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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 having decided why you want to build your book, after having clarified your vision. Well, the next thing to consider is materials, and size, and also how you want to layout your project. Well here, I want to look at a few options that we have when creating a book, that we're going to order via Blurb. The first thing that I want to highlight is a swatch kit. This is really helpful, you can order this swatch kit. And they'll send you a few materials. Here you can see, I have some samples of different cover materials. Also, different paper types that can be used.
And what I've found, is that by going through the swatch kit, it's really helpful. Because you can feel the paper, and look at the images on these different types of paper, can help you make a bit more of an educated decision about what you want to use in your project. Well then, of course, you have to decide about dimensions. What is the size for your project? Well, here, we have a few different sizes. One of the things to keep in mind, is you want to think about the cover relative to the size. Is it a square or a rectangle? How is the image going to sit inside of that space? Like this one is a square, with a white border around it. That looks really nice.
Or perhaps you want to do something fun like this, a shape which is a bit more like a rectangle, there's a cover photograph, which is then reversed on the back side. Again, there are so many different options. You can also create a cover say with a dust jacket, like this one here. That jacket is then wrapped around the cover of your book. And so as you think about these different options, really go back to your vision. What is my vision? What do I want to communicate, and convey, and then make these decisions. Another decision, of course, is the interior of the book. And here's an interesting layout.
I really like this photograph and this layout. It's a picture. You can see the photographer's name on one side and sub-copy the photograph on the other. And he writes a little bit about this photograph. I want to read a few words here. I'm transfixed when I encounter an intimate setting like this. It's a portrait of those who are long gone, and yet still very present. And for this project, which is a fascinating book, it's called The View Project. This layout really makes sense. In other words, they came up with the vision for the project, and then decided the layout.
They chose a layout which worked for what they wanted to accomplish. Other times, you just need to experiment. Here I have a couple of my own experiments. Two different layouts of these photographs here. These are some family pictures. And I wanted to create a book for my wife that was just a keepsake, a little gift of some simple family pictures. In one layout, I have white space around the pictures. More than one picture on a page many times. This one is a little bit bigger. The one which is smaller, well, the photographs they bleed all the way to the edge.
And what I found with this project, with these family photographs, I thought I was going to like the bigger book better. But when I got it, it was just too big. These pictures are intimate, familial. The smaller size with this layout, where the photographs were all the way to the edge. Well, it just worked much more effectively. So again, sometimes you have to go back to your vision. And make those decisions and hopefully you get them right. Other times, you have to experiment. You have to try your photographs out in these different sizes and also with different paper types.
But what I've found is that perhaps most importantly, is having that clear, focus or vision and then making these decisions and experimenting a little bit. Is that it can help you to create an even more effective and compelling photographic book.
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