The Joy of Printing: Owning a printer

I honestly and thoroughly enjoy making prints. It takes extra time, extra money, extra effort, and requires extra skill compared to just making images displayed on a computer screen, but I like it.  After watching Sean Bagshaw’s and Zack Schepf’s new Producing Better Prints video series, I realize part of this comes from the fact that, over the years, I’ve developed a workflow where I can control the printing process well enough on my home printer that outputting an image as a print is not only easy and fun, but also an integral part of my workflow.

The Producing Better Prints course details the best practices for making prints from digital photographs. It’s an in-depth look at the variables associated with printing and teaches you how to control them. NOTE: The “Producing Better Prints” course is available on the Panels an Videos page, and during the month of May is 20% off using code: BP20

This article lists several advantages of having your own photo inkjet printer to make prints.  I’m currently on my third printer, a 4-year-old Epson SureColor P800 model. I primarily use it to make 12 x 18-inch images.  Owning a printer is not essential to making good prints or benefiting from the course, but having one readily available shortens the learning curve as you get near real-time feedback from the printed images.


There are definitely two sides to this: the upfront cost and the cost per print. The upfront cost is, of course, the printer. A good photo inkjet printer from Epson or Canon, for example, runs from $800 for a 13-inch model to $1300 for a 17-inch model. So, it’s an investment similar to buying a camera and a lens. Sometimes there are rebates ($200 at B&H Photo on Epson printers until the end of May), but it’s still a lot of money, especially if you’re new to printing and are unsure about whether you want to go this route. Fortunately, these printers are durable, so this is potentially a purchase that could last for years. Personal note: I buy new cameras and lenses more frequently than I do printers.

Paper and ink are a continual cost with printers, and ink cartridges for photo printers along with boxes with 50 to 100 sheets of “premium” paper aren’t inexpensive. However, on a per print basis, the cost is extremely reasonable. I checked my purchase records for 2021. I spent $348 on ink cartridges and $450 for 250 sheets of premium 13×19 luster paper. If you do the math, that works out to $3.20 per print, which, of course, is ridiculously cheap, since that wouldn’t even cover shipping and handling for a print from a commercial lab (which maybe uses the same type of printer). If I make 1,000 prints with my $1000 printer that will add just one dollar to the price of each print, in which case they’d still be a bargain.

Based on the prices I was looking at on the internet, an inkjet print on premium paper from a photo lab would cost over ten times what it costs to make the same print on my home computer and photo printer. So, while the upfront cost of making prints at home is not insignificant, the cost per print (even with the cost of the printer factored in) is almost trivial compared to paying someone else to do it. Long-term, an inkjet photo printer can be a good deal.

Print Quality

Photo inkjet printers make excellent prints, and that’s WITHOUT using the highest quality setting for the printer. In fact, I think using the “maximum quality” setting for prints is probably a waste of ink. Cameras (including smartphone cameras), Photoshop (and associated software), and printers have gotten so good that the images taken with my old first-gen iPhone SE and then printed on my Epson printer are better than the photographs I made in the darkroom in the 1980s that started with 4×5 negatives. Detail and sharpness with photo inkjet printers are absolutely incredible and precision manipulation using Photoshop and Lightroom far exceeds what was ever possible in a darkroom. In addition, the papers and inks used with modern inkjet printers are excellent. Fading, discoloration, and paper degradation aren’t an issue with premium papers and inks. A properly processed black and white silver gelatin print might still be more archival than a color inkjet print, but I doubt I will live long enough to see any difference. I still enjoy looking at traditional photographs, of course, but also feel that inkjet prints are now better on several different levels.


Let’s talk instant gratification. Initially, it took a bit get to set everything up for home printing, but, now that it’s all in place, I can resize and sharpen an image and finish outputting it as a print in less than 15 minutes. The process is accurate and repeatable, and I know the drill well. I get to see a finished print in less time than it takes to order a print from a lab and upload the file.

Control and creativity

In my opinion, this is the primary reason for owning a photo inkjet printer because, like many photographers, I have my perfectionist tendencies. Once I start working on an image, I want to make it as good as I can. As discussed in the previous post, I can uncover issues concerning color, contrast, and brightness better when looking at a print than by looking at the same image on a computer monitor. Because of this, prints have become an important part of my workflow. Waiting time and cost are no longer barriers with a home printer, and removing these impediments generates creative energy. Each print tells me something new about how to make the image better. The ease at which prints can be generated means I can quickly move back and forth between prints and Photoshop to polish the image to whatever level of perfection I like. It usually only takes around five prints to get everything right, but it’s hard to imagine properly finishing an image now without producing a satisfactory print. The process is a lot of fun and a good example of the joy of printing.

