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 60lb Polar Matte and 60lb River Linen papers using an Epson Stylus Pro 3880 printer. The Red River 60lb Polar Matte papers have excellent performance in terms of accurate color reproduction and are able to show the gradation of color tones extremely well. The contrast between white and black is also very well presented. On the other hand, Red River 60lb. River Linen 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

By ARTHUR H. BLEICH

With months of bad weather facing most parts of the country, why not shoot images from the comfort of your living room? With a simple click of its remote, your TV can whisk you to locations and events all over the world where you can capture images and turn them into beautiful prints.

THERE ARE SOME RESTRICTIONS

You can use captured TV images in many ways as long as they are for your own personal use, for example, to create photo collections of your favorite celebrities, sports action, wildlife, hobbies, landscapes and more. Or capture and print some beautiful views of exotic locations for home decorations. You can also send your captures as email attachments to friends and relatives or use them as greeting card illustrations. But you cannot use them commercially and/or receive income from them, nor can they be used to promote services or sales of products.

You can, however, use images created before 1929 that are displayed on TV as those are in the Public Domain, free to use without restrictions. Other images, regardless of age are also in the Public Domain if they were created by the U.S. Federal Government as part of employee’s official duties. These include those produced by the Military, NASA, the National Park Service and many other federal agencies.

IMAGE CAPTURE ON ANALOG TV WAS A HASSLE

From its early development through the end of the 20th century, TV signals were displayed on screens using cathode ray tubes (CRT) and were transmitted as interlaced picture signals. Halves of the image were transmitted in rapid succession at 1/30th of a second which the viewer’s mind merged into a single picture. To capture the entire image, your camera’s shutter speed could be no faster than 1/15th of a second and that usually made it necessary to use a tripod to avoid camera shake.  

TODAY’S DIGITAL TV SCREEN CAPTURE IS EASY

Today’s TV screens are digital and their high resolution images appear intact without being split into two parts. Coupled with their impressive resolution, they look smooth and sharp. Compared to analog images with resolutions of 640 x 480 (and lower), most current, digital 4K TVs have resolutions of 3840 x2160 and display impressive picture quality. Better yet, because each frame shows a complete image, you can use higher shutter speeds that don’t require a tripod. And most TV remotes allow you to pause and advance the image frame by frame) which makes it easy to capture sports and other fast-moving images at the peak of action.

CHOOSING THE BEST SHUTTER SPEED

Although modern digital TVs display complete images, they may do so at different rates of speed. This is called their Refresh Rate and is specified in Hertz (hz). Without getting entangled in technical details, in the US and Canada they’ll usually be transmitted either 60Hz or 120Hz. This translates into 60 or 120 images every second. The easiest way to tell which shutter speed(s) will give you the best results with your TV’s refresh rate is to shoot a few test shots. Set your camera’s ISO to 200 (as a starting point) and your Mode to Shutter Priority and begin with 1/60 sec. Then use multiples of it such as 1/120, 1/180, and 1/240 (or as close to them as your camera allows).

You don’t have to worry about aperture since you’re shooting a flat object and everything will be in focus regardless of the f-stop your camera automatically chooses to use. But if, for some reason, you want to shoot at a specific aperture and keep your shutter speed locked in, you usually can do so by adjusting your ISO. Remember, though, if the ISO is set too high, you may begin to pick up unwanted “noise” and other artifacts in your image.

Time out: I’m frequently asked this question: “If I pause or freeze a frame of the image, do I have to be concerned about Refresh Rate?” Answer: “Yes.” While the content of the image is stable and frozen, your TV display hardware is actively working to refresh that still image as many times a second as it was when originally transmitted.

After you’ve shot a few tests at different shutter speeds, examine them as printed images because it's usually easier to see any artifacts that way. Choose the best one and use the shutter speed at which it was shot as your standard shutter speed.

TIPS FOR CAPTURING THE BEST TV IMAGES

1. Set your camera to Shutter Priority (Tv) and to the the speed determined to be best by the screen refresh tests recommended above.

2. Nighttime is best to shot your images with no bright external light that may cause reflections on the TV screen. However if you can get the room reasonably dark, go for it. It’s okay to keep some low lighting on as long as they do not cause reflections on the screen.

3. Set the focal length of your lens to a wider field of view rather than its telephoto. When hand-holding cameras at slower shutter speeds, wider angle lens settings (under 50mm equivalent) minimize camera shake.

4. Try framing the photo so that only the TV screen is in the frame. However It is likely that the image aspect ratio is not the same as the camera’s, so unless you crop the image in-camera you may have to do some cropping in your imaging program.

5. Keep the camera lens as parallel to the screen as possible rather than shooting at an angle. 

6. Moiré patterns can sometimes appear. They are caused by Interference between the fine, repetitive pixel grid of the screen and the camera's sensor grid  and  can usually be eliminated by adjusting the camera's position or settings. Change your shooting angle slightly, zoom in or out or try a slower shutter speed.  If you must use the photo, most imaging programs offer a fix. 

SMARTPHONES CAN ALSO CAPTURE TV IMAGES

Smartphones are usually automated allowing the user no control over traditional camera functions such as aperture and shutter speed. But despite that, some can do surprisingly well. Take a few test shots and see for yourself.

If you’re not satisfied with the results but still prefer to use your phone, all is not lost. There are several apps that can enhance the camera functions of many iPhone and Android models that cost just a few dollars. Consider adding an app that allows you to set your smartphone camera to different shutter speeds as this will usually do the trick.

RESOURCES:

Google the following:

 Smartphone apps that allow shutter speed control.

..

By ARTHUR H. BLEICH

Old-time images from Christmas (and other) holiday cards that circulated during the late 1800s and later have been digitized and can be used free of charge to give your own holiday cards some nostalgic flavor.

A good image source to begin with is Vintage Holiday Crafts (see Resources below), which not only offers free Christmas card images, but also many old time card images for other holidays and occasions as well.  Other sites also offer free retro images but many intermix free and pay-for images together and can be somewhat of a chore to navigate.

Most vintage images will require minor size modifications after you download them in order to fit the standard, folded 5×7-inch greeting card dimension.( NOTE: Before folding the card, paper size will be 10x7- inches.) All of this is  easy to do with the help of free templates that Red River Paper supplies for different-sized cards and imaging programs. (see Resources below.) If you're new to card-making, their short, video tutorials will have you up and running in no time. (See Resources below.)

