The Holiday Gift Experience: Mount Camera. Capture Video. Create Stills. PRINT!

Mammoth 11053 #MammothStories

The Summit of Mammoth Mountain in the Sierra Nevada Range (11,053 ft 3,369 m)

With only a few holiday shopping days left, I couldn’t think of a better time to share the ultimate Epson and GoPro holiday gift experience. Yes, “experience.” Read on and you’ll understand what I mean.

When you think GoPro, what comes to mind? For most people, including myself, a long time Epson employee, it’s adrenaline and action packed videos. And while that’s absolutely true, GoPro cameras, like the HERO4 Session, are versatile cameras capable of so much more. Beyond capturing high-quality video – from the top of Mammoth to the epic Hawaiian surf – you can take your experience a step further and pull still camera frames from the video to create a printed sample, a panoramic print (everyone knows how much I love panos) or a more traditional size print. And, it’s there in the printed sample that lies a cornucopia filled with endless, customizable holiday gift ideas and possibilities.

The idea here is simple and the approach can be as extreme or “everyday” as you’d like. Put your mind into vacation mode and think scenic, fun places like the Grand Canyon or Mammoth. Using a GoPro camera, you can capture video at 4K or 1080p resolutions. If you record at 4K, you can actually capture the video by using a steady pan across the scene, and probably create a pretty good canvas panorama print. Check out the video below and the recent series of Community posts – Drones on a PlainPropeller Panoramas and A Stitch of Nine in No Time – to learn how to create a panorama from aerial video files in Photoshop.


If you record in 1080p resolution, the Epson SureColor P400 13-inch photo printer is the perfect solution to output your still image panoramic print, given its 8.3-inch glossy and luster roll paper support. Lower resolution, no problem. The pano of Mammoth Mountain shown here was converted in Photoshop CC 2015 from 1080p video shot on the GoPro HERO4 Black printed on the P400 and came out to 8.3” x 27” long.   I did this in about an hour. Bonus: The big photo on the wall (also of Mammoth) was shot on my phone and printed at 12”x18”.

SureColor P400, GoPro HERO4, Adobe Photoshop CC

Everything you need to shoot and print amazing photos and panos.

Keep in mind too that you can shoot 12 megapixel stills with the GoPro cameras. Plus, leveraging Protune, an advanced set of features available on the GoPro HERO3+ and HERO4 cameras, photographers and the like gain more control over settings like ISO Limit, EV Compensation, Sharpening, White Balance and Color Temperature. With the P400, you can print beautiful output from a 12 megapixel file – it offers borderless printing from 4”x6” to 13”x19,” including the popular frame sizes such as 8”x10” and 11’x14.” From there, you can create keepsake gift items, like a panorama print to display proudly on the wall, or a shadow box filled with a variety of still prints captured from your latest GoPro video experience. The same is true when pulling still images from a video file for printing.

Instead of gifting your loved ones with “stuff” this holiday season – well, unless the “stuff” uses super cool technology (like the GoPro cameras and Epson photo printers), offer a piece of yourself – a personal, custom memory preserving an unforgettable experience.

Happy Holidays!


NOTE: Statements about other companies, products, and/or services in this blog are not intended to imply endorsement by those companies, products, and/or services of Epson America, Inc. or its products or services.    

Nothing Says Happy Holidays Like At-Home Gallery Wrapped Prints

20151118_134008I love canvas! If you see me at a trade show, I’m usually printing on a couple of different media types, but one of my favorites is canvas. My number one favorite canvas (I think we’ve talked about this before) is the Exhibition Canvas Natural Gloss, which is a lot like canvas luster. Two other canvases I’m fond of are Exhibition Canvas Satin and Exhibition Canvas Matte (and Exhibition Canvas Natural Matte too). All of the canvas mentioned in this article is very affordable for 13-inch rolls. Choosing a canvas really comes down to personal preference and the way you want your finished photo to look – if you like a fine art feel or more of a glossy, bright print.

