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Creating Prints and Books is part of author Chris Orwig's investigation of Adobe Lightroom 5, and focuses on the Print and Books modules, which can be used to create high-quality prints and proofs and design custom layouts for books. Chris briefly reviews how to correct and paint away gamut issues and other problems in the Develop module and shows how to take advantage of templates and collections. The course also shows how to adjust print job settings for contact sheets, single image prints, and print packages, and the final chapters guide photographers through the step-by-step process of building and printing a book from Lightroom.
A bonus chapter introduces a quick condensed workflow for experienced designers who want to learn about changes to the process in Lightroom 5.
An important step in working with Soft Proofing, and in evaluating and correcting your photograph. So that you can create a nice high quality print, is choosing your rendering intent. You can find those rendering intents in the Soft Proofing panel. And in order to see how they work, we need to click on this out of gamut indicator here, so we can turn that warning off. And then if you click on one of these options you'll notice a shift in the image, here it's a bit more saturated, here it's a little bit less. Yeah, that's kind of hard to identify what exactly is happening.
And in my own experience in working with photographers and students, many people don't really know what to choose. They can't make sense of these different rendering attempts. What do these actually mean? And how and why do we use a rendering attempt. Well even more, what we're going to find is that we're going to choose a rending attempt here in in Soft Proofing. And also over in the Print module. And because rendering intent can really make or break the quality of our print, what I want to do is step outside of Lightroom for a minute.
And walk through a few slides, to see if we can't get a good handle on this whole topic of working with rendering intents. Well, rendering intents have to do with this whole issue of color. And, how on a monitor, we see color which is created via light. When we send a photograph from a monitor to a printer, well we have to render that color to a different space. Because on a printer, well that color, it's created via ink. And rendering intents, they're really important. We're going to find these in Lightroom in a few different places.
We'll fine them in the develop module, when it comes to our soft proof preview. And this just helps us evaluate the image and perhaps make some changes to the picture. We'll also find the Rendering Intents in the print module, in the Print Job panel. And this is really important because here in the Print module, this is where we are committing to our Rendering Intent. And making a choice here, well it can really make or break the quality of the print. So let's then explore how we can work with these different Rendering Intents.
Let's say we have a photograph like this here. Well one of things that we can do say with our softproof view is we can turn on this view which will show things in red. It will show areas or colors of our image which are out of gamut. In other words, colors which aren't reproducable. And if we turn on that view, we can see that with this image, we have a lot of colors which are out of gamut. Well, let's explore how our two rendering intents deal with situations like this. And let's start off with relative color metric.
In Lightroom, this is shortened or abbreviated to relative. What relative does is something really fascinating, it looks at these colors and first it says I'm going to divide these up. I'm going to look at my In gamut colors and deal with those differently than I'm going to deal with the out of gamut colors. Here in this view, you can see that I have deleted, or whited out, all of those out of gamut colors. So what then happens to these colors, which are in gamut? Well, it reproduces these colors, in other words, it reproduces what is reproducible. It leaves the in gamut colors simply as is.
Alright, well how then does it deal with these out of gamut colors. Here you can see I've deleted everything except for these out of gamut colors. And let's focus in on say this green. What is it going to do with this really bright, beautiful, saturated green? Well what relative color metric is going to do, is it's going to move this green to the nearest in gamut color. It's going to take this out of gamut color and move it to the nearest color by desaturating it, there's going to be some sort of a color shift with this color.
Now this is great because it helps us to make this picture reproducible, to make this picture so that we can actually print it. Yet the downside is that the color will be of course a bit desaturated and sometimes what you'll see are artifacts. like banding like you can see here in this close up view of this color. Alright, well let's review. Relative, what does it do? Well it reproduces what is reproducible. And it also then takes the out of gamut colors and it moves to the nearest in gamut color. Alright well then why then would we want to use relative. Well you might want to use relative if accuracy is paramount. If you really want your in gamut to stay as is. Well relative's going to be a great choice.
Another situation when relative color might be a great option is when there's just a narrow gamut of colors. In other words, perhaps you have an image which doesn't have any color which is out of gamut. And you know, most of our images are like that. Well if there is a narrow or a smaller gamut, well then, this is going to be a great option. Okay, well now that we've talked a bit about relative, let's then this say to perceptual. How is perceptual going to deal with an image like this where we have these colors and we have all of these out of gamut colors? What perceptual does is something quite different, where relative divided it up into in gamut, or out of gamut, and have dealt with those colors differently.
Perceptual is a bit more cohesive in its approach. It takes the entire image, and it says, I'm going to take the entire image and I'm going to kind of squish this down. And this graphic here is just kind of an overdramatization, but it takes all of those colors and squishes them so that they now all fit inside of the gamut. What this does then is it changes almost each and every color. What you'll see is that it can slightly kind of desaturate almost everything. Now why is it doing this? Or what's this all about? What Perceptual is really about is preserving visual color relationships. It preserves the way that the eye sees color.
So as it moves color, it kind of moves it all together. Now the benefit of using this, of course, is that it keeps the image looking the way that it should look to the eye. Because the way that we see color isn't by seeing color in a correct, or incorrect way. Rather, it's all about color relationships. Perceptual does a great job preserving these visual color relationships. A couple other things about Perceptual is that it works well with photos with lots of saturated out of gamut colors. One of the down sides of this is that it can cause gamut colors to shift. And we'll take a look at this in one of the subsequent movies. So what we can see here is that our in gamut colors, well, they're just going to change a little bit.
Sometimes that change can be undesirable. Another thing to consider with perceptual on the positive side is that it reduces artifacts like banding. In other words if you use relative. And you create a print. And all of a sudden you see banding say in the sky or on a part of the area where you have a gradient or color transient. Well then just go ahead and choose perceptual. And most likely perceptual will save the day. All right, well, now that we've seen or talked about both of these different options, let's go back say to our print job panel.
Because this is where we need to make the decision. Do we decide relative or perceptual? Well, relative as you remember is useful. When accuracy is paramount, when you want your colors which are in gamut to stay the same. Perhaps you're photographing a garment for a catalog and you need that garment color to be accurate, you can't afford to have any kind of color shift with that. Well relative may be a good choice in that situation. Or perhaps you have a narrow gamut of colors, well again relative will be great.
Or maybe you're not too concerned about those really highly saturated colors that are out of gamut. And a little bit of clipping or changing of those colors or bringing those into gamut, well that's going to be fine or relative will work really well in those situations. In comparison perceptual you want to choose that to preserve visual color relationships. This one it works well if you have photos with lots of saturated out of gamut colors, and you just want to preserve the way that the eye sees those colors in relationship with each other. Well this can of course cause in gamut colors to shift. You want to look out for that, and watch for that. And then, on the positive side, one of the benefits is it, this reduces artifacts like banding.
If you see banding in your image, well, perceptual may be a good option. Well, my hope is that by having this conversation about rendering intent, that this has given you some valuable information. And that you can then use this information in order to make a more educated decision. When it comes time to decide which rendering intent you're going to choose when printing your photographs.
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