ACQUIRING YOUR FREE IMAGES

Before we begin, all images you download at Vintage Holiday Crafts for personal use are free. Notices at the site about payment do not apply unless you intend to use the cards commercially. Also, ignore the “Get Templates” ads at the site since, as I've mentioned previously, you can get these free. (see Resources below).

I've   used Photoshop Elements for the following steps but the procedure is pretty much the same for any imaging program.

1. On the Vintage home page, click on Easy Art Finder and then, when there, select a category.

2. Go through the thumbnail images. When you click on a desired image, a larger version will appear.

3. Click on the image and drag it to your desktop or other desired location on your computer.

4. Alternatively, you can download and save it in Windows or Mac by right clicking on the image and using the drop-down menu to save it to any location on your computer.

CHOOSING YOUR OUTPUT RESOLUTION

Most images have resolution of 96 ppi, but not to worry as their final printed size on the card is not more than 5x7 inches. Run a test print and decide for yourself. Remember, it's easy to resample your images in your imaging program to higher resolutions– even to 300 ppi without losing noticeable quality. In fact, if you'd like to frame some as artwork or otherwise display them larger­– as household decorations, for example– you can upscale them to really high resolution using a free app called Upscayl AI (see Resources below.)

ONCE IT'S IN YOUR IMAGING APP

1. Bring you selection into you imaging program and choose Image>Image Size.

2. Make sure Resample Image and Constrain Proportions boxes are checked.

3. Enter either the vertical or horizontal size required by the template. You will note that you probably cannot specify both. Not to worry.

4. Enter a Resolution value of 200 ppi.

5. Then Click OK.

You will now have image that may not fit the exact dimensions called for in the template. You can crop the image to the exact size needed but you might lose some of it. Usually that's not a problem but if you want to be precise and retain the entire image there's another way to go

.AN EASIER WAY TO RESIZE THE IMAGE

Instead of following Step 2, do the following: Uncheck the Constrain Proportions box and enter the exact image size called for in the template to fit the card– along with your desired resolution. Then go on to Step 4. This may produce a tiny distortion of the image, but it's usually unnoticeable. Remember to check the Constrain Proportions box again when you've finished.

MAKING A FEW SIMPLE IMAGE TWEAKS

Some of these images may lack adequate color saturation (because they've faded over time) and may also be a bit soft (though some card makers feel it's part of their charm). Here's what I suggest:

1. First try something simple. Go to Image > Adjustments > Brightness/Contrast. Sometimes moving these sliders a bit is all you'll need to “pop” the image up.

2. If necessary, you can also use Image > Adjustments > Hue and Saturation which will give you control over the richness (saturation) of the colors.

3. If it has an overall color cast that you want removed, then go to Image > Adjustments > Color Balance and get rid of it.

4. After the image looks good, try a touch of sharpness to see if it makes it look better. It won't require much, so even Enhance > Auto Sharpen may be all that's needed. If you're comfortable with Unsharp Mask, you can try that, instead. I've found that an Amount 50 is usually all I need as anything higher starts to look a bit weird.

Now, on regular inkjet paper (to avoid wasting card stock) make a dew test prints at different resolution settings until you hit it on the nose. For example, you might be able to get a perfectly good print from a resolution of 100 ppi. On the other hand, it might take 300 ppi to give results you like. You are simply looking for a good, clean image,

TRY DIFFERENT CARD STOCK SAMPLES

You'll also want to try some different card paper surfaces My preferences are Mat papers because they reflect the time period in which these images were used and also minimize minor imperfections. But, some card-makers love a glossy finish. A great way to make a decision is to order a Card Shop Sample Kit (see Resources below). This will help you make paper surface and envelope comparisons and also includes other valuable information about how to set up your printer.

READY, SET, GO!

Once you have the simple technical details worked out, you can now easily send cards to celebrate other holidays and events. Emailing cards may be easy, but they're ephemeral and are usually trashed. A paper card (which you can produce for under a dollar) has staying power; it can be touched, displayed and cherished forever. Which would you prefer to receive? I'll bet the vintage cards you send will be the ones most admired, remembered and shared with others. Happy Holidays!

RESOURCES:

Vintage Holiday Crafts

Red River Card Shop  Here you'll find information about different card stock. If you're new to card making, scroll way down to the section on HELPFUL LINKS and view Five Easy Steps To Printing Greeting & Note Cards.

Red River Templates for Photoshop, Lightroom, Photoshop Elements and other imaging programs are found here. You will also find links to tutorials, and more.

Red River Card Sample Kits

Upscayl AI  A free, easy-to-use image upscaler that uses Artificial Intelligence to make flawless enlargements of low resolution images.  An in-depth, recent blog review can be found here. 

For ther retro card image sites Google: Fee vintage holiday card  sites.

NITE: All images from Vintage Holiday Crafts unless otherwise attributed.

THROUGH LIMITED-EDITION BOOKS HANDCRAFTED WITH RED RIVER PAPER.

Bound by Purpose

Since founding his business in 2001, Frank Hamrick has been creating limited-edition handmade books that merge his passions for photography, bookmaking, and advocacy. Some volumes are blank sketchbooks with striking graphics on the inside covers, while others contain his photography. All reflect his deep interest in letterpress printing, papermaking, and book binding, and Frank often donates a portion of proceeds to support causes like voter registration and flood relief.

Take "Stronger Than the Waves Crashing on Us" (shown above and below), for example. Featuring photographs from the 1999 Tibetan Freedom Concert in Amsterdam, the book cover is crafted from cotton rag paper Frank made himself, giving him complete creative control. As for printing the photographs, he gets a little help from us.

Enter Red River Paper

Frank's mission to create museum-quality books demands materials that balance professional results with practical affordability. He relies on our 50lb. Premium Matte Double-Sided paper for its perfect weight and smooth, non-reflective surface that beautifully reproduces original art and photography.

"The affordability and the weight of the double-sided matte paper" are what Frank appreciates most, enabling him to maintain the integrity of his limited editions while keeping production costs manageable. This approach has allowed him to place his work in the hands of libraries, museums, and private collectors.

See More of Frank's Work

Watch for more books of his music-related photography, including volumes featuring photos from the first Bonnaroo Concert in 2002. Explore current creations at his Etsy store and follow his journey on Instagram, where he often shares creative works from his students at Louisiana Tech University's School of Design. (His 9/17/25 post showcases stunning leaf images from a chlorophyll printing workshop.) Read our Q&A below for more insights into his "Stronger Than the Waves" book, with 10% of proceeds going to the Tibet Action Institute.