The below video shows the steps for printing a panorama onto canvas. As you’ll see, the older Stylus® Photo R2000 and R3000 are highlighted in the video, but the steps are virtually identical on the SureColor P400 and P600. We’re working to update the videos with the newer models, but in the meantime, this should give you the know-how to create high-quality, personalized gifts to get you through this holiday season.

As I’ve talked about in a previous blog post about 13-inch canvas, the question is often whether to stretch or not to stretch. You can use the cloth wrapped matte bar method, or there are some really interesting solutions from a couple of different companies that allow you to easily stretch canvas at home. Now these don’t require any special tools – they are at-home kits that come with everything you need. And the cool part… it doesn’t require a lot of work. It’s super easy to do.

  • GoFrame offers an at-home kit that includes little jigs that allow you to quickly and easily make a gallery stretched canvas. I’ve documented the steps in image form for your reference. Mine turned out great.a3 holiday blog image
  • Adventa, a company I recently came across at the SGIA trade show in Atlanta, makes and sells these really, really cool at-home kits that allow you to create a fully boxed, finished canvas gallery wrap type frame. I was blown away at how simple the process is, you literally:

1. Create a quality canvas print using your Epson SureColor 13-inch photo printer
2. If needed, trim the canvas to the appropriate size and staple around the outer edges to secure to the Adventa frame
3. Fold along the perforated edges to stretch and secure the canvas print into place, and seal with the provided frame backing

The neat thing about these two options is they don’t require a lot of effort, they are not hard to do, and you can get a good quality, expensive-looking gallery print…a.k.a. a personal, heart-felt gift that is sure to surprise and amaze the most difficult-to-buy-for people in your life.

One thing to keep in mind when printing with 13-inch wide canvas is dimensions. I would recommend printing 8” x 10” or 10” x 13”. But please don’t think of the canvas width as 13-inches. When you stretch the canvas to frame it, the width will end up closer to 10-inches. And make sure to print the canvas with a bit of extra length to ensure you have the material required to finish the wrap.

These are just a couple of quick holiday gift ideas…clean, professional looking canvas prints that preserve the memory of a personal moment that you did yourself without having to go through the hassle of working with a framer for an overly expensive gallery print.

That said, there are some great professional framers out there, but I would always make sure to look at their work before you commit to purchase. I would also recommend confirming the company you choose can handle artwork canvas printing, so maybe bring them a sample print to ensure they can reproduce the quality you’re looking to achieve.

Happy [canvas wrapping] holidays!

The Long Printed Road: How to Print Panoramas

Long Beach Bluff Pano

I got the opportunity to go to the DJI Inspire 1 launch event at Treasure Island in San Francisco. This was a last-minute event, but really cool because I got to show off one of Epson’s panorama-capable printers, as well as see an even cooler new drone. At the event I met one of DJI’s test pilot/product managers, Fernando, who did some phenomenal stuff with the drone. As he was flying, all I could think was, I really, really need to practice.

When I returned to Long Beach it was a weekend, and since I only live about three blocks from the water, that was my first stop. I headed to a park that was just redone in Long Beach, just above the water, and started practicing flying.

Inspired by workshops hosted by Adobe’s Russell Brown for Photoshop World 2014, a recent series of posts on the community – Drones on a Plain, Propeller Panoramas and A Stitch of Nine in No Time – look at ways to create a panorama from aerial video files. But, what about printing them?

The video below explains how to print a panorama. However, there are a couple more tips that would be helpful that aren’t included. Among them are:

1. What File Resolution?

This is a big question and one that I get a lot, “What resolution or pixels per inch (ppi) (some refer to it as dpi) should I use?” If you’re printing on one of our 13-inch wide printers, you’ll only need 180 ppi. You can even cheat a little bit and go down as low as 150, depending on how far away you’ll be viewing the frame. Humans have really bad vision…we have big brains, but not great eyes, hence how we survived in the animal kingdom.

