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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.
After you've completed your workflow in the develop module. In other words, after you've completed processing your photograph and you're ready to go to the print module, well before you do that, what you want to do is turn on Soft Proofing. Now, what exactly is Soft Proofing? Well, Soft Proofing is a way to preview your photograph. It gives you the ability to preview your picture in a way that will give you insight into how the image will be reproduced on a particular printer and paper type. It lets us evaluate and then make corrections to our photographs so that our final prints look good.
Well, in order to turn on Soft Proofing, you can find this in the Toolbar. If your Toolbar isn't visible, press the T key to bring it back. And if the Soft Proofing option isn't there, click on the triangle icon and then select it in the menu here. Well, let's go ahead and turn on Soft Proofing and as we do that, pay attention to the histogram up above and also the image. When we turn this on, all of a sudden, everything is going to look different. Well, our image it appears different. There is a different color surrounding the photograph and rather than the Histogram, we now have the Soft Proofing panel.
Our Histogram has also changed, rather than having percentages, we now have RGB amounts. So that if I hover over the image, you can see the amounts of red, green and blue here, and you will see those values as I move around the photograph. What's happened? Well, we've entered this Soft Proof view. And in this view, a few things have taken place. One, it's drawn a different histogram. Two, it shows us our paper white. It's doing that by turning on this option here, simulating our paper and ink.
Now, that's the default. You can change that by right-clicking or Ctrl clicking. Here, you can see Paper White is selected, or we could choose a different background, say like 50% grey. And again, the default paper white is chosen. Because different papers, well, they have different whites. If you've ever painted a room in your house white, you know that there are different shades of white. There is bright white, ultra white, or there's a white which is a little bit more yellow or other which are a bit more blue. So it is with photo papers as well. Well, this is simulating that paper white.
And also, how the image will appear on that paper type. Well, how does Lightroom know how to do that? Well, if you navigate to the panel, you'll notice there's a Profile. If you click on this menu, you can choose different profiles. Here, I'll choose Adobe RGB 1998. This is the Soft Proof for that particular profile. Or if I'm going to send this to my printer, I can use one of the paper types that I use quite often. Say, like this Velvet Fine Art paper that I use on my Epson 3880, it will show me how this image will look.
All of a sudden, it's a bit less saturated, a bit less detailed. Also, there's just less color. There's less contrast. Well, that's because that paper has a high dot gain. In other words, the ink kind of spreads into the paper. It can't hold the saturation as much as other paper types. Compare this, say, to another profile. How about for a glossy paper? Well, here all of a sudden, the image, it's much more saturated, much more colorful. Now, if you don't see your profile in this menu, you can always go to Other.
This will open up our profile dialog. Here, we can choose to display or not display profiles. If there are profiles that you use frequently typically you check these on and you include those. For example, I've been printing with this paper recently, the exhibition fiber paper, so I'll turn this profile on, and then click OK. It will select that as my profile or I can choose this from this menu here. Another thing that we can do is choose our rendering Intent.
We're going to actually spend quite a bit of time talking about this so that we can really understand rendering intents because these two options sometimes well, they're are a little bit confusing. So, I'm going to skip that for now, but we will cover it in another movie. We've already talked a little bit about simulating our paper and ink and how we can turn that option on or off. Now, typically you're going to want this on. Now, how else can we work with Soft Proofing and what's the big deal here? Well, remember in the previous movie when I talking about clipping and those clipping indicators? You may notice that in the Soft Proofing histogram up here, that we have different indicators or different icons that we're in the same position as those highlight and shadow indicators.
Well, here in Soft Proofing, it's not highlight or shadows, but it has to do with viewing color on our monitor. Hover over this, it will show us colors that are out of gamma. That are out of range when are being viewed on a monitor. Well, we're not concerned with that. Here, we're focused on printing so we want to look at this icon. We can hover over it just to see the problem areas. Or click on this in order to turn on this clipping indicator. Now, when I turn this on, all of a sudden I realize, oh my gosh, All of these bright vibrant colors. The colors that I was so excited about, well, they're not going to be able to be reproduced on my printer with this paper type.
This will change with different profiles, right? Here I am using this Fiber Paper, let's go to our Glossy Paper. Well, that paper it can reproduce a wider gamete of colors so we can see that the indicator is not quite as broad. Or if we compare that to say velvet you can see that there's much more of this clipping or out of gamete indicator. Well, this out of gamete indicator, it's really helpful. Because rather than going to the print module and creating the print and being disappointed, now I get to see it beforehand.
And now, I get the chance to make some adjustments so that I can have a more accurate print so that what I'm seeing is closer to what I'm getting. And this problem comes up because on a monitor, well we're seeing color via light. On a printer we're seeing it via ink. And those two different types of colors, well they're just created differently and they have different gametes. So what do we do, how do we work with this? How do we correct this problem? Well, let's take a look at how we can start to correct this problem, or save our image, or create a version of this image so that that version can be more reproducible, so that we can create a higher quality print. And, let's take a look at how we can do that in the next few movies.
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