The difference between a proxy that looks homemade and one that looks professionally produced often comes down to three things: paper selection, printer settings, and finishing techniques.

Fortunately, you don't need specialized equipment to create impressive results. With a quality inkjet printer, the right paper, and a few simple tools, you can produce sharp, vibrant proxy cards that look great on the table and hold up during casual play.

In this guide, you'll learn how to choose the best paper for proxy cards, configure your printer for optimal results, and create cards that look and feel significantly better than standard printouts.

What Are Proxy Cards?

Proxy cards are unofficial reproductions of trading cards used for playtesting, casual gaming, cube drafting, or custom card projects. While they're commonly associated with collectible card games, proxy cards can be created for virtually any tabletop game that uses card-based mechanics.

Why Players Use Proxy Cards

Many players print proxies to test new deck ideas before purchasing cards. Others use proxies for casual playgroups, custom formats, or to replace rare and expensive cards that they prefer not to handle regularly.

Proxy cards are also popular among designers who create custom game mechanics, alternate artwork, or fan-made expansions.

Are Proxy Cards Legal for Tournament Play?

Most organized tournaments require authentic cards. Proxy cards are generally intended for casual use, testing, and personal projects. Always check the rules of your local game store, event organizer, or tournament before bringing proxy cards to an event.

What You Need to Print Professional-Looking Proxy Cards

Creating high-quality proxy cards doesn't require commercial printing equipment, but a few essentials will dramatically improve your results.

Printer Requirements

An inkjet printer is usually the best choice for proxy cards because it produces rich colors, smooth gradients, and excellent image detail. Most modern photo printers can easily handle the resolution required for trading card artwork.

Laser printers can also produce good results, particularly for text-heavy cards, but many players prefer the color reproduction of inkjet printers.

For the best results, use high-quality print settings and source images with a resolution of at least 300 PPI.

Paper and Cardstock Options

The paper you choose will have a greater impact on the finished card than almost any other factor. Thin copy paper may work for simple sleeve inserts, but premium photo papers and cardstocks deliver better color saturation, sharper text, and a more professional appearance.

Choosing the Best Paper for Printing Proxy Cards

Not all papers are created equal. Different projects require different surfaces, weights, and finishes.

Standard Printer Paper

Regular office paper is inexpensive and easy to print on, making it popular for quick deck testing.

Pros:

• Affordable
• Easy to find
• Works with nearly any printer

Cons:

• Reduced sharpness
• Less vibrant colors
• Less durable

Most players using standard paper place the printed card in a sleeve with a basic land or common card behind it.

Matte Photo Paper

For many hobbyists, matte photo paper offers the best balance of image quality, readability, and realism.

Benefits include:

• Rich color reproduction
• Sharp text and artwork
• Reduced glare

Matte papers are often preferred because they closely resemble professionally printed game cards.

For proxies, we recommend our Polar Matte 330. See it in action below or visit the CryCry Channel on Youtube.

Gloss Photo Paper

Gloss papers produce vibrant colors and strong contrast.

Advantages:

• Exceptional color depth
• Crisp image detail
• Premium visual appearance

Potential drawbacks:

• Increased glare under bright lighting
• Potential fingerprints with repetitive handling

Gloss papers often work best for display cards, collector projects, and custom artwork.

Heavyweight Cardstock

Cardstock allows you to create standalone cards without sleeves or backing. SPECIAL NOTE: Make sure you choose cardstock that is inkjet paper. A plain, uncoated stock can work, but color saturation and sharpness will be of lesser quality compared to a paper specifically intended for inkjet use.

Benefits include:

• Greater durability
• Premium feel
• Better handling

Cardstock weight is often in the 60-100 lb range. Red River Paper lists weight in GSM (grams per square meter). Cardstock range is 270-360gsm.

Double-Sided Papers

Double-sided papers are ideal for custom card games, fan-made expansions, and projects that require artwork on both sides of the card. These papers eliminate the need for gluing or mounting separate printed sheets together.

Best Red River Paper Options for Proxy Cards

Several Red River Paper products are particularly well suited for proxy printing.

Polar Matte 

Polar Matte is an excellent choice for players seeking vivid colors, clear text, and a glare-free finish. It produces sharp detail while maintaining a professional appearance during gameplay.

Polar Matte is available in three options:

• Polar Matte 230 - 10 mil thick and "photo weight"
• Polar Matte 230 Double-sided - Print photo and art quality on both sides, 10 mil thick and "photo weight"
• Polar Matte 330 - 15 mil thick and "cardstock" weight

Not all printers will handle Polar Matte 330. Check the printer recommendation specs or contact us to verify.

Palo Duro SoftGloss Rag

For premium projects, Palo Duro SoftGloss Rag delivers exceptional color depth and a luxurious surface texture. It is particularly well suited for showcase cards, custom artwork, and collector-quality projects.

Heavyweight Cardstock Options

For standalone cards, heavyweight cardstocks offer increased rigidity and durability while maintaining excellent print quality.

What Cardstock Weight Is Best for Proxy Cards?

One of the most common questions among proxy creators is how thick the paper should be.

Lightweight Papers 120-130gsm (20–32 lb)

Best for:

• Sleeve inserts
• Quick testing
• Budget builds

Medium Cardstocks 230-270gsm (60–80 lb Cover)

Best for:

• Durable proxies
• Frequent gameplay
• High-quality deck testing

Heavy Cardstocks 270-360gsm (100 lb Cover and Above)

Best for:

• Display cards
• Collector projects
• Custom card games

Recommended Printer Settings for Sharp Proxy Cards

Even the best paper cannot compensate for incorrect print settings.

Use High-Resolution Source Images

Low-resolution artwork often appears blurry, pixelated, or soft when printed. Whenever possible, use images designed specifically for print.

Print at High or Photo Quality Setting

Most professional card printing is produced with your print quality set to High, Photo, or a similar setting. This ensures sharp text, clean borders, and detailed artwork.

Disable "Fit to Page"

Many printing issues occur because software automatically scales artwork to fit the page.

Always select:

• Actual Size
• 100% Scale

This helps maintain proper card dimensions.

Print at Actual Size

Trading cards are designed to precise dimensions. Even small scaling errors become noticeable during gameplay.

Select the Correct Media Type

Choose the media type that matches your paper:

• Matte Photo Paper
• Gloss Photo Paper
• Heavyweight Cardstock

This allows your printer to optimize ink placement and color output.

Trading Card Dimensions and Print Layouts

Before printing, verify that your card files match the intended dimensions.

Standard Trading Card Size

Most popular trading card games use:

2.5 inches x 3.5 inches

If you're creating custom layouts, include bleed areas and safe margins to prevent cutting errors.

How to Make Proxy Cards Feel More Like Real Cards

The printing process is only part of the equation.

Paper Insert and Sleeve Method

This is the most common approach.

Print on paper, cut the card, and place it in a sleeve in front of a basic land or common card.

Benefits:

• Inexpensive
• Fast
• Consistent thickness

Cardstock Printing Method

Printing directly on cardstock creates a more durable standalone card.

Benefits:

• Cleaner appearance
• Improved handling
• Better durability

Sticker Paper on Bulk Cards

Some players print on adhesive paper and apply the image to inexpensive bulk cards.

Benefits:

• Closest feel to authentic cards
• Excellent durability
• Professional appearance

How to Cut Proxy Cards Cleanly

Even high-quality prints can look unprofessional if they're poorly cut.

Using a Rotary Trimmer

Rotary trimmers provide clean cuts and excellent consistency for larger batches.

Using a Guillotine Cutter

Guillotine cutters are fast and efficient when processing multiple sheets.

Corner Rounders and Finishing Tools

Rounded corners help proxy cards feel more authentic and improve durability during handling.

Common Proxy Printing Mistakes to Avoid

Incorrect Scaling

Always print at 100% scale.

Low-Resolution Artwork

Use images designed for printing whenever possible.

Using Paper That's Too Thick

Not all printers support heavyweight cardstock. Verify compatibility before purchasing.

Printing on the Wrong Side

Many specialty papers have designated printable surfaces.

Ignoring Color Management

Printer profiles and paper-specific settings can significantly improve color accuracy.

Frequently Asked Questions

What is the best paper for printing proxy cards?

Matte photo paper is often considered the best balance of color quality, readability, durability, and reduced glare.

Can you print proxy cards on cardstock?

Yes. Many hobbyists use cardstock to create more durable standalone proxy cards.