Lots of paper choices

There are a lot of papers that can be used with home inkjet photo printers, and, at least initially, you’ll want to experiment until you find one or more with a look and finish that you like. However, to be a master printer of your images, you don’t need to be able to print on every different paper out there. I’ve been using the same paper (a premium luster paper) for over a year as it meets my needs quite well. Being able to print on a variety of papers is a definite plus, but each requires small (or sometimes not so small) changes to your overall printing routine. So, definitely check out the different options, especially the different surfaces, to see what you like. Once you settle on a few favorites, you’ll be able to quickly make images that look good and require little effort to produce.

It’s not that hard to learn

There’s certainly a learning curve to printing your own images on a home photo printer, but, as point of reference, I’d say it’s easier than learning to navigate the menus on your DSLR camera. Basically, you need to do it step by step, but just once. When you get something in place, like calibrating your monitor, you’ll be able to move on to the next step. What you did or what you learned in that previous step will provide reproducible results going forward. For example, I use nearly the same process for each print. One paper, one basic sharpening method, one print adjustment for brightness/contrast before printing, and the same printer settings (except for paper orientation). It took a little time to figure out what works best for my monitor, paper, and printer, but now that I know these things, it’s very simple to make a print. Sean and Zack’s Producing Better Prints course walks you through all these variables, so you’ll know what needs to be addressed. Printing can be quite automated once you have the various settings in place.

Photo printer or printing press?

A photo printer doesn’t just print photographs. Having a printer that prints on larger-size paper, and even rolls of paper, greatly enhances what you can print. Photos, sure, but you can also print signs and banners for your children, for yard sales . . . or for a protest march. You can make greeting cards and postcards, and, if word gets around that you know what you’re doing, you can make prints for other people . . . and perhaps create some income in the process. All types of art, not just photos, can be printed with a photo printer. Text and graphics print just as well as photographs. If you can get it into Photoshop or create it there, you can then print it in a color-managed fashion with your “photo” printer. The cost of ink and paper will still be a factor, but the overall price will likely still be much less than you’d pay if you hired someone to do the same job. Bottom line: Photoshop plus a photo printer means you have a high-quality printing press at your disposal and can print whatever you want.

Prints are real

For almost the entire history of photography, prints were the only way to view the art form. My personal history with photography dates back to “instamatic” cameras in the 1970s, and prints were still the only way to see your pictures in that era. So, while I probably do have a fondness for prints based on my initial experience with photography, I don’t think it’s nostalgia alone that makes me want to see and hold a photograph as a print. There are other reasons. As a photographer, I want to inspect the image close up in order to determine the quality of the initial capture and to appreciate (or critique) the photographer’s skills. I also want to view the image at a distance to see how it interacts with the ambient light and whether it draws me in for a closer look. I also like the tactile qualities of some papers and admire the surface finishes of several of them. More than anything, though, when it comes to photography, I want to interact with something that is real. While much of my world seems to function just fine via the virtual simulation created by my computer, I’m too close and too connected to photography to be satisfied with only computer images of photographs. A print is the photographer’s ultimate expression of their art, and it tells me things about the artist that I can’t see on a monitor. At some point, to truly appreciate photographs and the people who made them, prints are required. Our virtual lives can only take us so far. When we really want to connect, we need something real.


Owning an inkjet photo printer is a great way to improve your photography. It allows you to see your images in a new light (literally) and to find additional ways to improve them. There will be some new skills to learn in order to be consistently successful at printing, but once you understand and control the different variables, the process is easy and rewarding. Having a home printer lets you explore new paper and image options, and, once you get past the initial costs, the price for printing at home is very economical. A home printer should be seen as another creative tool. It will help find new directions for your photography, allow you to explore new techniques, and ensure that you stay excited about taking pictures.

Local Light

For three decades I lived and worked on the Colorado Plateau in northern Arizona.  I was a pharmacist with the Indian Health Service working at remote hospitals and clinics on the Navajo Indian Reservation.  I fell in love with that land and almost my entire image portfolio during that time was devoted to the region’s extraordinary geology.  But as that career was ending, I knew there was an opportunity to try something different.  Several friends had been recommending I check out Tucson, and I moved here in November 2013. 

Once upon a time I imagined a retirement filled with travel and photography, but Tucson changed that story line.  While I had more time than ever, I didn’t want to spend it driving for days in order to take pictures for a few hours.  There was too much happening right here.  The culture, the food, the events, the scenery, the mild winters, my new neighbors and new friends made this a great place to land.  It was easy for me to adapt to the new location, and I was determined my photography could adapt as well.

