Printing photos - getting closer to bright strong colours. Editing and soft proofing
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- Опубліковано 9 лип 2024
- Even though prints can never match your screen, there are many way of getting strong powerful colours looking better on your prints. Keith looks at soft proofing, editing and paper choices which make better prints.
There is a more technical article looking at colour spaces, rendering intents and printing:
www.northlight-images.co.uk/a...
For details of all of Keith's print related articles, reviews and videos see:
www.northlight-images.co.uk/p... - Фільми й анімація
Another one excellent video Keith... Every time we learn something new from you. ❤️
Thank you!
Thanks!
Thanks so much...again...for your thoughtful and thorough videos Keith. So easy to follow you.
Thanks!
Very helpful. Love your sequence of adjustments and prints to illustrate the points in the video. Thanks
Thanks - glad it was clear what I was trying to do! ;-)
Thanks Keith.
Glad it was of interest!
Another good video Keith. Thanks.
Thanks
Thank you for this! We have recently discovered metallic papers and the colour 'pop' that is possible. With the PS adjustments you've outlined, our Canon Pro 100 will produce spectacular renditions of our most colourful images. Here in Canada, we use MOAB Slickrock Metallic Pearl on a 17" roll cut in-house to 13"x19".
Thanks - the right images work very well
Eos. Have you tried RR metallic? And what do you think of it. I may have to give the MOAB a shot. Down here in Montana from you.
@@danielvoulkos8274 no distributor up here,,,too costly to ship RR
Amazing as always
Thanks!
Excellent video, thank you
Glad it was of interest!
Really useful information on the limitations of prints. I will definitely get hold of some metallic paper. One of the problems I often encounter is that fully saturated colors come out duller and darker when printed. This is most noticeable when I have put some text onto the image. On the monitor you might be half blinded by brightly radiating green text on a black background, on the print you ask yourself where all the text has gone. 😁
Ah, coloured text is tricky - people often choose settings which play to the advantages of a screen, whilst print has a completely different range of 'strong' colours
Design for print not screen ;-)
Great Video, shows that printing good images isn't just the case of clicking the print button. 🙂I will need more ink and paper!
Thanks.
My excuse is that it can save wasting ink and paper in the long run ;-) :-)
Excellent !
Thank you
Keith thank you for this content!! You broke it down beautifully in layman terms. I was hungry the moment you pulled that picture on the screen 😊
Keith I use a lab to print large prints and do not own a printer that can handle the sizes (like 20’ x 30’ for example). I am wondering how would I go about processing my images so that I can get accurate color on the final prints. Can you, maybe, make a video on this topic. Thanks in advance!!
Glad you enjoyed it! I've not any specific experience of using a print service, but I may well be looking at this next year.
My feeling is that any high end service will go to some lengths to cover issues like this.
Do you ever print a black (or grey) border? That would allow the use of one mat rather than the common double window. It may not be as "fancy" but perhaps could work in some situations (maybe for small prints). Also, it's interesting how in another (great) recent video about chasing perfection showed the folly of that, yet as you often show, getting the print right (="perfect?") is often a daunting task--so many variables and experienced-based (read: "paper- and ink-intensive") decisions.
I've seen it done, but it never appealed for any images - I don't frame small prints very often.
I normally use a single mat anyway if I'm cutting them myself for bigger (A2 and above) prints.
@@KeithCooper Yeah, I printed a grey border once using Epson Print Layout and it looked a bit weird. Obviously it depends on the image but so often it seems that double-matting with a black inner window really helps (especially B&W with burned-down edges/vignetting). I framed some of my paintings and generally used a black "border strip" within a light wood frame (1/4" thickness for each) and that looks great without being distracting. It does of course consume more materials, however. I've been contemplating getting a nice mat cutter but I'm still on the fence (hassle vs. expense). Presentation is so important (as is display lighting). That would be an interesting video subject--I've seen some step-by-steps but they were more instructional and didn't really go into the philosophy behind various methods (matting vs. dry mount, glass or no glass, etc.).
Good points - However, I don't really do enough mounting/framing for any useful contribution in this area I'm afraid. Also supplies vary considerably in different countries
First, let me say your videos have been very helpful in choosing a new printer. However, there is one question I can't seem to find an answer for. If the printer runs out of ink mid print, what happens after you replace the ink cartridge? Can you resume the print or is it automatically cancelled and needs to be reprinted from the beginning? TIA.
Ah, it depends...
Some larger printers do support live swapping, but in general, even if you replace the cart fast enough, the pause can cause a slight change in the surface 'look' on gloss/lustre papers.
It's something I do mention in some of my written reviews, but it depends on just how things go when I'm doing the testing ;-)
Keith, great informative content thankyou.