If you’re going to be anywhere from 4- to 6-feet away, you can get away with resolution as low as 150 ppi, and I wouldn’t go any higher than 360 ppi, simply because it’s a waste of file size. If you think about it in terms of width by the length of the panorama, (e.g. 13-inches x 36-inches) at 180 ppi, that’s probably ideal. And, if you’re printing at 13-inches x 36-inches at 360 ppi, you’re also good to go.

2. Print Settings for Panorama Printing.

Check out the video above first for the nutsy boltsy stuff. I am a big fan of using the automatic mode. Just use the Premium Luster setting with the Adobe RGB mode. You’ll get really good color out of the image. When I am at tradeshows, I print most images with the Adobe RGB mode, and people always react amazingly…asking, “how did you print that? It looks so vibrant and so clear.” And I say, “I’m using auto mode.” The response is usually, “you’re crazy!”

3. Which Media to Use.

I love canvas. If you read my most recent blog post, you’ll know my favorite canvas is Exhibition Canvas Natural Gloss, which I personally think should have been called “Exhibition Canvas Luster”, because it looks more like luster paper than glossy paper. It has a great texture surface to print on, and it’s not too expensive. If you really want to start playing around with canvas though, I recommend using a matte canvas as they are only about $35 per roll. You can find it here. They allow you to get used to the process of printing on canvas without spending a lot of money.

Premium Luster, our most popular photo paper, is also available in 8.3- or 13-inch wide by 32-foot long rolls. If you’re a fan of luster, and a lot of people are, try using it.

4. Finishing the Print.

I’m a big fan of not stretching 13-inch wide canvas rolls because they’re just too small. So I use matting and printing using the same Exhibition Canvas Gloss that I talked about earlier. What this does is extends the canvas out further so you can display a larger printed area – 12-inches x 18-inches, 11-inches x 14-inches, etc. – with a frame that separates the print from the wall. I love this. I think it looks great, clean, and more professional. I’ve always had a tendency to think that…I’ve always thought that gallery wraps look unfinished. However, if you’re doing a gallery wrap, just keep in mind that you only have about an extra inch, maybe an inch-and-a-half that you can actually wrap. In addition, you’ll probably have to cut it down to maybe an 11-inch wide panorama.

Full disclosure: I recently received a Phantom 2 Vision+ from DJI at Photo Plus Expo, and I went on another practice sesh to use it. That’s when I shot the video and built the spiffy pano photo you see above.

If you have questions about this, please comment below and I will make a Herculean effort to get back to you as quickly as possible.

Paper is Personal


A lot of people have asked me to write this post. I’m finally getting around to it. The reason it took me so long to write is because paper is…personal. I could go into terms like “alpha cellulose” and “lignin”, things that nobody really cares about. You just all want to know what kind of paper to use, right?

Let’s start with how we divide papers. We have four categories: Photographic, matte, fine art and canvas. I have to say, I find the term “photographic paper” a misnomer, as you can print photos on all of these papers, and they’ll look beautiful.

Matte papers have a flat surface, kind of like plain paper; there’s no gloss to it. Like all high-end inkjet papers, they have a special receiving layer, so when the ink hits the page it stays in that one spot. The coating on matte papers is softer and scatters light, producing the matte effect. I like using matte papers for quick, high-quality images, drawings, and design layouts where plain paper isn’t good enough, but glossy paper would detract from the print.

Fine art papers are much like matte papers but they’re thicker and heavier, and can be textured or smooth. Sometimes they are made from cotton instead of wood pulp, but they’re always made from finer ingredients that have a much more intensive production process. We have four double-sided fine art papers: Exhibition Watercolor Paper Textured, Hot Press Bright, Cold Press Bright, and Cold Press Natural. We also have a single-sided fine art media, Velvet Fine Art Paper, and it’s beautiful, but be careful that you don’t print on the wrong side! Fine art papers are used for many of the same things that you’d use matte papers for, but you want the highest quality. Some artistic-style photos, fine art reproductions, and illustrations are ideal for fine art paper.

