Epson 4800 Clogged Nozzles

A while back I wrote a post on the problems I have with my Epson 4800 nozzles clogging.  I don’t print on a regular basis so the printer will sit for days and weeks with nothing going on.  (See Epson 4800 Tip.)

In the original post I talked about putting a damp sponge inside the print area to raise the humidity.  It worked really well but then I was so excited that I did a lot of printing.

But over the Christmas holiday several weeks went by without any printing. And the sponges dried out.  So it was back to the same old dry conditions inside the printer.

Last night I wanted to start printing again so I moistened the sponges.  Then I ran a nozzle check and found the magenta was mostly clogged and the light cyan was totally clogged.

I gave it 24 hours, hoping that the increased humidity would loosen things up.  So, when I ran the nozzle check again today I was a bit disappointed to see that the magenta and light cyan were still very much clogged.  I prepared myself to repeat the ordeal I have gone through so many times in the past.

But here’s where the magic started.  I ran a head clean and then a nozzle check.  I certainly didn’t expect to see a good nozzle check.  But one head clean did the trick!  The nozzle check was perfect.  That’s unprecedented.  I have a ton of printing to do and I’m good to go!

It’s probably worth a few sentences to explain why clogging is a problem with the 4800 and the other Epson Stylus Pro printers.  It’s because they use  pigmented inks.  Most ink jet printers use dyes for the colors.  Dyes are colored molecules that dissolve in the solvent.  But pigments are ground up solids.  They’re very fine powders suspended in the solvents.  So if the solvent evaporates from a nozzle there is a residue of pigment left behind.  That’s what clogs the nozzles.

The big three printer makers – Epson, HP and Canon – are all working hard at resolving this problem and have varying solutions that I don’t want to go into here.  But if you have an older Epson like I do or possibly even a more recent model, this is a good tip to know.

So any hesitation about this technique I may have had  is dispelled.  It really works.  I can recommend it with a great deal of confidence – if you live in a dry area or your Epson sits for days or weeks on end without doing any printing, place a moistened sponge in the chamber with the print head and keep it moist.  It will really help in preventing the nozzles from clogging or, if they do clog, it will help getting then unclogged.

It really works.

To see more of my photographs click here.

Join me on an upcoming workshop.

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HDR Tip #3

On exporting images from Lightroom to PhotoMatix.

In the previous tip we discussed adjustments you want to make to your images in Lightroom to prepare them for the HDR process to come.

This next tips covers the step where we get the images out of Lightroom.

Lightroom is a RAW image converter (among other things).  It does RAW image conversions extremely well.  Other great RAW image converters are available to us – Capture One, Aperture, and DxO to name a just few.  These are all highly sophisticated products that do an extraordinary job.

Continue reading “HDR Tip #3”

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Creative Use of Exposure

On using f/stop and shutter speed to achieve creative results.

In the first article (All You Ever Wanted to Know about Exposure) we identified the four variables of exposure – ISO, aperture, shutter speed and light intensity and compared exposure to filling a glass of water. We can control the first three in order to respond to the fourth. In the second article (Mastering Exposure – Next Steps) we discussed how to use the histogram on a digital camera to help us get the best exposure. We looked at examples of overexposed and underexposed images. We also introduced the concept of dynamic range and took a look at some of the challenges and opportunities we enjoy when we have images that have a very low dynamic range (low contrast) and a very high dynamic range (high contrast).

You may have thought we said all there was to be said in the first two article.  Well, believe it or not there’s more  – how to use exposure creatively. We can start by talking about the four variables. Let’s not get into the last variable, light intensity, just now. Rather let’s start with aperture and shutter speed.

Continue reading “Creative Use of Exposure”

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Mastering Exposure – Next Steps

On using the histogram to judge the quality of the exposure. Also discusses shadow and highlight clipping, the problems the create and how to avoid them.

In the first article on exposure (All You Ever Wanted to Know about Exposure) we discussed the exposure basics, the four variables you have to work with – the intensity of the light, the ISO setting, the f-stop and the shutter speed. We made the comparison of light with water. With this analogy, getting the proper exposure is the same as filling a glass of water (or whatever).  In this article we’ll take a closer look at the kinds of challenges we face getting the best exposure.  But first let’s take a quick review.