What cardstock weight should I use for proxy cards?

Most users find that 60 lb to 80 lb cover stock provides an excellent balance between durability and printer compatibility.

Is matte or gloss better for trading cards?

Matte paper generally produces less glare and is preferred for gameplay. Gloss paper often excels for display purposes.

Can I print proxy cards on a regular inkjet printer?

Absolutely. Modern inkjet printers are capable of producing excellent proxy cards when paired with quality paper and proper settings.

Can I print double-sided proxy cards?

Yes. Double-sided matte papers make it easy to create custom cards with artwork and information on both sides.

Final Thoughts

Creating professional-looking proxy cards at home is easier than ever. With the right combination of paper, printer settings, and finishing techniques, you can produce cards that look dramatically better than standard office-paper printouts.

For most projects, a premium matte photo paper offers the ideal balance of image quality and usability. If you're creating collector-quality cards, custom artwork, or standalone game pieces, heavier cardstocks and premium specialty papers can elevate your results even further.

By choosing the appropriate paper, printing at the correct resolution, and paying attention to sizing and finishing details, you'll create proxy cards that look great, handle well, and enhance your gaming experience.

GALLERY-READY PRINTS MADE WITH RED RIVER PAPER.

Born Into Making

Jonathan Grado grew up surrounded by creation. His mother and grandfather were both painters, and his family's business, Grado Labs, has been handcrafting headphones for decades. During Sunday dinners at the home of his grandparents, whose walls were covered in art, something was quietly taking root. Then his parents gave him a yellow Minolta, and suddenly he found his own way to create.

Surreal by Design

Today, Jonathan's studio practice is defined by a refusal to show things plainly. Working across portraiture, still life, and narrative concepts, he builds images that feel lived-in yet otherworldly: cinematic scenes shaped by melancholy, anticipation, and a sense of the absurd. His projects have included donning a friend’s head with a disco ball, filling a front yard with thousands of plastic balls, and levitating citrus across meticulously constructed sets. "I'm fascinated by surrealism," Jonathan says, "proof that symbolic stand-ins carry their own emotional weight."

Enter Red River Paper

For Jonathan, the physical print is where the work fully arrives. While experimenting with his ongoing "Misprint" series, he worked through most of Red River Paper’s base and fine art sample packs, printing identical images across papers to see the differences. He notes that simple elements like the texture and finish of a print can nudge a photo from literal to emotional.

The result of his test drives? Palo Duro Softgloss Rag has become a go-to. Made from 100% cotton rag with a lightly textured semigloss surface, it sits in that rare middle ground between matte and luster — exactly how Jonathan describes it. The paper's barrier coat locks ink into the soft gloss layer, producing the deep blacks and smooth tonal gradations that make his shadow-heavy, cinematic images sing. The result is a print that looks gallery-ready straight out of the printer, with the feel of a traditional darkroom photograph and the performance of modern inkjet technology.

Then there is the Polar Luster Metallic, which stopped Jonathan cold. Its pearlescent base stock gives prints a luminescent quality. Highlights seem to glow, and colors take on a depth and intensity that shift depending on the light. Jonathan admits he burns the most calories with this one, moving it from room to room just to watch how the light catches it. That responsive, almost living quality is precisely what the Polar Luster Metallic is engineered to do, and for a photographer chasing the space between the real and the felt, it is easy to see why it became an instant favorite.

See More of Jonathan’s Work

Jonathan's work has been honored by SXSW Satellite Art, Black Box Gallery, LensCulture, and F-Stop Magazine. Explore his full portfolio at jgrado.com. Read our full Q&A below for more on his "Misprints" work, a rundown of all four of his favorite Red River Paper products, and his appreciation for “the communal experience of making something together.”

Enjoy our Q&A with Jonathan Grado

What year was your business founded and how did you get started?
I've been around the craft of making my entire life. My grandfather was a painter, and my mother as well. My family's business is building headphones. I grew up watching people assemble beautiful pieces. At Sunday dinners at my grandparents' house, I'd stare at hundreds of paintings, and even though I was not studying them and just looking for a place to hide during games of hide and seek, it was an early exposure to composition.

My first camera was my parents' yellow Minolta, given to me at the age of 5. So, I can say I have been shooting since then. Although around 2009, my uncle gifted me Lightroom, and that was the start of me pursuing photography more seriously.

Tell us a little about what product or service your business offers.
I certainly cannot paint, so photography became my creative outlet. I started with product photography for Grado Labs, shooting headphones and phono cartridges. Over time, I went from just taking photos to building out my studio, wanting my series to communicate themes and narratives.

What makes your business unique?
I love to show stories through sets and characters, never relying on the literal. My work constructs surreal, cinematic narratives shaped by melancholy and anticipation.

I'm fascinated by surrealism, proof that symbolic stand-ins carry their own emotional weight. With my photos, I try to facilitate a space that feels lived in, and at the same time, otherworldly. My goal is to capture an ongoing dialogue with sincerity amidst the absurd.

Where do you source your raw materials from?
The subjects vary, and so the raw materials are different depending on where the idea begins and where it leads me. For portraits, the material is the subject I am shooting, and I like to capture comfort in their space. At other times, I am sourcing fruits for still-life series or building props for narrative-based concepts like my "Happy Hour" series.

Building out the characters and sets is one of the most inspiring parts of the process to me. Simple elements such as the texture and finish of a print can push a photo further from literal and closer to feeling, which is where I want my work to live.

In what ways does the business reflect your own personality?
I’m a perfectionist to a debilitating degree. I stay with my work for a long time before releasing it. This is nothing new in the life of an artist, although humor and empathy for the human experience are embedded deep within me.

In my work, instead of showing literal meaning, I try to reach emotion and narrative through symbolism and motifs. I feel this pushback against fidelity. However, the connection to humor within my personality often gives the completed work an amusing or somewhat daft tone.

Who are your typical customers?
I hope that my photos connect with viewers of all ages. For anyone who has felt the tension and resounding pressure between what others expect and what actually inspires and moves them. I want the work to speak to them.

What is the most interesting project you've encountered in the course of your work?
I don't think I could pick just one. "Happy Hour" was exciting because it meant buying over 4,000 balls to build a ball pit in my friend's front yard, renting a car and filling it to the brim with them, and dressing a friend up in a suit with a disco ball head to act as the character in different locations. I also got to shoot with good friends, which matters to me. I like the communal experience of making something together.

"Saint Citrus" lets me play with props and symbolism in an almost therapeutic way. Levitating oranges, opening umbrellas indoors, and building sets in tight spaces are always fun creative challenges.

What has Red River Paper done for your business? Is there a particular challenge Red River Paper has helped you overcome or a goal they helped you meet?
Yes, particularly with a new series I have been demoing, entitled "Misprints," which is an ever-evolving concept. It is my first project experimenting with printmaking, which involves physically distorting an image by hand, and the paper plays an integral part in the process. No single image comes out the same as the last, so each piece feels unique and out of my control. The series explores how memories change each time you return to them. For the next set of "Misprints," after spending weeks testing several finishes and papers, I worked through most of Red River's base and fine art samples, and there were several options that gave my prints the depth and character I intended when I was shooting the original subjects, that I have not found in other options so far in my practice.

The Polar Luster Metallic, particularly, offered a completely new experience — the feel, the quality — and it was instantly my favorite, inspiring the next stage of the series, "Misprints."

Which Red River Paper products do you use, and what do you appreciate most about them?
I started with all three sampler packs. What I did was choose a range of photos, black and white, deep shadows, brighter shots, and create diptychs and grids. Then I printed the same exact images on each sample paper. That really let me see the differences between them, which were sometimes drastic.

I ended up gravitating toward four papers: Polar Matte 230, Polar Luster Metallic, Palo Duro Softgloss Rag, and Arctic Polar Luster. My two favorites are the Palo Duro Softgloss Rag and the Polar Luster Metallic. I love how the tones come out in the Softgloss Rag and its texture. To me it's almost a hybrid between the matte and the luster. The prints look gallery ready. The Polar Luster Metallic is the one that always makes me burn the most calories, because I'm constantly moving it from room to room to see how the light catches it and how the highlights pop off the paper.

How can people purchase your products/service?
Prints are available via my studio at studio@jgrado.com. Other projects and works can be viewed at jgrado.com.