 It took a couple of years but I’m now quite pleased with the local photo opportunities.  In fact, since moving here, my interest in photography has expanded substantially in terms of the subjects I shoot, where I like to take pictures, and the variety of images I enjoy perusing.  I suffered a bit of photographic tunnel vision living on the Colorado Plateau, but that’s perhaps understandable given its extreme beauty.  Things feel more balanced here. I’ve come to appreciate that local light can be fresh, dynamic, and spiritually nourishing and, given the chance, will present itself in surprising ways.

As I approach my anniversary of arriving in Tucson, I compiled a couple of lists on this topic with the help of my local friends Bruce Bartholomew, James Capo, Bob Hills, and Chris Wesselman.  The first list reviews some benefits of shooting locally.  The second one offers different approaches for finding local light.

Benefits of shooting local

Logistical Benefits

  • No packing luggage, medications, food, camping gear, and so on for extended time away from home. This agave image is from a day trip to visit local ghost towns with the camera club.
  • Less planning.  Photograph whenever you want and whenever it’s convenient. But keep the camera bag handy so you can grab-and-go when you see good light starting to happen.

Less expensive.  No meals, lodging, and transportation costs. A neighbor’s wildflower garden might be as inspiring as a California super-bloom. It’s also likely more accessible and less crowded.

  • Fewer security issues like an unattended home or losing luggage or camera gear. A small body of water, some reflected branches, and a light breeze were the highlights of a short day-trip.
  • Weather conditions matter less.  If it’s not nice outside, try shooting inside. Bob Hills built a rig to photograph light refracted through water droplets.
  • More spontaneous.  If you see a picture, take it. You might not get another chance. The Eichonopsis cactus flower below was unexpectedly blooming along my driveway when I stepped outside one morning. It had good light for roughly an hour and that was the only time it was open and looking this good.
  • Efficient photography.  More time spent taking pictures and less time spent getting somewhere to take them. Bob Hills photographed pickelball action on a short walk from his home.
  • Fewer gear decisions.  Go ahead, take whatever fits in the car. Corollary—challenge yourself to shoot with one camera and lens combination.
  • Scout, scout, and re-scout.  You can easily revisit a place multiple times to find what works best for pictures. Frequent hikes in nearby Sabino Canyon helped plan this image taken near sunset when the brittlebush flowers were blooming.
  • Time is on your side.  Your only itinerary is what works for you. The image below was from a leisurely day at the zoo with a friend, enjoying their company and experimenting with animal photography.
  • Less pressure.  No worries about having to capture a specific scene in a specific season with specific light. I went to photograph mountain scenery but happily came back with an image of burnt wood instead.
  • More control.  Work in everyday settings where you’re familiar with the light and layout of potential scenes. This saguaro is one I drive by frequently. I know when it’s blooming and took advantage of soft light to capture the buds and blossoms.

Educational Benefits and Learning New stuff

  • The opportunity to know your hometown better than ever by purposefully exploring it with a photographic intent. I was surprised to learn that southern Arizona has a large collection of ancient rock art.
  • Explore different genres of photography. You’ll never run out of possibilities. The image below is an experiment with high-key monochrome.
  • Originality might flourish and you’ll enjoy it.  Searching for new light in places that have NOT been extensively explored yet by other photographers can often yield unique and rewarding images.  This is an abstract image of elevator lights reflected in elevator walls in a downtown apartment complex.
  • Finding a new favorite spot that you can return to repeatedly as the light changes.  Different light, different seasons, and different weather that in the end provide an entire series of unique images. This viewpoint has yielded numerous photos of different cloud formations over the Catalina Mountains on the north edge of Tucson.
  • The chance get to know the subject well.  Watch and photograph some plant, animal, or location frequently to determine the best times to photograph it. This low-hanging rainbow is from the same location as the image above, and was somewhat predictable given my familiarity with this place.
  • Practice makes perfect.   Test and become an expert at using a new camera, lens, or other gear.  Learn new techniques.  Try out the camera’s less commonly used settings.  Maybe even shoot video.  What you learn locally in terms of taking pictures can be used globally when you do travel, and it’s much easier to practice frequently close to home. Bob Hills honed his astrophotography over several years of shooting the night sky in the nearby desert learning new lighting techniques and the local movement of the Milky Way in the process.

