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Inkjet Printing for Photographers

Reviewing when colors go out of gamut


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Inkjet Printing for Photographers

with Ben Long

Video: Reviewing when colors go out of gamut

In the last movie you saw how I could graph the contents of a color space in 3D using this program called ColorThink to get a visualization of what colors that space can hold. I would like to show you now how a color space might compare to what a particular piece of paper can hold and how it might compare to what colors are contained in a specific image. Here is the gamut of the Adobe RGB color space--you saw this before--and here is the gamut of some Epson archival Matte paper. I am just going to pull that up right here, and they're going to be superimposed.
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  1. 9m 18s
    1. Welcome
      1m 50s
    2. Exploring why we print
      4m 3s
    3. Understanding what you need for this course
      3m 25s
  2. 13m 29s
    1. Why inkjet printing?
      4m 36s
    2. Understanding ink types: Dye vs. pigment
      4m 26s
    3. Discussing considerations for black and white
      1m 48s
    4. Reviewing the features
      2m 39s
  3. 1h 1m
    1. Printing and your workflow
      3m 3s
    2. Printing black-and-white photos
      6m 49s
    3. Understanding the histogram
      7m 37s
    4. Understanding what localized adjustments are used for
      2m 38s
    5. Explaining the histogram with a practical example
      6m 51s
    6. Making a localized adjustment in a practical example
      5m 30s
    7. Evaluating a localized adjustment in a practical example
      2m 29s
    8. Refining a localized adjustment for effect
      13m 36s
    9. Making a gradient adjustment
      6m 47s
    10. Paying attention to viewing conditions
      4m 49s
    11. Summing up
      1m 50s
  4. 54m 36s
    1. Understanding pixels, printer dots, and resolution
      2m 44s
    2. Understanding resolution
      2m 33s
    3. Defining resampling and interpolation
      3m 41s
    4. Understanding where resizing fits into your workflow
      2m 12s
    5. Defining native printer resolution
      2m 39s
    6. Understanding the relationship between viewing distance and print size
      2m 1s
    7. Reducing image size in Photoshop
      9m 11s
    8. Cropping to a specific size and resolution using Canvas Size
      4m 34s
    9. Cropping to a specific size and resolution using the Crop tool
      5m 15s
    10. Enlarging an image in Photoshop
      7m 7s
    11. Creating a triptych
      3m 55s
    12. Creating a triptych using Automator on a Mac
      4m 5s
    13. Exploring the aesthetics of print size
      4m 39s
  5. 1h 17m
    1. Understanding how sharpening works
      3m 18s
    2. Sharpening in JPEG mode
      1m 26s
    3. Exploring sharpening workflows
      3m 47s
    4. Sharpening in Camera Raw
      6m 17s
    5. Looking at noise reduction
      1m 46s
    6. Sharpening output with Smart Sharpen
      11m 52s
    7. Understanding selective sharpening
      4m 25s
    8. Sharpening through an edge mask
      7m 17s
    9. Reviewing high-pass sharpening
      4m 30s
    10. Applying aggressive sharpening
      8m 53s
    11. Exploring advanced sharpening techniques
      9m 7s
    12. Exploring the Print dialog
      11m 35s
    13. Proofing at smaller sizes
      3m 3s
  6. 53m 9s
    1. Exploring how color works
      2m 5s
    2. Reviewing color models
      2m 56s
    3. Defining gamut and color space
      9m 55s
    4. Reviewing when colors go out of gamut
      4m 54s
    5. Configuring Photoshop's color settings
      5m 47s
    6. Changing color space in Camera Raw
      4m 7s
    7. Working in an advanced color space
      6m 13s
    8. Assigning a color space in Photoshop
      2m 20s
    9. Correcting a color image
      9m 17s
    10. Printing a color image
      3m 30s
    11. Evaluating the print
      2m 5s
  7. 34m 46s
    1. What is color management?
      4m 16s
    2. Profiling a monitor
      8m 45s
    3. Evaluating a monitor profile
      4m 37s
    4. Exploring paper profiles
      5m 17s
    5. Understanding soft proofing
      11m 51s
  8. 24m 33s
    1. Understanding how paper quality affects the appearance of black in prints
      3m 26s
    2. Looking at third-party papers
      3m 46s
    3. Looking at paper finish
      3m 44s
    4. Understanding paper traits
      6m 31s
    5. Discussing paper choice and presentation
      7m 6s
  9. 23m 18s
    1. Printing a black-and-white image
      11m 45s
    2. Printing a color image
      11m 33s
  10. 1m 16s
    1. Goodbye
      1m 16s

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Inkjet Printing for Photographers
5h 53m Intermediate Sep 14, 2012

Viewers: in countries Watching now:

In this course, photographer and author Ben Long explores the art and the craft of creating beautiful, archival-quality inkjet prints. The course looks at the anatomy of a print job: how a printer works, how to adjust and prepare your image to get the best results, and what happens to your photo in its journey from pixels to paper.

