We are excited to announce that we will have two special guests for our round-table discussion:

Photo-editor/photographer/Salaam Garage workshop leader Maggie Soladay will offer her input on what she looks for when hiring photographers for editorial assignments. As a photo editor, Maggie sees hundreds of portfolios, both online and in print. As a result, she can offer useful insight into aspects of producing portfolios that every photographer should consider.

© Maggie Soladay

Bookbinder Judith Ivry will also join us, to show varieties of custom bookbinding and portfolio boxes that she has produced. Judy has been an independent bookbinder for over 25 years, offering the highest standards of binding for her clients. She works out of her studio in Manhattan, as well as teaching and lecturing about binding techniques.

From Judith Ivry's bookbindery

Please RSVP for the event here!

Directions to the studio, 119 8th Street (bet. 2nd and 3rd Aves in Brooklyn): We are located 2 blocks from the F, G, M or R trains at the 4th Avenue/9th Street stop. Upon exiting the subway station, walk down the hill on 9th street and turn right on 3rd Avenue. Walk one block and turn left on 8th Street. We on the right hand side of the street, at 119 8th Street, almost all the way at the end of the block towards 2nd Avenue. Dial 210 on the buzzer.

]]> http://doteditions.com/blog/2010/06/special-guests-announced-for-our-new-options-for-portfolios-discussion/feed/ 1 http://doteditions.com/blog/2010/03/tips-on-printing-through-photoshop/ http://doteditions.com/blog/2010/03/tips-on-printing-through-photoshop/#comments Wed, 10 Mar 2010 21:24:22 +0000 doteditions http://doteditions.com/blog/?p=2099 At last night’s Color Management discussion, it became evident that there is confusion and frustration with printing through Photoshop’s Epson Driver. This is probably the most common way of printing, so we decided that a tutorial with screen shots is in order. We usually use a RIP software at Dot Editions, but that’s a whole other blog entry.

Keep in mind that this method is what works for us at Dot Editions. By no means is this the only way or the right way – it’s the way that works for us. This is all about trial and error, as well as your personal preference on how you want your prints to  look. Just like in the darkroom!

We would like to thank Radhika Chalasani for allowing us to use her image for these printing demonstrations.

Here we go, starting from the basics of printing through Photoshop:

Download and install the Epson Driver for free from Epson’s website.

Download your choice of  paper’s ICC profiles from that paper’s manufacturer. For this example, we’re printing with Hahnemuhle Bartya.

• Go to your paper manufacturer’s website
• Find where they have the ICC Profiles. They are free to download.
• Select the right ICC profile by finding your printer on the list, then by finding your paper type.
• Click to download.

Put the ICC profile in the proper place.

• Find the ICC profile on your computer (probably on the desktop or in “Downloads”). The ICC icon will look like this:
• Drop the ICC profile in the correct folder:
• Macintosh HD/Library/ColorSync/Profiles

While you are at your paper manufacturer’s website, determine their recommendations for paper handling.

• For example, if you have a matte paper, do they suggest setting the media type as Enhanced Matte, UltraSmoothFineArt, or Watercolor Paper?
• If you are printing on a glossy paper, is it Luster, SemiGloss, or Glossy?

Once you have done these steps, and your image is ready to print, go to File/Print. Follow the instructions below to properly handle the settings in the print dialog boxes.

Initial print dialogue box options:

Select your printer, then click Page Setup

Page Setup Dialogue box options:

Manage Custom Sizes (if you are using an unusual size paper)

Page Setup Dialogue box with your selected options:

Click OK on Page Setup.

That will take you back to your initial printer dialogue box. This is the box where you select the paper profile that you downloaded earlier. In this example, we are using one of Dot Editions custom profiles for Hahnemuhle Baryta. We find that choosing “Perceptual” with Black Point Compensation checked works well for pigment printing.

After you press “Print” you will be taken to another print dialogue box, with more options to select.  (In the newest version of the Epson Driver for CS4 Extended, the options are collapsed into one window for “Print Settings” and “Printer Color Management”. These screenshots are from the older version that has these options separated. The choices will be the same.)