Enjoy our Q&A with Frank Hamrick

What year was your business founded and how did you get started?
I started my business in 2001.

Tell us a little about what product or service your business offers.
I am a photographer creating limited-edition handmade books, printing my photographs on Red River Paper.

What makes your business unique?
I produce my own books. So, if you want a Frank Hamrick photography book, it comes from me. My books reflect my interest in photography, letterpress printing, papermaking, and book binding.

Where do you source your raw materials from?
The photographs are printed on Red River Paper but my covers are handmade, cotton-rag paper that I produce myself.

Who are your typical customers?
Private collectors, libraries, and museums.

What is the most interesting project you've encountered in the course of your work?
Photographing the [folk/Americana band] Dave Rawlings Machine when John Paul Jones of Led Zeppelin was playing mandolin for them.

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?
Red River Paper produces an affordable 50lb. Premium Matte Double-Sided paper that I use in my books.

Which Red River Paper products do you use, and what do you appreciate most about them?
The affordability and the weight of the double-sided matte paper.

How can people purchase your products/service?
They can visit my Etsy store.

Do you have any future growth plans?
I am beginning to publish books of my music-related photography, which will eventually include photographs from the first Bonnaroo Concert in 2002.

Is there a special story you'd like to share about your work?
I have just completed production of a limited-edition book, “Stronger Than the Waves Crashing on Us,” a handmade book of my photographs from the 1999 Tibetan Freedom Concert in Amsterdam. Fifty copies were printed on Red River Paper's 50lb. Premium Matte Double-Sided paper. Ten percent of book sales will be donated to the Tibet Action Institute.

Four Tibetan Freedom Concerts took place Sunday, June 13, 1999, in Japan, Australia, the United States, and the Netherlands. The music festival held at RAI Parkhal in Amsterdam featured a speech by former political prisoner Ama Adhe, as well as musical sets by Luscious Jackson, Urban Dance Squad, Tibetan Institute of Performing Arts, Ben Harper & The Innocent Criminals, Joe Strummer & The Mescaleros, Dutch band NRA, Gang Chenpa, Garbage, Radiohead's Thom Yorke and Jonny Greenwood, Alanis Morissette, and Blur.

I captured the Amsterdam images on Kodak Tri-X 35mm black and white film in a Pentax SLR camera with a 50mm prime lens. The title is set in Cheltenham and Ruben typefaces, and the Old Fan Press logo relief is printed in metallic silver oil-based ink on handmade cotton rag paper. The first softcover edition of 50 copies was printed with Epson UltraChrome HDX archival pigment inks on double-sided matte Red River Paper. The colophon and edition number are set in Craw Modern typeface. The pamphlet is bound with 18/3 Irish linen thread.

By ARTHUR H. BLEICH

As the old saying goes, there's more than one way to skin a cat (no offense, cat lovers, I'm one of you). But there's no reason to frame every image under glass constrained by four corners of a rectangle. Thinking outside the frame can yield some eye-catching results.

For instance, going glassless can eliminate distracting reflections from photos and artwork. And eliminating frames entirely can give you great versatility when it comes to adding, removing or substituting images to suit the tenor of the times. You can also save some money by not having to buy expensive frames – though there are some images that deserve that treatment and the expense can be can be well worth it.

I recently I cruised the web and discovered a plethora of different print display options that will make your work shine. I'll share a few of the more interesting ones with you and also tell you how to protect images exposed to air from fading and environmental damage.

QUICK AND EASY:  A PHOTO ROPE

One of the simplest ways to display images is to string a line between two points and hang them from it, like laundry drying on a clothesline. This is also an excellent method to use if you ever have to exhibit them. One of our River Pros did just that when he was asked to exhibit his photo collection at a small local library. The system is easily and quickly set up between any two points and the images are secured to the line by small, spring-activated wooden clothespins.  its nostalgic touch makes up for its lack of sophistication.

NETAL BINDER CLIPS CAN ADD A TOUCH OF CLASS

For wall hanging, there are equally simple methods, some of them quite attractive looking. One method that caught my eye was the use of ubiquitous metal binder clips. They come in a myriad of different types, sizes and colors and require only a push pin or tiny, adhesive-backed picture hook to affix the hooks to a wall. You can use the clips at the top only, but may want also want to use them at the bottom of the photo for more stability. Depending which style, size or color you choose, they can look quite artsy… and all of them allow pictures to be easily changed or their locations switched.

WOODEN POTO HOLDERS: ELEGANT SIMPLICITY

Both the picture ledge  and picture stand are made of natural woods and allow you to easily change out images without fuss. The ledge easily mounts to a wall while the block sits alone (or in a grouping), wherever you want it to.

In fact, if you're familiar with basic wood working; you can make your own from scrap lumber using a small table saw. However, these pieces offer so many options in size and finish and are so reasonably priced that I recommend you purchase them.

MACRAME PHOTO HANGERS: BEAUTIFUL TO BEHOLD

Am unusual variation of wall mounting for smaller images is a hand-woven macrame photo hanger that tastefully displays smaller-sized groups of photos. I's a work of art in itself and comes in different style and color options, complete with mounting clips.

Speaking of unusual, you can also hang smaller prints as a mobile. Simply buy an inexpensive hanging photo mobile frame that includes clips, attach your prints to it and let it swing overhead. There are different styles of mobile frames, some of which would be perfect for a child's room or anywhere else in your home or office.

 PHOTO COLLAGE DISPLAYS THAT REALLY STAND OUT

Finally, I was fascinated by some multi-picture, photo collage arrangements that are truly unique. They range from simple to ornate, come with many customizable options and are reasonably priced.  They come with  plexiglass covers for each image (which you can use or not as desired) and they are easily attached to the wall.

BEST INKJET PAPER FOR UNFRAMED PHOTOS

Images that will be displayed on picture shelves or stands usually hold up better when printed on heavyweight paper; they need some “backbone” to resist sagging or curling. Most of Red River Paper's line of photo papers and card stock will work just fine for moderately sized prints.

Photos that are going to hang can usually take lighter-weight papers, if desired. Large, vertical images displayed on photo shelves or stands may require paper that's more robust to keep them firmly upright. Test the paper you want to use before printing the image to determine its rigidity.

