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Creating Prints and Books is part of author Chris Orwig's investigation of Lightroom 4, the image management and editing tool from Adobe, 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 and other print projects. 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.
For more training on Lightroom, watch Photoshop Lightroom 4 Essentials: Organizing and Sharing with the Library Module and Photoshop Lightroom 4 Essentials: Enhancing Photos with the Develop Module.
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.
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's a different color surrounding the photograph and rather than the Histogram, we now have the Soft Proofing panel.
Our Histogram is 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. Well, what's happened? Well we've entered the 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% Gray. 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's a bright white, ultra white, or there's a white, which is a little bit more yellow or others which are 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 AdobeRGB (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 VelveFineArtPaper 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 detail. 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 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, 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 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? Remember in the previous movie when I talked 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 were in the same position as those Highlight and Shadow indicators.
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 gamut, that are out of range when being viewed on a monitor. 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 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 a glossy paper. Well that paper, it can reproduce a wider gamut of colors so we can see that the indicator is not quite as broad. Or if we compare that say to velvet, you can see that there's much more of this clipping or out of gamut indicator. This out of gamut 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, we're seeing color via light. On a printer, we're seeing it via ink. Those two different types of colors, well, they're just created differently and they have different gamuts. 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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