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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.
Here, let's take a look at how we can continue to use soft proofing in order to evaluate and correct our pictures. And in particular, let's take a look at how we can use the adjustment brush in order to paint corrections into a specific area of our image. Well first, let's go ahead and turn on our soft proof. To do that, you can press the S key or you can click on this box here. Once in the soft proofing mode we want to choose a profile. The profile I'm going to choose is premium luster paper. I want to have a lot of bright, vibrant colors.
Next we want to turn on our out of gamma indicator or warning indicator here. Showing me that these brighter, more saturated colors, well those are out of gamma. For my rendering intent, I'm going to choose relative. This will then just work on these out of gamma colors. It actually want to correct those myself. So to do that, I'll first click on Create Proof Copy. This will then create a virtual copy for me down below, which I can then work on. I want to work in this with the Adjustment Brush. Here we can click on the Adjustment brush in the Tool Strip, or we can press the K key.
Next, we'll scroll down and choose to Desaturate, so we can paint in some desaturation. And then we want to scroll down to our Brush Options. We'll want to a pretty small brush that we can work on specific little areas. Not too much of a feather amount our flow. We need to go below fifty probably somewhere in the forties or the thirties. Next, we can start to paint over our image. As I do that, you can see that what happens is I'm painting away these areas which are out of focus. I'm correcting this part of the image.
And this gives me some nice flexibility just to work on this part of the image and really target those tones or colors which are a little bit more problematic. This way I'm not affecting the other colors in the file, just these ones which are more saturated. And again, just making my way through the picture, I'm watching to see how the effect is taking place here. It's modifying the color, but not too drastically. As I paint back and forth more times, it removes more of the color. Go ahead and make my brush bigger here by pressing the Right Bracket key and work on the greens up top. Just remove all those little areas there.
And then I'll come down to the blues. Now these blues were really saturated. So what I'm going need to do probably is crank up my flow here, bring it up a little bit more see if that won't help. And I make my way through this and then make sure I'm just working on these blues which were kind of over the top. And that looks pretty good. And we have successfully corrected all of those colors. What's great about using the adjustement brush is we can flip the switch here. We can flip this to see our before and after.
We can also turn off that clipping indicator, or out of gamma indicator and flip the switch, and this will show how it's affected those colors. And in this case, for the most part it's done a good job. It shifted some colors in some pretty significant ways, yet it's brought all of these colors now in gamut. And this image, really, it's ready to be printed. Let's look at one more example with this technique. Here I'll go ahead and click on this next image. And I'm going to zoom in on this image. Let's zoom in, say to a 1 to 4 view.
We already have this particular perspective turned on as far as our Soft Proof. Let me close a few things, though, so we can kind of focus on that. Soft proofing is on, here is before without the Soft Proof. Then here it is with this on. With this image I want to print it on this paper, the velvet fine art paper. When I do that and when I turn on my out of gamut warning indicator. It shows me that some of the greens here in these flowers. Well those are out of gamut. Again, to correct even small things like this we can use that adjustment brush This time same settings right? Desaturate, go ahead and check out our brush on a relatively low flow. Probably an even smaller brush size there.
We can just start to paint over these little problem areas and as we do that we can really target those problem areas. Here it's telling me, well Chris you forgot to make your proof copy. I'll create one now. We've already talked about how that works, and then I can just keep working. That's the nice thing about this is that if ever we miss our initial step as I mentioned before. Lightroom will just give us a little warning and help us do that at the time when it's relevant. And here, just going through these areas where I'm seeing the little red dots.
I'll increase my flow and my brush size a little bit for the areas, which are a bit more problematic. Just some clipping there in some little teeny areas. And the trick with this of course is that, it's okay to have some clipping in your image. You don't need to bring all of the colors in the gamma, because we already know that our rendering intent can do some of that for us. This will just help us have a little bit more control, so that we can see what this color is going to look like while we're working on it. Up here again, just painted across this to try to get a few more of those areas out, and I think that looks pretty good. If we go back to our fit view, we'll be able to see that there are just a couple other areas in the background as well that we might want to hit up with this tool while we're here.
Again, just bringing some of those colors and tones in the gamma, using the adjustment brush in order to paint these adjustments into specific areas, to make corrections on our images. In side of this soft proof mode. Now of course after we've done this, after we've completed our adjustment we can put away this adjustment brush. With this image, one of the things that I'm noticing is that while I've brought everything in gamut, it's just lacking a little bit of warmth. Take a look at the image before. Here is our image before If we turn Soft Proofing off, the image is much more vibrant.
Here's after, well part of that is that I'm using this velvet fine art paper, one of my favorite papers. Well because of that, I'm going to go into my basic panel. I'm going to crank up my temperature here just a little bit, bring this up a touch, bring in a bit more warmth. Also might go down to my vibrant slider and add a bit more vibrance and I'm adding a bit more vibrance than I would typically be comfortable with. Had I not been in soft proof I would have thought, Chris this is over the top.
But here now in the soft proof, seeing how this image will be printed, it helps me make this decision. It helps me have a bit more logic into how I make these choices. Now again, in this case for our rendering intent, we could choose perceptual, just deal with these out of gamma areas not the other colors, or if we want the color relationship to more closely respond or relate to the original file, we could choose perceptual. In this case, I think perceptual looks pretty good.
And this image is ready to be printed.
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