Do you have any future growth plans?
With continuing exhibitions and gallery shows, I want to keep exploring which paper is right for which photos. I recently saw a William Eggleston gallery of his dye-transfer prints, and aside from the photography, I loved the choices of frame, matte, and paper. They all worked together to let the photo speak for itself. So being able to look at a photo and know exactly which paper it needs is a skill I want to keep developing.

By ARTHUR H. BLEICH

Harvard Observatory, Cambridge, Mass, 1850. On a warm, July night astronomer William Bond and photographer John Adams collaborate in an attempt to capture a photograph of Vega, a bright star in the Lyra constellation.

As Bond scans the sky to locate their quarry, Adams goes through the laborious process of sensitizing a chemically treated metal plate, which is then positioned at the viewing end of the telescope. After 20 minutes, the plate is removed, treated with other chemicals and reveals the first known photographic image of a star. (See  image above.)  Astrophotography is born!

IT’S NOT COMPLICATED

Serious astrophotography usually involves probing into deep space with expensive high-powered telescopes that have cameras and other sophisticated equipment attached to them. But there’s an easier and less expensive alternative called Night Sky Photography requiring only simple equipment, most of which you probably already own.

Night sky images include subjects on earth to complement the starlight and together they produce stunning, star-studded photographs. (See image above.) If you currently have or can obtain the equipment listed below, that’s all you’ll need. To learn how to capture these spectacular images, you can read how to do it in a 3-Part series that night sky photographer Ron Risman wrote exclusively for the Red River Paper Blog (see Resources below).

GETTING STARTED

In Part 1 of Risman’s blog post he covers what equipment is needed and why.

1. A DSLR or Mirrorless camera.

2. A 24mm (or wider) lens for a full-frame camera or its equivalent, depending on the size of your camera sensor, with a maximum aperture of F/2.8 or faster. If you have a zoom lens on your camera just set to its widest field of view.

3. A stable Aluminum or Carbon Fiber tripod. Since night sky photography requires longer exposure times than usual, you cannot handhold the camera.

4. An optional wired or wireless remote shutter release to avoid camera shake when pressing your finger on the shutter button. You may also be able to use the camera’s built-in self timer to trip the shutter.

Risman also explains how to find light-pollution-free locations for night sky photography. There are also descriptions of the best times to shoot, settings and exposure values, an explanation of astronomical dusk and dawn, and how to find the Milky Way, (a location that a billion stars and 100 million planets call home).

Part 2 covers lens apertures, shutter speed duration and focus considerations along with an excellent pre-shot checklist that practically guarantees you’ll get stunning results, even on your first try. Risman discusses ISO Sensitivity and has an excellent section on noise reduction and white balance settings. Finally, he describes how to easily add some light to the foreground to balance your composition and show the beauty of the location you’re shooting in. (See image above.) This technique also reduces noise levels by adding a small amount of light to the shadow areas of your image.

Moving on to Part 3, Risman begins by saying “As good as your image may look straight out of the camera, it’s really not finished yet.” He then demonstrates his post-production techniques that make his images really outstanding. Finally, just when you think it’s ended, he finishes with a grand finale on how to capture star trails, along with some extraordinary examples. See image below/) He explains the difference between single-timed exposures vs. interval exposures and tells you how to set up your star trail shot, execute it and then post- process it.

MORE ABOUT THE STARS

You are not alone if you find either solace or foreboding when viewing the starlit heavens at night. Throughout history the stars have played a role in the development of civilizations and, in addition, many religions incorporate celestial lore into their theology. The fate of many battles and major historical events have been undertaken based on the alignment of the stars and these heavenly bodies have also inspired writers and artists from the beginning of time.

When shooting the night sky, many photographers have said that they are overcome with an almost mystical, soul-soothing feeling that provides them with a new perspective about their place in the universe. That alone, may be a good reason for you to try it.

RESOURCES:

Shooting The Stars by Ron Risman:

Part 1: The Night Sky

Part 2: Techniques

Part 3: Post Production

Few photography subjects are as universally loved as a beautiful sunset. The warm colors, dramatic skies, and constantly changing light create endless opportunities for memorable images. Whether you're photographing a mountain landscape, a beach scene, a city skyline, or a quiet country road, sunset light can transform an ordinary photo into something extraordinary.

At the same time, sunsets can be surprisingly difficult to photograph well.

Bright skies, deep shadows, rapidly changing conditions, and intense color can challenge even experienced photographers. It's common to capture a sunset that looked incredible in person only to discover that the photo appears flat, washed out, or lacking the vibrant colors you remember.

Whether you're new to photography or looking to improve your landscape portfolio, these sunset photography tips will help you make the most of golden hour and beyond.

Want to bring your sunset photos to life? Check out our fast and easy paper guide for photographers to make sure you have the best paper for your project.

Why Sunset Photography Is So Popular

Sunsets naturally create conditions that photographers love.

During the last hour before sunset, often called golden hour, sunlight travels through more of the Earth's atmosphere. This filters out cooler wavelengths and creates the warm reds, oranges, pinks, and golds that make sunset photography so appealing.

Sunset lighting offers several advantages:

• Softer shadows
• More flattering light
• Richer colors
• Greater depth and dimension
• More dramatic skies

Unlike harsh midday sunlight, sunset light often adds mood and atmosphere that can elevate almost any subject.

Understanding the Stages of Sunset Light

One of the biggest mistakes photographers make is leaving immediately after the sun dips below the horizon.

In reality, some of the best colors often appear after sunset.

Golden Hour

Golden hour occurs roughly one hour before sunset.

During this period, sunlight becomes softer and warmer, creating ideal conditions for:

• Landscapes
• Portraits
• Travel photography
• Wildlife photography
• Architectural photography

The low angle of the sun creates long shadows that add depth and visual interest to your images.

Sunset

As the sun approaches the horizon, colors often become more intense.

This is when dramatic silhouettes, sunbursts, and vibrant sky colors are most likely to occur.

Blue Hour

Blue hour begins shortly after the sun disappears below the horizon.

The sky takes on deep blue tones while artificial lights begin to illuminate cities and buildings.

Blue hour is especially effective for:

• Cityscapes
• Waterfront scenes
• Architecture
• Reflections
• Fine art photography

Many photographers find their favorite images are captured during this often-overlooked period.

Arrive Early and Stay Late

Sunset photography rewards patience.

Plan to arrive at your location at least 30 to 60 minutes before sunset. This gives you time to:

• Scout compositions
• Set up equipment
• Evaluate weather conditions
• Test exposure settings

Equally important, stay at least 20 to 30 minutes after sunset.

Some of the most dramatic colors develop after the sun has already disappeared, especially when clouds are present.

Check the Weather Before You Go

A completely clear sky doesn't always produce the most interesting sunset photographs.

Some cloud cover often creates the most dramatic results because clouds catch and reflect the warm colors of the setting sun.

Ideal conditions often include:

Clouds can add texture, color, and depth that transform an average sunset into an unforgettable one.

Use the Right Camera Settings

Sunset photography often involves significant differences between bright skies and dark foregrounds.

Choosing the right settings helps preserve detail throughout the scene.

Shoot in RAW

RAW files retain significantly more image information than JPEG files.

This additional data makes it easier to:

• Recover highlights
• Lift shadows
• Adjust white balance
• Refine colors
• Prepare images for printing

If your goal is to create high-quality sunset prints, RAW is almost always the best choice.

Use a Low ISO

Whenever possible, keep ISO settings low.

Typical sunset landscape settings include:

A low ISO helps maximize image quality and preserve fine details.

Use Aperture Priority or Manual Mode

Aperture Priority mode works well for many sunset scenes because it allows you to control depth of field while the camera adjusts shutter speed.

For more challenging conditions, Manual mode provides complete control over exposure.

Protect Highlights in the Sky

One of the most common sunset photography mistakes is overexposing the sky.

Once highlights are clipped, detail cannot be recovered.

Instead of exposing for the foreground, expose for the brightest areas of the sky and allow shadows to remain slightly darker.

You can often recover shadow detail later during editing, especially when shooting RAW.

Use Your Histogram

The LCD screen on your camera can be misleading, especially in bright outdoor conditions.

The histogram provides a more accurate representation of exposure.

Aim for a histogram that approaches the right side without clipping highlights.

This helps preserve color and detail in the brightest portions of the sunset.

Create Strong Compositions

Beautiful light alone doesn't guarantee a great photograph.

Strong compositions give viewers a reason to stay engaged with the image.

Look for elements that complement the sunset rather than simply pointing your camera at the sky.