Canvas—we have matte, satin and glossy. I always take exception to the term “glossy”. It’s not glossy, it’s a textured gloss-type surface, more like our luster paper, which is a photographic paper and yields a print like an oil painting. Satin is also like a textured gloss paper, but is has less reflectivity. And matte, like I described before, is a flat, non-glossy paper and gives you a watercolor-style print. I’m a big fan of canvas, especially the Exhibition Canvas Natural Gloss (luster), and I like using it for panoramas. If the canvas area is too small to stretch, then I recommend matting and framing it without glass. As for the matte, check out my previous entry here for a cool matte style that pairs great with canvas. Your image type and desired print style will dictate what kind of canvas you use. Portraits work well for canvas gloss (luster) and satin. Use matte just like you would a fine art paper.

And lastly, we’ll talk about photographic papers. These come in either textured or high gloss. High gloss is like what you’d get from the photo developer, when you send off a roll of film or drop off a memory stick at your local big-box store. You’ll get what we call “wet chemistry” photos, created by a chemical process over silver halide—but it’s rare nowadays. It’s not only bad for the environment, but also the color doesn’t last very long and they’re not water resistant.

Our most popular textured photographic paper is luster, which is like a slightly glossier matte, and next in line is our glossy. Then there’s a paper, not-so-appropriately named “semi-gloss”, which is like the luster paper but without as much texture or shine.

What are my favorite papers? I love the Exhibition Watercolor Paper, both the canvas satin and natural gloss. Anything photographic I pretty much reach for semi-gloss or luster all the time. Unlike glossy, which will pick up fingerprints really easy, those two are textured, so they tend to hide that stuff, especially if you’re image has a slightly lower resolution. That’s another reason I love canvas—it camouflages all kinds of minor file problems.

A great way to try a bunch of different papers is to get the Signature Worthy Sample Pack, which has two sheets of seven different types of paper. For canvas, get a small roll of one variety, like the Natural Gloss or Matte, which both measure 13 inches wide and 20 feet long.

If you guys have any questions, please drop them in the comments. I’ll endeavor to respond more quickly than I have in the past.

Digital Couture Turned Heads at New York’s Fashion Week


Lights. Cameras. Fashion. On February 9th, down in the heart of New York’s West Village, the entrance of Industria Superstudio was a bustle of activity. A studio used for over two decades by a cadre of fashion icons, such as Louis Vuitton, Vogue, Vanity Fair and Balenciaga, was hosting a client of a different color: Epson.

Indeed, the star of the show didn’t get the once-over by the girl with the clipboard or walk up the ramp swirling with a projected lightshow. It was the SureColor F-series’ New York Fashion Week debut, after three years of working its way up the ladder of fashion’s hierarchy.

“Since Epson is not a textile brand, we started having runway shows at our printing trade shows. Nobody expected that, and we started to create some noise,” recalled Catalina Frank, product manager for professional imaging at Epson, including the SureColor dye-sublimation product line. “The next step was being part of Fashion Week Brazil, in São Paulo, where we were able to work with the well-known Brazilian designer Lino Villaventura.” Soon Epson was featuring their own runways at textile trade shows, a first for the company, in countries like Ecuador, Colombia and Peru.


Never a dull moment during the event at Industria Superstudio. Designer Mariana Morrell, from Brazil, far right.

And in New York, the crowd may be forgiven for overlooking the printer, even though it was housed in a prime position at the studio’s entrance, due to their excitement to get a closer look at the designs worn by the tall, slender models in the main room. Garments covered in brilliant colors and bold patterns, all printed on the SureColor, literally sat and stood center stage, while guests discussed the fabrics, process and inspiration with the designers.