PROTECTING UNFRAMED IMAGES

One of the advantages digital photographers have today is that they can knock out a print in a fraction of the time it used to take in the analog world. So if images get faded by too much exposure to light or environmentally polluted by other means, they can easily and inexpensively be replaced.

Nevertheless, if you want to extend the life of prints exposed to air—and that includes those in frames with no glass to avoid distracting reflections— you can protect them by using a fixative spray.

Fixative sprays are available in various finishes, including glossy, satin, matte, and more that will let you match or even change your image's surface. These sprays will protect your prints from UV light that accelerates fading, as well as other pollutants in the air that are eager to have a go at them.

Here's a quick guide to how to use them. There is more detailed information on the web and at YouTube.

1. Make sure you are in a well-ventilated area.

2. Position the nozzle about 12 inches away from the photo.

3. Apply the fixative in several thin layers to prevent smearing, smudging, fading, and discoloration.

4. When spraying large surfaces in sections, overlap each pass by about 10%.

5. On larger images, do not swivel the can with your wrist as this will give uneven coverage (less at the edges and more at the center).

6. Instead, use your arm to keep the nozzle at the same distance as you sweep across the surface of the print.

7. When finished, turn the can upside down and give it a short squirt to clear fixative from congealing in the nozzle.

8.  Let the fixative dry completely before handling the photo.

RESOURCES:

Premier Print Shield Spray

Mobile Hanging Device For Photos

Wooden Photo Holders

Macrame Photo Hangers

Photo Collage Wall Displays

If you are using Photoshop, you could even personalize the tags with the font of your choice prior to printing.

If your tags are going to be used on packages that will be exposed to wet weather during shipping, run a test first to make sure that the ink will not run.

.

What cute crafts have you done with our Red River Paper? The possibilities are endless.

Resources:

Papers that are great for tags are: Polar Gloss Metallic, Pecos River Gloss and UltraPro Satin

By ARTHUR H. BLEICH

A triptych is a three-panel display of artwork that dates back to the early days of Christianity.  Displayed as church alter pieces, they usually depicted religious themes and were  arranged in thirds to honor the concept of the Holy Trinity.

Throughout the ages, artists embraced them to tell stories in a dramatic way that single paintings could not and, when photography came along, it was eagerly adopted as a way to showcase single or multiple images by displaying them across the panels. In today's digital world you can make large, visually dramatic images (even using small desktop printers) to provide a sense of narrative flow, depth and dimension, and create visually impactful, harmonious displays.

TRIPTYCHS ARE VERSATILE

Triptychs can be displayed horizontally, vertically, diagonally or even in in other ways (such as stair-stepping them) and the panels of the display can differ in size . The only “rule” is that they be in three parts. Their subject matter is also extremely flexible which gives photographers and artists a great deal of creative freedom. Here are some categories you may want to consider for your first triptych.

Unified scene: This is a single, continuous image that is divided and displayed across three panels. It is a popular format for landscapes, nature subjects and cityscapes.

Transformation or sequential: These triptychs capture the different stages of a single subject, such as the growth of a flower from bud to bloom to wither.

Narrative: The panels tell a visual story, with the left often representing the beginning, the center the climax, and the right the conclusion. They may also show a change over time

Thematic grouping: The three panels are separate images that are variations on a single theme, such as a color, an emotion, or a set of complementary subjects.

Juxtaposed or reconstructed: The panels show smaller parts of an object or variations of a subject that are recombined in unusual ways to offer a new visual perspective.

There are many more variations, but these should give you some ideas for starters and a search of the web will reveal many examples if these categories and others.

CREATING YOUR FIRST TRIPTYCH

It's easier to create a triptych than it is to pronounce the word or spell it. You probably already have images in your files that would make a good triptych so begin by choosing one of them. Let's say you have an outstanding sunset or mountain landscape. Simply crop the image into three same-sized sections in your imaging program or upload your photo to one of several online services that specializes in image splitting that will do it free and return the results to you in minutes . It's best to make all the sections the same size as it it will simplify framing them. At the end of this post, I've listed some easy steps.

If you plan to frame your triptych using ready-made frames, it's best to buy them first There are sometimes small variations between frame manufacturers' sizes so take a measurement of the inside area and that's the size at which each panel image should be printed. Run a test image at that size, check the fit, and make minor adjustments to your print sizes, if needed.

Next, If you're using small photos to produce a large triptych, you'll need to pay attention to their resolution. Enlarging them to the size you want using your imaging program's resampling settings may lead to loss of image quality. Print one of the three panels to check its quality and, if you're not satisfied, a free AI upscaling app will usually solve the problem. (see Resources below). Now print your panels out, frame them and hang them 1 to 4 inches apart. Voila! You've created your first triptych.

MAKING  TRIPTYCHS  WITH DESKTOP PRINTERS  

Most small desktop printers are able to output longer images than 11 inches. While they are limited to printing images at an 8-inch width (or 8.5-inches if they can do borderless printing), you can usually print longer lengths (check the specs for your printer).  Which means each panel of  tour three-panel triptych can be e 8 (or 8.5) inches wide by whatever length you choose. Ordinarily, you'd need to use bigger paper and cut it to size. But there's also another way.

Tucked away in the Red River Paper catalog, are popular paper surfaces available in 8.5 x 14 inch legal size and 8.5 x 25 inches!  (see Resources below.) A triptych display with three vertical panels using the  8.5 x 14 size can be as wide as 24 inches by 25 inches high, even bigger, actually, when you add frame width and the spacing between them. Using 25-inch long  paper ups  the possibilities. If, for example, you you displayed your triptych frames end- to-end  as a panorama,  they'd be more than 6 feet wide bur a bit skinny at 8 inches. Nevertheless, I'll bet there's subject material it would be perfect for— perhaps a long, exotic snake, a freight train or a sporting event.

DISPLAYING YOUR TRIPTYCH

After printing your three triptych images, you can display them in separate frames, or mount them together on mat board, with space between them, and use a single frame. The first method is more dramatic and is preferred by most triptych creators, but it's your call.

If you prefer not to do your own framing, there are custom frame vendors with online software that allows you to try many different frame possibilities using your own images to preview the results and see exactly how they ‘ll look before they are made and shipped to you (see Resources below).