Include an Interesting Foreground

Foreground subjects add depth and scale.

Popular foreground elements include:

• Rocks
• Wildflowers
• Driftwood
• Piers
• Trees
• Fences
• Mountain ridges

A compelling foreground helps guide the viewer into the scene.

Use Leading Lines

Leading lines naturally direct attention toward the sunset.

Examples include:

• Roads
• Trails
• Shorelines
• Rivers
• Boardwalks
• Fence lines

These elements create visual flow and strengthen composition.

Look for Reflections

Water often doubles the impact of sunset colors.

Reflections can transform a good image into a great one.

Look for:

• Lakes
• Oceans
• Wet sand
• Puddles
• Rivers
• Harbors

Calm conditions often produce the strongest reflections.

Experiment with Silhouettes

Sunsets provide ideal conditions for silhouette photography.

By exposing for the sky, foreground subjects become dark shapes that stand out against colorful backgrounds.

Popular silhouette subjects include:

• People
• Trees
• Wildlife
• Buildings
• Boats
• Mountain peaks

Simple, recognizable shapes typically create the strongest silhouettes.

Use a Tripod for Maximum Sharpness

As light levels decrease, shutter speeds become longer.

A tripod helps maintain sharpness and allows you to:

• Use lower ISO settings
• Capture multiple exposures
• Create HDR images
• Shoot during blue hour
• Experiment with long exposures

A sturdy tripod is one of the most valuable tools for landscape photography.

Try Long Exposure Sunset Photography

Long exposures can create dramatic effects during sunset.

By slowing shutter speed, you can smooth water, blur clouds, and create a more artistic appearance.

Popular long-exposure subjects include:

• Ocean waves
• Waterfalls
• Moving clouds
• Coastal scenes
• Lakeshores

Neutral density filters can help extend exposure times when the sky remains bright.

Photograph People During Sunset

Sunset light is ideal for portraits because it is soft, warm, and flattering.

Backlighting subjects with the setting sun can create beautiful rim light and separation from the background.

For sunset portraits:

• Position the sun behind your subject
• Use spot metering
• Add fill light if needed
• Focus carefully on the eyes

These techniques can create professional-looking portraits with minimal equipment.

Editing Sunset Photos for Printing

One of the biggest mistakes photographers make during editing is oversaturating sunset colors.

While sunsets are naturally colorful, excessive saturation can quickly make images appear unrealistic.

Instead, focus on:

• Recovering highlight detail
• Enhancing contrast selectively
• Refining white balance
• Adjusting vibrance before saturation
• Maintaining natural color transitions

Subtle edits often produce the most timeless results.

Printing Sunset Photography

Sunset photographs are among the most rewarding images to print.

The rich colors, dramatic contrast, and fine detail often translate beautifully to paper.

When preparing sunset images for printing:

• Calibrate your monitor
• Soft-proof your image
• Check shadow detail
• Preserve highlight color
• Export at full resolution

Paper selection can also influence the final appearance.

Luster and glossy photo papers often enhance vibrant sunsets and colorful skies, while matte fine art papers can create a softer, more painterly presentation.

Choosing the right paper helps preserve the atmosphere and emotion that made the sunset memorable in the first place.

Frequently Asked Questions

What are the best camera settings for sunset photography?

A low ISO, aperture between f/8 and f/16, and shooting in RAW are excellent starting points for most sunset landscapes.

When should I start photographing a sunset?

Arrive at least 30 to 60 minutes before sunset and continue shooting through blue hour for the greatest variety of lighting conditions.

Why do my sunset photos look dull?

Your camera may be overexposing the sky or using automatic settings that reduce color intensity. Shooting RAW and exposing carefully can help preserve vibrant colors.

Is a tripod necessary for sunset photography?

While not required, a tripod helps maintain image quality as light levels decrease and shutter speeds become longer.

What lens is best for sunset photography?

Wide-angle lenses are popular for landscapes, but telephoto lenses can be equally effective for isolating colorful skies, distant mountains, and layered scenes.

By ARTHUR H. BLEICH

No matter how great your images may look after you shoot and edit them, all may be lost if your inkjet printer isn't in shape to output them accurately. Here’s how to make sure that it always is.

If you begin to experience blots of ink, blurry lines, streaking and smudges, they are most timely to be caused by problems with your printer’s ink delivery system. This can usually be fixed by running the printer’s cleaning routine. Although this function may be automatically run from time to time by the printer itself, it sometimes needs to be initiated by the user, especially if the printer has been idle for more than a week.

BLOCKED NOZZLES CAUSE MOST PROBLEMS

Uneven results can be due to ink drying in the printhead nozzles through the ink is squirted onto the paper. Some printer manufacturers have attempted to minimize this by incorporating Teflon coatings into their print heads but here’s a time-tested way to avoid having to deal with this problem. Make it a habit to use your printer at least once a week. This is especially important if you live in a dry environment such as wintertime in a cold climate or in a warmer environment where air conditioning is usually running all the time to keep humidity low.

If problems persist, start troubleshooting by printing a nozzle check using plain paper. The results will show if there is any blockage in the printhead nozzles that are preventing an even distribution of the ink. If there are gaps in the lines that are printed out, run a cleaning cycle which will attempt to dissolve any dried up ink blocking a clear flow. Then do another nozzle check to see if there’s an improvement.  Bear in mind that cleaning cycles use ink to dissolve the blockage so if you can't clear things up after three cycles,  let the printer rest a few hours or even overnight  to give the dried-up ink time to soften. Then do another nozzle check to see if they are all firing.

A perfect  nozzle check pattern for a four-color printer shows no gaps in the lines for each color.

You may find that after a cleaning, your nozzle check shows most nozzles now working perfectly except for one or two. Instead of running continuous cleaning cycles (which use a lot of ink) print a purge color or colors just for those nozzles that are still blocked. These are available for  free download for different printer models and include colors for  each ink cartridge your printer uses (See Resources below). Make sure to use the quality setting on your printer that you normally use when printing images. In most cases, a couple  of cleaning cycles and, if necessary, printing some purge colors are are all you need to restore your printer’s capability to print well.

SOME BLOCKAGES MAY REQUIRE STRONGER MEASURES

However, in some stubborn cases, following the steps above may still not give you a satisfactory nozzle pattern . Before you take your printer in for a possibly costly repair, there are still a couple of other remedies available. Both require that the printhead be able to be freely moved by hand. However, your printer is turned off using its power button, it becomes locked in place to one side. To allow it to move freely along its track, turn the printer on and then remove its plug from the electrical outlet. 

TO CLEAN THE PRINTHEAD MANUALLY, dampen a few thicknesses of paper towel with a commercial printhead cleaning solvent (see Resources below) or make up your own solution by mixing a 50-50 solution of isopropyl alcohol and distilled water. Place the towel pack on the printhead rail and slowly slide the printhead over it, leaving it in place for the solvent to dissolve the caked up ink. After a few minutes, you can move the printhead gently from side to side before sliding it off the toweling. If the toweling is heavily caked with ink, you can repeat the process with fresh towel pack. Then run a nozzle check.

Commercial printhead cleaneers are available if you don't want to mix your own and most work quite well.

TO FLUSH THE NOZZLES DIRECTLY , place dry paper toweling under the printhead  as explained previously. Then remove each ink cartridge from the printer and give the now-exposed opening on the printer (where inks would normally flow from the cartridge to the printhead) an injection of liquid cleaner. A commercial printhead cleaners usually come with an injection syringe. Then replace the cartridge and repeat the process for all the other cartridges. By the way, modern cartridges have chips that "marry" to the printer, keeping track of ink levels even when removed and then inserted again so that function will usually not be affected. When you’ve finished, run a couple of cleaning cycles to re-fill the printhead with ink,  and follow that with a nozzle check.

OTHER ISSUES THAT CAN CAUSE BAD PRINTS

You may also want to perform a few other easy, routine maintenance procedures because print output can be degraded by dust and other debris that can build up in the printer and on its paper path. A mini-vacuum or canned air can quickly clear it out.   Paper rollers may also need a cleaning as there might be some build-up on them. You can do this by hand with a lint-free cloth and alcohol but it’s simpler to order a package of roller-cleaning paper from Red River Paper and run a few sheets through the printer from time to time. (see Resources Below)

There may come a time when you turn your printer on and it will not allow you to print. The first thing to do is check your cable connections. I once had a problem with a printer that seemed unsolvable until I realized the family cat had been playing with the USB cable that ran from the printer to the computer and had loosened it just enough to make  the connection unstable which caused the printer work sometimes and not at others.