So, to quickly review, the sensor in a digital camera or the film in a traditional camera requires a specific amount of light to produce a proper exposure. The amount of light that is required depends on the sensitivity of the digital camera sensor or the film. Sensors or film with lesser sensitivity to light requires more light while those with greater sensitivity require less light. Sensitivity is measured by the ISO number regardless of whether we are dealing with film or a sensor. Lower numbers mean lower sensitivity The numbers start at 100, possibly even 50, and increase to 400, 800, 1600 and even higher. Each time the number doubles it requires exactly half the amount of light to make a proper exposure.

Aperture, or f/stop, is the amount of light that is let through the lens. This is controlled by a diaphragm similar to the pupils of our eyes. It can open to allow more light in or close to allow less light. Apertures are measured with a strange set of numbers like f/22, f/16, f/11, f/8, f/5.6, f/4, f/2.8. The numbering system goes backwards so that higher numbers admit less light. Adjacent numbers either double of half the amount of light coming admitted through the lens. In other words, f/4 admits twice the light as f/5.6.

The only other variable then is shutter speed, or the length of time light is allowed to pass though the shutter. Shutter speed is measured in fractions of a second such as 1/30, 1/60, 1/125, 1/250, 1/500, 1/000.

We have control of three of the four variable – ISO setting, f-stop and shutter speed. These are all adjusted to respond to the fourth variable – the intensity of the light. Success as a photographer starts with getting the correct exposure and these are the three things we can manipulate to do so.

Continue reading “Mastering Exposure – Next Steps”

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All You Ever Wanted to Know about Exposure

On the fundamentals of exposure – the four variables that must be taken into account to achieve a well exposed image.

The most fundamental skill you need in photography is the ability to make the correct exposure. You can have the greatest ‘eye’ but if your images are not correctly exposed you will never be able to make a fine art print. In addition you will take some great photographs only to be frustrated when you try to render them as prints.

There are two exposure gremlins – over exposure overexpose_1.5and under exposure. It doesn’t matter if you’re shooting a digital or a film camera, they both are subject to the same problems. But underexpose_1.5what is constitutes an over exposed or under exposed photograph and more importantly, how can you ensure you’re getting the proper exposure?

Photography is all about light. A camera is simply a device that controls the amount of light that is allowed to shine on the sensor or the frame of film. Exposure is all about letting the right amount of light into your camera. Sounds simple? Well, there are a number of things that make this a bit more complicated, not the least of which is the terminology – f-stop, ISO settings and shutter speed.

Continue reading “All You Ever Wanted to Know about Exposure”

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Why You Should Consider Taking a Photography Workshop

Reasons for takikng a photographic workshop and what to look for to get the most out of one.

Do you love photography?  Is it a passion within you?  Are you inspired by nature?  Do you want to get out to some great locations and come back with some stunning photographs?  Do you want to become a better photographer?

If you answered ‘Yes’ to any of these questions, than you should consider taking a photography workshop (or another workshop if you’ve already started down that path).

What Makes for a Good Workshop?

What are the reasons for taking a photography workshop?

Well, first, you get to photograph an area with someone who is really familiar with it. They know both the great iconic locations plus some out of the way, intimate places.  They are aware of how the light plays on the subjects and can get your to them at the best times of day.  They can respond to developments with the light such as sudden storms and take you to the best locations to take advantage of them.  In other words, they draw upon their intimate knowledge of the area to bring together the two most important factors that go into creating outstanding nature photographs – great subjects and fantastic light.

bryce_workshop

Second, good workshop leaders will freely share their ‘secrets’ with you.  They have acquired a vast amount of knowledge, not only about the area but also about photography in general.  They have their own personal approach to photography.  There can be a lot you can learn from them and they are willing and eager to pass it along to you.

Third, good workshop leaders will spend time working with you one-on-one to help you develop your skills, whether they be creative or technical.  They will spend time working with you in the field on things like exposure, focus and composition.  They will look over your shoulder as you work and offer constructive comments and tips.  They will also take time to review your work and provide you with ongoing feedback. They will also not confine their help to techniques in the field but help you with the critical post processing where the true potential of the photograph is ultimately realized.

The best workshop instructors will also probe you a bit to find out what you want to work on and help you with it.  If you’re not sure, they can help you identify areas of focus.  Their assistance will be very much personalized to your specific needs

How to Select the Workshop for You

There are several things you should think about and look for when selecting a workshop.

Start by thinking what you want to get from the workshop.  Are you primarily interested in a new and exciting location?  Do you want want to grow as a photographer?  Are there specific skills you want to work on?  Is there a photographer whose work you particularly admire?  All of these factors are things you should consider when you start looking for a workshop.