Though triptychs have been around for centuries, they still offer photographers and artists unique possibilities for visual expression. They make wonderful gifts and can also provide you with an opportunity to earn additional income. If you're looking for something new to try, this would be a great choice.

RESOURCES:

Red River Paper long papers for desktop printers:  8.5 x 14 here, and 8.5 x 25 paper here.

Free AI Upscaling software:  A previous blog post that  tells you how to download and use UPSCAYL AI .

Anerican Frame: Has online software that lets you preview your triptysh images in different frame configurations.

DIVIDING TRIPTYCH IMAGES  INTO EQUAL THIRDS

This method will work on any imaging program where the  dimensions of the crop area can be pre-set to a custom size.  Adobe Photoshop Elements was used in this instance. The steps below are for horizontal images. If you need to divide a vertical image, simply turn it on its side, complete the steps below and then rotate the panels back to vertical when finished.

1. Resize or resample your image to any width that can be divided by 3. You can work in inches or pixels. Let's assume we've chosen 9 inches with gives us a height of 5.486 inches. Jot down  the height; you'll need it in Step 4.

2. Copy your newly created  image and set the copy aside. You'll need it in Step 7.

3. Select the Crop tool. You ‘re now going to pre-set the dimensions of the area it will cover. You'll see a box marked No Restriction. Click on it and a drop-down menu of size options appears. Click on Custom.

4. In the W box input 3, which is third of the image width. In the H box enter the height, in this case, 5.486 inches. If you want  pixel values, end them with the suffix px.

5. You are now set to begin slicing the image into thirds. Begin by cropping the left third of the image and saving it as Panel 1.  (Your original image file will always remain intact.)

6. Now bring the original image up again, and confirm, (or reset if necessary), the crop tool pre-set limits and then crop  the right third of the image and save it as Panel 3.

7. Next bring up the  image copy you made in Step 2.

8. Change the crop tool pre-set width to 6 and then, from either the left or right side of the image remove two thirds of it.  Save this crop and then open it. You now have access to what will be the middle panel of your triptych. 

9. Change the crop area pre-set width back to 3 inches and make sure the height is also correctly set. 

10.  Make the final croy of what will be the middle  panel and save it as e as Panel 2.

You now have three identically-sized panels and can adjust them to the final size and resolution values required for your triptych.  NOTE: If you run into problems, check that the Crop tool pre-set is on Custom, that the correct Width and Height values are input, and that  in or px is appended to them, either right after the value or with a space between them.

WITH RED RIVER PAPER AS THE FOUNDATION FOR EVERY HEARTLAND STORY.

Gravel Roads and Creative Spark

On any given day, you may find Justin Tedford navigating Iowa's winding back roads, his car coated in gravel dust, capturing the essence of what many dismiss as a "fly-over state." Justin's artistic vision was formed while growing up in the hills and farmlands of Harrison County, Iowa, amid the charming rural communities that infuse his work with a sense of place and authenticity.

On his website, Justin shares how the journey began when his aunt lent him a 35mm SLR during a vacation. Later, what started as "an easy A" in high school photography quickly launched a lifelong passion. Justin's current business comprises three related but distinct components: fine art photography, commercial photography, and mentoring others in the nuances of his craft.

Enter Red River Paper

Justin's mission to document Iowa's farm communities demands prints that honor each depiction with exceptional quality. He relies on Red River Paper's Palo Duro Baryta and Aurora Art White 300 for their balance of affordability and professional-grade results.

“Palo Duro Baryta provides a beautiful, rich finish that enhances the depth and detail of my photographs, making them stand out,” Justin tells us. “Aurora White offers a smooth, bright surface that ensures vibrant, accurate color reproduction.”

The affordability and variety of Red River Paper's offerings also resonate with him. "There's never a shortage of options to experiment with," Justin notes, appreciating how the pricing keeps his art accessible.

See More of Justin's Work

Explore Justin's captivating Midwest landscapes at www.tedfordphoto.com, where you'll also discover his photo books on Iowa and the iconic Route 66. Through The Photographer's Lounge Facebook page, he's created a community for fellow photography enthusiasts to share tips, techniques, and their latest work. See our Q&A below for insights into his rewarding experience photographing people he calls “heroes of the heartland,” aka Iowa farm families.

Enjoy our Q&A with Justin Tedford

What year was your business founded and how did you get started?
I started my business in 2005 because of my deep love for photography and storytelling. Capturing moments through the lens allows me to tell compelling stories and preserve memories in a unique and artistic way. This passion for visual storytelling drives me to create beautiful, meaningful images that resonate with people and evoke emotions. My goal is to share my love for photography with others, creating lasting impressions and impactful narratives through my work.

Tell us a little about what product or service your business offers.
I focus on three main areas in my photography business: education, fine art landscape images, and commercial photography. Through my educational initiatives, I aim to inspire and empower aspiring photographers with the skills and knowledge they need. My fine art landscape photography captures the breathtaking beauty of nature, turning moments into timeless pieces of art. In the commercial sector, I provide high-quality, visually engaging images that help businesses tell their stories and elevate their brands.

What makes your business unique?
What makes my business unique is the blend of education, fine art, and commercial photography under one roof. I am deeply committed to nurturing the next generation of photographers through personalized and inspiring educational programs. My fine art landscape images capture the essence of nature's beauty with a distinctive artistic touch, offering clients one-of-a-kind pieces. Additionally, my commercial photography services are tailored to meet the specific needs of each business with striking images that effectively communicate their brand stories. This combination of passion, artistry, and customized service sets my business apart.

Where do you source your raw materials from?
Red River Paper!

In what ways does the business reflect your own personality?
My business reflects my personality in several ways. Photography is at the core of who I am; it's my way of seeing and engaging with the world. This passion is evident in every aspect of my business, from the fine art landscape images that capture the beauty of the Midwest, to the commercial projects that tell compelling visual stories. My love for education drives me to share my knowledge and inspire others, fostering a community of learning and growth.

Who are your typical customers?
My typical customers include aspiring photographers seeking education and mentorship, art collectors and enthusiasts who appreciate fine art landscape photography, and businesses in need of high-quality commercial photography. Aspiring photographers come to me for workshops and personalized training to enhance their skills. Art collectors are drawn to my unique, evocative images of the Midwest's natural beauty. Businesses partner with me to create striking visuals that effectively communicate their brand stories and engage their audiences. Each customer values quality, creativity, and a personal connection to the work.

