STUNNING FINE ART PRINTS MADE WITH RED RIVER PAPER.

It Took a Village

Sherry Rayn Barnett didn't just document rock history. She was present for its making. Her career began at New York City's High School of Performing Arts, where she spent her after-school hours shooting the small clubs of Greenwich Village as folk, jazz, and rock were finding their voices. As a young photographer, she had rare access to artists who would go on to define the era: Joni Mitchell, Tina Turner, James Taylor, Nina Simone, Janis Joplin. She caught them in the heat of performance, backstage, and in candid moments where the real pictures live.

“Eye of the Music”

Best known for her black-and-white images shot on 35mm film, Sherry has built one of the most remarkable archives in music photography. Her images have been tapped by the Rock & Roll Hall of Fame, the Grammy Museum, Kennedy Center Honors, and major documentary films and publications such as Rolling Stone, Forbes, and The New York Times. Her book, "Eye of the Music," finally realized during the pandemic, stands as a legacy document of the first 20 years of a career that covers five decades and counting.

Enter Red River Paper

For Sherry, Red River Paper transformed what's possible in her own studio. Rather than sending gallery and collector print requests to an outside lab, she now produces exhibition-quality prints herself, on her own terms and timeline.

Sherry works primarily from 35mm film negatives, digitally scanned and prepared for her Epson archival printer — which makes the quality of her paper choices critical. For her finest museum-quality work, she reaches for Palo Duro SoftGloss Rag 315. Sherry explains, “Nothing beats that 100% cotton rag and heavyweight feel of that paper for my best work. Love it.” Made with a lightly textured semigloss surface, it delivers the look and feel of a classic darkroom print with the performance of modern inkjet technology. A barrier coat locks ink into the soft gloss layer, producing luxuriously deep blacks that make her concert images so arresting. For collectors who want that same neutral, crisp rendering with a bolder finish, she turns to UltraPro Luster 300, heavier and thicker than traditional photo lab paper, with a texture that makes rich tones and saturated colors leap off the surface.

See More of Sherry’s Work

Sherry continues to shoot music festivals and concert series across Los Angeles while licensing her archival work worldwide. Explore her images at sherrybarnettphotography.com, musichead.com, and rockpaperphoto.com. Read our full Q&A below for more on her “most challenging” project and her plans for more gallery exhibitions and speaking events.

Enjoy our Q&A with Sherry Rayn Barnett

What year was your business founded and how did you get started?
I began my career as a published photographer while attending the "Fame" School of Performing Arts in New York City. With a passion for music, and Nikon in hand, I began shooting after school in the small clubs of Greenwich Village, home to up-and-coming stars such as Bonnie Raitt, Kris Kristofferson, Nina Simone, and more.

Tell us a little about what product or service your business offers.
I am a widely published music concert photographer, with an archive spanning five decades. This past year, I was invited by UCLA to speak about my career, and my book, "Eye of the Music.” I have exhibited at The Grammy Museum in LA and my images have been featured by the Rock & Roll Hall of Fame, Kennedy Center Honors, and countless others.

What makes your business unique?
I photographed artists such as Joni Mitchell, James Taylor, Tina Turner, Linda Ronstadt, and Miles Davis before they became the iconic legends that they are today. Since then, I have built an archive of music photography focused on the art of live concert photography. I am best known for my black-and-white images, shot on 35mm film. My very first assignment was of Ike & Tina Turner, and now one of my photographs of Tina is on permanent display at The Forum in Los Angeles.

Where do you source your raw materials from?
I work primarily from 35mm film negatives, digitally scanned, cleaned and prepared for my Epson archival printer.

In what ways does the business reflect your own personality?
Being a musician myself, I feel at one with capturing the most dynamic emotions of live performance — and can anticipate the moment to click the shutter.

Who are your typical customers?
My customers are music publications, documentary filmmakers, record companies, galleries, media companies, as well as the artists themselves and private collectors. My work is often licensed for career spanning anthologies and music documentaries (i.e., The Go-Go’s, Linda Ronstadt, Nina Simone, Joni Mitchell, etc.) I was honored to have James Taylor personally chose several of my historic photos for his memoir, "Break Shot". 

What is the most interesting project you've encountered in the course of your work?
Honestly, I can't think of a "most" interesting project. But maybe the most challenging or gratifying project was finally creating a book of my work during the pandemic! The book had been on the back burner for a dozen years before I was encouraged by a publisher to bring it to fruition when I finally had the time to focus on making it happen. "Eye of The Music" unfolded as a legacy project, documenting two decades of my images of iconic musicians who were in their early years — with many just reaching their prime.

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 upped my print game. As I get requests from galleries that sell my images or private collectors who have seen my published work, I am able to produce the high-quality artist exhibit prints myself without having to "farm out" the jobs to an outside lab.

Which Red River Paper products do you use, and what do you appreciate most about them?
I enjoy using Red River UltraPro Luster 300 paper often for customer print requests, especially when I want the blacks to pop and the prints to shine. For exhibit-quality museum prints, I use Red River Palo Duro SoftGloss Rag 315 exclusively. It has become my "go to.” Nothing beats that 100% cotton rag and heavyweight feel of that paper for my best work. The day that I discovered Red River Paper, my entire attitude about doing my own prints changed and I look forward to every print request. Love all their paper choices.

How can people purchase your products/service?
People can purchase prints and books directly from my website: sherrybarnettphotography.com. More can be found at: musichead.com and rockpaperphoto.com.

Do you have any future growth plans?
Looking forward to doing more speaking events similar to the one at the Herb Alpert School of Music (UCLA); more gallery exhibits; generating book sales; licensing my archival images and growing my online print business, thanks to Red River Paper!