In most cases the preventive maintenance procedures we’ve discussed will keep your printer humming along. But if you need to clear a bad paper jam and can’t get to all of it, you’ll probably have to get some professional help. Likewise if your strange clicking or grinding noises, it’s best not to tackle these unless you have the skill to do it.

However, most Inkjet printers are made quite well and usually do not have serious mechanical issues; most problems are can be prevented by doing the easy periodic maintenance we’ve discussed. If you make it a habit to do that regularly, every print you output will shine.

RESOURCES:

The site below offers free color purge test images for your printer, printhead cleaning kits and excellent vodeo tutorials that will guide you through various maintenance procedures.

https://www.marruttusa.com/printer-maintenance/inkjet-printe...

 Red River Paper Roller Cleaning Sheets

https://www.redrivercatalog.com/accessories/inkjet-printer-c...

NONE OTHER THAN ONE OF RED RIVER PAPER'S MOST POPULAR SELECTIONS.

David Bergman is a New York based commercial photographer and photo educator who specializes in portraiture, music, and action. As the official tour photographer for Bon Jovi and Luke Combs, he has documented bands on stage and on the road in more than 30 countries and shares his experience with photographers of all skill levels at his unique "Shoot From The Pit" live concert photography workshops. In addition to his many celebrity clients, Bergman has 13 Sports Illustrated covers to his credit and has photographed numerous Olympics, World Series, Super Bowls, NBA, and NCAA Championships.

Enjoy our Success on Paper Recap with David on his recent creative assignment:

The Client

Bon Jovi

The Assignment

Document the legendary Hall of Fame band on stage and off throughout multiple world tours

The Execution

“Bon Jovi’s guitarist Phil X is one of the most dynamic players I’ve had the pleasure to photograph. His playing is ferocious and he genuinely has a great time on stage. Since I photograph the band every night, my goal is to top my pictures from the show before. On this night in Connecticut when Phil went into the solo during ‘Keep the Faith,’ I focused in on him and blasted away. Light, composition, and emotion came together just perfectly, and I knew I had the shot!”

Post Production

“I shoot everything digitally in color, but if the colors don’t add anything to the image, I’ll strip it away. I use Silver Efex Pro from the DxO Nik Collection to do all my black and white images. It allows to me to add realistic film looks and texture to make the image pop.”

The Output

"I love Aurora Natural 300 for my black and white images. It easily handles the gradients while holding detail from the digital grain. There is absolutely no surface reflection and the paper has a slight texture, which gives the image a subtle third dimension.”

Contact:

Workshops: www.ShootFromThePit.com

Portfolio: www.DavidBergman.net

Instagram: www.Instagram.com/davidbergman

Creative Cloud logo © Adobe Inc.

At Red River Paper, we have at least four Creative Cloud accounts at any given time. Since it is a subscription service, we are charged monthly or, in some cases, yearly. The accounting department requires receipts for proper recordkeeping.

This is where the problem starts. Adobe does not send a monthly email receipt to remind you of your purchase. Instead, you have to log into their site and navigate through several pages to locate and print a receipt.

If you want to quickly access your receipt in two steps, here is how:

1. Log into your account at www.adobe.com.

2. Go to https://anyware.adobe.com/billing/billingList.htm, which will display a list of your recent receipts.

You can print any receipt by clicking the “Print” icon on the right side of the page.

You can now save the URL above as a bookmark in your browser and return to it each month, after logging into your account, whenever you need to view or print a receipt.

THROUGH MUSEUM-QUALITY PRINTS MADE EXCLUSIVELY WITH RED RIVER PAPER

From Courtroom to Camera

Since founding his business in 2010, artist and author Xiomáro (pronounced SEE-oh-MAH-ro) has carved a singular path through the art world — one that began with a cancer diagnosis, a camera, and a quiet act of reinvention. After overcoming prostate cancer in 2005, the former entertainment lawyer found solace wandering New York City's streets with a camera. That meditative practice evolved into a thriving career, including commissions from the U.S. National Park Service to photograph historic sites across the country.

What sets Xiomáro apart is his deliberate focus on the overlooked. Rather than chasing iconic landmarks, he turns his lens on lesser-known national parks and the everyday streets of large cities, revealing the hidden humanity and history that tourist maps rarely capture. That work has earned him solo exhibitions at Smithsonian-affiliated museums, PBS coverage, and a growing catalog of street photography books chronicling urban life as "future history."

Enter Red River Paper

Xiomáro does all his own printing, something that surprises many gallery visitors who assume the quality demands an outside lab. For that level of results, he turns exclusively to Red River Paper, relying on a variety of sizes and finishes to suit each project.

His “absolute favorite” is Polar Luster Metallic 255 (17x25"), prized for its rich contrast, luminous color depth, and a luster finish that enhances without creating glare. For exhibitions where lighting demands a subtler surface, he reaches for Polar Matte (17x25") or the cotton-rich Aurora Art White 250 and Aurora Art Natural 250 — each lending a distinct fine-art character. Red River's 17x25" sheet size is itself a practical necessity: it's the largest format Xiomáro can print without cropping, a dimension he notes other manufacturers rarely offer.

See More of Xiomáro's Work
Xiomáro's National Park photography is currently on view at the Long Island Museum through September 13, 2026, as part of America's 250th anniversary celebrations. His next book, Street Photography of the Wildwoods, released March 31, 2026. Explore his work and upcoming projects at his website. Want to see Xiomáro’s review of his “Top 10” favorite Red River Paper products and the meaning behind his name? Read our full Q&A below.

Enjoy our Q&A with Xiomáro

What year was your business founded and how did you get started?
My business was founded in 2010. After overcoming prostate cancer in 2005, I transitioned out of a career as an entertainment lawyer representing recording artists. During my recovery, I found peace in the solitude of wandering with a camera. Experimenting with photography and acceptance into an artist-in-residence program eventually led to commissions from the National Park Service. In between commissions, I engaged in street photography during my daily encounters in Manhattan as a way to sharpen my skills. The reinvention from attorney to artist was commemorated by adopting a pseudonym — “Xiomáro” (pronounced SEE-oh-MAH-ro) — which literally means “ready for battle.”

Tell us a little about what product or service your business offers.
I am an internationally exhibited artist and author. Since 2012, the U.S. National Park Service has been commissioning me to photograph their iconic sites. Museum exhibitions, gallery walks, talks, and workshops all help raise awareness of their history, culture, and natural beauty. Publishers also contract me to author street photography books that chronicle candid urban life as “future history.”

What makes your business unique?
Rather than photographing commonly known national parks or urban tourist attractions, I use my images to draw attention to smaller sites and common streets. Historical parks associated with presidents George Washington and Theodore Roosevelt, for example, tell the story of the nation. Street photography of large cities and towns celebrate the humanity of their residents and reveal the hidden beauty overshadowed by well-trafficked tourist spots.

Where do you source your raw materials from?
Cameras and lenses are from Nikon, Panasonic, and Sony with Manfrotto and Oben tripods. Additional lenses are from Sigma and Tamron. For image editing, I use DxO PhotoLab and Photoshop. Printers and inks are from Epson. American Frame provides my mounting and presentation materials. All my papers are exclusively from Red River Paper.

In what ways does the business reflect your own personality?
My personality is, in part, the sum of my family. My uncle painted and introduced me to oils and watercolor. My father was a cabinet maker and reproduced one-of-a-kind museum pieces for clients such as Chris Jussel, who was later cast as the original host of PBS's “Antiques Roadshow.” Eventually, both parents became avid collectors and appreciators of the history represented by their acquisitions. This influenced my interest in art and history, which — as a life-long New Yorker — also gets expressed in my street photography.

Who are your typical customers?
Photography clients are typically the U.S. National Park Service and its many partner organizations such as the Appalachian Mountain Club and the Connecticut Forest and Park Association. Museums are the client when I am doing an exhibition, lecture, talk, and gallery walk. Libraries, historical societies, and school districts are typical clients for photography workshops. My books are authored for sale by Sutton Publishing and Arcadia Publishing. Then there are the institutions and individuals who purchase my prints for their collections.