Social Benefits

  • New friends to photograph with.  Someone or even lots of people from the local camera club might want to join you.  You will be surprised how many people like to shoot the same thing you do. Corollary—if you don’t like their company, you’re not stuck with them an entire week.
  • Less time away from family and friends if they don’t take pictures.  Corollary—more quality time with family and friends if they do take pictures. This image was from a downtown walk with photography friends where there was also the opportunity to eat and socialize.
  • Easier and more fun to share images with neighbors and friends who will likely have a shared sense of place for the images you show them. My neighbor and I were both shooting this scene from our homes as smoke from a forest fire created unusual sunrise conditions.

Environmental Benefits

  • Decidedly greener.  Local photography requires less travel via transportation (automobiles and airplanes) that burn fossil fuels.  Even greener, carpool or take public transportation when possible.  Even greener still, just shoot within walking distance of your home. These night-blooming Cereus cactus flowers were discovered just over my back wall a couple of years after moving to Tucson. They only bloom for one night each year.

Approaches to shooting locally

  • First and foremost, believe in your local environment and that it’s full of photographs just waiting to be discovered. Keep an open mind and be ready to work with what whatever the light may offer. Wild flowers were on Bob Hills’ agenda this day, but it turned out Nature was doing seed pods instead.
  • Think big. “Big” might be as simple as something large in scale (e.g. clouds in the sky or a tall building) or “big” might be something that shows how small we humans are in the grand scheme of the universe.
  • Think small.  Your local environment probably has plenty of macro images once you take the time to look for them. These saguaro cactus flower buds were found in nearby Sabino Canyon.
  • Choose subjects that change constantly or frequently such as people, clouds, or local festivals. The annual “All Souls Procession” provides new opportunities each year to practice street photography.
  • Use a different style.  Switch from color to monochrome.  Or shoot hand-held instead of using a tripod. This University of Arizona building is meant to mimic a slot canyon, so the colors are quite interesting. But looking at the shapes and textures in black and white reveals additional possibilities.
  • Look for unique compositions.  Patterns, shadows, and abstracts, for example. This is a yucca plant growing beside my garage.
  • Try a completely different subject.  Photograph people if you’re used to photographing nature.  Try architecture instead of animals.  Downtown Tucson has some surprisingly interesting buildings.
  • Experiment with different techniques when shooting.  Think iPhone, unusual angles, or different camera settings. Bob Hills found the the right shutter speed during blue hour that froze parts of the scene and blurred other elements with their motion.
  • Experiment with post-processing. There’s no shortage of plug-ins and YouTube videos to get you started, but the best results still come from images that have meaning to you and reflect your style. In the image below, Bob Hills applied a watercolor effect to a photo of a nearby monastery. Here’s a download for watercolor effects and another one for sketch effects that offer lots of options to personalize the end results.
  • Visit local attractions and events, like museums, farmers markets, zoos, special events, and concerts.  Many of these provide tremendous insight to the local culture. Take your camera and see what you find. Bob Hills has a fantastic gallery of Native American dancers from nearby Pow Wow events.
  • Join a camera club. The group will help you improve your photography and find new places to take pictures. Bob Hill’s picture below is from a camera club field trip to the Boyce Thompson Arboretum north of Tucson
  • Try still-life images that you either find or set up. Bruce Bartholomew created an image based on his sister’s haiku:
Back in the kitchen
Drawn by the dark force, seeking
Finding chocolate
  • Change the light. Use filters, refractive elements in front of the lens, camera movement, blur, flash . . . whatever you can think of. Adding artificial light to the foreground often improves night-sky photography.
  • Give yourself an assignment like a building, an event, an overlook, an animal, a place, a person, a plant, or any subject that interests you.  Visit and photograph often and create a photo essay of what it feels like to interact with this subject. The image below is from a six-image series that starts here. All the images were taken at the Environmental Sciences building on the University of Arizona campus .

In addition to helping generate these lists, Bruce Bartholomew and Bob Hills also provided images for this post, and their contributions are noted and appreciated. However, lists like these are never complete. If you have additional ideas or recollections of how you benefited from or approached local light in your locale, please feel free to share them in the comments section.

TK Quick Tip: “My Channels” masks

Sean Bashaw has another great quick tip on one of the new features in the TK7 RapidMask module. “My Channels” allows any selection, layer mask, or alpha channel to become a Rapid Mask. Previously, the RapidMask module only supported masks created by the module itself. Now, “My Channels” allows user-created masks and selections to be quickly brought into the Rapid Mask process. Once incorporated, they can serve as the starting point for making Lights, Darks, Midtone, and Zone masks. These personal masks can also be modified using the module’s MODIFY section, and output using any of the buttons in the OUTPUT section. So if you want to make a luminosity mask, color mask, saturation/vibrance mask, or use your own mask or selection, the TK7 RapidMask module now handles all these different options with ease.