Is there a special testimonial or quote you’d like to share about your work?
"Sherry Rayn Barnett has been in the Eye of the Music since capturing, almost stealing, the most white-hot seconds onstage, the unguarded intimacies and the bolt of creativity, whether onstage or in the studio."
~ Holly Gleason, Entertainment Journalist of the Year 2023

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

ARE YOU READY FOR THE SPOTLIGHT? Simply respond to the questionnaire here to apply to be included in an upcoming Success on Paper feature.

By ARTHUR H. BLEICH

All Images © The Author

“Less Is More"was the mantra of artists and photographers who eagerly embraced the emergence of the Minimalist Art movement in the early 1950s. Images were becoming too cluttered, they argued, and needed more “negative space” around subjects to create a more dramatic viewing experience.

NEGATIVE SPACE IS ALL AROUND US

Negative space is the simple background or empty area around the subject. It does not have to be totally empty, but it should not overwhelm your subject. Instead, it should work to enhance it. You can use textures, soft light or color gradients, smooth or sharp shadows, clouds, water, snow, large natural spaces, and more, as long as they do not become a distraction.

So, for example, as an alternative to shooing random images of children in a playground with its hustle-bustle background, you might choose a point of view that places some of the kids in an uncluttered space. That simple move would instantly make him or her the center of attention.

USING NEGATIVE SPACE EFFECTIVELY

Learning to use negative space when composing some of your images can improve them immeasurably by making subjects and objects stand out as never before. But to master the technique, you’ll have to “think different” when framing your shots.

Most photos have the space around the main subject related to it in some way that allows the eye to wander around, taking in all the elements. But a subject surrounded by negative space is more compelling–the eye is drawn to it like a magnet to metal, and the viewer is forced to explore it immediately without being distracted by other visual elements

There are several ways that you can create negative space in your images, the easiest of which is by using large apertures to blur the background. You can also use contrast by positioning a light subject against a dark background or vice versa. As you get more comfortable with the concept, start framing your image so that half or more of it remains empty.

The concept of using negative space sounds absurdly simple. But if you’ve been doing traditional photography for some time, it may seem to go counter to everything you’ve learned (and instinctively do) when composing your images. Here’s an exercise you might want to try to get your eye retrained to take advantage of using this minimalist approach.

RE-TRAINING YOUR EYE

Take a small everyday object (a cellphone, car keys, coffee mug, watch, a child’s toy, etc.) and place it on a tabletop or in front of a simple background such as a wall, curtain, or piece of poster board. Then photograph it a different ways, always leaving at least 50% or more of the frame empty. Shoot it from high and low angles, and if the background seems to be intrusive, throw it out of focus.

Use front, back, and side lighting and let your imagination run wild. As you do this exercise, try to increase the amount of negative space, even if it means only shooting a part of the object you’ve selected. Then look at the results and, chances are, you’ll be surprised at the many new ways it looks - ways you might have never imagined before.

NOW YOU'RE READY TO SALLY FORTH 

Now begin to do some real-world shooting, leaving an adequate space of 50% or more in front of moving subjects. Even incorporate negative space when shooting inanimate objects (such as statues or monuments). If portraits or wildlife are your thing, frame your subjects off-center, either looking at the camera or off into the negative space. As you shoot more images, you’ll begin to feel at ease with the frame not being filled with unnecessary visual elements.

Here’s another point to consider. I’ve found that some images shot in landscape orientation, with negative space to one side or the other of a main subject, may look better if they are flipped horizontally. This can easily be done in your imaging program by going to: Image>Rotate> Flip Horizontal. You can then decide which looks better.

NEGATIVE SPACE THRIVES IN B&W IMAGES

We are so used to shooting images in color these days, that we sometimes forget the power of black and white which can be especially effective in minimalist photography. It can eliminate the distraction of color, simplify light and shadow, and emphasize texture and form to give the image more power.

So if you feel that using negative space in a color image seems to fall short, use your imaging program to quickly view it in a black-and-white version. You may find that it gives your image a stronger look that’s more graphically aligned with the use of negative space.

The images used in this post show various ways in which I’ve used negative space in black-and-white photography throughout the years. Most were done for editorial, commercial, or military assignments while others were personal creative work. When some were exhibited, feedback from viewers always favored those with negative space.

SEARCH YOUR FILES FOR HIDDEN GEMS

Once you grasp the concept of negative space, go through your photo files and use your imaging program to create negative space in photographs you’ve already shot . Crop, blur, or remove unwanted elements to create negative space, and you’ll come up with more visually powerful versions of images you might not have thought much of before.

This can become a great photo project when inclement weather limits outdoor shooting. Just remember to keep in mind: "Less is more"!

Note: “Less is more” first appeared in a poem by Robert Browning in 1855 and was subsequently used almost a hundred years later by minimalist architect Ludwig Mies van der Rohe to describe the essence of Minimalism.

RESOURCES:

Minimalist Photography Awards

This site awards yearly prizes for outstanding minimalist photography in each of the categories below.  Once there, click on  WINNERS' GALLERY to see many excellent examples of images from previous years to the present that have used negative space creatively. 

Kit Funderburk’s A Guide to the Surface Characteristics: Kodak Fiber Base Black-and-White Papers (second edition) is more than a catalog of discontinued photo papers. It shows how chemistry, papermaking, manufacturing limits, and photographers’ taste together shaped the way a printed photograph looks and feels.

If you choose between glossy, satin, luster, matte, and fine art inkjet papers today, the language in old Kodak catalogs will sound familiar. Smooth, rough, luster, semi-matte, velvet, double weight: we still use most of these words.

That familiarity can be misleading.

The result is a solid history of how photo paper was made, and a useful lesson for anyone trying to understand the papers we print on today.

Decoding Kodak’s “Alphabet Soup”

For much of Kodak’s history, a capital letter after a paper’s name identified a particular version of that product. Collectors and historians sometimes treat those letters as one consistent code. Funderburk shows why that gets people into trouble.

In the 1880s, letters might separate thickness and general texture. Eastman Permanent Bromide Paper came as A (thin and smooth), B (heavy and smooth), and C (heavy and rough). Other lines used numbers the same way.

