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and can really bring out the beauty of many images. However, not all of your images will work on the same paper all of the time. I see stunning photographs that have been murdered by a single- minded devotion to one paper. There is a real need for photographers to understand paper surfaces and how they react to modern inks. It’s also vital to know how to analyse images and choose the right paper to bring out the very best of a particular image. For example, I only recommend one matt paper, Fotospeed Cotton Etching 305, for printing black &white images because of howwell it renders blacks. Most matt papers just can’t render blacks well at all. However, when I print my monochrome images on Fotospeed’s PlatinumBaryta, my prints look absolutely amazing in comparison to the same image being printed on a matt paper. You should try it. Photography News: With that in mind, what are your go-to papers and why? Doug Chinnery: I have a small set I have used for years (I’m a Fotospeed “I see stunning photographs that have been murderedby a single-minded
devotion to one paper”
print. It is indestructible and makes printing easy. It also makes luscious monochrome prints, which are reminiscent of darkroom prints. Recently I’ve started getting to grips with the Platinum Etching – a glorious matt paper with great archival qualities, ideal for images that need the sharper details enhanced. They are fantastic to print on and are a lovely weight, too. Photography News: Do you have any advice for fellow photographers who are new to printing their images? Doug Chinnery: If I could give one piece of advice, it would be to invest in an A2 printer. Many photographers use an A3/A3+ printer, which is fine. However, further into your career, you’ll want to print in A2. A2 printers do cost more than A3 printers but come with an array of benefits.
ambassador) that I’m really familiar with and know intimately, as previously mentioned. I pick paper on the basis that it makes an image sing. Predominantly, I use Fotospeed Cotton Etching 305. I helped design it to aid my work and it is, for me, a near perfect paper with a fabulous matt surface. It is a true white, so reproduces colours faithfully and it produces lovely blacks – it is great for images on different ends of the spectrum, from those that need sharpness to those that need to be softened. It is my go-to paper. I also love Fotospeed Smooth Cotton 300. When I need a paper that is a matt style but doesn’t have a matt texture, it’s ideal. It gives the image a slightly warm tone and makes the picture glow. Personally, I use Platinum Baryta for images that need more zing and images which are proving difficult to
The real benefit is that the cost of ink per millilitre is far lower than when buying it for smaller format printers. My printer has paid for itself within a year in ink savings alone. The manufacturers aren’t selling you a printer, they are selling you ink. Buy the machine that costs the least per millilitre – in the long run it is the best investment you will make. PN For more on Doug’s work, workshops and the materials he uses, please visit the relevant website. Also, for more printing we have a Buyers' guide on papers and printing elsewhere in this issue. dougchinnery.com
IMAGES Doug Chinnery’s approach is to carefully match printing paper to the type of image he has created; his recommendation is varying your choice for colour or black & white photographs
Vanda Bailey and Doug Chinnery website: baileychinnery.com fotospeed.com
32 Photography News | Issue 72
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