What is the most interesting project you've encountered in the course of your work?
One of the most interesting projects I've undertaken was photographing Iowa farm families. This project allowed me to get to know the heroes of the heartland, capturing their daily lives and the essence of their work. I had the privilege of meeting so many wonderful people and visiting a variety of unique, picturesque farms. The experience was incredibly rewarding, as I documented the resilience, dedication, and warmth of these families, creating a visual story that honors their contributions and preserves their legacy.

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?
Red River Paper has been instrumental in the success of my business by offering a wide variety of high-quality products at prices that allow me to keep my photographs affordable. Their extensive range of papers means there's never a shortage of options to experiment with, enabling me to find the perfect medium for each unique image. This flexibility not only enhances the final presentation of my work but also ensures that I can meet diverse client needs without compromising on quality or cost.

Which Red River Paper products do you use, and what do you appreciate most about them?
I primarily use Red River Paper's Palo Duro Baryta and Aurora Art White 300. What I appreciate most about these products is their perfect balance of affordability and exceptional quality. Palo Duro Baryta provides a beautiful, rich finish that enhances the depth and detail of my photographs, making them stand out. Aurora White offers a smooth, bright surface that ensures vibrant, accurate color reproduction. Together, these papers allow me to deliver professional-grade prints to my clients while keeping costs manageable, making high-quality art accessible to a broader audience.

RED RIVER PAPER'S EXCEPTIONAL QUALITY AND CUSTOMER SUPPORT EVERY STEP OF THE WAY.

Second Chances and Shutter Clicks

After surviving ovarian cancer in 2013, Carol Bell discovered that life's second chances sometimes come with unexpected gifts. Her long-held dream to explore photography has blossomed into a thriving artistic practice that celebrates the natural world she's always loved.

Carol's journey started with photography classes and her first Canon camera, a brand loyalty that continues today. Her initial work photographing cancer patients and their families evolved into event and portrait photography before gravitating toward her current passion: nature and the environment. From her home in Delaware, where the ocean meets the bay, Carol has found her creative voice through landscapes, still life, and locally sourced produce.

Enter Red River Paper

Carol's expanding focus on garden-to-table still-life photography demands prints that showcase every detail and texture. Through her images, she's building relationships with local farms, markets, cafes, and interior designers.

"Red River has super customer service and even assisted me with my recent Canon printer purchase," Carol shares. This support has been crucial as she transitions from outsourcing prints to handling production in her own studio. "[Red River Paper] produces beautiful prints," she notes, particularly for her greeting card line and 8x10 prints. Whether you're looking for a high-gloss, non-reflective matte, or a textured linen surface, we have the variety and quality you're looking for in greeting card papers and art print papers.

See More of Carol's Work

You can explore Carol's captivating world of coastal landscapes and still life across multiple platforms. Browse her curated collections at Bright Spot Photo Shop; follow her latest captures on Instagram and Facebook; or discover unique pieces on Etsy. For an in-person experience, visit her permanent exhibit at Sean Kelley Art Gallery in Rehoboth Beach, Delaware, where nature's bounty comes to life on gallery walls.

Enjoy our Q&A with Carol Bell

What year was your business founded and how did you get started?
I am an ovarian cancer survivor. When I healed in 2013, I wanted to pursue my love of photography. I began with classes and continued to practice and experiment. And here I am years later. I concentrate on landscape, nature, and still life.

Tell us a little about what product or service your business offers.
I offer photography in the form of canvases, prints, greeting cards, metal prints, other items as requested.

What makes your business unique?
I'm expanding my still life work with farm-to-table items, starting with mushrooms from a local farm and adding more seasonal offerings. I'm also experimenting with backgrounds and close-ups.

Where do you source your raw materials from?
Canon, Red River Paper, ProPrints, and Nations Photo Lab.

In what ways does the business reflect your own personality?
I love food — cooking, eating, gardening, you name it — and have a degree in nutrition and food science. I had intended to work in food research but ended up in public health. Now that I'm retired, my photography has taken off due to the time I can spend on it.

Who are your typical customers?
My customers include people who work with food, such as markets, cafes, farms, and interior designers, as well as those renovating or updating their homes. I also serve businesses that focus on farm-to-table.

What is the most interesting project you've encountered in the course of your work?
I started with event and portrait photography and remain fascinated by people's expressions and emotions. But I have shifted to nature and still life. My first project in this new direction was photographing farm-fresh mushrooms. They hooked me with their beauty.

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?
Red River has super customer service and even assisted me with my recent Canon printer purchase, which I'll use for greeting cards and 8X10s. I'm still testing paper types before making a larger purchase. Currently, I outsource printing but want to handle it in my studio.

Which Red River Paper products do you use, and what do you appreciate most about them?
I started greeting cards about a year ago and discovered Red River Paper. Their greeting card paper produces beautiful prints. I'm also now using Red River Paper for my 8x10 art prints with my new Canon Pixma printer.

How can people purchase your products/service?
I sell via my Bright Spot Photo Shop website, word of mouth, art guilds, stock photography, markets, businesses that display my work, and commissions. I have about 1,000 sales this year, both small and large purchases.

Do you have any future growth plans?
I would like to put my images on totes, wooden boxes, and other items to see how it goes. 

Is there a special story or testimonial from one of your customers you'd like to share?
When I first started in photography, I volunteered to photograph cancer patients and their families. This was done through a wonderful legal group called CancerLink in Richmond, Virginia. My clients would be so grateful that I created a memory for them. I hear similar gratitude with my landscapes, which evoke joyful memories. My still-life photos make people laugh. Who knew mushrooms could be so compelling?

Grain, Grain, Go Away! For 100 years photographers have had to live with it if they wanted to use 35mm cameras to capture images with natural light. Now, there's a quick and easy way using the power of AI. Photo by Ilona Panych

By ARTHUR H. BLEICH

Grainy images can result when you enlarge legacy B&W and Color photos that have been scanned. Don't despair. Simple AI software can remove unsightly film grain to give those old photos new life.

Early photographs were usually printed by placing them in contact with the large negatives they originated from; their grain structure remained virtually invisible. But when the first Leica 35mm cameras appeared in 1927, the ground rules changed; their tiny negatives had to be enlarged and the bigger the print, the more visible their sandy-looking texture became. Photographers dubbed it “grain” and the Holy Grail of roll-film manufacturers was to reduce its size.