Here in Print Settings and Color Management is where you need to pay careful attention to what you are selecting. For Media Type, refer to your paper manufacturer and see what they recommend for the surface you are using.

One last window before you really print! Turn Color Management OFF (or else you are throwing everything out the window!)

If you would like this tutorial in a PDF version, please email us at print@doteditions.com

In an ideal world, color would be consistent from the scene in front of the camera, to what we see on the monitor, to the final print.  Consistency from  various  digital imaging devices requires a sophisticated knowledge of color management. In this hands-on discussion, we will help artists and photographers gain deeper understanding of how to get a good match from the monitor to the print.

Included in this discussion:

• A work-around to match the image on screen to the print
• Best practices for monitor calibration
• Color profiles
• Soft-proofing

Please RSVP. This is a free event, so please bring a beverage or snack to share!

Dot Editions first HDR test, 2008

March 9: Color Management Discussion (6:30-9pm, doors open at 6pm)

In this hands-on discussion, we will demonstrate a work-around that photographers printing at home or in the studio can use to match the print to the image on the monitor. This trick will help artists become more efficient when printing, and hopefully will relieve some of the frustration that can arise when perfecting a print.

We will also discuss:
•    Best practices for monitor calibration
•    Paper profiles
•    Soft-proofing

This is a good opportunity to get your questions about color management answered.

In the meantime, check out the tutorials we’ve posted, including one on monitor calibration using Eye One Match, and a Photoshop work-around for matching your image on the monitor to your print.

Please RSVP, and as always, this event is free, so please bring a beverage or snack to share!

TWO UPCOMING HDR DISCUSSIONS:

March 23: HDRi Discussion at Dot Editions Studio. Please RSVP to Dot Editions HDR event here.
April 6th: ASMPNY Discussion (at Tabula Rasa Studio & Event Loft Space). For more info on the ASMYNY HDR event, click here.

In both of these events, we will define HDR and how to use it as a tool not a look. How it’s being used in the commercial world of photography today as well as the fine art world. What is the future of HDR and how you as a photographer can start utilizing this powerful tool.

First of all, here’s where to access the layer blending modes in the  layer palate:

Pull down the drop-down menu to see what options there are.

Give your image depth & contrast with a Soft Light layer:

• Stamp together all your adjustment layers into one layer on top of your adjustment layer stack (press Option + Command + SHIFT + letter “e” at the same time)
• Change the blending mode in the layer panel to Soft Light.
• You’ll see that your image gets a lot darker. Adjust the opacity until you like it (try between 25% and 50%)

• Another good trick when using blending modes (or doing anything with layers) is to make a keyboard command for turning on and off a layer – so you can see exactly what that layer is doing. We set the F1 key to turn on and off the layer. Under Edit go to  Keyboard Shortcuts. Find the Layer options (there will be a triangle next to “Layer”, open the options by clicking on the triange). Scroll down until you see Hide Layers. Click next to it under Shortcut, and a box opens up – type the F1 key in there. Press Accept to override other functions assigned to the F1 key.

Using the color blending mode to correct uneven skin tones

• Make a new layer. In the layers panel, Option + click on the icon that looks like a turned up piece of paper, or under the Layers panel, select New.
• You’ll get some options. Name the layer “color” and under Mode, choose Color. Click OK.

• With the eyedropper tool, select a nice skin tone color.
• Using the brush tool with soft edges and a low “flow” (keep Opacity at 100%), brush the color in the area that needs to be corrected. You might have to lower the opacity of that layer.

How to get detail in the shadows of an image that is too dark with Shadows/Highlights (not exactly a blending mode but another good trick):

• Stamp together all your adjustment layers into one layer on top of the layer stack (press Option + Command + SHIFT + letter E)
• Go to Image/Adjustments/Shadows and Highlights
• Use the default settings
• Adjust to opacity to a low amount, around 10% to 15%. You’ll see that the shadows open up without looking forced or solarized.

There are many other uses of blending layers, some of which we will be discussing in later posts. With blending modes, you can create a dodge and burn layer, or a layer to add noise/grain, or you can add sharpening through filtering a layer in a blending mode. Stay tuned for more info on these methods!