What is the most interesting project you've encountered in the course of your work?
New Jersey’s Morristown National Historical Park commissioned me to photograph George Washington’s key military headquarters during the American Revolutionary War. This resulted in a solo exhibition at a Smithsonian-affiliated museum and coverage by PBS. It was a moving experience to go beyond the velvet ropes and enter the very rooms where Washington walked, ate, and slept.

What has Red River Paper done for your business? Is there a particular challenge Red River Paper has helped you overcome or a goal they helped you meet?
I do my own printing and Red River’s 17x25" papers are the largest size I can print without having to crop the image. It seems that other manufacturers commonly produce 17x22" sheets. Red River, on the other hand, has a wide variety of paper types and sizes in 17x25" to suit the variety of prints my work requires.

Which Red River Paper products do you use, and what do you appreciate most about them?
I’ve been using Red River for well over a decade. Although their papers have always been well-protected for shipping, I’ve seen them improve the packaging. Their downloadable .icc profiles, easy-to-understand instructions, and printing information are a great resource. These are the papers I use:


Polar Luster Metallic 255 (17x25")
My absolute favorite. It’s now my go-to paper. It has great contrast, rich color with depth and luminescence, a beautiful grain/texture, and the luster finish is just the right amount — shiny enough to notice and enhance the photograph, but not so much that it creates glare.


Polar Gloss Metallic 255 (17x25", 13x19", 11x14", 12x12", and 8.5x11")
My favorite until I became aware of the Luster version! It’s a great paper for many of the reasons I described above. I love the shine and it’s the paper I’ve used in the vast majority of my exhibitions. I switched to Luster because in some galleries, the light from the ceilings or windows create glare.


UltraPro Gloss 270 (17x25" and 11x14")
The paper I used when I first started out before switching to the Metallic papers. I still keep plenty in stock.


Polar Matte 230 (17x25")
Some museums request matte to minimize glare and for certain images that benefit from a “fine art” look with high contrast and smooth feel.


Aurora Art White 250 (17x25")
I like varying how my matte photographs look. The 100% cotton has a bit of a tooth and luxurious feel that looks great with certain images.


Aurora Art Natural 250 (17x25" and 4x6")
This is another matte variation I use for certain exhibitions. It has a warm tone that gives depth and richness to blacks and other colors. The 4x6" size is perfect for creating wall labels.


Premium Matte 230 (5x7")
I always print wall labels for my exhibitions. I also print announcement cards to promote my exhibitions and books. This paper is ideal for both purposes.

UltraPro Satin 270 (5x7" and 4x6")
I like the UltraPro papers enough to get the smaller satin version for wall labels and announcement cards — just to have some variety in the paper type.


Pecos River Gloss 320 DUO (4x6")
I used these for double-sided announcement cards. The high gloss finish made the cards very eye-catching.


Inkjet Photo & Fine Art Sample Kit
The kit is a handy reference when selecting new papers to try out.

How can people purchase your products/service?
My books are available on my website; through my publisher, America Through Time; as well as Amazon and other online and brick-and-mortar retailers. Anyone interested in purchasing or exhibiting my photographs can contact me at my website or through my gallerist. For talks and workshops, reach me though my website.

Do you have any future growth plans?
To celebrate America’s 250th anniversary, my National Park photography is part of an exhibition at the Long Island Museum, which is on view now through September 13, 2026. Visit my web page “The Seat of Action” for details.

My latest book, “Street Photography of the Wildwoods,” was released on March 31, 2026. I also have a commission to photograph George Washington Birthplace National Monument in Virginia and am doing street photography in Greenland for a book and exhibition.

Is there a special story you’d like to share about your work?
Many visitors to my exhibitions or my studio assume that my photographs were printed by an outside service. They are surprised to learn that I do my own printing and that I get such high-quality results. Although I use many different Red River papers, viewers particularly like the luminance and depth of color from the Metallic papers.

By ARTHUR H. BLEICH

Three ways to save a huge amount of money on expensive printer inks without affecting the quality of your printed images are: 1. Purchasing alternative inks from after-market suppliers, 2. Keeping your printer on at all times, and,  3. Choosing the right quality setting at which to print your images.  Let's take a closer look at each of them. 

Alternative inks are also called  Compatible, Replacement, Comparable, or Third-Party, ( a legally derived  term in which the first party is the manufacturer, the second party the customer and the third party any outside vendor).  Whatever you call them, alternative ink supply companies claim their inks are equal in quality to manufacturers’ inks, cost a great deal less, and can save you 50% to 80%. Depending on how many pages and/or images you print, this could add up to hundreds (or even thousands) of dollars a year.

According to a Consumer Reports review, branded printer ink can cost between $13 and $75 per ounce— more than human blood and many other expensive liquids. Compared to $4.00 for a gallon (128 ounces) of gasoline, the same amount of brand-name printer ink can cost between $1,664 to $9,600 if purchased in OEM (Original Equipment Manufacturer) cartridges.

Why the high price of ink? Printer manufacturers’ business models are nearly identical to that of the Gillette Corporation, developer of the safety razor in in the early 1900s which sold the the razors cheap and reaped huge profits on the sales of throw-away blades. Printer manufacturers claim that if they relied on profits from printer sales alone, printer prices would have to skyrocket.

Using Alternative Inks Will NOT Void Your Printer’s Warranty

When compatible inks were first offered for use with inkjet printers, manufacturers warned that your printer warranty could be voided unless you used only their OEM inks, but this argument was rejected by the courts as a violation of the Magnuson-Moss Warranty Improvement Act which said that that consumers could not be forced to use specific brands to maintain warranty on their purchases. So unless a printer manufacturer can prove that an alternative ink destroyed a mechanical part of their product, they cannot void warranties. 

Do Alternative Inks Really Save That Much?

If you do a lot of printing on a desktop in inkjet printer, your ink costs can average several hundred dollars a year or more. If you use a more sophisticated wide carriage printer with more than six colors, your yearly ink costs could soar to a thousand dollars or more. If you want to reduce those costs considerably, keep an open mind as we look at the pros and cons of using alternative inks for your printer. Later on I’ll discuss two methods that will cut down on ink usage even if you decide not to try alternative inks.

Choose A Reputable Alternative Ink Supplier

As with any product or service, there are good and not-so-good ones, so it’s important to choose a reliable supplier of inks. After reading hundreds of customer reviews of alternative ink suppliers, I found several that have established themselves and appear to be good choices for you to investigate (see Resources below). Most suppliers offer free shipping if you purchase more than $50 worth of inks, and a low, fixed shipping price of just a few dollars if you spend less than that amount.  

What To Know About Alternative Inks:

1. Remanufactured vs. Compatible: "Compatible" cartridges are brand new but made by a third party, while "Remanufactured" ones are recycled OEM shells refilled with high-quality ink. Both are generally reliable if sourced from reputable vendors.

2. Some printer manufacturers have tried to use various methods to try to block third-party cartridges from being recognized. In the unlikely event that this should happen, there are scores of sites on the web that offer work-arounds. Or you can contact tech support at your alternative ink supplier for a solution applicable your specific printer model.

3. Don’t buy by price alone. The cheapest inks can sometimes result in lower page yields or inconsistent quality.

4. While you can buy bottled inks in bulk and refill your own cartridges I don’t recommend it if this is your first encounter with alternative inks. It can be a challenge and messy and the savings are not going to be that much more over pre-filled cartridges. But bottled inks, however, are fine for printers that use them such as all-in-ones.

Conserving Ink When Printing

If you think all the ink you use ends up on the printed page, think again. In extensive testing, Consumer Reports found consumers are getting only about half of the ink they think they’re paying for. Many printers they tested consumed a significant amount of ink each time they were turned on by going though heavy cleaning cycles that use more ink than is normally used during periodic maintenance cycles that are usually performed from time to time even when the printer is idle.

Keeping Your Printer On All The Time

If you only print every few weeks, then having your printer go through complete start-up cycle may be required. But if you print at least once a week, try this: leave your he printer on at all times (which will only consume a few watts of power). Then, before printing use a sheet of plain paper to run a nozzle check, which consumes only a minuscule amount of ink. If the pattern looks good, you're set to go and you’ve saved a lot of ink that would have been used for the printer’s full start-up routine.

Choosing The Right Output Quality

Here’s another way to save ink. Your printer usually offers four (or more) output quality options such as Draft, Normal, High Quality, and Ultra High Quality. They many not be named exactly the same as those I’ve used, but they indicate the quantity of ink the printer will squirt onto the paper.

