Print and Display

From Click to Print and Display

My Work Flow
• Take Image – in RAW
• Process in RAW processor
• Open in Photoshop/Other editing program
• Fiddle………. as indestructively as possible
• Save as I go along
• Save
• Copy and decide on size
• Sharpen
• Print output adjustments
• Print

Print Size

Bits: Colour
• With 8-bit images, you have 256 possible
values for the red channel, 256 values for the
green channel, and 256 values for the blue
channel.
◦ By mixing we can get any one of 16.7 million possible
colours.
• With 16-bit images, you have 65,536 possible
values for each colour channel.
◦ By mixing our three values between 0 and 65536
together, there are more than 4 billion tones possible.

Photoshop: 32-bit Vs. 64-bit
• Some post-processing applications, like Adobe
Photoshop, offer 32-bit versions and 64-bit
versions.
• The bits in this case refer to the number of
possible memory addresses.
◦ With 32-bits, you can use up to 4GB of physical
memory
◦ With 64-bits you can theoretically use up to 17.2
billion GB of memory (usually severely limited by the
operating system).

Calibration
• Image quality and accuracy are always
important to ensure accurate representation
in print and digital display.
• Proper monitor calibration will ensure that
your colours and black levels are true
• Internal monitor calibration
• External monitor calibration using
colorimeter hardware
http://www.cambridgeincolour.com/tutorials/monitor-calibration.htm

• ICC profiles
Paper Profiles

Color Mangement
• http://www.imagescience.com.au/categories/
Colour-Management/
• “Knowledge”
• http://www.imagescience.com.au/pages/Colo
ur-Management-Theory.html

Colour Spaces
• sRGB
• Adobe RGB 98
• ProPhoto

Colour spaces

Colour space
• If you are planning on sharing your photos
online, printing them at conventional mini
labs or providing them to clients who have no
idea what a color space is, then your best
choice is sRGB.

Colour space and printing
• You need to know if you send your images to
a print lab, what colour space they print in.
• Most of them work with sRGB color spaces
which will mean your prints would have
incorrect (dull) colors, if printed with Adobe
RGB profile.
• However if they have Adobe 98 you will get a
better range of colours if your image is saved
in that format

Setting colour spaces
• In camera
• In Camera Raw

Soft Proofing
• A calibrated/profiled monitor.
• A printer profile.
◦ Custom profile matching your particular printer, ink,
paper and driver settings.
◦ Manufacturer-provided profiles
• Colour-managed software.

Gamut Warnings
• These indicate which on-screen colours are
outside the printer's colour capabilities
(gamut).
• During soft proofing determine what happens
to these
• Problematic colours often include the
saturated mid-tone colours (especially the
reds), since most printers cannot reproduce
these as intensely as monitors

Rendering Intent
• This simulates how colours will be
compressed when converted into the printer
colour space, and is the single most
influentual control over how image colours are
printed.
• Relative Colorimetric
Perceptual

Rendering Intent
• Perceptual mostly focuses on keeping good
correlation between out-of-gamut colours, but
it may negatively affect the relationship of ingamut
colours. This is sometimes effective
when converting to CMYK colour space.
• Relative Colorimetric focuses on accurately
producing in-gamut colours, but it sometimes
sacrifices out-of-gamut colours. This is the
best rendering option for photos and is most
used for screen and print.

Rendering Intent
• Saturation, is focusing on maintaining good
saturation of colours. It is usually used when
converting to wider color space. Typically not
recommended for digital photography,
because it doesn’t preserve realistic colours.
• Absolute Colorimetric tries to reproduce all
original colours, but does not take into
consideration for the illuminant or light
source. This usually causes wide colour shifts
when viewed under different lighting.
Generally not recommended for photography

Black Point Compensation (BPC).
• This ensures that the monitor's black is equal
to the printer's black
• Typically the default setting when printing is
checked. It should therefore almost always
remain checked.
• Images printed with BPC retain slightly less
contrast, but also avoid clipped shadow
details.

Sharpening for Print
• Create print size desired
• Select sharpening mode
◦ Unsharp Mask
◦ High Pass
• Use masks where appropriate to only sharpen
where desired

Print Output Adjustments
Specific to:
• Paper types
• Printers
Adjustments
• Output levels
• Contrast
• Color:
◦ Hue
◦ Saturation

Other Media
• Acrylic
• Metallic
• Glass
• Any surface an option……..

Mounting
• Purchase
• Make
• What to consider:
◦ Quality
◦ Size
◦ Borders
◦ Color
• Demo: what goes with what????

The impact of the surroundings
• Colour
• Advance and recede

Hue perception

Impact of size
• Dark areas and light areas are of the same size,
• The dark areas appear smaller.
• The apparent difference in size of the black and white margins at
the center of the grid is particularly marked, but their widths are the
same

Additional Info on colour
• http://www.uxmatters.com/mt/archives/2006
/01/color-theory-for-digital-displays-a-quickreference-part-ii.php

Additional Info on Printing
• ‘Inkjet Printing Masterclass’ talk delivered to
Steyning Camera Club by John Read. Short
version of his usual full presentation
• www.marrutt.com/camera-club
• Full version of 6 separate lessons
http://www.marrutt.com/inkjet-printingintroduction/inkjet-printing-masterclass.html