Everything You Need to Know to Print AMAZING Landscape Photos

If you've never printed out your photos, there has never been a better time than now. It's such a rewarding way to check out your work. I'm going to talk you guys through everything you need to know to make sure your prints turn out just absolutely fantastic, in today's podcast episode.

What is going on, everybody? Welcome back to the Learn Landscape Photography Podcast. This is your host, Austin James Jackson, excited that you're back for yet again another episode, or excited if this is your very first one. The podcast has been growing so quickly lately. I'm so stoked with all the new people and everybody that's getting great use out of it. You guys send me emails and stuff and let me know you're liking the podcast and that means a lot to me. I'm really so humbled that you are going to join me on your photography journey. 

And with that, before we get started with today's episode, I wanted to address something that I've been hearing lately from a few creators, and when I say a few, probably more like a couple, that aren't going to be named. But I've heard from some people that I'm giving away too much on the podcast, which drives me crazy. And I've heard the same thing about YouTube and other stuff as well. And there seems to be a very small-knit group of people that are giving away a ton of great information on YouTube, on podcasts, whatever it may be. And then there's another small group of people that is really, really against all that information being given out. There's like a huge gatekeeping, if you want to call it that. I feel like gatekeeping is a really dirty word, and I don't want those people that are into doing things like that to look bad, because I understand why they do it. But, in my opinion, I just wanted to address this before today's podcast because it's driving me crazy that I keep hearing people saying, like, "Oh, you're giving away too much for free," or people that aren't interested in being on the podcast because they don't want to give up information.

My thought on that -- people think that, you give away too much information, we're going to totally kill all workshop revenue and online tutorial and class revenue and stuff like that. My two cents of that is this. I will tell you everything that I know. I don't hold anything back in YouTube and podcasts and DMs and emails, whatever. I'll tell it all to you, everything that you would want to know. But it's going to come in an episode. So I have this episode on printing, but, while you can learn from it, you can listen to it and learn it yourself, I'm not looking over your shoulder to help you. The benefit that you get of attending a workshop with me or any other creator out there is that they are right over your shoulder helping you. You get to directly ask them questions, and they can directly help you specifically. As opposed to right now, while you're listening to the podcast, you kind of have to learn how to apply it yourself. So there's value in attending a workshop, still, and I don't think that you can give away too much information.

I really just want to help as many people as I can to become better at landscape photography. And I think that the techniques that I'm using -- I'm not special. I don't think there's really any photographers that are overly special. We're using techniques and software that is meant to be used for what we're using it for. So sharing the knowledge is just sharing with you how we're using the software so that you can use it yourself. I can't train you. I can't teach you to have a better eye for photography. But I can teach you how to use the tools, and you can figure out how to use the tools to make your work look like you want it, and I think that's the fun part of being a photographer. Enough with my rant. But that's that. So apologies for that. I don't mean to waste any of your time here talking about that, but I did just want to address it for the people that have been telling me that.

But as you guys know, I want to get into today's episode. I don't want to waste any time, so we want to jump in there as quickly as possible. Today we're talking about prints. I have printed a lot of my stuff over the last couple of years. I've been doing a little -- some Saturday markets and art shows and this and that around here in southern Utah, where I live. So I've learned quite a bit of information regarding printing. And I'm going to talk you guys through the whole thing right now. So if you're, like, driving to work or something, you're not going to be able to take notes, obviously. But, if you're at home, I would encourage you to maybe get out a pen and paper. And, if you are driving and listening, listen to this episode right now, and then listen to it again when you can take some notes, maybe, because I'm going to give you a ton of information that I think is going to be helpful for you. It's really everything that I think you need to know in order to create really nice prints. So let's go ahead and jump right into it.

Alright, so you want to create some nice-looking prints. First things first, let's just start from the top and work our way down. One thing you've probably heard a lot about, and a lot of photographers talk about it till they're blue in the face, and other people just do not care, is color calibration. Now, I'll tell you my experience. It's not necessarily the absolute 100% most right or correct way. I'm just going to tell you what I think about it. I have found, for myself and for a lot of my clients that I've worked directly with at workshops and other things like that, color calibration on Macs are generally fine. You usually don't need to color calibrate your screen. I haven't color calibrated my screen. However, some PCs need calibration. This isn't to say all PCs do. Generally, if you have a higher-end monitor, it probably needs less calibration. But, if you have a cheaper, older computer, it may need some color calibration. I've seen some clients in my workshops with some older Windows computers where I can just look at the screen, and I can tell that the whole screen is just warm. And by warm, I mean, like, it's yellow. So, if you want to color calibrate your screen, that is great. I always would recommend to have it close to perfect. Like I said, on a Mac, the Macs are usually all close to perfect, so I wouldn't worry about it if you're on a Mac. If you're on a PC and you think that it's way off, you can color calibrate it. However, you don't really need to color calibrate it if you're going to run a test print, which you should always do first.