The lower the setting, the less ink the printer will use and the faster the printing time will be. Higher quality settings will use more ink requiring slower printing times. In many instances the difference between an image printed at High Quality compared to one printed at Ultra High Quality may not be able to be detected by the human eye.  i But the slow printing speed at the highest quality setting gives you a clue as to how much more ink is being used; it could be up to twice as much.

Summing It Up

1. If you buy alternative inks from a reputable supplier you’ll save a considerable amount of money without compromising on image quality.

2.  Keep your printer on all the times.

3.   Choose the next-to-highest quality setting when outputting your prints. 

Did You Know That...

Over 375 million empty printer cartridges are thrown away annually in the U.S. and accumulate at a rate of 1 million per day in landfills They can take up to 1,000 years to decompose. 

RESOURCES:

Here are some recommended companies that sell alternative inks.  For more, Google: Best Third Party Inks.

• LD Products:  they have over 25 years of experience.
• Inkjets.com: Known for high-yield cartridges.
• E-Z Ink: A popular choice on major marketplaces like Amazon.
• Ink.com: Specializes in deep discounts (up to 85% off). 
• CompAndSave: For high-volume users and small business.

NONE OTHER THAN ONE OF RED RIVER PAPER'S WATERSHED COLLECTION MATTE PAPERS.

Kah-Wai Lin is a landscape, travel, and nature photographer based in New Jersey who has led hundreds of photo tours and workshops and has presented at over 250 seminars around the world. He was awarded First place at the International Photography Awards in 2015. Named as one of the top 10 exhibitors in the world by Photographic Society of America in 2015 and 2016, Lin was also honored in 2016 by being appointed as an Artist-in-Residence by US National Parks Service. In recognition of his photographic excellence and invaluable contributions to the photographic community, he was the recipient of the Certificate of Special Congressional Recognition. In 2026, he received the Medal of Merit from the Mongolian Ministry of Environment and Climate Change for his contributions to cultural preservation and wildlife conservation in Mongolia, as well as a Medal of Merit from the Governor’s Office of Bayan-Ölgii Province for his role in promoting the province’s culture and tourism.

Enjoy our Success on Paper Recap with Dr. Lin on his recent creative assignment:

The Client

I was leading an annual winter aurora photo workshop in Norway and was doing a personal creative assignment while photographing the landscape there.

The Assignment

I photographed this aurora image on Senja Island, the second largest island in Norway. It was a cold winter night and I was monitoring the weather and aurora activities in my hotel room and realized there was a good chance of seeing strong aurora activity in the next hour. I told my attendees to get ready and we went to the Bergbotn Viewpoint, which faces the amazing fjord landscape to the Northwest. Once there, everyone eagerly began setting up equipment in anticipation of the show, which began as predicted. No matter how many times I have seen them, I am always excited to witness these magical lights in one of the most spectacular settings on earth.

The Execution

Successful aurora photography is determined by many factors, including the precise prediction of aurora activity, chasing the weather, understanding the environment, and technical and esthetic knowledge of photography. This was a very fast-moving aurora; therefore a short exposure time of 3.2 seconds was used in order to capture its distinct shape. The image was made with a single exposure, thanks to the moonlight illuminating the mountain and fjord.

Post Production

I used Adobe Camera Raw for converting the raw image and then Adobe Photoshop for most of the post-production workflow. The Nik Collection is among my favorite plug-ins.

The Output

The image was output on both Red River Polar Matte 230 and River Linen 230 papers using an Epson Stylus Pro 3880 printer. The Red River Polar Matte 230 papers deliver excellent color accuracy and show color gradations extremely well. The contrast between white and black is also very well presented. On the other hand, River Linen 230 has a textural surface that significantly enhances the visual sensation of fine detail in landscape images.

See More of Dr. Lin’s Work:

Website: kahwailin.com

Facebook: facebook.com/kahwailin

Instagram: instagram.com/kahwailin

All artwork and/or photographs used in this post are subject to copyright held by the featured artist and used with permission from the artist.

By ARTHUR H. BLEICH

Outputting high quality inkjet prints involves many variables and choosing the right ones can be confusing, to say the least. This post will set you on the right track by giving you a quick guide to getting prefect prints.

1. Run A Nozzle Check On Your Printer

If any of your printer’s ink nozzles are clogged, your prints may look washed out, have horizontal streaks, or be missing colors. To perform a printer nozzle check, you can use either the printer's built-in Setup or Maintenance control panel or the software utility on your computer. You can run these checks using plain paper.

If there are any gaps in the test pattern (see image above), run the printer through one or more cleaning cycles (if needed), checking the nozzle pattern between each. Nozzles can become clogged if the printer is not used regularly or the humidity is low, causing ink to clog them. Some printer manufacturers use Teflon on their print heads to try to solve this problem, but the only way to confirm that the print head is not clogged is to run this test.

2. Make Sure Your Monitor Accurately Displays Your Image

Your printer uses your original image for color and other information when printing your photo. It couldn’t care less how that image looks on your monitor. If your monitor is not accurately displaying the information in your image file, you will never get satisfactory results.

Here’s why. Let’s say you’ve taken a portrait of someone, but your monitor displays it with a greenish cast. You then correct that in your imaging program and print it out. Whoops! Now the face is too red. How did that happen? Simple. Your monitor was not displaying the colors in your image file correctly. In fact, the face might have had perfect color, but your monitor was displaying it on the green side. So when you corrected it, you actually changed the original file from perfect to a red cast. 

You can waste a lot of paper trying to fix the print by trial and error, or you can purchase a monitor calibrator (see image above and Resources below) and take a few minutes a month to hang it over your monitor screen so it can go through its paces to keep your monitor colors in sync with your original image. In the meantime, you should print some color test patterns available online and compare them to what’s displayed on your monitor to see if they match.

3.  Images You Print  Must Have Adequate Resolution

Lack of adequate resolution is usually the biggest killer of high-quality print output. Digital images are composed of tiny, square pixels. When they are enlarged too much, they become noticeable (pixelate), causing jagged lines, blocky shapes, and loss of fine detail. You cannot get good prints unless your images have enough pixels to produce a smooth, sharp image at the size you've chosen. How many pixels? 300 pixels per inch (PPI) is usually sufficient for printed images up to 16x20 inches and sometimes even larger.

Your imaging program lets you change the size of your image by resizing or resampling it. You can try resizing your image to a larger size using the number of pixels it already has. If your monitor (or print) shows pixelation at your selected size, try resampling it. Your program will then use an algorithm to add additional pixels to the image, increasing its resolution. This solution is usually adequate for most moderately enlarged photos. But if that still isn’t satisfactory, AI upscaling software will usually do the trick.  The image below shows a low-resolution portion on the left and another portion on the right that has been upscaled to provide sufficient pixels for a good print. (see Resources below).

4. Paper Profiles Can Give You More Accurate Color

Paper profiles (also known as ICC profiles)can help you make a better match between what you see on your screen and the specific paper type you’re using. Different paper surfaces, such as glossy, matte, and canvas, absorb ink and reflect light differently. Even the same surfaces produced by different manufacturers can have different characteristics.

If you want consistent results, you can easily install profiles for the papers you use most and then select them in your imaging program’s print menu prior to printing. Red River Paper offers free paper profiles for use on a multitude of printer models. They're easily downloaded from their website for use with your specific printer. (see Resources below.)

5. Choose The Correct Output Settings

Choosing the correct output settings on your imaging program can make a big difference in your print. Using Photoshop as an example (most other image programs are similar), here are suggested settings for maximum print quality. NOTE that they may be found in different locations on different printer menus and may be named slightly differently. If you need to, use the Web to get more detailed information about where to find these settings for your printer. model.

IF YOU USE ICC PAPER PROFILES: In the Color Management menu, select Photoshop Manages Colors and select the specific ICC profile for the paper you are using from the drop-down menu.

IF YOU DO NOT USE PAPER PROFILES:  In the Color Management menu select Printer Manages Colors.

Image Resolution: 300 PPI (sometimes incorrectly referred to as DPI) is the standard for high-quality prints. For your information, PPI stands for pixels per inch in your image. DPI (Dots Per Inch) refers to the number of circular ink drops-per-inch required to reproduce those pixels.  So, for example, selecting "Draft" quality outputs prints with fewer Dots-Per-Inch, and "Super Fine" with the most. 