Finding Candidate Workshops

Search engines such as Google and Bing are very effective in helping you find a workshop.  Often people will search for a workshop in a particular location such as “photography workshop, Utah” or “photography workshop, Eastern Sierra.”  This works well if your goal is to photograph in a specific area.  These search sites can produce pages and pages of workshops, especially for the more popular workshop destinations.

Maybe you’re interested in a time of year such as “photography workshop, Napa Valley, fall” or “photography workshop, Death Valley, winter.”  Searches like this can get you to locations when conditions are most favorable and also when you can take enough time off for the workshop.

Finally, you may be interested in the work of a particular photographer.  Searches like “photography workshop, Ralph Nordstrom” or “photography workshop, Jack Graham” will prove effective.

Selecting the Workshop for You

Once you have a list of candidate workshops, how do you go about narrowing it down to just one?

You’ll find lots of information about the workshops on the web.  Based on what it is you determined you most want to get out of the workshop, review the information.  The following are factors you can consider.

Location

This is almost always an primary consideration.  If you’ve searched for workshops by location you should have lots to choose from.  Some websites will post itineraries.  Some will be general while others are very specific.  Take these itineraries with a bit of a grain of salt, especially the very detailed ones.  Rarely does a workshop follow the itinerary.  Conditions will change and the good workshops will adjust to make the most of them.  Itineraries are good, however, to give you an idea of what sites you will be photographing.

Time of Year

This is often another important consideration.  The workshop schedule need to fit with your availability.  But more importantly, they need to be scheduled when the light is the best for the location.  Again, if you searched for this you should have a sufficient number of workshops to choose from.

(c) 2009 by Ralph Nordstrom

Personal Attention

This is where some workshops start to stand out from others.  This is the single most common reason workshop attendees are not totally satisfied with a workshop.  Review the information carefully to see what it says about one-on-one attention.  Read the references from past workshop attendees.  If the workshop leader does not call attention to this either in the information they provide or comments from past participants, chances are you’ll be disappointed in the level of attention you receive.

Reviews

Will the leader review your work?  This should occur early and often.  This way you can incorporate the feedback into subsequent photographs and practice the things they share with you.  Another aspect of this is print reviews.  Does the leader invite you to bring along prints of your work for review and feedback.  Again, review the information carefully looking for some mention of this.  If you don’t see it you may want to strike that workshop from your list.

Assignments

Will you be given assignments during the workshop?  Assignments with the follow-up reviews are terrific learning tools and you could benefit greatly from them.  Again, if this would be of interest to you review the information to determine if assignments will be offered.

Reputation of the Photographer

You may admire the work of a certain photographer and want to study with them.  In that case this could be a primary consideration.  Chances are excellent that they will be going to great locations at the best times of the year.  If the photographer is well known, one thing to keep in mind is their workshops fill quickly (often a year in advance) and they can be pricy – supply and demand you know.  Also, some of the big name photographers will give you lots of personal attention, some will make themselves available for questions but not necessarily reach out to you with suggestions and still others, it’s sad to say, will spend virtually all their time photographing along side you.

Cost

No discussion of workshops would be complete without a word or two about cost.  As mentioned above, the big name photographers will charge commensurate prices.  A few include transportation from the meeting point, lodging and meals but this will usually run several thousands of dollars for a three to five day workshop.  Some of the really high end workshops run as high as $10,000 and more.  Others will charge four figures but leave all the transportation, lodging, meals and fees to you.  You’ll have to evaluate these workshops to determine if you’ll get want you want from them and if it’s worth the price.

There are a lot of lesser known photographers whose workshops are terrific values.  Many of these are very talented photographers in their own right.  Because they’re not as well known their workshops will be more affordable, often half that of what the better known photographers are charging.  And many of them will work very hard to add value that may be missing from the big name photographers.  Generally, this value will be in the form of more personal attention.  When selecting a lesser known photographer’s workshop, be sure to check out his or her work to see if it’s what you like.  It doesn’t make a lot of sense to take a workshop from a photographer whose work you’re not particularly impressed with, no matter how inexpensive it is.

Contact the Photographer

If you think a particular workshop is for you but you still have questions, don’t hesitate to contact the photographer.  Send an email or make a call.  Ask your questions.  Don’t pass up this step.  The photographer will be happy to explore the suitability of his or her workshop with you.

Photography workshops are excellent ways to take your photography to the next step.  But workshops can be costly.  So, when you’re ready to take that step it’s important to make the right decision.  Following the suggestions discussed in this article will help you select the workshop that is right for you.

Join me on an upcoming workshop.

To see more of my photographs click here.

Become a fan on Facebook and follow along.

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