Revisiting Soft Proofing - Fotospeed | Paper for Fine Art & Photography
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- čas přidán 29. 06. 2024
- In this video Tim revisits his love and hate relationship with soft proofing. Can he get it to work in the way intended and match the print to the screen?
Tim's first Soft Proofing video:
• SOFT PROOFING in PHOTO...
Platinum Etching:
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Fotospeed, inspired by image makers around the world, Fotospeed began life manufacturing quality darkroom chemistry and specialist fine art printmaking processes.
With 35 years of the photo trade dealing with printing paper and chemicals. The wide selection of papers available range from the everyday photo glossy to the Fine Art textured paper that can turn a photo into a painting. Lots of research and development have helped Fotospeed to create the perfect paper no matter what final result is needed and the ability of the paper to receive the photo inks has been fine tuned to perfection, giving even coverage whatever the subject matter.
With a respected reputation for quality and service, Fotospeed is now an established distribution company for worldwide market leading brands such as Hahnemuhle Fine Art Papers, Kaiser Photographic equipment, Herma Adhesives and Canson Infinity Papers.
Whatever your photographic requirements, let our passion for image making provide the solution.
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Very useful again Tim...thank you. For me personally, I don't print very frequently so these helpful reminder guides are extremely valuable.
Hi Tim, Really glad to hear you enjoyed the video Tim
An excellent explanation Tim. Years ago I had to soft proof in Photoshop and so was delighted when the feature appeared in Lightroom as it was so much easier to manage there. I like your idea that soft proofing helps to manage expectations!
Hi Roger, glad you enjoyed the video. I'm starting to thick managing expectations is the key to printing. Tim
The problem with soft proofing in LR is that it doesn’t use seperate buttons for simulate ink and paper. The simulate paper is useless but simulating the ink is great for showing the D max reduction of the blacks and shadow areas of the inks on matte papers. That’s why I use PhotoShop’s soft proofing that has separate simulation controls. Also I would print an image like that on lustre paper as matte can’t possibly maintain those levels of contrast and saturation!
great video and very finely explained. i think that at the end of the day, with such a complex topic, everyone has to find a workflow that suits them. Ultimately, I think: keep it simple, without sacrificing the necessary quality. The probability is just very high that at some point you will get bogged down and thus desperate. "trial an error" 😏
Hi Klaus, I agree the trick to printing is keeping it simple and also finding a workflow that works for you. Tim
Tim can you please do a short video on getting proper margins (borders) around your image to be symmetrical upon printing? I had to do a couple test prints just to learn that I need to manually adjust my margins as my 1000 does not print what I see on my screen. There's always at least two margins not symmetrical even if I set all four of them to be the same value. Do you do any such tinkering calculations in lightroom with margins and cell size changes? Is it a hardware/alignment issue or a software issue?
Use the foggy button. Transmissive light and reflective are very different. Even when the final prints are held up you can see that with this function on they look much closer to the on screen proof. The environment must be controlled. The Kelvin of your lighting must match the kelvin on the screen. The calibration should be correct. The monitor must represent paper white in lumen levels and so forth its a mind field.
I could not agree more, thats why I always try and get people to make test prints. Tim
Definitely worth repeating that screen and viewing conditions must be at the same colour temperature. This is so often ignored. Also lighting with a really good SSI
I used to use Lightroom for soft proofing and printing but I prefer to not use auto black point compensation and do it all in photoshop. Although I do miss the convenience of the Lightroom environment.
Either is a great choice and always use what works for you. Tim
Interesting video! Id like to see how to deal with a lot of colours out of gamut that i seem to get.
Hope it helps.
Great, but why don't you use print simulation, you can then refine the photo more.
I thought that when you had edited an image to your satisfaction and wanted to print it as close as possible, by turning on the paper and ink simulation with the correct ICC profile selected, you then carried out adjustments to the proof copy to try to match your edited version as close as possible. This would then to some extent allow for different paper types such as matt or lustre. You seem to say that there is no need to turn paper and ink simulation, please could you explain. Thank you.
I don't generally recommend the Simulate paper and ink option as it always goes too far in it adjustment to get accurate results. When ever I have used it I have ended up with a very contrasty print. It seems to apply a grey fog to the image on screen which is not how the file will print. Tim
@@FotospeedUK Thankyou for your reply. I find that printing is a very long learning curve (as opposed to a steep curve). I must say that I am very pleased with the prints I get from my Canon Pro-1000 printer on Fotospeed papers. I just wish the cost of ink was much less.
Just asking. Have you ever got an error code B208 on your Canon Pro 1000.
How do Pro photographers with websites manage there prints because someone buying a print will be viewing the image on their screen, then the print arrives & they will compare it to the website. I noticed you used relative intent for platinum etching. this is my favourite paper but I have always used perceptual. Is the there a great difference in the final print?
hi, unfortunately there is no either or as an answer. Perceptual has the effect that all colors in the color space are evenly desaturated, including those that are in a target color space. With relative, only the colors that are outside of a possibly smaller target color space are attacked. In other words: you will not be able to avoid trying and comparing yourself here.
Hi Nicky, The best way to see which rendering intent to use is to print a couple of prints one on Perceptual and one on Relative and see which you prefer. In answer the the Pro photographers questions if there are printing their own prints they will work hard to get the print matching as close as they can but customers screens are not calibrated in general. the prints will be different due to the calibration. There will normally be a little disclaimer somewhere on the site to cover this. Tim
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The background music is a nightmare!