The Eye-One Match software is pretty straightforward – but if you’re not confident that you are choosing the right options within the software, read on.

First step: Pick your  monitor type – LCD or CRT. Flat screen monitors are LCD, monitors with a tube are CRT.

Step Two: Select your white point at Medium White (6500), your Gamma at 1.8, and Luminance – pick custom.

When you pick custom Luminance, it will require you to measure a white patch on your monitor. Open Photoshop, and make a new file with white as the Background Content. Zoom in so that the white image takes up the whole screen. Put your calibrator over that white image on screen. Keep lowering your brightness with the monitor hardware until it measures between 51 and 53.  This is how you  set your monitor luminance. Do this every time you calibrate your monitor. The reason for this is that monitors out of the box are set much too bright, and the luminance needs to be turned down.

Step Three: Calibrate your Eye-One device.

Step Four: Set the contrast. In the monitor hardware menu, set your contrast at 50%. (I find if I set the contrast at 100% like the software indicates, the monitor is too contrasty and bright for the Eye-one calibrator to work).

Step Five: Set the white point. Using your monitor hardware menu, find the sub-menu where you can manually adjust the white point (it will be under RGB). Make the RGB line up evenly.

Step Six: Adjust the Luminance. In the monitor hardware, adjust the luminance until it matches the target – the number you set in Step Two.

Step Seven: Save ICC profile and Summary Screen. We use a custom name to refer to the monitor this profile goes with. You can click the Before/After to see how your newly created monitor profile shifts from your previous ICC profile.

You’re done! For proper monitor calibration, your computer station should be set up in a room that has little daylight (sorry, you have to cover up those windows!), and is as neutral as possible. If your computer is set up in your home office that you painted orange, you’re going to have to seriously consider repainting – either grey, or ideally, black. Unfortunately, ideal retouching conditions require pretty gloomy decorating options. But if you follow this advice, you’ll have a much easier time getting consistent results in printing, or doing any post-production work. Repeat the calibration process at least once a month.

Discussing the histogram, one of the most important tools in Photoshop.

Rocky Kenworthy, founder of Dot Editions hosted a Digital Printing Discussion in his Brooklyn print studio. Twenty-five  photographers braved the winter weather warnings and attended the open-forum discussion, armed with questions about archival pigment printing, paper choices, monitor calibration, and RIP software. Rocky shared his knowledge about how to work an image into an optimal archival pigment print, trouble-shooting imaging problems, paper choices, and RIP software.

What the photographers are saying about the event:

“I was very impressed with your studio. I think having the open discussion on file Prep, & printing was a great idea. Now my head is spinning with all the new info.” – Patrick McCarthy

“I enjoyed being there last night, I think its a great idea.” – Bart Michiels

“Last night the print with RIP and without RIP were quiet interesting to see…” - Frank Fournier

“Rocky does a very good job sharing with us what he knows and at the same time being open to what others are experiencing.  My own experience with coming to digital with a longer ‘film’ background gives me similar feelings, that nothing is written in stone, and you simply have to experiment. … I think you both provide a nice environment and i feel the information is treated with enough depth that i can take it further, without so much depth that the discussion just becomes obtuse.” - Richard Rethmeyer

“Thank you for having the event!  I definitely learned some helpful techniques and Rocky was very generous about sharing his knowledge.  It was much appreciated.” – Carey Kirkella

Discussion of paper choices for archival pigment printing.

We are looking forward  to hosting more of these community-minded forums about the process of archival pigment printing in the future! If you are interested in being part of the discussion, please sign up for our mailing list, or become a friend of Dot Editions on Facebook!

If you can’t afford either of these monitors, here’s a place to get started for monitor settings: Color temperature 6500K, gamma 1.8.

If you’re using an Apple Cinema Display, remember that these monitors are extremely saturated and contrasty, and most likely, your print will look flat and lifeless in comparison.

Assuming that you are correctly applying printer profiles, this work-around should help you better control color managmenent (we will discuss using printer profiles in a later blog post). Your best work-around is to make an adjustment layer on your Photoshop file that you TURN OFF when you go to print. Use these simple steps:

1. Make a print from an image that you think has good skin tone, contrast, nice highlights and shadows.

2. Put your print next to your monitor in decent light. Ideally you would view your print in a daylight balanced light box similar to the GTI viewers. Most people don’t have this, so use diffused, even soft window light if possible. Remember that as the light changes through-out the day in your room, so will your calibration.

