Posted by Rand Herman on September 7, 2007 at 9:51 AM
When selecting proof colors for printing papers, a certain amount of brightness and contrast is lost depending on the paper selected. Can a curves preset be created for each paper profile that would apply to all images?
Posted by Nat Coalson on September 7, 2007 at 12:45 PM
Rand - it's not feasible to create a curves preset that would apply equally to all images because individual images have their own inherent color gamut. When soft-proofing you need to adjust each image individually.
That said, if you find that you are consistently starting with the same adjustment, saving a preset can be a time-saver, but inevitably you will usually need to tweak the curve for each image.
I usually start with a Hue&Sat adjustment first, then do the Curves adjustment.
Posted by Kalin Wilson on September 7, 2007 at 3:45 PM
I agree with Nat. Here is a technique that is described by Jeff Shewe in the LL camera2print video that I've started adapting. Not much new but this might help someone.
Softproofing:
1. Duplicate your master image and flatten the dup (just to save some memory). The dup is just a temp file.
2. Ensure your dup does not have softproofing on, this is your reference to what you want your print to look like.
3. Turn on softproofing for your master image choosing the appropriate profile and rendering intent. You can alternately turn on/off the display options (paper white/ink black) depending on whether you are trying to deal with color only or dynamic range of the paper.
4. Use the window menu to cascade both windows horizontally or vertically as appropriate. Choose the "same location and zoom" item also to sync the views. So now you are looking at a copy of your master image the way you want it (the dup) and your master adjusted for the printer profile (the softproofed master).
5. Use adjustment layers on the master image to get the softproof as close to the reference (dup) as possible. Boosting blacks, Sat boosts, and slight curve tweaks are typically what I use too. This is the real art, and I hear Nat is expert here.
6. Group the new paper specific layers into a group and name the group for the paper and rendering intent or whatever makes sense to you.
7. You can repeat this for various papers and turn the softproof groups on/off based on the paper you're printing on. Make sure to turn off previous softproof groups.
8. close and delete the dup. You don't need it anymore.
When I print from a master file with these softproof groups, I'll dup the master file, ensure inapplicable groups are not visible, flatten the image (drops hidden layers), resize to the output size, output sharpen with PKS, and print.
Hope this helps a little. Anyone, let me know if I got something wrong or forgot something .
Kalin
Posted by Rand Herman on September 7, 2007 at 8:17 PM
Thanks, I really appreciate your input. I need to get up to one of Nat's classes when I can arrange it.
Posted by Nat Coalson on September 8, 2007 at 1:21 AM
Kalin, good job on the description; exactly my method, too. I always use Simulate Paper White and Black Ink. This is the part that takes some getting used too... Jeff Schewe calls these the "make my image look like sh*t buttons" which can be true depending on the paper - especially canvas -, but once your eye is trained to what the output will really look like it's the best way to soft-proof and make adjustments.
And sometimes there is no substitute for a hard proof.
Rand - I have 2 sessions of Advanced Digital Printing classes scheduled at the Denver Darkroom in the next few months... hope to see you at a class sometime!
Posted by bill meikle on September 8, 2007 at 9:34 AM
Discussion
5 repliesThat said, if you find that you are consistently starting with the same adjustment, saving a preset can be a time-saver, but inevitably you will usually need to tweak the curve for each image.
I usually start with a Hue&Sat adjustment first, then do the Curves adjustment.
Softproofing:
1. Duplicate your master image and flatten the dup (just to save some memory). The dup is just a temp file.
2. Ensure your dup does not have softproofing on, this is your reference to what you want your print to look like.
3. Turn on softproofing for your master image choosing the appropriate profile and rendering intent. You can alternately turn on/off the display options (paper white/ink black) depending on whether you are trying to deal with color only or dynamic range of the paper.
4. Use the window menu to cascade both windows horizontally or vertically as appropriate. Choose the "same location and zoom" item also to sync the views. So now you are looking at a copy of your master image the way you want it (the dup) and your master adjusted for the printer profile (the softproofed master).
5. Use adjustment layers on the master image to get the softproof as close to the reference (dup) as possible. Boosting blacks, Sat boosts, and slight curve tweaks are typically what I use too. This is the real art, and I hear Nat is expert here.
6. Group the new paper specific layers into a group and name the group for the paper and rendering intent or whatever makes sense to you.
7. You can repeat this for various papers and turn the softproof groups on/off based on the paper you're printing on. Make sure to turn off previous softproof groups.
8. close and delete the dup. You don't need it anymore.
When I print from a master file with these softproof groups, I'll dup the master file, ensure inapplicable groups are not visible, flatten the image (drops hidden layers), resize to the output size, output sharpen with PKS, and print.
Hope this helps a little. Anyone, let me know if I got something wrong or forgot something
Kalin
And sometimes there is no substitute for a hard proof.
Rand - I have 2 sessions of Advanced Digital Printing classes scheduled at the Denver Darkroom in the next few months... hope to see you at a class sometime!
Bill