Benefit of a test print is, let's say you want to print a nice big 40 x 60 -- it's a pretty standard large-size print -- which is on metal. It's probably going to cost you somewhere between $600 and $1,000, depending on where you get it and what fixings you put on it. You don't want to drop that $1,000 to find out, oh my gosh, this print looks terrible. It's way too dark. It's way too magenta. What the heck? So you would order a test print, like a little small 4 x 4or whatever. Most print labs don't charge you very much for that. It should cost you no more than $20. A lot of print shops will be free. I know some of them are $10. Basically, they're just going to send you a -- if you're printing on -- I'm talking about metal prints right now. But, really, for any kind of print, a test print is a good idea. If you're printing on metal, they might send you a 4 x 4 metal square. You can send in your photo, and they'll send you that square, and it'll show you, like, here's your photo. So then you can look at it and say, "Okay, the colors look good," or "It's too magenta," or whatever.

Long time ago, a lab that I used to print at -- I printed a bunch of images without doing a test print. This is when I was still kind of learning, and all my images came back magenta toned. I was like, shoot. So the next time I printed, I added +20 on the green, like, the green/magenta slider. I added +20 to tint it towards green, which, on my screen, the images looked way too green. But then, when I got them back from the printer, they looked perfect, just like I wanted them to. So then I made a mental note in my head that, okay, printing at this lab, I need to always add +20 towards the green tint in order to make it look realistic or,not necessarily realistic, but like it does on my screen. So you may have to do that for certain printers, but always run a test print, just a little 4 x 4 square or 6 x 6, or even an 8 x 10 or 8 x 12. It's always a good idea to run a test print, especially if you're printing something large.

Additionally, when you're proofing your files for print, meaning when you're preparing it for print, always, always reduce the brightness of your screen. There's two kinds of people out there. There's people like me who adjust their screen brightness to the absolute very brightest they can because it looks really nice. And there's other people that have their screen the absolute darkest they can because they're trying to save the battery life or because they don't want to strain their eyes. Either way, you want to reduce the brightness of your screen. On my Mac, I usually reduce it like when you reduce the brightness of your -- or, when you change the brightness of your screen on a Mac, there's little bars, and there's probably 12 to 15 little bars. I usually put mine 7 or 8 up from the bottom, so 50% brightness. So, if you're on a PC, 50% brightness or so is probably good. And that'll give you a little bit better idea because, when you are printing something, you're printing it on a piece of paper or a material that doesn't have any luminance value to it. When you're looking at it on a screen, you're looking at your images on a backlit screen, so there's light already on it. So you usually want to brighten your image is basically what I'm saying. Depending on exactly what your image looks like will change how much you want to brighten it by, but you usually want to brighten it. Again, that's why you run a test print.

Now, additionally, I want to talk about what kinds of photos are going to print better. There's certainly certain photos that look better than others. First thing is first, and I've looked at a lot of photography, and there's a lot of really great photographers out there that don't print their work. And then there is a lot of people that do not have a good attention to detail that do print their work and they print it large, and somebody like me with an eye for photography will pick that stuff out, and it drives me crazy. However, that doesn't necessarily mean that they won't sell. But you want to print images that are seamless when you zoom in. If you did a 76-shot focus stack where you Clone Stamped out a whole mountain and X, Y and Z, it might look good on Instagram because Instagram is tiny on your screen, but, when you print it, you're going to see all those things, especially if you're blowing it up. So you want to make sure that your image looks good when you zoomed in. One thing that I'll notice, even if I think my image looks good -- I'll be editing my photo, and I'll be done with the edit, post on Instagram. Three months later I'll be like, okay, I want to print this. I'll look at my image and be, like, oh man, I messed up this focus stack. Like, you can see how this rock here is blurry and that rock is sharp, and you can just barely tell when you zoom in. You'd want to fix that, which can be a huge pain. You might have to go all the way back in your edit and fix that. So keep that in mind because when you blow something up, you'll see those imperfections a lot better.