3. Make an adjustment layer curve on the image you printed from, and match the image on the monitor to the print. Take your time here, match the image on the monitor to the print as best you can in terms of color, contrast, and saturation. (If you make a few layers, group them together). You should be able to do it with just one curve layer.

4. Name the adjustment layer or the group “TURN OFF WHEN PRINTING” (you can color the layer red as well, by control + clicking on the eye icon on the layer palate)

5. As you make further adjustments to the image to perfect your print, always keep that “TURN OFF WHEN PRINTING” layer on top of you layer stack.

6. Finally, make sure to turn off that layer when printing! Save a PSD file with all your layers (including the TURN OFF WHEN PRINTING layer). Duplicate the layered image, turn that layer off, then flatten (Photoshop will ask you if you want to Discard the hidden layers, click OK) and save as a Tiff file for printing.

COMING SOON: Soft proofing through Photoshop

When: Tuesday Feb. 9 (6-9pm)

Where: 119 8th Street, Studio 210, Brooklyn (near the F, G, M, R trains at the 4th Avenue/9th street stop)

This event will help photographers take control of producing prints for exhibition and portfolio. In this discussion, printer Rocky Kenworthy will share his extensive knowledge of what goes into making an optimal archival pigment print. This is an excellent opportunity for photographers to get questions answered on topics such as:

• What paper is best for your digital printing project.
• How to make a master print.
• What Photoshop tools and tricks are best for getting the most out of contrast, color, and sharpening.
• Benefits of using RIP software.
• How to control color management from monitor to print.
• Mounting and laminating options for pigment printing.

This is a free event in our printing studio. Please bring a drink or snack to share with your fellow photographers!
Discussion will start promptly at 6:30. Doors open at 6pm.

Please click here to RSVP (required)

This process will give you a file that you can push or pull in any direction you see fit – though at first it will look somewhat flat and desaturated. The reason is that if you process it out with a specific style, you are nailed into that style once you bring it into Photoshop for manipulation. You  may ask, what about processing it out as a smart object, and then adjusting it later? For me, this doesn’t work, because once I bring it into PS, I start working on skin, dodging and burning, masking … and all that work goes out the window if I go back and change the way the original layer was processed.

Keep in mind that with all photographic processes, there is more than one way to skin the cat, so another way may work better for you.  Here’s a summary of steps we take when processing out in Camera RAW. Many thanks to Michel Leroy who let us use his image.

1. Open your image in Camera RAW. Click on your workflow options (at the middle bottom of the window). Process your file out as a 16 bit, ProPhoto RGB file at its native size.

2. In the Basic adjustment window, adjust your exposure and blacks so that everything is within the histogram, nothing is clipping. Command + click on the exposure slider and move it until there is no white showing, meaning all your highlights are within gamut.

Do the same for the shadow areas by command + clicking and sliding the Blacks slider – until no shadow area is out of gamut (no black is showing, it’s all white).

You can activate your histogram warnings to show you what is clipping as well. Here is an example of a good looking histogram.

Once you get  your exposure and blacks set, you can adjust brightness, contrast, and clarity until you like the look of your image. Then go to the Tone Curve and adjust it until you like it – but keeping the image open so you can further manipulate it in Photoshop later.

2. Next, adjust your color in Hue/Saturation. I adjusted the reds and oranges slightly to even out his skin tone.

3. Then, I used the adjustment brush to selectively tone down his white shirt, and to bring some color back to his lips. Again,  these are general adjustments so I can get a good start for manipulating further in Photoshop.

4. Finally, adjust the sharpness. When dealing with skin, we don’t want to sharpen the skin too much – but we certainly want the eyes, mouth, and other details to be sharp. In the preview, zoom to 100%. If you option click on the masking slider, and move it to the right, you can mask off (in black) broad areas of the skin that we don’t want to sharpen.

Here is the final result:

© Michel Leroy

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