It was impossible to eliminate grain entirely because without it, the image could not exist. These tiny particles of light-sensitive silver halide crystals were embedded in the film's light sensitive layer. When light struck them, and the film was subsequently processed in chemicals, the crystals transformed into microscopic clumps of metallic silver (or color dyes), creating the visible grain effect and thus, the image.

In the digital world, pixels are somewhat analogous to grain. If you don't have enough of teem to work with, your image will degrade when you try to enlarge it too much. But sophisticated AI software can, with a high degree of accuracy, add more pixels to make up for those that are missing and your printer can then output stunning enlargements.

Putting AI To The Test

As I was writing about a free image upscaler called Upscayl AI a few months ago (see Resources below) it suddenly occurred to me that while you cannot remove photo grain from an original analog photo, scanning it would convert the image and its grain, into pixels. And then, perhaps, the AI upscaling app might be able to use its magic to keep the grain from becoming distracting when the image was enlarged. I decided to give it a try.

For a test image, I chose an aerial photo I'd shot over a half-century ago while on assignment to document Alaska during its six months of winter darkness. I was using an ISO 400 film that would be “pushed” to ISO 1200 in a special developer. However, the process would also make the grain swell to sizes “as big as baseballs” so the saying went.

After bringing my test image into Upscayl AI, I set the Image Scale value to “1” because I didn't need to make the image bigger, just remove the grain. In a few minutes the image was processed. Humm… good try, but no cigar; it was still grainy.

Then I realized I'd been going about this the wrong way. I was not taking advantage of what AI upscaling does best— precisely adding countless pixels to low resolution images so they can be enlarged to bug sizes without losing quality. Setting the Image Scale to “1” was not giving the software a chance to do its thing.

Using Photoshop I reduced the size of my image by 50%, increased the upscale value to “4” and tried again. Bingo! There was still a nagging question, though. If grain makes up the image, how can AI remove the grain without erasing the image? A leading AI developer told me that AI can be taught to digitally reverse the grain effect so that the contents of the original photograph could be preserved. That settled, follow along and I'll take you through the process.

How To Remove Unwanted  Film Grain

1. Begin by reading the Upscayl AI blog post (see Resources below) and then download, install, and open the software. It's free.

2. If you have an image with undesired grain that has been scanned, you're ready for the next step. If not, scan one. Or select a grainy image on the web and use a screenshot of it.

NOTE:. Upscayl does not modify your original image; it works with cached copies of it.

3. Open the image in Photoshop (or other) and size it anywhere from 5x7 to 8 x10 inches at 72 ppi. The image dimension and resolution is not critical as you are just going to get the hang of the procedure. Save the image to your desktop, if possible, so it's easy to find.

4. Open Upscayle AI and drag your image from the desktop (or wherever it is) to the uploading pad (or use Select an Image in the menu) and it will appear on screen. (Step 1 on Upscayl).

5. Set the AI Model to Standard. (Step 2 on Upscayl).

6. Set 3x on the Image Scale slider. Make sure Double Upscale is NOT checked. (Step 2 on Upscayl) .

7. Leave Image Path blank. (After your image has been processed, its file will return to wherever it came from.)

8. Press the Upscayl Button. (Step 4 on Upscale).

9. Wait for results and then inspect your image.

10. Your image has been automatically saved to the folder from which it came from or one you've designated.

If you have an image where patches of grain remain, you can run the same image again through the Double Upscayl option. (Step 2 on Upscayl). Or you can run a copy you previously made at a higher Image Scale setting.

FINALLY…

• Do not to use very high resolution images or else your file sizes will balloon along with processing time. Use only as much Image Scaling as you need to eliminate the grain.

• Try different models to see how they handle the same image.

• Upscayl AI appends the amount of image scale and model used to the image file name so you can always tell what settings were used.

After you've achieved the results you want, you can take your image back into you imaging program and manipulate it further as you would any image. You can change the size and/or other attributes of the image prior to printing it.

RESOURCES:

Previous Red River Paper blog post on how to download and use Upscayl

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

Billions of old photos slumber in storage places, dreaming of being scanned awake to share their precious memories. You can easily turn those  vintage snapshots, negatives or slides  into big, beautiful, inkjet prints.  Here's how.

BY  ARTHUR H. BLEICH

A SCANNER IS JUST A CAMERA

Simply put, a scanner is a camera that takes pictures of documents, artwork, prints or slides and converts them to a digital files that can be viewed on devices like computers, tablets, TVs or smartphones. Best of all, you can also print them, and at almost any size of your choice.

The scanner is controlled by an app that that lets you select various options prior to scanning— the most important of which is the resolution (quality) at which the image will be scanned. This value is in dots-per-inch (dpi) and determines how big your photo can be printed from that scan. The higher the dpi, the more detail the scanner will capture, and the bigger the pictures can be printed without loosing quality.

Why not just crank up the dpi resolution setting to the maximum for everything? Because there are some trade-offs you have to be aware of. Higher resolutions require longer scanning time per photo and produce larger file sizes. If you're scanning lots of photos and/ or have limited memory storage on your device, these need to be considered.

Next, it doesn't matter how small your image-to-be-scanned is. Even if it's a tiny 2x3-inch snapshot, or an even smaller 1x1.5-inch color slide, as long as you select a high enough dpi resolution, you'll be able to print it many times larger than its original size. Later on, I'll give you simple formula and some guidelines that make it easy to set that dpi resolution for the best results at whatever size you'd like your printed image to be.  

Finally, make sure whatever you're going to scan is clean and bear in mind that if the original you want to scan is unsharp or has artifacts, scanning will not make it better; you'll need to do some subsequent work in an imaging program to improve it, just as you would with any photo.

THE FLATBED SCANNER

The most popular scanner is the Flatbed. It's sold as a standalone or included with many all-in-one printers.t will scan black and white and color prints and some may have attachments to allow slide scanning, though if that's your main purpose there are dedicated slide and negative scanners that make it easier and faster. Flatbed prices vary widely and you'll want to choose one that can scan at optical resolutions up to 4800 dpi. The Epson Perfection V39 II has been refined through the years and costs about $120 at Amazon.

ABOUT RESOLUTION: OPTICAL, INTERPOLATED, DPI AND PPI

Optical resolution is the true measure of a scanner's ability to capture detail, while interpolated resolution artificially adds pixels  to create the appearance of higher resolution. When choosing a scanner focus on the optical resolution, as it determines the true scanning quality. Interpolated resolution is more of a marketing gimmick than a useful feature for serious  photo scanning. If the scanner's specs mention two resolution numbers, the highest value is usually interpolated.and the other the maximum optical resolution.