After a discussion of how to choose a printer, the course covers the process of preparing both black and white and color images using Adobe Photoshop. Ben describes how to take images from looking good onscreen to being properly adjusted for best results on paper, covering details such as sizing, sharpening, and color management.

With photographer and master framer Konrad Eek, Ben explores the creative decisions that photographers should address before printing. What size print? How does print size relate to the message of the photo and to the space where the photo will be displayed? What kinds of paper choices do you have, and how does your photo's content relate to the paper you choose?

The course also describes how to properly evaluate a print and how to handle common challenges that crop up during the printing process.

Topics include:
  • Why print with inkjet?
  • Types of inkjet printers: dyes versus pigments
  • Making image adjustments specifically for printing
  • Printing black-and-white photos
  • Resizing an image
  • Choosing paper
  • Working with sharpening and noise reduction
  • Color management
Subjects:
Photography Cameras + Gear Printing Photos
Software:
Photoshop
Author:
Ben Long

Reviewing when colors go out of gamut

In the last movie you saw how I could graph the contents of a color space in 3D using this program called ColorThink to get a visualization of what colors that space can hold. I would like to show you now how a color space might compare to what a particular piece of paper can hold and how it might compare to what colors are contained in a specific image. Here is the gamut of the Adobe RGB color space--you saw this before--and here is the gamut of some Epson archival Matte paper. I am just going to pull that up right here, and they're going to be superimposed.

Now again, if I look at these two things down below, this inner circle is the color gamut of the Epson paper, this is the color gamut of the entire Adobe RGB color space. Let me turn down the opacity of Adobe RGB, and you can see that for the most part, the paper is contained completely within Adobe RGB. There's actually a little bit of yellow that the paper can handle that is outside the gamut of Adobe RGB. For the most part, the important thing to recognize here is that there are lots of colors in Adobe RGB that I simply cannot print on this particular type of paper.

When you're printing and a color falls outside of the gamut of your target paper, Photoshop or your printer driver will attempt to remap that out of gamut color in your image to the closest color that fits inside the paper's gamut. There are several different ways that it can choose to do this remapping, and we'll look at them later because you control of that once you get to the print dialog box. That remapping may cause a color shift in the remapped colors, most of the time it will, as Photoshop tries to find some kind of match that's within the paper's gamut.

Well, let's take a look at an actual image. I am going to ditch the Adobe RGB gamut here, and I am going to turn off the paper gamut, and I'm going to open up an image file in ColorThink, and what that's going to do is show me a scatter plot of all the colors within the image. This is going to be a little bit different than the space maps that we've seen before, because it's showing not a range of colors but distribution of very specific colors, and here it is. So you can see that this image has an assortment of colors, scattered around mostly in the reds.

So, if I now superimpose my paper's gamut over these colors, we see that there are a lot of colors that fall outside of the paper's gamut, all of these colors down in here, and there are a few up above here. Those actually cannot be held by the paper. Because they're out of gamut of the paper, Photoshop is going to try to remap them.

The good news is that the bulk of the colors in this particular image do fit inside the paper's gamut. Let me turn down the opacity here, and you can see that most of the colors are with inside the gamut of the paper, just some darker tones and some very light tones, so our out of gamut situation is not as bad as it seems. At other times, we might have an image with a lot of out of gamut colors. In those instances, we might want to consider switching to a different paper. Look what happens here, if I lose the Epson archival matte paper and switch to something called exhibition fiber paper, it's got a larger gamut.

Here is the gamut of the Epson archival matte paper, here's the exhibition fiber paper, so I pick up a lot of additional colors. It has just a slightly larger gamut, but still enough, it might make a difference just as a different paper choice can improve the blacks in the print switching to a paper with a wider gamut can improve color reproduction. Remember we haven't done anything wrong in shooting or editing. The camera and monitor will always have a wider gamut than any paper that you find. The trick is to minimize out of gamut colors, adapt if we need to, and be careful about how we control the remapping of colors that lie beyond the paper's gamut.

One last thing, I want to mention that ColorThink here is not actually graphing my images using an RGB color model. It's using a color model called LAB, which like RGB uses three coordinates to define a color. The axes, though, are quite a bit different. The L axis specifies lightness. In other words, we have an axis dedicated entirely to tone. The A and B axes specify two different color ranges. The reason ColorThink uses lab color is that lab's gamut includes all of the colors that can be perceived by the human eye.

That makes it larger than the RGB or CMYK color models. Therefore, it's big enough for me to look at all of the different color spaces that I might want to analyze. Don't worry right now about understanding too much about lab color. Yes, it can make some image edits easier, but for your everyday color work it's not a color model that you'll need to concern yourself with.

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