To start using “My Channels” simply click the Channel > My Channels option in the SOURCE section of the updated RapidMask module.

3-D Color Model

Your document is scanned for available masks and selections and the results are displayed in a new window that appears on the module.

3-D Color Model

Then just click a button to turn that item into the new Rapid Mask. From there, all the other features in the RapidMask module, including the mask calculator, can be used with it.

“My Channels” means that ANY mask or selection can now power the Rapid Mask engine. Or, to put it another way, every mask and selection is now a Rapid Mask waiting to happen. Some wonderful new masking options are available as a result. Sean provides a good overview of what’s possible in the video below.

Be sure to subscribe to Sean’s YouTube channel for more great tips on photography and post-processing including those listed below.
“My Channels” masks
Infinity color masks
Linked vs. unlinked smart objects
Three ways to use Levels and Curves
Reusing saved luminosity masks
Developing a quality night sky
Split toning
Cloud sculpting
Exposure blending
Favorite new V6 features

Infinity color mask magic

As I was adding infinity color masks to the TK7 panel, Sean Bagshaw was busy recording his Sean’s Favorite Photoshop Techniques, Volume 2 series. The download folder for that series contains lots of good color images, and I experimented with some to make sure the new infinity color masks offered something useful and unique for other people’s images, not just my own. They do, and I sent some quick edits to Sean to show him how I’d used the masks on his images.

Sean took these tests and incorporated them into the Quick Tip video below. And, not surprisingly, he’s gone well beyond my own attempts at using the masks and came up with some innovative ways to take infinity color masks to the next level.

This video is a little longer than the other Quick Tips, but it moves fast. Sean covers the basics of using infinity color masks and then demonstrates using them on six different images. Here are some things to pay close attention to as you watch the video:

  • Try to choose a color that actually has some decent color. Remember, these are color-based masks, and if you choose a weak color (low saturation), you’ll get a weak (dark) mask. When creating an infinity color mask, the Color Picker eyedropper extracts the hue value of the selected pixels to build the mask around. The saturation levels of that hue in the image then determines the brightness of the mask. This means that low-saturated colors will still be dark in the mask. So, as much as possible, click on colorful colors to make the best and brightest masks.
  • The initial mask preview is extremely accurate, but modification can sometimes create an even better mask. One of the great features with for infinity color masks is that you get to choose the color from the image and the mask is built around that selection. As such, the original mask preview is always on target, and in several of his examples, where this initial mask is essentially perfect, Sean just uses it as is to adjust the image. At other times, though, he first experiments with adjusting the color range or modifying the mask using the tools in the MODIFY section of the RapidMask module. MODIFY is especially helpful for darker masks where a less-saturated color was the target for generating the infinity color mask preview. The key to success in all cases is to start with a mask properly focused on a specific color selected from the image. And since this is the core process for generating an infinity color mask, the initial mask is always a great starting point. Once it’s available, there are lots of opportunities to customize the mask depending on what you’d like to do to your image.
  • Infinity color masks aren’t just for color adjustments. One of the things that really comes through in watching Sean work on these images is the variety of different techniques he employs. Infinity color masks are used to adjust color, saturation, brightness, and contrast. And he uses them with Curves, Levels, Hue/Saturation, Brightness/Contrast, and Solid Color adjustment layers to achieve the desired effect. This illustrates a good point, I think. To really get the most out of these infinity “color” masks it’s necessary to let go of the “color” concept and simply start seeing them as new precision masks for making targeted adjustments. Just like luminosity masks can be used to make adjustments other than brightness, infinity color masks aren’t restricted to adjusting color. When you start seeing these different types of pixel-based masks as a continuum of masking possibilities, the full power of what they can do really starts to take shape.

If you have Sean’s Favorite Photoshop Techniques, Volume 2 video series, you might want to go into the practice images folder and follow along with what he’s doing here. Working along with Sean will help you see where and how you might be able to apply infinity color masks to your own images.

Finally, just a quick reminder that everything on my website’s Panels & Videos page, including the TK7 panel with infinity color masks and Sean’s Favorite Photoshop Techniques, Volume 2, is 20% off through the month of September with the following discount code: Update20

Be sure to subscribe to Sean’s YouTube channel for more great tips on photography and post-processing including those listed below.
Infinity color masks
Linked vs. unlinked smart objects
Three ways to use Levels and Curves
Reusing saved luminosity masks
Developing a quality night sky
Split toning
Cloud sculpting
Exposure blending
Favorite new V6 features