A3+ A3 Plus Photo Paper - 60 Sheets High Glossy Inkjet Paper 260Gsm Thick Heavy Paper 13x19" Uinkit 330x483mm

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In practice, you’ll often just want to resize your image to include fewer pixels because the image quality gains from 300 pixels per inch to 400 pixels per inch and beyond aren’t very noticeable, but you get the point.) They’re also suitable for printing on glossy, semi-gloss and lustre photo papers but less ideal than dye-based inks. That’s because the pigments generally won’t be fully absorbed beneath the outer layer, which can give rise to ‘bronzing’, where the print looks blank and lifeless when viewed from certain angles. Gloss differential can also be a problem, where areas of the print with a denser covering of ink look less glossy than areas with a relatively light covering. You see, the larger you print your images, the more you’ll degrade the print quality.(This should make sense because as you print larger, you force a set number of pixels to occupy a larger area.) Next, divide the number of pixels in the height of the file by 200. (1600/200=8). So, there you have it. A file size of 2,000 pixels X 1600 pixels can be printed to make a good quality 10 X 8 photo when printed at 200 DPI.

I recommend (without any commission or prejudice) One Vision Imaging Limited for all my fine art prints. The print quality and production are always first class and they have excellent customer service so will be more than happy to help you through the process if my guide is beyond what you can process easily. Landscape-style aspect ratios emphasize the horizontal lines over the vertical lines, which means that long buildings and sweeping scenics do well with wider rectangular aspect ratios, such as 3:2. With matte photo papers, the ink is laid on the top-layer inkjet coating, rather than being absorbed beneath it. These are better suited to printers such as the Canon imagePROGRAF PRO-300 and Epson SureColor P700 and SureColor P900, which use pigment-based inks. Photo papers fall into two main categories. The first includes glossy, semi-gloss and lustre papers, which have a protective, shiny top layer. These are most ideal for use with photo printers like the Canon PIXMA PRO-200 and even general home printers, which use dye-based inks to generate photo output. The water-based ink is fully absorbed beneath the top layer, enabling excellent uniformity with an entirely smooth finish. This is especially a truism when it comes to the RPS. I often joke about the judges smelling the ink on the paper and waxing lyrical about paper choices more than the photograph itself. Joking aside, the assessment for any panel quite rightly relies on evidence that the photographer (applicant) also understands, and presents, the images to a professional and competent standard. This photo sizing guide is aimed at those who want to ensure the print quality matches the efforts made in making the image and then presenting it in print.

And portrait-style aspect ratios emphasize vertical lines over horizontal lines. This is why you’ll often find headshots and full-body portraits printed out using rectangular aspect ratios flipped vertically (e.g., the 3:2 aspect ratio mentioned in the previous example, just flipped on its side). And some prints aren’t designed to be viewed at close distances. You may not want to view a wall-sized print up close, which means that you can safely reduce the pixels per inch count to a much lower value.

However, you’ll end up changing the composition in the process, plus cropping reduces image quality, so you should only use cropping sparingly. Should You Print Using Common Aspect Ratios? The 300 pixels per inch printing rule is one you’ll often hear cited. However, do you really need to pay attention to it? Are you really limited to 300 pixels per inch? Given that I have many clients, on various courses, and other events wishing to create prints, I felt a guide to the considerations and technicalities would be helpful.ICC (International Color Consortium) profiles ensure that the right mix of inks is used to maximize color fidelity for any given own-brand paper with a particular ink set. It’s an important issue because different papers have varying whiteness and react with ink in different ways. Indeed, ultra-white papers sometimes include optical brighteners, similar to those used in laundry detergents, which react with UV light to give a super-bright appearance. The downside is that stability is less good over time, so they’re typically not used in archival and ‘fine art’ media. Before narrowing in on a photo paper for your needs, you first need to establish the type of printer you will be using, either inkjet or laser. Photo papers are designed explicitly for one or the other based on how they transfer ink or toner. Using the wrong type of paper can damage your printer or at least result in a low-quality print. A4+ size paper is also commonly used for design-based work. Due to being an oversized A4 sheet, users will have the space around a full A4 image to write comments and annotate. A4+ is not commonly supported directly as a standard print size, its most common use is as mounting paper for standard A4 prints. As A4+ sheets are larger than a standard A4 sheet, an A3 printer will be needed when printing on this format. A4+ Size Tied in with brightness and whiteness, but worth paying attention to, in particular, is the use of optical brightness agents (OBAs). OBAs make papers artificially brighter, resulting in numbers beyond the 100-point scale. While this does make the paper brighter, OBAs are known to fade over time and aren’t as archival or long-lasting as papers without OBAs. So, if you are printing museum-quality prints, you should avoid OBAs.