“It was great to see that so many people were truly interested in the designers’ work, asking about what inspired them and how they liked working with the Epson printer for the project,” Catalina explained. “And to hear the designers talk about how they saw their vision come to life because they used the technology and being able to differentiate themselves from the competition because they can create their own fabrics—that told me we were successful.”


Pilar Briceño, our designer from Colombia, surrounded by her designs.

Now that Epson has impressed the fashionistas in the Big Apple, what’s next for this technology? “I think we have established Digital Couture as our own brand at New York Fashion Week,” Catalina answered. “Now we need to focus on looking at ways to support this community in the future, and creating more technology that allows them to express their creativity.

“We’re a global company, so I think we’ve really just gotten started.”


ESOSA with their designs: Left, Emilio Sosa; center, David De La Cruz


Back row, left to right: Lucia Romero and Cindy Zheng of Dual; Leonor Silva; Agustin Chacon, Epson VP Marketing Americas; A.Y. Not Dead; Pilar Briceño; Marco Antonio Farias; Mariana Morrell; Maggie Barry; David De La Cruz of ESOSA. Front row, left to right: María Elisa Guillén Serrano; Pablo Alvarez of Pineda Covalin; Moah Saldana; Emilio Sosa.

Fashion Forward: Epson Dye-Sub Printers Hit the NYC Runway

DESIGNER_PRESENTATIONIf you’ve watched any fashion reality show, you have an idea how clothes come in to being: the designers come up with a concept for a design, then are taken to a warehouse to choose a fabric that best matches their ideas. They use that fabric to transform their sketch into reality, as best they can. And, unless you’re a huge fashion house, designers have no choice but to work with existing textiles.

That is, until now. “But what I find really fascinating is: What are they thinking of? Do they want to use pictures? What pattern do they want to create? There’s no problem with colors. There are no limits.”

That’s Alejandro Ordoñez, Marketing & Communications Manager for Latin America, explaining how the Epson SureColor F-Series dye sublimation printers give small designers a whole new arena of creative license.

“The beauty of this technology is that they can create something just about the same as they see it without any compromise whatsoever,” says Alejandro. And, he says, the printers can provide mass production with high quality. Once the pattern is created into a digital file and technical color testing is done, printing is the easy part.

“You can print a couple of hundred yards today, and if you have something you want to change, you change the file and print more tomorrow,” Alejandro explains.

The SureColor’s journey to the runways of New York’s Fashion Week started in South America, where they initially focused on sports jerseys and direct-to-garment printing. “Then we figured out that what we were actually doing was creating textiles,” said Alejandro. “And textiles are the basis of the fashion world.”

After a few successful fashion shows on a small scale in Ecuador, Colombia and Brazil, designers started showing a real interest in the technology. It was time to take the project global, and creating an event for New York’s Fashion Week was the logical next step.

Alejandro’s team selected 11 designers from the Americas, all of whom had either already used the technology or were eager to try it. “Although we wanted them to be inspired by the theme of ‘The Future of Fashion’, we wanted them to express their personal perspective of cultural experience,” explained Alejandro. From Los Angeles, California to the mountains of Chile, Epson’s exclusive list of designers include:

These designers will be bringing their unique perspective and collections specially created via the SureColor dye sublimation technology to Epson’s Digital Couture event during New York Fashion Week.

“I’ve received some of the collections from Latin America and I’m really happy,” confessed Alejandro. “I can’t wait to see them on the runway in New York.”

Animal Prints on Boing Boing

TshirtI had been Facebook friends with David Mizejewski for some time, but had missed meeting up with him at the 2013 New York Comic-Con. You probably know who he is—a naturalist (officially, the “Nature Geek”) with the National Wildlife Federation and the one who scares the crap out of hosts on shows like The Tonight Show with Jimmy Fallon and Conan O’Brien with unusual animals. He even keeps the animals from attacking Kathie Lee Gifford on the Today Show. (We may even have an upcoming joint blog post somewhere down the line.)