Additionally, you want to watch out for and generally avoid printing images with blown out sections. A lot of times, especially depending on where you get them printed, those blown out sections are not going to look good. There's going to be, like, banding. And the same thing with gradients. If you have a photo with a really nice gradient in the sky, meaning that,say, there's a nice sunset that goes from orange to blue as it goes up, a lot of times there can be banding in those. So, if you're going to print one of those, if you're going to try, always do a test print, again, because you want to be able to see that kind of thing. Because banding looks terrible in a print, and it's going to be a lot more prevalent in a print than it would on a screen.

Now, getting to probably the most important thing here, especially if you're printing a larger print. But I think for all prints, you should do this. You absolutely must resize and sharpen your image for print. It's like a must. You cannot skip this step. And, so many people, I see printer work and their photo -- they print it larger -- is pixelated. So let me try and help you visualize this. Say you've got a 20-megapixel camera, which is, gosh, I don't even know what size. That's probably roughly like 18 x 24 or 16 x 24 size in inches. We're talking in inches here. Sorry, I'm in America. I apologize if you're in literally any other country in the world that uses not inches, but let's say 16 x 24-inch print. It's a pretty small standard size, like,probably the size of -- you could hold it up and it would cover your chest, basically, just a small size. So, if you have a photo that inherently is that many megapixels, which would translate to about that many inches, if you blow that image up to, say, 40 x 60, you are essentially doing the same thing as just clicking and dragging your image and making it larger without increasing the pixels, which, in other words, zooms in the image by making it larger. So it's going to look pixelated. It's not going to look good. Now, if you resize that image, you can resize it to be exactly 40 x 60, and it's going to look fantastic.

There's so many great resizing softwares out there. Me personally, I use ON1 Resize. I'll include a link to that down below. There's other good resizing softwares as well. You can use Topaz Gigapixel. I know a lot of people have the Topaz software, but I like ON1 Resize a little better. Topaz, I think, is nice if you have a really, really small image that needs to be upsized, but a lot of times there can be some artifacting and stuff, whereas ON1 Resize is more meant for people that are going to print, or at least that's what I use it for.

I'm going to talk, shortly, about, kind of, my workflow, but I want to continue talking about the resize and sharpening. So the first thing you need to know is how many dpi, or dots per inch. Now, most printers are going to be -- quality printers -- are going to be at least 150, meaning there's going to be 150 dots per inch of ink, essentially, is what that means. It's kind of hard to explain, but just understand that the higher the number, the higher the resolutionthe printer. Now, the place where I print, they mention that 150 dpi is the same as 300 dpi, which I have tested it myself. That is correct. And I've even tested 150 dpi -- because they say just send it in at 150 -- versus other labs. There is other labs out there that boast that, "We can print 300 dpi. Your images are going to look so much better." I've printed the same image, 150 at one shop and 300 at that other, and they looked exactly the same. So my personal opinion -- 150 and 300 is the exact same. You can consult the print shop, and you can do tests for yourself if you want. That's just my experience, but I think 150 dpi should be sufficient for pretty much any kind of print, especially on metal. I did my test on metal. Maybe if you did it on another material or surface, you would find it to be different. But those are my findings.

You also want to figure out the color space. A lot of us photographers are editing our images now in ProPhoto RGB or something else. Has a wider color gamut, meaning your colors -- there's more possible colors and more possible shades of each color. There's a lot of different color gamuts out there. now. The most popular is sRGB, Adobe RGB (1998), and ProPhoto RGB. And those -- sRGB is the most, the least, has the smallest color gamut. I can't even talk. I'm trying to figure out exactly what I'm trying to say but has the smallest color gamut. Adobe RGB is one step up from that. ProPhoto RGB is one step up from that. A lot of photographers think, well, ProPhoto RGB is the widest color gamut; that's, of course, the one I want to print in. The problem is printers can't read that ProPhoto RGB. Adobe RGB (1998) is the best that you can possibly print in. So you want to export your image as Adobe RGB (1998) as long as the print shop you're using can print in that. Some print shops only do sRGB. I would highly recommend you find a print shop that does Adobe RGB (1998),though, because it's going to give you a little wider color gamut. Some printers also have their own color profile you can use, but I don't really think this is super necessary. But if your printer does have it, you can use it. If they don't have it, you're not losing out on anything, in my opinion. So most likely you want Adobe RGB (1998). That's going to give you the best accuracy from the colors on your screen to the colors on the print. Of course, if you send it in in ProPhoto RGB, it can be converted. It's probably going to look close, but you might be like, oh, that green doesn't look quite right. Why does that green look weird? It's because you sent in the wrong color profile and, in the conversion, it converted it to a color that didn't quite look as great. That's kind of my spiel on color space.