As the product list grew, the letters got more complicated. By 1932, E could mean rough, matte, and old ivory in one line; smooth, semi-matte, and white in another; and rough, lustre, and buff in a third. A letter meant something for a given product in a given year, not across the whole catalog.

By the 1940s Kodak had settled on a more logical system. A surface designation generally described three things:

• Texture: the physical topography of the surface
• Sheen: the amount and character of reflected light
• Tint: the apparent color of the paper base

Paper weight was handled separately, usually as single, medium, or double weight.

That distinction still matters. People often use a word like luster to describe a whole paper, but texture and sheen are different properties. Two papers can have nearly the same surface texture and still reflect light differently, and that changes how sharp, dense, colorful, and contrasty a print looks.

Photo Paper Begins Below the Image

One of the book’s real strengths is that it looks at photographic paper from the inside out.

Kodak started coating photographic materials on paper in the early 1880s, but the raw base had to come from Europe. American mills couldn’t yet make paper consistently clean, pure, and stable enough. Contaminants that wouldn’t matter in ordinary paper could react with light-sensitive silver salts and leave defects in a print.

Making its own base paper became urgent when World War I disrupted European supply. Kodak’s first experimental paper machine started running in 1914. Hundreds of trials followed, and many produced paper that couldn’t be used for photography. Iron, bronze, dirt, wood fragments, and other contaminants showed up as black or white spots once the paper was coated and processed.

It’s a good reminder that a sheet of photo paper is an engineered product. How it performs depends on the coating you can see, but also on fiber selection, pulp treatment, additives, how the web forms on the machine, pressing, drying, sizing, and calendering.

Even “paper weight” is less exact than it sounds. Kodak’s single, medium, and double weight categories mostly described ranges of raw base weight, not the finished sheet after baryta, gelatin, and emulsion were added. Thickness wasn’t tied to weight either. A manufacturing change could shift one without an equal change in the other.

Inkjet users run into the same thing today with grammage and caliper. Grams per square meter is mass per unit area; mils is thickness. Neither number alone tells you how stiff or substantial a paper will feel, or how easily it will feed.

Why Baryta Matters

The book’s account of baryta coating is especially worth reading for anyone who cares about fine photo papers.

Baryta is mostly barium sulfate pigment, applied with gelatin and other ingredients over the raw paper base. In traditional silver-gelatin papers, it gave the emulsion a cleaner, more uniform surface to sit on. It kept the image layer away from the fibers, hid flaws in the base, added whiteness and surface character, and is a big part of why classic fiber prints look the way they do.

At Kodak, baryta coating was an industrial art. A paper might get one coat or several, depending on its surface and use. Early smooth, glossy, double weight papers could get as many as six, with drying between each pass. Rougher papers usually got less, because a heavy coat would fill in the texture underneath.

After coating, papers could be calendered between rollers. The glossiest papers got the most polishing. Rough and matte papers were handled more gently so their surface wouldn’t be crushed flat.

This is why “baryta” means more than “slightly glossy.” The classic look came from the base, the pigment layer, the surface finishing, the emulsion, and the processing all working together. Modern baryta-style inkjet papers don’t copy that silver-gelatin construction, but they aim for the same look: a substantial base, a refined coated surface, deep blacks, crisp detail, and the sheen people associate with a good darkroom print.

Texture Was Made, Not Just Named

Kodak’s range went well beyond smooth and rough. Funderburk covers tweed, tapestry, fine-grained, silk, and suede surfaces, plus earlier names like enameled, velvet, linen, parchment, medium rough, and old master.

They were made in different ways.

Some textures started while the paper was still wet, pressed in by marking felts in the press section. Others came from textured press rolls, light calendering, how much baryta was applied, or embossing after coating. Silk, for example, had a regular, recognizable pattern, not the random unevenness of an ordinary rough sheet.

Choosing a surface was part of interpreting the photograph. A smooth, glossy paper showed off fine detail and maximum density. A textured portrait surface could soften detail, break up reflections, and give an image a more tactile, painterly feel. Heavy textures weren’t defects. Photographers chose them on purpose.

The same holds for inkjet. The surface changes how an image reads, even with the same file, printer, and inks. A reflective surface tends to boost apparent sharpness, contrast, and saturation. A lower-sheen or textured surface spreads out reflections and gives the image a quieter feel. Texture can suit portraits, landscapes, black-and-white work, or reproductions of traditional artwork, but it can also fight with very fine detail.

So, the best paper isn’t automatically the one with the most gloss, the deepest black, or the most texture. It’s the one that suits what the photographer is going for.

Sheen and Tint Were Relative Judgments

Funderburk adds another caution: Kodak’s categories were often visual comparisons, not exact numerical standards.

Sheen ran from glossy through high luster, luster, semi-matte, and matte. But two papers both called “luster” didn’t necessarily reflect the same amount of light. The term placed a surface relative to the other papers Kodak sold at the time.

Tint worked the same way. Kodak used names like snow white, white, natural white, warm white, cream white, old ivory, ivory, buff, and a pearly white called pensé. Two papers in the same category didn’t necessarily measure the same color.

Dyes could go into the raw base, the baryta layer, or both. Later papers might also contain optical brightening agents (OBAs), which absorb ultraviolet light and give some of it back as visible blue light. Kodak’s use of brighteners varied by era, by product, and even by what customers in different regions preferred.

That’s why paper white still matters so much in inkjet printing. The bare sheet is the brightest tone the print can show. A cool, bright base can make colors and highlights pop, while a natural or warm base gives black-and-white and quieter images a softer character.

It’s also a reason to be careful when talking about optical brighteners. Whether a paper has them doesn’t, by itself, tell you how long a print will last. Longevity depends on the whole paper and ink combination, how well they work together, display lighting, air quality, storage, and handling. “Archival” should describe tested performance under realistic conditions, not stand in for actually understanding the materials.