We do a booth at the New York Comic-Con every year, and in 2014 we showed our SureColor® F2000 and the R2000. The idea was for people to come to the booth, draw their own stuff and either print out cool canvas prints on the R2000 or see a T-shirt printed with the F2000.

So I’m at Comic-Con and send a message to him on Facebook to stop by the booth, and he says he’s in the Press Room. I go upstairs to meet him, and he’s hanging out with his friends Rob and Heather Beschizza, a few of the editors from Boing Boing. Boing Boing has been going since the 80s, since it was a print magazine, but the now online-only zine is an aggregate of the web’s “weird, wonderful and wicked things to be found in technology and culture”.

David is also a blogger for Boing Boing, with cool posts about peregrine falcon dive speeds and how animals would help us win the zombie apocalypse. When I asked them if they wanted to print some stuff on a T-shirt down at the booth, they were all over it.

David emailed a photo of Rob’s artwork to me, then Rob dropped his smartphone on the cover of the SureColor F2000 so he could record a video of the T-shirt coming out of the printer. Like he says, it prints out “like a goddamn office memo!”

Take a look at the video by clicking here.

Update 01/26/2014: I was so excited about this post, that I forgot to include a link to, where you can find crazyfun stuff about animals from David.

Creating a Scrapbook Page as Art

AmBoy_Full_CropI get this question at trade shows all the time: What do I do with 13-inch canvas? It’s not enough to do a gallery wrap with. And my answer is: Don’t wrap it.

So many people seem to be a little apprehensive about printing on the 13-inch canvas, and they shouldn’t be.

You can create a 12 x 18 or 11 x 14 print, making sure that there’s at least a half an inch on each side. Take it to a good framer and ask them to mount it on foam core or another stiff backing. Ask the framer to use these really cool linen cloth-wrapped mats, and then put it in a standard frame.


Linen cloth-wrapped mat detail.

It looks really professional and finished, and it also extends that canvas look out to the frame. For people who sell their images, this is a great way to frame your work. It’s clean, it creates definition and makes your image appear bigger. Find a local framer that does this kind of finishing and create a partnership with them, asking them to do a few frames up front in return for reciprocal framing business once you start selling your printed images.

But for you folks at home, there are other cool projects to try, like create scrapbook pages as art. What you do is choose your background. Take a family photo, a landscape from the summer vacation, or whatever you want, even abstract art (like that fingerpainting, cloned a few times over), and open it in Photoshop (or your choice of photo editing software). Create a new layer and play with the opacity slider (50 percent is a great place to start), or create a “Vibrance” or “Hue/Saturation” adjustment layer, and crank up the vibrance or saturation on a landscape—it’s really easy to do.

Print this out as a 12 x 12 background on the 13-inch canvas, and then start adding small photos on top of the background—family members, more vacation pics, it depends on your theme for the scrapbook. Use special paper to add embellishments or frames behind the small photos to make them stand out against the background.

Scrapbook embellishments give the piece a 3-D look.

Scrapbook embellishments give the piece a 3-D look.

The best part is that you can buy a 20-foot roll of matte canvas for around $35 or, if you want to go whole hog, you can get the Exhibition Canvas Natural Gloss (it really looks more like luster, not glossy), which is my favorite canvas, especially since it reminds me of an oil painting when its printed. It’s fairly inexpensive, and you’re creating a unique memory with archival inks that won’t fade.

It’s a super cool gift idea, and it’s not just something that you bought. Plus, it’s not that hard to do. In fact, it’s easy enough that you still have plenty of time before Christmas to make a few gifts for your family and friends. Questions? Ask them in the comments section below, and I’ll get them answered as soon as I can.

Photos and Layout courtesy Katye Witt.

A Stitch of Nine in No Time

russell_brownWhen I sat down in Russell Brown’s tutorial at Photoshop World 2014, I didn’t know that he had won an Emmy® for his online instructional videos. But within minutes, it was obvious why he’d won—he’s extremely entertaining.