Color Space: Work in Adobe RGB (1998) for a wider color gamut, which most inkjet printers can output. However, some photographers prefer the color output of sRGB. Print the same image using both, and decide for yourself. Then make it your default for subsequent prints. NOTE: If your monitor gives you color space options, select the same one you’ve chosen for your prints.

Rendering Intent: "Relative Colorimetric" is usually best for photos.

Black Point Compensation: Make sure this is checked to insure good shadow detail.

Print Quality: Printers usually offer four levels of print quality. When set to the highest level, you will use more ink, it will take more time to print, and image improvement may not be noticeable compared to the next lower setting. So make a test print at each setting and decide for yourself which to use on a regular basis.

Once you make these five steps part of your workflow, you’re on your way to making beautiful prints. And you’ll be surprised at what your inkjet printer can do once it gets the right instructions.

RESOURCES:

Monitor Calibrators

Learn about basic free AI upscaling software

Learn more about Topaz professional grade upscaling software

Read more about using paper profiles

When image presentation matters as much as image accuracy, many ultrasound professionals turn to high-gloss thermal paper. Sony’s UPP-110HG has long been the reference standard in this category, delivering sharp, high-contrast images with a glossy finish preferred for patient handouts, referrals, and records.

Today, clinics and imaging centers have a proven alternative.

Red River Paper’s RRP-110HG High Density Gloss is engineered to match Sony’s performance, compatibility, and output quality, while offering a smarter long-term supply option. This comparison breaks down how the two products stack up and why many facilities are confidently making the switch.

What Is High-Gloss Ultrasound Paper?

High-gloss ultrasound paper is a specialized thermal media designed for medical video printers used in ultrasound systems. It differs from standard high-density (HD) paper only in surface finish.

Key characteristics:

• High-resolution thermal coating for diagnostic detail
• Smooth glossy surface for enhanced contrast and visual impact
• Black-and-white output optimized for ultrasound imaging
• Long-term image stability when properly stored
• Designed for dedicated medical thermal printers

The glossy finish is often chosen for:

• Patient keepsake images
• OB/GYN practices
• Referral documentation
• Any setting where presentation quality is important

Functionally, HG and HD papers are identical in printer compatibility and performance. The difference is purely aesthetic.

Sony UPP-110HG Overview

Sony UPP-110HG is the company’s high-gloss, high-density thermal paper designed for medical ultrasound printing. It is widely used and trusted across hospitals and private practices.

Key specifications and features:

• Width: 110 mm
• Roll length: same as HD variant
• Output: approximately 235 prints per roll
• Finish: glossy (noticeably more sheen than UPP-110HD)
• Print type: black and white thermal
• Printer compatibility: same Sony and Mitsubishi medical printers used with UPP-110HD

Sony’s HG paper is often selected when image presentation is a priority, offering deeper blacks and a polished surface appearance while maintaining the diagnostic clarity expected from OEM media. It remains the product many users start with, and the standard against which alternatives are evaluated.

Red River Paper RRP-110HG High Density Gloss Overview

RRP-110HG High Density Gloss is Red River Paper’s direct replacement for Sony UPP-110HG.

It is manufactured to the same dimensional standards, thermal response characteristics, and printer compatibility requirements as Sony’s HG media, making it a true drop-in alternative.

Key specifications and features:

• Width: 110 mm
• Roll length: equivalent to Sony HG
• Output: 235 prints per roll
• Finish: high-gloss thermal coating
• Printer compatibility: identical to UPP-110HG and UPP-110HD supported models
• Pack size: 10 rolls

Red River designed RRP-110HG specifically for facilities that want:

• The same glossy image presentation
• The same printer performance
• The same workflow and setup
• With improved supply flexibility and cost control

In practice, users report indistinguishable handling and output compared to Sony’s original paper, allowing clinics to standardize Red River without retraining staff or adjusting equipment.

Comparison Table

Conclusion

Sony UPP-110HG set the standard for high-gloss ultrasound printing. Its image clarity, consistency, and reliability have made it a trusted choice for years in medical environments where both diagnostic accuracy and presentation matter.

That same standard is exactly what Red River Paper RRP-110HG was built to meet.

RRP-110HG delivers the same print density, the same glossy finish, the same printer compatibility, and the same output volume per roll without requiring any changes to equipment or workflow. It installs the same way, performs the same way, and produces images that meet the same professional expectations.

For clinics and imaging centers looking to reduce operating costs, improve supply flexibility, or simply avoid OEM pricing without risking print quality, RRP-110HG offers a practical upgrade path:

• No printer changes
• No staff retraining
• No compromise in image presentation

Sony defines the benchmark. Red River Paper makes it easier and more economical to maintain it.

For facilities already using UPP-110HG, RRP-110HG provides a proven, compatible replacement that protects both clinical image quality and long-term operating budgets.

By ARTHUR H. BLEICH

You can shoot stunning panoramic images with a digital camera or smartphone, stitch them together with free software which you probably have as a feature on your imaging program and then output them– even on a humble, letter-sized desktop printer. And it can all be done in just an hour or so.

Panorama photos pack a punch, showing vistas much as the human eye sees them. From the mid-1800’s professional photographers were shooting panos all over the world with highly sophisticated (and expensive) cameras that required photographic glass plates. In fact, during the American Civil War, these super-wide photographic images helped plan military strategy for both the Union and Confederate armies. But it wasn’t until 1900 that Kodak’s Panoram 1 camera using flexible film and a swinging lens hit the consumer market enabling amateur shutterbugs to experience the excitement of the genre.

If you’ve never shot a panorama– maybe because you thought it was too complicated– rest assured. It’s become so easy to do that you can shoot your first pano images in just a few minutes, then have them combined automatically, and end up, printing your finished composite in less than an hour. So let’s begin with the basics.

PANORAMA IMAGE BASICS

1. Hold the camera vertically when shooting. This will give your final stitched image some height so that it doesn’t look too long and skinny.

2. Limit the number of images you take. Four to six images will give you perfect results.

3. Make sure the camera as level as possible when you shoot your images, whether you’re hand-holding the camera or if it’s on a tripod.

4. Frame each new image to include 30 to 50 percent of the previous one. This makes it easier for the pano software to have reference points to allow it to stitch your photos together seamlessly.

5. If you flub one of your mages when shooting, no problem. Just shoot it again and exclude the bad one from the mix before giving the stitching app the go-ahead.

6. Static scenes are best to begin with. If there’s motion in them (people or vehicles) you may get some unwanted blurred or double images when they are stitched together. But it can work if moving objects are far enough apart. (see ski pano above).

USING SOFTWARE APPS FOR STITCHING

Many imaging programs now include a pano stitching function. Photoshop, Lightroom Classic, Photoshop Elements and some others do a creditable job so if you have access to one of these, try them first.

However, if you want to go further, then Hugin (pronounced You-gin) is FREE software you may want to consider. Although its forté is complex stitching challenges (such as pano sequences shot from drones), it also has a simple mode to allow automatic, three-step stitching. You just load your images, and Hugin aligns them and creates a perfect panorama – no need for you to fiddle around with control points or other technicalities. (see RESOURCES below). 

ASSEMBLING YOUR iPHONE PANO IMAGES

iPhones have a built-in pano image maker and there’s also an inexpensive app, Bimostitch, for Android phones (see RESOURCES below).. iPhones also have a built-in guide to aid you while you’re taking images to assure the best possible results. As you pan to acquire your images, there’s a horizontal line displayed with a moving arrow overlaid to help you keep your camera level.

After you acquire your shots the phone stitches them together and shows you a finished panorama. Don’t like it? Just do it again until it meets your expectations. When satisfied, resample your image to the size that will fit best on the paper size you'll be using.

PRINTING YOUR FINISHED PANO

Red River has several long-length papers in popular surfaces that are perfect for printing panorama images (See Resources below). And what’s a little-known fact is that most printers (even small, letter-sized models) can output prints that are longer in length than standard sizes.. Check your printer’s specs to see the length of inkjet paper it can print.

If you have a desktop printer, an excellent blog post to read is How To Get Bigger Prints From A Small Printer which was posted on March 28, 2025. (see RESOURCES below.)

Printing your p[panorama is really the easiest step in the process. And once it’s done, framed and hung, the impact will be awesome. So go to it and have something unique to display or offer to shoot one for a client.

REOURCES:

Hugin Free Pano Software

Red River Inkjet Pano Papers

 Red River8.5 x 25 inch Pano Paper

Blog:How To Get Bigger Prints From A Small Printer

Bimostitch for Android Phones