A Guide, and a Warning Against False Precision

The last chapter asks whether surface differences can be seen and measured, and whether they really matter. Funderburk doesn’t give a simple answer.

Today’s instruments measure gloss, color, thickness, and surface texture far more precisely than Kodak ever could. Those numbers are valuable, but they don’t erase the history. A double weight sheet from one decade may not match one from another. Two surfaces with the same sheen name may measure differently. And age changes both tint and appearance.

At the same time, the major textures were easy to recognize. Photographers didn’t need a microscope to tell tweed from silk or smooth from rough. The differences mattered because they changed how the finished print looked and what it was for.

That may be the book’s most lasting lesson. Paper specs are important, but they aren’t the print. Numbers help predict how a paper will behave. Only the finished print shows how surface, sheen, tint, ink, lighting, and the image itself come together.

Funderburk’s book works because it brings back the craft behind photographic paper. It records not just what Kodak called its surfaces, but how generations of papermakers and coaters made them. For anyone printing on inkjet today, that history points to a better way to choose paper: understand how it’s built, keep texture and sheen separate, pay attention to paper tint, and judge the print in the light it will actually be seen in.

The technology has changed, but the job hasn’t. A photo paper still has to do two things at once: hold the image accurately, and give it a physical presence you can see and feel.

Download the full book here (via The Light Farm)

By ARTHUR H. BLEICH

Laminating your inkjet prints is easy and inexpensive, adding a unique, eye-appealing look while offering them protection from airborne contaminants, moisture, finger prints and fading. It also adds to ways in which they can be displayed.

In this post, you’ll learn what you need to know about the lamination process and how easily it can be done on an inexpensive desktop laminator. Because so many different paper and ink combinations used to output prints, you may have to do a bit experimenting to find the results you like best, but once you do, I think you’ll be hooked.

Let’s begin by going through some lamination terminology. The desktop process involves sliding the print into a transparent pouch (much like a plastic food baggie) and then feeding it into a machine that seals it by using heat or pressure. On some machines the pouch is placed in a carrier before inserting it into the machine. Either way, The print ends up being airtight– fused between the top and bottom layers of the pouch.

HOT OR COLD LAMINATION– WHICH IS BEST?

Many good desktop laminators can use either heat or pressure depending on which you select. Pouches are available for both types. Here are the principal differences between hot and cold lamination.

Hot Lamination creates a tough, highly durable, waterproof bond and requires a few minutes of warm-up time. It might not always work well some delicate paper and ink combinations and can also damage old, traditional photo prints by chemically reacting with their surface. If you want to laminate vintage photos, scan anthem first and then laminate the scanned prints.

Cold Lamination requires no warm-up time, works well with almost all combinations of ink and paper and can be used to protect most delicate paper documents. Under some conditions It may have less long-term durability than heat sealed prints and documents.

SOME BASIC RULES OF LAMINATION

1. Make sure your prints have at least 24 hours to fully dry and stabilize before laminating them.

2.  Remove any dust or foreign matter from the paper surface before placing it into the pouch.

3. For a complete seal, make sure to have at least 1/8" border of laminating pouch on every side of the item you are laminating.

4. Laminating pouches come in warm and cold styles. Always match the pouch to the setting you choose. 

LAMINATE THICKNESS MAKES A DIFFERENCE

The thickness of laminating film is measured in mils. A mil is the equivalent of one-thousandth of an inch. Film thicknesses can range from 1.5 to 10 Mils. Desktop laminators usually accept both 3 and 5 mil pouches. Some pouch sizes are designated in microns. A micron is one- thousandth of a centimeter and half the thickness of a mil.. For example a 50 microns (50mic) equals 2.5 mils. 

Three-mil-thick pouches are suitable for documents and smaller prints. Five-mil pouches will give larger prints better rigidity and offer more display options. 

GLOSSY OR MATTE FINISH?

You can choose either glossy or matte laminating pouches to enhance your inkjet prints but there are no hard and fast rules as to which is better; it’s simply a matter of taste and the effect you want to achieve. Try both and decide for yourself. Here are some characteristics of each.

Glossy Lamination Makes ink colors look bright and saturated and dark blacks and bright whites stand out. However it reveals smudges, fingerprints, and catches strong glare from lights.

Matte Lamination eliminates glare and reflections by diffusing light so that the the photo can be clearly seen from any angle. Colors look more natural and not “in your face.” It does not show fingerprints if it is touched.

The effects of glossy or matte lamination will also vary depending on the paper surface you’ve chosen to print on. For example, a glossy print laminated with a matte finish may look very different from the same print that’s output on a satin or matte paper. This gives you a wide range of creative options as to how you want your laminated image to look.

Inexpensive Red River Paper Sample Kits come with several sheets each of of multiple paper surfaces you can experiment with. Their “Photography” and “Fine Art” sample kits are perfect for this purpose. (See Resources below.)

UV POUCHES HELP REDUCE FADING

Lamination pouches are also available that provide ultra-violet (UV) ray protection. They are worth the slight extra cost if your photos are displayed for hours each day in direct sunlight indoors or are used under sunny outdoor conditions. They block harmful IV rays that might in time fade some colored inks. Standard pouches, though, are fine for indoor prints that only get short periods of sunlight exposure each day.

BEFORE YOU BUY A DESKTOP LAMINATOR, TRY THIS:

By now, you may be considering buying a desktop laminator, but before you invest in one you might want to get a feel for the process by printing a few images and taking them into one of hundreds (maybe even thousands) of office supply or crafts stores throughout the country that offer laminating services. (see Resources below.)

For about $2.00 or so per letter-sized inkjet print, you can see how your photo(s) look when laminated with different combinations of surfaces and mil thicknesses. Not all stores offer every option we’ve discussed, but a trial run will allow you become get acquainted with the process and see how various paper and ink combinations respond to it.