We've discussed dpi (dots per inch)  briefly but what about ppi (pixels per inch)? Both measure resolution and are often incorrectly used interchangeably. DPI is really a printing term that denotes the number of round ink dots a printer is squirting onto a square inch of inkjet paper—the more, the better the image quality. When you choose a “print quality” setting in you printer menu such as, Draft, Normal, Fine, Quality you are telling your printer how many of dots of ink per inch (DPI) you want it to use— the fewest at Draft (usually to save ink) vs. the most dots at the highest Quality setting on your printer to get the most detail in images.

PPI (pixels per inch) is also a measure of resolution but refers to the number of square pixels occupying a linear inch on a image. Lack of an adequate number of pixels per inch in photo, causes the pixels to stretch out and become bigger to fill the available space. This eventually makes them  visible and degrades the image quality.

Since scanning produces digital mages consisting of pixels, the correct designation for scan resolutions is ppi since both scans and prints use pixels and not dots as resolution measurements. Be that as it may,you will find scanner resolution designated as either dpi or ppi. For flatbed scanning —right or wrong— they are used interchangeably,

THE SLIDE AND NEGATIVE SCANNER

They are easy to use, fast, have preview screens and will give you good 8x10 blow-ups and maybe a bit more. .But with a little Photoshop work and some magic from A.I. upscaling software the sky's the limit (well, Almost). The popular Kodak Slide N Scan  stores its scans on a memory card (not included) which can then be uploaded to your computer. It scans multiple sizes of color and black and white film negatives, 35mm slides and more. Its optical resolution is 13 Megapixels which can be interpolated to 22 Megapixels. $189  at Amazon. Image by Lon Seidman.

GETTING STARTED WITH SCANNING

If you're new to scanning, remember to keep whatever you intend to scan clean and dust-free. This is especially important when scanning slides and negatives. The easiest way to accomplish this by dusting them off with a soft, anti-static brush or them a short  burst of compressed air from about a foot or more away.

Below are some basic setting options you'll find on flatbed scanner software and suggested choices. NOTE: Because 35mm slide and negative image areas are so small (1 x 1.5 inches), fewer resolution options are required on slide/negative scanners  and these are specified  in Megapixels— indicating the amount of detail (in pixels) that will be captured from the image area.

TYPICAL SCANNER SETTINGS

• Scan Settings: Photograph.
• Mode: Photo Mode.
• Document Source: Scanner.
• Document Size: Choose nearest size or choose Letter and crop the excess later.
• Image Type: Color or Black & White.
• Resolution: Indicate your DPI #.
• Image Format: JPEG, PDF, PNG or other.
• File Name: Give your scan file a name..
• Folder: Choose a destination folder or create a new folder.

When finished with your settings click on the Preview button to see how it will look. If you're satisfied, execute the actual Scan. The image will then be converted to pixels and becomes an file you can open in an imaging program, make further adjustments to, if desired, and then output on your printer.

If you're new to scanning I advise scanning several different sizes of test images at different dpi resolutions, print them out and then compare them. This will show you how various dpi settings can affect the quality of your final prints.

  THE MOBILE SMARTPHONE SCANNER

Mobile  scanners  use smartphones to scan35mm slides and negatives. . They are inexpensive and come with scanning apps for your phone.  The problem with most of them is that the camera lens must be positioned precisely over a small hole in the device and with some models of phones that sometimes creates problems. The KLIM K2 offers more flexibility and includes an internal backlight and long-lasting batteries.  At Amazon for about $20.

CALCULATING SCANNING RESOLUTIONS

Here's a useful formula for choosing the proper flatbed scanner dpi resolution for whatever size image you want to print. In this case an 8x10 image that has a print resolution of 300ppi (pixels-per-inch) is desired from a 4x5 inch scan.

The dpi to set for scanning equals the final image width divided by the original image width multiplied by the final ppi desired. So if you want to print a quality 8×10 inch enlargement at 300 ppi from a 4 x 5 inch photo, divide 8 (the final image width) by 4 (the current image width) which gives you 2. Then multiply 300 by 2 which equals 600—the dpi setting to use for scanning.

If you're math averse, here are some general rules of thumb for flatbed scanning:

• For smaller photos (wallet-sized or smaller), a higher DPI like 600-1200 is recommended to capture enough detail for potential enlargements or fine-detail preservation.
• For standard photos (like 4x6 or 5x7), a resolution of 300-600 DPI is generally sufficient.
• For photos smaller than 4x6, use 600 DPI or more.
• If you plan on significant enlargements or extensive photo restoration, higher DPI settings (like 600 or more) are beneficial.

And here's some  resolution information for 35mm slide or negative scanning:

• Slides and negatives should be scanned at 3,000 to 4,000 DPI. To achieve that resolution a 35mm slide o rnegative scanner should o be capable of scanning at 13.5 to 18.5 megapixels. Scanning at higher resolutions may actually degrade image quality by picking up excessive film grain or other artifacts.

ULTRA SIMPLICITY: SCAN  WITH A LIGHT PAD

Laugh, you may, but it works!  And you can scan slides and black & White and color negatives of any size—which might be a good reason to have one around in case you need to do an occasional 2-1/4 square or 4x5 negative or color transparency.Comes with 3 light settings and is USB-powered.  Dgodrt Light Pad.  $19 at  Amazon.

There are companies that offer scanning for a fee, but you'll find that the price can quickly add up to the cost of a good scanner that will give you total control over your own photos and guarantee that your priceless images won't get lost or damaged. And this can happen, especially if the scanning is outsourced to a sub-contractor overseas where labor is cheaper.

 Finally, you may want to consider offering scanning as a local service. With disasters happening regularly  throughout the country, people are becoming aware of how easy it can be to lose their valuable photo memories. If you are a photographer, this could be an excellent sideline service to promote and develop. You can also offer to print some of the results which will produce additional income.

RESOURCES:

Epson Perfection V39 II

Kodak Slide N Scan 

KLIM K2 Mobile Scanner

Dgodrt Light Pad

 RELATED POSTS YOU MAY ENJOY:

Upscale Your Images With A Free A.I. App

Your Scanner Invites You To Create Exquisite Images