Now, once you've actually resized your image, I'm going to tell you how to resize and sharpen it, essentially. So, if you download ON1 Resize, which, like I said, I include a link for down below -- not sponsored, it's honestly just what I use. It's what I recommend to my clients. You want to zoom in to 100 on the screen. So, in ON1 Resize, you're going to go in, you're going to punch in 150 dots per inch, you're going to punch in the size of your print, so let's say 40 x 60, then you will click the 100 button on the top. So most editing softwares that you use are going to have the option to zoom in. A lot of people like me, when they're digitally editing their photo, will just use Command-plus or Command-minus to zoom in or zoom out.

You can, actually, usually click a button that'll allow you to zoom in to a percent, like 33%, 25%, 100%, 200%, 400%, whatever it is. You want to use 100% after you change the size. What this does is it allows you to see the image at the actual size that it's going to be printed at. So, if I've told ON1 Resize, hey, I want to print this at 40 x 60 and I hit 100, it's going to zoom way in on the image because it's showing me essentially what that image would look like printed at 40 x 60. Now, if I said I wanted to print it at 4 x 6, and I hit 100, that image is not even going to fill my screen because it's showing me the actual size of the image. So, if I had a screen that was 40 x 60 inches in total size and I hit 100, then that 40 x 60 image would perfectly fill the screen. But because I have a lot smaller screen, it's going to be just a portion of that.

Hopefully that makes sense. It's a really hard concept to explain, but I'm hoping that that will make sense to you guys. But always zoom in to 100. That's going to show you how that print is actually going to look at the actual size. This is really important because next you're going to sharpen, and you want to sharpen a print differently depending on if it's -- how big or small it's going to be printed. A smaller print, you can sharpen substantially more because everything is really small on the print, whereas a larger print, you can sharpen a lot less without having halos and other stuff like that. So zoom in to 100. Sit back from your computer screen. I like to back up however many feet you're going be to viewing it from. So,if it's a small print, you probably find looking at it right in front of the screen. If it's a big print, back up. Especially if it's a really big print, like one that is going to go in an entryway,and people are going to look at it from 10 ft. away. Back up 10 ft. or 15 ft. or 20 ft. from your computer. Apply sharpening, see how it looks. Toggle the box, see how the sharpening looks. There's no secret here. Just adjust it until you think it looks good. Just make sure there's no haloing. So don't overdo it. That's really all you need to know about the sharpening for print. That is how to resize and sharpen your image for print. That's so important if you want to create a really nice-looking print.

I want to take a break from today's episode and talk about a really cool opportunity if you are a beginner or intermediate photographer that is really serious about taking better photos and getting better at photography. Now, usually about four to six times a year, I teach in-person workshops around the western United States centered around helping you become a better photographer. Now, my workshops are kept to just five people, which means that you will get plenty of one-on-one attention. So regardless of your skill level, whether you just picked up your first camera or whether you've been shooting for 15 years, I promise you, you're going to get so much out of it. I'm going to cater the class directly to you. Best of all, after the workshop, I'm going to add you to my alumni group on Facebook, where you can get,literally, weekly image feedback. We can connect at all times. When the workshop is over, it's not done. I'm still going to be your mentor. I'm going to be there to help you become better at photography. Now, like I said, if you're serious about becoming better at photography, don't wait any longer. Register for one of my workshops this year. You can visit austinjamesjackson.com/workshops. That link will be down below, in the podcast description, that you can click on as well. I really can't wait to see you guys out there.