While you’re there, browse the aisle where different kinds of display options such as mini-easels, frames, picture hangers and other items are grouped. Take your newly-laminated prints with you and get some ideas for displaying them.

WHAT FEATURES TO LOOK FOR IN A DESKTOP LAMINATOR

The market is loaded with various makes and models of desktop laminators at price points from about $20 up. But be prepared to spend about $50-$100 to get one with the versatility that will make laminating your prints easy. At a minimum a desktop  model should have the following:

1. Can do both Hot and Cold lamination.
2. Accepts both 3 mil and 5 mil lamination pouches.
3. Takes paper sizes up to 9.5 inches wide or 12.5 inches wide depending on the print sizes you will usually be laminating.

You may also want to acquire a corner rounder (about $5-$10) to give a more finished look to the corners of your images if they are going to stand or hang alone, but if you intend to frame them without glass, do not round the corners.

CREATIVE OPTIONS FOR LAMINATED PRINTS

Laminating some of your prints can open new avenues for creativity. Because the reverse sides of laminated images are smooth, they can be affixed to almost any surface— wood, tile, glass, metal and more and held in place by double-sided tape, Velcro dots, or even repositionable glue.

You can also use laminated prints as covers for personalized photo books and their flexibility and clear finish make them ideal for lampshades and other lighted crafts projects. Use them to create place mats and even laminate note and gift cards. The possibilities are endless.

Owning a desktop laminator is not expensive and allows you to try many options in the comfort of your home or studio. It can also be used to preserve important household documents and legal papers. Once you try it, you’re bound to be delighted with the results.

RESOURCES:

Red River Paper Sample Kits

Sores Offering Laminating services: Office Depot, Office Max, Staples. Also main UPS Stores and Fedex Offices (these are different from their satellite pick up locations so call to confirm before you go.)

To add a paper size to your printer, open your printer's Printing Preferences or Page Setup settings, find the Paper Size menu, and select Custom, User Defined, or Manage Custom Sizes. Enter the exact width and height of the paper, save the new size, then select it in both your printer driver and the program you're printing from.

The exact menu names vary by printer brand, driver, operating system, and application. This guide covers the process you can use with most inkjet and photo printers.

Before You Add a Custom Paper Size

Before creating a new paper size, confirm three things:

1. Measure the actual paper width and height.
2. Verify that your printer supports that size.
3. Make sure you have the manufacturer's full printer driver installed.

A printer cannot print a custom size simply because your computer allows you to create it. Every printer has minimum and maximum supported dimensions, and some paper trays or feed paths support different sizes than others.

For example, a printer may accept longer sheets through a rear or manual feed while restricting the same paper through the standard cassette.

Also, don't confuse paper size with paper or media type:

• Paper size tells the printer the physical dimensions of the sheet, such as 8.5 × 11 inches or 11 × 17 inches.
• Media type tells the printer what kind of paper you're using, such as glossy photo paper, matte paper, or fine art paper.

For the best print results, you usually need to set both correctly.

How to Add a Custom Paper Size to a Printer

The basic process is the same for most printers.

Step 1: Measure Your Paper

Measure the sheet from edge to edge.

Record the:

• Width
• Height or length
• Unit of measurement

For example, if you're printing on a 7 × 10-inch sheet, your custom size should normally be entered as:

Width: 7 inches
Height: 10 inches

Whether the shorter or longer dimension is entered first can depend on the driver and print orientation.

Step 2: Open Your Printer Settings

Open the printer's driver settings from your computer or from the program you're using to print.

Look for menus labeled:

• Printer Properties
• Printing Preferences
• Printer Settings
• Page Setup
• Paper Size
• Page Size

The exact wording depends on your printer.

Step 3: Find the Custom Paper Size Option

Open the Paper Size or Page Size menu.

Look for an option such as:

• Custom
• User Defined
• User-Defined Paper
• Custom Paper Size
• Manage Custom Sizes
• Define Custom Size

Epson drivers, for example, commonly use User Defined, while Canon drivers may provide a Custom paper size option.

Step 4: Enter the Paper Dimensions

Enter the exact width and height of your paper.

If your printer software allows you to choose units, select either:

• Inches
• Millimeters

Some drivers show the minimum and maximum dimensions your printer supports. If the size you enter falls outside that range, the driver may reject it or prevent you from saving it.

Step 5: Name the New Paper Size

Give the paper size a recognizable name.

For example:

7x10 Photo Paper

or

13x19 Custom Sheet

Using a descriptive name makes it easier to find later, especially if you create several custom sizes.

Step 6: Save the Paper Size

Select Save, OK, or the equivalent option.

The new paper size should now appear with the printer's standard paper sizes.

Step 7: Select the New Size Before Printing

Creating a custom size doesn't necessarily select it automatically.

Before printing, return to your print settings and choose the custom size you just created from the Paper Size or Page Size menu.

Step 8: Set the Correct Paper Type

Next, select the media setting recommended for the paper you're using.

For photo printing, this setting can affect:

• Ink limits
• Print quality
• Color reproduction
• Paper feed behavior
• Drying characteristics

If you're printing on Red River Paper, use the recommended printer settings or ICC profile instructions for that specific paper whenever available.

Step 9: Choose the Correct Paper Source

If your printer has more than one feed path, select the one that supports your paper.

Depending on your printer, this may be called:

• Rear Tray
• Rear Feed
• Manual Feed
• Top Feed
• Cassette
• Fine Art Paper Feed

Custom, thick, or unusually sized photo papers are often restricted to specific feed paths.

Step 10: Match the Paper Size in Your Printing Application

The document or image you're printing should also use the correct paper size.

For example, if you've created a 7 × 10-inch custom size in your printer driver but Photoshop is still set to Letter 8.5 × 11, your print preview may show incorrect margins, scaling, or positioning.

Before printing, verify:

Application paper size = Printer paper size = Actual sheet size

That simple check prevents many custom-size printing problems.

