Photography Printing Guide: How to Get Great Prints From Your Digital Files

Why Prints Look Different From Your Screen

The most common print problem photographers face is color and exposure mismatch: the image looks one way on screen and comes back from the lab looking noticeably different. This is almost always a monitor calibration problem, a color profile mismatch, or both. The print workflow fixes these issues systematically so results are predictable.

Step 1: Monitor Calibration

If your monitor is not calibrated, every editing decision you make is based on inaccurate information. What looks correctly exposed and color-balanced on an uncalibrated monitor may be half a stop dark or significantly cooler than reality. The standard calibration tools are the X-Rite ColorMunki Display and the Datacolor Spyder series. Both attach to your screen, measure its output, and create a custom color profile that corrects for its specific characteristics. Calibrate every four to six weeks -- monitor output drifts over time.

Step 2: Color Profile on Export

Export images with the sRGB color profile for most consumer and professional labs. sRGB is the standard color space for the web and for most printing pipelines. If your lab provides a specific ICC profile for their printers (WHCC, Miller's, and Bay Photo all do), download it and use it in Lightroom or Photoshop at export. The ICC profile tells your editing software exactly how to translate colors for that specific printer, which produces the most accurate results.

Step 3: Resolution

300 DPI at the print size is the standard for high-quality prints. To calculate the required pixel dimensions: multiply the print width in inches by 300 for the horizontal pixel count, and the print height by 300 for the vertical count. An 8x10 print at 300 DPI requires a 2400x3000px file. Most modern cameras produce files with more than enough resolution for standard print sizes up to 20x30 or larger.

Step 4: Output Sharpening for Print

Images that look sharp on screen often need additional sharpening added at export for print. Screen viewing distance and print viewing distance are different, and the printing process itself slightly softens edges. In Lightroom, the export dialog includes a print sharpening option with settings for paper type (matte or glossy/lustre) and amount (standard or high). Always apply output sharpening when exporting for print.

Step 5: Lab Selection

Professional photo labs significantly outperform consumer labs for color accuracy, archival quality, and consistency. The most commonly used professional labs among working photographers are WHCC, Miller's Professional Imaging, Bay Photo, and Mpix Pro. Consumer labs like Walgreens, CVS, or even Costco use lower-quality paper, less precise color calibration, and inconsistent output. For client work, always use a professional lab.

Print Paper Types

Lustre: The workhorse. Semi-gloss finish that reduces fingerprints compared to glossy, shows color well, and works for nearly every subject. This is the default for most portrait and wedding prints.

Matte: Flat finish with no surface glare. Good for artistic or editorial looks. Colors appear slightly less saturated than on lustre. Popular for fine art prints and black-and-white work.

Metallic: High-contrast, slightly reflective finish with a silver sheen. Works well for images with bold colors and dramatic lighting. Can look overdone on soft or pastel-toned portraits.

Fine art paper: Cotton rag or archival papers used for gallery-quality prints. Typically used for fine art photography, framed statement pieces, and high-end portrait wall art.

When Clients Want to Print Themselves

If you deliver digital files that clients can print on their own, include a spec sheet with your delivery. Specify the recommended minimum resolution for common print sizes, recommend a professional lab (include a link to Bay Photo or MPIX), and note that consumer lab results will not match what you see in the gallery. This protects your reputation and educates clients on what to expect.