I however am having issues with my prints always turning out much darker and colours being off from what is in my screen. I.e bright blue skies are almost night like. My laptop screen is calibrated and I've also created a paper profile for the paper used. (Prints are better if I select managed by printer but not perfect)
I'm using an Epson L1800 printer with kodak ultra premium glossy paper. I know the paper isn't the best but it seems to be the only brand I can easily obtain here in Saudi Arabia.
I'm guessing it's user error as I am new to printing. Any advice would be greatly appreciated.
Sounds a bit like a double profile application
However you give no info about what software, or system you are using so I can add no more... ;-)
I've never used an L1800 [AFAIK - not a UK model]
@Keith Cooper thankyou for your swift response, I'm printing via lightrooms print module on windows. I'm almost certain I am switching off colour management when using an icc profile for the paper.
Can't help there I'm afraid. I don't ever use Lightroom and have not used a win PC this century...
I'd suggest asking on the printing forum at DPReview.com
Hi Keith, a Maritime welcome from Nova Scotia! I have been following your channel for about 6 months, and have a Pro-200. The printer works great and the pictures look super on most papers as well. I've been using the A3 plus Pro Luster lately and like the results. The problem I have is when hanging the prints in mats and frames. I use two little pieces to hang the prints at the top, so it will hang naturally. After two to three months the paper starts to warp and bubble under the mat. Has anyone else encountered this problem? It really seems to be a problem under direct lighting for days on end. I have even started hanging the pictures with just one piece of tape in the center hoping to keep the wrinkles out. I'm thinking of going with a heavier paper, but like the results of Pro Luster. Would you have any suggestions? I do seascapes and like the color shots for sure!
Yes - heavier paper is a good idea, but care with lighting is needed with some papers.
@@KeithCooper Thank you Keith, for your insight. The grand experiment continues. :-))
Possibly high humidity in your air.
Very helpful information as always Keith.
just a quick Question if i may about the epson ET8550, it has built in profiles for epson papers and a menu of adjustments in the epson software when linked to ones computer for various final preparation for printing, are they worth going along with for learning experience as i have received the printer but won't have time to use it for a couple of weeks, ink is still in the bottles awaiting set up,
best regards
Thanks
The 8550 has no 'built-in' profiles. There are some profiles installed on your computer when installing the software/driver.
There are no 'adjustments' in the driver for better quality printing - there is a B&W mode
I'd suggest starting here - it has links to all of my 8550 articles/videos/review
www.northlight-images.co.uk/epson-et-8550-printer-review/
I' normally suggest to start off using Epson Print Layout - free and very useful.
@@KeithCooper Many thanks, will do👍
Any tips to still get good prints when shooting jpeg-only?
Learn to really understand light and the exposure characteristics for the camera you've got.
Jpegs give relatively little space for editing
@@KeithCooper many thanks for the quick reply! Interestingly enough sounds like it could even help me understand the actual photo taking better, rather than post processing, might just be what I'm looking for.
Yes, it's one way of approaching that.
Appreciating the limitations of JPEGs can also help with taking RAW files. Getting a genuine feel for light is something all too many photographers leave to the camera's metering system ;-)
@@KeithCooper many thanks, Keith! I guess having less wiggle room is like using slide film back in the days :) I'll try to get started with printing jpgs, figure out what gives the results I like or don't like, and work my way from there. Really appreciate all your work on having printing expertise here on UA-cam.
Today’s cameras can process really nice JPEG images. One idea is to do some rounds of print tests of your camera’s JPEGs, with the goal of learning what camera settings place tones and colors within the optimal reproduction range of your favorite ink and paper combinations. (Ansel Adams discusses these types of tests in his books “The Negative” and “The Print.”) Then you will be able to capture JPEG files that print well.
That’s similar to the common pre-digital practice where photographers who shot color transparency film for high-end magazine/book reproduction would work out the camera settings that would produce a perfect film exposure for print. Because like JPEG, positive transparency film has limited editing flexibility. So to keep getting hired, they had to know how to get it right for print in camera.
Seeing the paper: There is a set of new Permajet “Heritage” papers coming in the next weeks. Maybe a chance for an evaluation by a real expert…😊
It just so happens I have four of them here to test - the A3+ sheets were also in that box of Titanium Gloss I had in the video. I have some A2 sheets as well.
This will likely be in a few weeks, once I've some new photos with the GFX100S and assorted lenses which also turned up yesterday ;-)
@@KeithCooper Haha, that’s much faster than I expected. Looking forward to these interesting reviews! Thanks 🙏
It does depend a bit on the weather and me going out to take photos ;-)
Keith you can always go back to get another lunch :)
@@ZeeKay80 That bakery/cafe is unfortunately not there, but I'm sure I'll find something ;-)
This is very helpful. Thank you @keithcooper
Thanks