How to Add a Custom Paper Size in Windows

On Windows, custom sizes may be created either directly through the printer manufacturer's driver or through Windows printer settings.

For most photo printers, start with the manufacturer's driver.

Method 1: Create the Size in the Printer Driver

1. Open the image or document you want to print.
2. Choose File > Print.
3. Select your printer.
4. Open Printer Properties, Properties, or Printing Preferences.
5. Find Paper Size or Page Size.
6. Select Custom, User Defined, or a similar option.
7. Enter the width and height.
8. Enter a name for the new size if prompted.
9. Save the custom size.
10. Select it as your current paper size.
11. Set your media type, print quality, and paper source.
12. Print.

For example, Epson's Windows driver instructions use User Defined under the Size setting, followed by a paper-size name, units, width, and height. Canon drivers similarly provide a Custom option for defining dimensions.

Method 2: Create a Windows Custom Form

Some printer configurations use Windows-defined forms rather than creating the size directly inside the driver.

The general process is:

1. Open Windows printer settings or Control Panel.
2. Open the printer management area.
3. Access Print Server Properties.
4. Open the Forms tab.
5. Choose the option to create a new form.
6. Enter a name for the paper size.
7. Enter its width and height.
8. Save the form.
9. Open your printer's Printing Preferences.
10. Look for the newly created size in the paper-size list.

Windows supports printer forms through Print Server Properties, although whether a custom form appears or works correctly depends on the installed printer driver.

For photo printers, using the manufacturer's driver is generally preferable because it exposes the printer-specific paper, feed, quality, and color-management controls you need.

How to Add a Custom Paper Size on a Mac

macOS has a built-in Manage Custom Sizes feature that works from the Print or Page Setup dialog.

Apple's current process is straightforward.

Step 1: Open the Print Dialog

Open the image or document you want to print.

Choose:

File > Print

Depending on your application, you may also be able to use:

File > Page Setup

Step 2: Open the Paper Size Menu

Find the Paper Size dropdown.

Select:

Manage Custom Sizes

Step 3: Create a New Size

Click the + button.

A new custom paper size will appear.

Step 4: Name the Paper Size

Replace the default name with something descriptive.

For example:

Red River 7x10

Step 5: Enter the Width and Height

Enter your paper's exact dimensions.

Apple allows you to specify the width and height directly when creating the custom paper size.

Step 6: Check the Non-Printable Area

You may also see settings for the printer margins or Non-Printable Area.

These represent areas near the edges where the selected printer cannot normally place ink.

You can often choose your printer from the menu so macOS uses the printable-area information associated with that printer.

Do not automatically set every margin to zero unless you're intentionally using a supported borderless printing mode.

Step 7: Save the Size

Click OK.

The new size should now appear in the Paper Size menu for compatible printers and applications.

Canon's macOS instructions use the same general workflow: Paper Size > Manage Custom Sizes > + > enter a name, dimensions, and margins.

How to Add a Paper Size in Photoshop

If you're printing photos from Adobe Photoshop, the printer driver still controls which physical paper sizes your printer supports.

The workflow is generally:

1. Open your image in Photoshop.
2. Choose File > Print.
3. Select your printer.
4. Open Print Settings.
5. Open the printer's Paper Size or Page Size menu.
6. Select your existing custom size or create a new one through the driver.
7. Return to Photoshop.
8. Confirm the print preview.
9. Set your print dimensions and positioning.
10. Print.

If the custom paper size doesn't appear in Photoshop after you create it, close and reopen the Print dialog. In some cases, restarting Photoshop or the printer driver may be necessary before a newly created size appears.

How to Add a Paper Size in Lightroom

In Lightroom Classic, you typically define the physical sheet through Page Setup or the printer driver rather than creating the size directly in Lightroom's layout controls.

Use this sequence:

1. Open the Print module.
2. Click Page Setup.
3. Select your printer.
4. Select your custom paper size.
5. If it doesn't exist, open the printer's custom-size controls and create it.
6. Return to Lightroom.
7. Configure your image cell and margins.
8. Open Print Settings.
9. Confirm the same paper size is selected in the printer driver.
10. Choose the appropriate media type and print quality.
11. Print.

The important distinction is that Lightroom's image or cell dimensions determine how large the photo prints on the page. They do not change the physical size of the sheet loaded into your printer.

What If the Custom Paper Size Doesn't Appear?

If you've created a paper size but can't select it, work through these checks in order.

1. Confirm the Printer Supports the Dimensions

Your printer has physical minimum and maximum paper dimensions.

If your custom size falls outside that range, the driver may:

• Reject the size
• Hide it
• Change it automatically
• Prevent printing

Custom-size limits can also vary by paper source.

2. Check the Paper Feed

Switch to the correct:

• Rear tray
• Manual feed
• Fine art feed
• Roll feed

if your printer requires one for that size.

A size that isn't available with Cassette selected may become available when Rear Feed is selected.

3. Install the Manufacturer's Printer Driver

This is one of the most important troubleshooting steps.

A basic or generic printer driver may not expose all of your printer's available paper sizes, custom-size controls, media settings, or color-management options.

Download and install the current driver provided by your printer manufacturer for your exact model.

After installation:

1. Remove or stop using the generic printer instance if necessary.
2. Select the printer that uses the manufacturer's driver.
3. Reopen your printing application.
4. Check the Paper Size menu again.

4. Check Your Media Type

Some printers restrict combinations of:

Paper size + media type + paper source

If a custom size becomes unavailable after choosing a particular media type, the driver may not support that combination.

Try selecting the paper size first, then select the appropriate media setting and see whether the driver reports a conflict.

5. Check Borderless Printing

Borderless printing usually supports fewer paper dimensions than normal printing.

A printer may support a custom paper size with margins while refusing to print that same custom size borderlessly.

If the size disappears when you turn on Borderless, disable borderless printing and check again.

