Upping colour or contrast has a long and honourable history. Everyone who shot Fuji Velvia was taking advantage of the film’s tendency to push colour to unreal levels. Agfa film was known for its warm tones, others did nice things to skin, and even Kodachrome wasn’t real, just nice, and long lasting.

With digital editing, it’s simply a slider away to take the colour and push it up till it pops, and many do so, with nearly all of their images. Heck, cameras even have a setting for it. A quick visit to popular photo sites will reveal colours that never saw the light of day, so to speak.

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In evaluating print quality, these are the factors I take a hard look at:

• Colour Printing and Paper Profiles
• Tone Transitions
• Colour Shifts Under Different Lighting
• Surface Sheen on Luster and Glossy paper
• Black and White Qualities
• Paper Handling and Printing Speed

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It was early spring and I hadn’t been to Fish Creek Park in a long time. It was mid afternoon, the light fairly harsh, and I didn’t find anything to excite me ’til I made my way upstream and I was literally under McLeod Trail. In the shadows under the bridge and away from the heat of the sun were some ice formations, and one in particular stood out because it was lit from behind by a stray beam of sunlight sneaking under the bridge from the other side.

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When I picked up my Pro-1 from The Camera Store it was almost a ceremony. I welcomed some help to slide the big box into the back of my SUV. While I managed to get the sixty pound printer into the house and installed by myself, I’m reasonably big and strong. Moving and placing the printer is chancy for one person but is a snap for two, so I recommend having someone along to lend a hand.

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