Even though I’d spent the best part of a day with him the day prior to the tutorial, I didn’t realize how well his manic energy would transmit to his teaching. And it turns out that he’s one of those teachers who can keep you wildly entertained while actually educating you at the same time.

Russell, or Dr. Brown as he’s known on Adobe TV, used the tutorial to follow up with the workshop he’d arranged the day before, his Lights, Aerial Camera, Action! in Nelson, Nevada. Many in the conference room had attended the workshop and practiced their skills taking video and stills with the DJI Phantom drones, but many were just there to learn from a true Photoshop master.

He started off at breakneck speed, talking fast as he told us how much information he was going to try to impart in a mere hour. It seemed like a lot of information to get through, and technically complex, but that’s not a problem for Dr. Brown. Even though his style is frantic—and interspersed with tongue-in-cheek asides that had the whole crowd laughing—Russell used detailed slides in a presentation to teach aerial photography zealots how to choose capture settings on their GoPro Hero4s and Vision Plus drone cameras to get the best results.

But he saved the best for last. With just 15 minutes left on the clock, Russell walked us through how to create a panorama with nine aerial photographs, from color correction through to the finished product. I know I wasn’t the only one with my mouth hanging open as Russell expertly changed levels, adjusted the horizon, pulled pixels around…and presto magic. Nine great shots of Bodie, a ghost town in eastern California, became an eerily beautiful panorama in less time than it takes to make a pot of coffee. I’d bet my 401(k) that there wasn’t anyone else in the room, even another Adobe expert, who could have stitched together that panorama in the same amount of time, and in front of all those people.

Luckily, Russell posted all of his capture setting tips and panorama Photoshop tutorials on the Internet for all of us mere mortals to view in a more relaxed amount of time. Visit and get ready for a real education.

Here is an example of one of the videos that you’ll find on that site:


Note: This is the third in a series of four posts inspired by a pre-show workshop arranged by Adobe’s Russell Brown for Photoshop World 2014. Checkout the other posts: Drones on a Plain and Propeller Panoramas.

Giving New Meaning to Mobile Printing

We want it now…instant gratification. It’s happening everywhere: shopping, streaming video and even food delivered to your door. And it also can have a negative meaning, depending on the situation.

Here’s where Jeff Cable is a contrarian. He’s also figured out how to go above and beyond for his clients and gives them instant gratification by actually giving them a framed print onsite.

Jeff Cable is a renaissance man of photography. He’s shot pro sports, car races, large scale weddings, portraits and even family gatherings, and he knows what it means to these people to capture that moment in a photo.

He’s also a master at his craft, from shooting, retouching and even printing. Check out the video above where Jeff finishes an event shoot and then heads to a makeshift studio in his truck to create something special. He retouches one of the portraits from the event, and then prints a 12” x 18” on Epson Velvet Fine Art paper (his favorite paper) from his Epson R2000 powered by an adapter. Jeff also has a frame ready to go, so within minutes he has a professionally finished and framed photo that he presents to the client.

Instant gratification. Instant gratification for a family who is celebrating a momentous occasion. He told me: “I have made many family members cry with these!”

And this is instant gratification that’s different from Instagram, Facebook or any other digital app or social media. This memorable photo will never get accidentally deleted, because Jeff printed it, framed it and gave it to the family before the party was even over. That framed print is a printed backup, one that they can immediately hang on the wall as a permanent memory of that day.

Jeff really understands what it means to have a physical, tangible memory of that day, and he gives it to them right there. And that’s cool.

About Jeff Cable: Bay Area-based photographer Jeff Cable has taken impressive shots of wild animals, landmarks, natural landscapes, portraits and sporting events, and is an official photographer for the U.S. Olympic Team. He teaches photography to other professionals globally, and is also one of the most requested presenters at New York City photo retailers. To see more of Jeff Cable’s photos and read more about his adventures around the world, check out his blog.