Okay, now what I'm going to say might surprise some people, but a JPEG is totally fine as your final exported image. Now, I'm going to tell you guys my workflow, which is exactly what I would recommend doing, because you don't want to export and then save and resave a JPEG or else you will lose quality on it. But, as long as your last step is to turn the image into a JPEG and then send it in, it'll be perfect. So my workflow, I edit in Lightroom or Photoshop, generally. Sometimes I edit in other things, but I still usually go back to Lightroom to catalog my photos. So I go to Lightroom. I say, "Okay, I want to print this photo". I export it as a TIFF at full resolution. I don't reduce the size or anything. I export it as a full-size TIFF, which is usually like 360 or so megabytes. So it's a big file. I then will drag and drop that into ON1 Resize. Then I'll go in, I'll do the resizing and the sharpening that I just told you about in ON1 Resize. And then, there, I will export it as a JPEG, making sure that it exports as the size that I resized it to. And then I'll send that JPEG in to the printer. And, of course, you also want to make sure that that file is in the right color gamut and that it's been sharpened and everything. But that's my workflow there.

You can send in a JPEG. There's so many photographers that are, like, "I have to send in a TIFF. My photo is going to look so much better if I submit a TIFF file." It's not, and it is going to be frustrating for you because a lot of printers won't accept files that are over a certain size. So you need to make sure you send in the correct file. If you are printing something really big -- even a JPEG can sometimes exceed the maximum file size that print shops will allow you to send in. If that's the case, usually just emailing the print shop. I know at a print shop I used to print at, they had me upload my files to like a Google Drive, which allowed me to upload higher quality images that they would actually print from. So that is an option as well.

And let's talk a little bit about finishes because I know that 9 out of 10 people listening to this are thinking about printing metal, if not more than that. Metal is nice. Don't get me wrong. It's trendy, the price is pretty decent, comes in a lot of finishes. Now, the one big thing with metal, if you are going to sell your photos -- I have found that it damages pretty easily if you don't have a really great way to transport it. Right now, the way I transport my metal prints --I put them in little bags that I've made, like padded bags, and I still have issues where you'll get corners that will get dinged, or the center will get dinged. It really doesn't take a lot to ding any of these metal prints because they are aluminum, which is not a super strong metal. It bends pretty easily, so those metal prints can get damaged pretty well. Now, that being said, metal is really popular right now, especially, and it's going to continue to be popular for a while. It comes in a lot of different finishes if you are going to print metal. I used to print everything in gloss because you can't go wrong with gloss, until I found satin, which now I think you can't go wrong with satin. Satin is basically semi-gloss, which is nice because it's still glossy, so it still retains that nice eye-candy look, but it's a little less shiny. So, if you have it in a room where there's windows and stuff, you won't have as big of an issue with glare.

Now, additionally, the other option, the cheaper option, is canvas, which is a lot cheaper, and it looks really good for certain images or for concealing details. If you have an image with a ton of details or maybe a few blemishes, you might want to print it on canvas, because canvas, because it's textured, will kind of conceal that a little bit better than metal will. And I think canvas looks great for certain photos, doesn't look good for all landscapes, but a canvas is a nice traditional way. I've actually found that I'm starting to like canvases a little bit more if they have a slight frame around them. So just a basic black frame, have the print float in the middle. I think canvases look really, really nice that way for landscapes.

Now, next, you've got acrylic prints, which are not as popular. They look fantastic, but they're not as popular because they look similar to metal, I think, or people don't know the difference between metal, and they're a little bit more expensive. They're also a lot heavier than metal prints. But essentially what it is, is acrylic is like a piece of glass that goes on top of a piece of paper, and so the glass is pressing the paper down into the backing. So you're actually seeing your photos -- basically they're printed on paper, but they call it acrylic because the acrylic is what's -- you can't get that piece of paper out, basically. It's more durable, is the nice thing about it. So if you're doing art shows, consider acrylic because it's more durable. I mean, you could break the glass, but it would take a lot. It's not going to bend, obviously, like the metal would. I think it looks great, and you can do some pretty fun stuff with a mounting on these. So acrylic is always a great option as well.

Now, lastly, you have paper, which, you get a lot of people that get paper because they're like, "Oh, I want to print my work as cheap as possible. And this paper print is pretty cheap."Problem is, once you frame it, unless you frame it yourself -- but, if you pay somebody to frame it, you realize that paper is actually the most expensive way to print your work. So keep that in mind if you decide to go with paper. I wouldn't recommend it. I generally don't print my stuff on paper.

Lastly, regarding any kind of mount you get, a wire mount is nice if you're going to be traveling or moving your print, like doing art shows and stuff like that. Otherwise, I would not go with a wire mount. Go with a cleat. Or something on the corner is going to help your print to just stay in place, be a little bit more secure if it's going to its final home right when you order it.