6. Restart the Application

If you created the paper size while Photoshop, Lightroom, or another application was already open, close and reopen the print window.

If necessary, restart the application.

7. Restart the Printer or Computer

Printer drivers sometimes need to reload before newly created settings become available throughout the operating system.

Why Won't My Printer Accept a Custom Paper Size?

The most common reason is that the requested dimensions are outside the printer's supported range or aren't supported by the currently selected feed path.

Other common causes include:

• Generic or incomplete printer driver
• Unsupported borderless dimensions
• Incorrect paper source
• Conflicting media type
• Incorrect page orientation
• Application paper size doesn't match printer paper size
• Width and height entered in the wrong orientation
• Printer firmware or driver limitations

Start by checking the dimensions against your printer's specifications.

Why Is My Printer Cutting Off Part of the Image?

If your image is being clipped, compare these four settings:

1. Actual paper size
The physical dimensions of the sheet loaded into the printer.

2. Driver paper size
The size selected under Printer Properties or Print Settings.

3. Application page size
The paper dimensions selected in Photoshop, Lightroom, Preview, Word, or another application.

4. Image print size
The dimensions of the actual photo or artwork.

If any of these conflict, the printer may crop, scale, reposition, or clip your image.

Also remember that most printers have a non-printable margin unless you're using a supported borderless mode.

Why Is My Printer Scaling the Image?

Automatic scaling can occur when the document size doesn't match the paper size.

Check your print dialog for options such as:

• Fit to Page
• Scale to Fit
• Shrink to Fit
• Fit
• Fill
• Scale

If you need an exact-size photo print, disable automatic scaling and confirm that the application's print dimensions are correct.

For example, a 5 × 7-inch photo should be set to print at 5 × 7 inches, not automatically enlarged to fill an 8.5 × 11-inch sheet.

Can You Print on a Custom Paper Size?

Yes, if your printer supports the width, length, thickness, media type, and feed method you're using.

Creating a custom size in software does not override your printer's physical limitations.

Always check your printer's manual or Red River Paper's printer-specific instructions if you're using an unusual size, thick photo paper, fine art paper, greeting card stock, or a long panoramic sheet.

Can You Add Any Paper Size to a Printer?

No.

Every printer has a supported size range.

For example, your software may allow you to type a 4 × 20-inch custom size, but that doesn't mean your printer can physically feed or print that sheet.

The printer driver normally restricts custom dimensions to sizes the hardware supports. Epson's custom-size interface, for example, displays allowable ranges alongside the width and height fields.

Can You Save a Custom Paper Size for Later?

Yes. Most modern printer drivers and macOS allow custom paper sizes to be named and saved.

Instead of entering the dimensions every time, create names such as:

• 5x7 Photo
• 7x10 Card
• 11x14 Photo
• 12x18 Photo
• Custom Panorama

You can then select the saved size from your Paper Size menu whenever you print on that format.

Should Paper Size Match the Size of the Image?

Not necessarily.

Paper size refers to the sheet. Print size refers to the image printed on that sheet.

For example, you could print an:

8 × 10-inch image

on an:

8.5 × 11-inch sheet

The printer should therefore be configured for 8.5 × 11-inch paper, while your application controls the image at 8 × 10 inches.

This distinction is especially important when printing photos with borders.

What Paper Size Should You Select for Borderless Printing?

Select the exact physical paper size with its corresponding Borderless setting if your printer offers one.

For example, a driver might provide separate entries such as:

8.5 × 11 in

and

8.5 × 11 in (Borderless)

Only choose the borderless version if:

1. Your printer supports borderless printing at that size.
2. Your paper is actually that size.
3. You want ink to print all the way to the sheet edges.

Borderless printing normally enlarges the image slightly beyond the edge of the sheet to prevent white slivers, so some edge cropping is expected.

Custom Paper Size Troubleshooting Checklist

If your custom size still isn't working, check the entire print path:

• Measure the physical sheet again.
• Confirm the printer supports those dimensions.
• Confirm the correct manufacturer printer driver is installed.
• Create or select the correct custom paper size.
• Choose the correct paper source.
• Select the recommended media type.
• Make sure your application uses the same paper size.
• Check portrait versus landscape orientation.
• Disable Fit to Page or automatic scaling when exact dimensions matter.
• Turn off borderless printing if the custom size isn't supported borderlessly.
• Check the print preview before printing.

Adding a Custom Paper Size: The Key Rule

For reliable custom-size printing, make sure these three values agree:

The size of the sheet loaded in the printer = the paper size selected in the printer driver = the paper size selected in your application.

Once those settings match, choose the correct media type, paper source, print quality, and color-management settings for your paper.

If your printer handles custom paper sizes differently, use the Red River Paper printer-specific setup guide for your exact printer model for the correct driver menus, feed path, supported sizes, and recommended photo paper settings.

Whether you're preparing images for photo printing, uploading photos to your website, creating product listings, or designing page banners, understanding aspect ratios helps you avoid unexpected cropping, stretched images, and poor composition.

An aspect ratio simply describes the relationship between an image's width and height. It doesn't tell you how large an image is—it tells you its shape.

Once you understand aspect ratios, you'll find it much easier to prepare photos for printing, optimize images for your website, and maintain a professional, consistent look across your content.

Quick Answer: What Is an Aspect Ratio?

An aspect ratio is the proportional relationship between an image's width and height.

For example:

• 3:2 means the image is 3 units wide for every 2 units tall.
• 4:3 means the width is slightly narrower relative to the height.
• 1:1 is a perfect square.
• 16:9 is the standard widescreen format used for most videos and modern displays.

The actual pixel dimensions don't matter as long as the proportion stays the same.

These images all share a 3:2 aspect ratio:

• 600 × 400 pixels
• 3000 × 2000 pixels
• 6000 × 4000 pixels

Even though they're different sizes, they're the exact same shape.