Now, just a few last tips here before this episode comes to a conclusion. First, do not print an image the day after you edit it. I've made this mistake before, but not that many times because you learn your lesson quickly when you do this. A lot of times I'll edit a photo and I'll be like, oh my gosh, this photo is so good. It's just so good. I'm ready to print it right now. Then you print it, and then you get the print, and then you look at the image again and you're like, oh my gosh, it's too green. What was I thinking? It's too cool. It's too warm. So sit on an image for a while before you print it. Don't be too hot on the most recent photo you took. Just wait a little bit. Let it marinate. Make sure that you like it before you print it. Just my recommendation.

Next, I would say that big prints are great if you have really high-quality images, meaning they're very seamless, they don't have a lot of blemishes, or you weren't sloppy with your focus stack or whatever, anything like that. Medium prints I used to order a lot, just to try and sell. Medium prints generally don't sell very well, and they're kind of underwhelming. Landscapes look good large. Medium prints, in my opinion, are for family photos, portraits, wedding photos, that kind of thing. Those things look good as medium photos. Landscapes that have a lot of details, especially, need to be shown off large. Print large. If you can afford it, and if you have a space for it, large is just always going to be better. I know it's more expensive, but I just think large looks so much better. Medium prints, they're fine. If you really want to print a medium print, don't let me talk you out of it. But I just think that the medium prints are underwhelming for what you're going to pay for them, in my opinion.

Next tip is that most print labs have the option where they will enhance your image. It's usually, like, $50 or $75. If you follow the steps and rules I talked about in this podcast, you do not need to do this. Essentially, what they're going to do is they might resize it; they might brighten it to make it look a little bit better. But, if you crossed all your T's and dotted your I's, you don't need to do that. You don't need to pay the extra money, and you don't want them to touch your file anyways because you have it set up exactly how you want, especially if you've already done a test print.

Now, lastly, because I know a lot of people will be wondering, this podcast is totally not sponsored. I'm not being paid. Neither of these places know that I'm going to mention them right now. But I'll tell you the two places where I print at. The first place that I print, which is where I print my metals, my acrylics, and if I print any paper -- I print at Artbeat, which is a studio in southern California. Artbeat does some really nice work. I've actually done some YouTube stuff for them. And so I really enjoy the people that work there. Now, Artbeat is cool because they do free shipping on orders over $250, which, if you haven't looked at the price of prints lately, that's one print, most likely, unless you're printing really small. And so shipping is free, so that's really nice. And it might even be free shipping over $150, I can't remember. But, either way, it's nice because you know that no matter how big of a print you order, it's going to be free. Other places that I've printed at before, I've liked the quality of the print, but, unless I'm local to them, I can't afford to print a 40 x 60 print and pay for shipping. Usually shipping is just as expensive as the print, so it gets really expensive for larger prints.

Additionally, the second lab that I print at, where I just print my canvases, is called ProPrints. ProPrints does some really nice work as well. I've done some work for them in the past, also. Their canvases are really nice. And this isn't to say -- I'm sure Artbeat has great quality canvases. I've never tried it. But ProPrints is so cheap. The canvases are so, so cheap. It's like a no-brainer. It ends up being -- it's less than $250 to print a 40 x 60 on canvas, and this is a really high-quality canvas. It looks great. So I've liked printing my stuff there because it is relatively affordable. I think, if you are on a little bit of a budget, that's a great place to look in order to print your stuff. Artbeat and ProPrints, the two places that I print. Hopefully that's helpful for you guys, so that you can maybe print out a little bit of your own work.

Man, how about that abrupt transition? That was terrible. I apologize for that, but I had nothing else to say. Thank you so much for listening to this episode, guys. I really hope it'll help you. I really think if you follow these -- I don't even know if you call rules or tips or advice or instructions or whatever -- but, if you follow it, I think you'll be really happy with the print that comes out of it. I've helped a lot of people that have came out to my workshops, to create some really nice prints of their beautiful photos, and hopefully this will help you guys. I know this is kind of basic. And, of course, if you want some hands-on help, come out to a workshop. I'd be more than happy to look over your shoulder and help you through the process, but otherwise, this is as good as you're going to get.

Thank you again, so much, for listening. As always, I really appreciate your support here on the podcast. Make sure to subscribe and download every episode, of course, and listen wherever you go. Thank you guys so much for listening. We'll talk to you guys next time. This is Austin James Jackson. See you later.