Why Aspect Ratios Matter

Aspect ratios affect nearly every stage of working with digital images.

Understanding them helps you:

• Print photos without unwanted cropping
• Design web pages with consistent image layouts
• Upload product photos that display correctly
• Create banners that fit website templates
• Resize images without distortion
• Prepare videos for different platforms

For photographers, aspect ratios become especially important when moving from digital capture to physical prints.

For example, many DSLR and mirrorless cameras shoot in 3:2, while many popular print sizes use 4:5, 5:7, or 8:10 proportions. That means some cropping is usually required before printing.

Tips for Resizing Images on Your Site

Before resizing any image, ask yourself one question:

Does the destination require a specific aspect ratio?

If the answer is yes, crop first and resize second.

Following this order preserves image quality and prevents distortion.

Here are a few best practices:

• Never stretch an image to force it into a different shape.
• Crop strategically rather than squeezing the image.
• Keep important subjects away from the edges.
• Upload the largest practical image for your website.
• Use consistent aspect ratios across galleries and product pages.
• Save high-resolution originals before making crops.

If you're preparing images for both web and print, always keep the uncropped original so you can create multiple versions later.

Sections

Many websites require different aspect ratios for different sections.

For example:

Using consistent ratios creates a cleaner, more professional appearance and reduces unexpected cropping across devices.

Watch a Video

Sometimes it's easier to understand aspect ratios visually than through numbers alone.

Watching a short tutorial on cropping, resizing, and preparing images can help you quickly see:

• how different aspect ratios compare
• why images get cropped
• how to preserve important details
• how to prepare photos for print

If you're following one of Red River Paper's printing tutorials, you'll typically see the required aspect ratio demonstrated before printing begins.

Cropping to an Aspect Ratio

Cropping changes the shape of an image without changing its resolution.

Instead of stretching an image, cropping removes unwanted areas to create the desired proportion.

Most photo editing software—including Photoshop, Lightroom, Photoshop Elements, Capture One, Affinity Photo, and many free editors—allows you to crop by aspect ratio.

Option 1 – Crop to a Pre-Set Shape

Most editing programs include preset aspect ratios.

Examples include:

• Original
• Square (1:1)
• 3:2
• 4:3
• 5:4
• 16:9
• 8×10
• 5×7

Simply choose the preset and reposition the crop box until your composition looks right.

This is usually the fastest method.

Best for:

• Standard print sizes
• Social media
• Website images
• Product photography

Option 2 – Custom Dimensions

Sometimes you need a ratio that's not listed.

Most editors allow you to enter custom values.

For example:

• 21:9
• 7:5
• 2.39:1
• 9:16

The actual numbers aren't important.

These all represent the same ratio:

• 1600 × 900
• 1920 × 1080
• 3840 × 2160

Because they're all 16:9.

Custom ratios are useful for:

• website headers
• panoramic prints
• custom page banners
• marketing graphics

Page Banners

Website banners are typically much wider than standard photographs.

Common banner aspect ratios include:

When creating banners:

• choose wide landscape photos
• leave negative space for text
• avoid placing important subjects at the edges
• preview banners on mobile devices

Because banners often crop differently on desktop and mobile, it's smart to keep the focal point near the center.

Aspect Ratios for Product Images

Most ecommerce platforms perform best when every product image has the same aspect ratio.

This creates a cleaner shopping experience and prevents inconsistent layouts.

Common product image ratios include:

If you're photographing paper samples, prints, greeting cards, or framed artwork, maintaining a consistent ratio helps every product appear aligned throughout your catalog.

Aspect Ratios for Videos

Video uses different aspect ratios than still photography.

Today's most common formats include:

When creating promotional videos or tutorials, exporting in the correct ratio prevents black bars or awkward cropping.

Aspect Ratios as Percentages

Some web design tools describe aspect ratios as percentages instead of fractions.

The percentage is calculated by dividing the height by the width.

Examples:

These values are commonly used in CSS when creating responsive image containers.

Examples of Aspect Ratios

Here's a quick reference for the most common aspect ratios you'll encounter.

Aspect Ratios and Photo Printing

One of the most common questions photographers have is why an image doesn't perfectly fit a particular print size.

The answer almost always comes down to aspect ratio.

Here are a few common examples:

Cropping before printing gives you complete control over the final composition instead of letting the printer crop automatically.

Frequently Asked Questions

What is the most common photo aspect ratio?

Most DSLR and mirrorless cameras capture images in 3:2, while many smartphones use 4:3 by default.

Does resizing change the aspect ratio?

No. Resizing changes the image dimensions. Cropping changes the aspect ratio.

Can I print any aspect ratio?

Yes. However, standard print sizes have fixed proportions. If your image's aspect ratio doesn't match the paper size, you'll need to crop the image or leave white borders.

Why do my website images get cropped?

Many website builders automatically crop uploaded images to fit predefined layouts. Cropping your images to the correct aspect ratio before uploading gives you control over the final appearance.

Is a higher aspect ratio better?

No. Aspect ratios simply describe shape. The best aspect ratio depends on your intended use, whether that's printing photographs, creating product images, designing page banners, or publishing videos.

Final Thoughts

Aspect ratios are one of the simplest concepts in digital imaging, yet they have a major impact on how your photos look online and in print. By understanding the relationship between width and height, you can crop with confidence, prepare images for virtually any platform, and avoid surprises when it's time to print.

Whether you're designing a website, uploading product photos, creating videos, or making gallery-quality prints on premium Red River Paper, choosing the correct aspect ratio ensures your images look exactly the way you intended.

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...

.

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

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

ARE YOU READY FOR THE SPOTLIGHT? Simply respond to the questionnaire here to apply to be included in an upcoming Success on Paper feature.

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.

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

ARE YOU READY FOR THE SPOTLIGHT? Simply respond to the questionnaire here to apply to be included in an upcoming Success on Paper feature.

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.